Guide to Muang Boran (New)

Thailand’s living Past but this place portrays roots of Thai society and culture that our ancestor founded for us and our next generation.

Guide to Muang Boran introduces all sites in Muang Boran (or Ancient City) with background information of each place that will make you understand Thai civilization.

Price 300 Baht ISBN 974-7383-57-8

Muang Boran

From the strong will above, Ancient City is not only a portrait of

Guide to

“ I would like to draw the attention of the world population to come to witness our art, customs and culture.

I believes certain that in one day or another they will benefit the noble spirit and will be a good reminder to those who are drawn to materialism.

Thus the “Ancient City” has been created.”

Guide to

Muang Boran

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Guide to Muang Boran

OBJECTIVE

Ancient cities, ruins or architecture are historic and constitute the splendors of the past. The past is the time, gone by, and its period represents a definite portion of time fixed by events occuring in nature or man-made in history, which follow one after another. The difference is that one precedes the other as the manner of the sun and the moon, which take turns to give brightness to provide days, months and years.

All phenomena have no point of beginning that can be clearly seen. There is a rotation - each following the other in regular order in a cycle. The effect today follows the cause of yesterday. The change of tomorrow is what happens today. Therefore, man must know the events of the past.

If we have no knowledge of the past, it is somewhat like a vessel without a compass and a rudder on the high sea. What will happen to that vessel is a matter of grave concern.

Moreover, great harm is derived from ignorance, but more harm is still caused by not knowing truly and yet pretending to know. The result is sure to be ruinous. In ancient as well as in present times, the successes and failures in innumerable cases result from such cause. True knowledge in art requires the time to study, pass and encounter many difficulties in bringing the unknown to light.

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Guide to Muang Boran

Nowadays everything seems to become narrower and narrower. A tiny thing, which occurs in one small corner of the world, may be able to stir all over the Globe. Thus I am perturbed by the anxiety that the changing of the modern society, due to pressure of material things coupled with the present East and West cultures facing each other in a violent manner, might become still more serious. All the intellectuals or pundits should take special notice on these events matter. Even those who hold their own bibles as their refuge for centuries have to leave their beliefs and turn to consider matters which they think antagonistic.

I strongly believe that the morality of the world population is deteriorating. And at the same time I cannot deny the advancement of science that is so valuable to mankind, incomparable in any era. We, Asians, believe that the scientific approach can bring knowledge to human beings. But it cannot elevate the spirit of man. It has only paved the way for materialists in their search for worldly happiness.

Everything has to depend on the suitable position, right nucleus and right time. The suitable position means the position that is rightly appropriate. The nucleus means growth under limitation. The right time means the needed environment at the time. If heaven needs something to remain, it will not develop beyond the limitation of growth. This is the state of balance according to the law of nature.

Suitability and beauty have no boundary in age. This can be proven by the existence of art, paintings and architecture that were beautifully created by man as lasting treasures and have been handed down to us by our ancestors. Every piece of art is priceless. Some have become world treasures and adored by art lovers. They seem to have no nationality, no religion, no limit in time. Only art has bestowed the refreshing spirit on human beings up to the present day. Therefore, we should give more serious thought and interest to art.

It is not only Art that has been given to us by our forbears. One must mention Culture here also. Both are linked as a national heritage.

Some have been left without care, or in other words to be carved for by nature, and worse still destroyed by the hand of man. Though culture has been regarded as old fashioned, yet it is still suitable for human society.

Under the circumstances, I would like to draw the attention of the

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world population to come to witness our art, customs and culture.

I believes certain that in one day or another they will benefit the noble spirit and will be a good reminder to those who are drawn to materialism. Thus the “Ancient City” has been created. This may remedy the existing moral deterioration of human society. But whether or not, this great problem can be solved and can achieve its aim, and who will solve it, my answer is that it will not be an individual but everybody together.

It is not a matter of time from morn till night. It is to be months, years and even centuries. There is an old saying that “To build a hill, a lump of earth has its own value”. This can be compared with a traveller. Each step contributes and has its own value. To complete the building of one hill, it has to depend on the first lump of earth. To reach the end of the journey, it has to depend on first step.

