วัดเชียงทอง หรือ วัดเชียงทอง ราช(ะ)วรวิหาร หลวงพระบาง สปป.ลาว
Wat Xieng Thong, Luang Prabang, Laos.
ภาพ วัดเชียงทอง หรือ วัดเชียงทอง ราช(ะ)วรวิหาร หลวงพระบาง สปป.ลาว
Wat That Luang, Luang Prabang, Laos.
Photo Gallery. Asian Historical Architecture.
ขอบคุณ ภาพและข้อมูล จาก http://www.orientalarchitecture.com/sid/454/laos/luang-prabang/wat-xieng-thong.
Wat Xieng Thong Boat Shelter
The boat shelter is located inside the monastery grounds toward the west side of the river entry. Although the structure is just a plain open shed and definitely are not historical architecture, the two handcrafted boats it protects symbolize an important part of Lao culture. The boats of Wat Xieng Thong are also highly regarded because of the historic importance of this monastery. They are decorated with gold stenciling on black lacquer, as are a number of the buildings of the wat.
Many Laotian wats (which are also neighborhood centers) have such boats that or are used for the major races in April and October. There is much colorful competition in these events, especially along the Mekong. Wats also compete with each other as monks and novices (and others) build highly decorated boats of bamboo and tissue paper to use in the festival and to symbolize the journey through the sea of life.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
The boat shelter. The outside wall of the monastery is on the right side of the image.
The two boats in the shelter. One had recently been prepared for competition.
Wat Xieng Thong Carriage House (built c. 1962)
The Carriage House, or Royal Funerary Chariot Hall (Hor Latsalat) is located at the eastern edge of Wat Xieng Thong and to the right of the city entry from Thanon Sakkarine. It was built to house and preserve the funeral carriage of King Sisavang Vong (1885-1959), King of Luang Prabang, 1904-46, and King of Laos, 1946-59. It also contains other religious and ceremonial relics, as well as, occasionally, some historic Ramayana puppets that belonged to the royal family. Construction commenced in 1962. It is a relatively tall structure with a double roof in the Xieng Khuang (or Luang Prabang III) style. There is a single entry door in the front of the building, though the facade windows are of the same size and shape of the entry door.
The framework of the building is reinforced concrete. It is only on the inside that that material is visible. Uniquely, the facade and exterior side walls are covered with sculpted and gilded teakwood panels. They were crafted by local artisan Thit Tanh (Pae Ton) with the assistance of other Luang Prabang craftsmen under the supervision of the master artisans of the Royal Palace. The panels recount the Lao version of the story of the Ramayana, the Pha Lak Pha Lam. One can follow episodes of Rama, Hanuman, Sita's judgment by fire, Ravana, and Indra in the form of the golden deer. The right tympanum is stunning in its depiction of the combat between the vulture king and Ravana, the kidnapper of Sita. Ravana's numerous arms hold many different weapons. Carved wooden shutters on the northwest side of the building include depictions of Monkey King Hanuman as well as devas and devis. The exterior carved and gilded surfaces of the facade and two sides glimmer in the bright sun and well-complements the intricate colors, lines and patterns of the nearby sim.
The almost 40 ft (12m) high gilded wooden royal carriage sets grandly on the body of a six wheel truck at the entry door. It also was the creation of Thit Tanh (Pae Ton). The hearse was used carry the remains of King Sisavang Vong to the field near Wat That Luang for his cremation in April 1961. Highly ornate, it is dominated by seven nagas with gaping jaws and prominent fangs at its prow and an elaborate red canopy supported by gilded and ornate columns at its center. There are three ornate gilded sandlewood funerary urns that contained the remains of the king's father (in front) and mother (in the rear); Sisavang Vong's remains are given the central place of honor under the canopy. The remains were placed upright in a fetal position. The ashes of the king, queen and royal brother are at Wat That Luang.
A number of glass cabinets along the side walls contain various items (occasionally historic wooden puppets) with wooden framed pictures of the Buddha and other religious objects, of varying quality. The rear of the hall contains scores of Buddha and other religious images set near a vermillion wall on which there are numerous mosaic creations.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
The Funerary carriage House glistens in the sun.
A closer view.
A direct view of the facade.
The carved and gilded wooden panels of the omate typanum crowned by the cho fca, a graceful naga-inspired finial.
