Temple Architecture Styles : Thai Architecture
In Thailand, temples and temple complexes are called Wat. These are almost always Buddhist temple complexes enclosed in a wall. Thai style temples are mainly found in Thailand, but may be found in other nations as well.
Thai architecture shows influence from Kambuja architecture and Sinhala architecture along with at least India’s Mahabodhi Temple that is classifiable under Nāgara Architecture.
General architectural terms:
A temple/temple complex is called ‘Wat’ (a term shared with Cambodia, Laos, Yunnan province of PRC and East Shan state of Myanmar). With very few exceptions, a Thai Wat is divided into 2 parts — Phutthawat and Saṅkhawat.
Phutthawat is the area dedicated to Buddha. It generally contains several buildings:
Cedi/Stūpa – mostly in the form of a bell-shaped tower, often accessible and covered with gold leaf, containing a relic chamber.
Prāṅga – Thai version of Kambuja Prāṅga temple towers, mostly in temples from Sukhothai and Ayutthaya period.
Ubosot or Bot – the ordination hall and most sacred area of a wat. 8 Sema stones (Bai Sema) mark the consecrated area.
Wihan – a shrine hall that contains the principal Buddha images. It is the assembly hall where monks and laypeople congregate.
Mondop - specific square- or cruciform-based building or shrine, sometimes with a spired roof. It is a ceremonial form that can be appear on different kinds of buildings. It can house relics, sacred scriptures or act as a shrine. Unlike the Maṇḍapam of Kambuja or Indian temples, which are part of a larger structure, Thai Mondop is free-standing.
Ho Trai – the temple library or scriptures depository houses the sacred Tipiṭaka scriptures. Sometimes they are built in the form of a Mondop
Sala – an open pavilion providing shade and a place to rest
Sala kan parian – a large, open hall where laity can hear sermons or receive religious education. It literally means "hall, in which monks study for their Parian exam" and is used for chanting afternoon prayers.
Ho Rrakhaṅ – bell tower that is used for waking the monks and to announce the morning and evening ceremonies
Phra Rabiaṅ – a peristyle sometimes built around the sacred inner area as a cloister
Ancillary buildings like crematorium, school etc.
Sangkhawat contains the monks' living quarters. It can have the following buildings:
Kuṭi – originally a small structure, built on stilts, designed to house a monk, with its proper size defined in Sangkhathiset, rule 6, to be 4.013 x 2.343m. Modern kuṭis take the shape of an apartment building with small rooms.
Ho rakhaṅ (bell tower) and sometimes 'Sala Kan Parian' (defined above in Phitthawat section).
Most of the functional buildings such as the kitchen.
Development History
7th century CE – 14th century CE
Dvāravatī city-states (7th century CE – 11th century CE)
Ngoenyang (638 CE – 1292 CE)
Lavo kingdom (648 CE – 1388 CE)
Haripuñjaya Kingdom (Possibly ~750 CE – 1292 CE)
Southern Thailand, south of Kra isthmus, was the place of Malay civilisations. Primordial Malay kingdoms are described as tributaries to Funan by 2nd century CE Chinese sources, though most of them were tribal organisations instead of full-fledged kingdoms.
From 6th century CE on, 2 major maṇḍalas ruled southern Thailand : Kanduli (centred on what is now Surat Thani Province) and Laṅkāsukhā (in Pattani Province).
Since 7th century CE onwards, Central Thailand was dominated by Mon ethnic Dvāravatī city-states and Lavo kingdom.
Īśānavarman I of Chenla Kingdom (550–802 CE) expanded Kambuja influence to Chao Phraya valley through his campaigns around 7th century CE. Dvāravatī cities that fell under Kambuja hegemony became Lavo, while the western cities were spared from Kambuja hegemony and formed Suvarṇabhūmi (Golden Land).
Lavo was the center from which Kambuja authority ruled over the Dvāravatī. Dvāravatī culture and influence also spread into Isan (Northeastern Thailand) and parts of lowland Laos from 6th century CE onward.
→ L2R:
Khao Khlang Nai was a Buddhist sanctuary. The central stūpa, rectangular in shape and oriented toward the east, is characteristic of Dvāravatī architectural style (Built ~6th-7th century CE) [Source: File:Khao Khlang Nai-002.jpg - Wikimedia Commons]
Khao Khlang Nok, a Dvāravatī-style stupa in Si Thep, Si Thep District, Phetchabun Province, Thailand (Built 8th-9th century CE) [Source: File:Khao Khlang Nak-004.jpg - Wikimedia Commons]
The first prāṅgas in Thailand were built in Phimai, Khao Phnom Rung and Lopburi between early 10th century-late 12th century CE, when the Kambuja empire was dominant. After Kambuja empire collapsed, Sukhothai kingdom adopted the Kambuja Prāṅga towers (originally a part of a temple as its towers, and generally for Sanatanist deities) as independently existing Buddhist structures.
→ Kambuja Style temples could be seen in central Thailand with increasing Kambuja power as seen with temples in Lopburi, Lopburi Province, Thailand:
Prang Khaek Temple (Built 10th century CE) [Source: Prang Khaek Temple, Lopburi, Thailand]
Wat Prang Sam Yod (Built early 13th century CE) [Source: Prang Sam Yod Temple, Lopburi, Thailand]
Wat Phra Si Ratana Mahathat (Built late 13th century CE) [Source: Wat Phra Si Ratana Mahathat, Lopburi, Thailand]
Northern Thailand was dominated by Tai ethnic Ngoenyang and Mon ethnic Haripuñjaya kingdoms. These kingdoms were in state of war in 11th century CE, and started to decline soon afterwards.
