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Arts in Southeast Asia Database
SculptureThe attitude of subduing Mara
The statue is sitting with the hands in the gesture of subduing Mara. It is supported by a lotus base. The style of the statue reflects the influence of Lanna style. The main characteristics are rounded face, lotus-bud halo, plump body, slanting rope with a zig zag seam across the left chest.
SculptureBuddha
The attitude of subduing Mara is sitting on the plain lotus base with a lot of decorations. There is a decorated crown, sharped earrings. The body is full decorated with filter neck, breastplates, and breast chain. It is then called “Full-decorated Buddha image”.
SculptureThe attitude of subduing Mara
The attitude of subduing Mara is sitting on the plain lotus base without any decorations. This style reflects the style of before Ayutthaya – early Ayutthaya or the 1st and the 2nd generation of U-Thong Buddha images. It is also related to the large section of Sukhothai arts.The significant characteristics that transfer from the 1st and the 2nd generation of U-Thong Buddha images are the sitting position on a plain lotus base in the attitude of subduing Mara. The hair looks like the thorns of jackfruit. The oval face, flame-like halo, and curve eyebrows show the relation with Sukhothai arts. The not wavy hairline style is also associated with a large section of Sukhothai arts. This Buddha image wears the rope with a long-large straight seam. The right hand is on a leg. The style is gentler than the 1st and the 2nd generation of U-Thong Buddha and this might relate to Sukhothai’s Buddha image style.
SculptureThe attitude of subduing Mara
The attitude of subduing Mara is sitting on the plain lotus base without any decorations. This style reflects the style of before Ayutthaya – early Ayutthaya or the 1st and the 2nd generation of U-Thong Buddha images. It is also related to the large section of Sukhothai arts.The significant characteristics that transfer from the 1st and the 2nd generation of U-Thong Buddha images are the sitting position on a plain lotus base in the attitude of subduing Mara. The hair looks like the thorns of jackfruit. The oval face, flame-like halo, and curve eyebrows show the relation with Sukhothai arts. The straight hairline style is also associated with a large section of Sukhothai arts. This Buddha image wears the rope with a long-large straight seam. The right hand is on a leg. The style is gentler than the 1st and the 2nd generation of U-Thong Buddha and this might relate to Sukhothai’s Buddha image style.
ArchitectureRelics of Nakhon Si Thammarat
The current form from the base until the top of the Relics Nakhon Si Thammarat is as follows.The bottom part is high surrounded by a balcony called Tubkaset Vihara. The stairway leads to the courtyard is in the north, which is the side that is connected to Pra Song Maa Vihara. That makes the stairway automatically located inside the Vihara. The walls of the base are decorated with pillars. On the pillar, there are some standing Buddha images with the disciples inside the camber. On each side of the camber, there are six elephants that only half of their bodies are shown; except on the north that appears only 4 elephants because some of the space is used for the stairs. The top part is gold plated and decorated with Precious gems.
ArchitectureReception Hall for Envoys
This building was constructed with bricks and covered with plaster. It has a rectangular floor plan with an entrance on the east. It is heavily damaged, only the front and the rear wall remain. These walls show large pointed arch doors in the middle and two smaller windows on either sides above which there are two more sets of windows; 3 windows in the middle row and a single window at the peak of the wall, all of which are pointed arch. There should be rows of windows and doors on the side walls which have long disappeared as well. The building is surrounded by a narrow pool.
ArchitecturePhra Thinang Dusit Sawan Thanya Mahaprasat
This throne hall was oriented toward the east. Its main building material is brick and is covered with plaster. The space of the room was divided into 2 sections. The front part of the hall is a rectangular room lined with pointed arch windows along the walls of three sides: east, north and south. Its full pediment roof which is now destroyed would likely made of wooden structure and tiles. The second section occupies a space at the back of the hall. It is a two-storied room of which the wooden floor was all destroyed, only rows of pilaster and a large pedestal in the middle remains. A window on the east wall of the upper floor was where King Narai received audiences beside which there was an exit leading down to the front hall. The roof of this section was plausibly adorned with prasat-typed spire.
ArchitecturePhra Narai Ratchaniwet
Phra Narai Ratchaniwet is rectangular in plan covering approximately seven hectares of land. The entrance faces eastward to the town. It is surrounded by fortified walls built with brick and plaster. The walls are surmounted by bai sema along the length with fortresses on each side and corner.The palace compound is divided into 3 sections: the outer, the middle and the inner courts.Remaining buildings in the outer court are water tank, the Twelve Royal Storage, Reception Hall for Envoys, Phra Chao Hao Hall and Royal Elephant Stable. Among significant buildings in the middle court are Phra Thinang Chanthara Phisan, Phra Thinang Dusit Sawan Thanya Mahaprasat, King Mongkut’s the Phra Thinang Phiman Mongkut group and Thim buildings. The inner court features two important buildings which are Phra Thinang Suthasawan and Phra Pratieb buildings.
