Wat Yannawa

Originally established during the Ayutthaya period, the temple was known by earlier names including Wat Kok Khwai and Wat Kok Krabue. It gained royal status during the early Bangkok period, but its defining transformation came under King Rama III, who ordered the construction of a Chinese-junk-shaped viharn in 1844. The temple was subsequently renamed Wat Yannawa, meaning “boat temple.” The unusual design was intended to preserve the memory of the Chinese sailing junks that had played an important role in Bangkok’s commercial life but were increasingly being replaced by steam-powered vessels. It therefore represents both Theravāda Buddhist heritage and the historical cultural and commercial relationship between Thailand and Chinese maritime communities.

 

The extraordinary Chinese Junk Chedi (Phra Samphao Chedi) is the principal attraction. Constructed from brick and stucco, the approximately 43-metre-long structure reproduces a traditional Chinese junk, with two ornate chedis positioned like masts and a Buddha shrine occupying the stern. The chedis themselves feature elaborate late-Ayutthaya/Rama III decorative forms, including lotus motifs, tiered bases and ornamental finials. The surrounding temple also contains the ordination hall, Buddha images and distinctive decorative paintings, including imagery associated with the Royal Lantern Festival (Loi Prathip). The venue is particularly valuable as an example of architecture being used to preserve cultural memory, combining Buddhist sacred space with Chinese-influenced maritime design.

 

Wat Suthiwararam

Originally known as Wat Lao, this historic temple dates to the Ayutthaya period and subsequently fell into a period of abandonment. It was restored in 1885 during the reign of King Rama V, when Lady Sutthi, wife of Chao Phraya Wichian Siri, obtained royal permission to renovate the temple. The King subsequently granted it its present name, Wat Suthiwararam, and the temple received its consecrated boundary. It later developed an important educational role, establishing a Buddhist scripture school and allowing a government secondary school to operate within its grounds from 1911. Its history therefore reflects the traditional role of Thai temples not only as centres of Theravāda Buddhist worship and merit-making, but also as institutions of education and community development.

 

The complex contains a traditional Thai-style ordination hall, wooden sermon hall, bell tower and other monastic structures, but its contemporary artistic character is particularly noteworthy. The historic ubosot has been adapted as an art gallery, creating an unusual dialogue between sacred architecture and contemporary visual art. The temple's architecture retains elements of the historic Rattanakosin period, while newer artistic installations and exhibitions introduce a modern creative dimension. This combination makes the venue interesting not only for its Buddhist heritage but also as an example of how historic religious architecture can be repurposed as a contemporary cultural and artistic space.

 

Wat Pariwat

Located along Rama III Road beside the Chao Phraya River, the temple is believed to have origins extending from the late Ayutthaya to early Rattanakosin period. Historical evidence associates its development with the reigns of King Rama I and King Rama II, when Phraya Phetpichai was involved in establishing the temple near Khlong Lud Luang. It belongs to the Theravāda Maha Nikaya tradition and remains an active Buddhist place of worship. In more recent decades, however, it has gained particular cultural attention because of its extraordinary approach to temple decoration, demonstrating how Thai Buddhist art can incorporate contemporary figures and popular culture alongside traditional sacred imagery.

 

The most remarkable feature is the extensive stucco and mosaic decoration covering the temple's buildings, particularly the ordination hall. Traditional Buddhist and Hindu imagery is combined with an eclectic collection of modern and popular-cultural figures, including the famous small sculpture of David Beckham beneath the principal altar, which gave the temple its popular nickname, the “David Beckham Temple.” Other decorative figures draw from comics, mythology, animals and contemporary culture. Rather than treating the temple as a purely classical architectural monument, the artists have created a highly imaginative visual environment in which traditional Thai craftsmanship, religious symbolism and modern popular imagery coexist. This makes Wat Pariwat particularly useful for exploring the evolving nature of Thai Buddhist art and popular religious expression.

 

Wat Chong Nonsi

Considered one of Bangkok’s significant Ayutthaya-period temples, Wat Chong Nonsi preserves an important example of late Ayutthaya Buddhist architecture and painting within the modern capital. The temple belongs to the traditional Theravāda Buddhist tradition, and its historical importance lies particularly in the survival of its old ubosot and interior murals. Unlike many temples that were substantially rebuilt during the Rattanakosin period, Chong Nonsi retains artistic characteristics associated with the late Ayutthaya period, making it valuable for understanding the transition of Buddhist artistic traditions into the early Bangkok era. Its murals are also recognised by scholars as an important case study in the development of Thai narrative painting.

 

The principal attraction is the old ordination hall, an unusually compact and distinctive structure with a curved, almost boat-like form and an elaborately constructed roof. Inside, the walls are covered with late Ayutthaya murals, including scenes from the Ten Great Jataka Tales (Mahanipata Jataka), episodes from the life of the Buddha and representations of previous Buddhas. The paintings use faded red and pink natural pigments, gold detailing and intricate architectural and landscape settings. Particularly interesting are the artists' sophisticated methods of representing time and space on a single two-dimensional surface, with floral bands and zigzag divisions separating different episodes. The murals also contain unusual depictions of twisted trees, Chinese-style mountains and early attempts at Western-style perspective. Together, the architecture and paintings make the venue one of Bangkok's most valuable examples of late Ayutthaya Buddhist art and visual storytelling.