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Wat Suthat Thepwararam (Thai: วัดสุทัศนเทพวราราม; Thai pronunciation: [wát sù.tʰât tʰêːp.pʰá.wát.rāː.rāːm]) is a Buddhist temple in Bangkok, Thailand. It is classified as a first-class royal temple, one of ten such temples in Bangkok (and twenty-three in Thailand). It is a temple located within the Inner Rattanakosin area, distinguished by the Giant Swing that stands directly in front of it.

Key Information

Construction was begun by King Rama I in 1807. The temple was originally called "Wat Maha Sutthawat" (วัดมหาสุทธาวาส) and was built in a grove of Combretum trees. Further construction and decoration were carried out under King Rama II, who personally helped carve the wooden doors, but the complex was not completed until the reign of King Rama III in 1847 or 1848.

The temple enshrines the Buddha image Phra Si Sakyamuni (พระศรีศากยมุนี; RTGS: Phra Si Sakkayamuni), which was transferred from Sukhothai Province. Around the lower terrace of the main base are twenty-eight Chinese pagodas symbolizing the twenty-eight Buddhas of Theravada tradition. Wat Suthat also houses Phra Buddha Trilokachet (พระพุทธไตรโลกเชษฐ์; RTGS: Phra Phuttha Trai Lokkachet) in the ubosot (ordination hall), and Phra Buddha Setthamuni (พระพุทธเศรษฐมุนี; RTGS: Phra Phuttha Setthamuni) in the sala kan parian, the preaching and assembly hall.

In 2005, the temple was submitted to UNESCO for consideration as a future World Heritage Site.

History

[edit]
The main vihāra

In the early Rattanakosin period, King Phutthayotfa Chulalok (Rama I) ordered the construction of a new temple within the inner city of Bangkok. In 1807 it was given the initial name "Wat Mahasuthawas". The site lay in low-lying land known as Dong Sakae, so the ground was first filled in and then the temple was built. Construction began with the main vihāra, which was intended to enshrine the large Buddha image Phra Si Sakyamuni (commonly called Phra To), transferred from the great vihāra of Wat Mahathat in Sukhothai. However, King Rama I died before the temple had been formally established as a monastery, and it therefore became popularly known as Wat Phra To, Wat Phra Yai, or Wat Sao Ching Cha.

Phra Si Sakyamuni is enshrined in the vihāra, also known for its exquisite murals.
Phra Buddha Trilokachet and Phra Asiti, the Eighty Great Disciples of Buddha

During the reign of King Phutthaloetla Naphalai (Rama II), work on the temple was resumed, and the king himself carved the wooden doors of the vihāra. He too passed away before the project was completed. The construction of the temple was finally brought to completion in 1847, in the reign of King Nangklao (Rama III), who conferred on it the official name "Wat Suthat Thepwararam", although contemporary chronicles record the form "Wat Suthat Theptharam". Under King Mongkut (Rama IV), the principal Buddha images in the vihāra, ubosot (ordination hall), and preaching hall were given harmonized names: Phra Si Sakyamuni, Phra Buddha Trilokachet, and Phra Phuttha Sretthamuni respectively.

Within Wat Suthat Thepwararam stands the royal memorial to King Ananda Mahidol (Rama VIII). His royal ashes were enshrined in 1950 in the decorative cloth panel (pha thip) at the front of the throne base of Phra Si Sakyamuni, and an annual royal merit-making ceremony commemorating the anniversary of his death is held there on 9 June.

The ubosot is the longest in Thailand

The ubosot of Wat Suthat is regarded as the longest ordination hall in Thailand. Its principal image, Phra Buddha Trilokachet, is a Buddha in the Maravijaya (subduing Mara) posture. Both the ubosot and this image date to the reign of King Rama III. The inner walls are covered with mural paintings executed by court artists of that period. The door and window frames are topped with spired pediments in the form of miniature chedis, giving them a distinctive and highly refined appearance.

