Phra Suem Kao, large type, with intricate floral patterns, made of yellow clay, from Wat Pikul, Lan Thung Setthi, Kamphaeng Phet Province

The large type Phra Suem Kao with intricate floral patterns from Lan Thung Setthi in Kamphaeng Phet is a piece created by many temples. Notable temples include Wat Borom That, Wat Pikul, Wat Rusi, and Wat Suem Kao, among others. Each temple has its own version of Phra Suem Kao, featuring similar characteristics in both the figure and floral patterns, though the size and details of the Buddhist art may vary.

This particular large-type Phra Suem Kao with floral patterns was excavated from Wat Pikul. The artistic features of this figure are slightly narrower than those from Wat Borom That, giving the statue a taller appearance. It is made of yellow clay with numerous red tamarind seed minerals, which is considered a unique characteristic of this piece.

The artistic details are exceptionally complete. The edge of the arch surrounding the figure is wide on the right side and gradually narrows toward the upper arch, and then becomes slender on the left side. This is a significant characteristic of the mold for all large-type Phra Suem Kao with floral patterns from every temple.

The floral patterns are very clear. The main figure is robust and sharply defined, with a distinct halo surrounding the head. The head is round and prominent, with a slightly scattered facial frame. The hair is styled with a large base. Both eyes are small and round, which is characteristic of the art from Wat Pikul.

The nose has a curved ridge, and the lips are slightly parted, giving it a plump appearance.

The robe has deep folds, slanting from the left shoulder down to the right armpit. The Sanghati line is prominently raised, extending from the left shoulder down to the abdomen, above the slightly overlapping palms. Both arms are robust, with deep recesses in the armpit area, often referred to as “deep as a gorge” on both sides.

The right foot is raised high, while the left foot is tucked beneath the lap, resting on a lotus base. The tip of the lotus base on the right side slopes back, which is an important characteristic of the art.

The curved edge of the upper arch protrudes slightly forward, and the edge of the right base is slightly twisted, giving the art a subtle distortion. If one does not pay attention to the fluidity of the upper and lower parts, the statue may appear stiff, resembling a newly carved figure.

The back is smooth, with a slightly contracted surface, featuring abundant white flower minerals across the entire back. There are traces of burial clay adhering to both the front and back of the mold.

I would like to thank the owner of this large-type Phra Suem Kao with floral patterns, Mr. Thanatat Thongniam, for generously bringing this Phra Suem Kao for me to see and for providing images for knowledge exchange on this page.

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