Thai Architecture Composition

Outstanding Characteristics of Thai Arts/ Architecture Thai art is very much influenced by nature and environment of Thai society. It‘s outstanding characteristics include:

- Its delicate beauty; this character reflects the character and mind of Thai people which can be perceived in created arts.

- Most traditional arts in Thailand are created to promote Buddhism or are created from Buddhist faiths and beliefs.

Thai architecture

Thai architecture is defined as art of building or construction. In Thai context, buildings include houses and residences, buildings in monastery or temples such as Ubosot, Vihara, Stupa and Chedi, palatial buildings or palaces, halls, pavilions, and others. Architectural designs and functions vary by geographies and can be categorized by functions: (1) residences (e.g. houses, mansions, royal residences, palaces, grand palaces); and (2) monasteries or architecture that relates to religion (e.g. Ubosot, Vihara, monk’s residences, scripture halls, bell towers, drum towers, Stupa, Chedi).

Background of architectural development of humanity

Architecture is not just a science of construction but it is a kind of ―Visual Art‖ Visual art is defined as plastic or tangible art which means that it has the following compositions: - stable form and size - ordered and well- planned structure - mass as well as massive - space - proportion - unity - purpose - creativity - artistic value - serving human desires, physically and mentally (mind & imagination)

Development of humanity architecture

Human had been living in caves, cliffs, mountains, or other kinds of natural protecting areas. The living was not comfortable due to many reasons (i.e. increasing number of group/ family members, bad smell from dead animals (food), bad air ventilation)

―Cave men‖ were forced to find new living place, living like a nomad, wandering from places to places. Cave men wandered from cave to new cave, cliff and to other areas with more space. However, this could not solve human problem due to increasing number of members in groups or families. Basic and simple living place building started to serve basic needs of human. Human was forced to find new place that was stronger, more stable and safer.

Later, human learned to decorate their living places with natural materials that were easily found, to serve aesthetic beauty purpose. Besides, as there were more people, human learned to expand from small to larger societies. In order to keep the groups in order, they needed to find things for the members to follow such as social patterns, traditions, rules and regulation, as well as faith, beliefs, values and customs that hold the group‘s members together, as it is called ―identity‖. Human‘s beliefs and faiths appear in the form of ritual activities, religions and in tangible form of religious architectural buildings. In order to express or tell other groups of people what they believe and value, they usually add these things whenever they build things or create architectural arts. This act can be seen very clearly in building religion- based architecture, where religious philosophy is added. This act is to respond human need of expressing their beliefs and faiths.

Purposes of architectural building

There are 3 main purposes of building architecture as follows: 1. Building that focuses on functional- oriented purpose; this focuses on how to build some things strong, stable, protecting, for daily uses. 2. Building for purposes of religion, heroic commemoration and philosophy 3. Building that focuses on form- oriented (aesthetics) purpose; this is mainly for appreciation and happiness of mind.

Influential factors and design concept of Thai architecture

It is usually that building very much relates to as well as is influenced by many factors. As human is one of society who lives within various types of ecology, landscapes and cultural landscapes, there are many factors that influence and interrelate within the ecology. When human builds things, these factors come into consideration. Those factors include:

 Knowledge, imagination, wisdoms; these things are for solving problems and for indicating patterns and recognizing values and customs  Nature: human architecture is forced by nature (in both reactive and proactive ways). This includes:  Geography and landscape - Selecting geography, landscape and location that serve comfort and convenience purposes for example, as people live near river, houses are built in a style that is suitable for being near the river such as building house that has got a pier into the river, or on the river such as floating house, in order to bring water to use in daily life easily. - Natural landscapes force architectural styles such as considering geography and the height of Chedi. For example, higher Chedi usually seen it is built on plain area such as the central plain rather than on high mountain or cliff; or houses on stilts are usually built as the force of river topography. - Another example is that the towns in the north of Thailand which in the past was called Lanna Kingdom, from Nan, Phrae, Phayao, Lamphun, Lampang, Chiang Mai, Chiang Rai. These towns are located not very far from one another. Therefore people of each town had developed strong relationship, communication and transportation due to the fact that each town was located not very far from one another. By this, the development of exchange and influences of religious architecture in the region had been continuous or dynamic. Various architectural changes and styles occurred. Even nowadays, 4

this is still happened, even easier and faster due to higher level of human flow or social mobility, causing high level of learning and exchanging of different cultures, values and practices.

 Seasons Different patterns of seasons in each region determine styles of architecture especially residential architecture. - Examples are way of building Thai houses in the Chao Phraya River Central Plain influenced by rainy season when flood usually happens. Therefore, central Thai houses are built on high posts (pillars) to prevent the house body from flood that can happen any year and any dangerous animals that may come with the flood; or steep roofs built with curved bargeboards with gable or ―Jua‖ so that water (rain) will be running down out of the roof quickly. - Houses in the north of Thailand are usually built in low structure as a result of cold climate. Therefore the house stands on the lower posts or pillars. - Wall of the house that is designed to prevent cold wind to flow into the house.

 Social factor - Members in rural society usually have similar value as the community is a close and collective system while values of members in bigger society (City) may vary as the city is an open and individual system. - This fact shapes the way or style of architecture. For example, collective and expanded family vs. houses in the same compound or the same fence (called Reun Moo)/ Condominium in city for individual living

 History - Architectural buildings that are designed with influences of the historical traits. Example is Lanna Kingdom that has long history and had been occupied by different kingdoms from Burma to Ayuttaya, as well as had been contacting with its contemporary kingdoms such as Sukhothai

- For example, architectural buildings especially religious ones in Lanna Kingdom had been developed with a Wat Chang Lom, Sri Satchanalai mix of influences from Hariphunchai, Hiran Nakorn Ngern Yang, Burma and Sukhothai. 5

- Sukhothai (Sri Satchanalai) influence found in the Stupa Chedi Chang Lom of Wat Chiang Man in Chiang Mai, whose base is encircled by the sacred elephants / or Chedi decorated with color glass as the influence from Burmese art. Chedi Chang Lom, Wat Chiang Man, Chiang Mai

 Religion - Religious influence plays a great role in architecture. This includes religious beliefs, faith and values of people in a particular community/ society - Significant example is when Buddhist laymen devote labor and money for building Viharn, Chedi, Ubosot. - Other example- Wat Sri Sawai in Sukhothai Historical Park is Hindu temple, or Wat Pra Pai Luang in Brahma / Khmer and Ta Pha Daeng Hindu Shrine that had been in the area before the Sukhothai empire Wat Sri Sawai, Sukhothai

- Other examples are the Chedi or Stupa that are valued as the architectural building built for representing Buddhism or Lord Buddha or housing Lord Buddha relics. Stupa is built to house ancestors‘ relics as well. - Monastic complex plan that reflects meaning behind such as the temple complex plan of Wat Phra That Lampang Luang, Lampang. Ta Pha Daeng Hindu

No. 1 = The Chedi No. 2 = The Vihara

 Natural resources - This is quite normal when natural resources in an area are the main materials for building architecture such as bamboo in the north used for building houses; laterite used for building temples in Sukhothai and Sri Satchanalai; Din Kho (ดินขอ) roof of Thai Lanna Viharn made by clay as nails were not available in the past.

Outstanding value characteristics of Thai architecture Architectural buildings in every culture have different values behind the ways of building, which can be reflected through planning, designs and decorations. Thai architecture also has its values which become the customs that have been considered and practiced when artisans create architectural works. Some values are universal, being practiced in most cultures. These values considered in Thai architecture include the following:

- Value about choosing ―Location‖ (harmonious with living style, serving agriculture- based living, convenient for transport) - Value about choosing ―Material‖ (strong, durable, functional performance) - Value about choosing ―Right Time‖ (star, auspicious date & time) - Value about choosing ―Right Direction‖ (weather, religious beliefs) - Value about choosing ―Right Size and Proportion‖ (for function and form purposes– relation with human needs) - Value about ―Beauty‖

Describing Thai History

Telling the narratives

Explained in Wikipedia, a narrative or story is a report of connected events, real or imaginary, presented in a sequence of written or spoken words, or moving images, or both. Narrative can be organized in a number of thematic or formal categories like non-fiction (such as definitively including creative non-fiction, biography, journalism, transcript poetry, and historiography); fictionalization of historical events (such as anecdote, myth, legend, and historical fiction); and fiction proper (such as literature in prose and sometimes poetry, such as short stories, novels, and narrative poems and songs, and imaginary narratives as portrayed in other textual forms, games, or live or recorded performances).

Narrative is found in all forms of human creativity, art, and entertainment, including speech, literature, theatre, music and song, comics, journalism, film, television and video, video games, radio, game play, unstructured recreation, and performance in general, as well as some painting, sculpture, drawing, photography, and other visual arts, as long as a sequence of events is presented. However, in modern art, narrative may be refused due to its favor of abstract and conceptual.

Oral storytelling is the earliest method for sharing narratives. During most people‘s childhoods, narratives are used to guide them on proper behavior, cultural history, formation of a communal identity, and values, as especially studied in anthropology today among traditional indigenous peoples.

What to talk about history?

Describing the history is about describing the historical development of for example a place and a period. In order to know what and how you will talk about history, you need to understand the narrative structure. According to thecinematheque.ca, narrative structure is about two things:

(1) The form used to tell the story or PLOT.

(2) The CONTENT of a story

Plot refers to how the story is told — the form of storytelling, or the structure, that the story follows. We use ―how‖ and ―when‖ to examine plot structure. Story refers to the raw materials of dramatic action as they might be described in chronological order. We use ―who,‖ ―what,‖ and ―where‖ to look at story or content.

Examples of questions that help guide your describing a story or content are the following: • Where is the story set? • What event starts the story? • Who are the main characters/ persons? • What conflict (s) do they face? • What happens to the characters/ persons as they face this conflict? • What is the outcome of this conflict? • What is the ultimate impact on the characters/ persons?

Examples of questions that help guide your describing the plot structure are the following: • How and when is the major conflict in the story set up? • How and when are the main characters introduced? • How is the story moved along so that the characters must face the central conflict? • How and when is the major conflict set up to propel the story to its conclusion?

Here below are the brief summaries of the history of different periods/ kingdoms of Thailand. The content is used for practicing describing the history of Thailand in English.

• Brief History Review of Thai Architecture - Lanna - Sukhothai - Ayutthaya

History Review of Lanna Kingdom

Lanna

Accepted as the kingdom formed by 2 states (1) Hiran Nakorn Ngern Yang (Yonok) along the Kok, Sai, Ing and Khong Rivers in Chiang Saen- Chiang Rai Basin; and (2) Hariphunchai along the Mae Ping in Chiang Mai- Lamphun Basin

Founded year: 1839 B.E (early 19th B.E)

King: Phraya Mangrai/ King Mengrai (the leader of Hiran Nakorn Ngern Yang State.

Covered Area/Boundary: Ping River Basin (Upper)

Governmental Center/ Rajathani- Chiang Mai (Nopburi Sri Nakorn Ping) 9

Some theories suggested that before Phraya Mangrai (Mengrai) founded Chiang Mai as the Rajathani (capital), the former Rajathani of Lanna Kingdom was ―Wiang Kum Kam‖ (in Lamphun). In 1824 B.E when Phraya Mangrai annexed Hariphunchai in Lanna, he founded Wiang Kum Kam as the Rajathani in 1829 B.E.

Sukhothai Kingdom

Lavo (Khmer) Time Ta Pha Daeng Brahma (Khmer / Lopburi Shrine/ Wat Pra Pai culture) (18 B.E.) Luang + statues inside having Khmer (Angkor Wat art) characteristics

Samad Klon Lampong Chai Voraman the 7th (Khmer Troop) until 1760 B.E. Khmer troop was 10 years defeated- 1782 B.E. later Bagan until 1820 Mongol invasion B.E. Khun Pha Muang + Bang Klang Hao

 Sukhothai Kingdom covered the areas which are nowadays referred to Muang Kao District (Old Town- center), Sri Satchanalai, Chaliang (Sawankhalok), Song Kwai (Pitsanulok), Muang Sra Luang (Phijit), Nakorn Chum (Chakang Rao, Kamphaengphet), Muang Kao (Tak), Uttaradit, Nan, Phetchaboon, Nakornsawan. These areas were the center of architectural art of Sukhothai that had been spreading with political and cultural power.

 Before establishing Sukhothai as the Kingdom, Khmer or Lopburi culture and art had been existing and probably occupying/ influencing the local culture in the area (before 11

19 B.E.) until the fall of Angkor empire (Chai Voraman the 7th) and Bagan (by Mongol intrusion)

 Sukhothai architectural art refers to the architecture in the lower north of Thailand where Sukhothai was the center.

 Sukhothai art refers to the art after 19 B.E. (before 19 B.E. included Dhavaravadi, Sri Vichaya, Lopburi, U-Thong arts)

 Sukhothai art had been contemporary with Lanna art (Chiang Saen art) and with the art of early/ beginning Ayutthaya

 Sukhothai art had received influences and inspired from Burmese, Langkanese, Khmer, and Chinese arts, then adjusted and developed to be its own unique and distinctive style.

 Outstanding architecture is lotus- bud shaped Chedi

Ayutthaya Kingdom

 Ayutthaya‘s architectural art in the early stage had received the influence from U- Thong art, and had been developing and adjusting with influences of its contemporary cultures including the Western‘s.

 Latest Ayutthaya‘s architectural art had transferred its influence to Rattanakosin period in the early stage. It was until the reign of King Rama 3rd when Thai architectural art had been changed in patterns with receiving the influences of art from Chinese, Khmer and the West.

 It was in the reign of King Rama 5th when the Western art had been often applied in Thailand‘s architectural arts

 Thailand‘s present architectural arts are grouped into 2 lines:

- Traditional Thai- mostly with religion- purposed architecture

- Universal- go with the global trends, having modern and post modern

Ayutthaya Kingdom lied on the perfect location surrounded by 3 rivers: Lopburi River, Pa Sak River and Chao Phraya River as the natural fence of the kingdom.

