Phanom Rung Historical Park Buri Rum Thailand

• Phanom Rung Historical Park is mounted on a volcanic hill 1,257 feet high in Buri Ram Province and is perhaps the most beautiful and important of the Khmer sites in Thailand.
• The location was originally a main stopping centre on the ancient Angkor Thom to Phimai laterite road. Built in the 12 C it was dedicated to the Hindu God, Shiva, the supreme Hindu Deity.
• The design of the complex on the hill is intended to symbolize Mount Kailasa, the Indian heavenly residence of Shiva. The main tower is 23 meters tall and 9.5 meters wide and is made of pink sandstone.
• It is understood that the complex was originally a palace and the buildings were designed to house elephants.
• The festival of Phanom Rung is celebrated on 13th April on which day as the plane of the ecliptic is aligned with the axis of the Temple, the Sun's rays shine through the doors and rooms of the Temple, one after another, from the east gopura to the west.

Khmer Symbolism And Mythology At Phanom Rung

• Phanom Rung has similar features to those at Phimai, it has access via a long causeway with terraces, the stone balustrades of which are shaped as serpents [ or Nagas ]. These nagas have multiple flaring heads which are crowned, and act as guardians of the earths' waters and are said to represent the rainbow, the link between the world of men and the Gods.
• Accordingly when one approaches these sanctuaries [ or Temples ] via these naga causeways one is reminded that as a devotee he or she is leaving the earthly plan, physically and spiritually, for higher levels of enlightenment.
• Phanom Rung has large and small ponds to represent the oceans. The central sanctuary is enclosed by narrow corridor galleries. Cruciform entrances [ or Gopuras ] are installed at cardinal points. Carvings of Hindu Gods ornament the pediments and lintels of these entrances.
• Within the sacred area the central ogival tower [ or prang ] culminates in a lotus bulb shaped finial and represents Mount Meru. This is built of sandstone.
• The Prang is many tiered and rests on a base, which is a tall re-dented cube like structure which itself is set on other re-dented and ascending sandstone platforms. Below the tiers of the tower and set in the cube re-dented base was placed the linga, or phallic emblem of the God Shiva.

Prasat Phnom Rung

• Prasat Phnom Rung is one of the most significant ancient monuments of Thailand locating on the top of an extinct volcanic Phnom Rung hill. The hill rises over 383 meters above sea level. With the location on the top of Phnom Rung hill and its gigantic constructions, Prasat Phnom Rung stands magnificently like the  residence of god that located on the Mount of Kailasa, as recounted in the scripture.
• Prasat Phnom Rung faces the east, a direction that is believed to bring prosperity. Its perfect layout, meticulous design and construction as well as its splendid stone carving have reflected the highest worship of human beings to their Gods and the great power of the founder.
• Two pools are situated in the north-east of Prasat Phnom Rung. The pools were the craters of the volcano and later on were modified for religious functions at the time of the construction of the monastery.
• The Lower Stairway was made of laterite and divided into 3 sets of stairs starting at the eastern slope of the hill to the first cruciform platform, which marked the first ascent to the eastern entrance. The entrance had similar shape to the last eastern gateway; however, there was no clear evidence or remains that could confirm that they were identical. The platform was assumed to be the base of the outer gateway pavilion, which was constructed of wood with a tiled roof. From the Lower Stairway, there was inclining causeway leading to the Upper Stairway to the main sanctuary. Originally the inclining causeway may be paved with laterite or sandstone stairs. The evidence from the excavation of the stairways in 2000 showed that the inclining causeway was constructed into multiple level slopes from volcanic stone.
• The Inner Gallery was walled, covered with roof and consisted of several long and narrow rectangular rooms surrounding the main sanctuary. The eastern and the western walled galleries were identical and made of laterite measuring 2.6 meters wide and 59 meters long. The northern and the southern walled galleries were similar and a little longer, 68 meters long. The eastern walled gallery roof was carved in stone to imitate a tiled roof. The roof peal was decorated with prali or finials. The northern walled gallery was built of laterite with sandstone door and window jambs. Numerous tiles found during the restoration suggest that the roof had its wooden structured and tiled.
• At the end of the causeway is the second cruciform platform or the first Naga Bridge that connects the causeway to the Upper Stairway and to the sacred pond. It was built of sandstone measuring 8.2 meters wide and 20 meters long and raised up about 1.5 meters. There are wing-shape stairs at the front and at both sides of the platform while the back side is a patio connecting to the Upper Stairway. The platform of the First Naga Bridge is supported by exquisitely carved sandstone pillars. The balustrades of the terrace are in the form of Naga bodies with five-headed Naga that was richly crowned and arched up at the corner. The Naga’s diadem was carved in the horizontal floral design of Angkor Wat style [1100 to 1175 ] dated back to the 12th century. To its north, which is the left exit of the First Naga Bridge, is a path to the sacred pond. The path was constructed with well- compressed soil with laterite edge on both sides.
  
