The second major tradition was initially received in various parts of the region from the Indian subcontinent about the 1st millennium ce. The influence of Indian Hindu-Buddhist civilization came to be found almost everywhere except for the remote and forested mainland interior, most of Borneo and Celebes, the eastern Indonesian islands, and the Philippines. Despite the abundant evidence of Indian culture, the precise ways in which it was introduced to Southeast Asia remains something of a mystery. The archaeological record points to trade as the primary factor. By the 1st century ce, demand in the West, particularly from the Roman world, stimulated an expansion of Indian trade with Southeast Asia. Journeys between India and Southeast Asian ports were made in accordance with the prevailing summer and winter monsoon winds. Traders would often pass many months in port, waiting for the winds to change. At least one and a half years commonly passed between the start and return trip, and traders may well have married locally.

Missionary activity on the part of Indian Buddhists resulted in the establishment of Buddhist monasteries and communities. However, one of the characteristics of Hinduism and Buddhism in Southeast Asia is their peaceful coexistence and the blending of these religions with preexisting ancestral cults. This would indicate that those responsible for bringing Indian culture to Southeast Asia had a wider mission than religious conversion.

The impact of Indian culture was profound, especially in parts of Burma (Myanmar), Thailand, Cambodia, and the Indonesian archipelago. Local rulers adopted concepts of state and kingship as well as urban development and hydraulic engingeering. They also embraced a script and literature in the Sanskrit language. Indic elements were integrated and authenticated by both Hindu and Buddhist metaphysical ideologies. Those ideologies claimed to be universal, embracing all human diversity within a cosmic frame of reference. That probably explains why the culture was adopted, for there was no Indian conquest of terrain and no imposition of a populace or doctrine. India never established colonies in Southeast Asia, and the transmission was more a movement of ideas rather than peoples.

Furthermore, the decision was in the hands of the Southeast Asian rulers, and the adoption of Indic elements represented a clear choice on their part based on preexisting priorities. The many Indian concepts of state and kingship adopted by these rulers reflect the extensive political power held by religious figures in the royal courts. In many cases, native rulers may have invited revered Hindu priests or Buddhist scholars to take up posts of power. Indian ideals of royalty legitimated the rulers’ positions, and the fusing of foreign and indigenous concepts became a mutually beneficiary liaison for both the king and the religious adviser.

In the case of Southeast Asia’s Hindu states, the essence of kingship is expressed in the concept of the devaraja, a Sanskrit word meaning “god who is king.” The ruler was thereby consecrated as an incarnation of a Hindu god, such as Vishnu or Shiva. Temples and statues dedicated to these and other deities embodied the ruler and his power in both earthly and immortal terms.

Relations between traditions

The blending of foreign and indigenous styles transformed Southeast Asia’s art during the rise of Hindu and Buddhist states in the beginning of the 1st century ce. Even in those regions where Indian influence became strongly entrenched—namely, Cambodia, Burma, and Thailand—the older layers of ancient religion and artistic consciousness remained alive. Indian deities were readily identified with local spirits. The local populations retained their animist customs, especially those connected with fertility and practical magic, often with art (in perishable materials). Those arts were influenced by and exercised a reciprocal influence upon the Indian forms. On the Indonesian island of Bali, which remains nominally Hindu, Indian and folk elements were thoroughly assimilated, producing a unique religious culture and art.

In many remote parts of the region, art was used to link village life with the supernatural, and people continued to follow the ways of their ancestors, with local art styles demonstrating the resilience of indigenous traditions. Interregional artistic influences in art, such as of the Indonesian archipelago, were less easy to assess, and certain common symbols, motifs, and art objects underwent a transformation both in function and meaning. Each region often interpreted and represented these motifs differently, so caution must be exercised in interpreting them.

The form and intensity of each foreign cultural influence changed with time. China’s geographical proximity to the region greatly impacted the culture of Vietnam and Laos. But the stylistic elements of Chinese art are also found in the art and architecture of Java’s north coast, northern Thailand, Cambodia, and Burma.

Islam became a religious constituent in Southeast Asia in the 15th century. Muslim traders from India, Persia, China, and the Middle East spread Islam to Sumatra, Java, and the Malay Peninsula, where it became a dominant political—and distinctive cultural—force from the 15th century onward. The cult of the ancestors was revived and encouraged by Muslim rulers, with folk versions of denatured Hindu art adapted to it. Decorative styles based on this art flourished in Sumatra and Java especially and were officially revived in the late 20th century. European political and economic expansion into the region from the 16th century gradually became a dominant factor in the art of the region. In the Philippines, notably in and around Manila, Spanish Roman Catholic art flourished after the Spanish colonization. Elsewhere, European academy painting conventions made a steady incursion from the mid-19th century onward. The postwar period of nationalism, which marked the end of European colonial domination, significantly influenced culture and contemporary art development.