Wat Samana Kottharam

Wat Samana Kottharam (1) is located off the city island in the eastern part of Ayutthaya in an area known before as Ayothya (2).

The monastery stood on the west bank of Khlong Ayothya - Kudi Dao (3). Wat Kudi Dao was north, and Wat Chang was south, opposite the canal.

The site of Wat Samana Kot dates likely to the early Ayutthaya period (1351-1488 CE) or maybe to the pre-Ayutthaya period, as it is part of the old Ayothya.

Wat Samana Kot must have been an important site in the late Ayutthaya period (1629-1767 CE), as it is mentioned in the Description of Ayutthaya (อธิบายแผนที่พระนครศรีอยุธยา - Athibai phaen thi phra nakhon si ayutthaya), a verbal description of the old capital, probably compiled from the memories of survivors after its destruction in 1767 CE, early in the Bangkok era. The Description lists 'Wat Somonkot' as one of the five relic stupas of Ayutthaya and a major place at that time. [1]

Wat Samana Kot consists mainly of an ordination hall and a vihara, both with a stupa, all aligned on an east-west axis. Other monastic structures were added in the south on re-initiation of the site in the Rattanakosin era. The temple received the Royal Wisungkhamsima in 1910 CE. (4)

The ordination hall was restored at the end of the 20th century and again after the great flood of 2011 CE. The ubosot had a porch on both sides, but these entry halls were bricked up. The west porch now has a window. There are two entry doors on both side walls of the hall, but no windows, neither air-vents (vertical slit openings, bringing ventilation and providing a diffused light into the inside), which is a bit strange, as the air vents served as windows in classic Thai architecture and were popular during the early Ayutthaya period. It is also no ‘Bot Maha-ut’ as it has multiple entries. The ubosot has a four-layered roof, symbolising the prestige of the hall, while the porches have a three-layered roof. The hall is built from brick and mortar and has a curved base like the hull of a Chinese junk, classic for the late Ayutthaya period. The principal Buddha image in the hall is the 'Phra Sri Samana Kot Bophit', a sandstone image in the Maravijaya posture (Bhumisparsa Mudra) from the early Ayutthaya period. I cannot help but have the impression that the hall restoration was influenced by Engelbert Kaempfer's data, about which later.

East of the ubosot stands a bell-shaped chedi in the Sri Lankan style on a graduated triple-tiered square base, symbolising the world, the Dewa heavens, and the heavens of the formed Brahmas. The lower base of the dome has multiple rings, and the gharba is in good condition. The gharba is topped with a square harmika. The spire or 'pong chanai' is well restored and supported by a collonade or 'sao han', typical for the Ayutthaya style. Based on the excavations, the chedi is believed to have been built on an existing one dating to the early Ayutthaya era.

To the east and facing Khlong Ayothya - Kudi Dao stood a vihara, of which only the brick foundations remain. Two rows of 6 pillars supported the roof. The vihara penetrated the gallery to the east, typical for the Ayutthaya period. On the central pedestal in the vihara sits the sandstone image of a Buddha named 'Phra Pichit Man Moli' or 'Luang Pho Khao', accompanied by two disciples on both sides of the statue. A part of the vihara was lost under the Thesaban Ayothya Road.

Central in the temple complex stood a large stupa surrounded by a rectangular gallery. Within the gallery stood four other stupas in the main inter-cardinal directions, forming with the main stupa a quincunx, embodying the idea of representing the five peaks of the cosmic mountain Meru. Based on excavations, the stupa was built at the end of the middle Ayutthaya period (1488-1629 CE) over a stupa of the early Ayutthaya period. The style is assumed to be copied from Wat Jet Yot in Chiang Mai, although seeing that monastic structure, I have strong doubts. A portico was added on the eastern side, while two stairs were built north and south to climb the stupa base. The lower base is twenty-rabbeted-angled, while the upper base is twelve-rabbeted-angled, indicating that this stupa was restored in the second part of the late Ayutthaya period (1732-1767 CE), and there is much chance that it was in the reign of King Borommakot (1733-1758 CE).

The monastic complex was surrounded by an outer wall, of which some parts still exist. The wall had gated entries, which can be seen on the west side, for example. The wall was about 1.8 metres high. Wat Samana Kottharam is in geographical coordinates: 14° 21.858' N 100° 35.244' E.

History

The history of Wat Samana Kottharam is unclear. Chronicler accounts apparently indicate that Chao Phraya Kosathibodhi Lek and Chao Phraya Kosathibodhi Pan supposedly restored Wat Samana Kot, although these accounts remain vague and need further investigation.

