| THE ARCHITECTURE OF WAT SRI SANPHET |
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The monastic structures in Wat Sri Sanphet were basically straight aligned on an
east-west axis. The main entity was formed by the prasat, the three chedis with their
mandapas, and the Royal vihara or chapel presiding over all structures.
The three chedis, being the core of the temple, rested on a high platform with the later
built mandapas (square structures with a spire) situated at the eastern side of each chedi.
The elevated platform was surrounded by a walled gallery, running from the Westside of
the Royal chapel towards the eastern portico of the prasat, a cruciform structure.
On both sides of the Royal chapel were minor vihara aligned north to south. On the north
side stood the Vihara Phra Lokanat (the Vihara of the Protector of the World). On its
south side stood the Vihara Phra Palelai (the Vihara of the Parileyyaka Buddha). A
second north-south alignment was formed by the ordination hall (east of Vihara Phra
Lokanat) and by the Sala Chom Thong (east of Vihara Phra Palelai). The bell tower
stood nearly in the same axis, but in front of the Royal chapel.
We will define some of these structures by following more or less the timeline of
construction of the monastery.
east-west axis. The main entity was formed by the prasat, the three chedis with their
mandapas, and the Royal vihara or chapel presiding over all structures.
The three chedis, being the core of the temple, rested on a high platform with the later
built mandapas (square structures with a spire) situated at the eastern side of each chedi.
The elevated platform was surrounded by a walled gallery, running from the Westside of
the Royal chapel towards the eastern portico of the prasat, a cruciform structure.
On both sides of the Royal chapel were minor vihara aligned north to south. On the north
side stood the Vihara Phra Lokanat (the Vihara of the Protector of the World). On its
south side stood the Vihara Phra Palelai (the Vihara of the Parileyyaka Buddha). A
second north-south alignment was formed by the ordination hall (east of Vihara Phra
Lokanat) and by the Sala Chom Thong (east of Vihara Phra Palelai). The bell tower
stood nearly in the same axis, but in front of the Royal chapel.
We will define some of these structures by following more or less the timeline of
construction of the monastery.
| Text & photographs by Tricky Vandenberg - April 2010 |
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The Three Chedis
The first chedi on the eastern side was constructed by King Ramathibodi II (r. 1491-1529) in 1492 A.D. to enshrine the ashes of his father, King
Borommatrailokanat (r. 1448-1463).
On the inner wall of the crypt is a mural painting on lead sheets believed to be from the period of the construction of the chedi, depicting Buddhist monks
walking while holding lotus flowers in their clasped hands. Fine Arts Department (FAD) found during excavations in 1932 in this chedi a stupika consisting of
eight smaller stupas, one enclosing the other likely to have contained the relics of the deceased king. The outer stupa crumbled. The other seven are on
display at the Chao Sam Phraya Museum.
The first chedi on the eastern side was constructed by King Ramathibodi II (r. 1491-1529) in 1492 A.D. to enshrine the ashes of his father, King
Borommatrailokanat (r. 1448-1463).
On the inner wall of the crypt is a mural painting on lead sheets believed to be from the period of the construction of the chedi, depicting Buddhist monks
walking while holding lotus flowers in their clasped hands. Fine Arts Department (FAD) found during excavations in 1932 in this chedi a stupika consisting of
eight smaller stupas, one enclosing the other likely to have contained the relics of the deceased king. The outer stupa crumbled. The other seven are on
display at the Chao Sam Phraya Museum.
The second chedi - the present middle one - was built at the same time of the first, to enshrine the ashes of his elder brother, King Borommaracha III (r.
1463 -1488). The two chedis were lined up on an east-west oriented axis. Eight years later, a Royal vihara was constructed in the same alignment of the
chedis.
The third and western chedi was built 40 years later by King Boromracha IV (r. 1529-1533) to enshrine the remains of his father, King Ramathibodi II.
All three bell-shaped chedis are identical and were constructed on a rectangular platform. The chedis are built in the Sukhothai style - derived from the
Srivijayan stupa, characterized by superimposed pedestals - only differing from the latter that they have four outward-jutting porches in the four cardinal
directions, decorated with a small – identical to the main chedi – stupika on the roof of the porch - a feature probably derived from the Khmer architecture.
