Thai language introduction
Learn more about Wat Bowon's fascinating history through a virtual tour which will take you past the intricate Main Gateway, Sala Dang and The Pra Prang.
This
tour also passes through the The Uposatha Hall which
houses several national treasures, not to mention Wat Bowon's unique murals.
Then see the The Buddha Footprint and the most impressive
Great Cetiya. 
Learn about the other parts of Wat Bowon, including the history behind the Tipitaka & Karnparien Hall, Luang Paw Dam, Vihara Geng & Vihara Pra Sasada.
Understand the meaning behind the The Bodhi Tree, a symbol of inspiration from the Buddha's time, common in Buddhist monastaries.
Last but not least, read about the special meaning of the Pra Tamnak Panya Building.
The Thai language is a very interesting medium, not only does it have a large number of Pali and Sanskrit words, which support Buddhist concepts, beliefs and themes, it also has a special vocabulary known as Rajasap, or special words for actions, articles, etc., used by the Royal Family and Buddhist Sangha. This is evident with the word "Pra Tamnak", a residence occupied by a senior member of the royal family, and "Tamnak" for a Buddhist Prelate - though there are some exceptions with the latter. [Please note that the honorific Thai word "Phra" [Pali: Vara - Excellent], is spelled throughout this document as 'Pra'. Those who are unfamiliar with Thai transliteration often mistake the Thai 'Ph' as the English phonetic 'F'.]
Wat Bowonniwet Vihara is a Royal Buddhist
monastery of the Dhammayut tradition, located on the northeast side of Bangkok’s
Ratanakosin island, just inside the ancient wall bordering Banglumpoo canal,
on Pra Sumeru road. The monastery’s name comes from the Pali language, Pavara+niwesa,
and translates as Temple of the Excellent Abode.
Wat Bowonniwet Vihara, or Wat Bowon
for short, has a long and dazzling history beginning with the arrival of the
first abbot, H.R.H. Prince Mongkut, in 1836. The prince bhikkhu, also known
by his ordained name, Vajiranyana, was ordained for twenty-seven years and
abbot of this monastery for fourteen before he left the Order, on the death
of his brother, the third king, and ascended the throne as King Rama IV. There
have been six abbots from the beginning to the present, three of whom have
been Supreme Patriarchs. The former abbots after King Mongkut were: Somdet
Pra Maha Samana Chao Krom Phraya Pavares Variyalongkorn, the second abbot
from 1851 - 1892; H.H. Somdet Pra Maha Samana Chao Krom Phraya Vajiranyanavarorassa,
the third abbot from 1892 - 1921; H.H. Somdet Pra Sangharaj Chao Krom Luang
Vajiranyanavongse, the fourth abbot from 1921 - 1958; Ven. Pra Prommuni, the
fifth abbot from 1958 - 1961; and H.H. Somdet Pra Nyanasamvara, the sixth
and present abbot from 1961 - 
Before the arrival of Venerable Vajiranyana, the land presently occupied by Wat Bowonniwet was actually two different monasteries separated by a canal -- Wat Mai to the west and Wat Rangsee Suddhawas to the east. As Wat Mai was abbot-less at the time, H.M. the third king requested the prince bhikkhu to assume the position. Later, during the reign of the sixth king, the two monasteries were incorporated into one resulting in the temple’s present dimensions.
The Temple Precincts
Buddhist monasteries are usually divided into two sections: Buddhavasa - buildings and structures devoted to the Buddha such as the Uposatha hall, the Cetiya or Stupa, etc., and Sanghavasa - or dwellings for monks [bhikkhus] and novices [samaneras].
Buddhaavaasa - 
This gate, known as Siew Kgang in Thai, is located directly in front of the Uposatha hall on Pra Sumeru Road. The gate is only open on lunar observance days which would be once a week, or days of special events such as the Royal Kathina day. The door’s design is that of the door-guardians riding on the back of a myological animals; is finished in gold-leaf and colored glass inlay. There are actually two sets of doors, one set with the guardian facing the road and the other facing the inside of the monastery.
