Buddhism is the main religion in Thailand so everywhere you go you will see “wat” or temple because it is the place where the people do worship and in the past temple is the place for village’s activities. Therefore you can see many beautiful and very old temples in Chiang Mai also.
Chiang Mai has several places of historical interest that are either small or remote. You may not find them worth a visit unless you have a special interest, or happen to be nearby.
Protected by the moats, the old city is filled with monuments that mark the course of change in the city's seven hundred year history. Generations have trod the narrow lanes that link the quiet neighborhoods to the temples and the markets. Along the main streets, trade has been the lifeblood of the city; but it is the spiritual and artistic striving focused at the temples that has given beat to city's enduring heart.
When Visiting a Temple
Thais prefer visitors to temples to cover their bodies as a sign of respect for their religion. Religious objects like Buddha images and chedi should not be climbed upon or touched. When Thais sit on floors, they do not point their feet in a direction worthy of respect, such as a Buddha image, monk, or a teacher. They consider the head as "high" and the feet as "low".
The Main Temples of Chiang Mai
Chiang Mai Temples are the cultural and historical heart of the city. The most famous have been places of pilgrimage for northern people for centuries. As traditional centers of merit making, they are the best places to see Buddhist ceremonies. Funded by noble and wealthy benefactors over a long period, they have also become the repositories of some of the finest examples of religious art. If you had but half a day in the city, then it is to one or two of these temples that you should go.
The Lanna Temple
Thai temples have long served as the center of the community. While this traditional role has diminished as young people have had less time for religious observances, the temples still lie at the heart of the ritual and social life of much of society.
Though earlier temples were the most durable constructions of the day, the wooden roofs and older earth filled walls have not survived the destructive forces of nature and man. Therefore most of the temple buildings seen today do not go back much before the 19th century.
Only the stupas (which shall be referred to as chedi) and some walls and sculptured images which were built of laterite or brick covered with stucco have survived for longer periods.
Lanna Temples originally were built round the chedi (stupas), which contain valuable relics of pious kings and monks. Like solid rocks in a sea of change, the old chedis mark the sites of former temples and are almost the only temple structures that go back to the 13th-15th centuries.
Perhaps their continued existence in some unlikely places in the city is no accident. In Brahmanic-Buddhist cosmology, the chedi "stabilizes the earth", fixing a point where heaven and earth meet. They may be likened to the rising sun at dawn, both separating and joining the earth and sky after the darkness of night. Symbolizing the dhamma, they chase away the darkness of ignorance and chaos.
Though many chedi in Chiang Mai have been damaged by thieves who sought the precious relics contained inside, citizens have repaired and protected them. They are worshipped as sacred symbols representing the cosmic body of the Buddha and the law of the dhamma. Their shape differs, however, due to the particular symbolism of the dhamma chosen by the builders.
Chedis in Chiangmai have two basic forms; the stepped or prasat style, and the bell style. However, from these basic forms many variations in size and shape have appeared, reflecting the wealth of the city over the centuries.
An early example of the prasat style is the Mahapol Chedi at Wat Chamadevi in Lamphun. Later fine examples are those of Wat Pansat near Chang Phuak bus station and Wat Lok Moli west of Chang Phuak gate.
The chedi of Wat U-Mong Suan Putha-tham and the later chedi of Wat Phrathat Haripunchai have the bell shaped style. More recent examples are the Shan Burmese style chedis built in the late 19th century. These may be seen at the temples on Thapae Road. Other variations include the octagonal form, which may best be seen at Wat Phrathat Doi Suthep and Wat Duang Di, and the round form best seen at Wat Phuak Hong. Both designs may have evolved here, or may have come with monks or traders from Ayutthaya (the octagonal form) and Lake Erhai in Yunnan (the round form).
King Saen Muang Ma began building the Phra Chedi Luang to enshrine the relics of his father at the end of the 14th century, but King Tilokarat completed it. The chedi used to be 90 meters high before it was partly destroyed in an earthquake in 1545; it was to remain the tallest structure in Chiang Mai for over 500 years. The present restored chedi is about 60 meters high.