An information board in situ from the Fine Arts Department confirms the above. In the Royal Chronicles of Ayutthaya, I found no mention of the monastery but only that King Narai (reign 1656-1688 CE) rewarded Chao Phraya Kosa ‘Lek’ after successfully leading Siamese troops in an attack on Chiang Mai in 1662 CE. The Buddha Image Phra Sihing was taken by King Narai from Chiang Mai to Ayutthaya at that time.

"Caophraya Kosa and the various thao phraya, army masters and brigade masters, accordingly ascended for an audience with the Supreme Holy Buddha Lord Omnipotent, prostrated themselves, and informed the King of all their actions. Then they presented the King with the various elephants, horses, captive persons and other possessions which they had captured. The Supreme Paramount Reverence and Holy Buddha Lord Omnipotent, being informed of all such events as those, manifested His holy pleasure and was exceptionally delighted. And the King made a holy royal presentation of rewards in great numbers to Caophraya Kosa and the various thao phraya, army masters and brigade masters, as was appropriate to such favor as they enjoyed." [2]

The Kaempfer issue

The Fine Arts Department - 3rd Region installed an information board at Wat Samana Kottharam, mentioning that the temple coincides with the temple of the Phra Khlang described by Kaempfer, as on the site stood a chedi similar to Wat Jet Yot in Chiang Mai. The board in situ reads:

“Wat samanakotsatharam was restored by Chaophraya Kosa (Laek) and Chaophraya Kosa (Pan) during the reign of King Narai The Great. According to the chronicle of a German Gampfer, it was noted that after coming back from attacking Chiengmai, King Phet-racha went to Wat Samanakotsatharam to attend the cremation of Chaomae Watdusit in 2233 B.E. Chaomae Watdusit was an important person not only because she was the mother of Chaophraya Kosa (Laek) and Chaophraya Kosa (Pan), but she was also a wet nurse of King Narai The Great. Within the temple is a Prang (an elongated cone-shaped tower) that looks different from any Prang elsewhere. This is because it is similar to a Chedi rather than a Prang. It looks like the Chedi of Wat Jettot in Chiangmai. Perhaps Chaophaya kosa (Lek) might have been impressed with chedi Wat Jetyot that he saw when he went to attack Chiangmai during the reign of the King Narasuan the Great (5) in 2205 BE, so when he wanted to build this temple, he copied the style.”

Engelbert Kaempfer came to Ayutthaya in 1690 CE as a German physician to the Dutch East Indian Company (VOC) Embassy to the Emperor of Japan. Although Kaempfer stayed in Ayutthaya for less than a month, he developed a well-detailed field map consisting of several drawings glued onto a large base. It had elaborate details about geography, palaces, temples, bridges, and shophouses. In 1727 CE, Johannes Gaspar Scheuchzer published a book featuring two additional maps Kaempfer is accredited for post-mortem. One map shows the route from the Gulf of Siam to the capital city, and the second has detailed outlines of the city’s roads and canals.

Kaempfer participated on 12 June 1690 CE in the funeral of the wet nurse of Chao Phraya Kosa ‘Lek’ and, most likely, his younger brother, ‘Pan’. On 19 June, in the afternoon, he visited Phra Khlang's monastery northwest of Ayutthaya again, and also on 24 June, a day where he drew many sketches.

"On the Twelfth of June, at four in the afternoon, the funeral of the Berklam’s or Chancellor's of Siam, who had also the Berklam's direction of foreign affairs, his Mother was buried with great pomp and solemnity. The Siamites call also their Nurses mothers, and those brothers and sisters, who sucked the same breasts. This was only the Berklam's Nurse, for his Mother died, and was buried about fifteen months before." (6) [3] The site where she was cremated is described as “The place, where the Berklam's mother was interr'd, was seated between two branches of the River opposite to the City, and enclos'd with a square row of Banners, Flags and other Ornaments dispos'd in form of pallissado's.” (7)

Kaempfer describes the "Berklam" temple as "The other remarkable curiosity is a double square joining together, and situate not far from the City towards the East each square contains several Temples, Convents, Chapels, Columns, Pyramids and other Buildings of different forms. They are separated by a Canal, and are each enclos'd with a fine wall." [4]

There is, however, a problem in pointing out the exact location where the ‘Barklam Temple’ was situated, as there are discrepancies in the orientation between Kaempfer’s maps and his drawings. The question remains: what takes precedence the map of the drawings?

