Khmer Ruins in Thailand

A useful online platform on Khmer archaeological sites in modern Thailand.

 
Published
2007
Languages
English, Thai

Launched by Tim Bewer, this database on Khmer archaeological ruins across the territory of modern Thailand gives us a glimpse on the extent of Khmer architectural presence north of Angkor.

Some general background notations are worthy, such as:

  • Pedestals with three holes for holding images have been found in the arogayasalas (hospital temples) and it’s assumed they held a Buddha sheltered by a naga in the middle with Avalokitesvara and Prajnaparamita, male and female bodhisattvas of compassion, on the sides. Many of Thailand’s arogayasalas have been given the name Kuti Ruesi (กุฏิฤาษี), which means shaman’s quarters, by locals. But there’s no evidence they ever served this purpose. The original Khmer names of most Khmer temples in Thailand are lost to history.”
  • The dharmasalas on the Angkor-Phimai road are long (about 15m x 4m) rather simple halls with a tower on the west end and windows only in the south wall. It’s assumed that the windows face toward the roadway. And like the arogayasalas, dharmasalas in Thailand were built of laterite; sandstone mostly only used around doors and windows and the carvings on the towers. The one known exception is Ku Sila which was built from sandstone. Few of Jayavarman VII’s other 104 dharmasala temples (all built in what is now in Cambodia) have been found, but those that have are larger with a more elaborate design. Of the 17 Jayavarman VII dharmasalas on the Angkor-Phimai road, it appears that nine were built north of the Dangrak Mountains, the present-day Thai-Cambodian border. The known dharmasalas in Thailand are Prasat Ta Muean, Prasat Thamo, Prasat Ban Bu, Prasat Nong Kong, Prasat Nong Plong, Prasat Nong Tha Pleng, Prasat Huai Khaen, and Ku Sila. Prasat Ban Samrong is also usually on this list (The Fine Arts Department calls it a dharmasala), but it has not been fully excavated and its inclusion is controversial. A look at its location, about seven kilometers from the next site, Huai Khaen, explains why. Complicating matters is that some of the dharmasala identifications along this road in Cambodia are also uncertain. So it will take a proper excavation to answer the question. Still, it seems more likely there would have been a dharmasala at Phimai instead of Ban Samrong, though none has been found there yet.”

Here is the list of sites covered at the time of this recension (July 2024):

Buriram

Kuti Ruesi Ban Khok Mueang (กุฏิฤาษีบ้านโคกเมือง)
Kuti Ruesi Ban Nong Bua Rai (กุฎิฤษีบ้านหนองบัวราย)
Prasat Ban Bu (ปราสาทบ้านบุ)

Chaiyaphum

Ku Ban Hua Sa (กู่บ้านหัวสระ)
Ku Daeng (กู่แดง)
Prang Ku Ban Nong Faek (ปรางค์กู่บ้านหนองแฝก)
Prang Ku Chaiyaphum (ปรางค์กู่ ชัยภูมิ)
Prasat Ban Tan (ปราสาทบ้านตาล)
Sop Namman (สบน้ำมัน)
Wat Boon (วัดบูรณ์)

Khon Kaen

Ku Ban Moei (กู่บ้านเมย)
Ku Ban Non Ku (กู่บ้านโนนกู่)
Ku Ban Nong Ranya (กู่บ้านหนองร้านหญ้า)
Ku Ban Ton (กู่บ้านโต้น)
Ku Ban Ya Kha (กู่บ้านหญ้าคา)
Ku Kaew (กู่แก้ว)
Ku Kaew Chaiyaram (กู่แก้วชัยราม)
Ku Non Thaen (กู่โนนแท่น)
Ku Prapha Chai (กู่ประภาชัย)
Non Thaen Phra (โนนแท่นพระ)
Prasat Phra Yuen (ปราสาทพระยืน)