During that time, the area where the kingdom located was close to Siam gulf, so the kingdom had played its role as the port town were international trades were in the scene.

The first king was King Ramathibodi I (Phra Chao U Thong)

The left corner, focused: Palace for kings, Sri San Phet, Mongkol Borphit

The right corner, focused: Baworn Sathan for next king (around Talad Hua Ro or Hua Ro Market nowadays)

The south area, focused: port for traders

Governing system

- Absolute Monarchy.

Role of the King

The king was considered chakkraphat. According to Hindu tradition, the king is the avatar of God Vishnu, the Destroyer of Demons, who was born to be the defender of the people. The Buddhist belief in the king is as the ruler of merit or Dhammaraja, aiming at the well-being of the people, who strictly follows the teaching of the Buddha.

Moreover, according to Buddhism‘s influence in place of Hinduism, the king was also believed to be a ―Bodhisattava‖ or ―Buddha‖-like. He followed and respected the Dharma Law of Buddha, and sometimes was called ―Dhammaraja‖. One of the most important duties of the king was to build a temple or a Buddha statue as a symbol of prosperity and peace.

Religion during this period

Ayutthaya's main religion was Theravada Buddhism. Many areas of the kingdom also practiced Mahayana Buddhism. And since there were French Missionaries entering into the kingdom through China in the 17th century, people in some small areas converted to Catholicism.

Economy during this period

Ayutthaya was considered the very prosperous kingdom in the Suvannaphume Region and had contacted with many countries such as India, Japan, Vietnam, Persia, Portugal, Spain, Dutch and France.

Dynasties of Ayutthaya Kingdom

 U Thong 1893 – 1952

 Suphannaphume 1952 – 2112

 Sukhothai 2112 – 2172

 Prasat Thong 2172 – 2231

 Ban Plu Luang 2231 - 2310

U Thong:

 Somdej Phra Ramathibodi the 1st or King U-Thong

 Phra Ramesuan (after abdicating the throne to Somdej Phra Boromarachathiraj*) (*Incompetence displayed during war with the Khmer compelled him to abdicate in favour of his uncle, Prince Boromaraja (Phra Boromarachathiraj), who is the brother- in-law of Ramathibodi the 1st)

 Phra Ram Rachathiraj

Suphannabhumi:

 Somdej Phra Boromarachathiraj the 1st (Khun Luang Pha Ngua) (18 years)

 Somdej Phra Chao Thong Lan (only 7 days before Somdej Phra Ramesuan assumed the throne on the death of Phra Chao Thong Lan who was executed by Somdej Phra Ramesuan.

 Somdej Phra Intharacha (15 years)

 Somdej Phra Boromarachathiraj the 2nd (24 years)

 Somdej Phra Boromatrilokanat (son of Somdej Phra Boromarachathiraj the 2nd) (40 years*) * Ascended the throne in 1991 B.E. During 40 years, in 2006 B.E moved to Phitsanulok until he died in 2031 B.E.

 Somdej Phra Boromarachathiraj the 3rd (3 years)

 Somdej Phra Ramathibodi the 2nd (son of Somdej Phra Boromatrilokanat/ the old name was Phra Chethathiraj) (38 years) 17

 Somdej Phra Boromarachathiraj the 4th (4 years)

 Somdej Phra Rathathirachakumarn (1 year)

 Somdej Phra Chairachathiraj (12 years)

 Somdej Phra Yod Fah (2 years, before being executed by Khun Worawongsathiraj and Thao Sri Suda Chan, the mother of Somdej Phra Yod Fah*) * Thao Sri Suda Chan executed her own son, Somdej Phra Yod Fah as to help her lover, Khun Worawongsathiraj, to ascend to the throne instead.

 Somdej Phra Maha Chakaphat (1st time for 16 years before leaving for monkhood and leaving the throne to Somdej Phra Mahintarathiraj to be in charge. In B.E. 2111 the Burmese troop invaded, Somdej Phra Mahintarathiraj asked him to leave the monk hood to ascending the throne again and this 2nd time lasted only for 2 months)

 Somdej Phra Mahintarathiraj (4 years) before handing back the throne to Somdej Phra Maha Chakaphat

Sukhothai

 Somdej Phra Mahathamarachathiraj* (Somdej Phra Sanphet the 1st) (father of King Naresuan) (21 years)

 Somdej Phra Naresuan Maharaj (Somdej Phra Sanphet the 2nd (15 years)

 Somdej Phra Eka Thotsarot (Somdej Phra Sanphet the 3rd) (15 years)

 Somdej Phra Sri Saowaphak (Somdej Phra Sanphet the 4th) (less than a year as he passed away)

 Somdej Phra Chao Songtham (Somdej Phra Boromaracha the 1st) (8 years)

 Somdej Phra Chetthathiraj (Somdej Phra Boromaracha the 2nd) (1 year)

 Somdej Phra Athitayawong (only 36 days and passed away)

Prasat Thong

 Somdej Phra Chao Prasat Thong (27 years)

 Somdej Chao Fah Chaya (only 2 days before being seized his power and executed by his younger brother (Somdej Phra Narai) and his uncle <อา>, Phra Sri Suthamaracha) 18

 Phra Sri Suthamaracha (younger brother of Somdej Phra Chao Prasat Thong) (only for 2 months 18 days before being seized his power and executed by Somdej Phra Narai

 Somdej Phra Narai (32 years- very outstanding in contacting with foreign countries and prosperous in international trading, culture and religion )

Ban Plu Luang

 Somdej Phra Phetaracha (15 years)

 Somdej Phra Sanphet the 8th (Phra Chao Sue) (6 years)

 Smdej Phra Chao Yu Hua Thai Sra (25 years)

 Somdej Phra Chao Yu Hua Boromakot (26 years)

 Somdej Phra Chao Uthumporn (2 months)

 Somdej Phra Chao U Hua Phra Thi Nang Suriyas Amarin (Phra Chao Ekathat) (9 years)

The Falls of Ayutthaya Kingdom

 The first fall was in 2112

 The second fall was in 2310 during the reign of King Akathat (Ban Plu Luang Dynasty) and Mangra of Burma

 The kingdom lasted 417 years, with 34 kings of 5 dynasties

Describing Old Palaces, Royal Residents and Precincts

Categories of Thai Palaces and Royal Residence Ranks of members in the royal family are normally dignified by structure and design, decoration and materials used of residence constructed for them. Therefore, there are different types of residence to be called according to the Thai tradition.

The Grand Palace The Grand Palace was built in the time Krung Rattanakosin was established. The Palace had primarily and officially served as the residence for the kings of Siam (and later, Thailand) since 1782. The Grand Palace is represented by a complex of buildings at the heart of Bangkok. The Grand Palace has still been the place used for welcoming international guests and holding royal ceremonies.

Phra Rajawang Bavorn Sathan Mongkol (Wang- Na or the Front Palace) Phra Rajawang Bavorn Sathan Mongkol was the residence that belonged to the Uparaja of Siam (or Heirs to the Siamese Throne), who held the title Krom Phra Rajawang Bovorn Sathan Mongkol (กรมพระราชวังบวรสถานมงคล). The title can be understood as the ―Lord of the Front Palace‖. The meaning of the title is Viceroy or the office- holder considered as the second only to the King and the heir presumptive. An heir presumptive or heiress presumptive is the person entitled to inherit a throne. This can be referred to in English as ―Vice King‖ and ―King-in-second‖. This office (position) originated in the Sukhothai and the Ayutthaya period and later gained significant power (influence) during the Rattanakosin period. Those to be front palace occupants were usually a son or brother of the reigning monarch. This office was ended in the reign of King Chalalongkorn and the new office was styled as ―Crown Prince of Siam‖. Another one is Phra Rajawang Bavorn Sathan Phimook (กรมพระราชวังบวรสถานพิมุข) ( Wang- Lang or the Rear Palace), which was also established in the first king of Rattanakosin or of the Chakri Dynasty, King Rama I. Today, the units and architecture of Wang- Na were changed for adaptive reuse serving the official duties. Some parts became the part of Sa- Nam Luang. The evidence of Wang- Lang disappeared.

Royal Palaces Royal Palaces were the residence for kings as well as for queens and other royal members. However, not all residence can be called a royal palace. To call a residence a ―royal palace‖ required a royal proclamation of the king. There are 19 royal palaces under the Siamese kings‘ royal proclamation. Some important ones include Wang Saranrom Palace, Bang Pa In Palace, Phra Nakorn Kiri Palace, Sa Pathum Palace, Klai Kangwon Palace, Sanam Chandra Palace and Bhubing Palace.

Phra Rajanivet Phra Rajanivet refers to the residence for kings. The difference from the other types of palace is that Phra Rajanivet was originated in the reign of King Rama VI. There are only 2 palaces of this type: (1) Mrigadayavan Palace (phra ratcha niwet maruekkhathayawan- พระราชนิเวศน์ มฤคทายวัน), which is a former residence of King Rama VI, and (2) Phra Ram Rajanivet (พระรามราช นิเวศน์ or Ban Puen Palace- พระราชวังบ้านปืน) , which is a former royal palace commissioned by King Rama V as an alternative country residence. However, the palace was not completed in his reign. The construction of the palace continued in the reign of King Rama VI. Today, it serves as a museum operated by the Royal Thai Army.

Phra Ram Rajanivet

Mrigadayavan Palace

Palace (Wang) and Mansion for other members of the royal family (e.g. sons and daughters of the king and their mothers An example is Paruskavan Palace (วังปารุสกวัน), which was the palace King Rama V gave to one of his son, Prince Chakrabongse upon his returning from his studies in Russia. There are many other ―Wang‖ or palaces especially during King Rama V. The examples are Wang Sra Pathum, Wang Thevet (วังเทเวศร์), Wang Chandra Kasem (วังจันทรเกษม), Wang Chakrabongse (วังจักร พงษ์), Wang Suan Kularb (วังสวนกุหลาบ), Wang Sukhothai (วังศุโขทัย), Wang Kanthawas (วังคันธวาส), Wang Suan Sunandha (วังสวนสุนันทา), Wang Bang Khun Phrom (วังบางขุนพรหม), Wang Ban Dokmai (วังบ้านดอกไม้) and Wang Windsor (วังวินด์เซอร์- Windsor Palace).

Some pictures of the palaces

Wang Thevet

Wang Suan Kularb

Wang Bang Khun Phrom

Wang Sra Prathum

Wang Sukhothai

Wang Ban Dokmai

Wang Suan Sunandha

Wang Windsor

Phra Thinang Phra Thinang serves different royal affairs of kings, therefore there are different types or meanings of Phra Thinang. The first meaning refers to a throne hall such as Chakri Maha Prasat Throne Hall (พระที่นง่ั จกั รีมหาปราสาท ) in the Grand Palace. Another meaning refers to buildings that belong to the king as a residence hall such as Vimanmek Mansion (พระที่นง่ั วิมาน เมฆ) in Bangkok, and some Phra Thinang in Bang Pa In Palace such as Phra Thinang Varobhas Bimarn (พระที่นง่ั วโรภาษพิมาน ), Uthayan Phumisatian (พระที่นง่ั อุทยานภูมิเสถียร ), and Wehart Chumrum (พระที่นง่ั เวหาศจา รูญ ). The last meaning refers to pavilions such as Aisawan-Dhipaya- Asana Pavilion (พระที่นง่ั ไอศวรรยท์ ิพยอาสน์) in Bang Pa In Palace.

Royal Mansions (Phra Tumnak) for royal consorts and royal concubines (such as Chao Chom/ Chao Chom Manda) and ladies in-waiting Mansions for royal consorts are the residence built for royal consorts and royal concubines of the king. Some example titles include Chao Khun Chom Manda (เจ้าคุณจอมมารดา- Supreme royal concubine), Chom Manda (จอมมารดา- king‘s concubine who was appointed during her pregnancy and who has given birth to a child), and Chao Chom (เจ้าจอม- those who did not bear any children to the king). These titles were appointed to foreign princess, Mom Chao (หมอ่ มเจา้ - 23

Her Serene Highness, Princess), Mom Rajawongse (หมอ่ มราชวงศ์- The honourable), Mom Luang (หมอ่ มหลวง- The honourable), and Commoners during pregnancy known as Chao Chom Manda (เจ้าจอมมารดา- king‘s concubine who gave birth to a prince).

Divisions of Thai royal residence (using the case of the Grand Palace)

The Complex of the Grand Palace can be divided into 3 courts: the Outer Court, the Central Court and the Inner Court.

The Outer Court or Khet Phra Racha Than Chan Nok (เขตพระราชฐานช้นั นอก ) is on the northwest of the palace. The occupation of the outer court starts from the main gate, Visetchaisri Gate, the Temple of the Emerald Buddha on the left and other public buildings on the right 24

including for example the headquarters and information center of the Grand Palace, the Bureau of the Royal Household, the Sala Sahathai Samakhom (ศาลาสหทัยสมาคม ) for important receptions and meetings, the Sala Luk Khun Nai (ศาลาลูกขุนใน), an office building that houses various departments of the Royal Household, the Pavilion of Regalia, Royal Decorations and Coins, which is a small museum.