The porches have a niche in which a standing Buddha image was placed on three sides. The porch on the east side gave access to the garbhagrha, a small
sacred chamber in the interior of the chedi in which consecrated objects, in this case the King’s ashes, were contained.
A typical feature of the Ayutthaya-styled chedi is the presence of vertical pillars (Th: Sao han) decorating the shaft and supporting the spire above the
harmika. The vertical pillars break the monotony of the repetitive horizontal rings of the pinnacle. It is a characteristic differing from the Sukhothai-styled
stupa and this design was probably for the first time here initiated.
The chedis of Wat Sri Sanphet demonstrate thus the beginning of a new architectural style, influenced by the Sukhothai art, at the same time abandoning the
prang-styled construction of the Early Ayutthaya Period.
1463 -1488). The two chedis were lined up on an east-west oriented axis. Eight years later, a Royal vihara was constructed in the same alignment of the
chedis.
The third and western chedi was built 40 years later by King Boromracha IV (r. 1529-1533) to enshrine the remains of his father, King Ramathibodi II.
All three bell-shaped chedis are identical and were constructed on a rectangular platform. The chedis are built in the Sukhothai style - derived from the
Srivijayan stupa, characterized by superimposed pedestals - only differing from the latter that they have four outward-jutting porches in the four cardinal
directions, decorated with a small – identical to the main chedi – stupika on the roof of the porch - a feature probably derived from the Khmer architecture.
The porches have a niche in which a standing Buddha image was placed on three sides. The porch on the east side gave access to the garbhagrha, a small
sacred chamber in the interior of the chedi in which consecrated objects, in this case the King’s ashes, were contained.
A typical feature of the Ayutthaya-styled chedi is the presence of vertical pillars (Th: Sao han) decorating the shaft and supporting the spire above the
harmika. The vertical pillars break the monotony of the repetitive horizontal rings of the pinnacle. It is a characteristic differing from the Sukhothai-styled
stupa and this design was probably for the first time here initiated.
The chedis of Wat Sri Sanphet demonstrate thus the beginning of a new architectural style, influenced by the Sukhothai art, at the same time abandoning the
prang-styled construction of the Early Ayutthaya Period.
Vihara Luang
The Royal chapel was built in 1499 in the reign of King Ramathibodi II, prior of course
the construction of the third chedi, which would contain the latter’s ashes. The initial
vihara had eleven sections of approximately 4.6 meter length, totaling a length of 50
meters. The construction stood isolated from the two chedis already built. The building
had a front and back porch, with two entries each.
The walls had no windows, but vertical slit openings, bringing ventilation and providing at
the same time a diffused light into the inside. Apparently even the back wall had these
openings. The gabled roof was supported by two rows of pillars in the interior of the
chapel and two rows of pillars at the exterior, forming as thus a colonnade at each side of
the building, an architectural style from the Middle Ayutthaya Period. Also here is
Sukhothai art influence visible as some columns still bear capitals in the form of a stylized
lotus. As the gables and tiled roofs were wooden structures, it is clear that the chapel
must have undergone many restorations
When visiting the structure, a pedestal inside the chapel, where upon once a golden
Buddha images stood, can still be seen; including some stucco displaying parts of a lion’s
foot. The pedestal in the back has been reduced to a pile of rubble.
The chapel has undergone two major restorations. During the reign of King Prasat Thong
(r. 1629-1656) the building was extended at the back, in a way that the 1.6 m wide stairs
of the back porch penetrated and entered the newly built gallery. The second renovation
took place during the reign of King Borommakot (r. 1733-1758). The walls of the front
porch were dismantled and six more pillars were erected to support an additional roof
section.
The Royal chapel was built in 1499 in the reign of King Ramathibodi II, prior of course
the construction of the third chedi, which would contain the latter’s ashes. The initial
vihara had eleven sections of approximately 4.6 meter length, totaling a length of 50
meters. The construction stood isolated from the two chedis already built. The building
had a front and back porch, with two entries each.
