KOREAN TRADITIONAL ARCHITECTURE EXISTS SILLA DIFFERED FROM THE OTHER TWO

WITHIN THE CONTEXT OF ASIAN TRADITIONAL KINGDOMS IN ITS FREQUENT USE OF BRICK-LIKE
ARCHITECTURE. NONETHELESS, IT HAS DEVELOPED PATTERNS IN THE CONSTRUCTION OF PAGODAS.
ACCORDING TO ITS OWN PARTICULAR SET OF THE PAGODA AT BUNHWANGSA TEMPLE, FOR
CHARACTERISTICS – ITS FLEXIBLE RESPONSES TO EXAMPLE, CONSISTS OF STONE CUT INTO THE
TOPOGRAPHY AND SURROUNDING MOUNTAINS, THE SHAPES OF BRICKS AND WAS BUILT USING A
ORGANIC LAYOUT OF ITS BUILDINGS, ITS BRICKLAYING TECHNIQUE.
REITERATION AND METASTASIS OF SPACE – THAT
DISTINGUISH IT FROM THE ARCHITECTURE OF CHINA BUNHWANGSA TEMPLE, GYEONGJU, SOUTH
AND JAPAN. KOREA

SAMHAN OR THE 3 DIFFERENT KINGDOMS IN

KOREA

GOGURYEO (LATER KNOWN AS GORYEO). THE

LARGEST AND MOST ADVANCED AMONG THE
OTHER KINGDOMS. GOGURYEO WAS HIGHLY
MILITARISTIC AND A POWERFUL
EMPIRE. AS IT CONTINUED TO TAKE ACTIONS
AGAINST CHINA, SILLA, AND BAEKJE UNTIL IT
WAS CONQUERED BY ALLIED SILLA-TANG
FORCES IN 668. MOST OF ITS TERRITORY WAS
ABSORBED BY TANG DYNASTY OF CHINA WHILE
BAEKJE WAS ABSORBED BY SILLA.
BAEKJE A GREAT MARITIME POWER AND AN
INSTRUMENT TO DISSEMINATION OF
BUDDHISM THROUGHOUT EAST ASIA. IN 660, IT
WAS CONQUERED BY SILLA-TANG BUNHWANGSA ("FRAGRANT IMPERIAL TEMPLE")
ALLIANCE SUBMITTING A UNIFIED SILLA. IS A TEMPLE COMPLEX FROM THE OLD SILLA ERA
SILLA RENAMED FROM SARO TO SILLA IN OF KOREA. THE TEMPLE IS RECORDED TO HAVE
503. SILLA WAS THE SMALLEST AND WEAKEST BEEN BUILT IN 634 UNDER THE AUSPICES OF
AMONG THE 3 KINGDOMS, BUT IT USED QUEEN SEONDEOK AND IS FAMOUS FOR STONE
DIPLOMATIC MEANS TO MAKE OPPORTUNISTIC BRICK PAGODA,
PACTS AND ALLIANCES WITH THE MORE
POWERFUL KOREAN KINGDOMS AND THE TANG PAGODA (TAP IN KOREAN) IS A SMALL
CHINA. STONE TOWER BUILT TO ENSHRINE THE SARIRA.
TEMPLES OF THE THREE KINGDOMS GORYEO PERIOD

GOGURYEO TEMPLES WERE BUILT WITH THREE
SANCTUMS ARRANGED TO THE NORTH, EAST AND
WEST OF A CENTRAL WOODEN OCTAGONAL PAGODA.
THIS LAYOUT CORRESPONDS TO THAT OF JAPAN’S
ASUKA-DERA AND HORYUJI TEMPLES, INDICATING
THAT GOGURYEO’S ARCHITECTURAL CULTURE WAS
TRANSMITTED TO JAPAN.
THE CONSTRUCTION OF STONE PAGODAS AND
STUPAS CONTINUED IN THE GORYEO PERIOD. THE
NUMBER OF STONE PAGODAS GREATLY
INCREASED, WITH STRONG EXPRESSIONS OF
REGIONAL CHARACTER. THIS LED TO A
DIVERSIFICATION OF FORMS AND HEIGHTS, WITH
SOME PAGODAS REACHING 11 STORIES.

