Nan: Cultural walks in a discreet northern town

The notorious temples in Nan

Thailand is known for its many temples of all kinds, and Nan is no exception. Obviously, the goal is never to see all the temples: there are simply too many (dozens in the city center alone), and the repetition would put off many visitors.

As with every destination, the goal is to target the most interesting ones, because even though we tend to see temples every day, the architecture, styles and particularities specific to each one are such that I never get tired of them (well, and I also have to give you a rundown).

Even though many buildings in Nan are old, with structures dating from the 15th to the 19th centuries for the most recent renovations, I'm going to focus mainly on those that deserve more than just a glance. Those I won't describe in detail here are sometimes photogenic, like the Wat Hua Khuang and its beautiful library of writings (ho trai).

Others are more anecdotal, such as the Wat Suan Tandating from the 14th century, which one would pass by at sunset.

Downtown

Wat phumin

We naturally began with the temple which, over time, has become the true showcase site of Nan. It is not the oldest temple, however, but rather the exquisite detail of the murals it houses that attracts visitors.

It was all the more a pleasure to return because, during my first visit, we had to deal with the frustration — always a bit random when travelling — of a site then largely covered with scaffolding, in the middle of exterior renovation.

We went there that morning by bicycle, lent by our guesthouse, in less than ten minutes. The temple, still active, does not currently charge an entrance fee, but as is often the case, a donation is welcome.

We opted to buy a small bouquet of flowers, placed inside in the baskets provided, where other visitors had done the same before us.

Wat Phumin was founded in 1596 by the ruler of Nan at the time, Chao Chetbut Phrommin, from which the name of the current temple is directly derived. In 1704, it suffered the wrath of the Burmese army, like the rest of the city, which was then very heavily damaged.

The temple was not restored until between 1867 and 1875, the period to which the paintings that make it famous today date.

Created by artists of the Thai Lü (or Tai Lue) ethnic group, present in the region, the ubosot frescoes include the now-famous painting called Pu Man Ya Man, or "the whispering couple". Although some facades have suffered from humidity linked to successive floods, the paintings that are still clearly visible remain particularly colorful.

The whole thing forms a kind of giant book, mixing scenes of daily life from the late 19th century, representations of the life of Buddha and the mythology surrounding him, but also lighter images of local fauna and flora.

At the center sits a quartet of Buddha statues, another distinctive feature of Wat Phumin. Unlike the classic rectangular plan with a single altar at the back, the ubosot here adopts a cruciform shape: each of the four entrances to the building therefore faces a statue.

Outside, the temple is also distinguished by the presence of the naga, the mythological serpent inseparable from Theravada Buddhist temples and guardian of sacred places, but with a architectural subtlety unique to Wat Phumin — or even two. The naga is only present on the north-south axis, with its head in the north and its tail in the south.

The structure is designed to suggest that the serpent supports the temple on its back. Another distinctive feature is the presence of an arch beneath the naga.

Passing underneath symbolically marks the passage from the profane space to the sacred enclosure of the temple, placed under the benevolent protection of this mythical guardian, closely linked to water and purification.

Besides the ubosot, the temple also houses an unusual igloo-like structure — a circular building that can also be seen at Baan Dam Museum à Chiang Rai — and which presents a scene illustrating the Buddhist vision of hell.

Finally, as with any tourist site in Nan, it's not uncommon to encounter street vendors or waiting rickshaws around the temple. This mode of transport still exists in the city, where tuk-tuks are virtually nonexistent.

Note: The Tourist Information Center is located directly opposite Wat Phumin.

From there, you have access to a tram system with an unbeatable fare (30 baht). The trams make a large loop around the city's main temples twice in the morning, then a smaller loop twice in the afternoon. To avoid the timetable constraints, it's possible to charter a tram (1,000 baht).

Wat Phra That Chang Kham Worawihan

Almost directly opposite is this temple with the long name, sometimes shortened to Wat Chang Kham, in reference to the elephant sculptures that support its chedi (the translation of "Chang Kham").

It is, in fact, the centerpiece of this temple, older than its neighbor. Built in 1406, it is the oldest structure on the site, and one of the oldest in Nan.

But when you enter the temple grounds, the first thing you notice is... viharn which appears at the end of the path, which that day was decorated with rows of parasols and colorful lanterns.

The exterior is in very good condition and displays a Lanna style, recognizable among other things by its shimmering colors, decorated columns and the presence of guardian lions (singha) at the entrance.

Inside, the weight of the years is more pronounced. On the facades, old 19th-century frescoes are still partially visible, but many were covered with lime during renovations carried out in the last century.

The main image is a large, seated Buddha statue in the Lanna style, named Phra Chao LuangOn either side, more discreet because they are much smaller, are two old standing Buddha statues in the Sukhothai style, cast in 1426. Behind this group, the mural paintings can still be seen.

Beside the viharn There is another large building. If you are already familiar with Thai temples, you could easily imagine it to be theubosot Seen from the outside. Except no… it turns out to be the largest ho trai from Thailand.

Le ho trai is usually the temple's religious library, which houses what is called the TripitakaThe scriptures containing the teachings of the Buddha. Although it no longer serves as a library, the interior of the building betrays its former function through its unusual narrowness.

Rather than leaving an empty room, it now houses a row of display cases holding 12 miniature chedis. According to a Northern Thai tradition, 12 major chedis are associated with the 12 signs of the lunar zodiac.