[The Red Pavilions]
Immediately after entering through the main gateway one sees two large red wooden pavilions, one to the right, one to the left. In the early days these were used during royal cremations, which took place outside of what is now the western wall, to seat members of the royal family and their court. In 1909, H.M. King Chulalongkorn graciously granted permission to H.H. Somdet Pra Maha Samana Chao Krom Praya Vajiranyanavarorasa, the third abbot, to move the two pavilions into the Wat and to their present positions. Today, if there is a special event at the Uposatha hall, these pavilions can be used for a variety of reasons, such as seating guests and a place where a meal may be offered to the community of monks.
To the left and right of the stairs leading to the main entrance of the Uposatha hall, on the east and west side of the small wall, are two structures topped with something that looks similar to a prang; a big one in the middle and four smaller ones at the corners. In earlier years these were small bell towers but, in 1912, H.H. Somdet Pra Maha Samana Chao Krom Praya Vajiranyanavarorasa had the towers renovated and converted into archways where Buddha images might be enshrined. The prang on the left has a beautiful standing Buddha from the Dvaravadi period in it’s front niche, while the niche in back contains a seated Buddha being sheltered by the Naga king, from the Lop buri period [Khmer].The cremains of Pra Prommuni (Pin Suvaco), the fifth abbot, are interred here. The Prang to the west contains a Javanese Buddha from Burobudur, known as Vairojana in Northern Buddhism, brought back to Thailand by H.M. King Rama V after a State visit there in 1896.
The chapel, or Uposatha hall, is the
most important building in the temple, this is where ordinations and other
official acts of the Order take place as well as housing one of Thailand’s
most famous Buddha images - Pra Buddha Jinasiha - a Buddha image from the
Sukhothai period. Also to be found inside this hall are the distinctive and
unique murals painted by well known Thai painter, In Kong, during King Mongkut’s
time. Unfortunately, time and moisture have taken their toll and some of the
murals have had to undergo a process which includes lifting off whole sections
of painted plaster, affixing these to plastic plates and then reattaching
them to their former positions.
In front of the Pra Buddha Jinasiha we see the likenesses of the three former prince abbots of this monastery. From left to right they are: Somdet Pra Sangharaj Chao Kroma Luang Vajiranyanavongse; Somdet Krom Praya Pavares Variyalongkorn and Somdet Pra Maha Samana Chao Vajiranyanavarorasa. The two later images were ordered cast by King Vajiravudh [King Rama VI] in 1916 and 1919 respectively, and were installed here simultaneously in 1921. The image of Somdet Pra Sangharaj Chao was ordered cast by H.M. the present king.
Between the Uposatha hall and the western wall, in a smallish portico-type building is a recreation of the Buddha’s footprint. The purpose of the "footprint" is to show the characteristics of the Buddha’s physical attributes, known as "Maha purisa lakkhana" in the Pali language, as well as other supra-mundane aspects of Dhamma practice.
This ancient stone was brought from Chainat province by the then deputy king, Somdet Pra Bovoraraj Chao Mahasakdi-polsep and kept in Wat Bowonsathan-sutthavas in the Front Palace. In 1909, the footprint was moved to its present position in Wat Bowon.
Directly behind the Uposatha Hall is the golden cetiya [Thai: Chedee]. Cetiyas are shrines to the Buddha, or distinguished disciples, and usually contain relics or other venerated objects, therefore, the cetiya along with the Uposatha hall forms the most sacred part of the monastery. The cetiya of Wat Bowonniwet was built in a similar style to that of the Pathom Chedee or Great Pagoda of Nakorn Pathom Province. It is comparatively large for a city monastery, measuring over fifty meters high. Originally the structure was covered with ordinary plaster but with renovations in 1964 this was resurfaced with gold mosaic tiles, giving the cetiya a massive and shining appearance.
The elevated base, supporting a lower and higher terrace upon which the cetiya is situated, is decorated with lotus ponds and Chinese statuary also brought from the Front Palace. There are four Chinese style structures at each of the four corners wherein bas-relief panels relate the story of Huien-Tsang, the Chinese monk-pilgrim to South & Southeast Asia. The locals are familiar with this story under the name Pra Tang Sam Jung.
