Social Science and Human Research Bulletin

This study examines the formation of early Buddhist art in Vietnam through archaeological evidence from the Óc Eo cultural sphere, with the Loi My wooden Buddha as its principal case. Drawing on archaeological findings, art-historical comparison, and iconographic interpretation, the article argues that the conventional concept of "Indianization" is insufficient to describe the entire process. Buddhist images and visual conventions reached the Mekong Delta through maritime exchange networks, passed through several intermediary centres, and were reworked by local craftsmen. Features often associated with Gandhāran art, including the anthropomorphic Buddha, a balanced face, a solemn stance, and the organization of the robe, may be regarded as visual references. The Loi My statue, however, is not a direct copy of a Gandhāran prototype. Its wooden medium, restrained lines, and slender form reflect adaptation to local techniques and aesthetic preferences in southern Vietnam. The case highlights the active role of Óc Eo communities in receiving, selecting, and reshaping external artistic conventions into a locally meaningful form of Buddhist art.

Óc Eo, Gandhāra, Buddhism, acculturation, Mekong Delta.

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