Phra Kru Chedi Thong_EN

Reference Compiled by: Pantip Teeranet, Stone Inscription Database Project in Thailand, Office of Nation Education Standards and Quality Assessment (Public Organisation), 2004, from 1) Okell John, A reference grammar of colloquial Burmese (Oxford : Oxford University Press, 1969), 16. 2) Robert Halliday, “Les Inscription Môn Du Siam,” Bulletin de l’École Française d’Éxtrême - Orient XXX (1930) : 6 - 105. 3) Champa Yuengcharoen, Term Meetem, and Kongdej Prapatthong, “Wat Baan Luay Inscription” in Analysis of Stone Inscriptions at Haripunjaya National Museum, 2nd Edition (Bangkok: National Library of the Fine Arts Department, 1990), 24-26. 4) Champa Yuengcharoen, Term Meetem and Kongdej Prapatthong, “The Inscriptions of Wat Baan Luay” in an analysis of the inscriptions at Haripunjaya National Museum (Bangkok: National Library of the Fine Arts Department, 1979), 21-23.ฃ 5) Term Meetem, “Wat Baan Luay Inscription” in Stone Inscriptions in Thailand, Volume 2: Pallava script Mon characters, 12th – 21st Buddhism Century (Bangkok: National Library of Thailand, Department of Fine Arts, 1986), 133-136. 6) Professor Mom Chao Suphatradit Diskul, “the 5th and 6th Stone Inscriptions in Mon language at Lamphun City”, Archaeology 4th year, Volume 3 (January, 1973) : 314 – 322 Illustration: Photocopies of stone inscription photos from Department of Eastern Languages, Faculty of Archaeology, Silpakorn University, 2002 (Registration No. CD; INS-TH-27, and File; LPh_0601_ c and LPh_0602_ c) Wat Baan Luay Stone Inscription, the 1st Side Name of Inscription Wat Baan Luay Stone Inscription Other names of Inscription Lor Phor. 6, Vat Ban Hlui, Wat Ban Hlui Inscription, Wat Ban Hlui Stone Inscription Letters in the inscription Ancient Mon Year The 17th Buddhist Century Language Ancient Mon Side/Line Total 32 lines in 2 sides; 16 lines per side Reader 1) Robert Halliday and Charles Otto Blagden (1930) 2) Term Meetem (1979), (1990) 40

Translator 1) Robert Halliday and Charles Otto Blagden (1930) 2) Champa Yuengcharoen (1979), (1990) Examiner National Library of the Fine Arts Department (1986), (1990) Wat Baan Luay Stone Inscription, the 2nd Side Name of Inscription Wat Baan Luay Stone Inscription Other names of Inscription Lor Phor. 6, Vat Ban Hlui, Wat Ban Hlui Inscription, Wat Ban Hlui Stone Inscription Letters in the inscription Ancient Mon Year The 17th Buddhist Century Language Ancient Mon Side/Line Total 32 lines in 2 sides; 16 lines per side Reader 1) Robert Halliday and Charles Otto Blagden (1930) 2) Term Meetem (1979), (1990) Translator 1) Robert Halliday and Charles Otto Blagden (1930) 2) Champa Yuengcharoen (1979), (1990) Examiner National Library of the Fine Arts Department (1986), (1990) 41

Inscription of Dhammika Raja One Inscription, One Side, and 2 Pieces The 1st Side of Inscription, the 1st Piece The 1st Side of Inscription, the 2nd Piece Name of Inscription Inscription of Dhammika Raja Other names of Inscription Inscription of Dhammika Raja (Lor Phor./ 36, Phor Chor. 36, 40) Letters in the inscription Ancient Mon Year The 17th Buddhist Century Language Pali Side/Line Total 9 lines in 1 side (Broken one was separated into 2 pieces, the 1st piece had 4 lines, and the 2nd piece had 5 lines) Format Sandstone Object Characteristics Stone Plate Physical Dimensions The 1st piece was in the size of width 31 cms. Height 42 cms. Thickness 24 cms. The 2nd piece was in the size of width 20 cms. Height 23 cms. Thickness 24 cms. Inventory/ Registration of Antiquities 1) Office of National Library prescribed it to be “Lor Phor. 36” 2) In the book analyzing the stone inscriptions in the Haripunjaya National Museum, designated as “Inscription of Dhammika Raja” (Lor Phor./36, Phor Chor. 36, 40) Year of Finding Inscriptions Before B.E. 2515 or 1972 Place of Finding Area of Attharassa in Wat Phra That Haripunjaya, Mueang District, Lamphun Province 42

Discoverer Unidentified Currently Kept at Haripunjaya National Museum, Lamphun Province Publication Analysis of Stone Inscriptions in Haripunjaya National Museum (Bangkok : The Fine Arts Department, 1990), 30-31. History of Inscription of Dhammika Raja A group of officials surveying ancient documents and inscriptions from the National Library Division, the Fine Arts Department surveyed in February 1972, and found the inscription at Haripunjaya National Museum, Lamphun Province. Mr. Somchai Khongwanichroj who was the officer of National Museum stated that this main inscription was found in the area of the Area of Attharassa in Wat Phra That Haripunjaya, Mueang District, Lamphun Province since before 1972. Later, it was read and translated by Mr. Term Meetem and Mr. Kasian Mapamo working for Manuscript and Inscription Service, National Library Division. It was published in the book named the Stone Inscription Analysis at Haripunjaya National Museum in 1990. Brief Content: Because the inscription was quite damaged, the texts that could be read and translated were therefore incoherent, it was only gathered from mentioning “Dhammika Raja” or a righteous king and “various virtues” which Mr. Kesian Mapamo commented that Dhammika Raja appearing in the inscription was probably the same king mentioned in Chinkanmaleepakorn as saying, after the death of King Artit, there was also one king named “Dhammika Raja” later reigned. He built a Buddha image 18 cubits high and remained in the throne for 5 years. After that, King Roj reigned for 5 years; followed by King Sapphasitthi was crowned at the age of 17 years, and he also built the relics in the form of the castle to a height of 24 cubits that he had accumulated a lot of merit with reigning for 45 years”. Determination of Age Professor Robert Halliday and Professor Charles Otto Blagden determined the age of this inscription from the alphabets which was in the same group as the two inscriptions of King Sawawathisithi 1 (Wat Don Kaew) as well as inscriptions of King Sawawathisithi 2 (Wat Ku Kut) inscriptions. All of them were at the age of the 17th Buddhist Century by defining the age from the ancient Mon characters that were similar to the letters appearing on the inscription “Mayazedi” of King Kyanzittha (Ky in Roman Alphabet was the sound /c/ in Burmese which was equal to /ch/ in Thai), King Bagan (Burma) inscribed it in 1085 and 1087. Moreover, the text in this inscription of Wat Baan Luay were also mentioned “Wat Chetawan” which corresponded to the inscription in the reign of King Sawawathisitthi around the 17th Buddhist Century as well. Furthermore, Champa Yuengcharoen, Term Meetem, and Prasert Na Nakhon made interesting comments about the age determination of this inscription in a book analyzing the stone inscriptions in the Haripunjaya National Museum which 43

was firstly published in 1979. The said inscription had the texts to specify the year as appeared in the first line of the 1st side as follows (Professor Robert Halliday and Professor Charles Otto Blagden classified it as the 2nd side with the transcription consisted of l(u) kow (su-) (or soong m) ..(w) lwim lugow…) ) lugow sup 826 La Ngi Lukau, and the word “La Ngi” (read “Lia Ngim”) was referred to “One Thousand” which was after three numbers. Therefore, when reading from the back to the front, the year would be 1628 which was consistent with other evidence; namely archaeological evidence which was not older than the 17th Buddhist Century, and the letters that looked like other inscriptions that was also around the 17th Buddhist Century. In addition, the Kingdom of Bagan had been influenced by the Mon’s characters. When King Anirut (Anoratha Mangchor); King of Bagan (Burma) led his army to successfully hit the city of Saterm or another name called Tha Thon or Suthammavati which was the capital city of southern Mon provinces. Therefore, people, craftsmen, monks, and Buddhism scriptures that existed in the aforementioned land were forcibly moved to Bagan until causing the Mon culture to spread in Bagan; including the use of alphabets. Professor Reginald Le May said that Burma received the writing culture from Mon around 1063 when King Chansittha was the king who reigned after King Anirut (Anoratha Mangchor). Reference Compiled by: Pantip Teeranet, Stone Inscription Database Project in Thailand, Office of Nation Education Standards and Quality Assessment (Public Organisation), 2004, from 1) Okell John, A reference grammar of colloquial Burmese (Oxford : Oxford University Press, 1969), 16. 2) Champa Yuengcharoen, Term Meetem, and Kongdej Prapatthong, “Inscription of Dhammika Raja” in Analysis of Stone Inscriptions at Haripunjaya National Museum, 2nd Edition (Bangkok: National Library of the Fine Arts Department, 1990), 30-31. 44