Around the ubosot stand eight boundary-stone shrines (sema), set upon the surrounding cloister wall. Each contains a pair of grey marble boundary stones carved with a three-headed elephant, each trunk holding a closed lotus bud, with three open lotus blossoms above. On the north and south sides of the cloister wall there are four raised pavilions on each side, used as royal platforms for scattering alms to the people during state ceremonies; these are known as "koi proi than", or alms-scattering pavilions.

Preta of Wat Suthat

[edit]
A mural depicting a preta and procession of monks in the ordination hall

The temple dates back to the beginning of the Rattanakosin Kingdom. At that time, it was said that a preta (Thai: เปรต, pret), a kind of undead being in Buddhist and Siamese belief, often depicted as a tall, thin, hungry ghost with a terrifying howling cry, would appear in front of the temple at night. One mural inside the ordination hall also depicts a preta lying down to receive water from monks. This gave rise to the saying "Pret Wat Suthat" (เปรตวัดสุทัศน์), often paired with "Raeng Wat Saket" (แร้งวัดสระเกศ lit. 'vultures of Wat Saket'). In front of the temple stands the Sao Chingcha, or Giant Swing, a towering Hindu-style structure.

[edit]
Wat Suthat Thep Wararam Ratchaworamahawihan in 2025
  • Plan of the Wat Suthat
    Plan of the Wat Suthat
  • Interior of the vihāra
    Interior of the vihāra
  • Interior of the ubosot
    Interior of the ubosot
  • The doors of the ubosot
    The doors of the ubosot
  • Windows
    Windows

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Wat Suthat

View on Grokipedia
from Grokipedia
Wat Suthat Thepwararam Ratchaworamahawihan, commonly known as Wat Suthat, is a royal Buddhist temple of the first class located in the historic Sao Chingcha district of Bangkok, Thailand, serving as a central landmark in the early Rattanakosin urban plan. Renowned for its elegant Thai architecture, the temple features the country's longest ordination hall, exquisite mural paintings depicting Buddhist cosmology, and the iconic Giant Swing (Sao Chingcha) structure in front, which was used in ancient Brahmin rituals. As a microcosm of the Buddhist universe, it embodies the integration of faith, art, and royal patronage in Thai culture. Construction of Wat Suthat began in 1807 during the reign of King (1782–1809), who initiated the project to establish a major vihara in the new capital, originally naming it Wat Maha Suthat before its completion. The temple's development spanned over four decades across three reigns, with significant expansions under King (1809–1824) and final completion of the main structures under King (1824–1851), including the wood doors and roof decorations. The , a approximately 21-meter-tall structure built in 1784, predates the temple's main and was erected for triennial royal ceremonies where participants attempted to swing high enough to grasp gold pouches, symbolizing devotion to the god . Architecturally, the temple's ubosot () measures over 72 meters in length, featuring a multi-tiered without supporting brackets, ornate carved wooden doors, and eight marble boundary stones (sema) that demarcate its sacred precinct. Inside, the hall houses the revered Phra Si Sakyamuni, a massive Sukhothai-era image cast in the 13th–14th century and relocated to , seated in the subduing Mara posture. The walls are adorned with Rattanakosin-period murals illustrating the Traiphum (Three Realms of Buddhist existence) including scenes from previous s and , painted by skilled artisans during King Rama III's era. Additional treasures include Chinese-style guardian statues at the entrance and the Luang Por Klak Fin statue, cast from opium scales in 1839 and venerated for blessings of protection and karma relief. Wat Suthat remains an active center for Buddhist worship and monastic life, drawing visitors for its historical artifacts displayed in the on-site museum, which includes ancient inscriptions and relics. Its location near key transport hubs like MRT Sam Yot station underscores its enduring role in Bangkok's cultural landscape, reflecting the deep intertwining of Hinduism, Buddhism, and monarchy in Thai heritage.