Kaempfer's maps

The Phra Khlang Temple, or as Kaempfer writes it, Barklams’ Temple, is shown on his map "Mappa Meinam Fluvij Ad Orig. Eng. Kempfer delin, I.G.S" published in 1727 CE in ‘The history of Japan, together with a description of the kingdom of Siam, 1690-92.’ by Johann Caspar Scheuchzer (1702-1729 CE).

The ‘Barklams Temple’ is situated on the north and south banks of a canal, running east-west, which must be, in my opinion, Khlong Pradu (8), as this canal was on the other side of the Front City Canal somehow at the level of Khlong Ho Rattana Chai. Both temples are west of Khlong Ayothya - Kudi Dao, a shortcut into the oxbow of Khlong Hantra. The two temples that meet these conditions are Wat Jakrawan and Wat Kudi Dao.

The original field map of Ayutthaya (1690 CE) from Kaempfer, though, shows more detail. In this map, we can see that there is a parallel canal west of Khlong Ayothya - Kudi Dao. This parallel canal is also shown on a large map in the Phiman Rattaya Pavillion of the Chanthara Kasem National Museum.

Kaempfer added measures on this map. On a detail we can read he walked 300 paces or about 250 metres along the canal bank between the ‘Barklams Temple’ and the junction of Khlong Pradu with an N-S running canal and a bridge over the latter. From this spot, he walked 350 paces or about 300 metres to the junction of Khlong Pradu with an N-running canal and near a temple, which must be Wat Khian. From the intersection to the Lam Khu Khue Na, he did 100 paces or 85 metres. Another distance of 200 paces or 235 metres, he walked south of Wat Pradu to Wat Samana Kot.

Wat Nang Chi is visible on the detail, south of the mouth of Khlong Pradu and opposite the mouth of Khlong Ho Rattana Chai. The temple can also be seen on Kaempfer’s map (Sl 3060 Fol. 4280).

The walked distances by Kaempfer prove that Wat Pradu and Wat Rong Tham are the monasteries indicated on Kaempfer’s field map of Ayutthaya and his map of the Maenam (“Mappa Meinam Fluvij”).

Kaempfer's drawings

Kaempfer drew a precise ground plan of the two temples, and here is the confusion with regard to the maps. Nearly all Theravada monasteries, prominent in Thailand, are constructed on an east-west axis, as the layout of a temple is modelled according to a series of magical and religious beliefs. The Buddha image or main altar is usually placed at the eastern end, and the laity typically faces west during worship.

The two temples are separated by a canal running north to east, as Ayutthaya temples are aligned east to west. The first canal coming to mind is Khlong Ayothya - Kudi Dao. In this case, the two temples are separated by the canal the first temple stands thus on the west bank of the canal, while the Phra Khlang temple is on the east bank.

The published version of the ground plan shows the western foothills of the Khao Yai National Park in the north, hence the orientation of the canal North-South.

Kaempfer's description of the Phra Khlang Temple

The original German manuscript 'Heutiges Japan' was not published, but the extant German version was translated from the English version. The original manuscript was translated into English by Sloane's librarian John Gaspar Scheuchzer (1702–1729 CE) and first published in London, in 2 vols., in 1727 CE.

The published English version differs from the original text, so I tried to make a new translation (to the best of my ability) of the old ‘Niederdeutsch’ section of our concern, interspersed with Latin. The section can be found in Engelbert Kaempfer Werke 4 under [Sl 3060, fol. 439v]. I apologise if there are any incorrect translated words. [5]

"Des Berklams sogenandten Tempels. (als der erste) Hoff befaßete 2 kirchen, zwischen derer mitten eine sehr hohe und in seiner Guldenen spitze bekröhnte ungemeine Pyramide nach welcher I holtzern gebeu zum sitzen und den 2 sacella gegen welche, 2 andere uberstunden in fronte der lezten kirchen. An denen seiten des kirch hofes wahren vielen andere herliche Pyramiden, und ein holtzeren hauß (a). mit einer klocken so gantz verguldet von dieser ﬁgur. Wurde malleo geschlagen cum ad preces mane ac vesperi convcniunt. Lesen alsden (ut audivi) wie die Romische Patres die Psalmen singen, mit behender stimmen, wol anzuhören."