The Central Court or Khet Phra Racha Than Chan Klang (เขตพระราชฐานช้นั กลาง ) begins once entering the Phimanchaisri Gate, which leads to the Chakri Maha Prasat Throne Hall. The central court occupies the largest area as well as being the most important court of the Grand Palace. It is where the most important residential and state buildings are located. These include the following:

(1) The Phra Maha Monthien (หมูพ่ ระมหามณเฑียร ), the group of traditional Thai- styled buildings located at the center of the central court. The Phra Maha Monthien means the group of halls used as king‘s accommodation. This group of building was built in the reign of King Rama I as the residential and sleeping abode of kings. Once as the residential abode, the group of buildings were built facing the north, with the public reception hall at the front, ceremonial halls in the middle and residential halls at the back. All of them are inter- connected. The important buildings include the following halls, with brief details of their purposes of use. - Chakraphat Phiman Throne Hall (พระที่นง่ั จกั รพรรดิพิมาน ): It was built at the very center of the The Phra Maha Monthien buildings. It was built as the primary apartment and sleeping quarter of the king. This residential hall was formed out of three identical rectangular buildings which are connected to each other. - Phaisan Thaksin Throne Hall (พระที่นง่ั ไพศาลทกั ษิณ ): The hall was built to serve as a ceremonial functions hall. It is here where important religious and state ceremonies are held. It is also the venue where royal coronations are performed at the beginning of each king‘s reign. The coronation of King Rama IX was also held here. The hall is in a rectangular shape, decorated in rich murals depicting scenes from Buddhist and Hindu mythology. - Amarin Winitchai Throne Hall (พระที่นง่ั อมรินทรวินิจฉยั มไหยสูรยพิมาน / พระที่นง่ั อมรินทรวินิจฉยั ): The throne hall is the northernmost and forward building of the Phra Maha Monthien buildings. It was constructed in Thai style as a royal audience chamber for receiving foreign ambassadors and for conducting important state businesses and ceremonies. In term of architecture, this large throne hall was built on the 50 cm- high base, with the roof covered in green and orange tiles. The pediment is decorated with a mural depicting the Hindu god Indra. The main central door is reserved for use by royalty, while others must enter through the adjacent side doors (Chong Kud). Within the hall there are two rows of square columns, five on the left and six on the right, adorned with Thai floral designs. The coffered ceiling is decorated with glass mosaic stars.

The plan of Phra Maha Monthien

The Phra Maha Monthien

Other extensions such as the Sanam Chan Pavilion and the Narai Chinese Pavilion which were built in the reign of King Rama II. Sanam Chan Pavilion was built in a small size on the west of The Phra Maha Monthien. It had been used by King Rama II as a place for Relaxation and to oversee construction projects within the palace. Sanam Chan Pavilion represents one of the best examples of traditional Thai- styled architecture that exists from the period. The gable end is decorated with a delicately carved wooden vine motif set against mirrored glass. The base is decorated with black lacquer and glass in a technique similar to mother-of-pearl inlay. During the reign of King Rama III, Dusidaphirom Pavilion (พระที่นง่ั ดุสิดาภิรมย์) was built near the Sanam Chan Pavilion as an open sala but was enclosed. The purpose of the pavilion was for relaxation and as a dressing chamber for the king when departing by palanquin or elephant.

(2) Phra Thinang Chakri Maha Prasat group (กลุ่มพระที่นง่ั จกั รีมหาปราสาท ): Phra Thinang Chakri Maha Prasat group is situated at the center, between the Phra Maha Monthien and Phra Maha Prasat group. Phra Thinang Chakri Maha Prasat group is composed of nine major and minor halls. All were built in a similar structure and pattern to the Phra Maha 26

Monthien Halls from north to south. But there are two buildings that are greatly contrasting in styles; they were built to replace the old structure. The buildings were used as the workplace of the king (especially of King Rama V and foreign architects in the 19th century. Some are below: - The Phra Thinang Chakri Maha Prasat (พระที่นง่ั จกั รีมหาปราสาท ) is situated on the northernmost part of the Phra Thinang Chakri group. The throne hall was the only one built in the reign of King Rama V. It forms the front or the façade of the entire building group. The construction of the throne hall presents a blend of Thai and European style; more specifically Renaissance or Italianate styles. The lower part of the structure is European, while the upper part is in Thai- styled green and orange tiled roofs and gilded spires (or prasats- ปราสาท). - The Phra Thinang Moon Satharn Borom Ard (พระที่นง่ั มูลสถานบรมอาสน์ ) is situated behind the Chakri Maha Prasat Hall to the east side. It was built as a separate wing. The hall encompasses the original area where King Rama V was born and had lived as a child. Currently the hall is set out as a small banqueting and reception venue. - The Phra Thinang Sommuthi Thevaraj Uppabat (พระที่นง่ั สมมติเทวราชอุปบตั ิ ) is situated on the opposite side of the Moon Santharn Borom Ard Hall to the west of the Chakri Maha Prasat Hall. The hall is divided into several state rooms, for used by the king, there is a reception room and a council room. It was in this hall on 12 July 1874 that King Rama V stated to his ministers his intention to abolish slavery in Siam. - The Phra Thinang Borom Ratchasathit Mahoran (พระที่นง่ั บรมราชสถิตยมโหฬาร) was built in a massive square shaped structure at the very back of the Chakri Maha Prasat group. During the reign of King Rama V it was used as a banqueting hall to host foreign guests and dignitaries. By the reign of King Rama IX, the new throne hall was built on a raised platform and is composed of several inter-connected buildings forming two internal courtyards. These rooms function as a new banqueting hall and is use for important state functions. On the 13 June 2006 the hall welcomed the royal representatives of 25 monarchies worldwide for the celebration of King Rama IX‘s 60th Anniversary on the Throne.

Phra Thinang Chakri Maha Prasat

(3) Phra Maha Prasat group (กลุ่มพระมหาปราสาท ): Phra Maha Prasat group is situated on the westernmost part of the central court. The group of buildings contains some of the oldest existing edifice dated from the reign of King Rama I. The buildings were built in the compound in the courtyard style. The important Phra Thinang of this group is the Phra Thinang Dusit Maha Prasat (พระที่นง่ั ดุสิตมหาปราสาท ). The throne hall building dominates the Maha Prasat group. The construction shows a symmetrical cruciform plan with the roof being topped with a tall gilded spire. This is considered an ideal archetype of Thai traditional architecture. The external decoration is all made with symbolism. Moreover, the construction of the hall is in a tall mountain, which epitomizes the belief of Mount Meru, the mythological center of the universe. The spire is divided into three sections. There is some detail about the spire of the hall as below:  The lower section is the base. It is formed of seven superimposed layers. The meaning of these layers is ―level of heaven‖ according to the Traibhumikatha or Traibhumi Buddhist cosmology.  The middle section is made in the bell shape with the roundness being flattened to create a four- sided shape. This represents the stupa.  The top section looks similar to the top of Chedi, which depicts a tapered lotus bud or the crystal dew drop signifying the escape from the circle of rebirths.

To symbolize the kingship, the spire is decorated by garudas on its four sides. The garuda represents the mythical creatures of the Himavanta (Himmaphan) forest (หิมพานต์) that surrounds Mount Meru.

Phra Thinang Dusit Maha Prasat

The other Phra Thinang includes the Phra Thinang Phiman Rattaya (พระที่นง่ั พิมานรัตยา ), the Phra Thinang Aphorn Phimok Prasat (พระที่นง่ั อาภรณ์ภิโมกขป์ ราสาท ), the pavilion that is considered the epitome of the finest qualities of Thai traditional architecture in proportion, style and detail, and Phra Thinang Rachakaranya Sapha (พระที่นง่ั ราชกรัณยสภา ). The other buildings are the Ho Plueang Khrueang (ศาลาเปล้ืองเครื่อง ), which is the two-story Thai- style pavilion in rectangular shape, built in the reign of King Rama VI as a robing room. There is a walkway leading from the top floor towards the Dusit Maha Prasat Throne Hall. Another one is the miniature model of Mount Kailasa (เขาไกรลาสจาลอง ), the mythical abode of Shiva. It was built during the reign of King Rama IV. The miniature mountain was used as a setting for an important ceremony called the royal tonsure ceremony or the sokan ceremony (พระราชพิธีโสกนั ต ์ - Thai topknot-cutting ceremony)

Phra Thinang Rachakaranya Sapha

Phra Thinang Aphorn Phimok Prasat

Other Phra Thinang in the Phra Thinang Dusit Maha Prasat compound

The Inner Court or Khet Phra Racha Than Chan Nai (เขตพระราชฐานช้นั ใน ) or Fai Nai, is the area occupying the southernmost part of the Grand Palace Complex. As in the most inner part, the area is reserved only for use by the king and his harem of queens and consorts. It used to be an area for king‘s children and ladies-in-waiting and servants as well. The residential houses were usually built with wood in the traditional Thai- style especially during the earlier time of Rattanakosin period. The house would be demolished after the death of the dweller and the woods left from the demolishment were assembled and brought to temples as the devotion, or the house could also be remained there, and opened for other novelties. Generally, the inner court was populated by small low- lying structures surrounded by gardens, lawns and ponds. In the reign of King Rama III, the architecture of masonry construction technique was learned. Masonry construction technique involves the laying of brick, concrete block, or stone in beds of mortar, the installation of accessory items, and sometimes reinforcement (Digital Engineering Library, 2004). During the reign of King Rama V, new residential 29

houses in western style (mostly Italian style) were built in this space, resulting in overcrowded conditions. The residential houses vary in size and are divided into three categories: small royal villas (Phra Thamnak- พระตาหนัก ), villas or Thamnak (ตาหนัก ), and houses or Ruen (เรือน). Each was distributed to the inhabitants in accordance with their rank and status.

The other features of the Grand Palace include the following:

Defensive Wall includes the Phra Thinang Chai Chumpol (พระที่นง่ั ไชยชุมพล ) and the Phra Thinang Suthaisawan Prasat (พระที่นง่ั สุทไธสวรรยปราสาท).

Gates: there are twelve gates (Pratu- ประตู). The gates were built of brick and mortar and each gate was topped with a prang- styled spire. All gates were painted in white, with gigantic red door plates. The gates were given rhyming names from the north-west in a clockwise direction around.

North wall - Viman Deves (ประตูวิมานเทเวศร์) - Wiset Chaisri (ประตูวิเศษไชยศรี) - Manee Noparat (ประตูมณีนพรัตน์)

East wall - Svasti Sopha (ประตูสวัสดิโสภา) - Deva Phitak (ประตูเทวาพิทักษ์) - Sakdi Chaisit (ประตูศักดิ์ไชยสิทธิ์)

South wall - Vichit Banjong (ประตูวิจิตรบรรจง) - Anongka Raksa (ประตูอนงคารักษ์) - Phitak Bovorn (ประตูพิทักษ์บวร)

West wall - Suthorn Thisa (ประตูสุนทรทิศา) - Deva Phirom (ประตูเทวาภิรมย์) - Udom Sudarak (ประตูอุดมสุดารักษ์)

Some drawings of the gates of the Grand Palace

Deva Phirom Gate Phiman Chaisri Viman Deves Gate (the inner gate)

Suthorn Thisa Gate Anongka Raksa Gate

Forts (ป้อม): there are seventeen forts around the Grand Palace. These forts formerly had battlements with cannon placements and watchtower. The name of each fort was also in rhyme. At the earlier time, the forts were built with wood and they were called ―Sao Ranied‖ (เสาระเนียด). Later, they were replaced with masonry. The ridges of the forts were decorated with ―Sema‖ to represent the Grand Palace. Under the Sema is the stucco decoration. The Sema on the ridge of the forts can be divided into two types: Sema in a lotus bud shape, used for decorating the fort ridge of temples and palaces, and Wilan Sema (เสมาวิหลน่ั ), which is in the rectangular form, used for decorating ridges of general forts.

Wilan Sema

Sema in a lotus bud shape

Different types of Sema on the ridge of the forts

The content above was rearranged based on the following sources: (1) https://web.archive.org/web/20070926234612/http://kanchanapisek.or.th/kp15/tips/ PALACE.PDF (2) http://sac.or.th/databases/thaiarts/ (3) Wikipedia (4) http://www.crownproperty.or.th (5) https://www.royalgrandpalace.th The drawings are with courtesy of the book ―Drawing Encyclopedia: Architecture of the Rattanakosindr Book 2, Palaces‖, by Thirasak Wongcumnan, 2011.

Describing Archeological Sites

Examples of archeological sites to talk in this unit include those in the compound of Sukhothai Historical Park and Ayutthaya Historical Park. They represent the Sukhothai and Ayutthaya Period, respectively.

Physical Sites and Heritage Significance

Sukhothai Period

Architecture during Sukhothai Period

Sukhothai architectural art can be categorized into 3 groups: - Vihara (Phihara) and Ubosot - Mondop - Stupa and Chedi

Vihara

- It was assumed that the structure was mainly laterite and white-washed with mortar work (lime) - Material used in building roof mainly is wood (wood work).

Structural Patterns

Type 1: Vihara without wall (Vihara Thong- วิหารโถง) or called “open- structured Vihara” (วิหารเปิดโล่ง) e.g. Vihara at Wat Mahathat, Wat Sri Chum, Wat Sa Sri in Sukhothai, and Wat Chang Lom, Wat Jed Thaew in Sri Satchanalai

Type 2: Vihara with walls or called “close- structured Vihara” (วิหารแบบมีผนัง) e.g. Vihara at Wat Sri Sawai in Sukhothai, Wat Phra Sri Rattanamahathat in Chalieng, Wat Kok Singkaram, Wat Nang Phaya in Sri Satchanalai, and Wat Phra Non (Reclining Buddha) in Kamphaengphet.

Vihara with Mondop

Vihara without wall (Vihara Thong) extended with a niche (คูหา) at the back

The niche was built with walls. At the front is a small entrance, leading into the niche that houses the principle Buddha Image (Phra Buddha Pathima Prathan- พระพุทธปฏิมา ประธาน). The roof was constructed by bricks or laterite and in 2 tiers. The Mondop‘s roof profile (การซอ้ นช้นั หลงั คา) represents the ideological meaning of Prasat

This pattern also represents the ―Moon Kanthakudi‖ (มูลคันธกุฎี) where the Lord Buddha had been sitting and preaching the sermon to His followers and laymen who gathered in the Vihara at the front of the Moon Kanthakudi (or the niche) e.g. Wat Phr Sri Rattanamahathat, Chalieng and Wat Kudi Rai, Sri Satchanalai

These 3 structural patterns of Vihara of Sukhothai were constructed with different plans of placement/ grouping in the compound.