If my own motto is not consonant with those who uphold that the present society is right and should advance its course further, I am compelled to implore them to do justice to what justice is. Seek goodness from the thing that we hate; seek badness from the one you love, in order that these can be in evidence to help judging the Thai art, customs and culture of old; and whether they are as valuable as I judge them to be.

What will be the result?

I leave it to Heaven to ordain.

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Stepping into Muang Boran “By looking around the world history, We will see changing scenes describing various episodes of each human race, nation and person moving and rotating continuously and infinitely.

By conscience, men are able to think and desire in what may be seen, known, and remembered, which gives us hope, which in the same way, gives us concern.

In fact, it is only a mist clinging around us and leading us into a rotating space, creating love and hate.”

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CONTENTS OBJECTIVE

3

31

Khun Chang-Khun Phaen Garden

11

32

The Fruit-Shaped Tower

1

The Royal Stand

2

The Information Pavilion

13

3

The City Wall and Gate

15

4

I-Nao Garden

17

5

The City Sala

19

6

The Manohra Garden

21

7

The Stupa of Phra Maha That, Nakhon Si Thammarat

8

Saraburi

85

A Monk’s Residence

89

35

Prang Sam Yod, Lop Buri

91

36

The Wihan of Wat Pho Kao Ton, Sing Buri

37

The Courage of the People

38

The Thai Hamlet from

of Bang Rachan

25

The Stupa of Phra Maha That,

the Central Plains

Chaiya, Surat Thani

27

10

The Old Market Town

29

39

11

The Tiger King’s Palace, 33

40

The Krai Thong Garden

41

The Prang of Wat Chulamanee,

Phetchaburi The Scripture Repository

35

13

The Bell Tower

35

14

The Stupa of Phra Maha That,

92 95 97

The Gateway of Wat Pho Prathap Chang, Phichit

12

83

The Footprint of the Lord Buddha,

34

23

The Pallava Group of Images, Phang-nga

9

(Prang Mafueang), Chai Nat 33

81

98 101

Phitsanulok

103

42

The Sukhothai Wihan

105 109

Ratchaburi

37

43

The Garden of the Gods

The Palace Garden

39

44

The Fortified Wall

16

The Audience Hall of Thon Buri

41

around Kamphaeng Phet

114

17

The Buddha Image of

45

The Floating Market

119

15

18

Dvaravati Period

45

46

The Wihan at Wat Phrao, Tak

123

The Dvaravati House

47

47

The Lotus-Bud Tower

125

48

The Bench of Public Appeals,

19

Khun Phaen House

49

20

The Great Battle of Yuthahathi

51

21

Monument of Krom Phra Ratchawang Boworn Maha

Sukhothai

127

49

Noen Prasat, Sukhothai

129

50

The Grand Hall of Wat Maha That, Sukhothai

131

Surasinghanat

53

22

Three Pagodas Pass, Kanchanaburi

55

51

23

Dusit Maha Prasat Palace

Sukhothai

133

(The Grand Palace)