The walls had no windows, but vertical slit openings, bringing ventilation and providing at
the same time a diffused light into the inside. Apparently even the back wall had these
openings. The gabled roof was supported by two rows of pillars in the interior of the
chapel and two rows of pillars at the exterior, forming as thus a colonnade at each side of
the building, an architectural style from the Middle Ayutthaya Period. Also here is
Sukhothai art influence visible as some columns still bear capitals in the form of a stylized
lotus. As the gables and tiled roofs were wooden structures, it is clear that the chapel
must have undergone many restorations
When visiting the structure, a pedestal inside the chapel, where upon once a golden
Buddha images stood, can still be seen; including some stucco displaying parts of a lion’s
foot. The pedestal in the back has been reduced to a pile of rubble.
The chapel has undergone two major restorations. During the reign of King Prasat Thong
(r. 1629-1656) the building was extended at the back, in a way that the 1.6 m wide stairs
of the back porch penetrated and entered the newly built gallery. The second renovation
took place during the reign of King Borommakot (r. 1733-1758). The walls of the front
porch were dismantled and six more pillars were erected to support an additional roof
section.
The gallery
the Royal Chapel, was built during the first major renovation in the reign of King Prasat
Thong. Buddha images in the Subduing Mara posture were installed inside the gallery,
facing outwards (back to the chedis); a bit unusual since Buddha images in a gallery face
A gallery, surrounding the three main chedis and incorporating partly the back porch of
usually inward. On the four corners of the gallery, small pagodas - named “Phra Agghiya
chedi” - were constructed in an identical style as the principal chedi.
The mandapas
There were four mandapas (Th: mondop) (1) constructed in Wat Sri Sanphet. The first
three were built on the square base between the three main chedis. These mandapas had
a spired top. Scholars assume that the mandapas may have been built in the reign of King
Prasat Thong.
A fourth mondop was constructed close to the northern wall of the temple. The structure
of this mondop deviated from the classic one, as it was a cruciform structure topped in
the middle with a small prang; a bit a mixture of a prasat and a classic mandapa. The
doors and windows were in gothic style, bearing French influence. Scholars assume it
was built during the reign of King Narai and housed the remains of his father King Prasat
Thong.
the Royal Chapel, was built during the first major renovation in the reign of King Prasat
Thong. Buddha images in the Subduing Mara posture were installed inside the gallery,
facing outwards (back to the chedis); a bit unusual since Buddha images in a gallery face
A gallery, surrounding the three main chedis and incorporating partly the back porch of
usually inward. On the four corners of the gallery, small pagodas - named “Phra Agghiya
chedi” - were constructed in an identical style as the principal chedi.
The mandapas
There were four mandapas (Th: mondop) (1) constructed in Wat Sri Sanphet. The first
three were built on the square base between the three main chedis. These mandapas had
a spired top. Scholars assume that the mandapas may have been built in the reign of King
Prasat Thong.
A fourth mondop was constructed close to the northern wall of the temple. The structure
of this mondop deviated from the classic one, as it was a cruciform structure topped in
the middle with a small prang; a bit a mixture of a prasat and a classic mandapa. The
doors and windows were in gothic style, bearing French influence. Scholars assume it
was built during the reign of King Narai and housed the remains of his father King Prasat
Thong.
The prasat
The prasat (2) at the west side of the temple was a building which served religious
purposes, being a shrine for venerated objects or memorial hall. The ground-plan
was a Greek cross, while the roof-structure ended in a slender prang. The prasat is
a direct stylistic descendant of the Khmer temple. A square sanctuary with a domed
sikhara (tower) and four porch-like antechambers that project from the main
building, giving the whole temple a multileveled contour. The building was added
during the reign of King Narai.
The ubosot
The ubosot or ordination hall was located on the southeastern side of Royal Chapel
in front of Vihara Palelai. The hall was rectangular and measured 33 meters by 15
meters. The structure was made of brick and initially open sided. The building was
restored a number of times at par with the other monastic structures in situ. During
probably the first renovation in the reign of King Prasat Thong walls were erected to
close the structure, while the pedestal for the Buddha image inside the ubosot was
extended to seal off the back portico. As most monastic structures the roof structure
was made of wood and covered with unglazed terra-cotta tiles. The boundary
stones (Th: bai sema), made of slate are believed to be the originals as they bear the
characteristics of the Middle Ayutthaya Period.