ASUKA-DERA (A.K.A. HŌKŌ-JI), ASUKA, NARA WOODEN ARCHITECTURE (TYPES OF BRACKETS)

JUSIMPO COLUMN-HEAD BRACKET
SYSTEM THAT IS AN ADAPTATION OF THE
CHINESE ARCHITECTURE OF THE TANG
PERIOD. BRACKET COMPLEXES ARE
EMPLOYED ONLY ON TOP OF COLUMNS
PLACED DIRECTLY ON THE COLUM HEAD
WITHOUT BEAMS CONNECTING COLUMNS
THAT EXPOSES THE PURLINS.
DAPO MULTI-BRACKETS THAT IS
PLACED ON THE LINTELS BETWEEN
PILLARS OF GRAND, LARGE SCALE
STRUCTURES. THIS WAS INTRODUCED AT
THE END OF THE GORYEO KINGDOM IN
HARMONY WITH JUSIMPO DESIGN.
ASUKA-DERA IS REGARDED AS ONE OF THE OLDEST ENTASIS THE APPLICATION OF CONVEX
TEMPLES IN JAPAN.. THE ORIGINAL BUILDINGS OF CURVE TO A SURFACE (SPECIFICALLY THE
WHAT WAS THEN CALLED HŌKŌ-JI WERE PILLARS) FO RAESTHETIC AND TECHNICAL
CONSTRUCTED IN 588, SHORTLY AFTER THE PURPOSES.
INTRODUCTION OF BUDDHISM TO JAPAN. THE
TEMPLE WAS BUILT USING THE GUIDANCE OF MINHEULLIM WIDENS AT THE
MASTERS AND ARTISANS FROM THE ANCIENT BASE
KOREAN KINGDOM OF BAEKJE. THE MAIN OBJECT OF BAEHEULLIM WIDE IN THE
WORSHIP AT ASUKA-DERA IS THE BRONZE GREAT MIDDLE
TYPES OF ROOFS HANOK AN ARCHITECTURAL TERM DESCRIBING
KOREAN TRADITIONAL HOUSES, ALSO
REFERRED AS CHOSUN HOUSES.
HANOK IS TYPICALLY LOCATED
WITH MOUNTAIN IN BACK, FACING
THE WATER AND NORTH IN
DIRECTION.
MATBAE ROOF (GABLE) UJINGAK ROOF LAYOUT OF HANOK
(HIPPED)

PALJAK ROOF
(HIP-AND-GABLE)
JOSEON PERIOD
NORTHERN REGION SOUTHERN REGION
THE MOST IMPORTANT AND FORMAL BUILDINGS IN (SQUARE LAYOUT) (STRAIGHT-LINE
ROYAL PALACES AND BUDDHIST TEMPLES USED LAYOUT)
MULTI-BRACKET DESIGNS. OTHER IMPORTANT
BUILDINGS OF LOWER STATUS, FEATURED TO ENCLOSE THE
COLUMNHEAD BRACKET DESIGNS. NORMAL HOUSES CENTRAL LIVING SPACE TO OPTIMIZE AIRFLOW
AND TO PREVENT THE WITH MANY WINDOWS
WERE USUALLY BUILT WITHOUT THE USE OF COLD WIND FROM TO LET IN NATURAL AIR.
BRACKETS, WHICH IS CALLED MINDORI STYLE. ENTERING THE HOUSE
IKGONG STYLE THE IKGONG IS A SIMPLIFIED
VERSION OF THE BRACKET FOUND IN CENTRAL REGION
COLUMN-HEAD AND MULTI-BRACKET (L - LAYOUT)
DESIGNS, FEATURING A BIRD BEAK-LIKE
PROTRUSION AS ITS MAIN COMBINE THE
DECORATIVE ELEMENT. NORTHERN AND
SOUTHERN STYLES
TRADITIONAL KOREAN HOUSES

