Boundary marker

The construction history remains unclear. However, the art characteristics suggest that it might have been built in Dvaravati period

Rock Carving

The top boundary marker has a pointing edge and the bottom part is craved with lotus petals. At the front, the scene when the Lord Buddha taught Pimpa or popularly called “Pimpapilap” is carved. The scene is called “Pimpapilap” because Pimpa was both delight and sad when she met the Lord Buddha.

The Lord Buddha was in a sitting posture with dropping legs. He was in a building, which was believed to be Pimpa’s residence. The Lord Buddha turned his face to the left. On the bottom left, there was Pimpa spreading her hair to rub the feet of the Lord Buddha. At the back of Pimpa, there was Rahul and the followers. There was an umbrealla and a whip close to Rahul. On the right, there was a man kneeling, which might refer to King Suthothana. There were followers at the back. Close to this picture, there were two whips and high utilities similar to “Bangsul”

This boundary marker contains several pieces of evidence related to Dvaravati culture in the northeast such as the style of building with covered roof, the city or the palace gate, the use of high utilities, and the rituals of worshiping noble people by spreading one’s hair to rub feet.

Discovered from Fahdaadsongyang, Kamalasai District, Kalasin

The building that has gable roof and a curving frame reminds us of the gable roof of Thai traditional house. Besides, the multi-tier gate reminds us of the Prasat gate in Ayutthaya and Rattanakosin. There might be some forms of relationships between them.

รุ่งโรจน์ ธรรมรุ่งเรือง, ทวารวดีในอีสาน. กรุงเทพฯ : มติชน, 2558.

รุ่งโรจน์ ธรรมรุ่งเรือง, “หลักหิน-ใบเสมาในวัฒนธรรมทวารวดีภาคตะวันออกเฉียงเหนือของประเทศไทย” กรุงเทพฯ สถาบันวิจัยและพัฒนา มหาวิทยาลัยศิลปากร, 2557.

ศักดิ์ชัย สายสิงห์, ศิลปะทวารวดี วัฒนธรรมพุทธศาสนายุคแรกเริ่มในดินแดนไทย. กรุงเทพฯ : เมืองโบราณ, 2547.