The size of each element in the picture reflected its degree of importance. The primary technique of composition is that of apportioning areas: the main elements are isolated from each other by space transformers. This eliminated the intermediate ground, which would otherwise imply perspective. Perspective was introduced only as a result of Western influence in the mid-19th century.
The most frequent narrative subjects for paintings were or are: the Jataka stories, episodes from the life of the Buddha, the Buddhist heavens and hells, and scenes of daily life.
The Sukhothai period began in the 14th century in the Sukhothai kingdom. Buddha images of the Sukhothai period are elegant, with sinuous bodies and slender, oval faces. This style emphasized the spiritual aspect of the Buddha, by omitting many small anatomical details. The effect was enhanced by the common practice of casting images in metal rather than carving them. This period saw the introduction of the “walking Buddha” pose.
Sukhothai artists attempted to trace the canonical defining marks of a Buddha, as They’re set out in early Pali texts:
Skin so sleek that dust Can’t adhere to it
Legs just like a bull;
Thighs just like a banyan tree;
Shoulders as enormous as an elephant’s mind;
Arms round like an elephant’s trunk, and long to get to the knees;
Hands like lotuses around to blossom;
Fingertips turned back such as blossom;
mind such as an egg;
Hair such as scorpion stingers;
Chin just like a cherry rock;
Nose just like a parrot’s beak;
Earlobes lengthened from the rings of royalty;
Eyelashes just like a cow’s;
Eyebrows like attracted bows.
Sukhothai also generated a huge amount of glazed ceramics from the Sawankhalok style, which have been traded during south-west Asia.