Worshippers traditionally visit the chedi corresponding to their birth year to make offerings and accumulate merit. Here, they can simply make an offering using the collection box located under each display stand.

Getting back to the chedi, which we'll take a closer look at behind the viharnIt blends Sukhothai styles (hello elephants all around) and Lanna. Its summit is covered with golden plates, shining brightly under this beautiful sunny day we were enjoying.

More discreetly, at the rear, at the foot of its square base, is a small prayer room containing a Buddha surrounded by two novices.

Finally, slightly set apart behind the main structure, we find the last room one usually encounters in a temple: a small ubosot, whose facade is richly decorated at the level of the pediment.

Just like Wat Phumin, I returned to this same temple the following morning, when it was completely empty and quiet. The vibe was completely different, more serene, and I appreciated the details inside the viharn much more.

Wat Ming Mueang

Located 300m from Wat Phumin, you have the Wat Ming MueangOf more recent construction, 1857 to be exact, its location is not a coincidence since it is situated on the site of the old city pillar of Nan and thus acts as a sanctuary for the city pillar (City Pillar Shrine).

The latter is sheltered under a structure open on the sides, placed in front of the temple's ubosot. White predominates and, with the sculptures and bas-reliefs covering the buildings, the whole has a slightly... Wat rong khun from Chiang Rai (well, quickly, of course).

The sacred pillar (responsible for protecting the city from catastrophes), 3 meters high, has a carved wooden base, adorned with lacquered motifs and gilded with fine gold.

Its most distinctive feature is its summit sculpted with the effigy of Brahma, the creator god and central figure of Hinduism, often represented — as here — with four faces (each having a name: Metta, Karuna, Mutita and Ubekkha).

The ubosot is more recent, having replaced the old one in 1984. The hall's exterior walls are adorned with plaster sculptures classically illustrating the life of the Buddha, with a twist… because behind them, one can also recognize a good old dinosaur, for reasons unknown to me, except perhaps a whimsical touch by the artisans. Chiang Saen who worked on this temple.

Inside, brightly colored murals depict the way of life of Nan's former inhabitants. Not a must-see in Nan, but it has its charm.

On the outskirts of Nan

Wat phra that khao noi

Located on a small hill just 1 km from the centre, the Wat phra that khao noi is the spot to dominate Nan! Besides, its name isn't very popular since that simply means "sacred relic" and khao noi, small hill.

This is a typical example of a temple where people don't come specifically for the building itself, but to enjoy its commanding location. It's from here that you can get a souvenir photo of Nan, with a large, Sukhothai-style walking Buddha statue standing on a circular pedestal, overlooking the valley.

As a side note, we went there in the evening with Jitima, at the end of our day of sightseeing together; the next day, she had to go back to Bangkok for work. And even though Nan is small, as is often the case in Thailand, there is an airport, whose runway can be seen from the hill of Wat Phra That Khao Noi.

Since I had to get up anyway to drop her off, I went to the temple early in the morning to see what it looks like here with morning light, but also to say "hello", waiting for Jitima's departure time to see his plane take off, passing in front of the famous statue overlooking the city.

In practical terms, the site includes a large white chedi dating from the late 15th century, blending Burmese and Lanna styles. Major renovations took place between 1906 and 1911, when theubosot The T-shaped structure that is now in front of the chedi has been added.

Even before reading the information while doing my research to write this article, I could have guessed the hand of the Burmese artisans who participated in this construction, as the statue preserved inside betrays its origins.

Alternatively, as is often the case for this type of temple in Thailand, you can also go there directly by the road leading to the top, but if you prefer the "spiritual" version, there are stairs at the foot of the hill which lead next to the platform with the standing Buddha.

Wat Phra That Chae Haeng

I am making a big time jump for this temple, since I visited it with my parents about ten years ago… Also located on a small hill, it is opposite the previous temple, 2 km southeast of the city exit.

Founded in 1355, it is considered the most important in the city. You can almost guess this upon arrival, since a wide avenue lined with naga trees leads to the terrace located in front of the heart of the monastery.

Even before entering the cloister, in the center of which stands the old chedi, several buildings comprising the temple complex are located outside the fortified enclosure. There, one can see a white chedi, which I believe to be in the Burmese style. On the left side is a rather unassuming building, housing a beautiful reclining golden Buddha.

In front of the cloister stands a beautiful bodhi tree and a small ubosot. There is a second ubosot, modern but charming thanks to its two-tiered roof and wooden gable.

The courtyard where the chedi is located includes a large Thai Lü-style viharn, guarded by two white lions. Unfortunately, it was under renovation at the time, so its roof was covered with corrugated iron sheets.

Inside, we saw numerous miniature Buddha statues that had been set aside; these are normally arranged all around the hall, between the top of the walls and the roof. Also in the courtyard is a mondop, with a cruciform roof and open spaces on the sides.

In the center are several statues and a figurative "imprint" of Buddha. The chedi itself rises to a height of 55 meters and is entirely covered in gilded plates. Its current appearance, resting on a square base, is the result of a reconstruction built over the original, dated 1610. It houses a relic of the Buddha as well as votive tablets made of silver and gold.

When we visited, it was a few days before Songkran, a school holiday period, so there were quite a few people.