Wat Phra That Haripunjaya History The legend of religion and the legend of Phra That Chao Haripunjaya said that when the Lord Buddha came to offer alms in the village of Mengaputra, then went along the Raming River (Ping River). The Meng people followed him to a place in the west of the river, the Lord Buddha needed to sit, and then a stone rose from the ground for the Lord Buddha placed his alms bowl and sat over the said stone. Chompu Nagaraj and Phaya Ka Phueak came out to serve him, and one Lua person also gave myrolan wood. When the Lord Buddha finished eating, he threw the myrolan seed on the ground. The myrolan seed circulated 3 times, and then buried his hair and put the myrolan wood over it. There was the prophecy from him that in the future when King Athitayaraj reigned, this place wiould be the location of a big city named “Haripunjaya”, because the Lord Buddha came here for eating the myrolan wood. The place that the Lord Buddha sat was the location of the Chedi that enshrined the Buddha’s relics. There was the Lord Buddha’s head bone, the sternum, the finger bone, and the minor relics, totaling 1 full alms bowl at this big city. when the Lord Buddha returned, Phaya Ka Phuek heard the prophecy of the Lord Buddha, and he completely remembered. When he flew back to the Himmapan Forest, he called his grandson named Kadam to tell the prophecy; including assigned Kadam to guard the place. Angels, demons, and hermits always came to worship the said stone altar. The legend of Phra That Chao Haripunjaya said that the said stone was finally sunk into the ground as before. After Phraya Si Thammasokaraj put the relics in a wooden cylinder, then put it in 3 bundles to a large glass urn, and stuffed under the seat where the Lord Buddha sat during he ate the myrolan wood. When King Athitayaraj of Haripunjaya Kingdom took the throne (Each legend said differently, Legend of religion said that it corresponded to the year of the Lord Buddha’s death after 1,008 years, and the Legend of Phra That Chao Haripunjaya said that it was B.E. 1420, Chamadeviwong said that it was B.E. 1586, and Chingala Mali Pakorn said that it was B.E. 1590) King Athitayaraj was the king with royal power and excellent wisdom who maintained the religion with the prosperous city. Once, King Athitayaraj assigned to build a royal house as his residence, and built the toilet. However, that place was built directly to the place that the Lord Buddha sat and gave the prophecy. Whenever he went to the said toilet, the guarding crow would fly past and left its feces to him all times. So he went to enter another toilet instead. But the crow still glided above and hovered over his head, it was repeated like this 2-3 times until King Athitayaraj became angry and ordered the king’s minister to chase the crows. 45

The angels gave the crow a snare, and King Athitayaraj had to kill the crows. But the king’s minister tried to forbid and asked the astrologer to prophesy. The astrologer predicted that the great benefits would be received by King Athitayaraj. At night, the angels who guarded the relics came to tell King Athittayaraj in a dream, he was recommended to bring the baby born 7 days to live with the crow for 7 days, alternating in living with human for 7 days until the 7th year of the child, he would be able to speak the crow language. Then, the angels would inform the cause of the crow’s actions, and finally King Athitayaraj followed the angels’ recommendations. After 7 years, King Athitayaraj asked his ministers to bring the child and crow to inquire. The crow then told the story through the child about the prophecy and volunteered to follow Phaya Ka Phueak or white crow to confirm. When Phaya Ka Phueak and his followers arrived, he told the story of the prophecy again. King Athitayaraj was greatly joy, so ordered his minister to demolish the toilet and cover up that until it was plain, then invited the monks to pray for the auspicious Buddha image inside the royal court. At night, the Buddha’s hair relics emitted a ray of light that shone brightly throughout the city. The glass urn contained in a wooden barrel rose up until it appeared all over his face and floated back to its original place. He therefore ordered the demolition of the royal castle to set up another place. After that, he ordered to make the state umbrellas and royal flags around there, and decorated with gold and silver, popped rice and flowers, incense sticks, candles, and other incense as the worship to the Buddha. He also announced to assig the people of Haripunjaya to worship and bathe the Buddha’s relics with organizing the celebration of Buddha’s relics for 7 days and 7 nights. King Athitayaraj with his royal wife, concubines, brahmins, king’s ministers, and the people of Haripunjaya. His Highness led the bathing by raising the royal water pot on top of the Buddha’s head, and bathing the place that had the Buddha’s relics. After offering flowers and incense to worship, His Highness prayed for the relics to be manifested. Then, the golden casket containing the Buddha’s relics floated up, and emitted seven glass-like lights, shaped like a banana blossom. The legend of Phra That Chao Haripunjaya stated that King Athitayaraj ordered a goldsmith to make the urn weighing three thousand, three cubits high, decorated with 7 types of glass, wearing the urn containing the Buddha’s relics. But the legend of religion origin stated that King Athitayaraj made the gold urn, brass urn, ivory urn, sandalwood urn to be bigger in order, then put the sandalwood urn outside, the ivory urn was placed inside a sandalwood urn, then put the brass urn inside the ivory urn, and put the silver urn inside the brass urn. Then brought the gold urn containing the Buddha’s relics that was the inmost one, and took a stone about 1 cubit thick and about 2 cubits wide and long. When building a pagoda, King Athityaraj carried that stone and laid it in the middle in order to build firstly for placing the relic urn. Then he had a craftsman build a castle with 4 pillars, 12 cubits high. It was a transparent relic house; widely open to see on all 4 sides with arched doors on 4 sides, 46

then decorated with clay, bricks, silver, gold, and 7 types of glass, containing the Buddha’s relics. When the construction was complete, he celebrated the pagoda and offerred sacrifices for 7 days. He also built a viharn, a small and big pavilion to be the main monastery in Haripunjaya city for creating various royal merits (The year that the pagoda was built was stated by Yonok Chronicle that it was B.E. 1527, but Chamadeviwong stated that B.E. 1440, and Chingalmalee Pakorn stated that B.E. 1607). In the reign of King Sappasit (Phra Sawawathisitthi); grandson of King Athitayaraj, when he was 19 years old, he ordered to build a gold urn with 4 cubits high, weighing 1,500 kham, decorated with 7 types of glasses, covering the gold urn created by King Athitayaraj, and then took a stone to cover the castle, in 24 cubits high (Yonok Chronicles indicated that it was restored in B.E.1661, Chingalmalee Pakorn indicated that B.E.1726). After the Haripunjaya Empire collapsed by King Mangrai (Chiang Mai native legend stated that the city of Haripunjaya was captured in B.E.1824, Chinakal Malipakorn stated that B.E. 1835) , the legend of religion said that white-robed ascetic (Chee Pa Khao) brought the gold to cover the castle pillar of Phra Mahathat 800 kham, gilded the relics with 800 pieces of gold, then went to inform 4 senior monks who guarded Mahathat relics to know what to do next. The great senior monk and the white-robed ascetic went to see King Mangrai, and he graciously gave Khun Fa (Ai Fah) together with 4 great senior monks to be the head of the pagoda restoration with a different shape from the original mondop or square hall with a pyramidal roof of castle in the Haripunjaya period to a Lanna bell-shaped pagoda, and built it to a height of 70 cubits with having a servant guarding the relics (The legend of Phra That Chao Haripunjaya stated that it was restored in B.E.1818). - In the era of Phaya Saen Phu, two Buddha images were built to offer to Queen Chamadevi, built a pavilion of Dharma Council, and renovated the top of the relics with one hundred thousand gold. - In the era of Phaya Khamfu, one graduate named Mani Wang was assigned to bring silver and gold to restore the pagoda, and offerred the servant to sweep the courtyard of the great pagoda and the courtyard of Maha Bodhi, and built a large pavilion for listening Dharma in front of Phra Mahathat. - In the era of Phaya Saen Muang Ma around B.E.1951, he ordered to have the restoration of Thong Changko or alloy plate covering the Mahathat or Great Relics. - In the reign of King Tilokkarat in B.E.1990, he ordered to have the great reconstruction of the Great Relics or Mahathat. His preceptor was requested to be the chairman to build it higher to another 8 wah, totaling 23 wah, base width of 12 wah, 2 cubits, 9 tiers, top tier decorated with a great lotus flower glass as big as a lotus weighing 230 Fuang, and a glass of Maha Nil that was placed at the top. covered with Thong Changko or alloy plate throughout the body with use of 473,020 laterite stones, 84,844 pieces of Thong Changko or alloy plate, put gold bracelet of Queen Chamadevi into the tier for supporting that could put 164 sheets of Thong Changko or alloy plate 47