The door panels of the ubosot survived the Burmese war of 1767 and are displayed
at the Chao Sam Phraya Museum. The panels are made of wood and measure 1.10
meters by 2.40 meters. They were beautifully carved in high-relief depicting
Dvarapala (3) and are testimony of the exquisite Ayutthayan art.
Sala Kanparian
The Sala Kanparian was a building where the monks studied the Buddhist
scriptures. Wat Phra Sri Sanphet had such a building, named the Jom Thong
Pavilion, though there were no monks residing in the temple. This pavilion was
situated east of vihara Phra Lokanat and contained a Buddha in sitting posture called
Phra Jom Thong. This location is referred to in the Royal Chronicles of Ayutthaya as
being the place where King Song Tham was listening to the monks explicating
books at the start of a rebellion of some Japanese traders in 1611. The latter were
already present at the palace eager to find the King. Eight monks of the Monastery
of the Pradu Three (the present Wat Pradu Song Tham) escorted the King away in
front of the baffled Japanese, who undertook no action against him. Jomthong
Pavilion also called Phra Thi Nang Jom Thong was built on a rectangular base. It
had three porticos, one in front and the other two at the sides. Inside the building
there were two rows of pillars supporting the beams with seven partitions (space
between the pillars). The roof was tiered and gabled with rows of pillars supporting
the eaves similar to Sukhothai architecture.
The prasat (2) at the west side of the temple was a building which served religious
purposes, being a shrine for venerated objects or memorial hall. The ground-plan
was a Greek cross, while the roof-structure ended in a slender prang. The prasat is
a direct stylistic descendant of the Khmer temple. A square sanctuary with a domed
sikhara (tower) and four porch-like antechambers that project from the main
building, giving the whole temple a multileveled contour. The building was added
during the reign of King Narai.
The ubosot
The ubosot or ordination hall was located on the southeastern side of Royal Chapel
in front of Vihara Palelai. The hall was rectangular and measured 33 meters by 15
meters. The structure was made of brick and initially open sided. The building was
restored a number of times at par with the other monastic structures in situ. During
probably the first renovation in the reign of King Prasat Thong walls were erected to
close the structure, while the pedestal for the Buddha image inside the ubosot was
extended to seal off the back portico. As most monastic structures the roof structure
was made of wood and covered with unglazed terra-cotta tiles. The boundary
stones (Th: bai sema), made of slate are believed to be the originals as they bear the
characteristics of the Middle Ayutthaya Period.
The door panels of the ubosot survived the Burmese war of 1767 and are displayed
at the Chao Sam Phraya Museum. The panels are made of wood and measure 1.10
meters by 2.40 meters. They were beautifully carved in high-relief depicting
Dvarapala (3) and are testimony of the exquisite Ayutthayan art.
Sala Kanparian
The Sala Kanparian was a building where the monks studied the Buddhist
scriptures. Wat Phra Sri Sanphet had such a building, named the Jom Thong
Pavilion, though there were no monks residing in the temple. This pavilion was
situated east of vihara Phra Lokanat and contained a Buddha in sitting posture called
Phra Jom Thong. This location is referred to in the Royal Chronicles of Ayutthaya as
being the place where King Song Tham was listening to the monks explicating
books at the start of a rebellion of some Japanese traders in 1611. The latter were
already present at the palace eager to find the King. Eight monks of the Monastery
of the Pradu Three (the present Wat Pradu Song Tham) escorted the King away in
front of the baffled Japanese, who undertook no action against him. Jomthong
Pavilion also called Phra Thi Nang Jom Thong was built on a rectangular base. It
had three porticos, one in front and the other two at the sides. Inside the building
there were two rows of pillars supporting the beams with seven partitions (space
between the pillars). The roof was tiered and gabled with rows of pillars supporting
the eaves similar to Sukhothai architecture.