CONSIST OF SEVERAL STAND-ALONE BUILDINGS. TO

SEPARATE SERVANTS FROM OWNER, MEN FROM
WOMEN, AND ADULTS FROM CHILDREN. STRUCTURE OF HANOK

HANOK ARE BUILT ON RAISED

PLATFORM, USUALLY MADE BY
OILING ROCKS. THIS IS TO AVOID
ONDOL IS A TYPE OF WATER SPLASHING INTO THE
UNDERFLOOR HEATING ONDOL IS A TYPE OF
HOUSE IN RAINY DAYS. UNDERFLOOR HEATING
SYSTEM THAT KEPT
TRADITIONAL HANOKS SYSTEM THAT KEPT
WARM TRADITIONAL HANOKS
NATURAL STONE BLOCKS WARM
WITH PILLARS HEWN TO FIT WINDOWS ARE GENERALLY
THEM TO BLOCK HUMIDITY RECTANGULAR MADE OF
FROM THE GROUND. WOODEN FRAME LINED
WITH A TRADITIONAL PAPER
LINING. THIS PAPERS ARE
DOORS ARE MADE OF THICK MADE FROM NATURAL
WOOD BOARD. MAIN GATE WOOD PULP GLUED TO THE
WAS USED ONLY ON SPECIAL FRAME OF THE SLIDING
OCCASIONS DOORS
MARU OR WINDOWS.
IS THE HARDWOOD-
FLOORED ROOM WITHOUT A
THE TILE ROOFS ARE HEATING SYSTEM. SOME
CALLED “GIWA” AND HOUSES WERE TOO SMALL
“CHEOMA” IS THE EDGE OF TO HAVE MARU AND
HANOK’S CURVY ROOFS. INSTEAD WOULD TYPICALLY
LENGTHS OF THE CHEOMA ADJOINING AND CONNCECTING ONLY HAVE SMALL
CAN BE ADJUSTED JOINTS SUCH AS THE DOVETIAL “TOENMARU”. IT CAN BE
DEPENDING ON THE AND TOUNGUE-AND-GROOVE LOCATED AT THE CENTER OF
DESIRED AMOUNT OF JOINTS. THE HOUSE FOR IMPORTANT
SUNLIGHT THAT ENTERS. EVENTS.
GEOGRAPHICAL AND RELIGIOUS INFLUENCES
THAILAND IS AT THE HEART OF SOUTHEAST ASIA . ITS
CAPITAL IS IN BANGKOK WITH A WEATHER OF
MOONSOON TROPICAL. MAIN RELIGIONS IN
THAILAND ARE (1) BUDDHISM, APPEARED DURING
3RD CENTURY B.C WITH TEMPLES THAT ARE
CHARACTERIZED BY TALL GOLDEN STUPAS. (2)
ISLAM THAT IS SAID TO HAVE BEEN INTRODUCED TO
MALAY PENINSULA DURING 13TH CENTURY. (3)
CHRISTIANITY THAT WAS INTRODUCED BY
EUROPEAN MISSIONARIES IN THE 16TH AND 17TH
CENTURIES. (4) AND THE RELIGION SIKHISM. LADHA
SINGH IS THE FIRST SIKH WHO ARRIVED IN 1890. SIKS
OPEARATE FREE SCHOOL FOR POOR REGARLESS OF
CASTE, CREED, OR RELIGION., AND THEY AS WELL
SUPPORT AGED AND SICK..
THE KHMER-LOPBURI PERIOD (10TH - 13TH
CENTURIES)
EVOLVED IN CENTRAL AND EASTERN THAILAND.
IT IS THE PROVINCIAL MANIFESTATION OF THE
KHMER-ANGKOR STYLE. ALSO THERE ARE
MIRRORED BUILDING TRADITIONS OF THE MONS
AND TALAINGS OF SOUTHERN BURMA. KHMERS
INTRODUCED THE USE OF STONE, INSTEAD OF THE
TRADITIONAL BRICK OR RUBBLE BONDED WITH
VEGETABLE GLUE.
WAT MAHADHATU TEMPLE, LOPBURI