A: The plan where the main Chedi and smaller Chedi were built at the back of the Vihara (below)

B: The plan where the Mondop was built instead of the Chedi, at the back of the Vihara (e.g. Wat Sri Chum and Wat Tra Phang Luang in Sukhothai) (below)

C: The plan where Prang (refined) was built at the back of the Vihara (e.g. Wat Phra Pai Luang, Wat Sri Sawai in Sukhothai, and Wat Phra Sri Rattanamahathat in Chalieng (Srisatchanalai)

Wat Phra Pai Luang

Wat Phra Sri Rattanamahathat

Wat Sri Sawai

D: The plan where the Chedi with Rabieng Kot around the stupa Chedi was built (e.g. Wat Mahathat, Chang Lom in Sukhothai, Wat Phra Sri Rattanamahathat in Chalieng, and Wat Chedi Jed Thaew in Sri Satchanalai.)

The Prang at Wat Phra Sri Rattanamahathat here represents the symbol of Ayutthaya Kingdom, built in the reign of King Borom Trai Lokanat (beginning 21st Buddhist Century) during the time he led the troop here to seize Chalieng back from the troop from Chiang Mai. Assumed that the Prang was built to cover the old Chedi built in the reign of King Ram Kamhaeng

- Ubosot Characteristics - Small and less significant - Some groups of Ubosot in the kingdom compound were found located with the ponds around. This was called ―Uthok Sima‖ (Na Thee Sima) (using the water as the boundary mark of the Ubosot). This is the Langkawong Buddhism concept. The examples include Wat Sa Sri, Wat Tra Phang Ngern, Wat Tra Phang Thong, Wat Chang Lom in Sukhothai, and the small one in Wat Mahathat compound (with the boundary marker).

The structure of Vihara and Ubosot: The base or the lower part  The base or the lower part was of brick or laterite - structured.  The post were built by laterite  The walls were built by laterite with making the lighting channels called ―Luk Ma Huad‖ (ลูกมะหวด)  Low basement

The upper part  The upper part was assumed being built by wood  The roof was constructed with the terracotta work  The body and the roof were decorated with stucco work and earthware or pieces of the Sangkalok kilns  The pillars were built by laterite

The pictures are the wall channels at Wat Nang Phaya, Sri Satchanalai. The channels

allow light into the building.

The stucco work depicted flora motif, especially during Sukhothai and Ayutthaya period, and later in late Ayutthaya, the Kanok Plew motif been created.

Luk Ma Huad

- Mondop

 Mondop is the building with square ground, having the same function as Vihara.  The room inside is the place to house Buddha Image.  The roof profiling represents the ideological meaning of the original ―Prasat‖ (Prasada- built by bricks or stones in religion, not like the king‘s one (Phra Rajamontien) which is wood work. Khmer culture + Indian (Hindu) called Thevalai, comparable with Mount Sumeru the center of the Universe, The place of gods and goddess (Theva)  Mondop has been used to call a type of Chedi, called Mondop Chedi. Some documents suggested the Chedi should be called ―Viman‖ Chedi (เจดีย์ทรงวิมาน)

Mondop at Wat Sri Chum, Sukhothai

Mondop at Wat Tra Phang Thong Lang, Sukhothai (20 B.E.), symbolizing the main Chedi

Wat Kudi Rai, Sri Satchanalai (วัดกุฎีราย) – Roof

is arched- Arch composed with laterite layered in a style called ―Pointed Arch‖ and to build the roof corbels

Assumed that this is the roof profile character during Sukhothai period

Mondop at Wat Sri Chum, Sukhothai

Assumption for the original roof profile

- Stupa/ Chedi

Chedi in Sukhothai period can be grouped into the following significant patterns:

(1) Pattern A: Lotus-bud shaped Chedi (In Thai called ―เจดีย์ทรงยอดดอกบัวตูม ‖ or ―เจดียท์ รงพมุ่ ขา้ ว บิณฑ์‖ or ―ทรงทนาฬ‖ The art was inspired from the time when Sukhothai Kingdom was in search of its own unique Chedi style) (2) Pattern B: Bell- shaped Chedi (3) Pattern C: Prang – shaped Chedi (Prang) (4) Pattern D: Viman- shaped Chedi

(5) Pattern E: Prasat Yod- shaped Chedi (ทรงปราสาทยอด/ ปราสาทห้ายอด)

Pattern A: Lotus- bud Chedi (In Thai called ―เจดีย์ทรงยอดดอกบัวตูม ‖ หรือ ―เจดียท์ รงพมุ่ ขา้ วบิณฑ์ ‖. The art was inspired from the time when Sukhothai Kingdom was in search of its own unique Chedi style)

 The Chedi is in finer shape.

 This pattern characterizes the Sukhothai art and excellence in art skill of artisans during the period. The lotus- bud Chedi becomes the unique art of Chedi of Sukhothai period.

 The style shows some elements received from the previous cultures and arts such as from Khmer and Bagan.

 The style disappeared after the decline of Sukhothai. It had no influence over art in Ayutthaya period.

Examples of temples in Sukhothai where lotus- bud shaped Chedi remains include: Wat Mahathat, Wat Chedi Jed Thaew

Wat Wat Chedi Mahathat Jed Thaew

The model

Plee Plong Chanai Top part Lotus bud Ban Thalaeng

Ruen That (Relic part) Middle part

Bua Luk Fag Base

Bua Luk Gaew Ok Gai Base

Lower part

Kieng Base

(Please find the English terms of the elements in the separated sheet to be given)

The basement is a square shape built up to 3 layers. The Chedi has got indented corners (ยอ่ มุมไมย้ สี่ ิบ), with spire at the top. The Chedi was built with laterite as supporter of the Chedi‘s body

Pattern B: Bell- shaped Chedi

The Chedi was built in bell shape, influenced from Lankan style from the Lankgawong Buddhism spreading to the kingdom. Below the bell- shaped Chedi (the Chedi‘s middle part) was arrays of stucco work made in the form of lotus leaves around the bell

Wat Sa Sri Wat Maha That Wat Chang Lom

Pattern C: Prang- shaped Chedi

Prang in Sukhothai had been relieved in its original style which was from Khmer. So the Prang structure appeared:

 Smaller  High  More streamlined shape

We can call this is the ―Prang in Sukhothai Style‖

An example is the Prang at Wat Sri Sawai (below)

Prang at Wat Sri Sawai

The model of this Prang is the one in Lopburi. Things used in Tri Yampawai Ritual were found here at Wat Sri Sawai, which came to the belief that this place used to be the Brahman Bot.

Archeological evidence found here that helps in making an assumption that it used to be the Brahman Bot were stone plates with the Shiva (The Destroyer) cast on it.

Later the Khmer- styled Narai Banthom Sinthu (Vishnu or Phra Narai asleep in the cosmic ocean on the back of a great serpent deity known as a Naga) was found. From his navel sprouts a lotus with one thousand petals. In the middle of the lotus sits Brahma (Phra Phrom), the Creator.

Wat Phra Phai Luang (18 B.E.)- shared time with Khmer Bayon, Chayavoraman the 7th

Wat Sri Sawai (18 B.E.)

The difference of Sukhothai Prang and Khmer Prang is that each Prang of Sukhothai is not connected while the Khmer one is. The structure of Khmer Prang is higher profile. However, Sukhothai Prang seemed to contain more decorative details.

Below are some pictures of Khmer Prang in Cambodia (Angkor Wat/ Angkor Thom/ Bayon)

Wat Phra Sri Rattanamahathat Chalieng

Pattern D: Viman- shaped Chedi

 The Chedi has the square base, 12 and 20 corners, indented.  Ruen That (Relic part) has 4 niches  The top part was in the 9- layered profile surmounted by the sharp pointed top of the Chedi  Built with laterite

The Chedi in this pattern was rarely found in the area. The examples are the one at Wat Chana Songkram, Wat Tra Phang Ngern, Wat Chedi Jed Thaew, Wat Chetupon.

At Wat Jed Thaew, Sri At Wat Chana Songkram, Satchanalai Sukhothai At Wat Tra Phang Ngern, Sukhothai

At Wat Chetupon, Sukhothai

Pattern E: Prasat Yod- shaped Chedi

This style was believed to receive influence from the Chedi of Wat Mahathat, Chaiya, and of Wat Mahathat, Nakorn Sri Thammaraj in the South.

The general characters are:  The main Chedi was decorated with smaller Chedi around (usually 4 + one for the main = 5)  The base is high square  Ruen That is square- shaped, with the niches at 4 directions housing the Standing Buddha images. The niche is decorated with stucco work in floral, leave motif  Above Ruen That is the octagonal base (ฐานแปดเหลี่ยม)  Arrays of stucco work made in the form of lotus leaves is found in this pattern

At Wat Mahathat, Sukhothai At Wat Chedi Jed Thaew, Sri Satchanalai

Pre- Ayutthaya and Ayutthaya Period

Architecture during Pre- Ayutthaya Period

Architectural art in U- Thong style had been found in local areas such as

 Sankaburi District in Chainat,  Muang District in Suphanburi,  Muang District in Rachaburi,  Muang and Tha Woong District in Lopburi,  Some areas opposite the area where located Ayutthaya Kingdom, and in the area where Ayutthaya Kingdom was located.

Architectural Art Patterns in Pre- Ayutthaya Period The architectural art pattern during the pre- Ayutthaya period included the buildings of Bot (Ubosot), Vihara and Stupa Chedi

The patterns of the above architectures were various. For the Chedi, the outstanding one found was Prang that were scattering in the areas. -- The base was built with laterite and the parts above the base (the body) was built with bricks) Therefore, the most significant building pattern in the Pre- Ayutthaya period was Prang Chedi in Khmer or Lavo art, mixed with U-Thong art.

Prang Chedi of Wat Mahathat in Sankaburi (Phra Prang Song Yod Gleeb

Mafueng- พระปรางค์ทรงยอดกลีบมะเฟือง)

High relief stucco (ปูนป้ันสูง - In the circle presents U- Thong art- Thepanom wearing triangle Chada (crown) with triangle- shaped flame-like halo) on the Prang Rai, Wat Mahathat, Lopburi, the same style of the one at Wat Mahathat, Sankaburi, Chai Nat

Prang of Wat Phra Sri Rattanamahathat in Muang District in Suphanburi

Architecture during Ayutthaya Period The art was divided into 2 kinds:

(1) Buildings (Ubosot, Vihara, Mondop, Sala Kanprien, Scripture Hall, Bell Tower, Rabieng Kot ) (2) Stupa Chedi

Building Architectural building during Ayutthaya period can be categorized into 4 stages.

Stage1: From the reign of King Ramathibodi 1st (King U- Thong) until the reign of Somdej Phra Boromrachathiraj 2nd (Chao Sam Phraya)  Ubosot and Vihara during this time had the walls with Luk Ma Huad pattern (ผนัง ลูกกรงมะหวดเหลี่ยม หรือ ลูกกรงประดับดอกเหลี่ยม) applied to the building.

 The brick columns, mostly in round shape. The top of the column was decorated with terra cotta or stucco lotus leaves (called Lotus capital pillar or lotus-topped column. (บัวหัวเสา)  The roof-tile used earthenware as the main material as well as bricks

Stage 2: From the reign of Somdej Phra Borom Tri Lokanat until the reign of Phra Chao Songtham  Ubosot and Vihara during this time were made in a grander size with higher supporting base.  The walls applied both Luk Mahuad pattern and windows.  The walls were supported by ―Sao Nang Rieng‖ (เสานางเรียง)  The roof was in the pattern called ―Palai‖ (พะไล) covering the building body such as Ubosot of Wat Na Phramen, and Wat Maheyong

Wat Na Phramen

The front of Ubosot of Wat Na

Phramen, restored in late Ayutthaya and Rattanakosin The side view of Ubosot of Wat Na Phramen, restored in late Ayutthaya and Rattanakosin

Wat Maheyong- The back of Ubosot

The front of Ubosot surrounded with Kam Phaeng Kaew

The entrance path to Ubosot (for Kings and royal family)

The lighting channels of Wat Thamamikaraj (believed to exist before the establishment of Ayutthaya Kingdom

The ―Palai‖ columns were built in necessary to support the roof eaves (ชายคา) that was built, projecting from the building body in the purpose of protecting/ covering the lighting channels

The roof pattern with Palai (the columns to support body of the building)

Ubosot of Wat Yai Chai Mongkol

Gable/ Pediment หนา้ จว่ั

Round- shaped pillar/ columns with the top decorated with Thai lotus motif บัวหัวเสา

Sao Palai เสาพะไล

Sema/Sima

Stage 3: From the reign of Somdej Phra Chao Prasat Thong until the reign of Phra Chao Thai Sra

 Architectural art replica from Cambodia (Angkor Wat) by the order of King Prasat Thong. The buildings were such as Nakorn Luang Mansion/ Palace near Pasak River for his Summer Palace (Nakorn Luang District). This time, the architecture learned to apply more complicated building structure from the west.

 The most significant change in Ayutthaya architectural art was in the reign of King Narai the Great when the art received influences from outside especially the Western as there were extensive contacts with western countries.

 The examples are some Ubosot and Vihara in Lopburi and in Ayutthaya (such as Wat Kudi Dao, Somdej Phra Buddha Koosajan Mansion, and Wat Phutthai Sawan)

 The most significant and prominent characteristics included: - Doors and windows in pointed arch. The architecture during this time learned to add a window or two to the buildings

Wat Kudi Dao

- 2- story building (e.g. Somdej Phra Buddha Kosajan Mansion)

- Materials used mainly were bricks (earthenware/ terra cotta but these were made with low temperature) and ceramic (used higher temperature). - The roofing tiles (กระเบ้ืองหลงั คา) in different sizes and patterns including the tile called Krabueng Hang Tat/ Krabueng Kab/ Krabueng Cherng Chai.