The Phra Khlang's so-called temple (as the first) courtyard contained two monastic buildings, between which in the middle there is a very high stupa crowned with a gilded spire, after which, a wooden edifice for sitting and two chapels, against which two others stood opposite in the front of the last monastic building. On the sides of the churchyard were many other magnificent stupas, and a wooden house (a.) with a bell so completely gilded was beaten by this figure with the hammer when they met for morning and evening prayers. Read then (as I have heard) how the Roman priests sing the psalms, with nimble voices, worth listening to.

"Die Erste kirche (A) welche wegen ihrer mit henden ausgeschnitzten thoren sehr illustre hat latera utrinque von 8 pfeilern schiefen und 4-kantig nicht lang (fere 3 Man hoch) und in die maure gezogen, ut promineant. Dieser Tempel hat 4 tacher uber oder nach ein ander mit seinen End flugelen, und auffstehenden stutz pflanken."

The first church (A), which is very illustrious because of its large, hand-carved doors, has on both sidewalls eight tilted pillars, square, not long (almost three-man high) and recessed into the wall so that they stand out. This temple has four roofs above or after one another, with at the end, wings and wooden support planks.

"Die fronte so mit 2 mahl 4 pfeilern in vestibulo ad 2 cubita elevato stunden (verguldet an ihren epistyliis) wahren mit holtzern rohten gitter und thüren umbfugt, umb den Zugang zu denen geschnitzten thüren, (als Daß Subject der Verwunderung) contra temerariam contrectationem zu verhinderen diese 3 thüren hatten ihre limites von coement zwiefach sehr kunstlich aus gsschnitten, so daß daß schnitz werk in apicem aufgingen, von laub und Zügen. Jede pforte oder thor bestunden aus 2 thuren, derer jeden aus einem holtzern brete so kunstlich gegruvirt daß es vor ein remercables Meister stuck zu admiriren ist, besonders die mittelste thüren deßen laubwerk feiner. "

The front, with twice four pillars in a porch, raised to two cubits (gilded on their architraves), was surrounded with red wooden lattices and doors to prevent access to the carved doors (as a subject of amazement) against daring touch. These three doors had their limitations made of cement, twice very artfully cut out so that the carvings of leaves and spiral depressions went up to the top. Each door consists of two doors, each made of a wooden board so artfully carved that it is a remarkable masterpiece, especially the middle doors, whose foliage work is finer. (9)

"Es sind aller hand Gotter und bilder in allerhandt positur, auff und in dem laubwerk zierlich her vorragende so daß man 3 lagen des geschnitzten unter ein ander zehlen mag. (lnter alia Virgo 4 brachiis in der einen ein tridens, in alia ein krantz in alia forte gladius ac quaecumque) jedes mil Gold und convenienten farben beziert."

There are all kinds of gods and images in all sorts of positions, gracefully protruding on and in the foliage work so that you can count three layers of carvings one under another (among other things, a virgin with four arms and in one a trident, in another a discus, in another perhaps a club and whatever, each decorated with gold and appropriate colours). (10)

"Nach diesem tempel folgte eine thurms hohe und zimlich dicke grose pyramide B mit einem umbgang und mauer, derer oberste Guldene spitze (sind vulgo halb verguldet) mit einer grosen durch gebrochen weiten abstehenden mit gold Crohn oder Himmel beziert, mit umbhangenden verguldeten klockges welche der mit zum gelaut bewegte."

After this temple, there was a tower-high and quite thick large stupa (B) with a gallery and wall, the upper gilded spire (usually half gilded) decorated with a large, perforated, wide-protruding, gold crown or canopy, surrounded with gilded bells which rang when moving.

"Hiernach (das Holtzerne stelten haus, worin ein schwerer bunter tragstuel stunde ungerechnet) folgeten 2 Abgottter gewolben oder hausgens, gegen dem vestibulo der lezten Tempels zu gewand und daselbst 2en abgottern jede in einer kammerchen beschlußen, respondiren derer eines I einen remercablen gantz verguldeten monstreusen Bachus praesentirte mit anderen kleinen idolis oben und zu fußen begleitet. Er wahre sehr improportionirt und so diken kopfes als 3 Menschen haupter auch garzu dicken kurtzen krages, daß das haupt hinten uber hinge vide manuscripta. Er wurde beschranket mit einem holtzern Gitter, so von wachs lichter gnugsam bekleben gewesen zuseyn schiene (an diesem nahme ich daß angeklebte portrait) stunde noch ein Eisen Cruitz stange: zu auffsteckung der lichten. Und konte diese kleine gewolbte kamer geschloßen werden."

