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Arts in Southeast Asia Database
SculpturePhra Phaisachayaguru
The sculpture is sitting on a base in a meditation position, decorated with lotus petal pattern. It is wearing a crown with a visor and layers of tiaras and round shape earrings on the ears. The upper part of the body is bare and both hands are holding a pot of water in a stomach position.
SculpturePhra Phaisachayaguru
The sculpture is sitting on a base in a meditation position, decorated with lotus petal pattern. The face is in a square face. It is wearing a crown with a visor and layers of tiaras and round shape earrings on the ears. The upper part of the body is bare and both hands are holding bolts in from of the stomach.
SculpturePhra Phaisachayaguru
The sculpture is sitting on a base in a meditation position, decorated with lotus petal pattern. The face is in a square shape. The eyebrows are sharp and nearly straight and the eyes are widely open. The mouth is protruding. It is wearing a crown with a visor and layers of tiaras and round shape earrings on the ears. The upper part of the body is bare and both hands are holding bolts in front of the stomach.
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.
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.
SculptureArdhanarishvara
Ardhanarishvara is positioned sitting cross-legged or yokasana supported by a rectangular base decorated with lotus petals. Both arms were broken, so the gesture is unable to be identified. On the right side of the sculpture is Shiva viewed from the flat chest. On the left side is Aumadavi viewed from the visible breast. In addition, the difference between the two can be seen from their dresses. The dress of Shiva is short in at knee length while the one of Aumadavi is at shin length.
ArchitecturePrasat Sa Kamphaeng Yai
The prasat has a crooked balcony surrounded in a square shape. Inside the crooked balcony, there are 6 buildings, three of the principle prasats are located on the same base. At the front there are 2 Banalais in rectangular diagrams, and at the back there is one more prasat which is indented to the south, that makes imbalance to the diagram.The principle prasat was built using both sandstone and bricks as the main materials. The wall of the prasat is usually built with bricks. Sandstone was used with the engraving area such as gables, lintels and decorative pillars at the door frame. Incidentally, the combination of two types of materials in the same building is considered a unique feature of Khmer Arts in Thailand only.Though the patterns found at the Principle prasat of Prasat Sa Kamphaeng Yai were influenced by Nakon Wat Arts, however, the diagram and architecture elements still shows a connection with the old style castle, such as no long Mondop but only a short porch, etc. There is only one prasat situated outside of the diagram of the three principle prasat. Its location is behind the three prasats towards the south. The motto of building this prasat is still unknown. However, it can show the imbalanced construction of Khmer prasats in Thailand.
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.
