Phra Prang of Wat Arun Ratchawararam: The Masterpiece of Krung Rattanakosin

Wat Arun Ratchawararam or Wat[1] Arun, traditionally known as Wat Jaeng, is situated on the west bank of the Chao Phraya River. It is an ancient temple that has been utilised since the Ayutthaya period (in the 18^th century). Until the Thonburi period (in the 19^th century), after reclaiming Siam’s sovereignty from Burma, King Taksin the Great graciously moved the capital city from Ayutthaya to Thonburi and built a new royal palace with the boundary stretched to Khlong[2] Wat Jaeng. This implicitly made Wat Jaeng or Wat Arun the royal temple situated within the royal palace area. For this reason, monks were not allowed to reside in this temple. This was the same arrangement as Wat Phra Si Sanphet in the Ayutthaya period.  

During the Thonburi period, Somdej Chao Phraya Maha Kasatsuek (later King Buddha Yodfa Chulaloke the Great) installed Phra Buddha Maha Manee Rattana Patimakorn (the Emerald Buddha) and Phra Bang, from Vientiane. King Taksin the Great graciously enshrined these two significant buddha images at Wat Jaeng or Wat Arun for about five years (from 1779 to 1784). When King Buddha Yodfa Chulaloke the Great ascended to the throne, he established Krung[3] Rattanakosin as the new capital city on the east bank of the Chao Phraya River. He graciously built the Grand Palace and Wat Phra Si Rattana Satsadaram (Wat Phra Kaew) within the Grand Palace area and enshrined both Buddha images at Wat Phra Si Rattana Satsadaram.

His Royal Highness Somdej Phra Chao Lukyater Krom Luang Issarasoonthorn (later King Buddha Lert La Nabhalai or King Rama II of Krung Rattanakosin) resided at Wang Derm Palace (the palace in Thonburi), south of Wat Jaeng (or Wat Arun). After King Buddha Yodfa Chulaloke the Great (King Rama I of Krung Rattanakosin) conferred a higher nobility of the royal title Krom Phra Ratchawang Bowon Sathan Mongkhon to him, he continued to reside at Wang Derm Palace, instead of relocating to Wang Na Palace, which was the residence of Krom Phra Ratchawang Bowon Sathan Mongkhon. While living at Wang Derm Palace, in 1785 he planned to restore the temple, including the Ubosot[4] Noi[5] and Vihāra[6] Noi buildings. New monk dwellings were built first, and monks were allowed to reside at the temple again as Wat Jaeng was not the royal temple located within Krung Rattanakosin’s royal palace.

In 1809, King Buddha Lert La Nabhalai acceded to the throne and became King Rama II of Krung Rattanakosin. Holding royal saddhā[7] in Buddhism, King Rama II re-commenced major restoration of Wat Jaeng’s Ubosot Noi and Vihāra Noi buildings. Furthermore, he graciously ordered the casting production of the principal Buddha image for being enshrined inside the restored Ubosot Noi. King Rama II himself sculpted the mould for the face of the Buddha image. The principal Buddha image finished casting in 1820. King Rama II then conferred the new name of the temple as “Wat Arun Ratchataram.”

King Buddha Lert La Nabhalai (King Rama II) had strong royal saddhā in Buddhism to build a new Phra Prang over the original one. This was located at the front of the temple, and was only 16 metres tall. He made a royal remark that the original Phra Prang was too small and addressed his royal intention for a new Phra Prang to be built and to be the Maha That[8] of Krung Rattanakosin. His Royal Highness Krom Muen Jessadabodindra (later King Nangklao Chaoyuhua or King Rama III) was assigned to supervise the construction of the new Phra Prang. However, work did not commence during the reign of King Rama II as the King fell ill and suddenly passed away in 1851.

