SATTAPAN LANNA : THE BHUDDIST ART IN LANNA, THAILAND

Prateep Peuchthonglang, Yathaweemintr Peuchthonglang, Nunthanat Atsadonsak

Abstract
This research aimed to study and analyze the origin, beliefs, design patterns, development and obstacles of conservation and restoration of Lanna Sattapans nowadays. This qualitative research uses documentary analysis and data collection. The researcher searched and collected Sattanpan data of 128 pieces in Chiang Mai, Chiang Rai, Phayao, Lampang, Lamphun, Phrae, and Nan. The research instruments were survey and interview form by analyzing content and writing a descriptive essay. The results showed that Sattapans were a beautiful Lanna Buddhist art work and unique. Sattapans were a tribute which had seventh positions for candles that were located in front of the Buddha in every temple of Lanna. It was created by latent symbols reflecting the close relationship between the universe with the world and Buddhist moralities for the purpose of being a sacred sacrifice in Buddhism. The discovered Sattapans this time were divided into five forms: 1) triangle Sattapan: 1) Triangle Sattapan; 2) Semicircle Sattapan; 3) Step Sattapan; 4) Pentagon Sattapan; 5) Pillar Sattapan. The pattern created from the belief of the auspicious story of the creator consisted of eleven types: 1) Naga; 2) Ehra; 3) Garuda; 4) Rahu; 5) Ogre; 6) Angel; 7) Creature; 8) Flora; 9) Zodiac sign; 10) Elephant and Horse; 11) Cloud. This time, the obstacles to conservation and rehabilitation of Lanna Sattapans were caused by four reasons: 1) Sattapans were replaced by the altar table; 2) Sattapans were preferred by antique collectors; 3) Lack of proper maintenance caused decay and damage; 4) Lack of craftsman created a unique Lanna Sattapan and a new body of deep knowledge.

Key words: Sattapan, Buddhist Art, Lanna

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