into it. He also built a large golden Buddha image over the southern glass pedestal weighing 5,000 kham, and built an inner balcony with the width from south to north 43 wah- cubits, the length from west to east 70 wah with 3 Khong gates on the east, south, and north, then built the outer fortifications with the width from south to north 124 wah, the length from west to east 183 wah, with Khong gates on 4 sides, and the King bestowed 33,000 plots of farmland with slaves to protect the relics, and also built many religious buildings within the temple area. - In the reign of Phra Muang Kaew in B.E. 2046, he assigned to build Sattibunchorn (balcony fence) or Lamwiang, Rabiang Hok was used to prevent evil spirits not to harm Phrathat in Chiang Saen, a total of 585 pieces, then bring them to build as the fence around the relics. - In B.E.2051 Phra Rattana Panya Thera who was the composer of Chinakal Malipakorn along with Phra Mahasamee Sirawisutthichao, Wat Ton Kaew raised a donation to build a 58,000-pound castle lantern to offer to the Great Relics or Phra Mahathat (Currently preserved in the Haripunjaya National Museum). - In B.E. 2053 Phra Muang Kaew with Queen Siriyosawadeedevi; his mother, built the Royal Hall of Dhamma (Phra Tripitaka Hall). - In B.E. 2055 he decorated it with Thong Changko or alloy plate and lacquered Phra That Phra That in black and gold, and built a royal viharn or Buddha image hall. - In B.E. 2060 Phra Muang Kaew went to pay homage to the relics along with Queen Siriyosawadeedevi; her mother, resulting in creating the Thai poem about Journey of Haripunjaya poem that described the journey and the condition of temple in the reign of Phra Muang Kaew. - In B.E. 2078 he built the roof covering on royal viharn or royal Buddha image hall that was 10 wah 3 cubits wide and 24 wah 3 cubits long with 40 pillars, 190 sheets of gold that were plastered over viharn or royal Buddha image hall, and also renovated the temple’s abodes. - In the reign of Phra Muang Ketklao, his wife and two sons; namely Thao Sai Kham and Chao Chom Muang built viharn or Buddha image hall in the south (Viharn of Buddha), and then put the gold in the relics of 40,000 kham. - In the reign of Somdej Phra Chai Chetthathirat Phra Moli Maha Brahma together with Maha Sangkha Raja Rattana Adulya Uttararaj Aram persuaded the townspeople to build an iron canopy to surround the relics on all 4 sides. The outer one starting from the west to the east was 20 wah 1 cubit long, and the north to the south was only 20 wah long, making a total of 708 iron fences. - In B.E.2271 Chao Ton Boon raised the tiered of Phra That - In B.E. 2329 King Kawila had a royal faith to set up a royal tiered on 4 corners and raised a seven-sized gold tiered. The ground floor base was 1 meter wide, the weight was about 20 baht of gold, and renovated Sattibunchorn (balcony fence). - In B.E. 2334 King Kawila with the viceroy (Chao Thammalangka) and Chao Rattana Hua Muang Kaew (Chao Kham Fan) who was the king’s minister built the 4- direction tower of Phra Mahathat and built (renovated?) the Lord Lawo. 48

- In the reign of King Lamphunchai there was strike of lightning to the tiered of Phra That or relics, therefore the tiered was repaired. - In the reign of Dara Direk Ratanapairoj renovated the royal viharn or royal Buddha image hall, and the tiered was bended due to the storm; therefore the tiered was repaired. - In the reign of Chao Inthayongyotchot the tiered was bended due to the storm; therefore the tiered was repaired. - On May 1, B.E. 2457 at 5:00 p.m., a storm blew over royal viharn or Buddha image hall and collapsed. The relics were not damaged, but the top of the tiered was bended. Chao Phraya Surasi Wisitthasak (Cheoy Kalayanamit) repaired by payment of the gold for 131 baht, 3 salungs, raised the tiered on June 30, B.E. 2457, at 10:00 a.m. with the entertainment on 29-30 June. - In B.E. 2463 Chao Chak Kham Khajornsak invited Kruba Sriwichai to be the chairman of the renovated of royal viharn or royal Buddha image hall, and also renovated and restored the Buddha image hall, Phra Chao Than Jai image hall, and Phra Lawo image hall. - In B.E. 2472 Chao Chak Kham Khajornsak invited Kruba Thammachai from Wat Pratu Pa to renovate the relics by using cement to cover them as their current shape but not yet covered the gold to Phra That or relics, then built 1 Sen (ancient metric equal to 40 meter) and 2 wah. - In B.E. 2500 the government allocated a budget of 2 Million Baht to celebrate the half- Buddhist era, cover with gold leaf of the whole body of relics, budget of 11 Million Baht, then restored the damaged gold cover and added a new one until the present. 49

Golden Chedi (Suwan Chedi) or Chedi Pathumwadi It is located in the northwest of the Phra That. Chingala Mali Pakorn and the legend of the religion stated that Queen Pathumwadi; the consort of King Athitayarat ordered to build it after 4 years after King Athitayarat built Phra That Haripunjaya. The people of Lamphun called Phra That Liam, That Liam. It was also said that there was originally a ceremonial dance in the 4th month of the northern after harvesting every year. But now this ceremony has been lost. Suwan Chedi was shaped like a replica of Suwan Changkot (Ku Kut) Chedi at Chamadevi Temple, but taller and more slender. The base is about 6 meters wide and 14 meters high, built with bricks and laterite in a rectangular plan overlapping 5 floors. There was a replica stupa at the corner of each floor of the main element of stupa, some details were lost. Each floor of that main element was decorated with 3 arches on each side, 12 arches on each floor, a total of 60 arches. The arches were made of overlapping ridges decorated with three curved wavy arches, and two ridges, looking overall like five curved circles. The end of the arch frame rolls out like Tua Ngao or main Kranok Ornament. Inside the Soom Charanam (the arch at the end of the viharn that was often enshrined a Buddha image) enshrined a standing Buddha image from Haripunjaya Art, and made of stucco with a brick core, it was also found the alloy plate and lacquered and reconstruction by plastering over later periods. There was the attempt that was made to change the face of Buddha image from a rectangular shape to be the oval shape in the Lanna style, but still found the traces of making the Buddha’s eyebrows into combined anaglyph. His eyes bulged ot and looked down, big nose, wide and thick mouth with a small stripe of mustache. Above the forehead, there was Unalom symbol in circle shape that often appeared in Thai yantra, small high pointed knot on the Buddha image’s head, a simple cone wrapped crown in a thin robe covering the body that saw the waist cloth which was a characteristic of Haripunjaya art style. At present, only a few arches of the Buddha image in the attitude of forgiveness remain. The top of the chedi was made of lotus petals decorated with lotus stamens stacked up several layers alternating with the square shape. The lotus cluster was made of stucco covered with Thong Changko or alloy plate. The tip of the apex was made into a pointed cone, elongating in the Thong Changko or alloy plate. Suwan Chedi was opened three times. The first time in 1931, Phra Kruba Thammawichai officially opened the underground hiding place, and found thousands of amulets called Phra Perm that the temple gave them for rent to worship in order to bring money to contribute to the restoration of the relics and the pavilion. The 2nd time in 1941, Chao Chak Khamkhajornsak opened the underground hiding place by digging the base of the chedi deep into the center and deep to the foundation at 1.5 meters until a tunnel was found that had been overlaid with many layers of old 50

bricks, then a lot of amulets called Phra Perm were found around 3-4 baskets or many thousands of them, and they were distributed to all military units stationed in Lamphun Province. The remaining ones were buried in the underground hiding place as usual. The 3rd time in 1953, they were smuggled to dig by the muggers. It was believed that the opening of the underground hiding place for three times led to the collapse of the chedi and the illegal cutting of the Buddha’s head in the arch. At the base of Suwan Chedi there were 3 sandstone Buddha images that were moved from Wat Don Kaew. Despite being plastered over it, when considering the shape of the structure, it was found that it was a craftsmanship of Haripunjaya who was influenced by India during the Gupta period, the Buddha image was sitting cross-legged in meditation with a semicircular nectar line wrapped in a thin robe around his body and saw the line on his neck, his face was square, but swelled; did not appear any hair line above his forehead. The knot on the Buddha image’s head was round and big, not high-sharp like the later Haripunjaya. Some of them had rounded triangular frames on their backs. The big one and the middle one had Lanna characters inscription saying “Chao Khun Phra Raj Suthee; the abbot of Wat Phrathat Haripunjaya Woramahawiharn and Chao Noi Praphan Kanchanakamon were the ones who restored it by inviting Phra Khru Yanamongkol, Wat Mueang Nga, and 50 other monks who came to pay their respects at Don Kaew Temple. The renovation was completed on December 31, 1931”. About the small one was inscribed that “Chao Khun Phra Wimonyanamuni; the former primate of Lamphun restored it and invited Phra Kru Yanamongkol from Muang Nga Temple, and 25 other monks together intended Parivasakamma at Wat Don Kaew. The restoration was completed and celebrated on 29 December 1940”. 51