History

Founding and Construction

Wat Suthat was originally named Wat Maha Sutthawat, translating to "Great Residence of the Excellent One," reflecting its intended role as a prominent Buddhist sanctuary. The site was selected in a grove of trees within Bangkok's , chosen to integrate the temple into the spiritual and urban fabric of the newly established capital. Construction commenced in 1807 under the direction of King , as part of his broader initiative to erect royal temples that would anchor the religious and cultural identity of Rattanakosin , following the city's founding in 1782. The initial phase emphasized the construction of the viharn, or main hall, with the basic layout drawing inspiration from Ayutthaya-era architecture, characterized by its expansive design and elevated base to evoke traditional Thai temple forms. Groundbreaking occurred in 1807, though the full complex remained unfinished at the time of King Rama I's death in 1809. Subsequent rulers continued and expanded the project to bring it to fruition.

Royal Contributions and Completion

The construction of continued under (r. 1809–1824), who personally contributed to the temple's artistic elements by carving the intricate wooden doors of the viharn (main hall), showcasing his renowned craftsmanship in Thai woodwork. These doors, featuring detailed engravings, represent a key royal intervention that advanced the temple's development during his reign. Under King (r. 1824–1851), the project saw significant extensions, including the commissioning and completion of the () in 1834 to serve as a supplementary . The modern name, Wat Thepwararam, was given during his reign. oversaw the final phases of construction, culminating in the temple's completion by 1847–1848, with the installation of the principal Buddha image, Phra Si Sakyamuni—a originally cast in Sukhothai and relocated by —which marked the temple's consecration. This effort transformed Wat into a fully realized royal monument over a span of three reigns from 1807 to 1848. Elevated to the status of a first-class royal temple (Rajavaravihara), Suthat exemplifies the Rattanakosin era's architectural patronage and holds enduring significance among Thailand's premier monastic sites.

Architecture

Main Structures

Suthat's temple complex centers on key structures that embody traditional , including the (assembly hall), (ordination hall), and encircling galleries, all arranged within an expansive rectangular layout spanning approximately 45,000 square meters. The design reflects the Rattanakosin period's stylistic evolution, incorporating Ayutthaya influences such as multi-tiered roofs with ornate gables and open courtyards that facilitate communal gatherings and processions. This spatial organization symbolically represents , the cosmic mountain at the universe's core in , with the central ubosot positioned as its peak and surrounding elements evoking the surrounding realms. The viharn, serving as the primary assembly hall, stands as one of the largest such structures in , measuring about 126 meters in length and 26 meters in width, supported by 40 pillars (32 exterior and 8 interior) that create an expansive, columned interior space. Constructed primarily from wood for its structural beams and door frames, the viharn features walls for durability and aesthetic smoothness, topped by multi-layered roofs clad in green and orange tiles. Four smaller pavilions at its corners, each with ten supporting pillars, enhance the layout's symmetry and provide additional sheltered areas within the open courtyard design. Adjacent to the viharn, the ubosot functions as the sacred , recognized as the largest in at over in length and 22.6 meters in width, upheld by 68 massive rectangular columns in Ayutthaya-style architecture. Built during the reign of King and completed in , it employs similar materials like for framing and for surfaces, with its elevated base ensuring stability amid the temple's ceremonial activities. The structure is defined as sacred by eight bai sema (boundary stones), embedded in marble pedestals and positioned at cardinal and ordinal points around its perimeter to demarcate the consecrated area for monastic ordinations. Surrounding these core buildings are extensive galleries forming a continuous that encloses the courtyard, constructed with pillars and lime-plastered walls to provide shaded walkways for pilgrims. This integrated arrangement not only supports religious functions but also promotes a harmonious flow between indoor sanctuaries and outdoor spaces.