→ Wat Phra That Doi Pu Khao in Chiang Rai, Mueang Chiang Rai District, Chiang Rai Province, Thailand (Built under Ngoenyang) [Source:File:Wat Phra Dhatu Doi Pu Khao (Phu Khao) วัดพระธาตุดอยปูเข้า (วัดพระธาตุดอยภูข้าว) (October 2021) - img 19.jpg - Wikimedia Commons]
→ Wat Ku Kut in Lamphun, Lamphun Province, Thailand. (founded c. 1150 CE, present buildings 1218 CE onward, under Haripuñjaya kingdom) [Source:File:WatChamaTheviLamphun0701.jpg - Wikimedia Commons]
14th century CE – 18th century CE
Anachak Sukhothai (1238 CE – 1438 CE)
Anachak Lan Na (1292 CE – 1775 CE)
Anachak Ayutthaya (1351 CE – 1767 CE)
→ Sukhothai Kingdom at its greatest extent during late 13th century CE under the reign of King Ram Khamhaeng [Source: File:Southeast Asian history - 13th century.png - Wikipedia]
→ Lan Na and Ayutthaya kingdoms [Source: File:Southeast Asian history - Around 1540.png - Wikipedia]
Sukhothai was originally a trade center in Lavo—itself under the suzerainty of the Kambuja Empire—when Central Thai people led by Pho Khun Bang Klang Hao, a local leader, revolted and gained their independence. Bang Klang Hao took the regnal name of Si Inthrathit and became the first monarch of Phra Ruang dynasty. After the reign of Ram Khamhaeng, the kingdom fell into decline. In 1349 CE, during the reign of Li Thai (Maha Thammaracha I), Sukhothai was invaded by Ayutthaya Kingdom. It remained a tributary state of Ayudhayā until it was annexed by the kingdom in 1438 CE after the death of Borommapan. Despite this, Sukhothai nobility continued to influence Ayutthaya monarchy in centuries after through Sukhothai dynasty.
After Kambuja Empire collapsed, Sukhothai kingdom adopted Kambuja Prāṅga towers (originally a part of a temple as its towers, and generally for Sanatanist deities) as independently existing Buddhist structures. They extended and developed it. Thais built Prāṅgas in brick or laterite covered with stucco (instead of separate small sandstone blocks), and the cella could be reached only by stairs. The entrance door became a niche, in which was placed the Buddharūpa (Buddha statue), which had originally taken the central position inside.
Heavy Sinhala influence could be seen on Sukhothai temples including elephant statue girdling at stūpa bases and many Sinhala motifs. The influence extended to details such as the square form of harmikā (the platform at the top of the stūpa upon which the umbrella-shaped finial rests).
→ Regular Sri Lankan style stūpas could be seen built under Sukhothai kingdom since late 13th century CE or 14th century CE. Thailand’s Sri Lankan style stūpas examples:
Wat Chana Songkhram (Temple of Victory) in Sukhothai, Thailand — Its bell-shaped profile and tall, ringed spire is strongly influenced by Sri Lankan designs. (Built likely 14th century CE) [Source: Wat Chana Songkhram, Sukhothai, Thailand]
Wat Chedi Ngam (Temple of the Beautiful Chedi) in Sukhothai, Thailand (Built possibly late 14th century CE) [Source: Wat Chedi Ngam, Sukhothai, Thailand]
→ The practice of girdling the base of a stūpa with elephant statues originated in Sri Lanka and spread to Sukhothai as pilgrimage and trading routes developed between the two staunchly Buddhist kingdoms in late 13th century CE. However, such exchanges must have been infrequent at best, as they are not attested to in any epigraphy until 1340s CE during the reign of King Lo Thai. Such cultural borrowing even extended to details such as the square form of harmikā, the platform at the top of the stūpa upon which the umbrella-shaped finial rests.
Wat Chang Lom (Temple Surrounded by Elephants) in Si Satchanalai, Thailand — Brick and stucco poles between each of the elephant statues would have supported lanterns (Built 13th century CE) [Source: Wat Chang Lom, Si Satchanalai, Thailand]
Wat Chang Lom (Temple Surrounded by Elephants) in Sukhothai, Thailand — the name refers to the 32 elephant sculptures that surround the base of the main stūpa (Built late 14th century CE) [Source: Wat Chang Lom, Sukhothai, Thailand]
Wat Chang Rob (Temple Encircled by Elephants) in Sukhothai, Thailand (Built 1380 CE or earlier) [Source: Wat Chang Rob, Sukhothai, Thailand]
Wat Sorasak in Sukhothai, Thailand (Built 15th century CE) [Source: Wat Sorasak, Sukhothai, Thailand]
→ Wat Chedi Si Hong (Temple of the Four Rooms) in Sukhothai, Thailand — the name refers to four niches that originally faced the four cardinal directions at the base of the chedi; these were removed during the restoration by Fine Arts Department in 1963 and 1969. The stucco work is something of an enigma as its style is unique among the sites at Sukhothai. According to the scholar Betty Gosling, the designs represent early Sri Lankan influence that was disrupted by the arrival of a new wave of Sinhalese influence in mid-14th century CE following the return of the monk Si Satha from a ten year expedition to Sri Lanka, from which he introduced contemporary Sinhalese motifs that came to dominate Sukhothai art and architecture. Even so, the motifs present in the stucco at Wat Chedi Si Hong point to an earlier Sinhalese influence—for instance, the crouching elephants and devata holding flowerpots are elements also found in Sri Lankan architecture predating the 14th century CE. In contrast to later 14th century CE motifs, the figures at Wat Chedi Si Hong are rendered in a far more naturalistic style, with complex folds rendered in the clothing and more realistic proportions [Source: Wat Chedi Si Hong, Sukhothai, Thailand]
→ Thanan style chedis could also be seen during this period:
Thanan style chedi of Wat Mahathat Complex in Sukhothai, Thailand [Source: Wat Mahathat, Sukhothai, Thailand]
Thanan style chedi of Wat Traphang Ngoen (Temple of Silver Pond) Complex in Sukhothai, Thailand [Source: Wat Traphang Ngoen, Sukhothai, Thailand]
Thanan style chedi of Wat Chedi Chet Taeo Complex in Si Satchanalai, Thailand [Source: Wat Chedi Chet Taeo, Si Satchanalai, Thailand]
→ Wat Chedi Chet Taeo (Temple of the Seven Rows of Phra Chedi) is the most complex monument of all the temple complexes at Si Satchanalai, comprising over 30 chedis surrounding a central lotus-bud chedi and its attendant viharn. The various monuments exhibit a variety of architectural influences including Kambuja, Mon, Burmese, Lanna, and Sri Lankan styles. Although the chedis are laid out for the most part in rows, they do not precisely form 7 rows as the name of the temple suggests. [Source: Wat Chedi Chet Taeo, Si Satchanalai, Thailand]
Lan Na was a continuation of Ngoenyang, and became strong enough in 15th century CE to rival Ayutthaya.
