Wat Ong Teu Mahawihan
Wat Ong Teu Mahawihan is one of many Buddhist monasteries in the city of Vientiane in Laos. This name is given to the temple due to the large, bronze Phra Ong Teu Buddha image that is in the temple: the largest Buddha in Vientiane. This temple was initially constructed by King Setthathirath I in the 16th century when Laos was being bombarded by the Burmese, but was later demolished during a foreign invasion. Thus, it may have gone through many reconstructions during the 19th or 20th century to attain the appearance it has today.
Though this temple is created in Vientiane, it has the basic shape for what is known as the ‘Luang Prabang I style’ with its scarce use of brickwork and rectangular-like body.
Wat Ong Teu is said to have been placed along a cardinal point in accordance with three other temples but that may just be coincidental.
History
After commanding for the relocation of the capital of Laos from the city of Luang Prabang to Vientiane, King Setthathirath I produced many monasteries such as Pha That Luang and Haw Phra Kaew. The reason this wat was built was because Setthathirat I desired to create the Phra Ong Teu image that would be placed in it and to have it as his living quarters. There would be six other sculptures of this image in other monasteries, but Wat Ong Teu Mahawihan contains the first. Since this period is known as the golden age, the wat would evolve into a complex with a sim, a ho rackhang, a ho kong, a that, and a kuti. Each of these parts of the complex all share the artistic motif of the architecture of the central wat, which is discussed later.The original use of this wat was for ceremonies of allegiance to the king. However, in the 17th century, Souligna Vongsa as king transformed the temple into a Buddhist learning center to ‘teach, enlighten and inspire worshippers.’ It became a school for monks coming from around Southeast Asia to study the dhamma. This becomes apparent because surrounding countries of Laos sent their monks to Vientiane to study this religion. Such a function is more understandable of Wat Ong Teu since there are many details that give the suggestion of a learning center.
Reconstruction
When Siam sacked Laos in 1827-28, as a punishment, almost all of the monasteries in Laos, including Wat Ong Teu, were destroyed. This was only made worse afterwards when the Ho bandits tried sack Vientiane again to take gold from Wat Ong Teu and others.In 1900, following the establishment of the Franco-Siamese treaty in 1843, the French chose Vientiane as their capital and started the reconstruction of its monasteries including Wat Ong Teu. As an addition, the French may have created a school, in the same format and appearance as the rest of the complex to further exemplify the function of Wat Ong Teu as a place of study. The Lao Buddhist Institute was made in 1929 and still functions today as a school for the Theravada Buddhist religion.
Architecture
In retrospect, the influence on the style of the original temple can be traced predominantly to India, though not directly. Indochina was part of the sphere of influence of India, known by George Coedès as the ‘Indianization of Southeast Asia.’ The religion and customs of Indian civilization came ‘thoroughly yet peacefully’ to the people of this region, especially due to marriages between Indian men and local women. Laos, however, was a not a country during this time. The kingdom of Lan Xang wasn’t established until the mid-14th century of the common era just years after all direct contact with India was completely diminished. Instead, the original Wat Ong Teu took its traits from other mixed ideas of architecture from surrounding countries that were established earlier than the 14th century. In essence, the variant notions of these Southeastern Asian countries on the Theravada Buddhist architecture of India, such as Cambodia, influenced the ideas of how Wat Ong Teu would be depicted.Even though Laos borrowed traditions from these other cultures, the 16th century turned a new leaf for the Lao people in the form of a golden age. Thus, Wat Ong Teu has most of its own Lao Buddhist features and only minor details of surrounding influences.
After the temple’s destruction, some of the techniques used to create it were lost but much of it wasn’t forgotten. Instead, modern techniques were blended in with the old during the temple’s reconstruction, especially in what was used to fortify the walls and roof. The result became a rich new style that is exclusive to Lao architecture. This primarily is because the modern reconstruction completed by the French kept sincere adherence to these Lao notions already established on temple aesthetics, with some artistic liberties since Laos at this time was a protectorate of France.