GEOLOGICAL INFLUENCES
SANDSTONE USED IN DOOR PARTS, LINTELS AND
RECTANGULAR WINDOWS
BRICK REPLACED SANDSTONE AS THE
FAVOURED MORTAR, BOUNDED WITH
VEGETABLE GLUE AND THEN SHEATHED IN
CARVED STONE
STUCCO SAND, LIME AND GLUE MIXTURE
STRENGTHENED BY TERRACOTTA
ARMATURE, LATER USED TO COVER BRICK
WALLS
WOOD EMPLOYED IN TEMPLE
CONSTRUCTION BUILT IN 12TH CENTURY. IT IS AN EXAMPLE OF
PORCELAIN USED FOR SOME ORNAMENTAL BUILDING OF KHMER-ANGKOR TYPE THAT
DECORATIONS STANDS IN A WALLED COURT AND COMPRISES A
GLASS MOSAIC PIECES - TO SANCTUARY TOWER (SIKHARA). ATTACHED
HIGHLIGHT GABLES AND PILLARS LACQUER, PORTICO (MANDAPA) RAISED ON A HIGH
GILT, INLAID MOTHER OF PEARL, GOLD LEAF TO MOULDED PLINTH AND THERE IS HEAVY ARCHED
OBTAIN GLEAMING ELEGANCE TYMPANA ABOVE THE OPENINGS, RECALLING
ANGKOR
HISTORICAL AND POLITICAL INFLUENCES
THE THAI PERIOD (13TH – 16TH CENTURIES)
THE DVARAVATI PERIOD (6TH - 10TH CENTURIES)
SUKHOTHAI PERIOD (1238 – 1438)
IN THIS PERIOD, IT WAS CHARACTERIZED BY
BURMESE BUDDHIST FORMS. ONLY FRAGMENTS OF FOUNDATION OF THAI CIVILIZATION, THE PLACE
FOUNDATIONS OF BUILDINGS AT NAKHON PATHOM WHERE ITS INSTITUTIONS AND CULTURE FIRST
(LATER LOPBURI), THE EARLIEST KNOWN CAPITAL DEVELOPED. THE FIRST KING OF SUKHOTHAI IS
WAS FOUND. PHO KHUN SRI INDRADITYA, GOVERNED IN THE
STYLE OF "THE FATHER OF THE TOWN," OR
PLINTS WAS MADE OF BRICKS AND STONES WITH PATERNAL KINGSHIP. THE IDENTITY IS
MOULDINGS SIMILAR TO THOSE BUDDHIST DECORATIONS IN ORDER TO DISPLAY THE
STRUCTURES FROM SRI LANKA TO NORTH INDIA, BUDDHIST FAITH BY BUILDING THE BUILDINGS IN
WHICH HAD GRANITE BASES WITH HOLES FOR SYMBOLIC SHAPES
PILLARS THAT SUPPORTED TIMBER
SUPERSTRUCTURES.
WAT KUKUT, LAMPUN