However, later on, Lan Na Kingdom was weakened and became a tributary state of Toungoo Empire in 1558 CE. It was ruled by successive vassal kings, though some enjoyed autonomy.
Myanmar rule gradually withdrew but then resumed as the new Konbaung Empire expanded its influence. In 1775 CE, Lan Na chiefs left the Myanmar control to join Thonburi, leading to Myanmar-Thai War (1775–1776 CE).
Following the retreat of the Myanmar force, Myanmar control over Lan Na came to the end. Thonburi kingdom under King Taksin gained control of Lan Na in 1776 CE. Later, Lan Na became a tributary state of the succeeding Rattanakosin Kingdom (Cakarī dynasty).
→ Lan Na developed its own style of stūpas, named after it. Lan Na style stūpas are characterised by faceted tiered base with a bell shaped tower. Other types of stūpas could also be seen during this period.
Lan Na Style stūpa of Wat Doi Suthep in Chiang Mai, Thailand (Built 14th century CE) [Source: Wat Doi Suthep, Chiang Mai, Thailand]
Lan Na Style stūpa of Wat Chiang Man in Chiang Mai, Thailand. Elephant girdling can also be seen at its base (Built 15th century CE, but restored 18th century CE) [Source: Wat Chiang Man, Chiang Mai, Thailand]
Lan Na Style stūpa of Wat Lok Moli in Chiang Mai, Thailand (Built 1527–1528 CE) [Source: Wat Lok Moli, Chiang Mai, Thailand]
The various types of stūpas at Wat Suan Dok in Chiang Mai, Thailand (Built 16th century CE onwards) [Source: Wat Suan Dok, Chiang Mai, Thailand]
Wat Ku Tao in Chiang Mai, Thailand — an unusual chedi built as receding spheres. It was to hold the ashes of Prince Saravadi (1578-1607 CE), the first Burmese overlord of Chiang Mai. (Built 1613 CE [Source: Wat Ku Tao, Chiang Mai, Thailand]
→ The influence of India’s Mahabodhi Temple could be seen in Lan Na period’s Chiang Mai’s Wat Chet Yot. Another temple by same name but uncertain age also exists in Chiang Rai.
Wat Chet Yot (Temple of the Seven Spires) in Chiang Mai, Thailand (Built late 15th century CE onwards) [Source: Wat Chet Yot, Chiang Mai, Thailand]
Wat Chet Yot (Temple of the Seven Spires) in Chiang Rai, Thailand (uncertain age) [Source: Wat Chet Yot, Chiang Rai, Thailand]
→ Wat Phra Singh in Chiang Rai, Thailand — the entrance is guarded by 2 lion-like figures (Built 1385 CE onwards) [Source: Wat Phra Singh, Chiang Rai, Thailand]
Ayutthaya kingdom emerged from the mandala of city-states on Lower Chao Phraya Valley in late 14th century CE during the decline of Kambuja Empire. After a century of territorial expansions, Ayutthaya became centralized and rose as a major power in Southeast Asia.
It faced invasions from Toungoo dynasty of Myanmar, starting a centuries' old rivalry between the two regional powers, resulting in the First Fall of Ayutthaya in 1569 CE. However, Naresuan (r. 1590–1605 CE) freed Ayutthaya from brief Myanmar rule and expanded Ayutthaya militarily.
By 1600 CE, the kingdom's vassals included some city-states in the Malay Peninsula, Sukhothai, Lan Na and parts of Myanmar and Cambodia, although the extent of Ayutthaya’s control over its neighbours varied over time.
In 18th century CE, a series of socio-economic and political pressures within the kingdom, prominent among them sequential succession conflicts due to the nature of Ayutthaya’s succession system, left Ayutthaya militarily weakened and thus unable to effectively deal with a renewed series of Myanmar invasions, in 1759–60 CE and 1765–67 CE, from Konbaung dynasty who were determined to acquire its growing wealth and eliminate their long-time regional rivals. In April 1767 CE, Ayutthaya city fell to besieging Myanmar forces and was completely destroyed, thereby ending the kingdom.