Maha Sarakham

Ku Ban Daeng (กู่บ้านแดง)
Ku Buamat (กู่บัวมาศ)
Ku Khu Khat (กู่คูขาด)
Ku Mithila (กู่มิถิลา)
Ku Sampan Ka (กู่สัมพันธ์ค่า)
Ku Sunthararam (กู่สุนทราราม)
Phra Lan Chai Archaeological Site (แหล่งโบราณคดีพระลานชัย)

Nakhon Nayok

Muang Boran Dong Lakhon (เมืองโบราณดงละคร)

Nakhon Ratchasima

Khao Hin Tat Ancient Quarry (แหล่งหินตัดวัดป่าเขาหินตัด)
Kuti Ruesi Noi (กุฏิฤาษีน้อย)
Noen Wat Khok (เนินวัดโคก)
Phimai Khmer City Gates, Moat, and Barays (ประตูเมืองพิมาย คุเมือง และบาราย)
Prang Ban Prang (ปรางค์บ้านปรางค์)
Prang Ku Kaeng Sanam Nang (ปรางค์กู่แก้งสนามนาง)
Prang Phakho (ปรางศ์พะโค)
Prang Phon Songkhram (ปรางค์พลสงคราม)
Prang Sra Pleng (ปรางค์สระเพลง)
Prasat Ban Bu Yai (ปราสาทหินบ้านบุใหญ่)
Prasat Nong Phak Rai (ปราสาทหนองผักไร)
San Pu-Ta Ban Wang Hin (ศาลปู่ตา บ้านวังหิน)
Si Khio Ancient Quarry (แหล่งโบราณหินตัดสีคิ้ว)
Tha Nang Sra Phom (ท่านางสระผม)

Phitsanulok

Prang Wat Chulamani (ปรางค์วัดจุฬามณี)

Roi Et

Ku Bueng Jiew (กู่บึงจิว)

Sa Kaew

Sra Pleng Ancient Quarry (ลานหินตัดสระเพลง)

Sakon Nakhon

Ku Phanna (กู่พันนา)
Phra That Choeng Chum (พระธาตุเชิงชุม)
Phra That Dum (พระธาตุดุม)
Phra That Narai Jeng Weng (พระธาตุนารายณ์เจงเวง)
Phra That Phu Phek (พระธาตุภูเพ็ก)
Phu Pha Phueng Ancient Quarry (แหล่งหินตัดภูผาผึ้ง)
Sapan Khom (สะพานขอม)
Wat Pa Eo Kan (วัดป่าเอวขันธ์)

Sukhothai

San Ta Pha Daeng (ศาลตาผาแดง)
Wat Chao Chan (วัดเจ้าจันทร์)
Wat Phra Phai Luang (วัดพระพายหลวง) 
Wat Phra Si Rattana Mahathat Chaliang (วัดพระศรีรัตนมหาธาตุเชลียง)
Wat Si Sawai (วัดศรีสวาย)

Surin

Prasat Ban Phluang (ปราสาทหินบ้านพลวง)

Ubon Ratchathani

Don Ku (ดอนกู่)

Udon Thani

Prang Ku Kaew (ปรางค์กู่แก้ว)

Main photo: Prasat Ban Phluang (ปราสาทบ้านพลวง), built in the second half of the 11th century in Baphuon-style during the reign of Udayadityavarman II (photo Tim’s-Thailand.com).

Tags: Thailand, Khmer Empire, Khmer influences, archaeology, art, sculpture, architecture

Glossary Terms

  • Avalokitesvara, Lokeshvara

    sk अवलोकितेश्वर  Avalokiteśvara (" lord who looks down and watches [the world]") | लोकेश्वरः Lokeśvara ("Lord of the World") | also पद्मापाणी Padmapāni ("Holder of the Lotus")

    kh  លោកេស្វរៈ Lokesvara [Sealang Dictionary] |  អវលោកិតេស្វរៈ Avaloketesvara "who anticipates as great", លោកេស្វរៈ Loksvara [Chhuon Nath Dictionary] 

    ch  觀音 Guanyin /Kuan Yin (female deity) | tl நாதா Nātha | vn Quan Am (female deity) | tb སྤྱན་རས་གཟིགས Chenrezig ("eye looks with continuity", male and female) | bh Avalokitesvara

