Model of Phra Yod Khun Phon Soom Ruean Kaew Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Phra Yod Khun Phon Soom Ruean Kaew votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the Buddha’s characteristics in the attitude of subduing Mara of sitting in the arch of Ruean Kaew or decorated frame around the Buddha image, and sitting on the base with the line of cloth hanging in front of the Buddha image reaching both left and right sides of chin, clearly showing the line of outer robe. The distinctive Buddha’s characteristics is to be decorated with “Serd” or crown, the appearance of the Buddha is wearing a crown, bracelets at the arms, wrists, and ankles. It was also noticed to the line at the waist cloth that overlapped the arch of Ruean Kaew or decorated frame around the Buddha image in the left side. According to the Buddha’s grace, it was also regarded as Phra Yod Khun Phon Soom Ruean Kaew votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi distinguished in terms of invulnerability, missing or escaping, power and prestige. Phra Yod Khun Phon Soom Ruean Kaew votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 7.80 cm, height including base 10.70 cm, and thickness including base 3.60 cm. 90
Phra Rod Phim Yai (Big mold) The Votive Tablets made from the Baked Clay in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi in the Parts of some Votive Tablets Phra Rod was the amulet made for thousand years old. It was one of the oldest amulets found in Thailand. Phra Rod was made by the Mother Chamdhevi when she came from Lawo City to reign at Haripunjaya (Lamphun Province) for inheriting the religion. Phra Rod from Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was considered as a model of Phra Rod in later eras. The word ‘Phra Rod’ was referred to safe and secure. The Buddhist art was in the early period of the Haripunjaya Kingdom (Lamphun Province) around the beginning of the 13th-14th Century CE after the Dvaravati period. The pattern of Phra Rod was a Buddha image seated in the Samadhi Phet (Sitting in diamond posture) which was a particular model of North Indian (Mahayana) Buddha images. Phra Rod model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi consisted of 5 models as follows: 1. Phra Rod Phim Yai (Big mold) model 2. Phra Rod Phim Klang (Medium mold) model 3. Phra Rod Phim Lek (Small mold) model 4. Phra Rod Phim Tuen (Shallow mold) model 5. Phra Rod Phim Tor (Short mold) model Phra Rod Phim Yai votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 1.03 cm, height including base 2.42 cm, and thickness including base 0.70 cm. 91
Phra Liang Phim Bua Med Regarding Phra Liang Phim Bua Med in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, the Buddha’s characteristics were exquisite with emphasizing in the lines and elements to be clear. The principal Buddha image was sitting in the posture of subduing Mara. All around the Buddha image was decorated with various things that was known as “Song Therd” or wearing crown to decorate the head, which was a form of Mahayana doctrine. Above the three-tiered asana or seat there was the head wearing a three-petaled hat, the face was elongated, the jaw was pointed, the eyes were large and high relief clearly. His ears were decorated with long earrings to the shoulder robe, his breast was narrow, his body was elongated, his navel appeared 2 small lines, his lap was very wide; looking like a tall skinny person. His arms were attached to the Buddha image. The Buddha image’s bending elbow on the left side was slightly spread. The right arm of the Buddha image stood out in bending sharply to the lap which was the slightly protruding layer. There were also 5 tiers above the Buddha image which was a mark representing the King. There was the boundary lines around the tier that was convex, small, and sharp, and outside the boundary there were small, short, convex lines that were evenly arranged diagonally around them. Bangsoon or traditional fans were in a lotus petal shape. Between the line of Bangsoon or traditional fans and the Buddha’s face they were the groove, and there are traces of pebbles and slag stains; “upper base” is a 2-row lotus in the roe shape; “middle base” is a three-headed elephant or giant; and “lower base” is a wide convex line along the base. For both sides, there are two Bodhisattva holding lotus flowers; namely Avalokitesvara and Mahasthamaprapta Bodhisattva Phra Liang Phim Bua Med votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 1.95 cm, height including base 3.73 cm, and thickness including base 1.14 cm. 92