After King Nangklao Chaoyuhua acceded to the throne becoming King Rama III of Krung Rattanakosin, he graciously ordered the restoration of Phra Prang following the royal intention of the late King Buddha Lert La Nabhalai (King Rama II). A new Phra Prang with the height of 61.20 metres tall was built over the original 16-metre-tall Phra Prang. This makes this Phra Prang[9] the biggest Prang-shaped Chedi[10] in Thailand. The new Phra Prang is surrounded by the newly built subordinating Prang-shaped Chedis at the four corners and new Mandapas[11] in the four cardinal directions. In addition, the Ubosot Noi and Vihāra Noi buildings were restored. New square Chedis in the 20-cornered indented system (decorative Chedis) and the entrance façade were also built. The temple’s landscape was improved and redesigned. The restoration was completed during the reign of King Rama III, however, the King passed away in 1851 prior to the temple celebration occurring.  

King Mongkut (King Rama IV) graciously ordered further restoration and construction works for Wat Arun Ratchataram. He later conferred a new name for the temple as “Wat Arun Ratchawararam.”

The layout of the group of the principal and subordinating Chedis at Wat Arun Ratchawararam consists of a very large Prang-shaped Chedi, subordinating Prang-shaped Chedis at the four corners and Mandapas in the four cardinal directions. The large Prang-shaped Chedi is recognised as the principal Chedi of the temple. Inside the Mandapas, there are enshrining sculptures depicting the Buddha’s life stories of his birth, the enlightenment, the first sermon and his death. Front of the principal Prang-shaped Chedi are the Ubosot Noi and Vihāra Noi buildings positioning side-by-side. 

The design of this layout relates to the Buddhist cosmology. The principal Prang-shaped Chedi symbolises Mount Meru[12] or the centre of the universe. The subordinating Prang-shaped Chedis at the four corners represent the four Buddhist continents. The cloisters signify the edge of the universe. The principal Prang-shaped Chedi was purposefully built for enshrining the Buddha’s relics, which are considered to be the Buddha’s representatives. The principal Prang-shaped Chedi also represents the beliefs of the Maha That of the capital city. These beliefs are based on integrated beliefs in Buddhism and the Hinduism-adapted beliefs of the Buddha being the centre of the universe.

The layout presents the Buddhist cosmology and symbolises the beliefs of the Maha That of the capital city. This layout was influenced by the early Ayutthaya art, as seen at Wat Mahathat, for example. It was found again in the late Ayutthaya period, for example at Wat Chaiwattanaram in Ayutthaya Province. These temples were built based on the beliefs that the capital city or important cities must have the Maha That of the city serving as the city centre or the soul centre of people.

Phra Prang of Wat Arun Ratchawararam is the most developed Chedi in the Prang shape. Its design was gradually developed from Chedis of the Ayutthaya period. It is the only Chedi form that was developed in the Rattanakosin period. Once very popular during the reign of King Rama III, construction of Phra Prangs in this design has not been found after this period. This suggests that the evolution of the Chedi in this Prang shape was developed and finished within the same period. Phra Prang of Wat Arun Ratchawararam is very large, and is the tallest Prang in Thailand. It was constructed with an intention to make it as the Maha That of the capital city. Traditional beliefs embedded in constructing Phra Prang were adopted and integrated with new beliefs. These beliefs are manifested in detailed sculptures utilised to decorate different tiers of Phra Prang. These sculptures are, for example, the Devatas,[13] Garudas, Asuras[14] and monkeys symbolising the components of Mount Meru. Its Ruaen That is decorated with the Indra God sculptures representing the Tāvatimsa Heaven.[15] The whole Phra Prang body is decorated with multi-coloured porcelain in various designs and patterns. Phra Prang of Wat Arun Ratchawararam is a unique and excellent design of a Prang-shaped Chedi, that is solely found in Thailand and Asia.          

Notes: 

[1] Wat in Thai language refers to a Thai Buddhist monastery or temple.

[2] Khlong in Thai language means a canal.

[3] Krung in Thai language means the Kingdom.

[4] Ubosot refers to an ordination hall. It is a building used by monks to perform Sangha activities such as ordaining and reciting the Pātimokkha. The Ubosot is surrounded by the Sēma stones established in order to demarcate the sacred area.   