One of the best times to see this chedi is during the wian tian ceremony in the evening on one of the main Buddhist festival days.
The large viharn was built in 1928. Round columns with bell shaped bases and lotus finials support the high red ceiling inside. The standing Buddha image inside is known as the Phra Chao Attarot. Made of a combination of brass alloy and mortar, the image dates back to King Saen Muang Ma (r.1385-1401). Buddhist posters are placed along the walls between the windows, and cabinets with Buddha images and Bencharong ceramics line the walls.
The cross shaped hall to the south of the main viharn contains the city pillar. Statues in small shelters surrounding this building are homes of guardian spirits. Legends say that a hermit (whose image is in a shelter on the west side of the building) went to the God Indra to ask for protection for the city from enemies. On condition that appropriate offerings were made, Indra permitted two kumaphan (mythical human-beast creature) to carry the Inthakhin pillar from the Tavatimsa heaven to the city.
Chao Kawila moved the city pillar to its present site from Wat Sadoe Muang in 1800. He built statues of the kumaphan under shelters to the north and south of the main entrance to the temple. He also planted the three large yang (dipterocarp) trees. According to legend, the tree nearest the city pillar will protect the city as long as it is not cut down.
Other buildings in the compound include the Lanna campus of the Mahamakut Buddhist University (This is the northern campus for monks of the Thammayut sect, a reformist sect founded by King Mongkut (Rama IV r.1851-18681, who was dissatisfied with the established Mahanikai sect in the late 1830's). To the west of the chedi is a viharn with a reclining Buddha and the Sangkhachai Buddha. From this area an exit leads out onto Chaban Road.
King Tilokarat built the temple in 1455. The temple was probably copied from the design of the Mahabodhi temple in Pagan, which itself was a copy of the Indian temple at Bodhgaya.
It had been predicted that Buddhism would decline after 2000 years. King Tilokarat's religious works, as well as those of other Southeast Asian monarchs of the time, were an attempt to prevent this decline. Wat Jet Yod was the site of the Eighth World Buddhist council in 1477, which revised the Tripitaka (Buddhist canon and teachings). The temple gets its name from the seven chedis - jet yod - which sit on top of the old viharn. An arched tunnel at the center contains a seated Buddha image.
The laterite walls are decorated with over 70 stucco reliefs. Though damaged, they still clearly show thewada (angel), beings who live in heavenly realms. The faces on these images are reputed to be likenesses of the relatives of King Tilokarat. Three chedis stand in the spacious grounds. The largest contains the ashes of King Tilokarat. The small ubosot nearby has a fine carved wood gable.
Several Buddha images in different attitudes may be found on the western side of the compound (signs give explanations in English). The trees and grass in the spacious grounds have the feel of a park, creating a very pleasant atmosphere.
This temple was built in 1297 at the site of the camp King Mangrai used when he supervised the building of Chiang Mai. It was the first temple to be built in Chiang Mai and contains several very old artifacts. The oldest structure is the Chang Lom chedi, which is in a style that could have originated from Sri Lanka via Sukhothai, or from Pagan. Fifteen elephants represent a sea of unformed matter upon which the cosmos of the chedi floats.
Nearby are a lotus pond, a raised scripture repository and an ubosot. The stela in front of the ubosot was inscribed in 1581, and is one of the oldest known records that establishes the founding date of Chiang Mai.
The temple has two Lanna style viharn. The larger viharn was renovated by Khru Ba Srivichai in the 1920's. The standing Buddha image (front right of the altar) has an inscription on its slightly lopsided square base that dates it to 1465. This makes it the oldest dated Buddha
image to be found so far in Chiang Mai. Close study shows new gilt veneer covers pits and cracks that indicate the image's real age.
The smaller viharn to the north (open 09:00-17:00) contains two small but very famous Buddha images. The Phra Sila image is a bas-relief that probably came from Ceylon in about the eighth century. The image is believed to have the power to bring rain and is the focus of a festival at the temple held from April 1-5.