Ayutthaya-style chedis were developed during this period — stylized, squarer version of the Sri Lankan bell chedi with 12 indented corners
→ Ayutthaya-style chedis:
Chedi of Wat Jao Ya, Ayutthaya, Thailand — incorporates Kambuja Prāṅgas (Built 14th-15th century CE) [Source: Wat Jao Ya, Ayutthaya, Thailand]
A chedi in Wat Chai Watthanaram Complex (Temple of long reign and glorious era) in Ayutthaya, Nakhon Si Ayutthaya province, Thailand (Built 1630 CE) [Source: Buddhist Stupas of Southeast Asia 101]
Ayutthaya style chedis with prang towers, in Wat Phraya Maen Complex, Ayutthaya, Thailand [Source: Wat Phraya Maen, Ayutthaya, Thailand]
Chedi of Wat Bandai Hin, Lopburi, Thailand — it is a variation of Ayutthaya style, with 20 indented corners rather than the usual 12 (Built late 17th century CE under king Narai Prasat Thong) [Source:Wat Bandai Hin, Lopburi, Thailand]
Chedi Phukhao Thong in Phukhao Thong village, Ayutthaya, Thailand. (Built 1587 CE, rebuilt 1744 CE) [Source: File:Wat Phu Khao Thong (Ayutthaya).jpg - Wikimedia Commons]
→ Wat Chai Watthanaram Complex (Temple of long reign and glorious era) in Ayutthaya, Nakhon Si Ayutthaya province, Thailand — the main temple complex is built in Kambuja style (Built 1630 CE) [Source: File:Wat Chaiwatthanaram by drone.jpg - Wikimedia Commons]
18th century CE – 20th century CE
Anachak Thonburi (1767 CE – 1782 CE) and Anachak Rattanakosin/Ratcha-anachak Sayam (1782 CE – 1932 CE)
Taksin, the founder and only ruler of Thonburi kingdom, successfully repulsed the Burmese occupation and unified Thailand. He established the city of Thonburi as the new capital, as the city of Ayutthaya had been almost completely destroyed by the invaders. His reign was characterized by numerous wars; he fought to repel new Burmese invasions and to subjugate the northern Thai kingdom of Lanna, the Laotian principalities, and a threatening Cambodia.
Rattanakosin kingdom was founded in 1782 CE with the establishment of Rattanakosin (Bangkok), which replaced the city of Thonburi as the capital of Siam. Thongduang, titled Rama I, established the present royal Chakri dynasty of Thailand.
→ Rattanakosin period temples examples:
Wat Phra Keow Complex in Bangkok, Thailand — the royal temple of Thailand, established in 1782 CE [Source: Wat Phra Keow, Bangkok, Thailand]
Wat Prasat Complex in Chiang Mai, Thailand (Built 1823 CE onwards) [Source: Wat Prasat, Chiang Mai, Thailand]
Wat Ban Lan in Khon Kaen, Thailand (Built 19th century CE or earlier) [Source: Wat Ban Lan Temple, Khon Kaen, Thailand]
Wat Sa Bua Kaeo in Khon Kaen, Thailand (Built early 20th century CE) [Source: Wat Sa Bua Kaeo, Khon Kaen, Thailand]
→ Lingering Burmese influence can be seen in the Burmese style restoration of Chedi of Wat Phra Borommathat Chediyaram in Kamphaeng Phet, Thailand (Built 19th century CE) [Source: Wat Phra Borommathat Chediyaram, Kamphaeng Phet, Thailand]
Development of Thai Buddhist sculpture
Thai Buddhist sculptures are usually 3D stone, wood, clay, or metal cast images of the Buddha. Their development period can be classified as follows:
Dvāravatī period (7th-11th century CE):
During Dvāravatī period, there were 2 factions of Buddhism practiced in the region that now encompasses present day Thailand: namely Mahāyāna and Theravāda. The types of images constructed during this era reflects the distinction. Much of the basis for the Buddhist artwork of the Dvāravatī period was influence from Buddhist art in India, including the Amaravati and Gupta styles, although there was also local and Kambuja influence. Such images include the following classical archetypes:
Buddha in the Tribhaṅga (leaning) position with somewhat Indian facial features and no aureole. The right hand is typically free, while the left is depicted grasping the Buddha's robe.
Buddha in the Amaravati style with loosely folded legs and a lotus shaped aureole. Such statues have a continuous eyebrow, a flat nose and thick lips.
Square faced cleft chin Buddha with some Kambuja features. Legs are typically fully folded. The Buddha sits on a lotus base.
Sri Vijaya images (8th-13th century CE):
Sri Vijaya images are found in Southern Thailand Malay Peninsula. They were created between the eighth and thirteenth centuries. Typically, they reflect the teachings of the Mahayana school of Buddhism, which often emphasized the veneration of the sacred figure of Bōddhīsattvas. Srivijayan art is noted for its naturalistic style, ideal body proportions, natural pose and body elegance, and richly adorned jewelleries, akin to Indonesian Javanese Buddhist art.
Although some of Sri Vijayan Buddhist image were made of bronze and stone, most of Sri Vijaya images were generally made of clay, with less emphasis on durability, as their purpose was to benefit the deceased, rather than perpetuate the teachings of the Buddha.
