Sema Stones in Lower Myanmar and Northeast Thailand: A Comparison in Nicolas Revire and Stephen A. Murphy (eds.), Before Siam: Essays in Art and Archaeology. Bangkok: River Books & The Siam Society, 2014

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Abstract

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The study examines the narrative art on sema stones from northeast Thailand and lower Myanmar, focusing on the similarities and influences between these two regions' boundary markers. It explores the historical migration of the Mon people and the transmission of artistic traditions, particularly the depiction of jātaka tales and scenes from the life of the Buddha. The discussion includes comparisons of specific sema stones and their artistic characteristics, providing insights into the cultural interactions in Southeast Asia during the seventh to eleventh centuries.

Key takeaways

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The comparison of sema stones reveals significant stylistic divergence despite narrative similarities across regions.
Sema stones function to demarcate ritual spaces for Buddhist ceremonies, crucial for the Saṅgha's existence.
Northeast Thailand has over 1,200 sema stones recorded, while Thaton has fewer but notable artistic quality.
The origins of semas in Myanmar predate influences from northeast Thailand, contradicting Mon refugee theories.
Artistic traditions in both regions stem from shared Buddhist practices rather than direct contact.

FAQ's

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What are the main differences in sema stone styles between Thailand and Myanmar?add

The study reveals that semas from Thailand are typically slab-shaped and stylized like leaves, while Myanmar's semas are tapered pillar types without parallels in Thailand, indicating distinct artistic traditions.

How does the narrative content of sema stones vary regionally?add

Both regions depict jātaka tales, but while the narratives are similar, the composition and stylistic execution differ significantly between thaton and northeast Thailand.

What evidence supports the independent development of sema traditions in Myanmar?add

Historical findings from Vesāli and Śrīkṣetra, dating from the fifth to seventh centuries, indicate long-standing local traditions of monumental Buddhist art independent of influences from Thailand.

What role did sema stones play in Southeast Asian Buddhist rituals?add

Sema stones demarcated ritual spaces necessary for performing key ceremonies like the pāṭimokkha, as stipulated by Pāli texts, ensuring proper conduct of Buddhist practices.

When did the sema tradition first appear in Myanmar archaeological records?add

Evidence indicates that sema stones in Myanmar were established around the fifth century CE, particularly noted at the site of Vesāli with fossilized wood pillars.

Figures

Figures 6a-b: Detail of a sema Jrom the Kalyani Stma in Thaton (lower Myanmar; still in situ) depicting the Mahajanakajataka. Top: Maha@anaka holds on to the mast of the ship. Bottom: The goddess Manimekhala saves Maha@anaka from the ocean [photographs by Stephen A. Murphy]. Overall, therefore, while there are direct comparisons in terms of narrative content, particularly between the terracotta plaques of the Thagya hpaya/stipa and the Mahosadha sema from Mueang Fa Daet, stylistically there are many divergences between the stones from these two regions.

Figure 12: Sema from Mueang Fa Daet depicting an episode from the Vessantarajataka where Vessantara and has family are in the palace. Height 140 cm., width 80 cm., depth 20 cm. Housed at Khon Kaen National Museum, inv. no. 22672517 [Photograph courtesy of Nicolas Revire]. Figure 13: Sema fiom Wat Sibunrueang, Kalasin province, depicting the episode in which Vessantara gives away Maddi to Sakka, who ts disguised as a Brahnun. Height 144 cm. [Photograph courtesy of Paisarn Piemmettawat/.

Figure 14: Illustration of the sema with the Mahajanakajataka Jrom the Kalyani Sima, Thaton (lower Myanmar; still in situ) showing us tapering form and upper and lower parts carved with floral motifs. Approximate dimensions: height 130 cm., width 48 cm. depth 10 cm. [Photograph by Stephen A. Murphy].

Last updatedOctober 11, 2025

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References (1)

Arunsak Kingmanee 2010 Boundary Stones of the Dvaravati Period: A Preliminary Overview. In Leelananda Prematilleke et al. (eds), Abhinandanamālā, Nandana Chutiwongs Felicitation Volume. Bangkok and Colombo: SPAFA, pp. 67-82.