History and Origin of the Buddhist Votive Tablets When the Lord Buddha (Buddha) who was the great founder of Buddhism had passed away and entered nirvana at Salawan Sub- District, Mueang Kusinara District, India, all groups of Buddhist in that period mourned over him. The Malla kings who ruled Kusinara City had already organized a funeral ceremony, and together came up with the idea of building a stupa for containing the Buddha’s relics in Kusinara City, but the kings from different cities also wanted to invite the Buddha’s relics to their citizens to worship, finally those said kings of Kusinara City did not allow it. Then, almost there was a battle for the relics until the Brahmins came to mediate and reconcile. The Malla kings therefore agreed to share the relics with the kings of different cities. The kings of Kusinara City finally built a stupa to enshrine the relics of the Lord Buddha in their own city to be a place for the people to worship. Therefore, Phra That Chedi was made for the first time (the word ‘Chedi’ was referred to something that was a place of worship), and was considered as the substitute for the Lord Buddha. According to the history of the Buddha mentioned when the Buddha was ill and nearly entered the nirvana, Venerable Ananda who attended the nursing care to the Buddha said, “In the past, the Buddhist monks and disciples used to always watch over the Buddha. When the Buddha entered the nirvana, they did not look after him any further, they finally would be lonely.” So the Buddha allowed the construction of four sanctuaries for his disciples. Whenever ones wanted to see him, went to somewhere of the Dharma Sangvej, namely 1. The Buddha was born at Lumpini Forest, Mueang Kapilavastu Sub- District. 2. The Buddha attained enlightenment in the Bodhiyana, Muang Kya Province. 3. The Buddha gave his first sermon at Isipata Maruekhathaiyawan Sub- District, Mueang Varanasi District. 4. The Buddha entered nirvana at Salwan Sub- District, Mueang Kusinara District. In addition, later it was made into two more sanctuaries, namely 5. The stupa contained the Buddha’s ash at Muang Pippliwan District 6. The stupa contained the metal statues of Buddha’s relics at Mueang Kusinara Sub- District. These 6 places mentioned above were sacred places related to Lord Buddha, therefore it was considered to be Paribhogacetiya which was referred to the things related to the Buddha, and was the place of worship. Later, there were many places related to him and according to Buddhist history which was regarded as a place of remembrance of the Lord Buddha. Hoever, a place that the 52

Buddhists went to worship was still only the four places mentioned above. In the first time, the Buddhist who built various stupa or chedi did not mold the Buddha image as a pattern in the Buddha’s history or built it separately. Even when the Buddha’s time had passed for many years until no one remembered the characteristics of the Lord Buddha, and if it would be molded by guesswork, they were afraid that the Lord Buddha would be distorted to insult his majesty. Therefore, it was popular to create hypothetical things for him that could be seen from the carvings in the ancient artifacts before the era of the Buddha image. Potters carved in those days often used images of lotuses instead of the birth of Lord Buddha, used the altar under the Bodhipruek instead of his enlightenment, used the Dharma Chakra and a picture of a deer instead of His Highness giving his first sermon at Isiptamarukhathaiyawan Sub- District, and used the stupa instead of the time for entering nirvana at Salwan Sub- District, Mueang Kusinara District, etc. The various pagodas were mentioned at the beginning was from the need to give the knowledge that before there was an altar and amulet, there was something that was a place of respect for the Lord Buddha, and the Buddha image, votive tablet were also called Uthesika Chedi as the another place as well. When the Buddha’s lifetime had passed for about 200 years, Great King Alexander who had the power of war in Europe moved the troop of western Greeks (or as the people of the East called the Ionian people) that was a large army to suppress various countries, also expanded the monarchy from the east to the land of India, but had not yet spread the power to the whole country. Great King Alexander passed away in India. The principalities that Great King Alexander gathered were divided into several groups. King Alexander’s Greek generals set themselves up as the rulers to occupy many territories together, and persuaded the Greeks from their former homeland to establish themselves as livelihoods in the newly created locality until causing the Greeks to come to live in the land or called the territory of Gandhararat in a large number. In the country of Gandhararat most of the city’s residents believed in Buddhism since the time of Great King Ashoka. When the Greeks arrived in Gandhararat, they became intimate and married the natives. Therefore, they came to believe in Buddhism as well. Until about B.E. 363, there was a king named Milin (or also called Phraya Milin who interacted with Phra Nak Sen in the issue of Milinda’s problem). He was very powerful with waged the wars to spread the territory until Magadha city, and had deep respect for Buddhism. He had also contributed to the prosperity of the religion in the country of Gandhararat until the first Buddhist sculpture was created in a different way. From mentioed above, after the Buddha’s lifetime had passed, the builders of the Buddhists did not like to sculpt the Buddha images to decorate the stupa. But the Greeks who had never been prohibited the making of idols, and according to the original religion of the Greeks, it was popular to 53

sculpt the gods that they worshiped. Therefore, when the Greeks turned to Buddhism, they did not like the traditional way of making other fictional images instead of Buddha images, they had the idea to create Buddha images as decoration for pagodas and various places that finally was the reason why Buddha images were born in Gandhararat region for the first time in the world. The first Buddha statue created by Greek craftsmen was the great imagination of the craftsman in creating a Buddha’ characteristics that made the onlookers understand immediately it was the Buddha image representing the Lord Buddha. It had beautiful Buddha’s characteristics that were impressive to those who believed in Buddhism with a beautiful face similar to the Greek Gods, and on his head of the Buddha image was decorated with Ketmun Mauli contrasting with the disciples, causing the onlookers to understand which one was the Buddha image that was considered as the example of Buddha image until today. In addition, Phra Rasmi or ring of light was made into a circle shape behind the halo of the Greek Gods. The robe was in the strip of cloth for both way to dress a robe over two shoulders of Buddhist priest and way to dress a robe over a Buddhist priest’s one shoulder. From the attitude of Buddha images, they were created from the Buddha’s birth to the attitude of entering Nirvana. The first time was to create a pattern of Buddha history to decorate the chedi. Later, the idea was to build a Buddha image as the principal Buddha image as a place of worship. Therefore, it was considered that the Buddha image was another Utesika chedi as well. Either Greek craftsmen created a patterned Buddha image along with the Buddha’s history to decorate the pagoda or created a Buddha image as the principal Buddha image as a place of worship was disagreed by Indian craftsmen and native Indians in the first step, because they were accustomed to worshiping the things they had imagined instead of the Lord Buddha as mentioned in the beginning. Therefore, later the legend of Phra Kaen Chan was created according to legend Phra Kaen Chan that said that “When the Buddha went to give sermons to the Buddha’s mother and stayed in the Daowadung heaven for that one year, King Prasenchit of Kosolrat City had a recollection of him when he had not seen the Buddha for a long time, and therefore ordered the craftsman to make a Buddha image with red sandalwood, and enshrined over the seat where the Lord Buddha used to sit. When the Lord Buddha returned from Daowadung heaven to his residence with the power of the Lord Buddha, the Buddha image with red sandalwood moved away from the Buddha’s seat, but the Lord Buddha ordered that the Buddha image should be preserved so that the people could use it as a model to build a Buddha image when he passed away.” The legend claimed that the said Buddha image with red sandalwood was the prototype of the Buddha image which was later created, or in other words it was to claim that the Buddha image was created with the power and likely to the Buddha, because Buddha image with red sandalwood was a model created in the Buddha’s lifetime until causing the assumption that the 54

craftsman and the native Indians who hold the hypothetical creation instead of the Lord Buddha to be firmly worshiped did not accept the example that the Greek craftsmen built the Buddha images. Therefore, the philosopher at that time came up with the legend of Buddha image with red sandalwood. It was also claimed that the Buddha had given permission to use Buddha image with red sandalwood as a model for making Buddha images to worship since the Buddha’s lifetime until making the craftmen and native Indians trust and compromise according to the Greek craftsmanship. This was why Indian artisans were known as native craftsmen, and had designed and built a Buddha statue differently from Greek craftsmen which was the beginning of original of Mathura art since the 7 th-8th Century onwards. Discussing the cause of the creation of the Buddha image as a database leading to the origin of the creation of the votive tablet that was born later was related to the creation of Buddha images which would be discussed in the next lesson. The origin of votive tablet occurred for the following reasons. There were 4 places where the Buddha had allowed as well as 4 places where it was popularly said that the Buddha performed the miracles. According to the origin of these 8 pagodas, a large number of devotees came to worship each year. The said devotees said that they wished to obtain something as an important thing to keep as a reminder of their faith and endeavor to reach that place when there was a tradition to create a Buddha image. People in the area where the pagoda was located thought of making Buddha images in different attitudes, followed by the chedi once was used by the Buddha; including carved many molds for sale to the devotees to be able to buy all over at a cheap price, there was therefore the votive tablet for this reason. The votive tablets that were sold at the locations of the 8 pagodas were Buddha images in 8 different attitudes, namely: 1. The Buddha image in the attitude of Nativity was made into the image of a standing Bodhisattva prince. There was an image of the Buddha’s mother and the image of god as an accessory. 2. The Buddha image in the attitude of enlightenment in the form of subduing Mara (The posture was sitting cross-legs with one top of another (half lotus), the left hand was placed on the lap, the right hand was placed upside down on the knee, fingers pointing down on the ground when the Buddha defeated the devil). 3. The Buddha image in the attitude of giving the first sermon, the Buddha image was made to be the postures of sitting cross-legs with one top of another (half lotus) or there was also sitting with hanging his feet (for example, sitting in a chair with his right hand making a finger in a circle to mark the Dharma Chakra). 4. The Buddha image in the attitude of coming back from Daowadung heaven was often made in the posture of walking Buddha, but there was also to be a standing Buddha. There were images of Brahma and Indra on both sides as accessory. 55

