Ban Mae: Cultural History and Craftsmanship

Ban Mae brings together the history of Wat Thammachai and cultural topics from the community. The temple is in Ban Mae village; woodcarving is practiced in Ban Kio Lae Noi. Other features include a local tradition concerning Wiang Mae and a lion sculpture within the community. These topics have different geographical connections: they range from the historic viharn in the village to crafts and art across the community.

The History of the Viharn and Wiang Mae

The former viharn of Wat Thammachai had white-plastered brick walls bonded with clay; its pillars and roof structure were made of Lanna teak. The materials had clearly defined uses: clay bonded the brick walls, while teak shaped the pillars and roof structure. This distinction helps explain the building: it makes both the wall construction and the roof design easier to understand.

Around 1897, the abbot and worshippers renovated the damaged viharn. During the work, the chofa and bai raka were renewed to suit the tastes of the time, and the temple was renamed Wat Thammachai. This episode combines structural renovations with changes to the roof ornamentation and the temple’s name, forming a distinct chapter in the local history.

After Wat Thammachai was abandoned, important old objects, including Buddha images, were moved to Wat Nam Bo Luang around 1907. This took place in a later period than the renovation: it concerned temple objects and their destination, whereas the renovation involved work on the viharn.

According to local tradition, Wat Thammachai stood at the center of Wiang Mae. Today, only a small part of the earthen rampart that surrounded the city remains visible. The local tradition about the city and the limited visible remains of the rampart thus stand alongside one another as distinct historical points of reference.

Woodcarving and Art in the Community

Woodcarving has been practiced in Ban Kio Lae Noi village for more than six decades. The work ranges from bas-reliefs and high reliefs to fully three-dimensional forms. The craft therefore encompasses different ways of working, rather than a single fixed object form; in addition to the subject matter, the sculptural treatment offers another way to appreciate the work.

Subjects include elephants, literature, Jataka tales, and scenes of village life; depictions from the Ramakien are also represented. These themes bring together stories, animals, and everyday life. In 2004, works by village artisans were selected for “One Tambon One Product.” The long-standing practice and this dated selection represent two different time periods in the craft tradition.

A stucco lion sculpture by Khru Saman Sao Sing also stands on an open area beside a school within the community. Woodcarving is characterized by a variety of forms and subjects; the sculpture, by contrast, features a single animal subject and stucco as its material. When deciding where to visit, it may therefore help to consider whether you are more interested in historic architectural forms, a continuing craft tradition, or a named work of art.

For the broader travel overview: San Pa Tong District.