ONE EXAMPLE IS THE TEMPLE OF THE BODHI TREE

(WAT SI CHUM). LARGEST, MOST PUZZLING AND
AYUTTHAYA PERIOD (1351 – 1767)
ONE OF THE LARGEST AND MOST PROSPEROUS
EMPIRES OF ITS TIME FOUNDED BY KING
RAMATHIBODI I IN THE LOWER CHAO PHRAYA RIVER.
THIS PERIOD IS MORE SOCIETY OF BUILDERS RATHER
THAN SCULPTORS. DESIGNED TO DISPLAY MIGHT
AND
RICHES SO IT HAS GREAT SIZE AND APPEARANCE.
THE TEMPLES SELDOM BUILT EAVES STRETCHING
FROM THE
MASTERHEAD. THE DOMINANT FEATURE OF THIS
STYLE IS SUNLIGHT SHINING INTO BUILDINGS.
ARCHITECTURE DURING THIS PERIOD WAS
REGARDED AS A PEAK ACHIEVEMENT THAT
RESPONDED TO THE REQUIREMENTS OF PEOPLE AND
EXPRESSED THE GRACEFULNESS OF THAINESS.
WAT CHAIWATTHANARAM
THREE PALACES FOR ITS RULERS:
WANG LUAN (ROYAL PALACE) - OCCUPIED BY THE
PRINCIPAL
KING, SITUATED ON THE NORTHERN
RIM OF THE CITY
WANG NA (CHANDRA KASEM PALACE/FRONT
PALACE) – BUILT FOR THE SECOND OR VICE-
KING, SITUATED ON THE NORTHEASTERN
CORNER OF THE CITY
WANG LANG (REAR PALACE) - OCCUPIED BY
PRINCES OF THE ROYAL BLOOD, SITUATED
ON THE WESTERN PART OF THE CITY
CHIANGMAI/LAN NA PERIOD (1292 - 1775)
KNOWN AS THE “LAND OF MILLION RICE FIELDS”,
FOUNDED BY KING PHYA MANGRAI. IT EMPHASIZES
ON THE ENORMOUS SIZE OF THE SHRINES AND
RELATIVELY SMALL SERMON OR TEMPLE’S HALL.
STUPAS WERE LATER BUILT FROM MID 14TH
CENTURY ONWARDS SINCE THE ENTRANCE OF
LANKAWONG BUDDHISM SECT.
WAT CHEDI LUANG STUPA IN LANNA STYLE, CHIANG
MAI
RATTANAKOSIN/ THE BANGKOK STYLE
(LATE 18TH - 19TH CENTURIES)
CONSTRUCTION DURING THE REIGN OF KING
RAMA III HAD EITHER ONE OF THE TWO
DISTINCTIVE CHARACTERISTICS (IN - ONE WITH
TRADITIONAL GABLE ENDS DECORATING THE
ROOF & OUT - GABLE ENDS OF THE ROOF WERE
PLAINLY CONSTRUCTED WITH BRICKS AND
STUCCO).
ARCHITECTURAL STYLE
KING RAMA V PATRONIZED THE EUROPEAN
ARCHITECTURE AND TOWN PLANNING.
TRADITIONAL FORMS WERE OVERLAID WITH
ORNAMENTATION OF CHINESE CHARACTER.
SURFACES WERE FINISHED WITH PORCELAIN
TILES. WALLS ARE WHITE STUCCOED BRICKS THAT
CONTRASTS WITH BRIGHTLY COLOURED GLAZED
TILES OF MULTI LEVELLED OVERLAPPING TIMBER
ROOFS. GABLES AND BARGEBOARDS ARE
DECORATED WITH ANGKOR HINDU
ICONOGRAPHY: 'NAGAS', VISHNU ON A GARUDA
(MYTHICAL BIRD), SHIVA ON A BULL AND SO ON.
DOOR AND WINDOW SHUTTERS ARE OF CARVED
WOOD LACQUERED IN BLACK AND GOLD OR
PAINTED INLAID WITH MOTHER OF PEARL
DEPICTING THEMES OF GUARDIAN DIVINITIES,
ENCHANTED FORESTS, FERNS, FLOWERS AND
STILL LIFE.
WAT PHRA KAEW, PHRA NAKPON THAILAND
TRADITIONAL THAILAND HOUSES
HOUSES WERE RAISED DUE TO HEAVY FLOODING/
PREDATORS. STORAGE AND SHELTER FOR
ANIMALS ARE USUALLY PRACTICED. HOUSES
WERE MADE FROM A VARIETY OF WOOD
(BAMBOO) AND PREFAB PANELS (THATCHED) THAT
ARE EASY TO REARRANGE. USUALLY BUILT AS A
CLUSTER OF PHYSICALLY SEPARATE ROOMS
ARRANGED AROUND A LARGE CENTRAL TERRACE
EXAMPLES OF THAI STRUCTURES
CENTRAL PLAIN HOUSES USE OF ROOF GABLE
(NGAO) AND GATE TO
PROSPEROUS FAMILIES.
FLOATING HOUSES LOOSELY FITTED TO
ALLOW FOR MOVEMENT AS THE
WATER RISES AND FALLS.
ROYAL HOUSES GENERALLY CLOSER TO
GROUND
SALA THAI AN OPEN PAVILLION
NORTHERN HOUSES NOTABLE DECORATION
IS THE V- SHAPED DESIGNS AT
ROOF CALLED KALAE
NORTHERN RICE BARNS RAISED ON PILLARS
TRADITIONAL THAI ARCHITECTURAL SYSTEM • CHO FA FINIAL POINTING UPWARDS
AT THE END OF THE ROOF RIDGES.
• SUM A.K.A. SUM KHONG, AN
ELABORATE DECORATIVE ARCH OVER
AND FRAMING THE DOORWAY.
• HU CHANG MEANING ELEPHANT EARS,
ARE THE EAVEBRACKETS ALONG THE