5. The Buddha image in the attitude of Great Miracles was made into a Buddha image with several lotuses placed together. There were often images of gods and human beings, tī�rthika as an accessory. 6. The Buddha image in the attitude of torturing and taming the Wild Elephant Nalagiri was made into a statue of walking Buddha. There were the images of Ananda and elephant. Sometimes there was only the image of elephant as an accessory. 7. The Buddha image in the attitude of torturing and taming the great monkey was made into a statue of sitting holding an alms bowl. There were the image of monkey as an accessory. 8. The Buddha image in the attitude of Mahaparinirvana was made into a reclining Buddha image, there were often a stupa, the image of the disciples, and the image of gods as an accessory. These 8 attitudes of Buddha images were considered to be a popular amulet created together in one piece of art. All 8 attitudes were presumed to be caused by the devotees who had tried to worship the Buddha image in all 8 pagodas and built them to celebrate their faith and endeavor. According to the creation of votive tablet when spreading to other countries, people in those countries realized that it was something easy to build and preferred to following by wishing to distribute them to people to get Buddha images to worship more easily, but creating the votive tablets for people to worship had become the important thing in the permanent succession of the religion. Later, especially in Thailand, according to the motto of Lanka that Buddhism could only last for 5,000 years, so they liked to build a votive tablet engraved with spell of Ye Thamma behind it, and put it in the stupa. Those who discovered the votive tablet would finally turn to respect the Buddhism again. As mentioned from the beginning of the votive tablet causing the assumption that the motto of creating a Buddha image by Greek craftsmen probably built a Buddha image with stone or stucco in order to decorate the stupa in the early stages, because from evidence it was found that the construction of the stupa with decorative motifs was made from some stories of the Buddha’s history according to the traditional beliefs. Originally, the image was created as a symbol instead; for example, using the Dharma Chakra and the deer instead of the first sermon or using the image of the stupa instead of the attitude of Nirvana. Therefore, in later times, Greek craftsmen thought to create Buddha images when they built the stupa in their time. Therefore, they built a Buddha image in bottom seal. It was intended to be built to be the principal Buddha image enshrined in the stupa or viharn, probably after the original idea of containing the Buddha image in the stupa’s decorative pattern. As for the votive tablet, it probably occurred after the creation of the Buddha image in the pattern decorated with the stupa and creating a Buddha image as the principal Buddha image. However, the construction of the Buddha image in the form of the principal Buddha image and the votive tablet would be the period not far away from each other, 56

because the Buddhist art was in the same period that was the Gandhararat period in the 7th-10th Centuries. From searching for evidence to support this assumption, it was found that from the records in “Legend of Votive Tablet of Professor George Cœdès” on the creation of the votive tablet said that “Not long after the Buddha’s death the tradition of creating Buddha images by pressing with a mold and stamping them with various symbols was found only in Buddhism. It was found in the northwestern provinces of India, Yunnan Province in China, or in various caves in the Malay Peninsula, on the shores of the Yuan Sea, they were all models of Buddhism; not to appear to belong to any other religions.” And from Professor Fuche’s diagnosis, it was found that the various votive tablets were based on four important places of worship of the Buddha, namely: 1. The place that the Buddha was born at Lumpini Forest, Lumminoey Sub- District, Mueang Kapilavastu District. 2. The place that the Buddha attained enlightenment in the Bodhgaya 3. The place that the Buddha gave his first sermon at Isipata Maruekhathaiyawan, Mueang Varanasi Sub- District. 4. The place that the Buddha entered nirvana at Salwan Sub- District, Mueang Kusinara District. It was corresponded to the creation of the Buddha image mentioned above and Professor Fuche also said it was not difficult if it would think that it was normal for the faithful to bring something as a souvenir from those four important pilgrimage sites. That will be the first of the revered things that had been done by printing on the canvas or made of clay, wood, ivory, or minerals as it was available in Kapilavastu, Bodhgaya and Kusinara. It appeared clearly that these four cities had a kind of well-known sanctuary, and there were many books describing what these great places were, and what was to be seen before anything else in the city. Kusinara was the place where the Lord Buddha attained complete Nibbana that was marked by building a stupa. As the same to Varanasi city that made a picture of the Sema Dharma Chakra, it was referred to a wonderful miracle. The Sema Dharma Chakra must always be accompanied by a pair of Marika (a pair of deer). It was respected that Bodhgaya was the Bodhi Tree; the Lord Buddha sat at the base of that tree when he attained enlightenment. But there was not anything at Kapilavastu that was still questionable. As for the three cities, there was nothing suspicious; surely Bodhgaya must be a Bodhi, Varanasi must be the Sema Dharma Chakra, and in Kusinara must be a stupa” The votive tablet was like a monument of that sanctuary. In addition, the votive tablet also described the specific characteristics of different places or temples that created the votive tablet until they were unique as the origin of the identity of each type of amulet, each family, and each temple that appeared today. 57

The votive tablet was originally settled as a respectable object like a sacred monument, but due to the popularity of the sculpture growing later, and the creation of the Buddha image or other idols in religion was regarded as the foundation of merit. But casting the mold with metal, carved with wood or carved with stone was not generally possible among the poor who desired merit to be wealthy next life, finally they built the image with clods of clay which was considered as a way to get merit without relying on the intelligence of the aristocracy or wealth, they could have the desire for the fulfillment of Path and Fruit of Nibbana. Therefore, a large number of clay images were created. Sometimes made up to 84,000 Buddha images according to the Dharma Khan. These were all the reasons for the creation of the Buddha image with clay which were found in many caves in the Malay Peninsula, the craftsmanship seemed to be the handiwork of the hermits who lived on a pilgrimage. If it was looked back, it would be found that among the vendors selling incense, candles, and offerings at important places in ancient Buddhism, there must be molds for sale to the faithful who came to worship at that place as well. The benefit of molds was making of the Buddha images which the faithful bought them as a souvenir; including making as the offerings to temples. Ancient molds were copper plates, deeply carved and had a handle for holding. When the use of mold was more widespread until the use of molds to create new molds continuously until there were many of them to be appeared until later eras. Most of the ancient votive tablets had inscriptions in small letters on top, some on the bottom, some on the back, some in Sanskrit, Bihar, and Devanagari which was a character widely used in North India and South Indians; including the letters of the tributary states between India and China as well. It could be found from many places and many generations of old age, but those inscriptions always had the same meaning as the spell reading as follows: Yeh Thamma Heh Tu Pap Pha Wa The Sang Heh Tu Ta Tha Kha Toh (Ar Hah) The Sang Ja Yo Nirothoja Ea Wang Wa Thee Maha Sama No Ti It could be translated as follows “Dharmas arised from that cause, the Tathagata had shown the cause of those dharmas and the cessation of those dhammas.” This was the speech of the Great Recluse. The synopsis of the spell which was only 4 lines and were the Master’s teaching that might help to reveal a truth sufficiently to select not only the explanation of other parts of the teaching, but from many old books was also said that by the meaning of this spell, the Buddha had two disciples, Sariputra and Moggallana who later in the diocese (Sangha circle) was regarded as the second after the Master Teacher or Lord Buddha. Dharma that led to the acquisition of 2 noble apostles was indeed a wonderful virtue, and honored as “Sumrit Mantra” for convincing the minds of those who had never heard the dharma 58

before. Therefore, there was no dharma or chapter better than this to be inscribed on the votive tablet which was considered a lightweight object, easy to carry in the right size, and so beautiful that deserved to be used to help in spread of the good word of the Buddha. Hence, we might think that the person who had made the votive tablets, and packed in a cave including several thousands of stupa must think about the proclamation of religion in the distant future, and hoped that it would help to spread the religion for many thousands of years. Therefore, it was the belief of the Buddhists that when the age of the Buddhism was declined, seeing the image of the Master (Buddha) and the incantation which was his teaching might be a reminder to the seer to have the devotion, and more reliable. All of these were part of the records of Professor George Cœdès in the legend of the Votive tablets. In conclusion, the origin of the first votive tablet was a substitute or made as a souvenir for someone who traveled to pilgrimage to that sanctuary, and had then evolved into a votive tablet after the widespread prosperity of the votive tablet. Due to being an item that could be easily done even for those who were not very wealthy were able to make merit from the creation of votive tablet to inherit religion or activities according to their beliefs without being impossible to do, there were therefore many votive tablets to be seen, and then transmitted from one era to another era and from one generation to anothergeneration until now, not disappear from the Buddhist civilization with the faith in Buddhism. 59

Votive Tablets, Kru Chedi Thong (Kru means underground hiding place named Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi Haripunjaya City From exploring and tracing history and many other origins of information in the group of Golden Chedi (Suwan Chedi) or Pathumwadi Chedi, it was considered that it was the origin of the votive tablets in Lamphun family. It could be said that it was the “Primary Era”, because the various evidences were discovered that they were old enough to be a votive tablet in the early 1,300 years, and there were also some inscribed in Sanskrit with various ancient letters on the back of the votive tablet such as Brahmi, Siddham, Devanagari, Hieroglyphs, etc.; including the inscription of the Buddhist Era created in the ancient Egyptian language. And when compared to the mass, it was the oldest among the votive tablet that occurred in the city of Haripunjaya. This votive tablet group was considered as the prototype of the Lamphun Votive Tablet that originated, because we would see many votive tablets in the latter era that were made similarly to those of the Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi or called that copy of printing to create a new one. This conclusion was believed that the votive tablets in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi were true made in the early period of 1,300 years and had only one mass called “Green Stone Mortar”. 60