Roofing tile named ―Krabueng Kab‖

Roofing tile named ―Krabueng Cherng Chai‖

 The pillars could be seen with the 12- corners indented (or ―Yor Mum Mai 12‖ -ยอ่ มุมไม้ สิบสอง), topped with the lotus long leaves (Called Bua Waeng บัวแวง or Bua Jong Kol บัว จงกล)  The gable was decorated with stucco work (during this 3rd stage , beginning of the 3- Kanok (กนก 3 ตัว). The 3- Kanok decoration presents the natural / floral motif that had been existing before) in Baroque style (Baroque 56

motif) such as the gable of Ubosot at Wat Tawed, Ayutthaya or Wat Yang Suttharam in Bangkok that receives the influence later.

The gable at Wat Tawed

Different gables in Baroque

style

The gable at Wat Yang,

Bangkok

Stage 4: From the reign of King Boromakot until the political fall of Ayutthaya Kingdom (succumbed to the Burmese troop)  The art of Ubosot and Vihara had remained unchanged with the structural pattern from the previous stage. However, there was a focus on details of the structure and decoration such as: arched door (arched and pointed) and windows decorated with stucco work, wood carving work, gold leaf, mosaic (multi- colored glass) and pearls

Stucco work at Wat Som

Stucco work at the gable of Ubosot of Wat Yai Suwannaram, Phetchaburi

The front of Ubosot of Wat Yai Suwannaram, Phetchaburi

Inside the Ubosot of Wat Yai

Suwannaram, Phetchaburi- the door plate

Sala Kanparien built of teak wood, at the back of the Ubosot- used to be the mansion of Phra Chao Sue (or Somdej Phra Sanphet the 8th of Ban Plu Luang Dynasty)

Other buildings included the palaces such as

 The palaces in Ayutthaya in the reign of King Boromatrilokanat including Phra Thi Nang Chakawat Phaichayon, Phra Thi Nang Viharn Somdej, Phra Thi Nang Sanphet Prasat, Phra Thi Nang Suriyas Amarin  Narai Ratchanivet in Lopburi in the combination of Western and Ayutthaya styles (during King Narai)  Baan Vichayen (for international affairs/ welcoming international guests) in Renaissance style  Wichai Prasit Defence (ป้อม) in Bangkok Yai, designed by the French artisan

Stupa Chedi

Stupa Chedi during this period can be categorized according to different ideological beliefs and influence receiving from the countries and the Kingdoms in contacts.

Stage 1: Prang, influenced by the architecture in the previous stage (pre-Ayutthaya

The areas where the Prang were found include Sankaburi, Lopburi, Suphanburi (U- Thong). Some Prang were surrounded with the square cloister or Rabieng Kot.

Examples include

 The Prang of Wat Phutthai Sawan (King U- Thong or Ramathibodi the 1st)  The Prang of Wat Phra Ram (King Ramesuan)  The Prang of Wat Mahathat (King Boromaracha Thibodi the 1st or Khun Luang Pha Ngua)  The Prang of Wat Rachaburana (King Boromarachathiraj the 2nd or Chao Sam Phraya)  The Prang of Wat Som* (small Prang with significantly beautiful stucco decoration)

The Prang of Wat Mahathat in Ayutthaya The Prang of Wat Phutthai Sawan

The Prang of Wat Phra Ram The Prang of Wat Rachaburana The Prang of Wat Som

Stage 2: The style had received an influence from Sukhothai (King Boromatrilokanat was in contact with Sukhothai art. The king established Phitsanulok as the Rachathani in the northern part for political reason and he left Ayutthaya to Phitsanulok and became monk, leaving his son Prince Boromaraja to take charge in Ayutthaya. During that time there was a conflict erupted with Lanna Kingdom in Chiang Mai. Establishing Phitsanulok was the political technique to prevent the intrusion of Lanna led by King Tilokarach and that time Sukhothai was temporarily occupied by Lanna forces.)

Circular Stupa Chedi of bell-shape in the reign of King Boromatrilokanat as well King Ramathibodi the 2nd

For example the 3 Chedi of Wat Phra Sri Sanphet which are believed to be the pattern of Chedi at Wat Nang Phaya in Sri Satchanalai and Wat Suwannavas. However, in the period of King Boromatrilokanat, building and structural improvement of Prang had been also done such as the Prang of Wat Chulamanee in Phitsanulok, Prang of Wat Phra Sri Rattanamahathat in Chalieng, Sri Satchanalai

Circular Stupa Chedi of bell-shape in Wat Suwannavas, Ayutthaya

This stage, Prang style was not popular but the round bell- shaped Stupa Chedi in stead. Examples included those of Wat Sri San Phet built in the reign of King Ramathibodi the 2nd as the first round bell- shaped Stupa Chedi of Ayutthaya Kingdom, that of Wat Wong Kon (วัด วงฆ้อน), Wat Suwannavas (วัดสุวรรณาวาส), Wat Khun Saen (วัดขุนแสน), Wat Sala Poon (วัดศาลาปูน), Wat Thamaram (วัดธรรมาราม), and many others in Ayutthaya area.

Circular Stupa Chedi of bell-shape in Wat Phra

Sri San Phet, Ayutthaya

Circular Stupa Chedi of bell-shape in Wat Khun Saen, Ayutthaya

Circular Stupa Chedi of bell-shape in Wat Mahathat, Ayutthaya

Circular Stupa Chedi of bell-shape in Wat Yai Chai Mongkol, Ayutthaya

Circular Stupa Chedi of bell-shape in Wat Samana Kosaram

Circular Stupa Chedi of bell-shape

in Wat Thanmaram, Ayutthaya

Circular Stupa Chedi of bell-shape in Thamamikaraj, Ayutthaya

Circular Stupa Chedi of bell-shape in

Thamamikaraj, Ayutthaya

Stage 3: The style had received an influence from Khmer (Angkor Wat) Prang in the reign of King Prasat Thong (King Narai‘s Father) back to popularity again but applied the concept of Mount Sumeru. During the reign of King Prasat Thong, the kingdom expanded the power to rule over Cambodia.

For example the main Prang of Wat Chai Wattanaram which composed of the 4 Prang in 4 directions as The Prang Rai (ปรางค์ราย- Mount Sumeru Concept), surrounded with the cloisters or Rabieng Kot and 4 Meru (buildings in Prasat style) and Meru Rai* according to Khmer style.

* Following Mount Sumeru concept or built for royal funeral rites/ cemetery for kings- called Meru according to the belief about kingship in Brahmanism and Hindu --- kings actually were gods (divine right of kings). The Buddha had an entirely different and more realistic concept of kings and kingship. According to the Buddhist theory, kings derived their legitimacy from general consent, i.e. from the people they ruled. It followed from this that a king retained his right to rule only for so long as his subjects benefited from it. The Buddha‘s teaching of good governance had some influence in making kings more humane. The best example of this is Asoka who was probably being completely genuine when he said: ―All subjects are my children. I wish for them what I wish for my own children – their welfare and happiness both in this world and the next.‖

The concept of Mount Sumeru

Sumeru is the name of the central world-mountain in Buddhist cosmology where abode the gods whose King is Indra. Around its majestic form the sun, moon, and stars revolve. Shiva‘s paradise is situated on Kailasa (เขาไกรลาส ), a mountain in the Himalayas. The concept of Sumeru is closely related to the Hindu mythological concept of a central world mountain, called Meru.

Plan of Wat Chai Wattanaram applying the concept of Mount Sumeru

Main Prang = Mount Sumeru

Rabieng Kot with Buddha Images = Sattaboriphan Mounts

The 4 Prangs = the 4 continents in the cosmology

During the period, there also was the creation of new Chedi style called 12- corners indented Chedi (เจดียย์ อ่ มุมไมส้ ิบสอง ) (first in Somdej Phra Maha Chakaphat in Suphannaphume Dynasty) e.g. the Chedi of Wat Chumpon Nigayaram in Bang Pa In, the 2 Chedi in front of the Ubosot of Wat Chai Wattanaram, the Chedi in Wat Mahathat, Chedi Phu Khao Thong, Chedi Sri Suriyothai.

Chedi Phu Khao Thong built in King Ramesuan (early Ayutthaya- U-

Thong) in Mon/ Burmese style, and later in the reign of King Boromakot (late Ayutthaya- Ban Plu Luang), the Chedi was restored, making 12- corners indented, to the Chedi body but the base of the Chedi remained unchanged in Mon style.

12- corners indented Chedi of Wat

Chumpon Nigayaram, Bang Pa In

Chedi Sri Suriyothai

12- corners indented Chedi of Wat Chai Wattanaram

12- corners indented Chedi of Wat Mahathat, Bang Pa In

Stage 4: The period after Prasat Thong Dynasty (The last king in this dynasty was King Narai (the son of King Prasat Thong) which was Phra Phetaracha of Ban Plu Luang Dynasty (The last dynasty of Ayutthaya Kingdom).

The Chedi pattern remained unchanged (12- corners indented Chedi) from the previous stage, yet there were restorations for the remaining Chedi.

The example of restoration included that of Wat Phu Khao Thong.

Additional improvement of the Chedi included the building of 20- corners indented Chedi (and more corners), Chedi Song Krueng (the Chedi with elaborate and elegant decoration (high profile), Than Singha (the Chedi base) some of which beautiful and elaborate stucco especially by the artisans in the reign of King Boromakot.

The Chedi with elaborate and elegant decoration, Wat Phutthai Sawan

Materials used in Ayutthaya architectural arts

Bricks were mainly used in the architectural art with Laterite used in minority and only for supporting the structure. Bricks were applied in accordance with different building techniques coming in each stage and with different patterns (local and western), especially the bricks that were used in making round arch and pointed arch in the period after the reign of King Narai.

Materials used in making lime for stucco work  Lime made from burned shells, pasted that makes the white lime  River sand  Fiber  Gum

Additional- Plan of Wat in Ayutthaya Period

Wat Rachaburana

Wat Phutthai Sawan

Variety of Chedi styles during Ayutthaya period

Describing Cultural Sites- Buddhist Sites

Site plan or architecture alignment and functional areas of Thai temple or Monastery

This is the standard architecture alignment of Thai temple in the central Thailand.

For Lanna temples, the site plan is also similar. There may be some other elements added. Generally, the site includes Vihara, Ubosot, Chedi and other buildings.

(วิหารทิศ)

Temple Architectural Features

- Chedi

There are some aspects to know:

 Lanna covered long period of time in the history and therefore temples and religious architecture were various and very much influenced by different kingdoms having occupied it.

 However, Lanna was found having an outstanding set of characteristics.

 The development of Lanna temple architectural style was since Hiran Nakorn Ngern Yang and Hariphunchai Kingdom (Chiang Saen, Chiang Rai, Phayao)

 The Chedi: the pattern of Chedi during Lanna period can be divided into 3 main stages: - Early stage: during the founding of Chiang Mai in B.E 1839. The influence was from Hariphunchai or Lamphun nowadays. - Second stage: after Chiang Mai was completely founded as the new kingdom with stability. The influence was from the areas in proximity which included Sukhothai, Nan, Bagan. - Third stage: since 20th B.E- Influence from Lankavong Theravada Buddhism entering Chiang Mai 71

 The Chedi in Lanna period can be mainly categorized into 3 groups:

First Group: Prasat Yod Group

(1) Early stage of Lanna: influence from kingdoms nearby (i.e. Hariphunchai, Bagan)  The Chedi in early Lanna period are mostly seen in the following shape which is Hariphunchai style. It is called ―Chedi Liam‖ or the angular- form Chedi built in 5 tiers, featured by the 60 niches around housing the Buddha image

 The Chedi (Yod Mondop or Prasat Yod Chedi- 5- tiered finial*) in Wat Pasak, Chiang Saen, Chiang Rai- Built by King Saen Phu The Chedi sits on the rectangular pedestal having the 12 niches around. Above is ―Ruen That‖ having small niches. There are 5 tiers decorated with beautiful stucco. The top is in bell shape.

 Yod Prasat = Sukhothai style 5 tiers at the top = Hariphunchai style (like Chiang Yeun Chedi at Wat Phra That Hariphunchai)

 Decorated by Phe Ga (Clec) Baganese art (some believed this is Chinese art coming through Bagan

West entrance hall, The Ananda in Bagan (above)

Comparison of the Chedi of Wat Pasak and Wat Lok Moli- both in Prasat Yod style (above)

Suwanna Chedi in Wat Phra That Hariphunchai, Lamphun built with brick and laterite up to the top for 5 tiers, decorated by the niches on all 4 sides. The Chedi sits on the rectangular pedestal (above)

(2) Second stage of Lanna: influence from Sukhothai, Nan, Bagan

 Surrounded by row of half – body and head of elephants which is Sukhothai art

Wat Chedi Luang Chotigaram in Chiang Mai (above)

 Built in B.E. 1954 by King Saen Muang Ma (built with 5-tiered finial)

 Finished in King Sam Fang Gaen (B.E. 1945 – 1984)

 Restored in King Tilokaraj (B.E. 2022) and changed to single finial

 Prasat Yod adjusted to single finial

The Chedi sits on indented, 2- tiered square base. The Chedi was indented in order to increase the corners of the Chedi in supporting the indented Ruen That (the part enshrining the relics) 75

Second Group: Bell Shape or Rakhang (Ceylonese) Group

 The Chedi sits on a 3- tiered pedestal, followed by 3 Malai Thao that encircles and carries the bell shaped Chedi

 The Chedi is 48 meters high, streamlined bell shape, with the finial covered with crown.

 One of characteristic is that the Chedi can have round or octagonal basement

Wat Suan Dok, Chiang Mai, built during King Gue Na in B.E. 1915

 The Chedi sits on rectangular basement, superimposed with corners (Yok Get), placing importance on the size of encircled Malai Thao (3 Malai Thao- see below picture) and the finial is covered with crown.