Phra Rod Luang Phim Klang or in Medium Size Phra Rod Luang Phim Klang or in medium size in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was considered as a true model of Phra Rod Luang due to the nature of the oldness that was compared or correlated to the ancient terracotta votive tablets in 11th-12th Century CE of the Dvaravati Kingdom in U-Thong City, Suphanburi Province. Regarding the nature of the oldness that was very close, Phra Rod Luang of this place or Kru had entirely and clearly outstanding. The works of Buddhist art of Phra Rod Luang Phim Klang or in medium size in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi were shown as follows: 1. The Buddha’s face in Dvaravati style was referred to the bulgy eyes, similar to the “grasshopper’s eyes”. His jaw was sharpened, not rounded. His forehead was wide and short. His mouth was embossed in a style known as “mouth of betta or fighting fish”. 2. The style of wearing the robe was in oblique line as the same to Phra Rod. 3. Sitting in meditation posture decorated with patterns that had the similar appearance to rice leaves; therefore, it was understood that this ornament showed that in this era there was a richness of full grain crops with the prosperous Phra Rod Luang Phim Klang or in medium size votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 2.42 cm, height including base 5.14 cm, and thickness including base 0.83 cm. 93
Phra Yod Khun Phon Soom Khai Pla or Phra Yod Khun Phon with Arch Frame of Dots Line Phra Yod Khun Phon Soom Khai Pla or Phra Yod Khun Phon with Arch Frame of Dots Line in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was in the attitude of meditation in Dvaravati Art. The features of this votive tablet consisted of almost around the body there were dots resembling fish eggs; therefore, it was the origin of the name “Soom Khai Pla or Arch Frame of Dots Line”. The Buddhist art on the outside had a pattern similar to the Kanok ornament pattern surrounding the Buddha image. The second layer consisted of the lines similar to Chuphanrangsri or the Buddha’s halo. The next layer was polka dots almost around the Buddha image. The last layer was Chuphanrangsri or the Buddha’s halo pattern along to the area of the Buddha’s neck. There was the robe covered the Buddha’s body with emphasizing Dvaravati art, and the line of outer robe throughout the chest that disappeared into the area of the waist on the right side of the Buddha image. In the part of the Buddha’s head, there were the knots on the Buddha image’s head. Regarding the grandeur and top knots of the Buddha’s image, they were tied into segments similar to the pattern of Phra Rod Luang. His face was round in the Mon style (Not a square shape like Khmer art). His forehead was narrow, his eyes were bulging, his eyebrows were connected similarly to the brackets, his nose was wide, his ears were long, and his beard could be seen and told about the art of Haripunjaya coming into the combination. Making a mudra or posture was in a meditation posture, the right hand placed on top of the left hand. His big hands were not tapering in line with his feet that their soles came to the front side. Phra Yod Khun Phon Soom Khai Pla or Phra Yod Khun Phon with Arch Frame of Dots Line in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 3.98 cm, height including base 6.45 cm, and thickness including base 1.16 cm. 94
Phra Lue Khong Phra Lue Khong in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi could be regarded as the early Buddha image of Haripunjaya City or the first era of Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi. It had a very beautiful Buddhist art, and the Buddha characteristics of Phra Lue Khong would have the Buddha image sitting cross-legs with legs locked together on a two-tiered lotus base in the posture of Subduing Mara. In the arch frame and Buddha’s halo was decorated with Kanok pattern, halo lines were also decorated with two layers of Bai Raka or toothlike ridges on the sloping edges of a gable. Phra Lue Khong was quite large, but could be hung around the neck. Phra Lue Khong in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 4.30 cm, height including base 2.50 cm, and thickness including base 1.00 cm. 95