The Principle of Comparison of Terracotta Votive Tablets in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi Terracotta votive tablets in Kru Golden Chedi (Suwan Chedi) or Pathumwadi Chedi were examined and found that there were many molds. At present, there are many organizations claim on verification of the age of the Buddha image, but it is not accepted according to internationalism. The most credible and concrete principles were natural principle which is a universal principle that is commonly used and referred to as “Comparative Theory”. Principles of theory with the introduction of prototype objects with evidence of excavation or recorded creation such as silver palm leaves, golden palm leaves, etc. as a model or set by using objects or votive tablets in the era that prefer to comparing; for example, we want to find the age of the votive tablets of the city of Haripunjaya in the early period which is said that the city of Haripunjaya was at the age of about 1,300 years, so the prototype of the clay votive tablets must be in the range of 1,300 - 1,400 years with clear evidence. Although it might be from other hiding places, it must be a clay votive tablets as the same, and it is also in the same group of contents. If any votive tablets we needed to know the answer after comparing the nature of the oldness close to or equal to the model, we can conclude that that model had the nature of oldness close to or equal to the original model. On the contrary, when comparing the nature of oldness of that model was less or more, we could find out the evidence-based model in the next generation to be compared with the sample until the conclusion that corresponded to the comparable sample was obtained. 61

Comparison with evidence-based votive tablets to prove the true nature of antiquity. 62

Creation of clay votive tablets in the Haripunjaya period “Early Age” Haripunjaya City could be divided into 3 ages as follows: 1. Hariphunjaya City in early period, from the 13th – 15th Buddhist Century (Early Age) 2. Hariphunjaya City in middle age, from the 16th – 17th Buddhist Century (Middle Age) 3. Hariphunjaya City in late age, from the 18th – 19th Buddhist Century (Late Age) This herein would be mentioned Haripunjaya City in the early age, from the 12th -15th Buddhist Century, Haripunjaya City in that early age would have the construction of house and city, in this part there would be the construction of many antiques and ancient sites; especially part of the king for the conservative regime of the monarch and the principle of Buddhism that the king had to have their own royal temples which was a tradition that had been succeeded for a long time as well as building the King’s royal temples as gathering point for the minds of the townspeople. For the people of Haripunjaya City, the elements of royal temples were considered as the center of Buddhist temple, Buddha’s image hall, monk’s dwellings, chedi, etc., when many centuries had passed, these ancient artifacts were often ruined and declined or affected by natural disasters until leading to the collapse. The restoration was thus seen in each era as recorded. As for the restoration, there must be the art of building according to the era of construction. Although the old eras were often destroyed or swallowed up, one thing that remained intact until the present day was Ku Chedi, because Ku Chedi would never be completely destroyed or dismantled. This was still enough to leave the original layout for us to study, because the restoration was often built to cover the original body or repair the part that had collapsed only partially that was interesting, and the point that could be studied further was “Sacred Object”. Sacred object here was referred to various votive tablets contained in Ku Chedi. The study of the nature of ancient of sacred objects was able to indicate the way of life, traditions, and culture of that period through the Buddhist art of the Buddha image. There was a person who described the work of Buddhist art; therefore, the description in the column named People Stayed next to the Temple by Master Preecha Khantanan who said that 63

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Buddhist Art Nowadays, it would be often heard about the Buddhist art, and some universities also provided the education and teaching in this field directly, and had been established as the faculty and used the name of the Faculty of Buddhist Arts. Therefore, it was needed to get to know about the origin and the true meaning of the word “Buddhist Art” in terms of how it was and what content was relevant. Buddha was referred to one who knows; pure knowing, one who knows; awakening, one who is happy and knows the Four Noble Truths. Art was referred to the craftsmanship, exhibitions, things to be displayed, and the expression of emotion that manifested itself. Art or arts was the action or process of creating a piece of art by human beings who created the aesthetics, imagination, or creation from emotion in various human conditions until it was a product of thinking, and creation expressed in different ways causing emotion and feeling in beauty, preference, satisfaction, impression, or sympathy, love, dissatisfaction, hate, etc. Therefore, more than 550 stories of the Buddha’s history that were recorded in the Tripitaka had been brought out through various forms of art in terms of wall painting, sculpture, and pottery. There were also various types of stone carvings and carved wood. Later, the influence had spread widely to all over Asia that was a story that we ould study from the pictures on the walls of Buddhist temples, Buddha image halls, walls, castles, and palaces which could improve anyone’s thinking, mind, and body until it became a path to morality to be successful as the noble ones. Buddhist art was an art created to directly respond and serve in the field of Buddhism in terms of painting, sculpture, and architecture without choosing whether it was a doctrine of Mahayana or Theravada by asking for ideas from a wise man who had previously given the definition as follows: Phra Ratchaworamuni (Prayut Payutto) had explained the meaning that Buddhist art was a respectful pagoda or chedi, person, place or object that should be worshiped. There were 4 types of pagodas related to the Buddha as follows: 1). That Chedi was the place where the Buddha’s relics were contained. 2). Boripoke Chedi or consuming pagoda was a thing or place that the Buddha used to use 3). Dharma Chedi was the place where the Dharma or Buddha’s words were contained. 4). Uttasik Chedi was the Buddha image. 65

Regarding Thai arts, it was referred to something that formed into a spire shape as a place contained the respectful things such as the Buddha’s relics, Arhats’ relics, the ashes of the governors and kings, and the ashes of ancestors. Therefore, Buddhist art was referred to the art that had been directly created as a dedication and serve in Buddhism causing faith, belief, and devotion in Buddhism through a holistic approach to succession for the age of Buddhism to be sustainable forever. Whatever was considered as the Buddhist art, artistic beauty in Buddhism, there was still admiration and pleasure in the beauty of nature, forests, hills, rivers, streams, creeks, swamps, canals, marshes, seas, sandy beaches, cliffs, abyss, music, lullabies, sound from rustling of trees and leaves, even the sound of wind, and the sound of waves that were also considered as a significant tool in communicating the philosophy of the Buddha, because it enhanced feelings, thoughts, understanding, and knowing how to let oneself on, and it could be a medium for understanding the access to the profound dharma out of any description. 66

The Buddha statues during Haripunjaya Period The Buddha statues during Haripunjaya Period can be divided into three periods. The first period is the 13th-15th century, influenced by the art of Dhavaravati Kingdom. The second period is the 16th-17th century, influenced by Khmer art. And the third period is the 18th-19th century, influenced by Pagan art. They possess the true characteristics of the art of Haripunjaya era. The term “Buddha statues during Haripunjaya Period” refers to the Buddha statues made of fired clay and stucco. Although they were influenced by the art of Dhavaravati Kingdom, Khmer art, and Pagan art, they have their own distinctive features; for example, the replica of the clay Buddha image displayed at Haripunjaya National Museum in Lamphun and the replica of the clay Buddha image displayed at Chiang Mai National Museum. These Buddha statues have a relatively flat appearance with a rectangular halo, a tall crown, a wide chest, and overlapping parallel lines below the waist. The hand gestures of the Buddha are unique with the thumbs pointing upwards, which is different from the Buddha statues of the earlier Haripunjaya era (17th-18th century) and the large flat replicas of the Dhavaravati Kingdom style with thick borders and a large ornate crown. The distinctive feature of the Buddha statues during Haripunjaya period is the high, hair curl, and the large-sized, elaborate halo. Most hair curl replicas are made of fired clay. They are fired separately and then attached to the head of the Buddha later. It is common to create a thick border between the forehead and the hair curl that is similar to the decoration on the band of hairline over the forehead. 67

Principles of creating the clay votive tablet in the early age of Haripunjaya City Principles of creating the clay votive tablet in the early age of Haripunjaya City was divided into 4 steps as follows 1. Preparation of clay 2. Creation of model or pressing mold 3. Creation of mold 4. Creation of votive tablet Volcanic Soil Obtained from Champadad, Lampang Province 68

1. Preparation of clay Characteristics of clay used to create the terracotta votive tablets in the early Haripunjaya period was volcanic soil with very high level of minerals. From the examination of the Buddha image of the Golden Chedi (Suwan Chedi) or Pathumwadi Chedi, it was found that there was the element of iron in a very high level according to the following table. Periodic Table and Volcanic Soil Obtained from Champadad, Lampang Province 69

Periodic Table of Mass Obtained from Phra Rord of Kru Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi 70

Preparation of clay used for carving to be the model or pressing mold Comparison of mass obtained from Phra Rord in Kru Chedi Thong and volcanic soil from Champadad, Lampang Province From visiting the area to take soil samples to check minerals and had the assessment with the Buddha image in Kru Chedi Pathumwadi (Suwan Chedi) or Golden Chedi, the results of examination were satisfactory, and the mass of elements appearing in the periodic table was very similar. Therefore, the source of tsoil could be summarized in order to create the first Lamphun votive tablets according to the deep path in the early age, it was said that... Suphrom Hermit who resided at “Doi Khao Ngam” in Khelang Nakhon City (Lampang City) was a leader in preparing the soil with noble power, no weapon to resist. The conclusion of following the past was necessary to apply the scientific principles for checking the comparison of elemental mass from many variables; especially bringing the mass of objects (votive tablets) to be compared with the mass in the sources which were confident that they were the source of soil used for building the votive tablets obtained from Pathumwadi Chedi (Suwan Chedi) or Golden Chedi. 2. Creation of model or pressing mold From the analysis of creation principles made by the craftsmen in early Haripunjaya period after leaving evidence of votive tablet’s model, when the craftsmen had prepared the soil to be used for molding, they would bring the clay to mold into forms of square or rectangle depended on the size of mold whether it was small or large. But the clay that would be molded into a model must be thick in order to be used as a base to support the model when the model was finished carving. 71