OUTER WALL OF THE VIHARN.
D. CREMATORIUM RECOGNIZABLE BECAUSE IT
HAS A TALL CHIMNEY
E. SALA KAN PRIAN OPEN-SIDED PAVILION OR
PREACHING HALL.
F. HO RAKANG THE BELL IS STRUCK
RELIGIOUS BUILDINGS TO CALL THE MONKS TO DEVOTIONS;
TO ANNOUNCE TIME OR,
BUDDHIST TEMPLES REFLECTION OF THE TO ANNOUNCE THE STOPPING OF
COUNTRY'S WIDESPREAD BUDDHIST WORK FOR THE DAY.
TRADITIONS G. BHODI TREE OR A BUDDHA FOOTPRINT
• WAT PROPERLY USED TO REFER H. CHEDI OR STUPA (RELIQUARY TOWER –
ONLY TO A BUDDHIST SITE WITH DOMED EDIFICE, UNDER WHICH RELICS
RESIDENT MONKS; TYPICALLY REFER OF THE BUDDHA OR REVERED
TO ANY PLACE OF WORSHIP OTHER THAN THE RELIGIOUS TEACHERS ARE BURIED)
ISLAMIC MOSQUES FOUND IN
SOUTHERN THAILAND
PARTS OF A THAI WAT 6
5
4
3
2
1A
CONSIST OF TWO PARTS:
PHUTTHA-WAT (DEDICATED TO BUDDHA; TEMPLE
COMPLEX)
1
A. UBOSOT OR BOT (ORDINATION HALL WHERE
MONKS PERFORM CEREMONIES,
MEDITATE, AND SERMONIZE)
B. PHRA RABIENG (CLOISTER LIKE-GALLERIES
AROUND THE UBOSOT)
C. VIHARN (BUSIEST TEACHING HALL
OPEN FOR EVERYONE FOR PRATER
AND MEDITATION)
1. THE BASE CARRIES THE BELL SHAPED PART OF THE
• KU A RELIQUARY IN THE FORM CHEDI. THE UPPER PART OF THE BASE (1A) IS A MULTIPLE
OF MINIATURE CHEDI. TIER STRUCTURE THAT REPRESENTS THE TRAIPHUM.
• SINGHA GUARDIAN LION AT THE 2. THE BELL SHAPED PART (ONG-RAKHANG) IS THE RELIC
ENTRANCE OF VHIARN CHAMBER OF THE CHEDI. IT IS ROUND IN MOST CASES,
• NAK SADUNG THE NAGA (DRAGON) BUT SOMETIMES IT FOLLOWS THE SHAPE OF THE UPPER
• MAKARA A WATER BEAST WITH PART OF THE BASE.
FEATURES OF THE CROCODILE, ELEPHANT, 3. THE SPIRE BASE CARRIES THE SPIRE. IT CAN TAKE
AND FISH. SEVERAL SHAPES: USUALLY ROUND, BUT ALSO SQUARE,
• ROOF COMPOSED OF THREE OCTAGONAL OR REDENTED OCTAGONAL.
SUPERIMPOSED TIERS, WITH LOWEST TIER 4. THE LOWER PART OF THE SPIRE CONSISTS OF CIRCULAR
OVER THE PORCH. TIERS REPRESENTING THE HEAVENS.
• GABLE HIGHLY DECORATED 5. THE UPPER PART OF THE SPIRE (PLEE) IS LOTUS BUD
ACCORDING TO THE ABILITY OF THE BUILDERS SHAPED AND REPRESENTS NIRVANA.
AND WEALTH OF THE TEMPLE 6. THE CHATTRA IS STRICTLY SEEN NOT A PART OF THE
• KONG KHIEU A DECORATIVE ELEMENT CHEDI. IT DOES HOWEVER TELL US SOMETHING ABOUT
THAT FORMS ARCH WHICH REPRESENTS THE IMPORTANCE OF WHAT IS IN THE RELIC CHAMBER.
THE EYEBROWS OF BUDDHA.
• PAN LOM BARGEBOARD THAT
COVERS THE END OF THE GABLE, PREVENTING
HTI A BEJEWELED SACRED UMBRELLA THAT
SITS AT THE TOPMOST PART OF THE CHEDI
Chad BURMESE-STYLE SACRED GILDED
FILIGREE PARASOL THAT ARE USUALLY INSTALLED
AT THE CORNERS OF THE RAILINGS
ENCLOSING THE CHEDI
TYPES OF CHEDI
• BELL-SHAPED STYLE CHEDI
MOST USED IN STRUCTURES
• SQUARE CHEDI
NORTHERN THAILAND BALANCES A
SMALLER DOME ON A HIGH SQUARE BASE, EACH
SIDE HAS A NICHE CARVED WITH BUDDHA
IMAGES.
• INDENTED CHEDI
SMALL DOME BALANCED ON A SQUARE
BASE WITH INDENTED CORNERS
• SUWANNA CHEDI, PRANG
SHAPED LIKE A CORN COB STANDING ON TOP
OF A SQUARE OR CRUCIFORM
BUILDING, WITH AN ENTRANCE ON ONE SIDE
• SUWANNA STEPPED CHEDI
SQUARE STEPPED BASE, WITH 5 TIERS
ABOVE, EACH OF THE FOUR FACES CONTAINING 3
BUDDHA IMAGES.

SANGHA-WAT THAI BUDDHIST TEMPLE

LIVING QUARTERS OF THE MONKS CONTAINED

WITHIN THE WALL SURROUNDING THE TEMPLE
COMPLEX.
• KUTI LIVING QUARTERS
• HO RAKANG BELL TOWER
• SALA KAN PRIAN PREACHING OR SERMON HALL

KUTI A SMALL STRUCTURE, BUILT ON STILTS,

DESIGNED TO HOUSE A MONK. ITS PROPER SIZE IS
DEFINED IN THE SANGHATHISEP, RULE 6, TO BE 12