The Goddess Arya Tara The Goddess Arya Tara or Tara was one of postures of the Buddha or God or Goddess in Vajrayana, and was the Bodhisattva in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi. The Goddess Arya Tara was the Bodhisattva of mercy and compassion. The said votive tablet of the Goddedd Arya Tara had the width of shoulder about 6.00 cm., the height about 12.00 cm., the thickness of chest is about 3.00 cm. Bodhisattva Tara or Mother Tara was a female Bodhisattva in Buddhism. There was a continuous pattern of practice inherited in the Vajrayana pattern. The worship to her began around the 8th - 11th century AD in North India, and was most widespread during the 13th - 17th century AD, considered as the wife of Avalokitesvara Bodhisattva. Currently, the Goddess Tara was revered in India, Nepal, and Tibet, whereas Chinese Buddhists revered Guan Yin, the female version of Avalokitesvara Bodhisattva instead that had a lot of followers in Nepal, Tibet, and Mongolia. It was believed that the idea of Tara worshiping started in India as a counter to the Sati ritual (It was a cremation ceremony of an Indian widow after her husband died according to Hindu belief). The Goddess Tara was honored as the mother of all Buddhas and Bodhisattvas in terms of compassion. Some parts of her image were imagined from Queen Sirimahamaya; Mother of the present Lord Buddha. 96
Phra Saam or Phra Trigaya (Three Bodies) Phra Saam, also known as “Phra Trigaya”, the art of the Buddha was influenced by the Mahayana Buddhism that was firmly ingrained at that time. It depicted three Buddha statues sitting above a lotus base under the Bodhi Throne. The principal Buddha image was in the attitude of Subduing Mara. The Buddha statues on the left and right were in lotus position. This type of votive tablet could also be found in other places in Lamphun City. For example, at Wat Mahawan, Wat Pratu Lee, Wat Phra Khong, but the number of votive tablets were less than Wat Don Kaew. If compared to the old nature, Phra Saam or Phra Trigaya of Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the natural value of antiquity that was double to other four temples, and had the highest number of votive tablets that were found. In the aspect of Buddha’s grace, they was in the way of great mercy. Phra Saam or Phra Trigaya (Three Bodies) in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 5.00 cm, height including base 7.00 cm, and thickness including base 1.50 cm. 97
Phra Saam Soom Prang Phra Saam or Phra Trigai, Soom Prang in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was influenced by Mahayana Buddhism. The Buddhist art form depicted 3 Buddha statues sitting on the base of the arch of Prang harmika. The chairman sit in the posture of Subduing Mara, small Buddha statues on both sides had the size in a half of the middle Buddha image. The Buddha’s characteristics of three Buddha statues were similar about sitting in the posture of meditation, sitting cross-legged with one top of another on a jeweled throne consisted of a three-tiered base, supported by a lotus overlaid with a lotus seed line, and the line of overturned lotus on the three-tiered base. The Buddha image sat in the halo arch, around his head and around the Buddha image was decorated with small long petals of pollen. All mentioned above were merged within a thick flat frame in the shape of a lotus petal, concave in the shape of a Naga holding a stalk of rice. The base was supported by Phaya Ventai or Phaya Garuda. Also, the top of the flat frame was engraved with a small slender line set along to the top of the frame of the votive tablet. Phra Saam or Phra Trigai, Soom Prang in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 7.28 cm, and the height including base 10.95 cm. 98
Phra Vajrayana Triad –Trinity Phra Vajrayana Triad –Trinity in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was the art of Vachirayana in Mahayana Buddhism. The motto of making votive tablets was from Theravada Buddhism that would create the “Votive Tablets” to be contained in Kru or underground hiding place in order to wait for the Buddha in the next eternity to open and take them to the revival of religion. The amulet in appearance of “Phra Vajrayana Triad -Trinity” or “Phra Vishnu holding a gun”. Although it was started from the model of Vajrayana, it was popular to create the “Amulet” imitating the tradition of “Theravada” according to the country that used to live in the Kingdom of Cambodia; both in Lopburi, Ayutthaya, Suphanburi, Phetchaburi, Kanchanaburi, and continued to the North to Sukhothai and the Northeast. For this one, it was Phra Vajrayana Triad – Trinity in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi that was made from terracotta or baked clay material. Phra Vajrayana Triad –Trinity in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width started from the middle of votive tablet 4.48 cm, height of 7.00 cm, and thickness of 1.00 cm. 99