• Another point of attraction on the First Naga Bridge is the eight- petal lotus design carved inside a double-line circle on the floor at the centre point of the bridge platform. There are so many interpretations to this design. Some said the eight-petal lotus represented the eight directions of the universe and the Hinduism Gods for each direction. Some said this was a magical symbol for prosperity and preventing possible enemies and danger. Some said the design marked the center of the universe because the lotus design was the center point when measuring from the top of the tower. Some said the design set a point to worship and pray to God.
  
• There are two more Naga bridges at Prasat Phnom Rung. One is at the eastern gateway while the last Naga bridge connects the eastern entrance to the Main Sanctuary. From architectural perspective, it could be interpreted that a Naga bridge is meant to be a connector between important entrances or structures where a level is changed.
  
• However, in religious place construction methodology a Naga bridge has more symbolic implication. According to Hinduism rainbow is the bridge connecting between human being’s world and the God’s world. In East Asia and in India the rainbow can be associated to a Naga who is raising up to the sky or drinking from the sea. This legend is sometimes mentioned with 2 Naga because it is quite normal to have 2 rainbows at the same time. Therefore, a Naga bridge can be the bridge that connects between the 2 worlds. The Last Naga Bridge connects the eastern entrance to the eastern door way of the antechamber of the Main Sanctuary. The last Naga bridge shares the same characteristics of the previous Naga bridges; however, it is a bit smaller measuring only 3.4 meters wide and 9.9 meters long and instead of having a eight petal lotus motif carved in the middle it had three open lotuses carved on a door step of the eastern entrance to the antechamber of the main sanctuary.
  

The Two Libraries

• To the southeast and northeast of the main sanctuary are the remains of the laterite rectangular structures. Each has only one doorway with a corbelled arch roof. The southeast structure faces west measuring 11.6 by 7.1 meters and 5 meters high. The northeast structure faces south, probably to avoid the two old sanctuaries at the area, measures 14.5 by 8.5 meters and 3 meters high. This style of structure is known in Khmer art as the library, as it is believed to be used to store sacred manuscripts. The structure was built of laterite, which was the most popular material used during the Bayon period. It was therefore assumed that the two Vihara were built in the 13th century.

The Main Sanctuary

• The Main Sanctuary, which is the most important structure of Prasat Phnom Rung precinct, is located on the hilltop as the center of the monastery. Its plan is in square shape measuring 8.2 meters wide and 27 meters tall. It has a double porch in the north, south and west. In the east lies an antechamber or mandapa measuring 8 by 10 meters by a short corridor or an antarala. Prasat Phnom Rung plan is dated back to the 11th to 12th centuries, like Prasat Phimai. The architectural element of Prasat Phnom Rung is consisted of 3 main parts: the base, the Garbhagrha [ the inner sanctum ], and the superstructure and its roof. The base is a plain platform carved with lotus-petal and diamond designs.
• The Garbhagrha or the inner sanctum is the most important room of the main sanctuary used to enshrine the most important structure of the religious place, which in this case is assumed to be the Linga, the phallic symbol of Shiva’s creative power. The northern entrance has a sandstone drainage channel used to drain away sacred water during religious functions.The superstructure of the main sanctuary is a five tiered roof adorned with relief of Naga, Rishis, Goddesses, directional Gods, and guardians on pediments and antefixes.
• The roof of the antechamber and the northern, southern, and western porches has a corbelled arch roof, which is the same as that of the gateways of the walled galleries. The ceiling is made of carved and painted wood, which was probably painted. The red ceiling was referred to in one of the inscription found at Phnom Rung as the presentation to Gods as the decoration of the monastery.
• The main sanctuary and all adjacent elements have their doorways in the same line. It is possible that the northern and southern doorway once has a two-wooden door panel with similar style to the false doors carved on the walled gallery. Outside on both sides of the gateways there are holes used to install door guardians, Dvarapala, to protect the abode of god. On the floor in front of the platform, there are stairs carved with lotus petal designs,  similar to those on the Naga bridges.
• All the gateways may not be able to use as entrance. Inside of the eastern gateway of the main sanctuary, there are holes used to install the sculpture. From the size of the holes, it is believed that the sculpture is quite massive and it should block this entrance. Therefore, only the northern and southern gateways are presumed to be the cardinal entrance. Several parts of the main sanctuary, such as, upper and lower part of the wall, decorative pillars, pedestal, lintels, pediments, porches, and antefixes are decorated with carved designs of flora, figures of Hindu Gods and Goddess as well as a famous Hindu legend, Ramayana and Mahabharata From the architectural style it could be presumed that the main sanctuary it was built in the 12th century.

