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| WAT NA PHRA MEN (วัดหน้าพระเมรุ) |
| Wat Na Phra Men or the Monastery in Front of the Funeral Pyre sometimes called Wat Na Phra Meru is located off the city island in the northern area of Ayutthaya in Tha Wasukri sub-district. The temple is located along Khlong Sra Bua and the north bank of the Khlong Mueang just opposite the ancient Grand Palace. It was registered as a National Historic Site with the Fine Arts Department on 25 February 1935. History The temple was constructed during the reign of King Ramathibodi II (r. 1491-1529), the 10th king of the Ayutthaya Suphannaphum/Suphanburi dynasty in 1503 and received the name Wat Phra Meru Rachikaram. [1] Wat Phra Meru occupied a prominent place in front of the Royal Palace. As its name indicates, it must have been established at a Royal cremation area. King Chakkraphat (r. 1548-1569) captured a lot of white elephants during his reign and this news crossed the borders quickly. The King of Burma requested again to obtain two animals, a request which was turned down by Siam. In 1563 (1), the King of Burma, Bayinnaung (r.1551-1581), came down with a large army in order to enforce his request. He captured all the cities in the north and descended on Ayutthaya. King Chakkraphat saw that the Burmese army largely outnumbered his and decided to resolve the issue through parleys. He ordered to erect a royal building with two thrones, equal in height in the area between the Phra Meru Rachikaram Monastery and the Hatsadawat Monastery. Then he had a jeweled-adorned throne prepared higher than the royal thrones, and had a Buddha image to preside over the meeting. The terms imposed by the King of Burma were onerous. Prince Ramesuen, Phya Chakri and Phya Sunthorn Songkhram, the leaders of the war party, were to be delivered up as hostages, an annual tribute of thirty elephants and three hundred catties of silver was to be sent to Burma, and the Burmese were to be granted the right to collect and retain the customs duties of the port of Mergui - then the chief emporium of foreign trade. In addition to this, four white elephants were to be handed over, instead of the two originally demanded. King Chakkraphat had no choice than deliver up to keep a truce. All Siamese prisoners were released and the Burmese army returned. "When King Maha Cakkraphat was informed of the contents of the royal letter, he made his decision, “This time their army is [BCEF: exceptionally] enormous and it appears to be beyond the capacity of our soldiers to save the Capital. If we do not go out, the monks, Brahmans, inhabitants, citizens and populace will all be faced with perdition and destruction, and even the Holy Religion will be disgraced. We shall have to go out. Even if the King of Hongsawadi does not constantly abide by his promises, as in the royal letter which has arrived, we will see to it that our promises are firmly upheld.” Having so decided, he had a royal letter prepared to specify where he would proceed to and had an embassy carry it out to present to the King of Hongsawadi. Then he ordered officials to go out to erect a royal building with two royal thrones, equal in height and spaced [BCDF: four] [E: one] sòk apart, in the area between Phra Meru Rachikaram Monastery and Hatsadawat Monastery. Then he had a jeweled throne prepared higher than the royal thrones, and had the Holy and Glorious Triple Gems escorted out to preside over the meeting." [2] In 1570, the year following the first fall of Ayutthaya, Cambodia invaded Siam and camped at the northern side of Ayutthaya. The King of Cambodia thought after the war with the Burmese to find a defenseless, easy to capture city and took the opportunity to settle old scores. His thinking proved wrong as the Siamese capital offered a stern resistance and the Cambodian forces had to retreat with heavy losses. "The King of Lawaek advanced with his army and [B: the King of Lawæk came and] halted his elephant in Sam Phihan [CDEF: Monastery]. And the enemy troops were posted at intervals to Rong Khòng [BDF: Monastery] and Kuti Thòng Monastery. Then they brought about thirty elephants and halted them in [B: Na] Phra Meru Rachikaram Monastery with about [B: five] [CDEF: four] thousand men." [3] In 1760, the Burmese King Aloungphaya (r.1752-1760) invaded Ayutthaya. On the first day of the waxing moon of the sixth month in the morning of the year 1760, the Burmese positioned their guns again at Wat Phra Men (translated by Cushman as the Holy Funeral Monuments) and at the Monastery of the Elephant Landing. They started firing on the Grand Palace during the day and the