Buddhist Prangs of Ayutthaya Period: A Perspective on Shapes, Scales and Proportions
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Abstract
Prang is a brick or laterite tower that was commonly built as a chedi of a Buddhist temple in Ayutthaya kingdom. This article assumes that shapes, scales, and proportions of Buddhist prangs are documentation which can be sought for their architectural development. Many prangs are significant architecture of cities or states. Literature reviews found that previous studies of prang architecture dated to Ayutthaya period placed emphasis on their art and architectural styles. While there has been limited research on their shapes, scales, and proportions. Furthermore, development of prangs’ shapes of the Ayutthaya period has been explained in a linear line of two styles: Nga Niam style [short elephant tusk-shaped tower] and Fak Khao Pot style [corncob-shaped tower]. Therefore, there are academic gaps in these matters. This study utilizes the highly accurate measurement method of photogrammetry to investigate these aspects of Buddhist prang architecture during the Ayutthaya period.
This study not only utilizes research on historical documents, architectural history, and art history but also emphasizes collecting field data of intact monuments during the Ayutthaya period. The monuments consist of twenty principal prangs, subsidiary prangs, and some other significant prangs. The data is used to create comparative analytical diagrams of forms, proportions, and relationships of the prangs, linking them to other relevant evidence.
Results of the study reveal that Buddhist prangs during the Ayutthaya period can be classified into eight different types based on their forms and proportional relationships. These various types have interesting developmental connections as follows.
The first type is the prangs of Nga Niam style, influenced by the architecture and art of the pre-Ayutthaya and Khmer period. Their characteristics were dated to early Ayutthaya period.
The second type includes small to medium-sized Nga Niam style prangs. These prangs derived characteristics from the first type.
The third type comprises large-sized Nga Niam style prangs with a stepped base and a chan asadong [neck of the prang decorated with sculptures]. Their characteristics are dated to early Ayutthaya period and influenced by architecture and art of pre-Ayutthaya period.
The fourth type consists of medium to large-sized Nga Niam style prangs with a chom hae base [curved pyramid shape]. They were derived from the third type prangs.
The fifth type encompasses large-sized Nga Niam style prangs with a stepped base but without a chan asadong. They were developed from the third type.
The sixth type comprises Nga Niam style prangs adapted to the Fak Khao Pot style. These prangs were originally of the Nga Niam style during the early Ayutthaya period but were later restored in the late Ayutthaya period, with the spire prolonged to become a Fak Khao Pot style prang.
The seventh type includes prangs of the Fak Khao Pot style, influenced by the art of the early Ayutthaya period. They have slim appearance and their elements resemble to prangs of early Ayutthaya period.
The eighth type consists of prangs of the Fak Khao Pot style, which were widely built during the late Ayutthaya period. These prangs have a slim appearance, mostly in small sizes. This type served as the inspiration for prangs during the early Rattanakosin period.
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