[5] Noi in Thai language means small.

[6] Vihāra refers to a shrine hall used by monks and Buddhists to perform ceremonies. A Vihāra is also used to enshrine an important, sacred or very large Buddha image or other sacred objects. Unlike the Ubosot, there are no Sēma stones established around a Vihāra.

[7] Saddhā refers to confidence in Buddhism.

[8] Maha That is a Chedi in either a bell or Prang shape that is built for enshrining the Buddha’s relics inside its chamber. Only the capital city or a large important city has a single Maha That. Maha That is considered the central of the sacredness of the city. A temple that has the Maha That is called Wat Mahathat or Wat Phra Si Rattana Mahathat. 

[9] Phra Prang or Prang refers to a Chedi in the Thai art in a tall tower shape used to enshrine the Buddha’s relics. Its shape was evolved from an ancient Khmer Prasat that was a dwelling of Hindu gods. The important component of Prang is the Ruaen That that is used to enshrine a deity and the Buddha’s relics. The Ruaen That has the Ruaen Chan Son top. 

[10] Chedi (or stupa) is derived from Cetiya or Caitya that means an object of veneration. It refers to a Thai Buddhist structure used for enshrining the Buddha’s relics and worshipping. The term Chedi is commonly used in Thai art.

[11] Mandapa is derived from Mandol that means a place for performing a ritual. In Thai art, Mandapa refers to an accessible square building with walls that enshrines a deity, a Buddha image or the Buddha’s footprint inside the building. The top of the Mandapa is a Prasat in a square pyramidal shape and with multi-layers of roofs stacked in the descending arrangement.

[12] Mount Meru (or Sumeru) refers to the sacred mountain that is the axis of the universe and the centre of the world. Mount Meru is the highest summit and is surrounded with the seven tiers of mountains. Top of Mount Meru is the Tāvatimsa Heaven.

[13] Deveta or Deva refers to an angle.

[14] Asura refers to a demon.

[15] Tāvatimsa Heaven is the second of the six heavens in Buddhism. According to the Buddhist cosmology, the Tāvatimsa Heaven is the abode of the Indra God. It is the centre of the universe in Buddhism. The Tāvatimsa Heaven is on the Mount Meru summit. Chula Mani Chedi, a Parijata heavenly tree, the celestial abode of Indra God and the Erawan Elephant are important symbols of the Tāvatimsa Heaven.

Wat Arun Ratchawararam has a non-traditional layout where the principal Chedi, the Ubosot Noi and the Vihāra Noi buildings are not connected. There are two main groups of architectures in this layout. The first group is the principal structures of the temple, consisting of the principal Chedi and the subordinating Chedis, all in the Prang shape. The second group comprises the Ubosot Noi and Vihāra Noi buildings locating side-by-side. These structures are not on the same axis layout. Originally, Wat Arun Ratchawararam during the Ayutthaya period was a small temple on the Chao Phraya River bank. In the later periods, it was designated as a large royal temple. With the limited spaces for construction and the royal desire to construct a large Phra Prang to serve as the Maha That of the capital city, the layout of Wat Arun Ratchawararam is, therefore, different from the traditional temple layout. This non-traditional layout is unique to the temples built or restored during the reign of King Rama III.   

Phra Prang of Wat Arun Ratchawararam strongly demonstrates the evolution of the Prang-shaped structure that was gradually developed from the Ayutthaya period. It was re-designed in the later periods and eventually created a new shape of Phra Prang that is totally distinctive from the original design. The design is unique to the Rattanakosin art. Phra Prang of Wat Arun Ratchawararam is the tallest Prang-shaped Chedi in Thailand. It is a prototype of Prangs in Thailand, and is an iconic symbol of Thailand. Its architecture, art and beliefs embedded in its construction are unique and only found in Thailand and Asia.       

