Located in Luang Prabang, Wat Xieng Thong is one of the most famous Buddhist shrines in Laos. The name “Xieng Thong” means “city (xieng) of trees (thong)” and was given to the shrine decades ago based on a myth on Luang Prabang that will later be explained in this essay.
Wat Xieng Thong was constructed in the 16th century under the command of Setthathirath of the royal family of Lan Xang. At the time, Wat Xieng Thong was used as a royal temple for coronation ceremonies. However, the Buddhist shrines that we see today in Luang Prabang, including Wat Xieng Thong, are not the originals, which were destroyed during World War II and other civil wars. Most of the war-damaged shrines were repaired in the 1960s. In the 20th century, in the last Laotian royal dynasty (called the “Kingdom of Laos”), the monarchy invested great efforts into reconstructing Luang Prabang's royal shrines, including Wat Xieng Thong. The master craftsmen of Laos, under royal decree, combined traditional architectural techniques with new techniques, such as the adding of mosaics, to the reconstructed shrines. The Luang Prabang District, which is characterized by an aesthetic that results from the combination of traditional Buddhist shrines and nature, has preserved Buddhist artworks and the Buddhist aesthetic, resulting in the district’s designation as a World Heritage Site by UNESCO in 1995.
The beauty of Wat Xieng Thong lies in the art on the walls of the shrine. The wall art shows the creativity of the master Laotian craftsmen, who wisely combined traditional and modern architectural techniques. A traditional type of mural that is easily found in a Buddhist shrine in Luang Prabang was created mainly through the use of the stencil method (done with thin strips of gold) or woodwork. However, starting in the 20th century, the glass mosaic method of wall decoration was introduced and used for both royal shrines and in other locations.
On the back wall of the main shrine, also referred to as the “Sim,” there is a large glass mosaic of a tree. There are two key theories surrounding the significance of the tree. The first theory is that the tree signifies the moment of understanding that Sakyamuni (the historic Buddha) experienced. This perception is based on the fact that Buddha and the Stupa are depicted in gold, standing above the spreading oleaster tree that represents Buddhahood. The other theory is derived from a myth on Luang Prabang. The myth claims that two hermits were searching for the capital city when they found a tree that looked as if it was on fire. The two hermits then built a city around the flaming tree. The bold orange background and the tree shining in sunlight reminds people of the tree described in the myth.
There is a colorful peacock on each side of the tree, each with spread wings. Underneath this are animals that look as though they are talking to one another and a person with a cane walking on the right-hand side. The animals under the tree reflect the Hindu influence in Laos. Hindu myths, such as the Ramayana and Mahabharata, came to Laos from India in the country’s earliest years. People from Laos have traditionally believed in animism, which is why Indian myths were accepted by being slightly altered and passed down as fables. Visitors can find several peacocks adorning the walls, which represent Skanda, the son of the Hindu god Sheba.
There is also a small pink shrine in the back of the main shrine. This is the ure Repository, or Hor Tai, the “home of the sacred books.” The murals on the ure Repository’s outer walls are decorated with colorful glass tiles. The walls feature depictions of fishermen fishing by the river, farmers mending and weeding the fields, and elephants peacefully walking together in groups, which remind the viewer of rural life in Laos. This wall is important in that it depicts a traditional Laotian myth. The art on the walls of the ure Repository tells the story of Siaw Sawat, a mythical Laotian hero who presents us with an important lesson. The story goes that Siaw Sawat was a commoner, despite the fact that he was the son of a rich merchant. He used his talents to climb his way up the social ladder and eventually became a minister to the king. In one study, stories like Siaw Sawat and other folk tales of Laotian heroes reflect how relatively easy it was to advance one’s social status in ancient Laos.
As described above, Wat Xieng Thong of Luang Prabang embodies a hybrid aesthetic in which traditional Laotian culture and new technologies were combined to create the beautiful art that adorns the walls of the district’s buildings. It is an accomplishment that is entirely attributable to the Laotian craftsmen, who used bold background colors and contrasting tile colors to accentuate the images depicted on the ure Repository’s walls, as can be seen in the use of a bright orange background with brown and gold glass tiles, or a pink background with green and blue tiles. As described above, visitors can embrace the creativity and wisdom of ancient Laotian craftsmen at Wat Xieng Thong through the harmony between new techniques and traditional aesthetics.
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