The relationship between the Architectural Plans of Wat Ratcha-Orasaram and Mahayana Buddhist literature-XIYOUJI

Abstract

This study investigates the intricate relationship between the architectural plans of Wat Ratcha-Orasaram and the Mahayana Buddhist literature, XIYOUJI. Using methods of architectural investigation and iconographic interpretation, the study reveals significant correlations between key temple elements such as Phra Ubosot, the trio of stone sculptures, Chedi Rai, the Vihara housing the reclining Buddha, the standing Buddha Vihara, and the sermon pavilion, which are accompanied by narratives from XIYOUJI. Through a detailed examination of the four principal Buddha images in accordance with the Trikaya principles and iconographic criteria, this study reveals nuanced symbolism. In the Temple's inner precinct, Kamphaeng Kaew, the reclining Buddha represents Amitabha Buddha (Sambhogakaya), while the Anantakun Buddha image in the Phra Ubosot symbolizes Sakyamuni Buddha (Nirmanakaya). While, on the Temple's  outer precinct, the standing Buddha in Abhaya Mudra posture in the northern Vihara represents Amoghasiddhi Buddha (Sambhogakaya), and the Phutthachai Sitthithammanat Buddha image in the sermon pavilion is identified with Metteyya Buddha (Nirmanakaya). According to the findings, The King Rama III intended to bring all four Traditional Thai art of the principal Buddha images in accordance with Theravada Buddhism, but with hidden meanings for the Dhyani Buddha and Manusi Buddha in accordance with Mahayana Buddhism. In addition, XIYOUJI 's story was incorporated into Wat Ratcha- Orasaram 's design and decoration.