The Phra Sae Tang Khamani crystal image belonged to Queen Chamadevi, who brought it from Lop Buri when she became the first ruler of Haripunchai. The image reputedly survived the burning of Haripunchai when it was razed by King Mangrai, and is honored for its powers to protect against disaster.
This temple contains supreme examples of Lanna art. A chedi was first built by King Pha Yu (r.1337-55) to house the bones of his father King Kam Fu (r.1328- 37). The original name of the temple was Wat Li Chiang Phra but this was changed to Wat Phra Singh when the Phra Sihing Buddha image was first housed there in 1367.
The temple was almost certainly abandoned before Kawila re-established it by building the ubosot, and rebuilding the chedi. Chao Thammalangka (r.1813-21) and his successor, Chao Kham Fan (r. 1821-1825) further added (or rebuilt) the Viharn Lai Kham and the elegant scripture library building. Further renovations were carried out in the 1920's when Khru Ba Srivichai supervised the construction of the present main viharn and rebuilt the chedi. The ubosot and scripture library were renovated in 1929.
The recently restored Viharn Lai Kham is a classic example of a Lanna style viharn and was built to house the Phra Sihing imageenthroned inside. Lai Kham refers to the elegant gold tracery used for decoration. The front of the building is in three tiers. The portico has finely carved gables as well as an ornate stucco sum above the main doors.
On the inner walls of the Viharn Lai Kham are some murals originally commissioned by Chao Thammalangka. These are famous for their period style and the detail depicting earthy northern Thai scenes and the ways of the Burmese Court.
The murals show two fables. Prince Sang Thong of the Golden Conch lies on the north wall and the Heavenly Phoenix takes up the south. The fables illustrate the long suffering of heroes fighting against the powerful forces of evil before Indra intervenes and allows good to ultimately triumph.
Recent restoration has removed the earlier restoration of the 1920's to show clearly the original style of the work. Much of the detail has been lost, however. The north wall shows work done by a Chinese artist whose likeness is found in a small picture at the top in the middle of the wall.
Directly to the east of the main chedi, the wooden ubosot has ornate carvings around its doors and stucco patterns on the wooden pillars. The ubosot, which is usually locked, contains a tower-like shrine known as a mondop. The shape of the shrine was said to be similar to an earlier structure that used to stand in Wat Phra Yeun, Lamphun.
The small scripture repository - ho trai - in the north-east corner is the finest of its type in the north. It sits atop a raised base decorated with stucco Devas. The upper wooden structure is decorated with carvings and stucco and is covered in glass mosaic and gilded lacquer. At the back of the compound are the temple administration buildings, monks' kuti and a small hall contains a reclining Buddha.
Polite dress is required for the inner sanctuary. Loose clothing is available at the entrance free of charge. The inner sanctuary is open to visitors 08:00 - 17:00. Mini-buses to Doi Suthep wait on the west corner of the Chang Phuak and Maninopharat Road and outside the main gate of Chiang Mai University. 50-80 baht one way.
According to legend, the temple site was chosen by an elephant carrying a holy relic. Originally the relic was to be enshrined at Wat Suan Dok in 1371, but it split in two. The second piece was placed on the back of an elephant which proceeded to climb Doi Suthep, stopping twice.
After three days the elephant finally reached a level piece of ground, circled three times, knelt down and then died. A hole was dug at the site for the relic, which was then covered with a chedi over seven meters in height.
Until the road was built in 1935, pilgrims had to walk up the mountain and then up more than 200 steps on the long naga stairway to reach the temple. This stairway was originally constructed in the mid-16th century in the reign of Phra Mekuti. Like the rest of the temple, the stairway has since been renovated several times.
Small tiles inscribed with the names of donors and the amounts given have been built into the walls just above each step. The inner walled sanctuary is surrounded by a lower terrace. From this level there is an excellent view over the city and valley. The faithful like to ring the bells and gongs round the base of the sanctuary. A statue of the elephant commemorates the founding of the temple.