After that (the wooden stilted house, in which a heavy, colourful sedan chair stood not accounted for) followed by two idol vaults or cottages facing the porch of the last temple, and there were two idols, each enclosed in a small chamber, one of which was presented with a remarkable, fully gilded monstrous Bachus, showcased by other accompanied small idols above and at the feet. He was very disproportionated, and his head was as thick as three human heads, with a thick, short neck so that the head seemed to hang backwards see the manuscript. A wooden grid confined it, so it seemed to be sufficiently adorned with wax lights (by this, I assume the attached portrait.) stood yet an iron crucifix rod for the attachment of the lights. And could this little vaulted chamber be closed.

[fol. 439r] "die andere des gleichen gewolbete rohte gemauerte Seiten Capel (inter cedente inter utrumque alio aedificio forte columnis rotundis) verfaste nur in der Mauren ein quadrate verguldete bundte eindruckung eines quasi fußes van 4 zahen die die Unseren nandten Adams fuß von 3 Spithanae longitudine, et 1 1/2 latitudine. Es stunden vor ihm 3 a 4 kleine idola sitzende. 1 hat sonder zweifel eine remerquable fable zu seiner explication vonnohten. Vida Manu Picta. Figura 1 et 2"

The other of the similarly vaulted red-walled side chapels (there was another building between the two, perhaps with round columns) is a gilded, square, colourful impression of a sort of foot with four toes, representing our named Adam's foot of 3 spans long and 1 1/2 wide just fastened to the wall. 3 or 4 small idols were sitting in the front. There is, without doubt, a remarkable fable necessary for its explication. See hand-painted figures 1 and 2.

"Gegen den erst benandten sowol als dieser anderen Sacell wahren sub Veslibulo derer anderen Tempels, nach der thur beschriebener sacellen offene kammerchen. ieder mit Einem gewohnlichen Guldenen Idolo (daß erste hatte einen Camel daß andere ein holtzen gar klein idolum vorsich) so vieleicht nur hierinnen verehrt a superstitiose devotis. "

Opposite the first-mentioned chapel as well as this other one, there were beneath the porches of those other temples, past the door of the chapels described, open cubbyholes, each with an ordinary gilded idol (the first one had a camel and the other one had a very small wooden idol) perhaps only worshipped here by the superstitious devotees.

"Beyde lagen vol beschriebener Oli, oder palm blatter mit schwartzen letteren gegravirt und grose wie Malabarisch, beschrieben lingual Balica. Dan es seyn blatter ihrer Heiligen Historien bucher so etwa nicht mehr brauchbar gewesen, quae folia hic deponunt ac reddunt ut profanentur."

Both were full of inscribed Oli or palm leaves engraved with black letters and large like Malabaric, written in the Pali language. Since the pages of their sacred history books were no longer usable, they deposited these leaves here and caused them to be desecrated. (11)

"Es wahren aber diese beyde kammerchen sub vestibulo des anderen tempels ad murum, 2 1/2 Man hoch, und kostlich ex coemento exsculpirt, und saßen diese 2 idola auff geﬂamten oder gefederten stuelen auff Europoeisch, mit beyden handen auff dem knie ruhende ab hangen oder liegen."

There were these two cubbyholes under the porches of the other temples at the wall, 2 1/2 man high and exquisitely carved from cement. These two idols sat on upholstered or cushioned chairs in European fashion, with both hands resting on the knee, hanging or reclining.

"Die andere Pagodde wahre auff die andere seite einer ex hoc in urbanam Regionem transfluentem aquam uberzufahren. Hatte erst 2 schmahle Columnen etwa 5 Man hoch und andere machinen, so zur fontain gedienet. 2 Tempele und einen grosen Pyramid nebst verschiedenen anderen kleineren wahren in obbesagter Reige gerangirt. die erste Tempel von 2 thuren hatte jede 2 quasi wilde Mannen mit teuffels kopffen. Doch wundert mir solche profanité nicht, weil an einer hinter thur 2 portugesen geschildert stunden. Es stunden dieser kerl ad ornatum hie und da aus geschnitzt, an denen gangen gesetzt. In Vestibulo ac portica wahren kleine Pyramiden, fortassis, quod umbgittert. einiger Heiligen, wurden dieser tempel Jahrlich mit einem vornehmen Hut beehret."