57

52

Phra Lo’s Garden, Phrae

134

24

Rattanakosin Dwelling

61

53

Ho Kham, Lampang

137

25

The Wihan at Wat Phra Si Sanphet,

54

The Chedi of Cham Thewi,

Ayutthaya 26

Wat Chong Kham, Lampang

141 143

65

56

The Wihan at Sa-Moeng

57

Chedi Chet Yod (The Seven-Spired

27

Sanphet Prasat Palace, Ayutthaya

67

The Ramayana Garden

75

29

The Kam Yaad Palace Hall, Ang Thong

75

The Phra Kaew Pavilion

79

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139

55

Ayutthaya 28

30

Lamphun

63

The Chom Thong Palace Hall,

The Main Chedi of Wat Maha That,

Pagoda), Chiang Mai

145

58

The Wihan of Wat Chiang Khong, Chiang Rai

147

59

The Water Hall

149

60

The Northern Thai Village

151

90

Prasat Sikhoraphum, Surin

217

61

Phra That Chom Kitti, Chiang Rai

153

91

Dvaravati Wihan

218

62

The Wihan at Wat Phumin, Nan

155

92

The Garden of Sacred Stupa

221

63

Phra Chedi Si Song Rak, Loei

157

93

Prasat Sadok Kok Thom, Sa Kaeo

223

64

The Mondop Containing Footprints

94

The Ancient Theatrical Pavilion

225

of the Lord Buddha, Uttaradit

158

95

The Hall of Wat Nimit, Trat

229

65

The Yamaka Patihan

161

96

The Garden of Phra Aphaimani,

66

Phra That Bang Phuan, Nong Khai 162

67

The Shrines

68

The Garden of Pha Daeng-Nang Ai 167

69

Phra That Narai Cheng Weng,

165

Sakon Nakhon

Rayong 97

at Chachoengsao 98

169

70

The Lan Chang Styled Scripture

71

Phra That Phanom,

Repository and Wihan Nakhon Phanom

171 173

Prasat Phra Wihan (Preah Vihear),

231

The Old Fort and Wall 232

The Red Block Building, Chanthaburi

235

99

The Shrine Housing the City Pillar 237

100

Sala of Ten Reincarnations

101

Giant Swing and Brahmin Temple

241

102

Sumeru Mountain

243 245

239

103

Sala of 80 Yogi

Si Sa Ket

175

104

The Royal Water-Course Procession 247

73

The Reclining Buddha

179

105

Mondop of Bodhisattva

74

Nang Usa’s Look-Out Tower, 181

106

Bodhisattva Avalokitesvara

72

Udon Thani

Avalokitesvara (Kuan-Yin)

75

The Folk Museum

183

76

Phra That Ya Khu, Kalasin

185

77

Ku Khu Maha That, Maha Sarakham

187

78

Prasat Hin Nong Ku, Roi Et

189

79

The Garden of the Prince

249

(Kuan-Yin) Performing a Miracle

251

107

Sala of Ramayana

253

108

Phra That Mondop

255

109

A Botanical Garden from Thai Literature

257

110

Pavilion of the Enlightened

259

of the Golden Conch

190

111

The Rainbow Bridge

261

80

The Prang at Si Thep, Phetchabun

192

112

Pavilion of Recollection

263

81

An Image of Hindu Deity

113

Thai Junk

265

114

Sala 24 Katanyu

with a Mitred Crown

195

82

The Meditation Retreat

197

83

The Buddha Image Being Protected by the Naga

199

84

The Thai-Songdam Village

200

85

The Stupa of Wat Phra That Sam Muen, Chaiyaphum

86

203

The Phimai Sanctuary, Nakhon Ratchasima

116

205

The Phanom Rung Sanctuary, Buri Ram

209

88

The Octagonal Sala

213

89

The Churning of the Ocean

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267

Sala Kong-Beng (Zhuge Liang’s pavilion)

269

Mondop Phra Si Thit

271

NOTES

274

MAP OF THE ANCIENT CITY

87

9

(Pavilion of Icons of Gratitude) 115

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1| The Royal Stand The Royal Stand, made of laterite and plaster, was constructed in the Sukhothai style. The small Thai pavilion is raised on this stand to house a statue of Brahma, the Hindu deity who is the official symbol of Muang Boran.

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2| The Information Pavilion Traditionally, a Thai pavilion (or sala) is built outside the city walls in front of the main gate, to serve as a shelter for travellers who are waiting to enter the city while the city gate is still closed, because the city entrance is opened only at certain times.

The pavilion at Muang Boran is built in the Sukhothai style. The roof is pitched at an extremely acute angle and is supported by round wooden pillars and beams, unique style of Sukhothai art.

This Thai pavilion at Muang Boran, functioning as an information center, houses the ticket counter and tourist information desk for visitors to Muang Boran.