Exterior of the ordination hall
Entry gate
A multi-tiered archway serves as the entrance into the complex. It is miniature compared to that of Pha That Luang. The functionality of this seemingly simple archway is similar to that of the torana, or gateway, of Indian culture. The torana served as the passageway from secular ground to sacred ground. The difference is that this archway does not have any images for which a person can meditate and it doesn’t involve circumambulating a stupa. This characteristic may be present in all the temples and stupas that in Laos, especially at King Setthathirat’s more famous architectural creation, Pha That Luang.Main entrance
The entrance to Wat Ong Teu is known to have many eccentricities that are indigenous only to Laos and no other Buddhist temple in Asia. Just before going up the stairs at the front of the temple, one can find the frieze that is exceedingly baroque, highlighting this Lao style. The green backdrop shimmers as many carved and gilded vine leaves curve in no apparent order or pattern. This motif is repeated throughout the whole front part of the temple, even surrounding the six small Buddhas that are just below the frieze. This foliage may be an allusion to the lotus flower which is an aniconic symbol of the Buddha.Another Lao characteristic of monasteries is the pointed double archway that flanks the six Buddhas. There are many variations of this characteristic, but the archway of Wat Ong Teu is the most simplistic aesthetically.
One of the most native features to Laos is the Naga, or mythical water serpent, that serves as the guardian of the entrance. The Naga was widely known in Southeast Asia before Buddhism arrived. They would symbolize the Hindu god Shiva in which they represented destruction and renewal. How they relate to the Buddha lies in the story of Siddhartha under the Bodhi tree.
This could be the second area one would pass from less secular ground to completely sacred ground. Though Nagas are usually seen with multiple heads. Wat Ong Teu’s version of the Naga has a single head with a its bright green body stretched out. There are three sets of Nagas that all give access to the same patio-type area in front the temple. This aspect is interesting because there is only one door that gives an entrance into the temple. It may be a reference to the original function of this wat as the king’s temple, with the front stairs only being walked on by the king while the others were reserved for normal patrons. The posts perpendicular to these Naga resemble the sort of pagoda or tower one would see in Laos.
The doors and windows are made of wood and are decorated with many leaves and stems that spiral sporadically. These images are all carved, painted red and gilded to make the door and windows look as if they were made of metal. Each of the windows and the door have different images of the Buddha either directly or by aniconic representation. Some of them may evidently portray a Jataka, or story given of one of the Buddha’s past incarnations.
Roof
Seemingly the most intricate part of the exterior of Wat Ong Teu is its roof. It illustrates myriad styles from around Asia that blend in an extraordinarily harmonious way.A commonly used feature in Asia is for a curved roof. This non-linear approach was originated by the Chinese. In China, architects thought that evil spirits despised curved lines, therefore giving an apotropaic effect to the temple. Lao ideas of the curved roof should have been similar to China’s as well. This aspect is especially important when the principal function of this temple is to teach the Buddhist religion. Students learning the Buddhism should especially be protected from the evils of the outside world.
An interesting feature is the multiple roofs that descend past the boundaries of the wall at a slope. This aspect is exclusive to Laos. Specifically, there are three or four superimposed roofs, with the two bottom roofs being supported by columns from within the temple. The reason for this intricate design is unknown, but it may be another aspect of protection because multiple roofs could cause confusion among evil spirits.
The stone spire decoration with stacked, superimposed, decreasingly sized disks in the center of the keel is definitively a Buddhist element. It is known that before the Buddha went through enlightenment, he was always covered by parasols to indicate his status as a prince. Therefore, it is not unusual to see a parasol-like spire atop this temple. The other flame-like decorations, called chaw faa, lining the edges and vertices of the roof are frequently used in Laos. This may be another quality that emphasizes the apotropaic effect of the roof.