The chapels (Vihara & Chedi rai)
Twenty-six chapels consisting each of a vihara and a bell-shaped chedi in Ayutthayan
style, were built along the outer wall, within the monastery compound. The ashes of the
members of the royal family were kept inside these chedis. Traces of lime stucco still can
be found on the walls of a vihara on the south side of the temple.
The Bell tower
The bell tower has undergone three restorations. A new structure was built over the
original gong and drum tower, made with brick columns and a wooden floor. The last
restorations had a five-tiered rooftop and four porticos.
The inner wall
Although important monastic structures, such as an ubosot or royal vihara were
traditionally surrounded by a low inner wall - separating the sacred world from the
secular hustle and bustle outside - no such wall could be found on the premises of Wat
Sri Sanphet.
The Royal Chronicles although mention the existence of an inner wall during King Prasat
Thong’s reign. The records mention the king visiting the Royal chapel and encountering a
son of the King Songtham, the young Prince Athittayawong sitting on the wall. The prince
did not descend the wall on approach of the king to pay his respects and was straight
punished to become a commoner to live near Wat Tha Sai.
“His Majesty came on a tour in front of the large holy preaching hall and, glancing
with His holy eyes, saw Holy Athittayawong, the royal son of Holy-Lord Song Tham
who had been removed from the royal wealth, ascend and sit dangling his feet
upon the back of the crystal wall. Indicating him with His holy hand the King said,
Athittayawong is rash in failing to descend from the crystal wall in order to be
lower than the King. Indicating him with His holy hand the King said,
Athittayawong is rash in failing to descend from the crystal wall in order to be
lower than the King. Strip Holy Athittayawong of his rank and send someone to
build two houses with bamboo posts and two rooms beside the Monastery of Sand
Landing for Athittayawong to have two people live with him - just enough to stay
to dip up water and cook rice. ”
Twenty-six chapels consisting each of a vihara and a bell-shaped chedi in Ayutthayan
style, were built along the outer wall, within the monastery compound. The ashes of the
members of the royal family were kept inside these chedis. Traces of lime stucco still can
be found on the walls of a vihara on the south side of the temple.
The Bell tower
The bell tower has undergone three restorations. A new structure was built over the
original gong and drum tower, made with brick columns and a wooden floor. The last
restorations had a five-tiered rooftop and four porticos.
The inner wall
Although important monastic structures, such as an ubosot or royal vihara were
traditionally surrounded by a low inner wall - separating the sacred world from the
secular hustle and bustle outside - no such wall could be found on the premises of Wat
Sri Sanphet.
The Royal Chronicles although mention the existence of an inner wall during King Prasat
Thong’s reign. The records mention the king visiting the Royal chapel and encountering a
son of the King Songtham, the young Prince Athittayawong sitting on the wall. The prince
did not descend the wall on approach of the king to pay his respects and was straight
punished to become a commoner to live near Wat Tha Sai.
“His Majesty came on a tour in front of the large holy preaching hall and, glancing
with His holy eyes, saw Holy Athittayawong, the royal son of Holy-Lord Song Tham
who had been removed from the royal wealth, ascend and sit dangling his feet
upon the back of the crystal wall. Indicating him with His holy hand the King said,
Athittayawong is rash in failing to descend from the crystal wall in order to be
lower than the King. Indicating him with His holy hand the King said,
Athittayawong is rash in failing to descend from the crystal wall in order to be
lower than the King. Strip Holy Athittayawong of his rank and send someone to
build two houses with bamboo posts and two rooms beside the Monastery of Sand
Landing for Athittayawong to have two people live with him - just enough to stay
to dip up water and cook rice. ”
The outer wall and bastions
The Sri Sanphet monastery is surrounded on all sides with a high thick brick wall with
embattlements on the top. There were four gates built in the cardinal directions. The
southern gate giving access to the front court of Viharn Mongkhon Bophit, was called
"Pratu Bowon Nimit" or "Gate of the Excellent Omen. Pratu Chong Kud, the western
gate gave access to the Tamnak Suan Kratai or the Rabbit Garden Royal Pavillion. The
western gate gave access to the inner court of Phra Thi Nang Jakkrawan Phaichayon
(throne hall), while the northern gate was the entry to the palace. The entry was a long
covered corridor (Th: chanuan) running through the palace area from Tha Wasukri in the
north until Wat Sri Sanphet in the south, offering discretion and shade. The monastery
had two forts. A main fort called Pom Sala Phra Viharn Mongkhon Bophit was a semi-
large bastion protecting the southern part of the palace area. From the protruded bastion,
soldiers could control the whole southern wall. A second smaller bastion called Pom
Mum Wat Sri San Phet stood on the southwestern corner of the monastery's premises.