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3| The City Wall and Gate The driveway entrance to Muang Boran is modeled after the oldest stone fence at Maha That Temple, Chalieng, Sukhothai. The stone fence dates back to the 12th or 13th century A.D. The unique architecture of this gateway is possibly influenced by the gateway at Sanji Stupa, India, the oldest Buddhism gate which was built around the 3rd century B.E. Those passing through the auspicious gate, known as the Triumphal Archway, will find everlasting prosperity and happiness.

The laterite wall and the round pillars, used to help support the gate, are finely and painstakingly built and decorated.

At the pinnacle of the lintel are the faces of the Bodhisattva Avalokitesvara on all four sides; which symbolize the Buddha’s merit which radiates in every direction according to Mahayana Buddhism.

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4| I-Nao Garden I-Nao, one of the classical literature originating from the late Ayutthaya period, is believed to have been taken from Indonesian literature.

The story tells of a complicated love between two main characters: I-Nao and Busaba.

After living through many obstacles, I-Nao and Busaba were finally reunited and lived a blissful life everafter.

Muang Boran sculpture the two characters, I-Nao and Busaba to present the theme of the story and portrays them in the garden.

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23| Dusit Maha Prasat Palace (The Grand Palace) In the early Rattanakosin era, the Dusit Maha Prasat Palace was an audience hall, where affairs of the state were conducted and royal ceremonies performed. The palace was built by King Rama I in 1806 A.D. The structure is a cruciform building with large high roofs. In the beginning, the palace was intended to be as large as the Suriyat Amarin Palace of Ayutthaya.

The Dusit Maha Prasat Palace was constructed on the former site of the Indraphisek Palace which was accidently struck by lightning and burnt to the ground.

The Dusit Maha Prasat Palace in the Grand Palace is now the only remaining example of the traditional Thai palace left in Thailand. Unfortunately, renovated in the reign of King Rama III, the building left no trace of the original workmanship initiated in the first reign.

The Grand Palace at Muang Boran, however, is not intended to model after the same palace as it stands today. By painstaking research and study of old photos and contemporary documents, Muang Boran has succeeded in recreating the original appearance of the palace.

As for the structural form, the Dusit Maha Prasat Palace at Muang Boran has a number of significant changes from the present-day appearance of the hall. For example, some freestanding pillars which were removed from the original palace during the reign to King Rama VI were reconstructed in the middle of the throne room. The posts are meant to help support the large high roof of the building.

The design and color scheme of the pillars are taken from the pedestal of the Reclining Buddha at Wat Phra Chetuphon Wimonmangkararam (or Wat Pho) in Bangkok. The style and ornamentation of the ceiling are taken from the design on wood carvings in private collections. The elaborately ornamented porch facades conform with old pictures of the ancient Thai ‘prasat’ building.

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27| Sanphet Prasat Palace, Ayutthaya The Sanphet Prasat Palace was the principal palace in the early Ayutthaya period. It was initially built in the reign of King Phra Baromatrai Lokanat, the eighth king of the Ayutthaya Kingdom. He succeeded in designing a unique architectural style that obviously differed from the preceding Khmer and Sukhothai styles. The distinctive artistic style was later known as the Ayutthaya school which appeared in many parts of the Sanphet Prasat Palace: the sweep of the basement, the tapering pillars, the elaborate pinnacle ornaments, the pedimented door and window frames and the overlapping roof slopes.

The Sanphet Prasat Palace was used in many important court and state ceremonies. For example, it served as a reception hall to receive many foreign dignitaries. The palace was completely renovated in the reign of King Baromakot. Unfortunately, when Ayutthaya fell to Burma in 1767 A.D., the stately palace was burnt to the ground. Only its raised brick basement remains today.

Muang Boran has rebuilt the Sanphet Prasat Palace based on archaeological and historical evidence left by Thai and foreign historians. Also, research was conducted on the ruins to assemble a draft plan of the building. The detailed design and ornaments of the building were executed based on historical remains and documents as well. A proper study on the design of the interior had also been carried out.