The inner sanctuary is one of the classic sights of Chiang Mai. A gold plated chedi lies in the middle of a square marble tiled courtyard. The chedi reached its present height of over 16 meters in 1525 in the reign of King Muang Kaew. A railing surrounding the square base of the chedi encloses a walkway for devotional rounds of the chedi (women may not enter this). Parasols, symbols of royal regalia, have been placed at the four corners of the chedi.
The courtyard took its present shape under Chao Kawila in 1805. It is lined by a cloister which contains Buddha images and murals depicting the life of the Buddha. In the middle of the east and west sides of the cloister are two ornate viharn. The inside walls of both are covered with murals. The murals of the eastern viharn show the legend of the elephant and the relic, while those of the western hall show the Vessantara Jataka. Devotees go to the western viharn to receive blessings and lustral water from monks sitting on a dais.
On the south and northern sides of the cloister, smaller shrines are the subject of much veneration. Thais prostrate themselves and then shake a holder with 28 sticks to see which one falls to the ground first. A fortune reading for each of the numbers may be found in a cabinet nearby.
The power of the chedi and the sanctuary attract many visitors who are invited to make merit. The sanctuary contains numerous boxes for donations to worthy causes, such as the education of the needy.
This temple originally lay in a fortified square beyond the city walls. Legends tell that King Ku Na invited the venerable Sumana Thera, a very pious monk from Sukhothai to bring the Buddhism of Sri Lanka to Chiang Mai.
The King offered him the royal flower garden ( Suan Dok) as a place to build a temple. The temple was established in 1371.
When Sumana Thera was living in Sukhothai, he had a vision which showed him where to find a very holy relic that had long been buried near the city. When the relic was unearthed, miraculous illuminations took place confirming its power. These miracles did not repeat themselves for the King of Sukhothai, who left the relic in the care of the monk.
Thus when King Ku Na invited Sumana Thera to Chiang Mai, the monk brought the holy relic with him. When the relic was about to be enshrined at the temple, he found that the relic had split into two pieces. One of these pieces was kept at Wat Suan Dok, and the other was buried at Wat Phrathat Doi Suthep.
The main viharn was rebuilt in the early 1930's by Khru Ba Srivichai. A large Buddha image with a hand in the position for holding straw stands back to back with the main seated image. The images took on their present shape under Khru Ba Srivichai. A smaller viharn to the south contains a seated Buddha image - the Phra Chao Kao Tue - cast by King Muang Kaew in 1504.
The Lanna style image stands 4.7 meters tall and is made up of nine pieces. The walls of the viharn are decorated with murals showing the previous lives of the Buddha (the Vessantara Jataka may be seen on the upper level of the north wall).
West of the main viharn numerous chedi contain the remains of the royal family of Chiangmai. These were collected from different sites in the city and placed there at the wish of Princess Dararatsmi in 1909. The compound also contains the northern campus of the Maha Chulalongkorn Buddhist University of the Mahanikai sect. A wall with tall ornamental gates surrounds the compound, and the remains of earthen walls that once surrounded the fortified monastery can still be seen on the opposite side of the road.
Wat U-Mong Suan Putha-tham
( Suthep Road, Soi Wat U-Mong - south turn 1.5 km.)
Located in a grove Wat U-Mong ( Tunnel Temple) is a practicing meditation temple. The origins of the temple, which are traced to the 14th century, are obscure. The temple may have been founded by King Mangrai himself to accommodate some forest monks from Sri Lanka.
One legend relates that King Ku Na may have developed the temple in the 1380's to accommodate a celebrated monk called Therachan. The king used to consult the monk on various problems when the monk was in residence at a temple in the old city ( Wat U-Mong Maha Therachan).
On occasions, however, the monk was thought to be a little "eccentric" because he preferred the solitude offered by the forest retreat to the city temples. Records suggest the temple may have become deserted as early as the end of the reign of King Tilokarat (1487). The site only became a monastery again in 1948.
