Stylistic Origins and Iconography of the Phytomorphic Motifs at the Wat Chang Rob Chedi, Kamphaeng Phet

Abstract

The floral motifs found in Kamphaeng Phet are frequently integrated with other common patterns, a practice that is presumed to have been popular during the period. A particularly prevalent design is a double-layered circular flower accompanied by small, pointed leaves, which has been found in conjunction with lotus petal motifs (lai klib bua) and board-like frieze patterns (lai na kradan). An example of this can be seen in the floral patterns adorning the stucco ornaments of the caparisoned elephants at the chedi of Wat Chang Rob. Studies indicate a connection to the religious beliefs underlying the construction of the Wat Chang Rob chedi, which was influenced by Buddhist philosophy from India that permeated the art of the Lanna kingdom. Such floral motifs were exceptionally popular in Lanna art and are linked stylistically to Sri Lankan ideals. Furthermore, it is argued that the decorative motifs on the main chedi of Wat Chang Rob, beyond their aesthetic value, possess a deeper iconographic significance related to Buddhism.          A research study titled, "An Analytical and Hypothetical Study of the Origin and Form of the Floral Motifs on the Chedi of Wat Chang Rob, Kamphaeng Phet Province," aimed to:
1) investigate the formal origins of these floral motifs, and 2) analyze and hypothesize their stylistic forms. The study found that the patterns situated between the stucco elephants should not be classified as conventional floral motifs, as their artistic composition lacks the essential identity and characteristics of such patterns. Instead, they represent uniquely created Floral designs. The research concludes that these motifs on the Wat Chang Rob chedi were likely specific creations inspired by two trees of major significance in Buddhist belief: 1) the Banyan tree (Ficus benghalensis or Nigrodha) and 2) the Sal tree of Lanka (Shorea robusta).