The prepared clay must be fine-grained and free of gravel, as it would cause inconsistent molding lines. About the next step, the craftsmen would bring the tools to draw the structure of the mold in order to operate in the form of “High Relief Mold”, the structure of model in each family of votive tablets was different. After carving the model had been completed, each model was placedd on a clay base. When the process was finished carving, the craftsmen would take the carved mold and leave it to the wind for a couple of days. Later, it could be baked or burned. Baking models or molds in the early Haripunjaya period would be used a very high temperature to bake about 1200 - 1300 Degrees Celsius in order to harden the mold until it turned into the stone, because it would make the molded lines have the highest clarity. As for the soil mass, it had to be higher in minerals as it could withstand the high heat and the lines were sharper. Therefore, it was incorrect to say that the blocks of votive tablet or model were made from stone, because in the ancient times the craftsmen who carves the mold would do it by hand. There was no any equipment to help. Thus, it was called handmade or freehand carving. Model or pressing mold 72

3. Creation of Mold When creating the model or pressing mold, in the next steps the craftsmen would start preparing the soil to be pressed into blocks or molds. Also at this step, preparing the soil to be pressed into the mold must be very fine soil. There must be no grit mixture, because it would cause a stumble when pressed into the next step. Pressing the soil onto the model would have the craftsmen to put some oil on the mold first that could be sesame oil or coconut oil. The objective was to make removing the model from the mold easier. After that, the craftsmen would gradually put the soil on the mold. Putting the soil on the mold was started from the craftsmen would mahe a mold according to the size of the model by using the thumb to create a mold. The purpose was to reduce the weight of pressing, because the lines on the model were small and sharp. If pressing the mold with high weight, it might be affected on causing the lines in the model to be damaged. The the craftsmen would press the soil into evey corner and point of model in order to prevent the lack of lines on the model. Then, the mold would come out incompletely. Once when it was sure that the pressed clay was perfectly molded; therefore, the edge of the mold would be decorated by adding much more soil. It might be decorated in a square or round shape, but most of them were found to come out in the form of a square that was expected to be the easiest to make. The principle of removing mold from pressing mold would mostly take off parallelly to the ground, because it could divide the tensile force into two sides. The mold that came out would not stumble with the pressing mold. The resulting mold finally were perfect with minimal friction in the mold and pressing mold. The mold that would be removed the lines on the model or pressing mold 73

Dovetailing for removing the molding lines and the mold to be used for removing the line in the pressing mold before decorating the outer edge Taking the soil to press on the model or pressing mold in the form of completed decoration 74

The mold after removing from the model 4. Creation of Votive Tablet When the craftman has already pressed the mold. The next step was to be aerated and put into the kiln to burn the mold until harden to stone. This procedure was similar to the process of burning the mold. From now on it was the process of pressing the votive tablet that was started from preparing the soil for pressing. This step would have the craftman to arrange the soil mass to be mixed with other materials that were auspicious or had the incantations to mix in the soil, but probably not too much, because there might be the obstacles in pressing the votive tablet as well. The large mass can be pressed against the printing line that could cause blurring or torn lines on the votive tablet as well. The craftman would calculate the soil to be pressed by using the amount of soil to balance with the mold. However, it was depended on the skill of the craftment as well, and the indispensable step for pressing the mold was to oil the mold block or mold to reduce the friction with the block. Regarding cleaning of blocks, this case was considered as the main factor in the creation of the mold as well, because it would make the votive tablet clearly, and the lines on it were not broken. The production work would turn out perfectly the way we needed it. 75

The Characteristics of Pressing the Votive Tablet into the Mold Photo of Block, Mold, and Votive Tablet of Phra Khong Obtained in Kru Chedi Thong 76

Conclusion Regarding the creation of the clay votive tablets in the Haripunjaya City during the early period, the use of material here was referred to the soil used to create the Buddha image. It was usually made from the soil with high mineral content; and more specifically it was volcanic soil, because the soil mass could withstand very high heat as well as being used to make the model, create the mold, and finally press to be the votive tablet. As the results, it would show about the quality of work that was sharp, tough, looked like a stone which had a very high hardness. Therefore, the votive tablet that came out to our eyes in the present time must be made from “Kheow Hin Krok or Green Stone Mortar” only. 77

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Model of Phra Kleeb Bua Votive Tablet in Kru Chedi Thong (Suwan Chedi or Pathumwadi Chedi) The Model from Kru Chedi Thong (Suwan Chedi or Pathumwadi Chedi) In the middle of curved rectangular votive tablet is Buddha in meditation that is sitting on the haunches on lotus-flower-shaped pedestal, wearing the robe, funnel- shaped topknot, big curled hair, round face, thick lips, flat nose, and sitting on the haunches on big lotus-flower-shaped pedestal. Around His body there is a circumference called Prabhavali or referred to the radiance or ring of light that appears in the Buddha’s body, pressed on two sides with the stupa in shape of cauldron with its tall spiers, next above them are various kinds of regalia such as whips, fan, and long-handled umbrella above the head covered with many- tiered umbrella or umbrella with the width including base 7.90 cm., total height 9.88 cm., and total base thickness 3.58 cm. 79

Model of Phra Nang Muang votive tablet, Dvaravati Art, Golden Chedi (Suwan Chedi) or Pathumwadi Chedi Phra Nang Muang, Dvaravati art that popped up in Haripunjaya City contained in Golden Chedi (Suwan Chedi) or the Pathumwadi Chedi. Dvaravati art was the origin of Buddhist art in Thailand and Buddhist art in Lamphun. Dvaravati art was also the art of early civilization in the historical period that had continuously developed. In the Chao Phraya River basin during the 11th- 16th Buddhist centuries most of the antiques, artifacts, and ancient sites were built in Hinayana Buddhism, but there was evidence of Mahayana Buddhism and Hinduism included. The influence of Dvaravati art and culture had spread to other regions; including the North, Northeast, and South. Therefore, it could be said that Dvaravati art was the origin of Buddhist art in Thailand. Dvaravati art was found in many regions and provinces such as Kamphaeng Saen in Nakhon Pathom, Mueang Lop Buri or Lavo, Mueang U Thong in Suphan Buri, Mueang Khu Bua in Ratchaburi, Mueang Phong Tuek in Kanchanaburi, Lop Buri River Basin, Pa Sak in Lop Buri, Saraburi, Mueang Sri Thep in Phetchabun, Mae Klong River Basin in Ang Thong, Singhaburi, Chainat, Nakhon Sawan, Bang Pakong River Basin in Chachoengsao, Mueang Dong Lakhorn in Nakhon Nayok, Mueang Sri Phalo in Chonburi, Mueang Sri Mahosot in Prachin Buri. And in Northeastern Region it was found in Mueang Sema, Mueang Phlabphla, Mueang Kongrot in Nakhon Ratchasima. It could also be found in Chaiyaphum, Maha Sarakham, Yasothon, Ubon Ratchathani, Nong Khai, Khon Kaen, Sakon Nakhon, Udon Thani, and Kalasin. The well- known city was Mueang Fa Daet Sung Yang in the North. Dvaravati art was found in Haripunjaya City and dependent cities in Chiang Mai and Lampang, Mueang Trai Trueng in Kamphaeng Phet. Phra Nang Muang model, Dvaravati Art in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi had the width including base 8.30 cm, height including base 11.15 cm, and thickness including base 4.00 cm. 80

Model of Phra Lue Khong votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Model of Phra Lue Khong votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was from the influence of Buddhist art of Mahayana Buddhism to propagate in this ancient city. Phra Lue Khong was regarded as the true Haripunjaya art. It was noticed from the Lord Buddha’s face that was full of mercy. The head of Phra Lue Khong could be compared with the head of a standing Buddha image in the facade of Suwan Changkot Chedi or Ku Kut Chedi in Cham Dhevi Temple, Lamphun Province that would be surprisingly similar. The upper head would swell. The knot on the Buddha image’s head were round until clearly visible to the hair line. His face was angular, his jaw was large, and his ears, eyes, mouth, and nose were very similar. The way to dress a robe was over a Buddhist priest’s one shoulder, the robe was attached to the body. His eyebrows were in winged figure, and his eyes flashed low. This art was influenced by the art of Dvaravati. Phra Lue Khong was sitting on a lotus base that was built into shape of upturned lotus. Under the base was covered with nectar cloth, drawn in a circle, on both sides of the Buddha image were decorated with lotus flowers that bent together called “Bua Ngai Bua Khwam” or upsaide down lotus. At the top of the head decorated with arches in the shape of the lotus petals facing upwards into layers. The facade made to the convex stand out and elegant leading to the most beautiful dimension which was regarded as the skill of a high-class craftsmen who could do it beautifully. The top of the arch that curved upwards was made in a pattern of lotus flowers, lotus leaves, and lotus stems that were loveliful and playful, making the Buddha image stand out and dignified. Phra Lue Khong and Phra Lue Nha Mongkol were brought lotus flowers, lotus stems, lotus leaves as decorative patterns in the Buddha image, because of the influence of Mahayana Buddhist art which was regarded that the lotus flower was the great importance to the Lord Buddha and all Bodhisattvas which it could be seen in many Buddhist art of Mahayana Buddhism. Phra Lue Khong model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 7.45 cm, height including base 9.60 cm, and thickness including base 4.35 cm. 81