The result is superb magnificence. The important characteristics of the palace are given as follows: The Overall Structure and Ornaments of the Building The cruciform of Sanphet Prasat Palace is formed by the core of the building, a tall cube rabbeted at each angle, and two wings adjacent to both sides of the central hall. The front and back wings are in fact large halls, but the effect is that of porches abutting a central tower. The largest porch, i.e.,

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33| The Footprint of the Lord Buddha, Saraburi The mondop housing the Footprint of the Lord Buddha, one of the most sacred places of Thailand, is the architectural style of Ayutthaya art.

It is established on the top of a hill in Saraburi.

According to a Saraburi folk tale, a hunter named Phran Boon followed a deer that he had shot to the ridge of a low hill. There, he saw the wounded deer drinking water from a small pond. Astonishingly, the wounds on the creature’s body suddenly disappeared.

When the deer fled, the hunter came to look at the pond and saw that the pond was in fact the footprint of the Buddha. Being reported and investigating the site himself, Phra Chao Song Tham found the ancient Buddha footprint of which its appearance in Siam was foretold by Ceylonese monks in a Ceylonese scripture.

Muang Boran rebuilt Mondop of Footprint in accordance with two distinctive accounts from Thai literature: Nirat Phra Bat written by Sunthorn Phu, the eminent poet of the Rattanakosin era; and Punnowat Kham Chan by Phra Maha Nak of Wat Tha Sai. Both stories had been written before the reconstruction of the mondop took place in the 19th century A.D. The interior was rebuilt from an earlier Thai document by Khun Khlon.

The footprint housed in the mondop at Muang Boran was a gift from an Indian president.

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43| The Garden of the Gods The splendid Garden of the Gods at Muang Boran has been painstakingly created. It is a collection of contemporary bronze images of the various Hindu gods; most of which are often mentioned in Thai classical literature and have been well-known among Thai people for centuries.

The bronze statues in the garden include: (1) Vishnu (or Phra Narai) asleep on the back of Naga Ananta, the Naga Serpent King, floating on the middle of the ocean.

Laksmi, his consort, sits at his feet holding a whisk.

(2) Brahma (or Phra Phrom), the second major deity of Hinduism who is believed to be the creator of the universe,

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45| The Floating Market The floating market provides an ideal rural backdrop to the daily life of the people living on the banks of the river; especially the local life in the central plain of Thailand.

The community relies greatly on water transportation; rivers and canals became the most important trade routes for people along the rivers. One result of their industry has been the gradual evolution of the floating food market. The lively picture of houseboats, boats carrying an assortment of goods and rice barges can be easily seen in the floating market community.

The floating market at Muang Boran is a reflection of traditional Thai life along the river. The rivers and canals formed an important communication system that brought about social integration and prosperity to the community.

The people on both sides of the river are connected by bridges and walkways surrounding the community.

The floating market is an example of perfect social integration. Though the people are different in race, religious beliefs and culture, they can live in peace.

As we can see, Buddhist temples, Christian churches, Islamic mosques, Chinese spirit houses and even local spirit houses stand in harmony in the same community.

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68| The Garden of Pha DaengNang Ai Nang Ai, the most beautiful girl in Khomkham City, had secret trysts with Pha Daeng, the ruler of Phaphong.

Her beauty, unparalleled and celebrated, was eventually discovered by the son of the Naga king. The Naga prince, transformed himself into a very handsome gentleman and tried to charm her, but did not succeed in winning her heart. Finally, he attempted to trick her by disguising himself into a white squirrel in order to get close to her and kidnap her from Pha Daeng. But, when Pha Daeng and Nang Ai saw the squirrel, they ordered a hunter to trap it. The prince, in the guise of the squirrel, is killed by the hunter. The meat of the animal is fed to the people in the town.

Strangely, the meat of the squirrel kept increasing even though much of it had already been cut off to feed both the people in the city and neighboring towns.

Thereafter, a huge rainstorm struck the town suddenly.

Considering that it was not a common natural occurrence, Pha Daeng tried to escape quickly on horse with Nang Ai, but in vain. Nang Ai fell from the horse and was drawn into the river. The city became a vast pool. The spirit of the dead squirrel turned into the king of Naga, taking Nang Ai into his underwater kingdom. It was said that those who had not eaten the meat were saved from the tragic event.

