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ArchitectureGoa Gajah Cave
The most famous monument at Gua Gaja is the man-made cave. The entrance of the cave is decorated with the ferocious face of Kāla with protruding eyes for dispelling the evils, typical to Eastern-Javanese-and-Balinese art. Surrounding the face, there is the sculptural depiction of the wildwood, including the imitation of rocks and the depictions of wild animals The cave is designed as the T-shaped narrow cave with the seat meant for hermit.
ArchitectureGoa Gajah Fountain
The sacred fountain had already been popular since Eastern Javanese period. The idea of constructing the fountain was inspired by the believed of the auspicious and superstitious power of the water, including the bestowal of the abundance and the power of sanctification. The separation of the ponds at Gua Gaja suggests the separation of male and female during the ablution. The statues of goddess holding pots as the fountain sculpture are assignable as the symbols of abundance.
ArchitectureKunung Kawi
Candi Gunung Kawi is the series of nine rock-cut temples on the cliff adjacent to the river, considered to be the best example of the rock-cut temple in Bali. Furthermore, these temples are the good examples of the traces of Eastern Javanese Art in Bali. As the roofs are decorated with series of miniature temples which are normally absent in Balinese towers, the towers at Gunung Kawi are datable to Eastern Javanese Art. The location of these temples, by the river, also sanctifies the river.
ArchitectureStupa: Wat Si Meuang
Stupa at Wat Si Meuang is made of laterite, which is different from stupas in other arts that are normally made of bricks. The remains include the inverted lotus base with the plain middle element decorated with a pointed moulding. This stupa is often mistaken as a Khmer architecture. However, the laterite is smaller than that of Khmer and the use of pointed mouldings consolidates that this is definitely not a Khmer architecture.
ArchitectureThat Luang
The huge mound in the center seems to be the most ancient element of the Stupa. After some renovations, the top element and the subsidiary Stupas were added. These subsidiary Stupas seem to be connected with either the perfections of the Buddha (Paramita or Baramee) or the Tamavimsa paradise. This Stupa was entitled as Lokachulamani, imitating the name of the stupa in the paradise inside which the hairy relics was enshrined, suggests that the city is comparable to the heaven and the king himself is comparable to Indra, the lord of deities.
ArchitectureMaha That
This stupa comprises the square Lanna-fashioned broad bases supporting the multi-angled body, the series of sloping roofs in octagonal plan and the small bell-shaped spire. The style of this stupa is closely similar to that of Lanna Stupa in 15th-16th century, such as the Stupa at Wat Lokmoli which was built for containing the mortal remain of King Muang Ketklao. However, the architectural details of Wat Mahathat Stupa is slightly different from those of Lanna Stupa. These differences suggest the later renovations.
ArchitectureWat Saen Stupa
This stupa is of genuine Lan Chang style. It consists of Bua Khao prom base that has continuously curving lion’ feets. This was inherited from Lion base (Singha base) in the middle Ayutthaya. The middle element is removed and the inverted and the overturned lotus bases meet each other. These lotus bases also flicking up to sooth witg the outer line of the base. The middle part is the angled lotus with a soothing outer line. This angled lotus is a distinctive feature of stupa in Lan Chang art appearing both in Luang Phra Bang and Vientiane schools of art.
ArchitecturePu Si Stupa
This stupa has “angled lotus” as an important aspect following Lan Chnag style. However, the plain lotus base is more connected to the stupas of Lanna influence as shown in Wat Ar Pai and Wat Meun Na in Luang Phra Bang as well. The stupa in a redented square base is a common plan for stupa in Lan Chang.
