The Sacred Aesthetic of Faith at the Heart of the City of Phitsanulok
Travel like the wind — Suchart Choolee
In the heartland of the City of Mueang SongKhwae—Phitsanulok, a former major capital and the birthplace of King Naresuan the Great—is enshrined a Buddha image acclaimed as the pinnacle of Siamese Buddhist art: “Phra Phutthachinnarat.” This sacred statue is not only a paragon of perfect Buddhist characteristics but also serves as a spiritual anchor and a reflection of the Thai kingdom’s prosperity through the centuries.
Phra Phutthachinnarat is magnificently enshrined within the main vihara (sanctuary hall) of Wat Phra Si Rattana Mahathat Woramahawihan. Its distinct Buddhist characteristics are classified under the Sukhothai art style, specifically the “Phra Phutthachinnarat School,” which possesses its own unique features. These include a full, serene face; a tall, flame-like halo (ketumala) that radiates, reflecting His supreme wisdom; and distinct, shell-like hair curls. The torso is full and robust, draped in a sanghati (outer robe) that extends to the navel, its end notched in a distinctive “centipede’s fang” pattern, a true hallmark of the Phitsanulok school of artisans. The most significant feature where the four fingers of the hand are of equal length—a rare characteristic not commonly found in other Buddha image categories. All these elements blend harmoniously, creating an aura of tranquil beauty and profound compassion.
The statue’s splendor is further enhanced by an exquisite, gilded and carved teakwood arch (sum ruean kaeo) that frames the image from behind, amplifying its grandeur and sanctity. Flanking the statue on the left and right are sculptures of Alavaka Yaksa and Thao Vessavana, standing guard in a gesture of reverence. These figures are believed to have been added during the Ayutthaya period to augment the statue’s spiritual power (barami) and awesome presence, in line with the beliefs of that era.
The history of Phra Phutthachinnarat’s creation is a subject of academic debate and fascination. Prince Damrong Rajanubhab, analyzing its artistic style and historical evidence from the Northern Chronicles, postulated that the image was created during the reign of King Mahathammaracha I (Phaya Lithai) of the Sukhothai Kingdom, around 1357 CE. This monarch is the same figure referred to as “Phra Chao Si Thamma Traipidok” in the chronicles. Although some contemporary scholars, such as Pichaya Soomjinda, have suggested a later creation, possibly in the late Ayutthaya period, based on the style of the ornamental arch, the hypothesis of Prince Damrong remains the most widely accepted.
Therefore, Phra Phutthachinnarat is not merely a priceless artistic treasure; it is a symbol of the nation’s stability, a focal point of faith for Buddhists, and a testament to the historical and cultural glory of Phitsanulok and the Thai nation. The image’s timeless beauty continues to radiate sanctity—a sacred aesthetic of faith that will forever grace the City of Mueang Song Khwaeand Thailand.
References
- Fine Arts Department. (2006). Important Buddha Images of Thailand.
- Prince Damrong Rajanubhab. (3rd ed.). Nithan Borankhadi (Tales from Archaeology).
- Tourism Authority of Thailand (TAT). Guide to Tourist Attractions in Phitsanulok Province.
- Pichaya Soomjinda. (2017). “A Study of the Phra Phutthachinnarat School of Buddha Images.” Journal of Fine Arts, Silpakorn University.
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