Buddha Images and Statues

The principal Buddha image at Wat Suthat is Phra Si Sakyamuni, a bronze statue cast in 1361 during the Sukhothai period under King Phra Mahathammaraja Lithai and originally housed at Wat Mahathat in Sukhothai. Standing 8 meters tall, it depicts the Buddha seated in the subduing Mara pose (bhūmisparśa mudra), with the right hand extended toward the earth to call upon it as witness to his enlightenment, symbolizing victory over temptation and the attainment of supreme wisdom. In 1808, during the reign of King Rama I, the statue was transported by raft along the Chao Phraya River from Sukhothai to Bangkok and installed in the temple's main viharn to serve as its central icon. Within the ubosot (), Phra Buddha Trilokachet stands as another key bronze statue, cast on the orders of King (Nangklao) around 1830 as part of the temple's completion. Measuring approximately 8.45 meters in height, it portrays in the subduing Mara pose, embodying the moment of enlightenment under the Bodhi tree and representing the triumph of truth over illusion. King Rama IV (Mongkut) later bestowed its name, emphasizing its role in invoking protection and spiritual clarity for rites conducted in the hall. Phra Buddha Setthamuni, located in the sala kan parian (meeting hall), is a seated bronze figure crafted in 1839 during King Rama III's reign from over 200,000 kilograms of confiscated weights and pipes, melted down to form its structure. Known colloquially as Luang Pho Klak Fin due to its origins from these "klak fin" () items, the statue depicts in a meditative posture with an impassive face and robe draped over the left shoulder, symbolizing the dissemination of teachings and moral discipline. This unique creation served as a public emblem to deter opium use, aligning with the king's efforts to promote societal through Buddhist principles. The placement of these statues throughout Wat Suthat's halls underscores their collective iconographic role in evoking the Buddha's life stages—from enlightenment to —fostering devotion and reflection on core Buddhist tenets. Minor restorations to the surfaces occurred in the , notably during the temple-wide renovation project from 1982 to 1985 funded by the German government to mark Bangkok's bicentennial, ensuring the preservation of their and structural integrity without altering their original forms.

Artistic Elements

Interior Murals

The interior murals of Wat Suthat, located within the main viharn (prayer hall), represent a pinnacle of early Rattanakosin-era artistry, covering an expansive area of 2,565 square meters across the walls and eight pillars, from about 1 meter above the floor to heights of up to 30 meters. These paintings were created during the reign of King in the 1840s, though the temple's construction had begun under in 1807 and advanced under , with the viharn's decoration aligning with the period's royal patronage of . Executed in traditional Thai style using natural pigments such as for reds and for yellows, mixed with seed glue and applied directly to a quicklime-prepared background without preliminary outlines, the murals exhibit vibrant colors and a flat, two-dimensional composition characteristic of the Rattanakosin school. Influences from Indian epics, evident in scenes, and broader blend with local Siamese motifs, creating a visually immersive . The murals' primary themes revolve around 24 sequential Jataka tales, illustrating the previous lives of the Buddha as a and emphasizing moral lessons on karma, , and ethical conduct. Depicted in paneled scenes, these stories incorporate elements of the Buddhist cosmos, such as the Himavanta Forest and , alongside portrayals of daily life in 19th-century Siam to make the teachings accessible to worshippers. A notable example is the Vessantara Jataka, which highlights ultimate through the prince's self-sacrifice, rendered with dynamic compositions, subtle perspective hints, and lush, verdant landscapes that distinguish Rattanakosin aesthetics from earlier Ayutthaya styles. Additional panels explore dhamma teachings and the lives of 27 previous Buddhas, serving as visual sermons for the illiterate. One panel briefly depicts a (hungry ghost) receiving alms, underscoring themes of merit-making. Preservation of these murals has been challenging due to Bangkok's high , which promotes infiltration, alongside and accumulated grime causing , peeling, and color loss, particularly in lower sections. Major restorations occurred in the and again from to , employing UNESCO-approved techniques like , consolidation, and repainting with 12 standardized colors to revive the originals without overpainting, at a cost of 14 million baht. These efforts highlight the murals' status as national treasures, second only to those in the Grand in scale and artistry.