The other pagoda was on the other side, to be reached by crossing a waterway flowing into the urban area. Initially, it had two slender columns about five men high and other mechanisms that served as a fountain. Two temples and a large stupa, along with various other smaller ones, were ranked in the order mentioned above. The first temple, with two doors, had each two quasi-wild men with devil's heads. (12) However, I am unsurprised by such profanity, as two Portuguese were depicted on a rear door. These figures were carved out here and placed along the corridors for ornamentation. In the porch and portico were small stupas, perhaps latticed. Some saints are annually honoured with a ceremony in this temple.

"Es wahren auch circa templum aus bunten (wie Marmel) doch sand steinen die Heiligen fliegen wedels item einige Trink topffe circa vestibulum ac porticam eingegraben wie wey topffe. Quod modo alibi, et in Teiwon vidi. Der vorGiebel wahre mit in numeris quasi orantibus Deabus oder guldenen bildergens besetzt und bezirt. Daß Coemiterium hatte umbher, ut alia coemiteria bipel baume, und gantz herumb bluhm und pﬂantzen in topffen."

Around the temple, there were Holy Fly Whisks made of colourful (like marble) sandstone also, some drinking vessels, resembling holy water basins, were dug in around the porch and portico. I saw that elsewhere and in Teiwon. The front gable was covered and decorated with numbers, sort of praying to the gods or with golden images. The churchyard had, like other churchyards, Bodhi trees, and all around, there were flowers and plants in pots.

"Nach dem Vortempel wahren 2 remercable Pyramiden. Deren erster wegen seiner Zieraht (nam tota inaurata) und form, der andere wegen der große merkwurdige sind, und wurdig daß Sie inter manupicta geappodirt, als Figura 4 et Figura 5."

After the front temple were two notable stupas, the first is remarkable because of its decoration (for it is all gilded) and shape, the other because of its remarkably large size, and worthy of being placed between the hand drawings as Figure 4 et 5.

"Die Figura 5 mit einer Maur umbzogen und oben 20 hohe treppen auffzusteigen hatte droben in regalis 4 kleine pyramiden ejusdem ﬁgurae wie die grose. Latitudo oben 2 passus ad brust maur, so niedrig et ad ornatum also durchlochert. Oben wahre Pyramis octogena."

Figure 5, surrounded by a wall and with 20 high stairs to climb up, had above, in a royal manner, four small stupas of the same shape as the large one. The width above is two paces to the breast wall, low and perforated for ornamentation. Above was an octagonal stupa.

The Phra Khlang Temple by Nicolas Gervaise

Nicolas Gervaise (ca.1662-1729 CE), a young French theological student of the “Société des Missions Etrangères” residing in Ayutthaya in the late 17th century, wrote the "Histoire Naturelle et Politique du Royaume de Siam", initially published in 1688 CE. White Lotus (Bangkok) published an English translation of the old book titled "The Natural and Political History of the Kingdom of Siam" with an introduction by John Villiers. Here is a detail.

“The pagoda which the barcalon had built for the king eight or nine years ago is a work of extraordinary beauty. Everything in it is both well-ordered and magnificent, and it looks very much like a European building. A parapet raised about four or five cubits above the ground surrounds all the pagodas and protects them against flooding. It is about a fathom and a half wide and serves also as a cemetery. It is filled with gilded pyramids, ranging in height from five cubits to fifty or sixty. In the midst of these is the pyramid containing the ashes of the founder, which is incomparably finer and higher than the others. The trees planted on either side set off these rich obelisks admirably, and the flowers which bloom there all the year round make delightful gardens for the cemeteries.”

“The last barcalon although he was the king's foster-brother and related to the royal family, was cremated outside the town in a place not far from the palace. His obsequies matched his rank and the position he had attained during his life. So prodigious a gathering of people had never been known as on this occasion. The water of the river could not be seen for vast multitude of balons which covered it and the king sent several of his own in honour of the deceased. The two chief sancrats followed the bier, accompanied by great officers of state and persons of the highest rank in the realm. The ornamentation of the funeral pyre exceeded that of our finest decorations. The king watched the whole ceremony from his windows and himself lit the fire by means of sulphur fuse that led into the palace.” [6]

We learn from Gervaise’s text some additional information. The beautiful monastic building, in ‘European style’, was built by the Phra Khlang Kosa ‘Lek’ a couple of years before his death in 1683 CE. Lek was cremated on the cremation ground opposite the Grand Palace and in front of Wat Na Phra Men (hence its name. The location is now a parking space for Wat Na Phra Men). His ashes were later deposed in his temple in the central stupa, which had an approximate height of 25 metres. The outer wall of the monastic complex had a height between 1.80 and 2.20 metres. The drawing shows the two chapels which Kaempfer describes and can be found in his sketch of the Barklams Temple.