 The Chedi in bell shape of Wat Phra That Hariphunchai, the most beautiful Chedi in this style

 Started building in late 16th B.E. (early stage of Lanna) in Prasat Yod style and later in the reign of King Tilokaraj (late 20th B.E.), the Chedi was re-constructed in bell shape

 Another style of Bell Shaped Chedi in Lanna (third stage of Lanna or since 20th B.E)

 Bell shaped Chedi in Lanna with an art of Sukhothai: element of Bua Tha La was added that made the Chedi

Third Group: Miscellaneous or Special Group (not before 21st B.E)

Third stage of Lanna: since 20th B.E- Influence from Lankavong Theravada Buddhism entering Chiang Mai

Wat Jed Yod (Mahaphotharam) in Chiang Mai

(left), built in B.E. 1998 in the reign of King Tilokaraj as a replica of Bodhgaya in India (below- compared with Wat Jed Yod)

Architectural styles of Vihara, Ubosot and other building structures in Lanna period

- Vihara

(วิหารทิศ)

Characteristics of Lanna Vihara

 Vihara of Lanna can be categorized into 2 types:

- Open- structured Vihara

- Close- structured Vihara

 2-3 tiered roof (double or triple- tiered roof), built to the front direction, and called ―Vihara Sod‖ (Sod= ซด = เกยกนั จากขา้ งบนลงขา้ งล่าง)

 Lanna Vihara is rectangle-shaped masonry structure with wooden columns.

 The roof structure is the ―Ma Tang Mai‖ structure.

 Vihara‘s walls are usually made lower than the height measured between the floor and the roof of the Vihara and therefore the gable is outstanding in its height with wider space.

 The long and spacious roof gable usually is in wood work, decorated by gold leaf and imbedded colored glass chips. The motif usually is flora pattern, Thevada, and animals in the Buddhist mythology. 79

 The gable mainly consists of the gable, Na Ud Peek Nok (หน้าอุดปีกนก) or the wooden eaves, and Phaeng Lae Rang Phueng (แผงแล รังผ้ึง) or the large wooden pediments.

 Below the roof are the plates of woods, made connected with the two sides of roof structure called ―Phaeng Nam Yoi (แผงน้า ยอ้ ย)‖ (to protect the floor from rain), decorated with paintings or gold leaf

 The wall of Vihara can be built with wood or lime cement with narrow channels as windows to allow the light to shine into the Vihara.

 The main Vihara is surrounded by one or more smaller Vihara in the Buddhavas area (laymen- use zone). The name of those smaller Vihara were named according to the posture of the Buddha image housed in the Vihara (e.g. Vihara Phra Non means that the Vihara houses the Reclining Buddha Image) or named according to decoration (e.g. Vihara Nam Tam- Nam Tam is the method of painting).

Na Ud Peeh Nok

inside หน้าอุดปีกนก (ปีกนก = eaves)

(โก่งคิ้ว)

What is Kue Ma Tang Mai- ขื่อมา้ ตง่ั ไหม (or ขื่อมา้ ตา่ งไหม)

- Kue Ma Tang Mai is used to call the roof structure of Lanna Vihara. It is Lanna artisan‘s wisdom of building the Vihara especially the ridge piece and ridge pole part that carry the whole building.

- No ceiling board

- No nails or screws are used to assemble (join) and lock each piece of wood element of the roof.

Ma Tang Mai structure = the columns, beams and roofing structure that uses wood. The elements in the structure join without use of nails but wooden wedges instead.

- The fact explaining why it is called Kue Ma Tang Mai come from the 3 assumptions:

(1) Tang Mai (ตง่ั ไหม) means doll; or

(2) the roof structure that looks like an action of a horse carrying silk for trading on the Silk Road (symbolic) (= the ridge piece and ridge pole that carry the weight of the Vihara building)

(3) Kue Ma Tang Mai = each collar-beam was compared to ―Ma Tang‖ or benches

Some examples of wood assembly without nails or screws

- Ubosot

Ubosot is in the same plan and structure as the Vihara but smaller, surrounded by Sema. Women are not allowed to enter or go inside.

- Other Architecture in Lanna Temples

(1) Hor Trai/ Hor Dhama (Scripture Hall)

- Built on lime cement as the base and the upper part is wood work, in rectangular plan

- The lower (base) part is decorated with stucco. Each temple has its own different style by proportion, materials used and decoration. 84

(2) Klong Puja (กลองปูจา) (similar to Bell Tower)

- Puja means ―worship‖

It was believed that drum used in warfare (encouraging soldiers) would not be kept at houses, influenced by the belief in ghost and spirit. So the drum was kept at temple Later drum has been hit symbolically for worship of Lord Buddha, Buddhist teaching and Buddhist monks, as well as telling time.

(3) Arched Niche

- Masonry- structure (masonry structure is the structure built of lime cement, especially for arched door. Arched niche for other purposes are mostly in wood).

- Corners are mostly decorated by Thevada in high relief.

- The gable is decorated by flowers and animals in mythology, gold leaf and colored glass.

- The roof is Ruen Prasat structure (tiered up)

- Three kinds of Arched Niche

 Arched entrance gate ซุ้มประตูโขง

Arched entrance gate of Wat Lai Hin, Koh Kha, Lampang

 Arched Niche for Buddha Image ซุ้มพระพุทธ

Arched niche at Wat Chedi Liem or Wat Ku Kam, built during King Mengrai reign, B.E. 1831

 Arched Niche for Monks (Dhama Maat- ธรรมาสน์)  Some interesting and beautiful arched niches for monks include the one at Wat Suan Dok, Wat Umong and Wat Phra That Lampang Luang

Important Decoratives

Some important decoratives to focus here are the decoratives of roof finials. Most decorations are attached to the bargeboard (ป้ันลม), the long, thin panel on the edge of the roof at the gable ends. The decorative structure is called the Krueng Lamyong (เครื่องลายอง ). The lamyong is sculptured in an undulating serpentine Nag Sadung (นาคสะดุ้ง) shape evoking the Naga. The Krueng Lamyong is used as the decoration of roof and gable. It composes the following: - Bai Raka (ใบระกา) or blade- like projection that suggest both Naga fins and the feathers of Garuda.

- Hang Hong (หางหงส์) or lower finial at the roof- end, which usually takes the form of a Naga‘s head turned up and facing away from the roof. The Naga head may be in a flame- like Kranok motif style, and have multiple heads called Nak Buen (นาคเบือน).

Nak Buen (นาคเบือน)

- Cho Fah or finial, the large curving ornament perched on the peak of the Lamyong. It resembles the beak of a bird or represents the Garuda.

Cho Fah, Bai Raka and Hang Hong were the decorative part of the roofing (roof finials). The structure depicts the scene of garuda grasping nagas. This is symbolically interpreted under the mythical concepts. Also, roof finials that embodies guardian figures is under the belief that these guardian figures would protect against bad influences. (http://factsanddetails.com/southeast-asia/Thailand/sub5_8e/entry-3260.html).

Another decorative but with function is Khan Thuoy (คันทวย). Khan Thuoy is a corbel or a structural piece of stone, wood or metal jutting from a wall to carry a superincumbent weight, a type of bracket. There are designs of Khan Thuoy with many motifs such as mythical animals, Naga and flowers. In western architecture, there is a more variety of Khan Thouy motifs. Khan Thouy can be made with wood or stucco.

Some corbel designs in the western architecture

Describing Sculpture in Buddhist Art of Thailand

Thailand is the land of Buddha images. They range in size from tiny miniatures to huge giants. They are made of many different kinds of materials—stone, plaster or terra cotta, crystal or jade, wood, ivory or metal. However, the overwhelming preference has been for bronze, an alloy of copper with smaller amounts of tin and other metals, to which silver and gold are often added. When the casting is completed, the image is nearly always covered with a coating of lacquer and gold leaf; and an old bronze, particular one that has lain for a long time buried in the ground, takes on a beautiful variegated (multi-colored) patina to which the remnants of gliding give added lustre.

For more than 1,300 years the artists of Thailand have concentrated on making Buddha images in large quantities.

Meaning of Buddha Image Buddha image is very meaningful among Thai people. The image represents the Lord Buddha and reminds the Buddhists laymen to follow the Buddhism doctrine and the Lord Buddha‘s teaching while they are worshipping the statue. For some people, Buddha image could be a path to ceasing suffering. In art, Buddha image is an output of artisans‘ inspiration in creating Buddhist art.

Buddha Images in Different Postures/ Mudra

1. The Seven Hand Gestures (Mudra) of the Buddha in Thailand According to Indian ideology, posture of Buddha image is called ―Mudra‖ (มุทรา). Mudra refers to the gestures performed by the hands of a Buddha image. Mudras have specific meanings that refer to some event in the life of the Buddha or denote a special characteristic. According to Indian ideology of Buddhism, there are 7 main hand gestures (Mudras) of the Buddha, as follows:

(1) Subduing the Mara/ or Calling the Earth to Witness (Bhumisparsa Mudra) (ภูมิสปรศ มุทรา): This is the most common representation of the Buddha in seated position. The Buddha is in the meditating posture with loosely- crossed legs. The Buddha‘s right hand is in the earth-touching position. The left hand rests on the laps. (2) Meditating (Dhyana Mudra) (ธยานมุทรา): This Mudra signifies meditation. Both hands are in the lap with palms upward. The right hand is on top of the left hand. The Buddha is most seated in the half-lotus posture or yoga posture. There are 2 patterns of the legs postures: one is the posture with tightly crossed legs (Khad Samathi Phet), 92

so that the soles of both feet are visible; and another one is the posture with loosely crossed legs (Khad Samathi Rab). (3) Turning the Wheel of the Law in Motion (Dharmachakra Mudra) (ธรรมจักรมุทรา): The hands of the Buddha are generally held closely to the chest. The fingers of the left hand rest against the palm of the right hand (as if turning the wheel, made by the index finger and thumb of the right hand). This Mudra is rarely seen in Thailand. The Dharmachakra Mudra signifies the teaching of the first sermon of the Buddha at the Deer Park in Sarnath. (4) Teaching, Giving Instruction, Reason (Vitarka Mudra) (วิตรรกมุทรา): The hand is held closer to the chest than in the Abhaya Mudra. The palm is facing outward. A circle is made with the index finger and the thumb. The other three fingers point upward. This is made with the right hand. The Buddha is in a seated posture with his feet resting on the floor. This is the common gesture in Dvaravati Buddha images. (5) Entering Nirvana (the Buddha‘s final state of enlightenment before his death) (Saiyasna/ mahāparinabbāna) (ปางไสยาสน์): The Buddha rests on his right side of the body. The eyes close. The left arm rests along the body while the right arm serves as a pillow with the hand supporting the head. (6) Imparting Fearlessness (Reassurance) (Abhaya Mudra) (อภัยมุทรา): This gesture is made with the right hand raised and the palm facing outwards, fingers extended pointing upward. The wrist is bent at a right angle with the forearm. The gesture is sometimes made with both hands. Sometimes the Mudra is made with one hand. The Buddha may be either standing, sitting or walking. (7) Symbolizing Charity (Varada Mudra) (วรมุทรา): The Buddha can be in either standing or sitting. The Mudra It is mostly in standing posture. Sometimes it is also represented in the sitting position. For sitting posture, the hand lowered with the palm facing outward is the gesture of bestowing blessings or of giving charity. The hand is extended downward, palm out.

Patterns of Mudra

Subduing the Mara

Meditating

Turning the Wheel of the Law in Motion

Teaching, Giving

Instruction, Reason

Imparting Fearlessness (Reassurance)

Symbolizing Charity

2. Buddha Images in Different Styles: Four postures in general

 Sitting/seated position: If seated, the Buddha may be shown in one of three different positions:  In the ‗heroic posture‘ or ‗half lotus‘ with the legs folded over each other (Khad Samad Rab- ขัดสมาธิราบ). The right leg is folded over the left leg. For this posture, the legs are loosely crossed.  In the ‗adamantine posture‘ (or full- lotus posture) (Khad Samad Phet- ขัดสมาธิ เพชร) - Each foot is resting on the opposite thigh, right leg crossed over the left leg. Notice that the soles of both feet are visible. For this posture, the legs are more tightly crossed.  In the position of a person sitting in a chair

Subduing Mara (Calling the Earth to Witness) - Half lotus posture ขัดสมาธิราบ

Mediating in the full- lotus posture ขัดสมาธิเพชร

 Standing: If standing, the Buddha may be shown either with his feet together, or with one foot forward (walking)

 Reclining: The reclining posture may represent the Buddha resting or sleeping, but more usually represents the Buddha‘s final state of the enlightenment before his death (Nirvana).

3. Attitudes of the Buddha: Physical description of Buddha Images in different periods

Buddha image in each period has unique physical characteristics and details of the halo, the facial expression and the body. The Buddha images can be classified according to the periods in the history, as follows: 1. Dvaravati Period 2. Sukhothai Period 3. Lanna Period (Chiang Saen School) 96

4. U-Thong and Early Ayutthaya Periods 5. Ayutthaya Period 6. Rattanakosin or Bangkok period

Dvaravati Period Dvaravati art was chiefly the work of the Mon people, who were settled around the northern coast of the Gulf of Siam in central Thailand. (There was also an important branch of the Mon people in lower Burma, who were later responsible for some of the greatest artistic triumphs at Bagan, the capital of Burma from the 11th to the 13th century A.D.)

The Buddha image sculpturing during Dvaravati usually was in stone carving, outstanding in its gigantic size, yet less massive than the Gupta‘s one (the art from which Dvaravati Buddha image was modeled.) The image is usually in the teaching posture- seated with his feet resting on the floor. Some Buddha images in this style (period) include the Buddha image housed in the ordination hall at Phra Pathom Chedi Monastery, Nakorn Pathom, at the Buddha image cast in sand stone at Wat Khon Sawan, Chaiyaphoom,

The facial expression of the Buddha image in this period is rigid with protruding eyes. The body shows muscle and manly figure. The monastic robe is in an open model.

Sukhothai Period It was at Sukhothai that the most beautiful and characteristic Thai art developed, including Buddha image. The image was made with a rather slender figure, the spiral- hair curls and distended ear-lobes. The arms are made like an elephant‘s trunk and the hands were made like lotus flowers just beginning to open—long and slim, with finger- tips bent delicately backward. The foot soles are flat and the heels projecting.