night and were even able to hit and destroy the spire of the palace. The next day, the Burmese withdrew north to Ava, along the Chao Phraya River. The king of Burma died before reaching the border at Mokalok in Tak province. Following some versions of the Royal Chronicles of Ayutthaya (RCA), the Burmese King Alaungphraya became ill, although following the Royal Autograph version, he was wounded by an explosion of a large gun. He returned to his stockade and decided to abandon the campaign. I found although nowhere mentioned in any of the RCA versions that the gun burst occurred at Wat Na Phra Men. "When it was evening, the Burmese gave up [B: on the campaign] and crossed over [the river] to the banks on the side of the Monastery of the Gold Mountain. [BCD: During the morning of] [F: When it was ____ day,] the first day of the waxing moon in the sixth month, [F: in the morning,] the Burmese brought their great guns [BCD: forward], positioned them at the Monastery [BCD: in Front of] [F: of the Temple of the Series of] the Holy Funeral Monuments [F: and at the Monastery of the Elephant Landing], and aimed and fired them in volleys at the Holy Royal Palace Enclosure and at the [BF: Holy] Throne Hall of the Eternal Ruler of the Sun both during the day and during the night. [F: They hit the spire of the palace and destroyed it.]" [4] There is a record that Wat Na Phra Men was renovated during the reign of King Borommakot (r. 1733-1758). After Ayutthaya was sacked by the Burmese troops, Wat Na Phra Men was left unattended for more than half a century until Phraya Chai Wichit who was the city mayor in the reign of King Rama III restored it between 1835 and 1838. The traditional Ayutthayan style was maintained. Phraya Chaivichit gathered the left-over antiquities, which were scattered around the city, so that they could be kept at this monastery. [5] More renovations took place in 1914 and 1957. The ordination hall The ordination hall faces south and measures approximately 50 m by 16 m. The ubosot has front and back porches with elevated balconies of 4m length in the center that are used to house a standing Buddha image. Kasetsiri and Wright point out this was a door before probably for the exclusive use by royalty. [1] The ubosot’s gable is carved wood primed with black lacquer and covered with gold leaf featuring Vishnu (in Thailand called Phra Narai or Narayan) mounted on Garuda, on top of the demon head Rahu (2) placed between two Nagas and flanked by 26 celestial beings (deva – thewada). Each of Vishnu’s four hands is holding his classic items being a trident, a discus, a conch and a baton. On top of Vishnu stands a royal tiered-umbrella and behind his head an arch-framed halo. The gable of Wat Na Phra Men is considered one of the most beautiful pieces of artistic work from Ayutthaya. At the southern front entrance there were before three doors. The large middle door was later blocked, leaving only a high window. At the northern side there are two small doors. The doors are made of teak wood (Mai Sak) and decorated with lacquered motifs. Over the doors there are marble slabs with ancient Khmer characters and Thai numbers. Inside the ubosot, there are two rows of eight huge octagonal pillars with lotus- bud capital supporting the wooden roof structure. The wooden beams are beautifully carved and the ceiling is adorned with wood carving showing stars and the moon. The interior walls of the ordination hall were covered with a painting of 80 Buddhist monks with Bhikku (nuns) behind them. The painting was white-washed when the ubosot was restored. The walls of the hall are windowless but have an opening consisting of a vertical slit to allow some light to enter and to ventilate, called false windows; a decorative style showing a window-like pattern. The incoming sunlight reflecting on the golden Buddha image gives a stunning effect. [5] The use of false windows in Siam existed already in the Middle Ayutthaya period, but has its roots much earlier, as we can see its use already at Angkor. The crowned Buddha The most important Buddha image in the ordination hall was named Phra Buddha Nimitr Vichit Maramoli Sisanpeth Boromtrailokanat. The crowned image sits in the Subduing Mara posture and measures 6 m high and 4.50 m in width across the lap. [5] The image was cast of metal and covered with gold leaf. The peculiars of Phra Buddha Nimitr Vichit Maramoli are that the image is attired in royal dress complete with crown, earrings, necklace, chest and arm ornament. It presumably dates to the reign of King Prasat Thong, when such Buddha images became popular in the Late Ayutthaya period. [7] Kasetsiri