Artwork Search
Arts in Southeast Asia Database
SculptureBuddha image Sheltered by a Naga
The Buddha image is sitting cross-legged with the hands in a meditating position. It is sitting on rolls of the Naga’s body and at the back is the hood of Naga spreading.The face of the sculpture is in square shape decorated with many things including pointed round shape earrings, a visor, and a cone tiara that is composed of layers of lotus petals which is one of the distinctive features of the Khmer Buddha image in the Bayon style. The image is also wearing neck accessories and bracelets. Although there are spaces between the body and the arms causing the feeling of being naked which is an outstanding feature of Lopburi Arts Buddha images However, it appears to have the edge of the slanted robe on the chest and the square robe on the left. There is a round cartridge placed in the right hand. There are 3 rolls of the naga’s body that is supporting the Buddha image. The top roll is the thickest and the widest then descending in size and the decorative patterns are like snake chips. There are 7 Naga’ s heads at the back of the Buddha image. They are in an outline that looks like Bodhi leaf. The head in the middle is the largest and the other 6 heads on the side are the same size. All of the smaller heads are facing the large head.
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.
SculptureMeditating Buddha image
The sculpture is sitting on a lotus base in a meditation position. The face seems calm and in a square shape. Both eyes are looking low. The eyebrows are more arched than the general Buddha images in Lopburi Arts. The nose and the mouth are well balanced. The hair between eyebrows is in the center of the forehead and there is hair from the visor above the forehead as well and this is one point that differentiates this sculpture from other general Buddha images in Lopburi Arts.The hair is put up into a spiral shape and the skull raised in the middle of the head is in a spiky cone shape. The sculpture is wearing a slanted robe with a large rectangular double-thick outer robe engraved over the left shoulder. The base that supports the sculpture only shows the lotus petals facing up.
SculptureThe radiant Avalokiteshvara Bodhisattva
The radiant Avalokiteshvara Bodhisattva is in a standing position but with missing limbs as in the head, hands, shins, and feet. The chest, shoulders and upper arms of the body are decorated with many rows of Buddha images that looks like armor.There is a large image of a person in the middle of the chest and the waist and this might refer to Prachya Paramita. The image wears shorts with roughly engraved pattern. Its lower body from the thigh to the feet is in disproportion according to the sculpture in Bayon style.
SculptureThe radiant Avalokiteshvara Bodhisattva
The radiant Avalokiteshvara Bodhisattva is standing on a square base. Its condition is complete except for the 8 hands that are missing. The sculpture has a square face, closed eyes, with the corners of the mouth lifted slightly as in Khmer Arts, Bayon style. The hair is put up in a cylinder shape and the hair is decorated with the image of Amitabha Buddha and many other Buddha images. The upper part of the body is decorated with rows of Buddha images that looks like armor. There is a large image of a person in the middle of the chest and the waist and they might refer to Prachya Paramita. All 8 hands are missing. The image wears shorts with roughly engraved pattern. His lower body from the thigh to the feet is in disproportion. Every toe has on a ring.
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.
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.