Intricate carving on
Wat Xieng Thong Standing City Entrance
The city entry to Wat Xieng thong is reaching by way of a small lane from Sakkarine Road. There are newly built or restored traditional-style houses on either side of the lane. The entry to the wat is through a formal stupa-crowned entryway of brick and plaster and is near the golden Carriage House.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
03.3 Wat Xieng Thong Standing City Entrance
Wat Xieng Thong Drum Tower
The drum tower (Hor Kong) is a prominent feature of many Buddhist temples in Laos and throughout Asia. Drum towers serve a variety of purposes, most significant of which is the call of monks, novices and others to prayers (early morning and late afternoon); it is also sounded for ceremonials and for other special occasions.
The squat structure at Xieng Thong is not a tower in the conventional sense; some have called it a chapel. There are only three steps from the ground to the platform that holds the large drum. The structure probably dates from 1961 and doubtless it has been refurbished a number of times since then. Set near the northeast corner of the compound, its swooping roof, carved gilded tympanum, stenciled embellishments and carved brackets, is quite complementary to the other buildings of Xieng Thong. Since there are so many wats in this historic district of the town it is interesting and even sometimes thought-provoking to hear their drums sounding at the same time.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
Wat Xieng Thong Red Chapel
The Red Chapel (La Chapelle Rouge, Haw Tai Pha Sai-Nyaat), or the Chapel of the Reclining Buddha, is one of the most photogenic and important buildings of Wat Xieng Thong. The exterior is covered with a red, sometimes fading to pink, stucco inlaid with brightly colored glass mosaics that illustrate both religious activities and everyday Lao life. The mosaics were added, during the major restoration of the chapel in 1957, to commemorate the 2500th anniversary of the Buddha's death and achievement of nirvana. The original date of the construction of the chapel is uncertain to this writer; its important Buddha sculpture dates from the 16th century. It has a three layer roof with eighteen ceremonial naga brackets supporting the lowest roof, and four delicate cho fa, ornamental finials, at the ends of the upper two layers
The bronze reclining Buddha about two meters long, is one of the most valuable of Lao Buddhist images. It fashioned in the classic Lao style (rather than Thai or Lanna) and clad in flowing robes. The Buddha is lying on its right side with the right hand supporting the head. The inscription on its base indicates it was crafted in 1569 on the order of King Sai Setthathirat. The figure was taken to Paris in 1931 and placed in a prominent position in the Indochina Pavilion at the International Colonial Exposition. Upon its return to Laos it was placed in the parlor of a French official in Vientiane and then in 1949 was transferred to Wat Phra Keo, also in the capital. The flame unisha (hair knot) was added at Phra Keo. Three years later it was returned to Luang Prabang. Framed tapestries depicting a stupa and the Buddha flank the altar. The interior of the chapel is decorated with gold stencils on red or black walls, and there are numerous small gold Buddhas attached to the walls. They represent the miracle at Savatti, where the Buddha radiated fire and water from his body and emitted multiple projections of his form.
The charming, noteworthy and primitive-style exterior mosaics describe a variety of scenes of traditional village life: trees, boats, carts, elephants, houses, hunting and fishing, working and playing, as well as ethereal religious scenes set higher on the walls. The mosaics also relate the fictional story of Siaw Sawat, a commoner and son of a rich merchant, who used his wit and common sense to become an important minister of the king. Louis Finot, in his research on Lao literature, called it "a judicious tale." The name of the author is unknown, but it was probably written during the reign of Soulignavonsa (Surinyavongsa, r. 1637-1694), who ruled longer than any Lao king. The story presents a period of prosperity, religious ardor, peace and grandeur. It also describes people coming from great distances to consult the wise and clever counsel of the commoner minister. Though the mosaic depicts a cheerful era of religious faith, prosperity, peace and good government, subsequent Lao reality, unfortunately, has not necessarily matched the era of that happy period. The Red Chapel, however, convey a harmony of the sacred and the secular in its structure and in its interior and exterior ornamentation.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
Wat Xieng Thong River Entry
There are two important formal entryways to Wat Xieng Thong, in addition to a somewhat non-descript entrance from Sisaleumsak Road on the southwest boundary of the wat. These entries provide wonderful vistas of this most significant monastery of Luang Prabang.
Historically the Mekong River entrance was the most important entry to both the wat and to the city, since it was the town's major contact with other parts of Asia. Those coming overland from the west took ferries from the village of Xieng Maen to this entry. In addition to merchants, diplomats and other visitors, the river entry played an important ceremonial role in the kingdom's history. The king-designate spend three days in prayer and contemplation at Wat Long Khun directly across the river from Xieng Thong before his coronation at the wat. The broad staircase extends down the long embankment close to the water-depending on the season of the year. The river staircase extends to Souvannakhamphong Road and at that point there are two uniquely shaped and colored guardian lions. Yet another, much shortly, stairway leads into the wat.