The body is softly rounded on its surface with bulging (fitting to bust/ full) breast and prominent nipples.

The face is delicately oval, the eyebrows arching, the nose aquiline (hooked), and the chin often incised. The facial expression is often wonderfully spiritual and graceful. The hair is arranged in spiral curls and a tall jet of flame or a halo that springs from the protuberance of the skull. The monastic robe is thin and clinging. The finest invention of Sukhotthai is the ―Walking Buddha‖.

Lanna Period Buddha images typically feature a lotus bud or orb (corpulent) shape, with finial and large hair curls. The upper body or the chest torso is plump, with a slim waist line. The hands were made like lotus bud.

The face is round with smiling expression, high curving eyebrows, a hooked nose and mostly narrow lips. The face has the majestic and imperious (arrogant) expression.

The monastic robe is worn in the open mode, with a short flap of cloth over the left shoulder, descending only as far as the nipple.

In later period, under influence of Sukhothai, the head had finer hair curls, an extended lotus shaped or flame shaped finial, and a thin hair band. Lanna Buddha image in late period, the face became more oval.

U-Thong Period U- Thong Buddha images are characterized by a small band between the hairline and the forehead. The head features small hair curls. During the early period, the head is topped by a 98

lotus bud. In later period, with Sukhothai influence, this is replaced by an elongated (stretched out) flame, and the body is more elongated.

The facial expression of the Buddha image looks rigid. The face of the Buddha image is rather square with Mon and Khmer characteristics, with a large mouth, double line on the upper lip, a broad nose, and very tight spiky hair spiral. The face became more oval later on. The robe is draped in the open mode with a long flap over the left shoulder ending in a straight line above the navel.

Ayutthaya Period Buddha images during Ayutthaya period were produced in a great number of styles and positions. In the early period, the Buddha images were usually carved out of stone, as influenced by Lopburi art. In the middle Ayutthaya period, the bronze was the material of choice. However, sandstone, stucco, brick and wood were also popular. During the late Ayutthaya period, the Buddha images were made of bronze in royal attire.

The Buddha images from this period are usually characterized by the distinctive hair flame and two small lines curved above the upper lip and the eyes.

Rattanakosin or Bangkok Period

The Rattanakosin artistic style is essentially art of the modern Bangkok era, which incorporates classical Thai and western artistic elements. This does not mean that the Buddha images seen in Bangkok‘s temples are all Rattanakosin in origin as many of them were brought to the city from provincial sites to escape destruction during war.

Buddha images produced in the early Rattanakosin period closely follow the style of Ayutthaya. Later works become much more ornate (elaborate, ornamental) and regal (royal, majestic, noble) in appearance.

Vocabulary

1. อริ ิยาบทของพระพุทธรูป (Posture of the Buddha) - พระพุทธรูปยืน = Standing Buddha image - พระพุทธรูปนอน = Reclining Buddha image - พระพทุ ธรูปนง่ั = Seated Buddha image - พระพุทธรูปเดิน = Walking Buddha image 2. ปางต่างๆ ของพระพุทธรูป (Attitude/ Mudra of the Buddha) - ปางมารวิชัย = The attitude of subduing Mara - ปางสมาธิ = The attitude of meditation - ปางห้ามญาติ = The attitude of persuading the relatives not to fight - ปางห้ามสมุทร = The attitude of stopping the rainstorm - ปางปฐมเทศนา = The attitude of giving the first sermon - ปางประสูติ = The attitude of Nativity - ปางปรินิพพาน = The attitude of Nirvana 3. พุทธลกั ษณะของพระพุทธรูป (Buddha Characteristics) - ขมวดพระเกศา = Hair curl - รัศมีเปลวเพลิง = Flame-like halo - รัศมีบัวตูม = Lotus-bud halo - พระพักตร์เหลี่ยม = Square face - พระพักตร์กลม = Round face - พระพกั ตร์รูปไข่ = Oval face - คิ้วโก่ง = Curve eyebrows - คิ้วตอ่ กนั คลา้ ยปีกกา = Straight-connected eyebrows - คางบุ๋ม = Dimple chin - ตาโปน = Protruding eyes - พระอังสะกว้าง = Broad Shoulder - พระสะบ้นั เล็ก = Slim waist - อวบ = Corpulent body 100

- พระนาภี = Navel - อมยมิ้ = Smiling expression - นง่ั ขดั สมาธิราบ = Sitting cross-legs with one top of another - นง่ั ขดั สมาธิเพชร = Sitting cross-legs with legs locked together - นง่ั พบั เพียบ = Sitting with legs fold-back sideway

101

Describing Thai Paintings

Definition of painting Painting is creation of visual art that apply paint, pigments, color or other medium to a surface (support base) such as paper, canvas, wood, walls, glass, lacquer, clay, copper or concrete. The art of painting may incorporate multi other materials including sand, clay, paper or gold leaf. Painting is a mode of expression: telling or narrating stories, transferring painters or practitioners‘ imagination and ideas and expressing beauty from their imagination. The forms of painting are numerous.

Traditional Thai painting and its roles Traditional Thai painting is a fine art, manifesting elaborate and beauty and reflecting Thainess, Thai value, belief and faith. The development of traditional Thai painting has been for a long time until it has a unique characteristic and style that reflect Thainess and manifest Thai mind in esthetic sense and value of motif. Traditional Thai painting is worthy in its roles of mirroring the history, anthropology, religion, traditions and culture from the old days to present.

The purpose of traditional Thai painting is not only for decoration of buildings, but also for religious purpose. Painting for religious purpose can be seen in religious buildings. In Thailand the painting for religious purpose is such as the paintings in Ubosot and Vihara.

Characteristics of Thai traditional painting  Thai traditional paintings show subjects in two dimensions without perspective (The painting with bird- eyes view). The size of each element in the picture and the use of ―Sin Thao‖ reflected its degree of importance. After the mid 19 century, Western influences introduced the concepts of the use of perspective and shading to give the illustration of depth.  There was no self- portrait or self-expression in Thai traditional painting. Self- portrait in modern Thai painting is an influence from the West. Moreover, Thai painting places an importance on idealism rather than realism.  Thai traditional paintings are stylized such that the celestial and or noble beings are always portrayed serene whilst those from the common folk are portrayed in ungainly (ungraceful) or realistic or comic postures or movements.  ―Lai Thai‖ or Thai pattern usually used is ―Kanok‖. Most depicted is floral pattern.  In mural painting, there is a line called ―Sin Thao‖ (เส้นสินเทา) which is the name used among mural painting artisans. Sin Thao line is the jagged line (หยักฟันปลา) that makes boundary for each scene on the wall and distinguishes important scenes on the 102

landscape from other less important scenes such as the scenes about palace and different scenes of Chadok.

Mural painting at Wat Phra Kaew (The Temple of the Emerald Buddha), Bangkok

Sin Thao line on mural paintings

103

Sin Thao line above the Palace Rajamontien, the mural painting at Phra Thi Nang Phutthaisawan during early Rattanakosin, presently exhibited at the National Museum, Bangkok

Types of Thai Traditional Painting Thai traditional painting can be generally categorized into 2 groups: (1) Drawing: usually made with pencil, ink, charcoal (2) Akarong Painting (จิตกรรมประเภทเอกรงค์ ): painting using chromatic color or one, two or three colors and the colors need to be in similar tone. Akarong painting which has been practiced for long time ago can be classified in 2 styles: (2.1) Painting style called „Lai Rod Nam‖ using golden as the main material with covering or gilding gold leaf (จิตกรรมลกั ษณะเขียนน้า ยาปิดทองรด น้า ): shortly called ―Lai Rod Nam‖. ―Lai Rod Nam‖ can be translated as a work of an ornament merging from washing the work with water. Mostly it is seen in lacquer works (งานลงรัก). This style saw its best in Ayutthaya period from the 17th to the first half of 18th century. And when the capital of Thailand was shifted from Ayutthaya to Thonburi first and afterwards to Bangkok, it was where the technique of the lacquer work followed exactly the characteristics of the classic specimens. But artistically it gradually degenerated, particularly due to Chinese artistic influences, very noticeable in the later productions. The change in style was due to new fashion feeling, desire for designs differing from the traditional ones. In doing so, the very Thai artistic 104

peculiarities were lost; on the other hand, this later production could not compete with the Chinese classic lacquer works because the principles ruling the styles of the respective arts are quite different.

What does the Lai Rod Nam look like?

The outstanding characteristic of this painting style is golden painting: that the painting manifests the golden ―Lai‖ or the golden patterns on the black surface. The last process in making ―Lai Rod Nam‖ is washing the work with water in order to wash out the chemical solution (gold size- น้า ยาปิดทอง) used with the painting during the making process. At the end of the process after washing the gold size, the painting reveals clearly the golden ―Lai‖ or golden patterns as wanted on the surface. This is the origin of the name ―Lai Rod Nam‖

(2.2) Painting style called “Kamaro” (จิตกรรมลกั ษณะเขียนสีกา มะลอ ): Kamaro is the named called for a painting painted with powder color mixed with liquid or latex from ―Lac tree‖ (ต้นรัก). This type of painting art came with the Chinese merchants during the late Ayutthaya period, brought with them the Chinese furniture that showed the painting of this style in its ornamental elements. This art had been seen as the new style of painting. However, Thai artisans during the period didn‘t know the technique of creating this painting. Later, according to ―the Tales from Khun Luang Wat Pradoo Songtham‖ (คา ให้การของขนุ หลวงวดั ประดู่ทรงธรรม ), some Chinese merchants started the furniture business. From this, Thai artisans had observed and memorized the techniques and later tried creating the works until this became the individual character of traditional Thai art.

105

The painting style called Kamaro here had been ignored and discontinued during the fall of Ayutthaya until the reign of King Rama the 3rd or Phra Nang Klao Chao Yu Hua when it was brought to life again at the highest prosperity. Most Kamora paintings during this reign had served Buddhism.

What does the Kamaro painting look like? The outstanding characteristic of this kind of painting is the ―black surface‖ of the painting which is the result of Lac tree liquid (ยางต้นรัก) painted at first. The process of making color for painting is to mix different powder colors/ tints with liquid from Lac tree. The result is dim paint ready to brushing on the black (from Lac tree liquid) wall surface.

(3) Pahurong Painting (จิตกรรมประเภทพหุรงค์ ): this is the painting with multi colors. In Lanna it is called ―Nam Tam‖ (น้า แตม้ ) (the act of dabbling with water). The decoration of painting is more various and with notably beauty and this is why this type is popular nowadays, both in traditional and applied arts.

Materials, Methods and Equipment Materials used in Lai Rod Nam An important material of this painting style is a ―surface‖ which mainly includes wood, lime or mortar work wall or plaster work, metal and leather. The materials for creating Lai Rod Nam include: - Black liquid or latex from ―Lac tree‖ (ยางรัก) boiled with low fire until it becomes sticky. This is used for attaching the gold to the work. - ―Samuk‖ (สมุก) or charcoal or cinder powder pasted from different materials such as coconut shell, dried leaves (i.e. banana, grass) - Liquid or solution got from Horadan (หรดาล). Horadan is a kind of ore. It is used for making Lai Rod Nam or lacquer work as its color shows red and yellow. - Gold leaf (ทองคาเปลว ) for making the golden patterns on the Lac tree liquid- painted surface (usually black and red are used as basic tints (สี)).

106

In making Lai Rod Nam, there are other materials mainly used which are similar to making the painting style called ―Kamaro. Those materials include: - Soft- prepared chalk or white clay filler (ดินสอพอง) for polishing the surface and use of removing oil stain - Paddle used in mixing Samuk and painting the surface with Samuk - Brushes used in the process from a brush for painting Lac tree liquid, one used in brushing gold powder, one for painting lines, and one for filling the surface - Compress or Luk Pakob (ลูกประคบ) for tightening and rubbing the gold on the surface

To make Lai Rod Nam or lacquer work, at first a surface is painted with Lac tree liquid latex. After that, it is continued with making ―Lai‖ or patterns with liquid or solution got from Horadan (หอระดาน ชื่อแร่ชนิดหน่ึง- powder from stone crush). Next, the work is gilded with gold leaf before washing it with water, leaving the ―Lai‖ in gold.

Thai style in this kind of Lai Rod Nam painting is designed with two- dimensional appearance and the composition is formed by many elements such as architectural features, human and animal figures, which intermingled amidst rocks, vegetation, rivulets, etc., fills up with well distributed masses and details all the space of the panels or other decorated surfaces.

Chinese style has been applied in Lai Rod Nam as well. Chinese rendered spatial views wherein large areas of sky, earth or water contrast with the comparatively small figures of trees, human beings and animals from which ensues a three- dimensional appearance.

