hile the composition and landscape varied with the times, the depiction of human beings remained fairly consistent. All creatures have a flat, two-dimensional appearance, as if cut out of cardboard with their joints strung together like shadow puppets. The degree of spiritual advancement of each being is the basis of hierarchy.
On the highest level are the Bodhisatta, devas, ascetics and royal personages. Accordingly, they wear pleasant, masklike expressions. It would be a sign of moral inferiority to reveal an emotion on one's face. Once an individual is born into a high level of society or lives a hermit's life, he assumed to have overcome base feelings like anger and greed and to have achieved an inner calm. This calm is expressed by a profile view.
The face of the Bodhisatta figure, as of queens and goddesses, is generally shown three-quarter view, and the features are softer, reflecting a more tranquil nature.
Thai artists seems to have adhered to traditional concepts of beauty orginally derived from Indian canons of idealized form. Certain features, such as lotiform eyes, bowlike brows, lime-shaped chins, and arms resembling a young elephant's trunk, distinguish sculptured and painted figures of the Buddha, Bodhisattas, devas and royalty.