The first terrace is accessed by two sets of stairs, either from the east or west side. On the upper terrace, housed within an archway facing east, is a bronze statue of King Rama IV [King Mongkut]. At the four corners of this terrace are structures known as Pra Prang, each housing an image of the Buddha; two facing east and two west. There are four doorways by which one may enter within the large bell-shaped structure, each facing a cardinal direction. Inside there is a small vault containing a smaller chedi in which the actual relics of the Buddha have been enshrined. This inner vault is open to the public only once a year on the night of entering rains retreat which is the day after Asalha Puja. If you are fortunate enough to get in, notice the very fine and elaborate craftsmanship of the smaller chedi with gold plated exterior and square stone base on which are carved the four most important scenes of the Buddha’s life - His Birth, Enlightenment, First Sermon and Final Passing—along with the Buddha’s words on those most important occasions.
Also found in an elaborate niche on the upper terrace, facing the cetiya is the well known Buddha image, Pra Pairee Pinas [enemies vanquished]. This image of the Srivijaya period, was given to the prince bhikkhu by an unknown layman, circa 1848, at a time when the bhikkhu was experiencing problems from influential persons bent on ruining him and the new Order. Shortly after this image arrived, the princes’ antagonists were caught up in their own plot and punished by the sovereign. This is how the image got its name.
Luang Paw Dam, Vihara Geng & Vihara Pra Sasada
Leaving the Cetiya precincts and going further south you will arrive at a group of buildings built in a Chinese/Thai style, on a raised base. Directly on your right [assuming you used the route as per the instructions above] is a beautiful golden Buddha with the official name of Pra Dighayumongol but known amongst the laity as Luang Paw Dam, housed in a portico-like edifice. "Dam" means black in Thai and this image was black until it was gilded some years ago. The cremains of H.H. Somdet Pra Sangharaj Chao Krom Luang Vajiranyanavongse are interred under this Buddha image.
Directly behind this Buddha image is the Vihara Geng which houses three Buddha images, all cast for a particular royal abbot. For example, there is Pra Buddha Vajiranyana, where a portion of King Mongkut’s ahes are interred in the base, Pra Buddha Panna-agga for Prince Pavares and Pra Buddha Manussanaga for Prince Vajiranyanavarorasa.
Next door, to the south, is another equally important building called Vihara Pra Sasada. The building has two rooms and gets it’s name from the famous Buddha image inside. Pra Sasada, placed in the front room facing east, was cast in the same period as the Pra Buddhajinasiha, which is the principle Buddha image of Wat Bowonniwet, and comes from the same monastery, Wat Maha Dhatu, in Phitsanuloke province. Situated in front of the Pra Sasada is a beautiful seated Buddha from the Dvaravadi period, made of green stone. The smaller room to the back hosts the equally beautiful Pra Saiya, or reclining Buddha image.
Between the Vihara Sasada and the western
gate is the temple’s Bodhi tree and the surrounding "house" or Boddhagara.
Most all Buddhist monasteries have a Bodhi tree within it’s precincts, which
symbolizes the Buddha’s successful struggle for Spiritual Awakening. When
I first arrived at the monastery, the original tree - germinated from seeds
by King Mongkut, which were in turn brought from Bodh Gaya, India - was still
standing. However, shortly after the surrounding structure was completed the
tree died and in 1982, H.M. King Bhumibol Adulyadej, planted a new sapling.
There is another Bodhi tree, brought from India as a sapling, planted by H.H.
Somdet Pra Pavares situated between the Hall of Plates and the Wat’s museum.
The worship of the Bodhi tree is related in the KALINGA-BODHI-JATAKA
After the Buddha had left on a particular journey for the benefit of those who might understand the Dhamma, the citizens of Savatthi proceeded to Jetavana Vihara, their hands full of garlands and sweet smelling offerings. Not finding the Buddha in residence they laid their offerings to one side in front of the Buddha's dwelling and departed. When the Buddha returned to Jetavana, Venerable Ananda related the above and made an inquiry as to how many shrines there are, and what is a suitable place to leave such offerings in the Buddha's absence. The Buddha, speaking to Venerable Ananda said, 'Ananda, there are three types of shrines - shrines for a relic of the body [Dhatu-cetiya], a relic used or worn [Paribhoga-cetiya], a relic of memorial [Uddesika-cetiya]. The Dhatu-cetiya can only be made after the Buddha's passing into Maha Parinibbana. The Buddha then said: '…the great Bodhi tree used by the Buddhas is fit for a shrine, be they alive or be they dead.'