Text by Robert D. Fiala, Concordia University, Nebraska, USA
Bibliography
All images copyright 2006 by Robert D. Fiala, Concordia University, Nebraska, USA. The images were taken in 2005 and 2006.
09.13
วัดเชียงทอง จากวิกิพีเดีย สารานุกรมเสรี
ตอบลบวัดเชียงทอง (ลาว: ວັດຊຽງທອງ วัดเซียงทอง) เป็นวัดในแขวงหลวงพระบาง ประเทศลาว สร้างขึ้นเมื่อ พ.ศ. 2103 สร้างโดยพระเจ้าไชยเชษฐาธิราช ตั้งอยู่ใกล้แม่น้ำโขง เป็นวัดที่มีสถาปัตยกรรมแบบล้านช้างที่สวยงามมาก
วิหารวัดเชียงทอง
สิมวัดเชียงทอง หรือวิหารวัดเชียงทอง ได้รับอิทธิพลมาจากวิหารวัดโลกโมฬี จังหวัดเชียงใหม่ โดยในปีพ.ศ. 2042 ราชวงศ์มังรายแห่งอาณาจักรล้านนาเกิดว่างกษัตริย์ พระนางจิระประภามหาเทวีผู้เป็นพระอัครมเหสีในพระเมืองเกษเกล้า ได้ขึ้นครองราชย์เป็นกษัตริย์หญิงเพียง1ปี บ้านเมืองก็เกิดระส่ำระส่าย ถูกอาณาจักรรอบข้างรุกราน และในยุคที่บุเรงนองเป็นผู้ชนะ10ทิศ พระนางจิระประภาจึงเชื่อมสัมพันธ์กับอาณาจักรอยุธยา และอาณาจักรล้านช้างให้แน่นแฟ้น แต่พระองค์ครองราชย์ได้เพียง1ปีจึงสละราชบัลลังก์ และทูลเชิญพระไชยเชษฐาจากเมืองหลวงพระบางแห่งอาณาจักรล้านช้างลงมาปกครองแทน เนื่องจากพระนางยอดคำทิพย์พระอัครมเหสีในพระเจ้าโพธิสารราชแห่งอาณาจักรล้านช้าง หรือผู้เป็นแม่ของพระไชยเชษฐา พระราชธิดาของพระนางจิระประภา จึงเห็นว่าหลานชายของตนมีสายเลือดล้านนา จึงให้มาปกครองเชียงใหม่ แต่พระไชยเชษฐาปกครองได้เพียง1ปี พระราชบิดาเกิดสวรรคตกระทันหัน พระไชยเชษฐาจึงต้องกลับไปเถลิงราชสมบัติครองราชย์ล้านนา พระองค์จึงอัญเชิญพระแก้วมรกตกับพระพุทธสิหิงค์จากเชียงใหม่กลับไปหลวงพระบางด้วย หลังจากนั้นพระองค์ก็เริ่มสร้างวัดเชียงทองขึ้นในใจกลางกรุงหลวงพระบาง
หลังจากนั้นเพียงไม่นาน ทั้งอาณาจักรล้านนา อาณาจักรล้านช้าง และอาณาจักรอยุธยา ต่างก็ตกเป็นเมืองขึ้นของหงสาวดี พระไชยเชษฐาทรงย้ายเมืองหลวงหนีลงไปสร้างนครหลวงเวียงจันทน์เป็นราชธานีแห่งใหม่ เมืองหลวงพระบางจึงปล่อยทิ้งร้างและหมดบทบาทลง พระแก้วมรกตถูกอัญเชิญลงมานครหลวงเวียงจันทน์ด้วย ส่วนพระพุทธสิหิงค์ทรงคืนให้กลับเชียงใหม่
ในปี พ.ศ. 2250 อาณาจักรล้านช้างแตกเป็น3ฝ่าย คืออาณาจักรล้านช้างหลวงพระบาง, อาณาจักรล้านช้างเวียงจันทน์, และอาณาจักรล้านช้างจำปาศักดิ์ เมืองหลวงพระบางจึงกลับมามีอำนาจอีกครั้ง ไม่ขึ้นตรงต่ออาณาจักรลาวเวียงจันทน์และจำปาศักดิ์ และได้มีการซ่อมแซมวัดเชียงทองเรื่อยมาทุกๆรัชกาล จึงเกิดลวดลายที่มีเอกลักษณ์ต่างจากนครเวียงจันทน์และจำปาศักดิ์ วัดเชียงทองจึงถึงถือเป็นวัดประจำราชวงศ์ลาวงหลวงพระบาง และเป็นสุดยอดแห่งสถาปัตยกรรมลาวล้านช้าง มีลวดลายที่วิจิตรตระการตา