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Arts in Southeast Asia Database
SculptureBodhisattva
The Bodhisattva is in a standing position with its eyes closed conveying peace. In the center of the head, long hair is put up in a ponytail. There are 4 arms but the right arm at the back is missing. The fingers are bended as if to hold onto something. The upper part of the body is bare and the lower part is with thin shorts without stripes.
SculptureBuddha image Sheltered by a Naga
The Buddha image is sitting in a cross-legged position. The shin is as sharp as of the real person. The image wears a slanted yellow rope. The rope is very thin with no stripes. The face of the image is calm, the eyes are closed, the corner of the mouth slightly lifted, the hair curls in spiral, the frame of the face is a little convex. There are 3 layers of Naga supporting the image and in the back of the image, there are many Naga’s heads.
SculptureThe lintel from the north of Prasat Khao Noi
It is a rectangular-shaped lintel. Straight lines with curved ends cross the center of the lintel. The lines are decorated with 5 oval patterns; the inside and outside of the oval patterns are decorated. Under the straight lines are engraved patterns of garlands and a bunch of flowers. Next to both curved ends there is a standing lion supported by a square base. The lower part of the base shows Kanok pattern.
SculptureThe lintel from the north of Prasat Khao Noi
It is a rectangular-shaped lintel. The middle is engraved with 4 consecutive curved circles. The confluence of each arc is decorated with an oval pattern. Inside the oval pattern is decorated with an image of an angel on a vehicle. Under the curved lines are engraved patterns of garlands and a bunch of flowers. Next to both curved ends is a dragon facing inward with Its mouth open as if it is blowing out an arc of fire. There is an image of a person sitting above the dragon and the dragon is supported by a square base.
SculptureKing Jayavarman VII
Both arms and the left knee of the sculpture of King Jayavarman VII are missing. The sculpture has a plump body, square face, closed eyes with the corners of the mouth lifted slightly; its long hair is put up in a bun shape. The upper part of the body is bare and the lower part is clothed in shorts. The sculpture is sitting in a cross-legged position. The arms are missing so it is unknown as to which gestures the sculpture is making. However, some suggested that it is positioned to pay salutation by putting the palm together; because if the arms are on the laps or in a meditating position, there will certainly be a handprint on the lap.
ArchitecturePrasat Kumpanglang
Prasat Kumpanglang is surrounded by a square laterite wall. It is facing east. Inside the laterite wall is the location of four laterite prasats in Khmer Arts. The 3 prasats in the front were arranged in a north-south line. The principle prasat is taller than the other two. This is similar to Prang Sam Yod in Lopburi.The fourth prasat is located behind the principle prasat on the east side. Stucco patterns appear on this prasat. In the front there is a gopura or an entrance. Inside the laterite wall on the eastern area appears a pond. Important artifacts that were found here are the radiant Avalokiteshvara Bodhisattva, the body part of the 4- arm Avalokiteshvara Bodhisattva, the body part of a Buddha image Sheltered by a Naga, and the head of Prachya Paramita. The use of laterite as the main material for the construction and the layout of the diagram displays the motto of the Buddhistic Triad. The northern prasat is Prachya Paramita, the central prasat is the Buddha image Sheltered by a Naga, and the southern prasat is Avalokiteshvara; the arrrangement of the idols like this is found in Mahayana Buddhism during the 18th century B.E. in the reign of King Jayavarman VII; therefore, the age of the site can be determined to be contemporary with King Jayavarman VII. The Preah Khan Inscription of Cambodia mentioned Mueang “Srichaiya Watcharapura” (Mueang Phetchaburi) that it was one of the six ancient Mueangs in the Central Region where one of 23 Pra Chaiya Buddha Mahanat had been sent from Mueang Phra Nakhon Luang to be enshrined in Mueang Phetchaburi. When compared to the ancient ruins, it can be confirmed that this Prasat Kumpanglang is the prasat mentioned in the inscription. Prasat Preah Khan is a prasat that is contemporary with King Jayavarman VII as well.
ArchitecturePrasat Sikhoraphum
There are 5 prasats located on the same base. The Principal prasat is the largest and the other 4 are surrounding the Principle prasat in each corner. Except the east side which is an entrance, the prasat is surrounded by a ditch.This prasat was built in the 17th century B.E. which was the time of mixed arts in Nakhon Wat style. The date can be judged by the patterns on the door frame and the lintel of the principle prasat. However, this prasat was built with bricks while other prasats built in the Nakhon Wat style found in Cambodia always use sandstone. The diagram of Prasat Sikhoraphum is different than other prasats in Thailand because there are 5 prasats located on the same base with the principle prasat in the middle surrounded by other 4 prasats in each corner. Generally, there are only 3 prasats located next to one another on the same base found in Thailand.Each of the prasats are not connected; they all are stand- alone prasats. The walls are plain and the main material are bricks. The engraved areas such as lintels, door frames, and door frame’s pillars were done using sandstone. The mix of these two materials had appeared before since Prasat Wat Sa Kamphaeng Yai that is located nearby and it is a local style of Khmer prasat in Thailand because prasats built in the Nakhon Wat style found in Cambodia always use sandstone to engrave. Since there is an image of Shiva Nataraja appeared on the lintel of the principle prasat, it is highly possible that this prasat was built in Shaivism. These 5 prasats might be the places where the Shiva lingam, the symbol of Shiva, used to be located. Later on, this prasat was transformed into a religious place in Theravada Buddhism by people who immigrated from Laos. Important evidences include door frames inscriptions, and the restoration of the top of the prasat that is located in the southwestern area of the prasat, to make it resembling to the relics in Lan Chang Arts in Buddhism. It has been reconstructed to mimic the castle’ spire in Khmer Arts, but its style is clearly different from its prototype. The jackfruit petals have been rearranged as well.
ArchitecturePrasat Ban Phlong
It is a small single prasat built from sandstone located on a large cross-shaped Phaitee laterite base. The fact that the laterite base has two wings which are much larger than the prasat itself can assume that that there might be a plan to build a surrounding prasats. However, those prasats are not in existence nowadays. It is unknown whether the prasats had never been completed or they were built with wood, so they had all been lost.This is an example of a small prasat with quite complete carvings. The main entrance is in the east while the other three are false doors. The prasat has beautiful engravings in Baphuon Arts both on the lintel and the gable. Therefore, the age of the prasat can be assumed to be around the late 16th century B.E to the early 17th century B.E. The peak of the prasat might be built with bricks but it was lost over time. The lintel of this prasat usually consists of a Kala face sticking out a triangular tongue to the front and spitting out a garland and this is a typical Baphuon style. Sometimes there is a bunch of flowers to separate the crescent lintel and sometimes there are none. This proves that the crescent and non-crescent lintels are popular in contemporary times.The gable is in Baphuon style. It is in a shape of a flower stalk facing downward. There is a Naga with a visor. Inside of the gable composed of flora patterns with a Kala face underneath. With the appearing visor, it may be possible that this prasat is in the late Baphuon period and its age may be slightly later than Prasat Khao Phra Viharn and Prasat Mueang Tum. Both the gable and the lintel of this prasat show images of Krishna in various episodes such as Krishna lifting the Kovanthana mountain and Krishna subdued Naga Kaliya. In addition, the images of Indra on the Erawan elephant also appeared in several areas.