Materials used in Kamaro painting - Powder color, usually two or three colors which are clay- like red, white and green and indigo blue used in Chinese porcelain 107

- Gold powder (ฝุ่น/ ผงทองคา ) - Gold leaf (ทองคาเปลว ) - Black liquid or latex from ―Lac tree‖ (ยางรัก) - ―Samuk‖ (สมุก) or charcoal or cinder powder pasted from different materials such as coconut shell, dried leaves (i.e. banana, grass) - White, sticky and thick liquid from Cluster Fig tree (มะเดื่อชุมพร) (for use in the process of covering or gilding gold leaf) - Soft- prepared chalk or white clay filler (ดินสอพอง) - Oil from Camphor (น้า มนั การบูร) to be mixed with Lac tree liquid to help dry the painting - Kerosene (น้า มนั กา๊ ด) for washing the brush after used with liquid from Cluster Fig tree

Mural Painting Traditional Thai painting is a fine art, manifesting elaborate and beauty and reflecting Thainess, Thai value, belief and faith. The painting on temple wall (mural painting) is therefore usually depicting the center of the Buddhist which is the Lord Buddha and Buddhism. This motif is usually assembled with celestial beings, imaginary creatures, half human, half animal or bird, and all inhabitants of the idyllic Himaphan Forest, the mythical region of the Universe associated with the Himalayas. These represent the concept of idealism outstandingly applied in traditional Thai painting. The motifs or subjects in traditional Thai painting include mainly the following:

Tossachat Chadok and Jakata Tales Tossachat Chadok is the Jataka stories, narrating about the last ten lives (ten reincarnations) of the Lord Buddha before becoming the enlightenment, such as the life as the king and the graduate. In each ten live, the Lord Buddha had performed virtuous deeds and the ten meritorious acts in order to attain the enlightenment in the life as the Lord Buddha. The ten Chadok includes:

1. Temeeya Chadok (เตมีย์ชาดก) 2. Mahachanok Chadok (มหาชนกชาดก) 3. Suwannasam Chadok (สุวรรณสามชาดก) 4. Nemiracha Chadok (เนมิราชชาดก) 5. Mahosot Chadok (มโหสถชาดก) 6. Phurithat Chadok (ภูริทัตชาดก) 7. Chantakumara Chadok (จันทกุมารชาดก) 8. Nart Chadok (นารทชาดก) 9. Withura Chadok (วิธูรชาดก) 10. Wessandon Chadok (เวสสันดรชาดก)

108

Thai way of life including Thai art has been influenced by Tossachat Chadok as the story is fun with meaningful teaching. Artisans usually depict different episodes from the Tossachat Chadok and paint on temple walls of Ubosot and Vihara and to decorate temples architectural buildings, high and bas relief styles. Thai people have known about Tossachat Chadok since Sukhothai period or before, according to Sukhothai Inscription in 1923 B.E approximately. The Inscription described that ―Thai people have listened and appreciated the sermons of Tossachat Chadok. The Chadok is touching the heart of all Thai people.‖ However, the fact that the role of Tossachat Chadok found on temples‘ Ubosot and Vihara has been found since Ayutthaya period, as found, for example, at Wat Yai Suwannaram, Phetchaburi (2193 B.E), Wat Phutthaisawan, Ayutthaya (2243 B.E) and Wat Prasat Thong, Nontaburi (2293 B.E).

Mostly, the practice of mural paintings with Tossachat Chadok depicted in Ubosot and Vihara is on both sides of the wall spaces and between each window. Below is the list of temples in Thailand that have remarkable paintings of Tossachat Chadok:

- Bangkok – Wat Chong Nonsi (วดั ช่องนนทรี ), Wat Thep Nimit (วัดเทพนิมิตร), Wat Bang Yi Khan (วัดบางยี่ขัน), Wat Ratchasittharam (วัดราชสิทธาราม), Wat Suwannaram (วัดสุวรรณา ราม) - Ayutthaya – Wat Chang Yai (วดั ชา้ งใหญ่ ), Wat Cherng Tha (วดั เชิงทา่ ), Wat Phutthaisawan (วัดพุทไธศวรรย์) - Suphanburi – Wat No Phutthangkun (วดั หน่อพทุ ธางกูร) - Lampang – Wat Phrathat Lampang Luang (วัดพระธาตุลาปางหลวง ) - Nan – Wat Chang Kam (วดั ชา้ งค้า ), Wat Phumin (วัดภูมินทร์) - Phetchaburi – Wat Yai Suwannaram (วดั ใหญส่ ุวรรณาราม) - Angthong – Wat Kien (วัดเขียน) - Chonburi – Wat Yai Intharam (วดั ใหญอ่ ินทาราม)

Tossachat Chadok is important in the teaching of the virtues of truthfulness, patience, courage, wisdom, devotion and charity, etc. It is all about virtue triumph over evils and the horrible ends of evil doers. It is to foster Buddhist Thai people to appreciate and apply good and moral way of living and the above-mentioned as the Lord Buddha had done in His ten lives before enlightenment.

109

The Three Domains (Tri Phoom Phra Ruang) Mount Sumeru or the Sacred Mountain is the name of the center of the three worlds or Tri Phume in Buddhist Cosmology. The Mountain is at the height of 80,000 yojanas (โยชน์) above the water surface and is usually with Khao Sattaboriphan (the 7 Mountains). The concept of Sumeru is closely related to the Hindu mythological concept of a central world mountain, called Meru, but differs from the Hindu concept in several particulars. Sumeru is often used as a simile for both size and stability in Buddhist texts. Triphoome consists of Heaven, Human World and the Four Low Realms or they can be called ―Karma Phume, Roop Phume and Aroop Phume. Tri Phume Phra Ruang (or Tri Phumikata) is the first philosophy literature of Thailand written in 1888 B.E. by Phraya Litai, the king of Sukhothai Kingdom in order to use as a way to foster and promote Buddhism among his people. Tri Phume has very much influence on Thai way of thinking and living, especially those relate to Buddhism. An example is about the belief of Karma and making merit for better reincarnation.

In an aspect of art, Tri Phume shows its influence over painting and architecture. Behind the principle Buddha image at temples, Tri Phume (and Mount Sumeru) is usually depicted as the story of the mural paintings as decoration especially in Ubosot, Vihara, Mondop or Busabok. Mythical creatures in Tri Phume such as Garuda, Asura demons, kinnon and kinnaree, including flowers in the mythical Himmapan Forest are those always the inspiration.

Creatures in Legendary Myth: Thep Chumnum

Thep Chum Num (the Gathering of Angels) - Thep Chumnum is another scene popularly painted on the walls of Thai temple, derived from the Tosachat Chadok theme. Thep Chumnum represents the most significant part of the Buddha Chronicle. It was believed that Thep Chumnum was derived from the event after the Lord Buddha attained the enlightenment. It was after the Maras came to obstruct the cultivation of the practice of the Lord Buddha. Mara, the god of demon used his spiritual powers to threaten, tempt, disturb and hinder the enlightenment of the Buddha. However, the Lord Buddha could resist and conquered the Mara* and attaining the enlightenment by the witness of the Goddess of Earth. This event was depicted in the attitude of the Subduing Mara. The event was followed by the gathering of angels who came to witness, praise and celebrate the victory over the Mara and achieving Self- Enlightenment (that‘s why it is called Thep Chumnum). The group of angels is mostly painted in three or four rows with the alternating background colors of red and violet (or brown). In each row, angels are painted in the gesture of Thai-style greeting with hands joined together at the chest. Painted in the lowest row are, as normally, low rank angels, demons and Garuda. 110

*This description about the Mara symbolically tells us about the truth of the 5 obstacles (or Mara) as following:

(1) Mara of defilements (‗defilement‘ means ruining/ corruption)- passion, delusion (2) Mara of five aggregations- 5 khandha/ khantha: physical form (rupa), feelings (vedana), thoughts (sanya), inclinations (sankhara) and sensory awareness (vinyan) (3) Mara of Karma- formation (forms accumulated actions), conditioned existence, causes samsara (cycle of rebirth) (4) Mara as a deity (Devaputra) - creates vision or sign to dissuade or interfere us from doing skilful deeds or liberation of defilements (ความเสื่อม สกปรก มลทิล) (5) Mara of death - deprives us from a chance to complete the practice or doing good things

Other motifs depicted in traditional Thai painting are the Buddhist heavens and hells, and scenes of daily life, the latter mostly seen in temples in Northeastern Thailand (especially old temples). Pictures of men and women in daily life painted on wood can be also often seen in the northern Thailand.

Spaces in Mural Painting The paintings seen in Ubosot and Vihara of Thailand usually are related to Lord Buddha. The “spaces” traditionally seen with the motif related to the Lord Buddha with the assembly of the celestial beings include the following, as the examples:

Space 1: The roof ceiling is usually painted depicting the stars as the ceiling is characterized as a sky (comparable to the universe).

Space 2: The wall space between the area downward from the ceiling and above the windows is painted depicting the scene of Thep Chumnum or the Gathering of Angels 111

(Thevada), by intentionally painting all angels turning with pressing hands together as a gesture of respect (Phanom) to the principle Buddha Image. Flowers are also painted in this scene as symbolizing the celebration from the angles.

Space 3: The wall space between each window normally depicts the Jakata Tales, narrating the episodes from the life of the Lord Buddha including the last 10 lives (10 reincarnations- Thosachat Chadok) before he became the enlightened Buddha, as to teach Buddhist laymen who come to the temple.

Space 4: The rear wall space (the wall area behind the principle Buddha Image) can be usually seen with the painting of Tri Phume as this area is the spacious one and seems to be intentionally reserved for the depiction of the Buddhist concept of cosmology dealing with the universe.

Space 5: The front wall space (the wall area in front of the principle Buddha Image) depicts a scene of the life of Lord Buddha which is the scene of ―Subduing Mara‖ (or in Thai ―มารวิชัย‖)

Space 6: On the two doors are painted with Thevada as the celestial guardian (holding a sword and flowers) or the one who protects the building.

Other traditional Thai paintings can be seen on different objects such as lacquer ware, specimens of book case (Tu Phra Tham ตู้พระธรรม), panels of book case, garment case or columns in Buddhist buildings.

112

Describing Vernacular Art and Architecture in Thailand

Vernacular Thai Architecture: „Ruen-Krueng-Pook‟

Ruen Krueng Pook is locally called ―Toob‖ (ตูบ), defined itself by the elements used and the way to build it. Ruen Krueng Pook is built from natural materials available in the area. Usually Ruen Krueng Pook can be found with bamboo as the main material in order to build a house in this style.

The characteristics of Ruen Krueng Pook

 Simple style with no decoration, usually for temporary use or for keeping rice such as farm house

 Bamboo is the main material, used to tie each part of a house together.

 The roof is usually a thatch style (straw roofing). A thatch can be made by dried leaves or any materials from nature found in the area.

 The wall or partition is made with bamboo, made in strips (wall of plaited bamboo strips) that look like a bamboo map but stronger.

 The floor can be both made with bamboo or wood.

 The house‘s stilts are made with bamboo and wood, depending on the house‘s function. If the house is for temporary use, the stilts can be made with bamboo.

 If the house is built with high stilts, a ladder will be built additionally, and during the night time, the ladder will be drawn up into the house, in order to keep safe from animals and thefts.

113

Below are some pictures of Thai houses in Ruen Krueng Pook style. Ruen Krueng Pook (This is in Southern Thailand)

Farm house in Bangkhunthian, a good example of a traditional Ruen Krueng Pook, a farmer style house built from natural materials. The structural components are made from coconut and mangrove wood; the wall covers and roofing are made from nipa palm (dton jaak). These materials grow here.

The picture demonstrates how to tie each element of the house

The floor

114

Use of thatch for roofing The wall/ partition

Ladder

Classical and Traditional Thai Architecture: „Ruen-Krueng-Sab‟

Ruen Krueng Sab is another type of Thai house. It can be also called ―Ruen Thai‖ (Thai House). This kind of house has been developed from Ruen Krueng Pook and it is normally seen in every part of Thailand nowadays).

Ruen Krueng Sab is usually built by strong wood as to serve functional need for permanent living. In the past, teak wood was normally used, especially in the northern part of Thailand, but nowadays, we forest resource is very important and the forest areas in Thailand have been reduced from deforestation, resulting in less use of teak wood.

115

General characteristics of the house called Ruen Krueng Sab include the fact that:

(1) It is built for permanent living. This is the reason why wood is the main resource for building. (2) There are more rooms (2-3 or 4, up to family members). (3) To tie each element of the house, the technique of wood splice (joining pieces of wood together), dowelling, bolting, and nails are also used. From the explanation above, Ruen Krueng Sab is therefore called by the following:

 Ruen Thavorn or permanent house (เรือนถาวร)

 Ruen Krueng Pradu

 Ruen Fa Kradan (เรือนฝากระดาน)

Below are some pictures of Thai houses in Ruen Krueng Sab style.

This picture demonstrates the technique used in building Rueng Krueng Sab 116

Residential Arts and Culture in Thai Architecture: Central Region, Northern Region, North-Eastern Region (E-Sarn) and Southern Region

Thai houses in each region are called differently.

(1) Ruen Kalae is called for houses in northern part of Thailand. (2) Ruen Song Thai is called for houses in central part of Thailand. (3) Ruen Phak Tai is called for houses in southern part of Thailand. (4) Ruen Phak I- San is called for houses in northeastern part of Thailand.

Ruen Kalae: House in the northern part of Thailand Outstanding elements:  Wooden/ woven bamboo  Roof gable with Kalae  House built in parallel  Roof is not steep, making the space between the roof gable ends broader  ―Hum Yon‖ (ห ายนต์)

117

 Low structure  Usually in twin structure  Water pot & scoop in front of the house  Small number of windows and usually done with bedrooms  Roofs made from dried banana leaves in some rural area  The terrace called ―Tern‖ (เติ๋น) and usually connected with kitchen, used for ―housewife activities‖

Ruen Song Thai: House in the central part of Thailand Outstanding elements:  Roof gable with curved end (Ngao) (เหงา)  Steep and curved roof gable  Higher structure (high post)

The pictures below are different styles of ―Ngao‖ (เหงา).

 Design for good wind flow  Many windows, high and wide  Separate kitchen  Terrace area in the middle  The house faces to the river (especially in the past)

118

Ruen Phak Tai: House in the southern part of Thailand Outstanding elements:  Gable roof (Jua) but without gable or Ngao like central Thai house  House is built parallel with beach and road  Post/ pillars usually in plaster block  ―Ruen Pan Ya‖ is popular among Muslim community

―Ruen Pan Ya‖ เรือนปั้นหยา - Thai pattern of common Thai houses without the gable

Ruen Phak I- San: House in the northeastern part of Thailand Outstanding elements:  They are categorized into: (1) Ruen Thai Korat (เรือนไทยโคราช): similar to central Thai house but the roof gable is not high and no Ngao (2) Ruen Geuy (เรือนเกย): 3- room house with a terrace and a kitchen section (3) Ruen Fad (เรือนแฝด): 2 houses with 2 Jua, with room for parents, son and daughter (4) Ruen Khong (เรือนโขง่ ): houses connected with terrace kitchen separated  Multi household compound- 4-5 houses within the same compound

119

The roof gable or ―Jua‖ (จว่ั ) is not high.