Model of Phra Perm votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Regarding the model of Phra Perm votive tablet in Kru Chedi Thong (Suwan Chedi) or Pathumwadi Chedi, and Phra Perem was votive tablet made with clay. The art of Dvaravadi craftsmanship was combined with the Haripunchai craftsmanship or an ancient Mon craftsman in Mahayana Buddhism, having a Buddha nature as the Lord Buddha sitting under the shade of the Bodhipruek tree. Phra Perem had a special feature; namely the body of the Buddha image was plump, mouth was open, thick lips, bulging eyes, nose was open out, oval head was with garland of rays, thick ears, clear line on neck, the breast of the Buddha was clearly visible, navel was deeply sunken, and big hands which was one of the characteristics of Buddhist art in the Dvaravati period with delicate details. Phra Perm model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 7.30 cm, height including base 8.60 cm, and thickness including base 3.80 cm. 82

Model of Phra Liang votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Regarding the model of Phra Liang 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 model 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. 83

Model of Phra Bang votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Regarding model of Phra Bang votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, Phra Bang was known as votive tablet contained in Kru or underground hiding place that coexisted with Phra Khong, but they had different characteristics from Phra Khong in the appearance of the Buddha image which looked erect and tall and slender. The left arm was placed at a 45 degree angle, the arm did not bend the elbow like the arm of Phra Khong. Phra Bang was known as the charming Buddha image. Buddha’s grace was the way of mercy, greatness, avoidance, and safety. Phra Bang model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 4.62 cm, height including base 6.28 cm, and thickness including base 2.64 cm. 84

Model of Phra Rord Phim Yai votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Regarding model of Phra Rord Phim Yai (big mold) votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, the Buddha’s general characteristics of Phra Rod Phim Yai (big mold) votive tablet was the Buddha image sitting in the posture of subduing Mara with cross-legs with legs locked together (diamond posture) on a four-tiered throne. There was the arch of decorative patterns surrounding the Buddha image which was regarded as a pattern of bars or a bodhi leaf which was called to be easy to understand. The base that the Buddha image sitting on the first floor was a larger base than the other bases. Above the first floor base there was the part under the lap showing a small line like a hair, and these short lines were called seat cover lines that were truly natural, and would only be short enough to be noticeable. Next to the first base was the groove located between the first base and the second base. Within this groove there were small and sharp lines that dragged almost the entire length. These lines were known as the “Sen Saem or Inserted Lines”. This second base was distancing from the first base because there were the inserted lines within the groove. Next to the second base were the third and fourth bases. These two bases would be attached together enough to see that there were two more layers of base; not separated. Another point of marks was the edges of these four bases that were rounded at both ends that supported the base that extended down to the bottom of the base. This base was only available in Phra Rord in the forms of big, medium, and shallow molds. The bottom of the three aforementioned votive tablets’ base was called “Kon Phab or Folded Buttom”. At the base of the left side of Phra Rord, there were the small lines called “Waterfall Lines” looking like a tree root in natural contorted form. These lines were dragged down from the forearm near the left elbow to the tip of the right foot. Then, with the craftsmanship of the high-class Haripunjaya craftsmen these waterfall lines were inserted seamlessly down to the shin of the Buddha image showing the waterfall lines at the end of two lines, similar to the letter “Y” of the English alphabets in upside down form or the upside-down champagne glass. These waterfall lines were placed on the first base, and then these lines were inserted onto the second base in the same level, and split into three lines. Some people called them “Sam Cha Lines”, these three lines clearly diverged from each other, and would turn diagonally to the left side of the Buddha image; not to be a dull or straight down line. Phra Rord Phim Yai (Big mold) model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 3.60 cm, height including base 4.90 cm, and thickness including base 1.75 cm. 85

Model of Phra Rord Phim Lek (small mold) votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Regarding the model of Phra Rord Phim Lek (small mold) votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, the Buddhist art in the tip of the Buddha’s hair was straight. There was a little overflowing clay body on the left hand side of the Buddha image (our right hand). The characteristics of halo lines of Phra Rord Phim Lek or small mold were less sharp than Phra Rod Phim Yai or big mold and midium mold. His neck on the left side of the Buddha image had the oblique line down to the Buddha’s shoulder in the short lines. Under the left hand that was placed on the lap there was a line running diagonally to fall on the right heel, diagonally to the right foot. The characteristics of Phra Rord Phim Lek or small mold votive tablet’s base was the base with 3 tiers that was different from Phra Rord Phim Yai or big mold votive tablet that had a total base of 4 tiers. Phra Rord Phim Lek (small mold) model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 3.90 cm, height including base 4.47 cm, and thickness including base 1.93 cm. 86

Model of Phra Khong votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi The model of Phra Khong votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi was one of the famous votive tablets of Lamphun Province which were created from terracotta material. Their shape looked like a Buddha image in the attitude of subduing Mara with a bald head, but there was not the garland of rays, wearing a thin robe covering his body, sitting cross-legs with legs locked together or diamond posture on a base with lotus petals unfolding in small ellipses, supported by another smooth base. Around the Buddha image’s body there was the light or the radius that was the circumference of his body. Above him it was the arch of Bodhi covering. The characteristics of Phra Khong was the votive tablet with the Buddha image in sitting cross-legs with legs locked together or diamond posture that might have been influenced by Buddha images in Bagan art with the influences from the Buddha images in Pala and Gupta styles appearing in works of art such as Buddha images and other types of votive tablets. Phra Khong model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 5.65 cm, height including base 7.50 cm, and thickness including base 3.73 cm. 87

Model of Phra Lue Hna Mongkol votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Regarding the model of Phra Lue Hna Mongkol votive tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi, Phra Lue Hna Mongkol looked like fingertips, slightly larger than Phra Khong and Phra Bang, but would be smaller than Phra Perm when compared them together. Most of the Phra Lue Hna Mongkol votive tablets, they would have their back was swell and curved out like a turtle’s back, and would look thicker than the back of Phra Khong and Phra Bang votive tablets. From observing and considering in details of decorative patterns around the auspicious Buddha image of Phra Lue Hna Mongkol and Phra Lue Khong votive tablets, they were influenced by the Buddhist art in Mahayana Buddhism with fully integrating from historical evidence and legends referred to Mahayana Buddhism that had come to have the influence in the city of Haripunjaya. Phra Lue Na Mongkhon has a lotus flower as the background which is different from Phra Perm, Phra Rord, Phra Khong, and Phra Bang that have a backdrop of Bodhi leaves. The division of decorative patterns is similar to Phra Rord, and there is also a radial line around the Buddha image Phra Lue Hna Mongkol model in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi had the width including base 4.00 cm, height including base 5.87 cm, and thickness including base 2.70 cm. 88

Model of Standing Buddha in the Attitude of Giving Boons Votive Tablet in Kru Chedi Thong (Suwan Chedi) or Chedi Pathumwadi Buddha images in the Haripunjaya period could be divided into 3 phases: Phase 1 in the 13th -15th Century of the Buddhist was influenced by Dvaravati arts from the central of Thailand, Phase 2 in the 15th -16th Century of the Buddhist was influenced by Khmer arts, and Phase 3 in the 17th -18th Century CE was influenced by Bagan arts with showing the truly characteristic of Haripunjaya art; namely The true word for Buddha image in Haripunchai period is a Buddha image made of clay and stucco, although influenced by Dvaravati, Khmer and Bagan art. But it is unique as an example. Terracotta Buddha head sculptures on display at Haripunjaya National Museum, Lamphun Province and Terracotta Buddha heads on display at Chiang Mai National Museum. The head of this Buddha image was quite flat, square face, solemn face, wide forehead, adjoining ridged relief eyebrows, and there were overlapping lines parallel to the underside. It could be considered as a truly unique feature that was different from the Haripunjaya Buddha image in the period before the 17th-18th Century CE, and the characteristics of large flat nose, wide open mouth in Dvaravati style, and had thick mouth lines, the beard was a line above the mouth that was the truly unique form of the Buddha image in the Haripunjaya period; namely the knotted and twisted hair in very high level, and had a large conical garland of rays. Mostly the knotted hair of Buddha image was usually made of clay that was burned first and then attached to the head later, and popularly made the edge of face to form a vertical ridge between forehead and knotted hair; similar to be called the hair line. 89