The Pavilion of Nirvana Buddha at Ban Dokmai Srichan, Suphan Buri

Asst. Prof. Dr. Sudjit Svetachinta and Assoc. Prof. Dr. Somchok  Sinnukul

Abstract :

Sitting atop the most prominent location of the hill, the 8×12 sq. meters pavilion of Ban Dokmai Srichan Meditation Centre in Dan Chang District, Suphan Buri, was built to enshrine the 9-meter Reclining Buddha statue in Nirvana pose that was carved from one single piece of teak wood. As a reminder of life’s uncertainties where all the inevitable sufferings of mankind begin, the pavilion provides a setting for Dhamma practitioners to ponder upon the Buddha’s teachings of ways of liberation from sufferings. Be it simple or difficult, depends on each individual’s level of intellectual understanding, just like the Buddha once compared of the four states of lotus buds, ones above the water, ones on the water surface, ones beneath the water and lastly, ones under the mud bed, each has its own timeframe to bloom while the ones buried under the mud would have the most difficult challenges (they might have been eaten by the fish and turtles before they have a chance to bloom). Relaying this interpretation of the Buddha’s teachings, the designers used four lotus shaped Brali on the ridge of the roof of this pavilion as a reminder that under the guidance of Buddha’s teaching, everyone could eventually be freed from sufferings.

Objectives :

  1. To design an enshrinement for a 9-meter-long reclining Buddha statue in the Nirvana pose.
  2. To be part of the future landscape of a burial ground, for people who passed can return to nature in the way that corresponds with the Buddhism beliefs.
  3. To harmonize Buddhist teachings into architectural design.

Conceptual Framework :

In accordance with the objectives of this project, and a reference of one of the Buddha’s quotes that “there is no greater joy than the peace and calm”, the designers envisioned the pavilion with the Buddha in Nirvana Pose as his last resting place, people who entered the pavilion would be able to experience the calm, the simplicity and be in harmony with nature in the way the Buddha had taught.

Process / Methodology :

From the conceptual framework, the designers have utilized it as a guideline for defining the architectural style, considering three important points:

  1. Harmony with Nature”: The placement of the pavilion on a lotus pond not only enhances its aesthetic appeal but also fosters a profound sense of harmony with nature. The lotus, often symbolizing purity and enlightenment in Buddhism, becomes an integral part of the experience, reinforcing the spiritual journey for visitors.
  2. Minimalism and Simplicity”: Embracing a compact design and minimal decorative elements, the pavilion embodies the essence of simplicity, a fundamental principle in Buddhist philosophy. This simplicity not only contributes to the serenity of the space but also encourages visitors to turn inward during worship or meditation.
  3. Functional Design”: The raised floor and overhanging eaves serve both practical and symbolic purposes. Functionally, they provide comfort and protection from the elements, enabling visitors to engage in worship without distraction. Symbolically, they represent elevation and shelter, reflecting the spiritual journey towards enlightenment guided by the teachings of Buddha.

Techniques and Materials :

Hand sketches & drawings, Computer renderings

Result / Conclusion :

Deriving ideas from the conceptual framework, the final design is a compact scaled pavilion, purposefully built on a lotus pond with an airy two-level raised floor and long overhanging eaves, so visitors can sit comfortably for worship on the wooden floor in front of the Buddha image without the needs of furniture or air conditioning fixtures. The only decorative elements of the building were on the roof ridge where four lotus shape Brali representing the four stages of training for liberation were placed.

Overall, the final design of the pavilion not only serves as a place of worship but also as a physical manifestation of Buddhist principles, offering visitors a serene and immersive experience grounded in nature and guided by the teachings of enlightenment and liberation.

References :

มหาจุฬาลงกรณราชวิทยาลัย, พระไตรปิฎกภาษาไทย (เล่มที่ 21, หน้า 202). สืบค้นเมื่อวันที่ 1 เมษายน 2567, จากเว็บไซต์: https://84000.org/tipitaka/pitaka_item/read_page.php?book=21&page=202&edition=mcu

ศูนย์บริการวิชาการธรรมสุทัศน์, สถาบันวิจัยและพัฒนา มหาวิทยาลัยราชภัฏนครปฐม. พระพุทธองค์ทรงพิจารณาบัว 4 เหล่า. สืบค้นเมื่อวันที่ 1 เมษายน 2567, จากเว็บไซต์: https://dept.npru.ac.th/buddhapat/index.php?act=6a992d5529f459a44fee58c733255e86&lntype=extmod&sys=sys_article&dat=index&mac_id=450#:~:text=%E0%B8%9A%E0%B8%B1%E0%B8%A7%E0%B8%9B%E0%B8%A3%E0%B8%B0%E0%B9%80%E0%B8%A0%E0%B8%97%E0%B8%97%E0%B8%B5%E0%B9%88%20%E0%B9%91%20%E0%B8%94%E0%B8%AD%E0%B8%81%E0%B8%9A%E0%B8%B1%E0%B8%A7,%E0%B8%A0%E0%B8%B1%E0%B8%A2%E0%B8%88%E0%B8%B2%E0%B8%81%E0%B9%80%E0%B8%95%E0%B9%88%E0%B8%B2%E0%B9%81%E0%B8%A5%E0%B8%B0%E0%B8%9B%E0%B8%A5%E0%B8%B2

Share :

Facebook
Twitter
LinkedIn
WhatsApp
Email
Print