A strong influence on the temple has been the Buddhist philosophy of the late Buddhadhasa Bhikkhu, one of Thailand's most celebrated 20th century monks. His statue stands on an islet in the lake to the south of the chedi. The Venerable favored the natural environment of the forest over human construction. As a result the modest temple buildings are surrounded by trees.
A path from the main entrance leads up past a Buddhist museum. It continues between a kuti and a "spiritual theater" which contains murals depicting Buddhist wisdom. The path then reaches a raised area with walls of brick. Tunnels lead to meditation cells and a venerated Buddha image. Some of the oldest murals in Thailand used to be visible in these tunnels, but they have now disappeared.
The bell shaped chedi above is reached by a stairway. From the chedi walk north above the Tunnels to see a fine Buddha image cast in the ascetic style.
The temple grounds also extend to cover an open zoo on the side of the mountain. The front entrance lies up a short lane on the south side of the temple.
The zoo has an inner fenced area connected to the main temple compound by a small back gate in the west fence. This inner area contains kuti for monks in the classic forest tradition. Tame deer wander the park and the park sanctuary is a good site for bird watching.
City Temples of Chiang Mai
Here are 36 active temples in the old city alone and many more in the greater city area. Should you be casually strolling down a narrow lane and you see a temple not listed here, take the time to walk in and look around, for every temple has something unique to offer. Many have special plaques that give a brief history at each location.
The temple was founded by King Muang Kaew in 1497. The Burmese-style chedi was rebuilt in 1958, and there is a well nearby which supplies holy water for anointing the King. A small Lanna style viharn contains a large brick and stucco Buddha. Though over 300 years old, much that is seen today probably originates from a restoration at the end of the 19th century. The mom - the guardian beasts at the entrance - were made in 1989, however.
The larger viharn (open only in the evening during chanting) goes back about 200 years and contains some mid- 20th century murals that show the Maha Rart in a Burmese style. The carved front door panels were completed in 1983.
The newest structure is the hall ( ho monthian tham) with the pinnacled roof. Abbot Phra Udom Kittimongkol had it built on the spot where an earlier wooden structure used to stand. The building took ten years to complete and was finished in 1996. With its mythical beasts, stucco reliefs, wood carvings and murals, it is a fine demonstration of contemporary religious art.
Inside the hall on the ground floor, murals show the Lanna twelve months' traditions. Local artist Pornchai Jaimon included contemporary scenes in the details when he submitted this work for his degree thesis.
The second floor is heavily decorated and contains two large seated Buddha images. The white image is solid teak and was carved after a vision by King Naresuan in the late 16th century, when he defeated the Burmese forces near Muang Ngai. This vision is depicted in the carved wood panels on the east wall.
This charming "hidden" temple has a compound shaded by some old longan trees. A small but unusual scripture repository decorated with stucco built in 1829 is located to the south of the main entrance to the viharn.
The tall viharn shows an Ayutthaya influence and has a very fine carved wooden gable. The massive wooden doors are dated 1929, but the main building is probably from the 19th century. The inside of the viharn is simple, with crude murals between the windows depicting Buddhist bells.
The small ubosot next to the viharn is even older. According to an inscription at the base of one of the Buddha images in the viharn, the temple was formerly known as Wat Ton Mak Nua and dates back to King Muang Kaew at the beginning of the 16th century.
This temple lies in a quiet compound containing several large trees. The main feature is the unusual chedi, which is shaped like a series of begging bowls stacked on top of each other. The origin of the chedi is a mystery. The name Ku suggests a charnel ground and Tao a round pot shape - thus it may have been built to keep the ashes of a Burmese noble in the late 16th or early 17th century.
The origins of this temple may be traced back to at least the 17th century, making this one of the temples founded during the Burmese occupation. Many of the temple buildings show a b Burmese influence, particularly the viharn by the west wall. This was sponsored by a wealthy Burmese agent acting for teak companies, and was probably constructed in the late 19th century.