Lintel and Pediment Depicting Ramayana Legend Ramayana is one of the scripture in Hinduism.

• It is about Rama, one of incarnations of Narayana(Vishnu),called Ramavatara or Ramajandhravatara, coming to earth to defeat Asura. These Asura was leaded by Ravana (ten-headed Asura). The oldest version of Ramayana in Sanskrit was written by the Brahma, yogi Valmiki since 2,400 years ago. Ramayana in Thai version is slightly different from Sanskrit version, in parts of locations in the scenes and the names of the characters.
• The depicting Ramayana at Phnom Rung should be based on the Sanskrit version which was written before Thai version. Thai version was just written during Ratanakosin period. Aranya Kanda or Rama wanders in the forest. Rama, his wife, Sita and his brother, Lakshmana set out of Ayodhya to wander in the forest for 14 years. In “Thanthaka” forest, they faced Viradh, an Asura who intended to kidnap Sita (picture A). Rama and Lakshmana fought with Viradh (picture B)and Viradh was killed eventually. Three of them continued  their  journey to the hermitage of Panjavardi. Ravana, the ten-headed ruler of Lanka who was so powerful, devised plan to abduct Sita. He sent a magical deer to seduce Rama and Lakshmana to go off the hermitage for hunting the deer. Rama draws his bow at the deer). Ravana appeared as a hermit to seduce Sita, however, Sita did not believe. Ravana, then, returned himself to his own shape [ ten-headed and twenty-handed ] and carried Sita off to Lanka. The king of vulture, Jatayu, tried to save her from the hands of Ravana but Ravana defeated him finally. Kishkindha Kanda or Rama defeated Palee, the ruler of Kiskindh Palee, the king of monkey had fought with his brother, Sugriva. Palee banished his brother from the city. Rama and Sugriva had met and they promised to help each other. Finally, Palee was killed by Rama’s arrow: two monkeys are fighting, signifying Palee and Sugriva. Rama is on the left, drawing his bow at Palee. Sugriva claimed over the throne of Kishkindh and promised to send the band of monkey to help Rama fighting with Ravana.
• Sundar Kanda or Hanuman is in Lanka to find Sita Rama sent Hanuman, the king of monkeys, flying to Lanka in order to find Sita. Sita was in the grove, going to kill herself. Hanuman saved her in time and offered Rama’s ring to her Sita refused to go back with Hanuman because she concerned for her reputation.
• Yuddhaphanda or the battle between Rama and Ravana.
• The battle between two armies (monkey-asura) happened many times in Ramayana. The pictures demonstrate one of the important battles called “Indhrachit Battle”. Indhrachit fought for Ravana. He was very powerful. Once he bound Rama and Lakshmana with Naga [ the rope was made of Naga ]. Ravana ordered Trichada to take Sita to the battlefield. Hanuman was trying to release Rama and Lakshmana from the Naga rope. Then, a garuda, flew over the battlefield, and thus made the naga to run away [garuda and naga were enemies ]. Then, Rama, Lakshmana and everyone are survived from the battle.

Each of the Inner Galleries has its main gateway and another 2 minor gateways, except the southern gallery which had only one gateway.