Muang Boran constructed a group of statues based on the legend of Pha Daeng and Nang Ai. This monument will surely further the imagination of those viewers who were once stirred by the local tale of the Northeast, Pha Daeng and Nang Ai.

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72| Prasat Phra Wihan (Preah Vihear), Si Sa Ket Prasat Phra Wihan (Preah Vihear) stands on the summit of Phra Wihan Hill on the edge of the south face of the Phanom Dong Rak Range escarpment on the Thai-Cambodian border, Si Sa Ket Province. This sanctuary was built in the reign of King Suryavarman I around 1038 A.D. As for the architectural style, beginning from the depression at the foot of the hill slope and moving up to the hill, one passes through a series of 4 groups of stone structures established at different levels. All buildings have gable roofs but not the spired pyramid roofs of palace structures.

It would be more correct to call the ruins a monthien.

The crest of the hill is a slab of stone projecting out over the cliff face. A short path leads down to the natural rock shelter underneath the overhanging stone.

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89| The Churning of the Ocean Based on Hinduism mythology, once when deities became less powerful and were threatened by mightier ogres, they asked for help from Vishnu or Narai.

The god recommended they hold a ceremony, known as the “Churning of the Ocean”, to make a magic potion from the ocean water so they would get back their power.

However, the deities could not carry out the great ritual on their own. So, they asked for help from the ogres.

To make the potion, they placed Mandala mountain, which was supported by a giant turtle, another reincarnation of Vishnu, in the ocean and tied it with a Naga (a mythical serpent) named Wasukree. While the ogres pulled the Naga by the head, the deities pulled its tail so the ogres got burnt when fire blew from the Naga. Unfortunately, the ogres had been tricked by the gods and their intention in having the potion did not come to pass.

At the moment the holy water (amarit water) came out from the ocean, Vishnu, in the guise of the female angel, led the ogres to the opposite direction so they missed the chance to drink the holy water. Learning the truth when they returned, the ogres grew enraged but could not threaten the deities anymore because from then on the deities were much more powerful than them.

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102| Sumeru Mountain According to Thai cosmology, Sumeru Mountain is considered the pillar of the world as well as the center of the universe. The mountain, supported by Anondha fish, stays above the surface of the water. It is the residence of spirits ranging from deities in heaven to devils in hell.

The beings living by the mountainside also include humans, naga, garuda, ogres, ogresses and yogi.

Each of them is distinguished by wisdom and morality.

On the top of the lofty mountain is the heaven called Tavatimsa where Trai Trueng City is located.

The city is believed to be the kingdom of gods where Sakka or Indra is the king. Indra’s most important responsibility is to protect the serenity of the world community. His divine kingship is a result of the merit he had made during his past lives.

Sakka lives in a castle called Phaichayon Maha Prasat (Phaichayon great grand palace). In the center of the castle stands the heavenly throne, namely Bandu Kamphon, which will turn stiff when the world falls into disastrous catastrophe. Learning the situation, Indra will come down from heaven to help save his people on earth.

Sumeru Mountain is surrounded by an ocean, called Nathi Si Thandorn, while the Himaphanta Forest and Anodata Pond are at the foot of the mountain.

Four springs, which are illustrated by the faces of 4 different animals including the lion, elephant, horse and ox, are located at the 4 cardinal points of the pond. Through the ox spring only, the water flows from the pond into the ocean.

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Thailand’s living Past but this place portrays roots of Thai society and culture that our ancestor founded for us and our next generation.

Guide to Muang Boran introduces all sites in Muang Boran (or Ancient City) with background information of each place that will make you understand Thai civilization.

Price 300 Baht ISBN 974-7383-57-8

Muang Boran

From the strong will above, Ancient City is not only a portrait of

Guide to

“ I would like to draw the attention of the world population to come to witness our art, customs and culture.

I believes certain that in one day or another they will benefit the noble spirit and will be a good reminder to those who are drawn to materialism.

Thus the “Ancient City” has been created.”

Guide to

Muang Boran