→ Bronze torso statue of Bōddhīsattva Padmapāṇi, 8th century CE Śrīvijayan art, from Chaiya District, Surat Thani, Southern Thailand. The statue demonstrate the influence of Central Java art (Śailēndra art). It is now housed in Bangkok National Museum, Thailand. [Source: File:Avalokiteshvara Srivijaya Art Chaiya.JPG]
Chiang Saen and Lanna images (10th-13th century CE):
Early images were similar to Pala style Buddha images of India, with lotus bud or orb shaped hair curls, round faces, narrow lips and prominent chests. Such images were usually in the subduing Mara position, cross-legged, with the soles of the Buddha's feet visible. Many later Chiang Saen and Lanna images began to be constructed from crystals and gemstones.
→ Chiang Saen Style Buddha image [Source: File:WatPhraKaew-CR-PhraJaoLanThong.jpg - Wikimedia Commons]
→ Lanna style Phra Phuttha Sihing [Source: File:พระราชวังบวรสถานมงคล เขตพระนคร กรุงเทพมหานคร (18).jpg]
Ayutthaya period (10th-18th century CE):
Ayutthaya images were created between 10th-18th centuries CE. They had a unique hair frame and tell-tale narrow carvings above the lips and eyes.
Early Ayutthaya images were carved in stone with heavy influence from the Lopburi images.
Middle Ayutthaya images were similar to the Sukhothai images, and were in similar poses. During this period, the images were often cast in Bronze, and the size of the images were often large.
In late Ayutthaya period, the images typically depicted the Buddha in royal attire, and the bases of the images bore ornate design.
Lopburi images (11th century CE):
They are typically found in Northeast Thailand, and their style is essentially similar to Cambodian Buddha images. Such images typically have a cone-shaped cranial protuberance in the form of tiers of lotus petals. The hair depicted in the images is considerably more realistic than the hair of the Dvaravati images, and may be either straight or curly. The face of the Buddha typically has a small smile, while the earlobes are in unusually large proportion relative to the rest of the face, often hanging down nearly to the image's shoulders.
A 2nd Lopburi style is Nāga Protected Buddha with the heads of a Nāga forming a protective taper around the Buddha's head.
U Thong Style (12th-15th century CE):
U Thong Style is one of the definitive styles for Buddha icons which developed in Thailand (Siam) in the southern capital of Ayutthaya. There are 3 distinct periods for the style, 12th-13th century CE, 13th-14th century CE and 14th-15th century CE, with some obvious overlap.
Features common to all 3 types include:
Small band between the hairline and forehead
Robe draped with a long flap from the left shoulder ending in a straight line
Fingers of unequal length
Hairstyle is small, somewhat-spiky curls
Seated, with the legs folded
Simple concave base
→ [Source: File:Thai - Seated Buddha in"Maravijaya" - Walters 542801.jpg]
Sukhothai period (14th century CE):
During the Sukhothai period, the style of Thai Buddha images radically changed due to the influx of new ideas from Sri Lankan Buddhism. Buddha images were cast with the intention of depicting superhuman traits of the Buddha, and were designed to express compassion and serenity in posture and facial expression. Sukhothai period witnessed the innovation of the 4 modern postures of the Thai Buddha, i.e. walking, standing, sitting and reclining. Images often had a flame-shaped aureole, finely curled hair, a slight smile, broad shoulders and an oval face. A common pose was the subduing Mara, with the Buddha seated on a plain base. Notable variations within Sukhothai period include the Kamphaengpet, Phra Buddha Chinnarat, and Wat Ta Kuan groups of images.
→ A Māravijaya Buddha from Sukhothai, dated to the second half of 13th century CE, at Walters Art Museum in USA [Source: File:Thai - Seated Buddha in "Maravijaya" - Walters 542520.jpg - Wikimedia Commons]
→ Phra Buddha Chinnarat, Wat Phra Si Rattana Mahathat in Phitsanulok, Thailand [Source: File:2013 Phra Buddha Chinnarat 01.jpg]
Modern Thai Buddha images:
In modern times, Buddha images are often replicas of images from Sukhothai and other early periods, but often more ornately and elaborately adorned. Faces in new innovative depictions are typically more realistic and human-like. An elongated flame aureole is popular. Robes depicted in modern images often depict floral designs. Indian Gandhara style, as well as western art have also influenced many of the modern images.
Structural Details
Roof forms and finials
Temples display multiple roof tiers. The use of ornamented tiers is reserved for roofs on temples, palaces and important public buildings. 2 or 3 tiers are most often used, but some royal temples have 4. The practice is more aesthetic than functional. Temple halls and their roofs are large. To lighten the roof's appearance, the lowest tier is the largest with a smaller middle layer and the smallest tier on top. Multiple breaks in each roof lighten it further – a double-tiered roof might have 2-4 breaks in each tier. The tiers, breaks and tier patterns create dynamic visual rhythms. In northern temples, the roof area is larger, sweeping low to cover more of the wall. The lower tiers telescope toward the entrance. In a central Thai temple, the lower tiers reach a short distance beyond the top roof at the gable ends
Most decorations are attached to the bargeboard, the long, thin panel on the edge of the roof at the gable ends. The decorative structure is called lamyoṅ. The lamyong is sculpted in an undulating, serpentine Nag Saduṅ shape evoking Nāga. Its blade-like projection called Bai Raka suggest both Nāga fins and feathers of Garuḍa. Its lower finial is called a Haṅ Hoṅ, which usually takes the form of a Nāga's head turned up and facing away from the roof. The Nāga head may be styled in flame-like Kranok motifs and may have multiple heads. A roof with multiple breaks or tiers has identical hang hong finials at the bottom of each section. Perched on the peak of lamyoṅ is the large curving ornament called a Cofa, which resembles the beak of a bird, perhaps representing Garuḍa.