Just a few feet east of the Cetiya is the "Haw Trai" or Tipitaka Hall. Many of the palm -leaf scriptures are stored here in beautiful, old tipitaka cases. Unfortunately, these priceless texts have not been cared for properly; some have been lost, while others are showing signs of deterioration. However, efforts are being made at salvaging the palm-leaves and photocopying them, possibly for future projects. The murals found inside this building as well as the ornate cornice command attention. The building directly opposite, on the other side of the Maha Cetiya, is the "Sala Karnparien" a building often used by bhikkhus in the Reigns of Kings Rama III, IV and V for giving sermons and other functions. The present abbot used this building for teaching new monks before the construction of more modern facilities. This structure is now used for storage.
Pra Tamnak Panya - This building is
the most historically impressive edifice in Wat Bowonniwet, as it is the oldest.
Pra Tamnak Panya, built in the Grand Palace during the second king's reign,
was relocated to Wat 
Bowonniwet
on the royal order of King Rama III, to serve as living quarters for Venerable
Vajiranyana bhikkhu [Prince Mongkut], after the move from Wat Samorai. The
prince bhikkhu remained in this building until he left the Sangha and ascended
the throne as the Forth King. Since then, Pra Tamnak Panya has been the residence
of many 'Celestial Princes' and future kings, including Rama VI and VII.
The three storied brick and stucco
dwelling enlists Thai, European and Chinese
styles. The highly adorned gable facing the north hosts the royal emblem of
the Fourth King: the Victory Crown flanked by two five-tiered umbrellas.
Pra Tamnak Chan - Pra Tamnak Chan was built by King Chulalongkorn in memory of his daughter, Princess Chantra-saratvarn Kromakhun Pijit-jesachan. Previously, this building was the residence of Somdet Pra Maha Somana Chao Krom Praya Pavaresvariylongkorn. However, upon his death the building was renovated and enlarged by King Chulalongkorn for Somdet Pra Maha Somana Chao Krom Praya Vajiranyanavarorasa, or the Third abbot. Pra Tamnak Pet was a later addition by King Rama VI as an audience hall, or 'Tong Pra Rong', for the Buddhist Prelate. [See: Pra Tamnak Pet]
Plap
pla suriyendra
Pra Tamnak Pet - Just north of Pra
Tamnak Chan is Pra Tamnak Pet or the Diamond Tamnak. King Rama VI commissioned
this hall in 1914 for his uncle and preceptor, Somdet Pra Maha Somana Chao
Krom Praya Vajiranyanavarorasa, the third abbot. The Vajira emblem, the sixth
king's royal symbol, located above the main entrance, attests to the royal
donation. The intricate artistic detail given this building makes it one of
the most visually pleasing in the Wat. The interior of this building is no
less impressive, high ceilings, richly adorned in a style reminiscent of the
renaissance. The tall doors, window cornices and chandeliers are a unique
blend of Thai and European décor, coming together in perfect balance. In the
past
,
this building has been used for many purposes including housing funeral rites
for several Supreme Patriarchs, but mostly it is the present site of the thrice
monthly, Supreme Sangha Council Meeting or "Maha Thera Samagom".
Pra Tamnak Lang - Located between Gana Tamnak and Gana Soong, is another impressive residence used by Somdet Pra Maha Somana Chao Krom Praya Vajiranyanavarorasa before he became abbot, and was built for him by his brother, King Chulalongkorn. After the Somdet became abbot he allowed his former residence to be used as a school for monks and novices. Since then, this building has had many functions, including housing the Training Institute for Bhikkhus going Abroad, but now serves as a meeting hall, as well as the head quarters of the Gana Dhammayut sect.
Pra
Tamnak Lang
"Of all paths, the Eight-fold Path is
the best; of all truths, the Four Noble Truths are the best; of all states
freedom from desire is the best; and of all men, the Man of Vision (The Buddha)
is best".
-The Path (Magga Vagga)