In conclusion

The first (or east) courtyard, the temple of the Phra Khlang, has a central structure with a high stupa, likely an ordination hall, and a structure without a stupa, which must be a vihara. Both structures have a three-tiered, four-layered roof, similar to Wat Na Phra Men.

The second or west courtyard has two main structures, with each a stupa, likely an ordination hall and a vihara. Both structures have a two-tiered, four-layered roof.

It is obvious that the ground plan of Wat Samana Kottharam differs a lot from the ground plan of Kaempfer’s first or second courtyard. There is enough evidence in his sketches and maps to suggest that Wat Samana Kottharam has been incorrectly identified as being Kaempfer’s Phra Khlang Temple.

The Fine Arts Department - 3rd Region excavated the area and discovered old monastery foundations (numbers 11 to 18) on the present site of Wat Pradu Songtham. Other brick foundations (numbers 19 and 20) were stumbled on just north of the present monastery.

Khlong Wat Pradu was probably partially filled up when the new monastery Wat Pradu Songtham was established in 1862 CE. We can trace back Khlong Wat Pradu on the aerial pictures of the Williams-Hunt Aerial Photos Collection until the canal suddenly stops when reaching Wat Pradu Songtham. On a ground plan of Wat Pradu Songtham drawn by Lt Col Jarun Phowetchakun and dated 16 March 2000, we read north of the outer wall 'Lam Rang', which must have been Khlong Wat Pradu. The above led me to conclude that Wat Pradu Songtham was built on the old site of Wat Rong Tham.

Wat Pradu was located north of Wat Pradu Songtham, where at present, the Ayothya municipal services are located and the area north of it, which is labelled as an archaeological site (Sathan Boran) by the Fine Arts Department.

Wat Pradu and Wat Rongtham were reduced to rubble after the fall of Ayutthaya in 1767 CE. Phraya Taksin (reign 1767-1782 CE) needed to finance his expensive fight against the Burmese, so he sent expeditions to Ayutthaya to track down hidden treasures. The Chinese were very enterprising and had a natural gift to find booty in the rumble. Five earthen jars full of gold and silver were discovered at Wat Pradu. [7]

The Ayutthaya monasteries were sacked and plundered by the Burmese and further dismantled in the reigns of King Rama I and Rama III to reconstruct the Siamese capital in Bangkok. When, in the last century, the demand for antiques increased, and the amulet markets mushroomed, Ayutthaya's ruins were plundered one more time. During the fifties, witnesses recount, it was common for locals in the Ayutthaya area to gather the bricks of the ruins. Trucks and boats from Bangkok came up to collect the bricks at 20 Baht a load. Hence, nothing much was left of Wat Pradu and Wat Rong Tham.

Footnotes:

