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Arts in Southeast Asia Database
SculptureThe Ku Phra Chao Lan Tong
The Ku Phra Chao Lan Tong has a base consisting of two lotus bases overlapping in the Yok Gej plan without Look Kaew Ok Kai. The bottom was added to decorate the Lanna stucco pattern, including flowers, leaves, and animal pictures inserted. Ruen That is a square room with three corners on each side. There is a Yok Gej in two corner arch, and each corner has a decorative pattern. Ruen That has a lotus base at the bottom and a lotus tiara on the top. There is a Phra Chao Lan Tong house inside with f a line angel’s decoration in the arch. Ruen That is a combination of a stacked floor and sloping roofs, which are popular styles in Lanna art.
ArchitectureKuti Ruesi Ban Khok Mueang
It is a rectangular diagram with an outmost laterite wall with an arch entrance or gopura in the east. Inside at the center is located the principle prasat made of laterite. Some parts have sandstone at the door frames. There is a porch at the east entrance. The other 3 entrances are false doors. On the southeastern side of the inner wall is a laterite Banalai as well. Some parts of the gopura and the Principal prasat are decorated with a gable or a lintel in Naga or Magara with Naga. It is assumed that this is the art style of the 16th – 17th century B.E. However, the decorations are not perfectly connected with the wall and the principle prasat, therefore it may be as to bring the old items attaching to the new buildings. Nevertheless, if these pieces are original then it may be assumed that there had been a religious place built around the 16th century B.E. Later, in the 18th century B.E., it was adapted to be a chapel of Arogayasala in Mahayana Buddhism.
ArchitecturePrasat Khao Noi
The layout of Prasat Khao Noi consists of 3 brick buildings located in the north-south line. The northern and the southern ones have already collapsed, only the central one remains intact. The northern and the central prasats are on the same base but the northern prasat was extended outward. The southern prasat is on a base with the same height but slightly apart with only a connection by a brick base on the back. It can be seen that the construction of these 3 buildings are not in alignment which is similar to the construction of the prasats in Mueang Phra Nakhon of Khmer, which is not very organized.The north side of the prasat has a rectangular layout. There is only one entrance and one exit on the east side. The doors on the other sides are false doors. The entrance was extended so the diagram of the building is deep. The room’s diagram is rectangular with a curved hole on each side.The central prasat is a brickwork in a square plan extended with twelve wooden corners. There is only one entrance and one exit on the east side. The doors on the other sides are false doors. Inside is a room with different length on each side. The prasat on the southern side is a rectangular building on a brick base with the building made up of walls. There is a porch on the east entrance and the diagram inside the building is rectangular as well.
SculptureThe lintel from the middle Prasat Khao Noi
There are two Magaras engraved on both ends facing inward, spitting out four arc circles. It looks like there is a figure riding on top of the Magara and the bottom of the Magara has a base to support it. In the center and crescent areas where the curved patterns meet, there is an oval pattern or a three coin-shaped circle pattern. There are patterns of beads all around the edges of the curved circles. At the edges of the coin-shape circle pattern are both rosary and curled leaf patterns. Inside each coin-shaped circle engraved a deity on a vehicle while at the center within the curved patterns engraved four flower petals. Above the curved pattern, there is an upright leaf pattern and the bottom part of the curve engraved in garland patterns and inside each garland is a wavy leaf; they are the same size. The aforementioned details can be compared to the 7th Prasat Sombor Prikuk on the south.
ArchitecturePrasat Ku Phanna
It consists of the principle prasat in a square shape located in a center of a laterite wall in a rectangular diagram. The top part of the prasat has already collapsed. There is only one entrance and one exit on the east side. The doors on the other sides are false doors. The entrance and exit door was made into a long room with the porch in the front. The southeastern area of the principle prasat only appears the base of Banalai or repositories for scriptures made of laterite in a rectangular diagram. At the center of the east laterite wall appears an arch door or gopura in a cross-shaped square. Outside the wall on the northeastern side, there is a rectangular pond made of laterite as well.
SculptureBoundary marker
The top boundary marker has a pointing edge. It is craved with Indra, his consort and Erawan elephant. Indra is seated in “Lalitasana” posture and holds thunder in his left hand. The tree at the back is assumed to be Parichart, the tree of the second heaven where Indra dwells. On his left, there are 3 people and 1 bird. These are all his consorts including Suthamma, Sujittra, Sunandha, and Suchada who was reborn as an egret because she had not had enough merits. At the back of the consorts, there is “kanok” pattern of Dvaravati style. On the right of Indra, there is an Erawan elephant.
SculptureStuccos of Musicians
There are five women sitting in a row. They only wear “Panung” while the top part of their body is covered with a cloth hanging through their shoulders. The left woman was playing wooden rhythm clappers, the next woman was singing, the middle woman was playing 5-stringed lyre, the next woman was playing mall cup-shaped cymbals and the woman on the right was playing the lyre.
ArchitectureWat Thongnoppakun’s ubosot
The ubosot is a Thai traditional building, masonry Building. The roof is stacked layers wood with tiles. The gable decorate with gable apex, bairaka, Haghgss and posture of Naga. It is assumed that the work was in post King Rama III reign. There are more decorative decorations that use symbols, which were characteristic of the reign of King Rama IV. The gable of ubosot has two layers, the upper layer is Tripitaka on phan(tray with pedestal) flanked by the candlestick. The lower layer decorate with angels sculpture. It maybe consistent with the painting inside the temple depicting the Tripitaka. The ubosot has three entrance doors, the center is crown shape. Another two is castle shape. The center window is crown shape. Another two which is flank is fan of ranks shape.