Decorative Features

Wat Suthat features intricate wooden door carvings on the viharn, crafted from by King and his artisans during the early 19th century, depicting scenes from the , the Thai adaptation of the epic, with dynamic representations of demons, heroes, and mythical battles. These panels, standing up to 6 meters high and made from single pieces of wood, exemplify masterful Thai techniques and royal patronage in temple decoration. Gilded accents adorn the temple's lintels and architectural elements, featuring floral motifs intertwined with mythical creatures such as nagas and garudas, symbolizing protection, cosmic balance, and in traditional Thai . The ceiling of the viharn displays elaborate gilded patterns radiating like rays, enhancing the spiritual ambiance and reflecting the temple's emphasis on divine harmony. The decorations integrate seamlessly with the temple's , embodying a cosmic layout concept where the teak-framed doors and windows align with the surrounding gallery of images to evoke the universe's order and the path to enlightenment. These features not only beautify the structures but also reinforce the temple's identity as a center of ethical and cosmological reflection in Thai .

Associated Monuments

The Giant Swing

The Giant Swing, known locally as Sao Ching Cha, was originally constructed in 1784 by King of the in front of the Devasathan shrine, predating the full development of Wat Suthat itself. This structure drew inspiration from ancient Hindu rituals honoring Lord , reenacting a mythological episode where Shiva descends from heaven to receive offerings on earth, symbolizing the divine connection between the celestial and terrestrial realms. The original swing had decayed after more than a century of use, leading to its replacement in 1920 with a new teakwood version during the reign of King Rama VI. The structure underwent further restoration between 2006 and 2007 to preserve its condition. Architecturally, the Giant Swing features a towering 21.15-meter-high frame made of sturdy wood, painted in vibrant red to evoke auspiciousness and visibility within Bangkok's urban landscape. It consists of two massive pillars connected by an ornate horizontal frame, topped with intricately carved capitals resembling tiered temple spires that mimic the multi-layered roofs of Thai religious , further emphasizing its symbolic role as a bridge between heaven and earth. At the base, a white lotus-shaped pedestal of exposed aggregate concrete supports the structure, while the design incorporates two large swings suspended from the frame, originally intended for ceremonial use. The primary purpose of the was to serve as the centerpiece for the annual Triyampawai ceremony, a festival celebrating the rice harvest and invoking Shiva's blessings for prosperity. During this event, young participants would swing in high arcs from the structure, competing to grasp gold- or coin-filled pouches hung from a pole atop the pillars, with successful retrievals interpreted as divine favor. The ceremony, held in front of Wat Suthat, underscored the integration of Hindu rituals into Thai royal and religious traditions. However, due to numerous fatal accidents during the swings, the Triyampawai festival was discontinued in 1935, transforming the structure into a preserved historical rather than an active ritual site. Positioned prominently fronting Wat Suthat along Bamrung Mueang Road in Bangkok's , the forms an integral part of the temple's sacred precinct, enhancing the complex's role as a cultural and spiritual hub in the city's historic core. Today, it stands as a striking , drawing visitors to appreciate its enduring architectural and symbolic significance within Thailand's syncretic religious heritage.

Chinese Pagodas

The 28 Chinese-style pagodas at Wat Suthat were constructed during the reign of King (1824–1851), forming part of the temple's overall completion in 1847 (Buddhist Era 2390). Positioned around the lower terrace of the main base and encircling the courtyard, these pagodas serve as symbolic representations of the 28 past s described in the Buddhist canon, specifically the Buddhavamsa text, which chronicles the predecessors of Gautama in the current cosmic era (kalpa). Each adopts an octagonal or hexagonal form typical of Chinese-influenced , constructed from durable to evoke tiered towers or miniature stupas. This stylistic choice reflects the era's strong Sino-Siamese connections, as actively fostered trade and cultural exchanges with , leading to the incorporation of Chinese elements in several royal temples. The pagodas' design emphasizes spiritual progression, with their spires and integrated bells enabling devotees to ring for merit-making, aligning with practices for accumulating positive karma. These structures not only enhance the temple's aesthetic harmony but also underscore its role as a center of Buddhist doctrine, with the ensemble of 28 pagodas visually narrating the lineage of enlightened beings across Buddhist epochs.