The compound also contains a Burmese-style chedi and large wooden scripture library that serves as the abbot's kuti. The small ubosot and large viharn next to it at the eastern end of the compound are typically Lanna.
The viharn was renovated in 1957 and may have been first constructed around 1865.
Bright modern murals may be seen on its walls. Panels on the north wall show the Vessantara Jataka and on the south wall show scenes of the Buddha meditating as he gained enlightenment.
Paintings on the wall behind the main Buddha image show a typical Bo tree with an idyllic scene depicting a state of nature that has long since disappeared from the northern hills.
This is the finest example of a Shan temple in Chiang Mai. Though the Shan - style viharn is quite different from northern styles, the most striking feature is the sunken courtyard. It was built in 1883 by Shans who wished to have a place to practice their forms of Buddhist worship. Decorated gates tilt precariously and numerous statues of mythical beings give the place great charm. An unusual flat-roofed ubosot topped with a chedi has a vaulted interior which contains three Buddha images.
Once part of Wat Chedi Luang, the temple got its name from the "thousand furnaces" that were used to cast the images for the main temple. The large viharn is a rare example of a former ho kham - a royal hall. Originally on stilts and used as a residence by Chao Mahawong (r. 1846 - 54), the building was rebuilt as the viharn in 1876.
Flooding earlier this century damaged the building and concrete was used to replace some of the original structure. Though the central style dominates, the woodcarvings above the door and windows are Lanna. The gable overlooking Phrapokklao Road has fine woodcarvings. A curled sleeping dog beneath the peacock motif probably symbolizes the birth year of the royal sponsor. At the back of the temple compound is an aviary and fish pond.
The gold on red panels of the gable on the viharn are typical of the Lanna style. However, the most distinctive feature of this temple is the round seven stepped chedi with 52 niches, which dates from 1517. Two other chedi in Chiangmai, Chedi Prong and the chedi of Wat Rampoeng, have similar shapes.
Wat Prasat , across Inthawororot Road to the north of Wat Phra Singh, dates back at least to the 16th century. The wooden viharn, which was built in 1823 and renovated in 1987, approaches a classic Lanna style.
The pleasing external form is matched by the artifacts inside the viharn. At the back of the temple the space for the altar is replaced by a highly decorated entrance to a short tunnel leading to the chedi. A number of meter high images with red painted robes sit on the raised pedestal on either side of the entrance. The image closest to the entrance on the north side is bronze (the others are stucco) and is - dated 1590, which was during the period of Burmese rule.
The side walls of the back of the viharn also have murals in red and gold that are thought to date back to the 1820's, making them the same age as the murals in the Viharn Lai Kham in Wat Phra Singh. The decorated wooden pulpit is also worth studying.
The temple's origins go back to the 14th century, but the architecture is late 19th century Burmese. This can clearly be seen with the chedi and the ubosot on the west side of the compound. The viharn with its elaborate carved wooden front is of particular note as it was part of the former hall ( ho kham) of Chao Kawilorot (r.1856 - 1870). His successor, Chao Inthanon ordered it reconstructed for use as the viharn in 1878. The old scripture library west of the chedi was built in 1869.
Like many temples this one looks new, but its origins go back to 1367. The name " Maha Therachan" is said to have come from a renowned monk who was its abbot. Two old Lanna-style chedis are located in the compound.
The viharn contains some modern murals typical of the Rattanakosin style and show the Vessantara Jataka. The story begins above the main door and continues clockwise on the side walls of the viharn.
The small ubosot is guarded by two fierce beasts called mom. The same artist also did the stucco work inside and painted the side walls with bright new murals depicting scenes from the life of the Buddha. The ubosot also has finely carved wooden doors and windows. The entire renovation work to the ubosot was completed in the early 1990's and the whole is a good example of contemporary Lanna temple art.
The current abbot has no objection to women entering the ubosot as long as there are no ceremonies in process.
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