The Eighty Great Disciples The Eighty Great Disciples in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was a picture of the great disciple Sitting cross-legs with legs locked together, wearing the robe in open mode to show a left shoulder. The radial halo covered the head in line of dots, and cut by the halo line that covered the body, sitting on a base of lotus flower marks. The important thing was the back of the votive tablets consisted of hieroglyphic characters inscribed in the Egyptian language “| || |||||| |||” meaning 1263 attached to the back of many Buddha images. Therefore, it was the assumption for calculation that it was built in the year of the Buddhist Era, and could be interpreted as 1,263 years after the Buddha’s passing away, the basics of all numerology had the roots in the Egyptian language that were influenced to Bihar in India. The inscription of numbers or letters often used to write from letters or numbers that had been descended from one generation to another one generation or from their teachers that was similar to the inscription of the Buddha’s Dharma with Devanagari or Siddham characters in Sanskrit. The Eighty Great Disciples in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width of 3.50 cm, height of 5.75 cm, and thickness of 1.55 cm. 100
Stele with Eight Great Events from the Life of the Buddha Phra Paed Pang or Stele with Eight Great Events from the Life of the Buddha in Indian art with a width of 12 cm, height of 22 cm, and base’s thickness of 7 cm in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi, enshrined at the 1,300-year-Phra Rord Hariphunjaya Learning Center and Lamphun Family Votive Tablets. Details of the Stele with Eight Great Events from the Life of the Buddha in Kru Chedi Thong appear in the following locations: 1. Buddha image in posture of Enlightenment at Bodhgaya: there was the Buddha in the attitude of subduing Mara with sitting cross-legs with legs locked together on the base of the inverted and upturned lotus petals with a size of petals from large to small, respectively enshrined in the middle as the president of the main body of votive tablet according to the regulations of Pala craftsmanship. It had the Buddha Characteristics of dressing in the yellow robe in oblique direction showing the right shoulder with the thin robe attached to the body. It appeared that the edge of outer robes to be a line above the Buddha’s breast that was also a line continued from the edge of outer robes separated in the centipede fang shape to fall across the left arm. And the top part above the top edge of halo had a Bodhi tree appeared to support the reclining altar in the event of the Buddha’s nirvana, and under the base it was ornamental glass with punching a hole to be the lion sculpture. 101
As for the seat behind a throne consisted of a chair with uprights - reclining beams, and the ferocious beast facing out, stretching along the height of the crossbar. The end of the top horizontal beam was decorated with a typical upright triangular leaf pattern which placed on two sides of the halo behind the Buddha’s head, next to the vertical triangular shape of the leaf on both sides, and filled with the image of the demonic army coming in and out, raising their hands as if to pay homage. The lower position of Phra Paed Pang or Stele with Eight Great Events from the Life of the Buddha at Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi had two appearances as follows: An interesting iconography was shown at the base of the lift which made the appearance of 3 Buddha images sitting cross-legs with legs locked together arranged in a row showing the posture of meditation. It might be related to the motto of the Buddha that was prevalent in Mahayana doctrine, namely Amitabha Buddha, Shakyamuni Buddha, and Phraphaisachayaguru Buddha. The characteristics of King Mara or King Devil standing in the pose of Alitha with raising his bow and the dancing daughters of Mara The appearance of 3 Buddha images sitting cross-legs with legs locked together arranged in a row 102