This page has been partly based upon an analysis by Aphivan Saipradist (See consulted
works)
Footnotes:
(1) A mondop is a building with a square structure and a stepped pyramidal roof, built to
house objects of special veneration - a Buddha image or footprint.
(2) Skt: Prasada or castle was a residence of a king or god. The term is generally used in
the sense of sanctuary tower (Khmer).
(3)“Guardian of the Gate”also known as the protector of shrines; often standing and
holding a club, frequently at the entrance to a temple.
The Sri Sanphet monastery is surrounded on all sides with a high thick brick wall with
embattlements on the top. There were four gates built in the cardinal directions. The
southern gate giving access to the front court of Viharn Mongkhon Bophit, was called
"Pratu Bowon Nimit" or "Gate of the Excellent Omen. Pratu Chong Kud, the western
gate gave access to the Tamnak Suan Kratai or the Rabbit Garden Royal Pavillion. The
western gate gave access to the inner court of Phra Thi Nang Jakkrawan Phaichayon
(throne hall), while the northern gate was the entry to the palace. The entry was a long
covered corridor (Th: chanuan) running through the palace area from Tha Wasukri in the
north until Wat Sri Sanphet in the south, offering discretion and shade. The monastery
had two forts. A main fort called Pom Sala Phra Viharn Mongkhon Bophit was a semi-
large bastion protecting the southern part of the palace area. From the protruded bastion,
soldiers could control the whole southern wall. A second smaller bastion called Pom
Mum Wat Sri San Phet stood on the southwestern corner of the monastery's premises.
This page has been partly based upon an analysis by Aphivan Saipradist (See consulted
works)
Footnotes:
(1) A mondop is a building with a square structure and a stepped pyramidal roof, built to
house objects of special veneration - a Buddha image or footprint.
(2) Skt: Prasada or castle was a residence of a king or god. The term is generally used in
the sense of sanctuary tower (Khmer).
(3)“Guardian of the Gate”also known as the protector of shrines; often standing and
holding a club, frequently at the entrance to a temple.
References:
[1] Angkor, an introduction to the temples - Dawn F. Rooney (2003).
[2] The Royal Chronicles of Ayutthaya - Richard D. Cushman (2006) - page 217 / Source: Phan Canthanumat, British Museum, Reverend Phonnarat, Phra
Cakkraphatdiphong & Royal Autograph.
Consulted works:
1. A critical analysis of heritage interpretation and the development of a guidebook for non-thai cultural tourists at Ayutthaya world heritage site - by Aphivan
Saipradist - Silpakorn University (2005).
2. An Outline of the History of Religious Architecture in Thailand - Sonthiwan Intralib (1991).
[1] Angkor, an introduction to the temples - Dawn F. Rooney (2003).
[2] The Royal Chronicles of Ayutthaya - Richard D. Cushman (2006) - page 217 / Source: Phan Canthanumat, British Museum, Reverend Phonnarat, Phra
Cakkraphatdiphong & Royal Autograph.
Consulted works:
1. A critical analysis of heritage interpretation and the development of a guidebook for non-thai cultural tourists at Ayutthaya world heritage site - by Aphivan
Saipradist - Silpakorn University (2005).
2. An Outline of the History of Religious Architecture in Thailand - Sonthiwan Intralib (1991).
| (Bodhisattva image found in situ - Chao Sam Phraya Museum) |
| Construction of Wat Sri Sanphet) |