and Wright state that the Buddha image could refer to Maitreya (3), the Buddha of the future. Another explanation is given referring to the legend when Lord Buddha dealt with Jambupati. The legend of Jambupati was very popular before in Burma. The records recall the humbling of a boastful king, Jambupati, by the Buddha. The story tells how the Buddha has Jambupati brought before him having first transformed himself into a mighty king, set in an incomparable palace. Witnessing the Buddha in all his majesty, Jambupati accept the dharma and becomes a monk. [7] The statue is the most beautiful and largest crowned Buddha image that was left following the war with Burma in 1767. The small vihara Wihan Noi or Wihan Khian (the Hall of Paintings) was constructed in 1838 by order of Phraya Chai Wichit during the reign of King Rama III to house Phra Kantharat. The hall measures 25 m by 11.50 m and has front and back porches. In front of the vihara, there are two staircases ascending an erased platform from both sides. The roof of the vihara is covered with terra cotta tiles. [5] The door panels, measuring 2.60 m by 0.60 m, are carved in a bas-relief of birds, animals and deities with intricate flowery flames. It is believed to have been made in the Mid Ayutthaya period as most of the Late Ayutthaya period door panels were inlaid with mother of pearl and had finer designs. [5] The gilded stucco designs at the windows and doors consist of European and Chinese foliate designs, popular during that time, especially the Chinese design of a flower vase and a small altar set. [1] The inside walls contain faded mural paintings of the King Rama III period, mainly erased by in seeping water and no maintenance. The painting covers the entire wall from the floor up to the ceiling with no dividing lines. The color tone was dark, such as dark red or dark green. The stories depicted in the painting were continuous with lines of trees or roads or building structures to break-up the episodes. Following pictures remain to be seen: A painting, depicting a king sitting in a pavilion on the water, pointing his finger. In front of him are his servants. The pillars of the pavilion are carved in the naga form and many rowing boats carrying offerings. The second painting shows a procession with dances, musicians and soldiers. At the head of the parade people are carrying bamboo rockets, and three monarchs sitting on elephants with the last one just departing from the city gate. There are two men gesturing like they are trying to stop the parade while the people in the procession looked startled. The third painting shows a long and winding procession, taking place at night time. The people on the elephant are dressed as commoners. There are people holding torches and a monk carrying an alms bowl wrapped in red cloth. [5] Phra Khantharat The Buddha image “Phra Khantharat” or also called Phra Sri Ariamet Trai, was carved in green stone in the Gupta style. The Gupta period (4th to 6th century) is noted as a time during which the quintessential Buddha image was created, becoming an iconic form which was disseminated and copied throughout the Asian Buddhist world. Gupta style stands at a crossroads in art historical developments in the sub-continent. The Gupta style embodies the earlier figurative styles of North and North West India (Mathura and Gandhara), while achieving a new power and sophistication. It is noted for the full, sensuous modeling of faces and bodies, for a subtlety of expression and for the harmonious proportions of its figures. During these centuries the workshops at Sarnath [close to Varanasi, Benares, India], a monastic complex built on the site of the Buddha's first sermon, became especially artistically influential. A particular type of Buddha image was produced here whose body is covered by a diaphanous robe, which clings to the figure while flaring at the sides. This was to become the prototype for a multitude of later images. [8] For the first time, permanent materials like brick and dressed stone were used in the construction of temples instead of perishable materials, such as bamboo, wood, etc. Sculpture of the Gupta period presents a characteristically beautiful figure, full of charm and dignity, a graceful pose and a radiant spiritual expression. [5] The sculpture is believed to be made in the Dvaravati style (Mon) dating from 707 - 757 AD. The size of the image is 5.20 m high or three times normal human size. It is the largest figure of a seated Buddha originally displaying the dharmachakra mudra with his feet placed on a lotus pedestal in a western style manner, legs apart. The story goes