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Arts in Southeast Asia Database
SculptureLuang Por Sri Meaung
This Buddha image is in seating posture and a subduing Mara attitude. It has small hair buds, flame-like halo, round face, sharp shin, clear hair lines, big eyes, very large nose, smiling mouth of Lanchang style. The monastic cloth splits and extends to the abdomen. The fingers are large and of the same length. It is seated on a lotus base with Singha and inscription at the octagonal base underneath.
SculpturePhra Sai
This Buddha image is in seating posture and a subduing Mara attitude on a lotus base. It has small hair buds, flame-like halo, round face, sharp shin, clear hair lines, curved out eyebrows, straight-looking eyes, smiling mouth of Lanchang style and thick lips. The monastic cloth splits and extends to the abdomen. The fingers are small and of the same length.
ArchitecturePhra Maha Chedi Si Ratchakan
Phra Maha Chedi Sisanphetchadayan, Phra Maha Chedi Dilokthammakaroknitan and Phra Maha Chedi Munibatborikhan are all Chedi Songkhrueang of redented Chedi on a redented tiered pedestal which achieved its popularity during the reign of King Rama 3 with some distinctive artistic traits of those of the late Ayutthaya period as follows: the lower architectural elements include multi-tiered pedestals with lion-legged corners (Than Singha or lion bases) and Bua Khlum or lotus petal mouldings. The Gharbhaya (hemispherical domes) in shape of a bell with four-redented corners, and superimposed lotus petal mouldings, conical spires, single bead mouldings, and upmost conical spires. All of the architectural elements are adorned with glazed porcelain and pottery with different patterns. Phra Maha Chedi Sisanphetchadayan is ornamented with green glazed pottery, Phra Maha Chedi Dilokthammakaroknitan is decorated with white glazed porcelain, and Phra Maha Chedi Munibatborikhan is adorned with yellow glazed pottery. The Chedi erected by King Rama IV ทรงสร้าง a redented Chedi, decorated with deep blue glazed porcelain. This type of Chedi had been popular since the mid-Ayutthaya period onwards.
Architecturethe ordination hall of Wat Phrachetuphon Wimonmangkhararam
The Ubosot is a masonry building in traditional Thai style. Its pediment is decorated with traditional Thai roof finials, gilded and ornamented with glass mosaics. The building has square masonry supporting columns without lotus caapital. The boundary wall’s exterior framings surrounding the Ubosot are decorated with marble bas-relief sculptures depicting Ramayana or Rammakian. The doors’ exterior panels are decorated with pearl inlay depicting figures of character in Rammakian, while the interior panels are decorated with lacquer works depicting fans of rank for Phra Rachakhana, Phra Khru Sanyabat and Phra Khru Thananukrom belonging to the Gamavasi and the Arannavasi sections from both pronvinces and bangkok. The mural painting of the Ubosot is painted: the panels above the interior window casings depict Mahosadha pandit or Mahā Ummagga Jātaka, the walls between door and window casings display the stories of the top disciples, and the interior window panels are decorated with lacquered position seals of the monk leaders in the cities and in the provinces during the reign of King Rama III. The exterior window panels are carved in Kaeochingduang patterns or overlapping circles and lozenge flowers.
SculptureReclining Buddha
The Buddha lies on his right side or Sihasaiyat. His right hand supports his head supported by a square pillow ornamented with Chinese floral motifs. The Image shows Rattanakosin artistic characteristics, that is, a calm face, eyes looking down towards the floor, arched eyebrows, thin lips, long ears, small ringlet hair curls, an Uṣṇīṣa, and a flame-shaped aureole. Also, the Buddha wears a thin, plain monastic robe along his left arm while exposing his right shoulder. The Sanghati or uppergarment covers his left shoulder along to his navel, and the hem of the uppergarment falls in undulating folds. The ankle-length Antaravasaka lower garment has a front pleat-fold, and the strap of the belt is shown.Both feet of the Buddha is decorated with pearl-inlaid chakra and 108 auspicious illustration motifs. The 180 auspicious illustrations can be categorized as follows: 1. Symbols of fortune and abundance, i.e. Purna-ghata or water pots, twin fish, Swastika, gem garlands, and lotus. 2. Regalia of kings and Cakravartin; for instance, 7 Ratnas, royal regalia, thrones, royal vehicles, etc. 3. Symbols of Loka or spheres according to the Buddhist cosmology; for example, Mount Meru, the Cosmic Ocean, the 4 dvīpas, Kāñcanaparvata or the seven mountains surrounded Mount Meru, the Himavanta Forest, etc.
SculptureThe attitude of subduing Mara
The Buddha image is in the attitude of subduing Mara siting simple cross-legged on the plain base. It has the oval-shaped face. The hair curls are not small, yet not big. The aureole is flame-liked and quite short. It has arched eyebrows. The eyes are partially open gazing low and the outer corners of the eyes are uplifted. It has a hook nose with curvy lips like a wave. The body is well-proportioned. The outer robe is long reaching the navel and its edge is folded like the centipede fangs. The fingers are not equal in length and the index finger is a little bit lifted. The image has Thai alphabet during Rattanakosin period specifying “Sankhalok”, written in Rama I period which means this Buddha image was respectfully engaged from Sawankhalok or Si Satchanalai during the respectful invitation event from Sukhothai.
PaintingVipassana Meditation Murals
Vipassana Meditation painting was painted on the wall between the windows on the left of the principle Buddha. The background of the painting is the drawing of the forest with brown rocks. There are pictures of monks and villagers in different position. The men wear loincloths with breechcloths. Women wear sarongs and cover with Sabai. The skin color of each person is different. Even though the artist starts to use shading technique in drawing, the dimension of the painting is still missing, according to the visualization principal. Traditional Thai paintings in the old days are the same; the artists wrote short descriptions under the paintings.