2. The Buddha in the attitude of Nitivity at Lumpini: Phra Nang Maya Devi enshrined on the lower left side who was standing in the posture of Tri Phang (a standing position with tilts in three parts: hips, shoulders, and head) crossing her left foot behind her right foot, her right arm pulled the Sal tree branch. Her left arm dropped on the side of the body. Her right side appeared the child flying out, and at the bottom there was a Puranagada pot showing a symbol of fertility. 3. The Buddha’s attitude of accepting the alms bowl from King Monkey at Vesali city: Buddha image sitting cross-legs with legs locked together on the base of the inverted and upturned lotus petals according to the pattern of the craftsmanship in the Pala period enshrined in the lower right side. The Lord Buddha wore a robe showing a thick mark on the edge of the robe around his neck. The robe was smooth and thin attached to his body. When sitting, there were two edges of the cloth at his ankles, namely the edge of inner garment (long piece) and the edge of yellow robe (short piece). In the front side, the robe was made in a fan-shaped fringe separated in the centipede fang shape, and his hands were in the miracle of merging the four alms bowls of the four guardians of the earth into one in order to represent the meaning of the event when receiving the alms bowl from the King Monkey. At the above in the edge of the halo behind the Buddha’s head, they were monkey images on both edges. On the left side, there was a monkey in the gesture of folding hands to pay homage to the Lord Buddha. The right side was another monkey flying away which might be something that had been reincarnated as an angel after receiving alms bowls from the King Monkey. 4. The Buddha in the posture of giving the first sermon at Sarnath City: the Buddha sitting with hanging his feet supported by a lotus petal base showing the internal lotus petal base. The events of the first sermon always appeared in the form of the Dharmacakra and the crouching deer that was consistent with the teaching of Dharmacakra Mudra. The Lord Buddha wore a robe appeared the thick marks on the edge of the robe around the Buddha’s neck. The robe was smooth and thin attached to his body. At the both ends, the edge of robe was wrinkled into a centipede fangs while the halo behind the Lord Buddha looked like a back sheet that covered the whole scene. 5. The Buddha in the attitude of performing Yomaka Miracle in order to subdue the opponents at Sawatthi: the Buddha sitting with hanging his feet supported by a lotus petal base according to the rules of the craftsmanship of the Pala period enshrined in the middle right area. The Buddha wore the robe appeared thick marks on the edge of the robe around the Buddha’s neck. The robe was smooth and thin attached to his body. At the both ends, the edge of robe was wrinkled into a centipede fangs while the halo behind the Lord Buddha looked like a back sheet that covered the whole scene as the same to the event of the first sermon, because the event in this position was the opposite events of the first sermon, and had the same appearance in all respects; except for the difference that the lotus petal base did not make the symbols of the Dharmacakra and the crouching deer. Therefore, it was the event of performing Yomaka Miracle with the opposite position to the event of the first sermon. 103
6. The Buddha in the attitude of descending from Trayastrimsas heaven at Sangkatsa City, enshrined in the upper left area was the Lord Buddha standing in the posture of Tri Phang (a standing position with tilts in three parts: hips, shoulders, and head) on a lotus petal base among the halo in the form of a back plate that covered the entire scene. The Buddha was wearing a robe with a thick mark of the edge of the robe around the neck. The robe was smooth with thin cloth attached to the body. At both ends, the hem of the fabric was creased like the centipede fang shaped pliers, and held the robe in a symmetrical way such as the left arm holding the robe up alternately with the right arm dropping down to the right side of him that appeared a portrait of a person holding a tiered rod with a tiered layer spread over his head. It was an important iconography of the event when he descended from Trayastrimsas heaven that the Indra held a tiered umbrella following the Lord Buddha down to Sangkatsa City. 7. The Buddha in the attitude