Phra Prang of Wat Arun Ratchawararam is of significance as it symbolises the centre of the universe and characterises as the Maha That of the capital city. These attributes are demonstrated through the design of the layout that has a group of the principal Prang-shaped Chedi and subordinating Prang-shaped Chedis at the four corners. These Chedis are the principal structure of the temple. This layout was influenced by the Indian and ancient Khmer arts, which had the principal Prasat[16] representing Mount Sumeru, and the Prasats at the four corners representing the four continents. The form of the Prang-shaped Chedi was developed from the ancient Khmer Prasat into a style of Ruaen Chan Son[17] representing the abode of gods or the heaven. Later, the Prang-shaped Chedi has been purposefully used for enshrining the Buddha’s relics. These beliefs relate to the Hindu beliefs that were later adapted into Buddhism.

The design and important decorative components of Phra Prang of Wat Arun Ratchawararam truly signify the beliefs of the centre of the universe. First, there are three Prataksin tiers[18] decorated with sculptures of carrying Asuras (Asura Baek), carrying monkeys (Krabi Baek) and carrying Devatas (Devata Baek)––these are found only at Phra Prang of Wat Arun Ratchawararam. There are also multiple tiers or layers of the raised bases[19] symbolising the base of Mount Meru being carried by these beings. Second, the Ruaen That[20] tier is decorated with sculptures of the Indra God riding on the Erawan Elephant. This tier represents the Tāvatimsa Heaven in the Buddhist perspective. The roof of the Ruaen That is adorned with a façade that has a Prang-shaped Chedi on the top. Above the façade is the Ruaen Chan Son. The decorative Chan Chaeng Barth[21] tier is beautifully adorned with carrying Garudas (Krud Baek) sculptures. The highest Prataksin tier resembles the heaven, potentially the Tāvatimsa Heaven. The top of Phra Prang represents the Chula Mani Chedi[22] enshrining the Buddha’s hair and tooth relics in the Tāvatimsa Heaven.

The artwork is also of significance as it is acknowledged as a prototype of Phra Prangs in Thailand that were influenced by the Ayutthaya art from the last period. Phra Prang of Wat Arun Ratchawararam is very tall and large. Its height was extended by an inclusion of the three Prataksin tiers. All the Prataksin tiers are decorated with sculptures of carrying (Baek) figurines of Asuras, monkeys and Devatas, all symbolising Mount Meru. Above these decorative sculptures are Thep Phanom[23] sculptures that represent the heaven or the Vimana.[24] Furthermore, the design of Phra Prang was transformed, hence, generating the unique design and characteristics of Phra Prang specifically of the early Rattanakosin period. These can be seen from the Ruaen That in the form of Chaturamook.[25] Top of the Ruaen That (called Chedi Yod) also has a Prang-shaped Chedi being attached to the porch of the Ruaen That. The most important art is the decorative sculptures of the Indra God riding on the Erawan Elephant being adorned inside the Charanum[26] façades, instead of the Buddha images traditionally being enshrined inside the Charanum façades. This art truly symbolises the Tāvatimsa Heaven. The form of Phra Prang was further developed by increasing more tiers of Prasats stacked in the descending arrangement. The corners of each tier are decorated with the Kleeb Kha Noons.[27] The traditional Vimana entrance, the Vimana façades and the Bun Ta Laeng,[28] as seen from the Prangs in a traditional style, were redesigned and resized to be the smaller Bai Kha Noons.[29] The Bai Kha Noons are adorned on each side of the Ruaen That to decorate the Ruaen That. This redesign made the top of Phra Prang in the Rattanakosin period a very tall spire like a trunk of a native Avicennia mangrove.

The beautiful art of Phra Prang of Wat Arun Ratchawararam is manifested through the whole Phra Prang being decorated with glazed porcelain. This decoration style is not used in Thai art from other periods. This makes Phra Prang of Wat Arun Ratchawararam the unique identity of the Rattanakosin art and architecture that is only found in Thailand and Asia.

Criterion (i): Phra Prang of Wat Arun Ratchawararam is an exceptional representative of the Chedi architecture in Buddhism. It is unique and has its own identity that is displayed through its distinctive shape, construction techniques used, the beliefs embedded in construction, and exquisite decoration of beautiful artwork. This notable masterpiece is very large in size and is the most beautiful Prang-shaped Chedi. It is not found elsewhere in Thailand and Southeast Asia.