    Lokeśvara ("Lord of the World") and Chenrezig (in Tibetan) is a tenth-level bodhisattva associated with great compassion (mahakaruṇā), and often with Amitabha Buddha in Mahayana Buddhism. Avalokiteśvara has numerous manifestations and is depicted in various forms and styles. In some texts, he is even considered to be the source of all Hindu deities (such as Vishnu, Shiva, Saraswati, Brahma, etc).

    In modern Cambodia, the four faces of Avalokitesvara (or Avaloksvara, Loksvara) are usually represented at the top of a pagoda or a stupa, as protector of all the planets. When Brahmanism was popular, these faces were considered as the faces of Brahma. In ancient Khmer art, he is represented with two, four, six or eight arms in freestanding sculptures, and ten arms in temple bas-reliefs such those at Banteay Chhmar. The massive stone faces of Bayon are believed to represent Lokeshvara. 

    Khmer worship of Lokeshvara reached a peak during the reign of Jayavarman VII. Due to his healing powers, the he was given a predominant position in the scenes carved on the chapels of the hospitals built by this king. Lokeshvara was also omnipresent at Neak Poan Temple, whose waters could cleanse the sins and diseases of the pilgrims. Jayavarman VII dedicated the temple of Preah Khan Temple to the memory of his father, deified in the likeness of Lokeshvara.

    A sculpture from Prei Monti (Roluos), late 12th-early 13th century, at the National Museum of Cambodia (piece Ga.2424), represents three adorned divinities: Buddha shelled by the Naga in the middle, Lokesvara to the right of the Buddha, and Prajnaparamita to the left. Lokesvara's attributes are the lotus bud, rosary, vase with water of immortality (amrta) and book. Those of Prajnaparamita include the book and the lotus bud.

    While Avalokiteśvara was depicted as male in India, and male or female in Tibetan tradition, the deity is often depicted as a female figure in East Asian Buddhism, known as Guanyin /Kuan Yin in Chinese, Kannon in Japanese, Gwaneum in Korean and Quan Am in Vietnamese. In Sri Lanka, Natha literally means ‘no form’ or ‘no shape’, thus associating Avalokiteśvara with Maitreya, the next Buddha

    Avalokiteśvara is also known for his popular mantra, oṃ maṇi padme hūṃ, which is the most popular mantra in Tibetan Buddhism.

  • lakhon, lakhoan, lokhon, l'khon, lkhon

    kh: ល្ខោន (l'khon), 'theater, dance' | fr. trans.: 'lokhon".

    1. Royal actress or dancer
    2. ល្ខោនខោល l'khon khol, 'Masked theater', with a repertoire from the Reamker. In Cambodian masked theater, derived from ancient royal dance, each character bears a specific color: green for Ream (Rama), yellow for Preah Leak (Lakshmana), red for Seyda (Sita), white for Hanuman and its 18 monkey warriors, brick red for Krong Reap (Ravana), blue for Tupi (King of Buffaloes).
    3. ល្ខោនគែន l'kon ken, a theater and dance form developed during the first reign of King Sihanouk (1945-195), in which the ken, a traditional Mon-Khmer and Laotian reed music instrument, played a central part.
  • prang

    kh ប្រាង្គ, th ปรางค์ ; compoud of sk pra- ("forward) and aṅga (body limb).

    A tall tower-like spire, usually richly carved, common shrine element of Hindu and Buddhist architecture in the Khmer Empire (802–1431). Later adapted by Buddhist builders in Thailand, especially during the Ayutthaya Kingdom (1350–1767) and Rattanakosin Kingdom (1782–1932). In Thailand, only related with most important Buddhist temples.

View all glossary terms →