Wat Sangkhatan

Originally known as Wat Sarikho, the temple is believed to date from the late Ayutthaya period, with surviving architectural and artistic evidence reflecting the Sri Lankan-influenced Buddhist tradition that had shaped Thai Buddhism since the Sukhothai era. After falling into a long period of abandonment, it was revived in the 20th century under Luang Pho Sanong Katapunyo, who developed it as a centre for Buddhist practice and meditation. The temple belongs to the Maha Nikaya order and is particularly associated with the practice of meditation, mindfulness and simple forest-style Buddhist living. Its name, Sangkhatan, is linked to the tradition of making offerings to the monastic community, reflecting the temple's continuing role in merit-making and lay–monastic relations.

 

The complex has a distinctive forest-temple atmosphere, with mature trees, shaded paths and numerous small religious structures distributed throughout the grounds. Its principal landmark is the Glass Ubosot, an unusual octagonal, two-storey structure containing the revered Luang Pho To, the principal Buddha image depicted in the Mara-Vijaya posture. Visitors can also see meditation areas, monk residences, Buddha images and devotional spaces set among the gardens. The combination of a historic sacred image, contemporary glass architecture and a tranquil forest environment gives the venue a particularly strong emphasis on meditation and contemplative Buddhist practice.

 

Wat Prasat

Regarded as one of the oldest temples in Nonthaburi, the temple dates to the late Ayutthaya period, with its construction commonly associated with the reign of King Narai the Great, although historical sources differ on its precise date. It represents the traditional Theravāda Buddhist temple of the Central Plains while also reflecting the artistic interaction between Thai, Mon and Ayutthaya traditions that characterised the region. 

 

The principal attraction is the exceptionally well-preserved Maha-Ud ordination hall, notable for its almost completely enclosed walls and lack of conventional windows. Its interior contains ancient late-Ayutthaya murals, regarded among the oldest surviving Buddhist mural paintings in Nonthaburi. The paintings illustrate the Ten Great Jataka Tales (Mahanipata Jataka), depicting stories of the Buddha’s previous lives, together with images of the Past Buddhas and celestial beings (Thepphanom). Surviving scenes include the Sama Jataka, Nimi Jataka, Mahosadha Jataka, Bhuridatta Jataka, Vidhura-Pandita Jataka and Vessantara Jataka. 

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A particularly distinctive feature is the garden’s Naga-themed cave landscape, designed with artificial rock formations resembling a natural cave, including stalactites and stalagmites, with Naga figures and sacred images incorporated into the setting. Waterfalls, streams, lush vegetation and atmospheric lighting add to the immersive quality of the space, while the Naga imagery reflects the important place of Naga symbolism in Thai Buddhist popular devotion, particularly its associations with water, protection and sacred spaces

 

Wat Chalo

Dating back to the Ayutthaya period, the temple reflects the long relationship between Buddhism and the waterways of the Central Plains. Its location within Nonthaburi’s historic river-and-canal landscape illustrates how Buddhist communities traditionally developed alongside waterways that served as routes for transportation, agriculture, settlement and trade. As a Theravāda community temple, it continues the traditional role of the wat as a place of worship, merit-making, and religious ceremonies.

 

Its most distinctive architectural feature is the boat-shaped ordination hall, an unusual design that visually reflects the temple’s close relationship with the surrounding waterways. Within the grounds are Buddha images, shrines and traditional Buddhist architectural elements, while the nearby canals and riverine environment retain something of the landscape in which the temple originally developed. The unusual ubosot makes the site particularly interesting for examining how Thai Buddhist architecture can respond to local geography and community identity.

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Wat Cholpratan Rangsarit

The temple became closely associated with the influential monk Panyananda Bhikkhu, its first abbot, who was renowned for explaining Buddhist teachings in clear, rational and accessible language and for relating them to everyday life. His approach made the temple an important centre for modern Buddhist teaching, meditation and community practice. The temple is also notable for its simple approach to funeral rites, deliberately reducing elaborate ceremonies and material expense so that greater emphasis is placed on reflecting on impermanence and listening to Dhamma.

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One of the most distinctive things to see is the temple's Lan Hin Khong, or Curved Stone Courtyard, a shaded open-air space that functions almost like a natural Buddhist auditorium. It is here that the temple's famous Sunday morning programme takes place, combining chanting, Dhamma talks, meditation and almsgiving. Another interesting feature is the Panyavijjalaya Institute, dedicated to Buddhist study and reflecting the temple's emphasis on education rather than ornamental display. The grounds themselves are unusually spacious, green and peaceful, with a deliberately simple, modern aesthetic rather than the gold-covered architecture associated with many Thai temples.