• The eastern, the southern, and the northern galleries had windows facing the inner court. The outer wall of the galleries was carved as false windows. The main gateway of the eastern and the western walled gallery had its inner and outer porches which formed a cruciform structure when connected to the galleries. However the northern and the southern walled galleries did not have the same design. They had no porch. The southern walled gallery had 3 doors and the northern walled gallery had one.
• At each corner where the galleries connected, except the north- western corner, it formed a cruciform structure, similar to that of the eastern and western walled galleries but smaller. These cruciform structures had their outer walls carved to resemble 2 close wooded doors with a lock in the middle. On pediments, decorative lintels, colonnettes and pilasters of these gateways with doorways or false doors were beautifully carved with floral design or scenes from Hindu epics.
• The most significant relief is on the decorative lintel over the middle doorway of the eastern walled gallery. It depicted Indra, the God who protects the eastern direction, seated on the Gala face. On the pediment above was Shiva sitting in lalitasana gesture, with his right hand holding the rosary and the left hand resting on his
• lap. The relief on the northern pediment of the northern walled gateway depicted the battle scene between monkeys and Asuras from the Ramayana.

The main sanctuary of Prasat Phnom Rung is surrounded by two galleries, inner and outer and their courtyard.

• The Outer Gallery is 3.10 meters width and paved with blocks of laterite. It lies 10 metrers away to the north and south and 20 meters away to the west. It connects to both side entrances to the main sanctuary and continue to the east to connect to the main entrance. It can be presumed from pole holders on both side of the gallery and numerous tiles found during restoration that the Outer Gallery was an open gallery covered with roof. In the middle of the northern, southern, and western galleries appear traces of a cruciform platform assumed to be the base of the gateways with tiled roof located at each of the four directions. The remains of the other structures can still be seen within the compound surrounded by the Outer Gallery.

Next to the main sanctuary in the southwest corner is a small sanctuary called Prang Noi or little Prang [ Prasat ].

• It faces east and measures 6 by 6 meters and 5.5 metrers high. The top of Prang Noi was probably ruined and it was possible that during the restoration later on some parts of the ruined top was used. It was once found that the back side of a block of beautifully carved sandstone was paved as walkway.
• Prang Noi was constructed of sandstone with laterite inner wall. There is only one entrance in the east whereas the other sides are carved false doors imitating wooden door panels with a lock in the middle. Carved stones adorning the lintels of Prang Noi are different those of the Main Sanctuary.
• The lintels at the main sanctuary are carved emphatically the picture of person figure, while, at Prang Noi, the carvings are mostly the floral design with a small person figure at the low-middle part of the lintels.
• However, the lintels at both places, the main sanctuary and Prang Noi, are also carved with god figures. Similar to the relief of the eastern pediment, it is depicted the floral design with Krishna lifting the mountain Govardhana from “Krishnavatar”, one of incarnations of Vishnu. The frame of this lintel is carved with crownless Naga. The art style and the depicting on the lintel are the typical Baphuon art style [1007 to 1107 ], slightly combining with Kleang or Khlang art style, which is the art style of the previous period [ 965 to1015 ]. From the combination of the two art styles, it can be assumed that Prang Noi was constructed since the 11th century.
• Prang Noi12
• The carvings of Narayana Vishnu or Narayana always incarnates to resolve crisis and return peace to the earth. Most carving stones adorning Prasat Phnom Rung depict 3 distinguished incarnations of Vishnu : Vamanavatara ,  Ramachandravatara , and Krishnavatara. Ramachandravatara or Ramavatara is the carvings which based on the scripture of Ramayana. Vamanavatara Vishnu incarnated as a dwarf Brahma to defeat Plee, the king of underwater world. Asura Plee and its troop had invaded heaven, until all gods and goddesses, had no place to abide. They asked Vishnu to help them. Vishnu, then, incarnated as a dwarf Brahma named Vamana. Asura Plee did not realize that Vamana was Vishnu’s incarnation, he, therefore, worshipped Vamana and announced to offer anything that Vamana would ask. Hence, Vamana asked for the land of “three-step”. Asura Plee poured the water to insist his promise on Vamana. Then, Vamana expressed his power by putting his first step on the heaven, the second on earth. Then, Vamana showed himself as Vishnu and put the third step on the head of Asura Plee and banished him from earth to the underwater world.
• Krishnavatara
• Vishnu incarnated as Krishna who was powerful and stronger than all human-being. He incarnated to defeat Phya Kangsa, who invaded the cities of all kings. When Krishna was born, his father, Vasuthep, brought him to Nandhra, the cowpuncher, because he was scared that Phya Kangsa would kill his son. Krishna was grown up and one day had a fight with Naga Galiya. He defeated the Naga. Krishna gave advice to Nandhra to worship with the offerings to the mountain Govardhana instead of Indra. Then, Krishna was up to the mountain to receive the offerings, acting himself as a god. Indra was so angry with him that he sent the hard raining and flood in order to drown the cowpuncher and all of the animals. Krishna used his finger to lift the mountain Govardhana up as an umbrella for 7 days until Indra has stopped the rain. Phya Kangsa planned to kill Krishna so he invited Krishna to fight with him. Krishna killed an elephant, Krishna fights with an elephant by one hand, and with the lion by the other hand. Then, he killed Phya Kangsa.