→ Basic Lamyoṅ decorative structure of roof [Source: File:Thai Temple "Krueng Lamyong" no label.jpg]
Chofa (Thai: ช่อฟ้า; sky tassel)
It resembles a tall thin bird and looks hornlike. Its origins are unclear.
From 13th to 18th century CE, ceramic finials or chofa in the form of the gajasimha were largely produced in Sukothai, Sawankalok, and Ayutthaya.
Presently most wats/pagodas and palaces throughout Cambodia, Laos, and Thailand are adorned with these sacred finials at their roof end with many types and appearance.
Type of Chofa —
Swan tip (Pak Hoṅ; ปากหงส์)
Garuda tip (Pak Khrut; ปากครุฑ)
Fish tip (Pak Pla; ปากปลา)
Elephant head (Hua Chaṅ; หัวช้าง)
Nāga head
Bird head (Hua Nok; หัวนก)
Lanna art style (ล้านนา)
Others
→ Examples of Chofa :
Garuḍa tip chofa : Chofa of Ubosot of Wat Phra Kaeo, Bangkok, Thailand [Source: File:Chofahwatpkaeo05.jpg - Wikimedia Commons]
Elephant head chofa : Chofa of Wiharn of Wat Ched Yot, Chiang Mai, Chiang Mai province, Thailand [Source: File:Chofahwatchyod04.jpg - Wikimedia Commons]
Lanna art chofa : Chofa of Ubosot of Wat Phra Singh, Chiang Mai, Chiang Mai province, Thailand [Source: File:Chofahwatpsingh05.jpg - Wikimedia Commons]
Fish tip chofa : Chofa of Viharn Luang, Wat Suthat, Bangkok, Thailand [Source: File:Ubosot giebel 1.jpg]
Nāga head chofa : Chofa of Wat Monthian, Chiang Mai, Chiang Mai province, Thailand [Source: File:NagaHeadedChofaP1010393.JPG - Wikimedia Commons]
Halls and pavilions
Kuṭi (Thai: กุฏิ)
A kuṭi is a small structure, built on stilts, designed to house a monk. Its proper size is defined in the Sanghathisep, Rule 6, to be 12 × 7 keub (4.013 × 2.343m). This tiny footprint is intended to aid the monk's spiritual journey by discouraging the accumulation of material goods. Typically a monastery consists of a number of these buildings grouped together on a shared terrace, either in an inward facing cluster or aligned in a row. Often these structures included a separate building, called a Hor Trai, used to store scriptures.
Kuṭis are generally placed in Saṅkhawat area of a temple complex.
→ A cluster arrangement of kuṭi around a central terrace [Source: File:Thai Kuti Illustration.jpg - Wikipedia]
→ Kuṭis of Wat Udom Thani [Source: File:Wat Udom Thani วัดอุดมธานี นครนายก 06.jpg]
Ho Rakhang (Thai: หอระฆัง; bell tower)
It is used for signalling the monks to do their praying ceremony. This structure can be placed in either Saṅkhawat or Phutthawat area of the temple complex.
Bell towers can be made of wood, masonry, reinforced concrete or composites. They are usually found in square, hexagonal, octagon or circle shapes. They can have many different types of roofs, the general ones being mondop-type, Prāṅga-type, bell-shaped, tetrahedral, pavilion crown type, Thai crown type, combinational type etc.
→ Examples of bell towers:
Mondop-type roof : Bell tower at Wat Phra Kaew, within the precincts of Grand Palace, Bangkok, Thailand [Source: File:หอระฆัง พระบรมมหาราชวัง กรุงเทพมหานคร ประเทศไทย.jpg]
Bell-shaped (cedi-type) roof, square plan : [Source: http://dreamstime.com/stock-photos-thai-temple-bell-tower-nice-blue-sky-image34486043]
[Source: Bell Tower In A Rural Thai Temple, Northern Stock Image - Image of history, bell: 50848521]
Ṣ̄ālā (Thai: ศาลา) or Ṣ̄ālāwạd (ศาลาวัด)
It is an open pavilion, used as a meeting place and to give people shade. Most are open on all 4 sides. Ṣ̄ālāwạd (ศาลาวัด) specifically refers to pavilions constructed in temple complex premises, since Ṣ̄ālā type pavilions can be found in non-temple complexes and as independent structures as well.
ṣ̄ālā kan parian (ศาลาการเปรียญ) —
Ṣ̄ālā kan parian is the highest form of a Thai temple pavilion. This pavilion is traditionally built as a hall in which clerics can instruct lay people in Buddhist doctrine, and is sometimes also used as a place for monks to chant and perform ceremonies. A sala kan parian may be as large as an assembly hall, or even larger, and partly or fully enclosed by walls.
→ Ṣ̄ālā Kan Parian of Wat Bang Pla, Bangkok, Thailand [Source: File:ศาลาการเปรียญ 01.jpg]
Ho trai (Thai: หอไตร)
These are the libraries of a Thai Buddhist temple complex, and can come in many shapes and sizes. Libraries may also come in Mondop type shapes (discussed below), in which case they have the tall spires characteristic of a Mondop; in this case the library may be called Mondop as well.
For many centuries, the sacred Tripiṭaka scriptures had been written on palm leaves — to preserve the scriptures against humidity and against termites, the library was often built on columns to raise the storage from the ground. Bricks were preferably used in constructions to battle termites. Sometimes the libraries would be built, especially for this reason, above artificial ponds.