that the image was moved from Wat Phra Men in Nakhon Pathom province, where several Buddha images in Dvaravati style have been found, two of which were moved to Ayutthaya. The statue here was first kept at Wat Maha That. During the reign of King Rama II the image was relocated to Wat Na Phra Men. One statue is at Wat Na Phra Men and the other at the Chao Sam Phraya National Museum. A nearly similar Buddha statue is found in the interior cella of the Buddhist temple of Candi Mendut in Indonesia. This Buddha image has several remarkable features writes Kasetsiri and Wright: The halo around the image's head has tongue flames indicating Chinese influence; The short hemline exposing the left knee, looks different from those of other images in Thailand but this is similar to the images of Maitreya created during the Tang dynasty in China; Both hands of the image rest on the knees, which is different from the postures known in Thailand, but apparently this was arranged at a later stage. [1] Wat Na Phra Men is located in geographical coordinates: 14° 21' 45.70" N, 100° 33' 31.46" E. |
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| Footnotes: (1) All the RCA except Luang Prasoet put this event in 1548, but 1563 is the in general accepted date for this event. The Burmese stood before Ayutthaya in 1564. (2) Rahu is mentioned explicitly in a pair of scriptures from the Samyutta Nikaya of the Pali Canon. In the Candima Sutta and the Suriya Sutta, Rahu attacks Chandra, the moon deity and Suriya, the sun deity, before being compelled to release them by their recitation of a brief stanza conveying their reverence for the Buddha. The Buddha responds by enjoining Rahu to release them, which Rahu does rather than have his "head split into seven pieces". The verses recited by the two celestial deities and the Buddha have since been incorporated into Buddhist liturgy as protective verses (paritta) recited by monks as prayers of protection. [Wikipedia - data retrieved on 11 September 2009]. For the Thais it is the demon who causes eclipses. (3) Maitreya (Sanskrit) or Metteyya (Pāli) is the future Buddha of this world. Maitreya is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śākyamuni Buddha, the founder of Buddhism. Maitreya is typically pictured seated, with either both feet on the ground or crossed at the ankles, on a throne, waiting for his time. He is dressed in the clothes of either a Bhiksu or Indian royalty. Maitreya currently resides in the Tusita (Dusit) Heaven. [Wikipedia - data retrieved on 11 September 2009] References: [1] Discovering Ayutthaya - Charnvit Kasetsiri & Michael Wright (2007) - page 98/100. [2] The Royal Chronicles of Ayutthaya - Richard D. Cushman (2006) - page 44-49 / Source: Phan Canthanumat, British Museum, Reverend Phonnarat, Phra Cakkraphatdiphong & Royal Autograph - The King of Hongsawadi’s Letter and Ayutthaya’s Response. [3] The Royal Chronicles of Ayutthaya - Richard D. Cushman (2006) - page 77 / Source: Phan Canthanumat, British Museum, Reverend Phonnarat, Phra Cakkraphatdiphong & Royal Autograph - War with Lawæk, 1570. [4] The Royal Chronicles of Ayutthaya - Richard D. Cushman (2006) - page 483 / Source: Source: Phan Canthanumat, British Museum, Reverend Phonnarat & Royal Autograph - The Burmese Besiege the Capital. [5] A critical analysis of heritage interpretation and the development of a guidebook for non-Thai cultural tourists at Ayutthaya World Heritage site - Aphivan Saipradist (2005). [6] Ayutthaya, a world heritage (2000) - page 128/129. [7] www.aziatischekunst.com - data retrieved 11 September 2009. [8] www.vam.ac.uk - data retrieved 11 September 2009. |
| Text, maps & photographs by Tricky Vandenberg - September 2009 Updated January 2015 |
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| (Ubosot or ordination hall) |
| (Ubosot or ordination hall) |
| (Remnants of the old prang) |
| (Three satellite chedi in line) |
| (Three satellite chedi in line) |
| (Remnants of the outer wall) |
| (The crowned Buddha in the ubosot) |
| (Remnants of the old prang) |
| (Entry door, part of the outer wall) |
| (Phra Khantharat in the small vihara) |
| (Three chedi in line) |
| (Buddha images from the 13th-14th Century found on the location of Wat Phra Na Men and displayed at the Chao Sam Phraya Museum) |
| (Detail of a 19th century map - Courtesy of the Sam Chao Phraya Museum) |
| (Detail of Phraya Boran Rachathanin's map - Anno 1926) |
| (Detail of a 2007 Fine Arts Department GIS map - Courtesy of the Fine Arts Department - 3th Region) |
| Buddha image found at the location of Wat Na Phra Men and displayed at the Chandra Kasem National Museum) |
