Judging from the number and size of these baskets in Bangkok's Chinatown, I think it's fairly safe to say that the people like their cabbage. Sauerkraut, anyone?
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Like the Mona Lisa, visitors may be surprised at the Emerald Buddha's diminuitive height (somewhere around 66cm (26 in). Since you can't get close to it, the sculpture seems even smaller. It sits high above everything else in a golden traditional Thai-style throne made of gilded-carved wood. Also like the Mona Lisa, the Emerald Buddha is encased in glass. Three times a year the king himself changes the Emerald Buddha's royal robes, making the beginning of a new season.
Dates and places of origin varies - between 43 BC to the 1400's, with places ranging from India to Sri Lanka, to northern Thailand. In 1434 it was discovered in a stupa in Chiang Rai. It was only later when the abbot who found the sculpture and noticed that the plaster on the nose had flaked off, that it was realized that this was no ordinary Buddha iamge. Originally mistaken as being made of emeralds, it was later determined that the sculpture is actually carved from a block of green jade.
When walking around, be sure to look up, in the nooks & crannies, and near your feet. You will be treated to fanciful creatures, beautiful mosaics, painted tiles, and guilded roof ornamentation. Stair railings slither down, with a multi-headed claw at its end. The entire complex is beautifully maintained and in excellent state of preservation - an indication of its importance to the Thai people.
osmology. On top of the prang is a thunderbolt, the weapon of the god Indra. Monkey-like figures with their arms bent upwards appeared to be supporting the portion above them. Some of the faces almost reminded me of gargoyles present on Gothic churches.
iddle portion stands for the Tavatimsa, where all desires are gratified. The top section symbolizes Devaphum, six heavens within seven realms of happiness. Even the stairs themselves and journey up the stairs contains symbolic meaning. Narrow and rather high, the stairs represent the difficulties people face when trying to attain a higher level of existence. The stairs were of different heights, keeping me keenly aware of what I was doing. Once up on the narrow terrace I had a great view of the Old City and Chinatown. This contrasted with the view to the right, composed mostly of modern skyscrapers and concrete structures. On the river one could watch the ferries and colorful boats-for-hire zipping along.
colorful fruits and vegetables, some downright scary looking. Others expertly grilled kebabs in the small space, with the scent of meat wafting through the air. For the thirsty visitors, one could stop long enough to get a beer or coconut from the wrinkled lady in the traditional hat. For those envying those ladies hats, cowboy hats, or the convertible hat/fan, just pull on over to the canoe piled with all sort of hats.
n god of dawn Aruna because King Taksin arrived here at sunrise in 1767 to establish Thonburi as Siam's new capital, Wat Arun is also known as the Temple of Dawn. Ironically, sunset falling on the temple as seen from across the river is a much prettier picture. Dominating the view is the central prang, surrounded by four smaller prangs. All are decorated with pieces of Chinese porcelain.
moulded by Rama II. Surrounding other buildings are some elephant sculptures, Chinese figures, and large dragon-like creatures. Along the exterior wall of one building are a multitude of Buddha figures, appearing as if cloned. Behind the white blossoms of a frangipangi tree was a white building with blue window irons, the sounds of children singing emanating. The grounds is beautifully maintained. From on top of the central prang one can get a great view of the Old City.
chedi (stupas) covered with mosaics. Located in the western courtyard are four Great Chedi, which honor the first four kings of the Chakri dynasty. These impressive structures are decorated with porcelain mosaic.
at Po grounds, one can catch glimpses of the resident monks, watch kids at play on the school grounds, and even get a traditional massage.
ed with inlaid mother-of-pearl are 108 lakshana, or auspicious images that identify the true Buddha. Contrasting with the dark background, the detailed figurative images appear to shimmer.
azing how efficient their serving was. Saving just enough room, I enjoyed the sweet rice pudding. Shortly after we got up to wash our hands, the service people promptly and expediently began rolling up the paper tablecloth, preparing the table for another round of guests. With over 1,000 expected guests, food service did indeed require quick delivery of copious amounts of food.
rents who would need every bit of it to help offset the large costs of the multi-day wedding ceremony and all its requirements. Our colleague then presented each of us a small bag that included a coconut, sweet treat, savory snack, leaf, and metal dish. Thanking us again for coming, our colleague then bid us farewell, continuing on with the celebration.
aced in the hands of the bride, with the groom cupping his hands over hers. The rice was then placed into the fire. The couple then made additional circles around the fire, signifying the legalization of the marriage. Following this, a marriage knot was created by tying one end of the groom’s scarf with the bride’s sari. Seven steps were taken representing nourishment, strength, prosperity, happiness, progeny, long life, as well as harmony and understanding. Stepping off the stage, the new couple was sprinkled with water by the wedding guests. On a smaller stage the new couple began another round of wedding photos (this had taken place the night before as well), posing with family members and guests.
Sunday was another day of firsts- attending a Hindu wedding. A colleague had invited us to her niece’s wedding. The following evening a dinner, celebration, and entertainment had occurred, but it was suggested that if I attend anything, the actual wedding ceremony might be most interesting. Although we arrived just prior to the requested time on the invitation, we found out that certain rituals had already taken place, including a dramatized giving away ceremony.
green floral stripes, draping down over his fit bare chest. Sitting cross-legged, the groom and priest exchanged words as they stoked the fire with special leaves. Floral streamers in the colors of India’s flag decorated the tops and sides of the stage’s frame. On the back wall of the stage was a mural of two gods. Scattered on the stage were bananas, coconuts, vessels, and other ceremonial items. On the floor to one side of the stage was a kolam design drawn in rice flour. On the opposite side musicians played Nagaswaram horns, whose double reeds produced a loud oboe-like sound.
Shortly thereafter, the bride arrived, dressed in a red silk sari and several garlands of flowers matching those of her groom. Her tightly tied-back hair was embellished with gold jewelry along the hairline, part, and the sides. More jewelry extended to the ears. On the back of her head was a huge bunch of jasmine flowers. A large number of bangles covered each wrist. Henna designs extended from both sides of the hand mid-way up the forearm. She sat down next to the groom, chatting occasionally as they added more items to the fire. Throughout the ceremony the bride remained somber. Relatives looked on, both behind the couple and next to the stage. Intermittently the priest chanted.
are chest. Ranging from the inexpensive cotton sari to intricately woven silk ones with gold-dipped thread or precious gems, there is a sari for all price ranges and tastes. One colleague told me that her daughter was presented a sari by her son-in-law and cost over $2,000!