→ Examples of libraries :
Library of Wat Phra Singh in Chiang Mai, Chiang Mai provicne, Thailand [Source: File:Hortraiwatphrasingh99.jpg - Wikimedia Commons]
Library built ove a pond in Wat Yai Suwannaramt in Phetchaburi, Phetchaburi province, Thailand [Source: File:Phetchaburiwysuwannaram9011.jpg - Wikimedia Commons]
→ Mondop stype library named Phra Mondop at Wat Phra Kaew, Bangkok, Thailand [Source: File:Phra Mondop.jpg]
Mondop (Thai: มณฑป)
Mondop is a building form in traditional Thai religious architecture featuring a square or cruciform building with a usually pointed roof. In the narrow sense, it refers to an enclosed square building with a roughly pyramidal, multi-tiered roof culminating in a tall pointed spire, with a roof structure very similar to the smaller busabok (an open throne for the ruler and Buddha images). In the wider sense, the term may refer to religious buildings following a wide range of architectural styles, including historical structures more closely reflecting the Indic maṇḍapa, from which they are likely derived.
Mondop may be used for various functions, including as scripture halls (Ho Trai) and for housing religious artefacts. Prominent examples include the library (Phra Mondop) at Wat Phra Kaew in Bangkok and the mondop covering Buddha footprint at Wat Phra Phutthabat in Saraburi. The pointed roof structure can be found incorporated in the prasat architectural form, where it crowns a usually cruciform, gabled roof.
→ Mondop of Buddha footprint at Wat Phra Phutthabat in Saraburi, Saraburi province, Thailand [Source: File:Wat Phra Phuttha Baht.]
Ubosot/Bot/Sim (Thai: อุโบสถ / โบสถ์ / สิม) and Wihan (Thai: วิหาร)
In Thailand, ordination halls are called ubosot or bot, derived from the Pali term uposathāgāra, meaning a hall used for rituals on uposatha days. The ubosot is the focal point of Central Thai temples. In Northeastern Thailand (Isan), ordination halls are known as sim (สิม), as they are in Laos. The ubosot, as the wat's principal building, is also used for communal services. In the Thai tradition, the boundary of the ubosot is marked by 8 boundary stones known as Bai Sema (ใบเสมา); the oldest bai sema date to Dvāravatī period. The sema stones stand above and mark Luk Nimit (ลูกนิมิต), stone spheres buried at the cardinal points of the compass delineating the sacred area. A 9th stone sphere, usually bigger, is buried below the main Buddha image of the ubosot. The entrance sides of most ubosot face east. Across from the entrance door at the end of the interior is the ubosot's largest Buddha statue which is usually depicted in either the meditation attitude or Mārāvijaya attitude.
While wihan buildings also similarly house Buddha images, they differ from ubosot in that wihan are not marked by sema stones. Wihan is the shrine hall that contains the principal Buddha images. It is the assembly hall where monks and laypeople congregate.
→ Examples of Ubosot:
Ubosot of Wat Prasitthiwet, Nakhon Nayok, Nakhon Nayok province, Thailand [Source: File:Wat Prasitthiwet วัดประสิทธิเวช องครักษ์ นครนายก 02.jpg]
→ Examples of Bai Sema :
Bai Sema with "eyes", Wat Phra Kaeo, Bangkok, Thailand [Source: File:Bai sema 4.jpg]
"Crowned" Bai Sema, Wat Ratchanadda, Bangkok, Thailand [Source: File:Bai sema 2.jpg]
Triple Bai Sema in Sukhothai, Thailand [Source: File:Tripple Bai Sema.jpg]
4-sided Bai Sema, Wat Mahanaparam, Bangkok, Thailand [Source: File:Bai sema 3.jpg]
Prāṅga (Thai: ปรางค์)
The first prāṅgas in Thailand were built in Phimai, Khao Phnom Rung and Lopburi between early 10th century-late 12th century CE, when Kambuja empire was dominant. After Kambuja empire collapsed, Sukhothai kingdom adopted Cambodian Prāṅga towers (originally a part of a temple as its towers, and generally for Sanatanist deities) as independently existing Buddhist structures. They extended and developed it. Thais built Prāṅgas in brick or laterite covered with stucco (instead of separate small sandstone blocks), and the cella could be reached only by stairs. The entrance door became a niche, in which was placed the Buddharūpa (Buddha statue), which had originally taken the central position inside. A more modern Prāṅga has a slim construction, like an ear of corn.
→ Thai style prāṅgas in Wat Chaiwatthanaram in Ayutthaya Historical Park, Phra Nakhon Si Ayutthaya province, Thailand [Source: File:Sunset at Wat Chaiwatthanaram, Ayutthaya, Thailand.jpg]
Chedi (Thai: เจดีย์)
Thai style chedis, as discussed briefly in this post, can be both stūpa-type and caitya type.