Criterion (ii): Phra Prang of Wat Arun Ratchawararam is the Chedi architecture in Buddhism that was influenced by the Ayutthaya art from the early period (the 15th century) and the later period (the 18th century). Its design, layout, architecture and art were evolved over time and further created its uniqueness and own identity. Phra Prang of Wat Arun Ratchawararam is the only one of its kind with its own identity evidently representing the Rattanakosin period (the 19th century to present) that is found in Thailand and Asia. 

Notes: 

[16] Prasat is derived from Prasada in Sanskrit or Prasad. It is a building in the Ruaen Chan Son style. It refers to the abode of gods in Hinduism and has been adopted to use in Mahayana and Theravada Buddhism. It also refers to the residence of the king. Its main components include the Vimana entrance, the Vimana façade, Ban Ta Laeng and replica Prasats.

[17] Ruaen Chan Son refers to the top of the Prasat in the form of multiple Prasats stacked on several layers in the descending arrangement. It refers to the abode of God, a king or the Buddha. Each layer consists of an entrance (called the Vimana entrance), a roof (called the Vimana façade) and Ban Ta Laeng (an object attached to the front of the Vimana entrance). It is usually decorated with Devata sculptures symbolising the abode of Devatas (angles). Its style was evolved into replica Prasats or Kleeb Kha Noons that are adorned at the corners of the Prang tiers.

[18] Prataksin tier or base refers to a raised base of a Chedi that has a staircase for accessing a pathway around a Chedi. Buddhists walk clockwise when performing activities, such as the light waving rite, to worship a sacred object.

[19] Base or Than (in Thai) refers to a base for supporting a structure or a group of structures. It has various forms and patterns and is named after its characteristic or function, for example Than Bua is named after a design similar to a lotus (Bua in Thai), and Than Singha looks like a lion’s legs.

[20] Ruaen That refers to a square room or a chamber inside a Chedi used for enshrining the Buddha’s relics or maybe a deity. Outside Ruaen That are the Charanum façades for enshrining a deity.   

[21] Chan Chaeng Barth refers to a base supporting an important component of a Chedi, for example, a base supporting the Ruaen That of a Prang-shaped Chedi. A base supporting the top of a Chedi that is usually decorated with carrying (Baek) Garuda sculptures is called Chan Chaeng Barth Krud Baek.

[22] Chula Mani Chedi refers to a Chedi in the Tāvatimsa Heaven enshrining the Buddha’s hair and tooth relics. It is situated on the Mount Meru summit. It symbolises the centre of the universe and the Tāvatimsa Heaven signifying the Buddha stays at the centre of the universe.  

[23] Thep Phanom refers to a pattern in the traditional Thai art depicting a deity pressing both hands together in salute.

[24] Vimana refers to the heaven. In the Southern Indian art, a structure such as a Prasat or a Hindu temple is called a Vimana. A Vimana for ancient Khmer Prasats and Prangs in Thai art refers to the top in the Ruaen Chan Son style of a building symbolising the abode of the gods. Each tier of the Ruaen Chan Son is called a Vimana tier. Each Vimana tier has façades for enshrining deity. These façades are called the Vimana façades.

[25] Chaturamook refers to a four-sided porch that one side is attached to a main building providing additional space for enshrining a deity.

[26] Charanum refers to a small façade on the building wall or Chedi for establishing the Buddha sculpture or small stupa. Its structure consists of columns, a structural body and a roof. Its structural body is decorated with sculptures.   

[27] Kleeb Kha Noon is a decorative component of a Prang-shaped Chedi adorned to the top of a Prang at all corners and all tiers of the Ruaen Chan Son. Its shape is like a quarter piece of a jackfruit. Its shape was evolved from replica Prasats used for decorating the Ruaen Chan Son of the ancient Khmer Prasats.

