In the folder titled "Sacred Sites," the restored ruins of Buddhist temples—Sukhothai, Phimai, and others—can be found. The temples included in this "Buddhist Temples" folder are all actively functioning today as living places of worship.

Fine examples of traditional Thai art and architecture are often found within what has been the single most important institution in most Thai communities: the wat—temple or monastery. The Theravada Buddhism that these temples represent—and which plays an important role in the everyday lives of most Thais—encompasses strains from several belief systems that preceded it, originating not only in the area of what is now Thailand but in India and other neighboring countries as well. Those strains include strong echoes of prehistoric animism, Hinduism, and Brahmanism, all reflected in various architectural forms and much of the temples' iconography.

The temples seen in these galleries are among the most significant historically, architecturally, and/or artistically. However, they are presented here with no attempt to observe their chronological order, geographic location, or possible influences one from another (apart from whatever explanations may appear within individual galleries). We begin with a personal favorite: Chiang Mai's Wat Phra Singh.

Wat Phra Singh

Chiang Mai, once capital of the northern kingdom of Lanna, is the site of several temples of significance. Wat Phra Singh, dating from the 14th century, was built by King Pha Yu of the Mengrai dynasty in part to house the remains of his father, Kham Fu, seventh king of Lanna. Seen here is the smaller of the temple's two viharn or assembly halls, at left, dating originally from 1345, and the 19th-century ubosot or ordination hall, at right. The large, white, bell-shaped chedi or stupa derives from Sri Lankan stupas of similar design.
The golden bargeboards of the temple's smaller assembly hall terminate in the highly stylized heads of naga, serpentlike creatures, here serving symbolically as protective guardians.
The interior of the small assembly hall contains splendid murals created in the 19th century. They depict scenes from two of the jataka tales, stories that tell of the 500-some incarnations of the Buddha before he attained enlightenment and became the Buddha.
The murals date from the reign of Chulalongkorn, Rama V. This scene is from Sang Thong, the story of the Prince of the Golden Conch, a non-canonical tale.
Typical of temple murals of the northern Lanna kingdom generally, the Phra Singh murals reflect the historical clothing styles, architecture, and daily customs of the north of Thailand, which were influenced to a great extent by interaction with the Burmese.
Detail from the Prince of the Golden Conch mural
A prince of Lanna and his entourage
In the story of Sang Thong, Prince of the Golden Conch, suitors from neighboring kingdoms have come to compete for the hands of King Samon's seven daughters.
The elegant princely attire is in the style of Bangkok during the fifth reign, i.e., that of Chulalongkorn, Rama V.
The men in the foreground seen here wear the somphot, a length of cloth wrapped between the legs and tucked in at the waist in back. Some have tattoos on their legs. Those kneeling before the prince show their respect by raising their hands in the traditional Thai wai.
Detail from the Prince of the Golden Conch mural
Phra Singh's smaller assembly hall also houses the Phra Sihing Buddha, seen here on the left. The gilded-bronze image's head was stolen in 1922, later replaced by a replica placed over the original body.
In another detail from the murals, Shan men are seen here in their turbans and striped shawls. Their legs are heavily tattooed, more apparent on the Tai Lu man holding the red umbrella, whom the Shan are following.
On another wall of the smaller assembly hall, murals depict the non-canonical jataka tale of Phra Suwannahong, Golden Swan or Goose.
Detail from the Phra Suwanahong mural
Among their other characteristics, the Wat Phra Singh murals portray a somewhat broader picture of everyday life than that generally seen in many of the temple murals in the central plains in and around Bangkok.
Gilded and lacquered side door and door frame in the smaller assembly hall
Detail of a guardian figure on the carved wooden door of a small chapel housing a reclining Buddha to the rear of Wat Phra Singh
Another carved door detail depicts a part-bird part-human figure called a garuda.
The ho trai or library at Wat Phra Singh, built in 1477, is a jewel of Lanna-style architecture. Beneath the triple-tiered roof, its elaborate gable is decorated with designs in stucco, glass mosaic, and gilded lacquer, all sitting atop a stucco-covered base enlivened with playful carvings of guardian thewada figures and a variety of fantastic animals. Ho trai, originally used to store palm leaf manuscripts, were generally built on stilts or otherwise raised above ground to protect the manuscripts from termites and from excessive humidity.
Another view of Wat Phra Singh's ho trai
Two of the somewhat whimsical-looking guardian thewada figures that encircle the base of the ho trai. Thewada are among the several components of Theravada Buddhism that have been adopted from prehistoric animistic beliefs.
A frieze of fantastic animals also encircles the base, below the larger thewada figures.
The animals are from the paradisiacal Himaphan Forest of Hindu mythology, located at the base of Mount Meru, home of the gods. The part-elephant part-bird creature is a hasadiling.
Even mermaids make an appearance.
The south portico entrance to Wat Phra Singh's ordination hall is adorned with gilded decorations covering the columns and the elaborately carved archway. The latter features a small menagerie of fantastic creatures likely meant to serve as guardians. Flanking the entry are two thewada similar in appearance to those modeled in stucco around the base of the temple's library.
A detail of the multi-tiered roof of the temple's larger assembly hall is seen here. The finials at the apexes of the bargeboards are characteristic elements of Thai temple and royal architecture. Called cho fa, they are often suggestive of highly stylized birdlike forms.
A carved and gilded wooden detail adorning the larger assembly hall
More stylized gilded naga terminating the bargeboards of the large assembly hall

jim wageman | photos i am

Wat Phra Singh