of taming Nalagiri the elephant at Rajgir City that enshrined in the upper right area was the Lord Buddha standing in the posture of Tri Phang (a standing position with tilts in three parts: hips, shoulders, and head) on a lotus petal base among the halo in the form of a back plate that covered the entire scene as the same to the event of descent from Tavatimsa Heaven. The Buddha was wearing a robe with a thick mark of the edge of the robe around the neck. The robe was smooth with thin cloth attached to the body. At both ends, the hem of the fabric was creased like the centipede fang shaped pliers, and held the robe in a symmetrical way such as the left arm holding the robe up alternately with the right arm dropping down as the same to the event of descent from Tavatimsa Heaven; however, his right hand was not upside down to be the style in blessing of the event when descending from Tavatimsa Heaven, but looked like the head of the ferocious Nalagiri the elephant which was also the important iconography of the same event to have the image of Ananda on the back left side of the Buddha. 8. The Buddha in the attitude of Parinirvana or the Death of Buddha at Kusinara City that enshrined at the top area was the Buddha in the posture of Reclining Buddha on the altar. His right hand rest on a pillow supporting his head, the left arm rest against the body, he covered with robes with the thick mark of the edge of the robe around his neck, and the robe was smooth with thin cloth attached to his body. Regarding the end of the altar, on the side of the Buddha’s feet, there was a disciple named Phra Maha Kassapa, on the side of his head, there was another disciple named Phra Ananda who came to pay respects to the Buddha. Behind the Buddha, there was a stupa symbolizing the state of Parinirvana or the Death of Buddha decorated with the streams of flags adorning the stupa blown out on both sides, the left side appearing the outstretched hands beating drums, and on the right side, there were the outstretched hands hitting the cymbals. 104
Ye Dhamma The back area of Phra Paed Pang or Stele with Eight Great Events from the Life of the Buddha in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi has Siddham and Devanagari characters carved. It was the inscription showing the noble truths which was the heart of Buddhism. At that time the Arahant Assaji who was one of the monks following the Lord Buddha went for alms round in Rajagha City. On the way, Upatissa Paripachaka, who had come from the Paripachaka Sect, saw Phra Assaji in a calm and respectful manner, then he wanted to know who his Master was and what teachings were about. Phra Assaji informed him that he was a priest in the school of the Maha Samana, the son of the Sakaya Royal Family along with the brief teachings of the Lord Buddha which was called Ye Dhamma Gatha. Ye Dhamma Gatha was considered as the heart of Buddhism from the complete verse as follows: “Ye Dhamma Hetuppabhava Tesan Hetun Tathagato Aha Tesan Ca So Nirodho Evam Vapi Maha Samano” “Of things that proceed from cause. Their cause the Thathagatha has said. And also their cessation. Thus teaches the great Samano” Then, Upatissa Paripachaka returned to his sect, and told the story of meeting Phra Assaji as well as taught the dharma that Phra Assaji said to his friends whose name was Kolitta Paripachaka until he had the epiphany as well. The two Paripachaka, together with their retinue, went together to meet the Lord Buddha at Veluwan Maha Viharn, and then asked for ordination. The Lord Buddha therefore granted permission to pass both of them together with their retinue to be ordained as monks. Phra Kolitta Paripachaka who later became Phra Moggallana, and after being ordained for seven days, he had the attainment of arahantship. Upatissa Paripachaka or Sariputra also attained arahantship after fifteen days of ordination, while all their followers afterwards attained arhatship until the end. This incantation made the Lord Buddha gain the important disciples; namely, Moggallana and Sariputra became his left and right disciples. Therefore, the Buddhists regarded it as magic spells. It was also regarded as a sacred mantra for changing the respect of persons who had not yet listened to the teachings of the Lord Buddha; therefore it was popularly inscribed to proclaim Buddhism to spread. The spells named Ye Dhamma was often found in the works of Buddhism art from the earliest times such as in Dvaravati art and Srivijaya art, in addition to the inscription on the votive tablets it was also found on other religious objects such as the stone pillars with the inscription, the base of Buddha Dharma Chakra, or carved images of Buddha images. 105
