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ArchitectureMaha That
This stupa comprises the square Lanna-fashioned broad bases supporting the multi-angled body, the series of sloping roofs in octagonal plan and the small bell-shaped spire. The style of this stupa is closely similar to that of Lanna Stupa in 15th-16th century, such as the Stupa at Wat Lokmoli which was built for containing the mortal remain of King Muang Ketklao. However, the architectural details of Wat Mahathat Stupa is slightly different from those of Lanna Stupa. These differences suggest the later renovations.
ArchitectureWat Saen Stupa
This stupa is of genuine Lan Chang style. It consists of Bua Khao prom base that has continuously curving lion’ feets. This was inherited from Lion base (Singha base) in the middle Ayutthaya. The middle element is removed and the inverted and the overturned lotus bases meet each other. These lotus bases also flicking up to sooth witg the outer line of the base. The middle part is the angled lotus with a soothing outer line. This angled lotus is a distinctive feature of stupa in Lan Chang art appearing both in Luang Phra Bang and Vientiane schools of art.
ArchitectureWat Sop Stupa
This stupa was hugely influenced by the ornamented stupa of Rattanakosin especially the bell-shaped element that is redented into 12 corners and the set of round lotus.However, this stupa was the creation of a new style by turning the ornamented stupa of Rattanakosin into the Prasat style that has the chamber and base that are different from stupas in Rattanakosin.
ArchitectureWat Apai Stupa
This stupa is hugely influenced by the bell-shaped stupa in Lanna art in many ways. The lotus base is redented and has wide middle plain element. The base supporting the bell-shaped element is in the round plan changing from the sloping mouldings in Lanna art. Also, the bell-shaped element is small. However, this stupa was not built in the same period with Muang Rai dynasty, but was built later around the 24th century BE. The dating was based on the fact that the stupa is small and the lotus has changed a lot from the Lanna art.
ArchitectureSim: Wat Xiang Thong
Sim (the ordination hall) of Wat Xiang Thong is the most significant example of the pavilion in Luang Prabang school. The most important characters are the multi-angled plan providing several doors scattering at every corner of the body. The pediment edge is of curvilinear contour reaching the ground level. The tympanum is divided in to several small square panels (Ma Tang Mai tympanum system). Below the frieze is the double-arched fillets which is the character that share both in Laotian and Lanna art. The style of the pavilion in Laun Prabang school is closely similar to tha of Lann art in Northern Thailand.
ArchitectureCho Fa: Wat Xiang Thong
Sim at Wat Xian Thong is the most complete sim in Lan Chang art of Luang Phra Bang school of art. At the ridge of the roof, there is a gable apex or the copy of Meru mouth. This symbilises that sim is the center of the universe surrounded by 7 Suttaboribhan mountains of different heights. At the edge, there is a universal mountain and at the bottom, there is fish ti represent the ocean. Such representation of Meru always appears in paintings both in Myanmese and Thai arts. This may be the model of the gable apex in Lan Chang art.
ArchitectureSim’s Gateway : Wat Xiang Thong
Sim at Wat Xian Thong is the most complete sim in Lan Chang art of Luang Phra Bang school of art. The interior decoration is very beautiful, being decorated with Kham pattern. At the front wall, there is a picture of gods paying respect to a chedi, which may be Chulamanee on the heaven. The sim’s gateway has the characteristics of Lan Chang that share many characteristics with Lanna art including the gate pole is decorated in three parts: high arch tiles, low arch tiles and the flower. The top of the Prasat is a tier of a large sloping roof topped with many tiers of lotus flower shape elements.
ArchitectureFuneral Urn Storage : Wat Xiang Thong
Funeral urn storage is the latest type pf building at Wat Xiang Thong. It was built to store the ashes and the royal chariot. This is the reason why the front wall consists of wooden pieces so that it is easy to reassemble when the royal charioy needs to be used. The front wall is craved with secral stories from Ramayana such as Srida and the fire, Raman fighting the giants, Tossakan fighting Chadayu bird and the fall of Tossakan. These were carved by “Piertan” who was the royal craftman in the late 25 to the early 26 century. This craftman had a unique artistic characteristic that has become the present Laotian school of art in that the cravings are very real following the realism, but wear the traditional ornaments. Also, the carvings are in the mist of Kanok pattern leaving no blank space.