(1) The word "Sramana" meant originally, in the language of the Brahmins, "a man who performed hard penance" (from "sram" - to work hard). The word was changed when it became the name of a Buddhist ascetic or monk sramana was pronounced samana (from the Sanskrit root "sam" meaning "to quiet", which in Pali becomes likewise "sam") and is said by the Buddhists to mean "one who tames the senses, or has quieted the evil in him". This explanation, commonly given in European works on Buddhism, is wrong. [Ref: 1. The Wheel of the Law - Alabaster Henry (1871) - page 203. Referring to the name of the monastery Wat Samana Kottharam, we see that the Sanskrit suffix "tharam" has been added and used for a comparative degree ("viryavat" means "strong", "viryavat tharam" means "stronger"). 2. Sanskrit Grammar by William Dwight Whitney. The initial name thus was Wat Samana Kot, possibly referring to Samana Khodom or Gotama/Gautama, the Buddha.
(2) The area of Ayothya was probably already populated at the end of the Dvaravati era (6th to 11th centuries). There is evidence that a community settled in this area much earlier than 1351 CE, the date of establishment of the city of Ayutthaya. Sources mention that during the reign of Suryavarman I (1002-1050) of Angkor, the Khmers occupied the area and established a stronghold here as an appendage of Lopburi, naming it Ayothya after the ancient and one of the holiest Hindu cities of India, the old capital of Awadh, in the Faizabad district of Uttar Pradesh.
(3) Khlong Ayothya, and in its extension, Khlong Kudi Dao, was an artificial short-cut canal running north-south and dug in a loop of the Pa Sak River, which riverbed later became Khlong Hantra. The canal is defunct today, but some small stretches can still be seen parallel with Road No 3058.
(4) The Wisungkhamsima area is restricted by eight boundary stones or 'Bai Sema'. It is the sacred area where the ubosot is located.
(5) Should read King Narai the Great.
(6) The words ‘Berklam’, ‘Barklam’ and ‘Barcalon’ are corrupted foreign versions of the title Phra Khlang, essentially the Minister of Foreign Affairs and Trade. Kaempfer states here that the mother of the Phra Khlang died 15 Months before, which must be around Apr 1689 CE.
(7) Kaempfer means likely with the ‘Two branches of the river’, the Lam Khu Khue Na or Front Moat being a branch of the Lopburi River and the Khlong Ayothya - Kudi Dao branching off from the old Pa Sak River.
(8) Khlong Wat Pradu is a defunct canal once situated off the city island in the northeastern area of Ayutthaya in the Phai Ling Sub-district. The canal was named after the temple Wat Pradu, to which it connected. The mouth of the canal was at the Lam Khu Khue Na in between Wat Krajom and Wat Nang Chi. Based on Kaempfer’s maps, Khlong Wat Pradu linked up with a north-south canal that flowed west of Wat Kudi Dao and Wat Samannakot and connected with Khlong Kramang about 50 metres from its junction with Khlong Ban Bat and Khlong Dusit. The canal can be seen on a photo with references 4064 - BN 391 684 9 Jun 44//F/36 (043) in the Williams-Hunt Aerial Photos Collection. Khlong Wat Pradu ran parallel and north of a wooden bridge, starting at the Wat Pradu Boat landing and leading to the temple. Khlong Wat Pradu has been filled up today but ran earlier just north of the Wat Pradu Songtham premises.
(9) The architectural description of the monastic building in the first courtyard of the Phra Khlang’s Temple seems nearly identical to the ordination hall of Wat Na Phra Men. (
10) Virgo with four arms and in one a trident, in another a discus, in another perhaps a club is the image of Vishnu. He is sometimes depicted with a girly face. Gladius means ‘sword or club’. Ac quaecumque means ‘and whatever’, likely indicating the conch shell in the fourth hand of Vishnu.
(11) Likely a wrong spelling of the Sri Lankan word for palm leaves ‘Ola.’
(12) Yaksas is the designation of certain supernatural beings who are under the rule of Vessavana (Skt. Vaisravana, name of the god Kubera).
(13) Phraya Boran Ratchathanin (1871-1936 CE) was the Superintendent Commissioner of Monthon Ayutthaya from 1925 to 1929 CE but occupied important functions since 1896 CE in Monthon Ayutthaya. Phraya Boran is wrong here. Khlong Wat Pradu should be read as Khlong Wat Nang Chi. Khlong Wat Pradu was north of Wat Nang Chi (see Williams-Hunt Aerial Photos Collection).

References:

[1] Baker, Chris (2014). Final Part of the Description of Ayutthaya with Remarks on Defense, Policing, Infrastructure, and Sacred Sites. Journal of the Siam Society, Vol. 102.

[2] Cushman, Richard D. & Wyatt, David K. (2006). The Royal Chronicles of Ayutthaya. Bangkok: The Siam Society. p. 289.

[3] Kaempfer, Engelbert (1727). The History of Japan (Together with a Description of the Kingdom of Siam). John Gaspar Scheuchzer. London. Hans Sloane, Praes. Soc. Reg. p.15.

[4] Ibid. p 33.

[5] Kaempfer, Engelbert - Werke 4. Kritische Ausgabe in Einzelbänden. Herausgegeben von Detlef Haberland, Wolfgang Michel, Elisabeth Gössmann. Engelbert Kaempfer in Siam. Iudicum Verlag GmbH München 2003. Edited by Barend Jan Terwiel.

[6] Gervaise, Nicolas (Paris - 1688). The Natural and Political History of the Kingdom of Siam - Translated and edited by John Villiers (1998). White Lotus Press, Bangkok. p. 139.

[7] Relation de la ruine de Siam, en 1767 ... as published in Nouvelles Lettres Edifiantes, Vol 5, Paris, 1820. Letter of J. Corre, dated 1 November 1769. pp 480-481.

AYUTTHAYA HISTORICAL RESEARCH

WAT SAMANA KOTTHARAM

Selected PICTURES

MAPS

Map 1 - Detail of a 2007 CE Fine Arts Department GIS map. Courtesy of the Fine Arts Department 3rd Region.
Map 2 - Google Earth.

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HISTORY OF AYUTTHAYA

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