The back side of Phra Paed Pang or Stele with Eight Great Events from the Life of the Buddha inscribed with Siddham Script, Sanskrit Language The back side of Phra Paed Pang or Stele with Eight Great Events from the Life of the Buddha inscribed with Devanagari Script, Sanskrit Language 106
Lord Shiva in devil-subduing posture Votive plaque featuring Lord Shiva in ‘devil-subduing posture’ is displayed at the Learning Center of 1,300-year-old Phra Rord Haripunjaya and Votive Tablets of Lamphun Family. The plaque, originally found in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, is 7.42 cm wide and 13.42 cm tall with a 4.26 cm thick base. Details of images of different deities appearing on the front of the arch-shaped plaque are as follows: 1. Lord Shiva in posture of dancing and performing a miracle is positioned in the center of the plaque and serves as the principal figure. He stands among creatures that inhabit the Himmapan forest. He is the Supreme Being in Shaivism and known as the “God of Destruction” within the Trimurti, the Hindu trinity which also includes Brahma the Creator and Vishnu the Preserver. In the Shaivite tradition, Shiva is the Supreme Lord who creates, protects and transforms the universe. 107
2. Positioned above Lord Shiva’s head, Trishula, also known as Trishul, is a three-pronged spear considered a sacred symbol in Hinduism. 3. Lord Nandi, which appears at the tip of the Trishula, is the mount or vehicle of Lord Shiva. The sacred white bull calf emerged from the cosmic ocean of milk when it was being churned by gods and demons. Lord Nandi is worshipped along with Lord Shiva. 4. Phraya Singha Raja, below Lord Nandi, means the king of all lions. He is a powerful creature in the Himmapan forest. There are four types of Singha Raja: Bandhu Rajasee, Karn Seeha, Krai Sorn Rajasee and Tin Seeha. 5. Phraya Wentai or garuda is beside Lord Shiva. The divine eagle-human hybrid is the son of rishi Kashyap and Vinita. He has supernatural power and strength. His body glows 100 times more than the rising sun. Phraya Wentai is also called Phraya Suban in Thai, which means magic feathers. 6. Lord Nagaraja is under Phaya Wentai. There are three notable nagas including Shesha, Vasuki and Takshaka. They are the sons of rishi Kashyap and Kadru. 7. Narasimha or Narasingh, seen at the bottom and centre of the plaque appears as a half-lion and half-human. The Upanishads and the Puranas, ancient sacred texts of the Hindu religion, describe him as the fourth avatar of Lord Vishnu. 8. In the lower left corner is Lord Brahma (aka Phra Phrom in Thai) who is known as the creator of the universe and of all beings. He is also associated with knowledge and the Vedas, which are the ancient holy Hindu scriptures. In Thai Buddhism, Brahma is believed to be Tao Mahathada Pachabadhi Brahma. 9. Lord Narayana (aka Phra Narai in Thai), positioned in the lower right corner of the Votive plaque, is the name of Lord Vishnu as he sleeps in the cosmic ocean of milk. Most Thais are more familiar with the name Narayana, the sleeping form of Lord Vishnu. According to some sacred texts of Brahmanism and Hinduism, when Lord Narayana dreamed of creation of the universe, a lotus emerged from his navel in which resided the creation god Brahma. This makes him the creator of the creator. 108
Buddha in the Attitude of Giving the First Sermon Buddha in the Attitude of Giving the First Sermon or Dharmachakra Mudra in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi in the posture of sitting cross-legged. His right hand was lifted up and pleated with his fingers in a circle in the attitude of giving dharma, the left hand was raised to support under the right hand. Some places put the left hand on the lap, raised up and held the edge of robe, and some of them were also made in the style of sitting and hanging the Buddha’s feet. This Buddha image in the attitude of the first sermon was Gupta art. It was discovered at Sarnath City. For this one, it was found in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi. Mostly under the base there were 3 disciples on each side, a total of 6 disciples, in the center showing the turning of Dharmachakra or the Wheel of Dhamma. As for Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi, there were 7 disciples, but in the middle there was not showing the turning of Dharmachakra in any way. In the middle there were crouching deer on both sides instead. Buddha in the Attitude of Giving the First Sermon or Dharmachakra Mudra in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width of 14.0 cm, height of 23.0 cm, and thickness of 4.0 cm. 109