Cultural Significance

Religious Role

Wat Suthat Thepwararam, commonly known as Wat Suthat, holds the distinguished classification as a first-class royal temple of the Ratchaworamahawihan type under Thailand's Department of Religious Affairs, a status shared by only a handful of such prestigious sites nationwide. This designation underscores its elevated role within the Thai , emphasizing its function as a Mahavihara, or great monastery, dedicated to preserving and propagating Buddhist doctrines. As one of Bangkok's oldest temples, established during the Rattanakosin era, it exemplifies the foundational spiritual institutions that shaped the capital's religious framework. The temple sustains a vibrant monastic that engages in structured daily practices centered on the principal image, Phra Buddha Sakyamuni (also known as Phra Si Sakyamuni), a revered Sukhothai-era enshrined in the ubosot. These routines include morning and evening chants, such as those conducted around 6:00 PM, which draw devotees for communal recitation of sutras, fostering meditation and reflection on impermanence and ethical conduct. The monks' disciplined life promotes core principles, including the Eightfold Path and the cultivation of , with the temple serving as an educational hub for training in scriptural study and . Key rituals at Wat Suthat revolve around the ubosot, the consecrated , where ordination ceremonies for new are performed amid sacred boundary stones (sema). These rites, involving the recitation of precepts and offerings, symbolize entry into the and are conducted with royal patronage, reinforcing the temple's ties to the . Merit-making activities, such as alms-giving to the monastic , are integral, often linked to the temple's depictions of . Devotees participate by offering food and requisites, transferring merit to alleviate suffering in lower realms as per Buddhist teachings. Theologically, Wat Suthat advances teachings through its interior artworks, which portray —stories of the Buddha's previous lives emphasizing moral virtues like , , and . These elements educate visitors on ethical lessons and illustrate samsara and the path to nibbana. Historically, the temple's establishment positioned it as a paradigmatic model for subsequent royal temples in , thereby anchoring the city's spiritual landscape.

Modern Events and Preservation

In recent years, Wat Suthat has served as a prominent venue for cultural events that blend traditional Thai arts with contemporary commemorations. From September 20 to 27, 2025, the temple hosted a free eight-day cultural festival marking the 100th anniversary of King Ananda Mahidol's birth, featuring nightly performances of masked dance drama based on the Ramakian epic, alongside blessing dances, folk performances from Thailand's regions, and exhibitions. The event also included a light garden installation and a "Night Museum" open to visitors, illuminating the temple's artifacts and murals after dark to foster appreciation of Buddhist and artistic heritage. Preservation efforts at Wat Suthat have focused on maintaining its architectural and artistic integrity amid urban pressures. The underwent significant renovations in 1959 to address weathering on its wooden structure, marking a key post-war restoration before further work in the 2000s. In 2018, conservators restored the temple's interior murals in the main prayer hall, meticulously repainting sections to recapture their 19th-century vibrancy using traditional techniques and pigments. As a major , Suthat draws visitors seeking its historical and spiritual ambiance, with accessibility governed by standard temple protocols. Foreigners pay an entry fee of 100 , while Thai nationals enter free; the site operates daily from 8:30 a.m. to 9:00 p.m. (as of 2025). Visitors must adhere to a modest , covering shoulders and knees to respect the —no shorts, tank tops, or revealing attire are permitted. These initiatives underscore Suthat's evolving role in cultural revival, positioning it as a hub for promoting Thai heritage through public events that attract diverse audiences and encourage engagement with Buddhist traditions.

References

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