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Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra That Haripunchai was founded in 1044 by King Athitayarat of Haripunchai on the site of Queen Chamathewi's (Chama Thewi or Chamadevi) royal palace. Legend has it that the queen's personal quarters are enclosed in the main 46-metre high Lan Na-style chedi, covered in copper plates and topped by a gold umbrella or plee.<br/><br/> Lamphun was the capital of the small but culturally rich Mon Kingdom of Haripunchai from about 750 AD to the time of its conquest by King Mangrai (the founder of Chiang Mai) in 1281.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
Wat Phra Phutthabat Tak Pha temple is the sight of a revered Buddha footprint. Phra Phutthabat means 'Buddha footprint' and Tak Pha means 'the Buddha's robes' in Thai. It is believed that the Buddha once stopped here and dried his robes hence the name of the temple.
The temple's full name is Wat Benchamabophit Dusitvanaram. It is also known as the marble temple. Construction of the temple began in 1899 at the request of King Chulalongkorn after building his palace nearby. The temple's name literally means the Temple of the fifth King located nearby Dusit Palace. It was designed by Prince Naris, a half-brother of the king, and is built of Italian marble.
The temple's full name is Wat Benchamabophit Dusitvanaram. It is also known as the marble temple. Construction of the temple began in 1899 at the request of King Chulalongkorn after building his palace nearby. The temple's name literally means the Temple of the fifth King located nearby Dusit Palace. It was designed by Prince Naris, a half-brother of the king, and is built of Italian marble.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Si Satchanalai was built between the 13th and 15th centuries and was an integral part of the Sukhothai Kingdom. It was usually administered by family members of the Kings of Sukhothai.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Hang Dong วัด หางดง is a typical example of traditional Lan Na temple architecture. The old viharn at this temple is a little more elaborate than its counterpart at nearby Wat Ton Kwen, but is essentially similar in shape, style and appearance. Also dark and intimate, with a low, sweeping, three-tiered roof, the viharn shelters a collection of Buddha images, at least two of which – to the right and left of the main Buddha image – are distinctively Lao in style and yet somehow strangely primitive.<br/><br/> The old viharn at Wat Hang Dong has now been beautifully restored, and a new ubosot has also been added just a few metres to the northwest. This newer structure follows quite faithfully the traditional Lan Na design (the sum of some windows are perhaps over-elaborate and seem to show significant traces of Burmese influence), but overall the new ubosot at Wat Hang Dong both mirrors and complements the old viharn.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period. The murals display celestial beings.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period. The murals display celestial beings.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period. The murals display celestial beings.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Wat Yai Suwannaram dates from the 17th century Ayutthaya period.
Phra Nakhon Khiri is a historical park located on a hill overlooking Phetchaburi town. The name Phra Nakhon Khiri means Holy City Hill, but locals know it better as Khao Wang, meaning hill with palace. The whole complex was built as a summer palace by King Mongkut, with construction finished in 1860.
Phra Nakhon Khiri is a historical park located on a hill overlooking Phetchaburi town. The name Phra Nakhon Khiri means Holy City Hill, but locals know it better as Khao Wang, meaning hill with palace. The whole complex was built as a summer palace by King Mongkut, with construction finished in 1860.
Phra Nakhon Khiri is a historical park located on a hill overlooking Phetchaburi town. The name Phra Nakhon Khiri means Holy City Hill, but locals know it better as Khao Wang, meaning hill with palace. The whole complex was built as a summer palace by King Mongkut, with construction finished in 1860.
Wat Kalayanimit, next to the Chao Phraya River, in Thonburi was built in 1825 by Chaophraya Nikonbodin, who then donated the temple to Rama III (King Jessadabodindra) of the Chakri Dynasty.
Wat Kalayanimit, next to the Chao Phraya River, in Thonburi was built in 1825 by Chaophraya Nikonbodin, who then donated the temple to Rama III (King Jessadabodindra) of the Chakri Dynasty.