[28] Bun Ta Laeng means the front area. It is an object attached to the front of the Vimana entrance of each tier of a Prasat building. Bun Ta Laeng is a façade or a small building that symbolises the abode of Devatas. It has columns, a structural body, a roof and a Devata sculpture being enshrined inside. It is a common architecture found in the ancient Khmer Prasats, Prangs, Mandapa and Busabok (a movable castle in reduced size used as a throne or for enshrining a sacred object). Originally, Bun Ta Laeng in an ancient Khmer Prasat is decorated with deity sculptures depicting the Vimana of the god or Devata of each cardinal direction). Bun Ta Laeng in the Prang-shaped Chedi has decorative patterns instead.  

[29] Bai Kha Noon is a flat decorative object of the Prang-shaped Chedi in the Rattanakosin period. It has a shape similar to a jackfruit leaf. It is used to decorate front of the Ruaen Chan Son at each tier of a Prang. Its shape and adorning positions on a Prang were evolved from Bun Ta Laeng (means the front) of an ancient Khmer Prasat that was a façade attached to front of the Vimana entrance on all sides of the Prasat, and it was used to enshrine a deity.

Authenticity

Phra Prang of Wat Arun Ratchawararam is a Chedi monastery in Theravada Buddhism. It is situated on the west bank of the Chao Phraya River. King Nangklao Chaoyuhua (King Rama III) graciously ordered the special sacred area being established within Wat Arun Ratchawararam, that was completed in 1842. This sacred area represents the centre of the universe and is the Maha That of the capital city of Krung Rattanakosin. The area consists of: the principal Prang-shaped Chedi; four subordinating Prang-shaped Chedis at the four corners; and four Mandapas in the Prasat shape in the four cardinal directions. All structures sit on, and are supported by, the raised Than Paitee.[30] Phra Prang of Wat Arun Ratchawararam demonstrates magnificent artwork that is not found elsewhere. The whole Phra Prang is decorated with glazed porcelain. As Phra Prang is the Chedi within the temple area that was constructed by the royal order of King Rama II, hence Wat Arun Ratchawararam is classified as the royal temple of King Rama II. All kings of Krung Rattanakosin, during their reign, travelled on the Royal Barge in the Royal Barge Procession each year to Wat Arun Ratchawararam and presided over the annual Royal Kathina[31] Ceremony. Wat Arun Ratchawararam has, therefore, been superbly maintained and conserved to ensure that Phra Prang’s authenticity, including its shape, architecture and decorative art, remains at the highest level. Conservation process has been undertaken under the supervision of the Fine Arts Department, which is the main agency specialised in, and responsible for, conservation of Thailand’s ancient monuments.

Integrity

Located on the bank of the Chao Phraya River, Phra Prang of Wat Arun Ratchawararam is positioned with a layout in the form of a group of Chedis located in one area. The large Prang-shaped Chedi is in the centre and sits on the supporting raised Than Paitee. It is surrounded by subordinating Prang-shaped Chedis situated at the four corners. There are Mandapas in the Prasat shape in the four cardinal directions, and two Ubosot Noi and Vihāra Noi buildings located at the front of the principal Prang-shaped Chedi. Within Wat Arun Ratchawararam boundaries, the sacred monastery and Sangha[32] areas have been clearly separated. All monastery structures within the temple’s boundaries continue to be utilised for Buddhist ceremonies or rituals, Sangha activities and dwelling for the monks. In 2017, the Fine Arts Department declared the designated area of Wat Arun Ratchawararam being the ancient monument area covering the area of 4.8272 hectares. The declaration was proclaimed and published in the Royal Thai Government Gazette Vol.134, Special Issue 323 D, dated 28 December B.E.2535 (2017).

Notes: 

[30] Than Paitee is a large base supporting multiple types of structures, such as the principal Chedi and subordinating Chedis or other buildings, on one base. The term Paitee is derived from Vaetee (in Thai) or Vadika.

[31] Kathina refers to a Buddhist robe offering festival at the end of Vassa (rainy season).

[32] Sangha means the Buddhist monks.