Although South East Asia was a haven for Buddhists, Hindus, Muslims and Christians centuries ago, there was no real infighting amongst these religious groups. The area is actually known for religious syncretism, which simply means when new ideas are introduced, each group simply expands upon them, alters them or places them within their own religious framework. Essentially the concepts are assimilated into a current form of belief, rather than being rejected or radically changed. This religious syncretism was also expressed, as philosophy, history, etc. were through the region’s art.

Buddhist art developed in India and spread to South East Asia in addition to other areas of the continent. The first known instance of this form of art was during the Maurya Age more specifically the reign of the emperor Ashoka which was 322-180 BCE. Most art historians divide aniconic and iconic art into two separate phases. This art was in the form of stupas like in Image Three that were covered with Buddhist symbolism of reverence. These included many animal forms and illustrated concepts from the Dharma. The reliance on aniconic art where symbols other than the physical form of Buddha were represented were thought to be an idea extracted from the writings of the great one himself that discouraged that type of reproductive of his visage or person. Aniconic representations continued until roughly the 2nd century.

Iconic art is said to follow on the heels of aniconic forms. While there is some separation, both forms of art did exist at the same juncture and were employed by all the religious groups in the region. Examples of iconic art are Images One and Three, were an anthropomorphic medium is employed to depict Buddha. There are two primary reasons both forms existed at the same time. One was India, where this type of religious art spread from had long produced artistic renderings in iconic style. Therefore, it seems only natural South East Asia would follow their lead. In addition, the Greco Roman influence had begun to touch the region and their art was also highly iconic in nature. The boundary between the production of aniconic and iconic art was not clearly delineated.

Water cosmology did play an important role in both aniconic and iconic South East Asian art. Cosmology and not just specifically water, was a very common theme in this type of art before the rise of Buddhism or Hinduism. It is actually present in South East Asian art long after Buddhism declined. Water cosmology was not just a form of religious expression but a practice that was ingrained in South East Asian culture. Water was a form of nurturing and was an essential component of survival. It makes perfect senses it would be revered and worshipped on a personal level through art.