Abstract

When one visits Thailand, one is struck by the enormous number of temples in the urban Bangkok area, many of which are conspicuously absent from the more cherished art historical works on the art and architecture of south-east Asia. The Wat Po complex and Wat Reitmit, one discovers, whatever their virtues for the Western tourist, are not among the temples and archaeological sites mentioned in the text of such an authority as Benjamin Rowland. Nor are these temples—when cited at all—discussed in the same vein as, for example, the Konarak temples of Orissa , where at least some veneration is paid to the plasticity of the carving in its depiction of sexual variety, even if the depictions themselves were at one time held to possess little or no intrinsic merit as pieces of sculpture