The Technique to Build the Stone Towers

• The stone towers has been built using massive stones, piled on top of one another to erect edifices of the constructions. Nothing is used to connect each stone together, except a good fit, weight and gravity of each single piece. However, some parts require tools to strengthen the structure in particular such as at the edges or corners of the constructions. There is evidence that the I shaped, Z shaped, and paddle-shaped irons are used as a tool to hold the stones together and to prevent them from moving. On top of two stones are carved with a hole. When they are connected to each other, the hole will be fit with the shape of the iron to be put on them. Then, the melting lead will be poured into the hole to adhere the iron with the two stones.
• The technique to prevent movement of the sandstone wall above the doorways or windows is different. These stones above the doors or windows are horizontally carved in order to thrust the wooden beam in to the hole. In case, the weight of these stones is immense, the technique is also different. Above the door, large stones are pile on top of one another from both rims of the door, gradually arching to each side and then touching at the top as a triangle shape. Each layer is horizontally carved in order to pierce the wooden beam inside for supporting the weight of the upper layers and preventing movement of each stone. At the windows, the round balusters made of sandstone are added to the window.These balusters are purposed for  decorating and  also for supporting the weight  of  large stones above the window.
• To build the stone towers, the equipment is needed to help elevating the massive stones to place over one another, especially at the upper part of the tower. The weight of each stone is immense and thus makes it difficult to move by labor. There is no evidence to support this idea, but it is believed that there might be the using of equipment like a tackle to facilitate the moving of these huge stones. This idea is supported by the round stone found on site. Many historians assume that this round stone might be part of such equipment.
• There also found the stones which were perforated a hole at both ends in order to lift or move them. It is assumed that the stone were wedged from the wooden shim and then bound the wooden shim with rope in order to lift it up. Or they might use the metal pincers to hold at the holes on the stone to lift it up. The holes were normally made at the low-middle part of the stone. This was to facilitate moving and returning the stone in order to polish the stone at bottom and both sides.
• The sandstone blocks were prepared carefully before lifting up to pile over one another. Each stone was polished all four faces to make the flat surface so that it was fit with each other when they were placed together. When the stones were piled up according to the structure, they were cut in order to get the even surface. Then, the surface was polished and prepared for the carvings. The carvings might be started with drawing on the stone and then gradually carved the detail of the design.
• The process in constructing Prasat is witnessed at the southern gallery at Prasat Phom Rung. Around this area, the stones were piled up as a wall; at some parts the stones’ surfaces are not level. Some stones still have the holes that were made for moving or lifting it. Near the stone wall, the next step of constructing is demonstrated. The stones were flattened already. The holes on stones were disappeared because they were cut off. Sometime, the holes were made so deep that there were some marks left on the stones. Next to this area is the eastern gallery. We would see the further step in constructing process. The stone wall in this area is polished and ready for the carving. Next to this area, the carving had been started. However, most of the carvings in Prasat were not finished yet. This is the evidence to support the idea that the carvings decorated on Prasat Phom Rung had been made after constructions.

Phanom Rung Festival

• This Hindu sanctuary, evidence of an old civilization, in Nangrong District was left unattended and in ruins for many centuries until 1944, when the Thai Department of Fine Arts declared it a national protected archaeological site and began careful and detailed renovation using modern techniques, in order to restore it as close to its original state as possible. 
• The day which attracts the highest number of visitors is when the sun’s rays pass through the fifteen portals of the sanctuary in the same instant, creating a visually stunning effect, testifying to the superb skills of the temple builders. This date falls on the 15th day of the waxing moon of the fifth lunar month or in April of every year.
  
• Buri Ram residents believe that on this morning the sun’s rays are at their purest and most intense, burning evil things to ashes. To provide an opportunity for residents to pay homage to the sanctuary on this propitious date, Buri Ram community leaders would organize a “The Phanom Rung Festival”. Key events include a procession organized according to ancient Khom traditions featuring a parade to honour the God-King, a grand folk musical performance, a Buri Ram products fair, traditional dances to pay homage to the gods, and a light and sound performance again dedicated to the temple gods.