→ Examples of Thai style chedis :
1. General bell-shaped chedi : Main stūpa of Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat Province in southern Thailand [Source: File:Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat.jpg]
2. Ayutthaya-style chedi : stylized, squarer version of the bell chedi with 12 indented corners
2a. Wat Chai Watthanaram in Ayutthaya, Nakhon Si Ayutthaya province, Thailand [Source: Buddhist Stupas of Southeast Asia 101]
2b. Chedi of Wat Bandai Hin, Lopburi, Thailand — it is a variation of Ayutthaya style, with 20 indented corners rather than the usual 12 (Built late 17th century CE under king Narai Prasat Thong ) [Source: Wat Bandai Hin, Lopburi, Thailand]
3. Lanna-style chedi : Wat Phra Doi Suthep in Chiang Mai, Thailand — a bell shaped chedi but in Lanna-style with its multiple facets and tiers. [Source: The Stupas of Myanmar, Thailand and Laos]
4. Haripunjaya-style chedi : Chedi Suwanna, is square and angular and looks more like an elongated pyramid. [Source: Buddhist Stupas of Southeast Asia 101]
5. Thanan style chedi : Wat Mahathat features Mon Haripunjaya-style chedis that surround the main Thanan style chedi. This is a tall, thin lotus bud that distinct from Ayutthaya style [Source: The Stupas of Myanmar, Thailand and Laos]
6. Prāṅga style chedi : Phra Atsda Maha Chedi (Row of 8 Prāṅgas) in Wat Phra Si Rattana Satsadaram, Phra Nakhon district, Bangkok, Thailand [Source: File:พระปรางค์ภายในวัดพระแก้ว.jpg - Wikimedia Commons]
Prāsāt (Thai: ปราสาท) / kudakhan (Thai: กุฎาคาร) / Rueanyot (เรือนยอด)
It is a Thai architectural form reserved for royal palaces of the monarch or for sacred religious structures. It is a building featuring an ornate roof structure, usually multi-tiered, with one or more spires. The form symbolizes the centre of the universe, which is traditionally associated with the monarch or the Buddha. Prāsāt forms are widely used in the buildings of Grand Palace, and are also found in some Buddhist temples and in the architecture of the temporary crematoria used for royal funerals.
Prāsāt can be found in Mondop shape (as discussed above), Prāṅga shape, Thai Crown shape among others.
→ Examples of Prāṅga style Prāsāt :
Prasat Phra Thep Bidon in Wat Phra Kaeo, Bangkok, Thailand [Source: File:Wat Phra Sri Rattana Satsadaram 11.jpg]
→ Example of Thai Crown shaped Prāsāt :
Phra Mondop in Wat Pho, Bangkok, Thailand [Source: Temple of the Reclining Buddha, Bangkok) 02.jpg]
Important Thai architecture style temples
Wat Phra Si Rattana Satsadaram in Phra Nakhon District, Bangkok, Thailand:
Wat Phra Si Rattana Satsadaram a.k.a. Wat Phra Kaeo (Thai: วัดพระแก้ว) is the most sacred Buddhist site in Thailand. The complex consists of a number of buildings within the precincts of the Grand Palace in the historical centre of Bangkok. It houses the statue of the Emerald Buddha, which is venerated as the country's palladion.
Construction of the temple complex began in 1783 under the orders of Rāma I, the first king of Cakrī dynasty. Since then, each successive king has been personally involved in adding, restoring and embellishing the temple complex during their reigns as a way of making religious merit and glorifying the dynasty. Many important state and royal ceremonies are held within the temple complex each year, presided by the king in person and attended by government officials. This makes the temple complex the nation's preeminent place of worship and a national shrine for the monarchy and the state. Throughout the years, each king has donated sacred and valuable objects inside the temple complex, making it a treasury as well.
The temple complex comprises various buildings for specific religious purposes built in a variety of Thai architectural styles, while still adhering to the traditional principles of Thai religious architecture.
→ The complex viewed from outside the walls of the Grand Palace. The various cedis and halls are visible [Source: File:Temple of the Emerald of buddha or Wat Phra Kaew (cropped).jpg]
→ East entrance to Prasat Phra Thep Bidon or the Royal Pantheon. It is flanked by 2 Ayutthaya style stūpas, and has a Prāṅga style Prāsāt (as also given before as an example) [Source: File:วัดพระศรีรัตนศาสดาราม วัดพระแก้ว กรุงเทพมหานคร - Wat Phra Kaew, Temple of Emerald Buddha, Bangkok, Thailand.jpg]
→ The plan of the complex [Source: Wat Phra Keow, Bangkok, Thailand]
Wat Photharam Maha Wihan in Chiang Mai, Chiang Mai province, northern Thailand:
Wat Photharam Maha Wihan (Thai: วัดโพธารามมหาวิหาร, from Saṁskr̥ta: Bōdh-Rāma Mahā Vihāra) a.k.a. Wat Chet Yot (Thai: วัดเจ็ดยอด; 7-spired temple) was commissioned by the then king Tilokarat 1455 CE.
The main temple of the complex (termed Mahā cedi) is modelled after Mahabodhi Temple of Bagan, Myanmar, itself modelled on Mahabodhi Temple of Bodh Gaya, Bihar, India. The temple, unlike the rest 2 Mahabodhi temples that have 5 spires, has 7 spires hence its name. The interior of the building contains a barrel vaulted corridor which leads to a Buddha statue at its end. Right and left of the Buddha statue narrow stairs lead up to the roof. In the past a bodhi tree grew on top of the roof but which was removed in 1910 CE to prevent the structure from collapse. Women should not climb up to the roof as only men are allowed to enter this part of the temple.
→ Mahā cedi of Wat Photharam Maha Wihan complex [Source: File:Chmwatchetyot040823a.jpg - Wikimedia Commons]
→ Tilokarat cedi [Source: File:Chmwatchetyot040823d.jpg - Wikimedia Commons]
Wat Yansangwararam in Chonburi province, Thailand
Wat Yansangwararam complex contains structures of many different architectural styles including Thai, Indian and Chinese. The complex contains a hall Viharn Sien modelled on a Chinese Buddhist temple. It also contains Thai-stylized replica of Mahabodhi temple of Bodh Gaya, India called Chedi Phutthakhaya Chamlong.
→ Viharn Sien [Source: Viharn Sien - Anek Kusala Sala]
→ Chedi Phutthakhaya Chamlong [Source: File:Wat Yansangwararam วัดญาณสังวราราม 2562 06.jpg]
References