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Arts in Southeast Asia Database
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 Ku Suantang
Prasat Kusuantang is a group of 3 prasats located on the same laterite base. There is only one stairway in front of the central prasat. These 3 prasats are made of bricks. They all are facing east and they were lined up in a north-south line. The central prasat is larger than the other two prasats. The prasat is in the added corners diagram with the principle corner being the largest. The eastern side of the prasat appears two bases which are assumed to be Banalai.The prasat has been restored. The prasat at the center is in perfect condition. The bottom base is a lotus base made of laterite. Next to it is the whole brick prasat with a porch protruding to the east. Nowadays, the protruding part of the porch has collapsed and only a door frame made of sandstone remains. The layout of the top part up until the peak still exist but not much detail can be seen.The top of the prasats on the side has almost completely collapsed. The northern prasat has a low laterite base. Next to that is a prasat the the whole building was made of bricks. There is an entrance and exit on the east side. Its roof partially collapsed and not much details left to study. The peak of the prasat in the south collapsed more The diagram of each prasat with an added corner pattern was popular during the 16th century B.E. onwards, but from the discovery of the lintel and the decoration of the Naga on the peak determined the age of this prasat that it should be around the 17th century B.E.
ArchitecturePrang Ku
Prang Ku is another archaeological site that has the same layout and characteristics as the Arogayasala archaeological site. The evidence that proves that it was built in the 18th century B.E. is the layout with one Principle prang in the middle, one Banalais or repositories for scriptures in the front surrounded by a wall with gopura only in the front. All were built with laterite except the door frame, lintels, and decorative pillars that are sandstone. They are facing east. There is one pond in the north- east of the prang that is still in a perfect condition. The principle prang is a 5 meter square with 12 wooden recess corners. There is a front door at the front with a porch while the other 3 sides are false doors. There is a Buddha image at the center of the prang sitting cross- legged in a meditating position. Both hands of the image are holding a garland. On both left and right sides of the images are the 4-arms Avalokiteshvara Bodhisattva and Prachya Paramita. The front has a lintel with possibly the same images but they are very faded. There is also a stone Buddha image sitting cross- legged in a meditating position at the false door on the north. The image is in Dvaravati Arts. It is 1.75 meters high and the lap is 7.5 meters wide. This image was transferred from another place.
ArchitecturePrang Srithep
Prang Srithep archaeological site consists of the principle prasat, Banalai or repositories for scriptures, Gopuras, walls, a platform or the cross-shaped walkway, the Naga Bridge, and a rectangular building that runs parallel to the Naga Bridge.The Principal prasat is a brick prasat in a square plan with corners added. It is located on a two-story lotus petal base made of laterite. The entrance is on the east, the other three entrances are false doors and inside the false doors are holes made to place sculptures of idols.Currently, there are no traces or decorations on the prasat. The original architecture might have a wooden roof at the front of the building since traces of a large round pole and a lot of clay roof tiles on the floor of the lotus petal base.From the antiquities found in the area of Prang Srithep, an image of Shiva with four arms included, therefore the age of Prang Srithep is determined to be around the 16th-17th B.E.
ArchitecturePrang Song Pi Nong
The style of architecture is the Khmer prasat built with bricks. There are traces of plaster on the outer wall. The diagram consists of two prasats located nearby in the north-south line on the same Phaitee base and they both are facing west. The larger prasat is at the north of the smaller one on the square diagram. There is a porch extended on the west side which is the entrance, and the other 3 sides are false doors. In front of the porch appears a cross-shaped laterite base. The roof has collapsed but the decoration of laterite carambola petals on the roof were found from excavating further. Therefore, it was assumed that the upper part was probably done in tiers. Each tier is decorated with postures of the Naga until the peak. The overall shape of the upper part is in a canopy shape like the one of Prasat Hin Phimai or Phanom Rung which is an important development of the Khmer prasat in the 16th century B.E.Originally, there was only the lower part of Rueanthat left of the small prasat on the south side, but later it had been repaired and expanded to install the lintels found in the same area. The overall materials and shape are the same as the larger prasat but the complexity of the base and the layers of Rueanthat had been reduced and the front porch was not formed. Important artifacts found around Prang Song Pi Nong are a Shiva lingam, a Yoni base, and a Nandi buried underground at the building base level, and therefore assumed that Prang Song Phi Nong was originally a religious place enshrined Shaivism in Brahminism. The age of the site might be assumed to be around the 17th century according to the lintels and the doorframe pillars that are in Khmer Arts, Baphuon style found from the excavations.
ArchitecturePhra Phuttha Prang
All three Prangs are on the same Paitee base (the shared ground base which supports many types of building together). The lower part of these three Prangs is the set of pointed-center lotus base. Ruean Dhatu of the principal Prang is the cruciform Mondop style. There are the sculptures of Giants standing and holding bats at the indented corners of Prang. The wall on the indented corners area is decorated with Kab Brahmasorn (a style of decoration on posts). The roof is a cruciform three-tiered tile roof. The roof is decorated with Chofa, in form of Nok Chao style (one head Naga), Bai Raka and Hang Hong in descending order. The spire has 6 tiers in stack decorated with tightly leaf-like petal sculptures. There also is a tier that is decorated with the angel sculptures putting the hands together on their chests, and the giant sculptures holding things over head motifs. Other two flank Prangs have the same forms. However, they are smaller. The roof has two tiers. The gables are plain triangles, no Nok Chao, Bai Raka, and Hang Hong.
ArchitecturePhra Prang Daeng
Phra Prang Daeng is a prasat-typed stupa in cross plan whose tiered pediment in the portico of four directions are built according to traditional Thai style. The influence of Khmer Art shows through five pyramidal plump chambers and the principal edges which are increased. Furthermore, Each doorway has two pilasters and one architrave. Although, the elements on the top are not decorated as same as Khmer prasat, the framework still shares the similar character. The construction is also related to the western technic of true-arched building and using bricks for the top instead of stones.
ArchitecturePrang Sam Yot
Prang Sam Yot is a laterite ancient khmer temple. It was exclusively built with laterite except for the sandstone at the pediments and other minor parts. During the Ayutthaya period, brickworks were applied at the windows. Now stucco decoration has been mostly gone.The main sanctuary consists of three linked tower on the north-south axis and are oriented toward the east, All three towers share the same architectural style but the central tower being the tallest. The main sanctuary is in an indented plan with portico on four sides. Inside eace tower contains a base for the statue which is now removed. The superstructure comprises 5 tiers of scaled-down roofs topped with a lotus bud ornament, originally there should be a nine-tiered trident which is now lost. In front of the central tower stood the rectangular brick hall or vihara with an arch door. The vihara houses a seated buddha image.