Special Edition of Phra Lue Khong Votive Tablet Special Edition of Phra Lue Khong Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi was the early Buddha image of Haripunjaya City or the first era of Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi that had a very beautiful Buddhist art. Buddha image of Phra Lue Khong was in the attitude of sitting cross-legged on a double layered lotus base in the subduing Mara posture the arch frame and Buddha’s halo decorated with Kanok pattern, halo line decorated with two layers of Bai Raka or toothlike ridges on the sloping edges of a gable. It could be said that Special Edition of Phra Lue Khong was moderately large that could be set up for worship. The Buddhist art was also a perfect combination between local craftsmen and Mahayana Buddhism craftsmen who propagated the Buddhism in Haripunjaya City. Special Edition of Phra Lue Khong Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width of 12.5 cm, height of 24.0 cm, and thickness of 8.0 cm. 110
Special Edition of Phra Rord Luang Votive Tablet Special Edition of Phra Rord Luang Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi was truly model of Phra Rord Luang Votive Tablet because of the nature of the oldness that compared with the votive tablet made from the baked clay in the 11th -12th Century of Buddhist Era of the Dvaravati Kingdom in U-Thong City, Suphanburi Province with their nature of the oldness having the close proximity. Special Edition of Phra Rord Luang Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width of 14.29 cm, height of 28.0 cm, and thickness of 4.82 cm. 111
Buddha in the Attitude of Dharma Description Buddha in the Attitude of Dharma Description in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi had the general Buddhist characteristics in the type of Dvaravati Art Buddha sitting on a throne with both feet hanging (Pralambapadasana) on the base which was made of blooming lotus petals to support; that was, place the soles of foot on a lotus flower which had a specific term called “Bhadra-Asana” or “Bhadrasana”. The left hand of the Buddha image was placed face down over the left lap. The right hand was raised at the level of the chest, turned palms out, the end of thumb and the index finger touched together and bent in a circle, and the other three fingers of his right hand were spread out. The Buddha image in this posture of his hands was called the “Buddha in the Attitude of Dharma Description”. Buddha in the Attitude of Dharma Description in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width of 3.47 cm, height of 7.56 cm, and thickness of 1.05 cm. 112
Queen Chamdhevi (Front Side) 113
Queen Chamdhevi (Back Side) 114
Queen Chamdhevi (Front Side) 115
Queen Chamdhevi (Back Side) 116
Buddhist Three Gems (Front Side) 117
Buddhist Three Gems (Back Side) 118
Buddha descended from the Tavatimsa Realm (Front Side) 119
Buddha descended from the Tavatimsa Realm (Back Side) 120
Phra Bai Pho (Front Side) 121
Phra Bai Pho (Back Side) 122
Phra Nang Muang (Front Side) 123
Phra Nang Muang (Back Side) 124
Hermit Narod (Front Side) 125
Hermit Narod (Back Side) 126
Phra Phaisachayaguru (Front Side) 127
Phra Phaisachayaguru (Back Side) 128
Phaya Purisad (Front Side) 129
Phaya Purisad (Back Side) 130
Phra Rod Phim Yai (Front Side) 131
Phra Rod Phim Yai (Back Side) 132
Phra Rod Phra Lop Phra Bang Phra Kong Phra Liang Buddha in Lamphun City 133
Phra PermPhra Lue Phra Lue Khong Phra Rod Luang Queen Chamdhevi Buddha in Lamphun City 134
Votive Tablets Queen Chamdhevi Phra Asiti forbids parasites Phra Yuen 135
Votive Tablets Phra Leang Luang Phra Leang Mo Back Sidefront Side Buddha in lotus position 136
Votive Tablets Vishnu 6 hands Hermit Petchalukan Hermit Narod Fire eyes Hermit Phra Pirap Ganesh Phaya Purisad Wasuthep hermit Vedic Buddha 137 Back Sidefront Side
Votive Tablets Phra Lue Khong Phra Lue giant facePhra Lue auspicious facePhra Lue facade of the Naga 138
Phra Lue Khong Buddha in the Attitude of Giving the First Sermon Phra Rod Luang 139