Luang Prabang: the world heritage

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FOREWORDLuang Prabang, capital of the Holy Golden Buddha (Prabang) and World Heritage Site, is situated at a superb site formed by the confluence of the Nam Khan and Mekong rivers on one side; and on the other side, in the middle of a peneplain surrounded by mountains gilded with legends (Phou Thao, Phou Nang, Phou

Xang, Phou Xuang ...).Rising from the town center is Phou Si. On top of this cosmic hill, the golden arrows of the Chomsi Stupa sparkle. It immortalizes the heart of the town and symbolizes all the cultural and spiritual activities of its inhabitants.Luang Prabang is surrounded by alluring sites such as: the Tham Ting cave, the Nam Thieng and Nang An caves, the waterfalls of Khouang Si and Tat Sc; and of course, the majestic Mekong River.

Together with the pre-historic site of Xieng Lek (3,500 BC), and the cultural diversity offered by its multi-racial population,

these sites cast an enchanting spell.Luang Prabang has sometimes been called the ‘City of the 15 families of Nagas94 (from Pall naga: a mystical snake symbolizing strength) or ‘City of the 65 Monasteries94, and in more recent times, the ‘Jewel of South East Asia94.According to local annals, this capital has been in existence since the 5th century B. C. It was conquered by Khoun Chuang, of the Lao Ch6k Dynasty who was king of Ngeun Gnang in Xieng Sen

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;(Xieng Sen, a former territory the center of which is present-day Bokeo province). Yonok ([an Na Kingdom) included the northern part of Indochina with the whole of northern Laos in its entirety. According to written evidence from the XLth century the city92s first name was Muang Sua. The Khuon Chuang Dynasty governed Luang Prabang for four generations before being overthrown in the XtIth century by Khoun [0, one of Khoun Boulom92s seven sons. This city was later called Muang [an Xang, or Lan Xua, in the form ‘Muang Xua

Muang Souvannaphoum is described in the history of Chanthaphanit, where the local annals state that a rich trader from Vientiane reigned over the city.Another name Suvannaphoum is derived from the Pali:

Suvannabhumi meaning ‘Country of Gold94. This

name was used to designate the ancient Mon state of Burma at the height of the Khmer empire from the Xtth to XIIIth century. In a wider sense Suvannaphoum referred to the Indochinese Peninsula - a region that contained thisprecious metal and was known from antiquity for its trade between Europe and Asia.Later, from the XIIIth to the XVth century, the state was

named Xieng Dong Xieng Thong. This name appears in the legend that tells how the location of the future town was demarcated by two hermits who took the Dong stream (whose flow from its source on a hill resembles a pile of rice) as the southern boundary and a big Thong tree as the northern boundary - which explains why the city was called ‘Xieng Dong Xieng Thong94. This name appears to have been used to designate Luang Prabang as

P14opposed to Suvannaphoum - which seems to have referred to the whole of Laos.

Finally, it should be said that the true splendor of Luang Prabang began

with the reign of Fa Ngum in the XIVth century. Together

with his preceptor and numerous persons learned in the Theravada, he established this religious philosophy.This in turn inspired the will of successive

monarchs in making this capital a pole ofthought from which generated the religious art of this city.

An astonishing cultural activity developed:

literature, music and dance played an active part in the social and festive life. By imposing the Theravada as the state religion, he nonetheless conserved the beliefs of the common people, or the cult of the Phi.This impetus was followed by his son and successor Oun Heuane ‘Happiness of the House94. He is betterknown as Sam Saen Thai, the builder of Vat Manorom, who led the

way to the peak of Luang Prabang art.Pothisarath gave new stimulus to the Theravada by abolishing the cult of Phi at the beginning of the With Century, without succeeding however in eradicating it.Saya Setthathirath, son of Pothisarath, marked the peak of Ian Xang. To

this day, Vat Xieng Thong bears witness to this great

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builder92s achievements. We should also emphasize King Vixounarath92s contribution, Vat Vixun92s

builder; and that of his successors who have also contributed to the religious art of this renowned city.

Thus, successive rulers of each period have provided the evidence of an unique culture. Also worthy of

mention are the outstanding ongoing efforts by the State, the province, the people and international

organizations, in making this city a world heritage site.

17ARCHITECTURAL ART OF THE MONASTERIESUntil the beginning of the XXth century all buildings in Luang Prabang were made of wood. The only exception to this rule were the temples, which on the whole, were built of bricks and mortar. However, of the sixty five monasteries accounted for in the XVlIIth century only twenty nine now remain; of these, only three - Vat Xieng Thong, Vat Pak Khane and Vat Khili - have retained their original structure and decoration.

Several reasons explain the disappearance of religious monuments in Luang Prabang. Firstly, the climate with its tropical storms and rains has ravaged these light and mostly wooden structures. Then, there were the fires which devastated the town on several occasions, particularly the one during the Laotian New Year in 1774. Finally, during both the French and American colonial periods, the reconstruction and restoration of the town was accompanied by the demolition of several temples to make way for administrative buildings, barracks and housing, and for the expansion of the airport.

However, from the various buildings (monasteries, chapels, stupas, temples), the furniture and statuary that are found generally in monasteries up to the present day, it is possible to define the general features of traditional Luang Prabang art, unique in its kind in Southeast Asia. Each monastery in Luang Prabang is demarcated by a peripheral masonry wall. Doors in the form of prasat - a small, square, tiered and crowned tower, perforated on opposite sides by two large arched bays connected by a continuous passagewayallow access to the sanctuary and its building annexes.

19MONASTERY, CELL, DRUM SHELTER AND LIBRARYMonasteries, formerly constructed from light materials and on built on stilts, are nowadays mostly constructed from masonry with compartments including the monks92 lodgings and a dining room. These buildings have nevertheless preserved their ancient form and their roofs and facades are generally decorated with carved woods.

In the past, most monasteries featured small cells that were usually constructed in wood and on stilts. In the first month of the Twelve Rites, monks who had committed misdeeds during the past year came to isolate themselves in order to ‘ask for pardon94.

Almost always confined to the northern part of the viharn is a building without walls and at times built on stilts. By token of the shape of its roofing, it resembles a plain sanctuary which is used as a shelter for the pagoda92s great drum. Like the gong, the drum is used for the call to prayers as well as to announce holy days, to mark important events like the

Laotian New Year, village festivities, bereavements and festivals. The drum is made from a single piece of tree trunk of about 1 meter in diameter. It is hollowed out and covered at both ends with taut cowhide. Its manufacture and installation used to be accompanied by numerous rites. The libraries, previously on stilts, were meant for storing and protecting the manuscripts kept in chests shaped like inverted pyramids. These square-shaped structures with flared walls were constructed from different natural elements; raised on an elevated base and covered with peripheral-style roofing. The Vat May library, which is no longer in existence, was a perfect example of this type of architecture.

20SACRED BUilDINGS: CHAPEL, STtJPA, TEMPLEChapels, whose religious role was indicated either by the presence of one or more Buddha statues or of a stupa, fail into three categories in Luang Prabang.

Chapels of the first type, of which none exist today, were rather light and open structures. Constructed on square street-level bases, they featured simple roofs framed by single balustrades, like the one at Vat Xieng Thong. Others, like the one at Vat Aham, featured tiered structures and peripheral naves.

Chapels of the second type were constructed from different natural elements with masonry walls and covered, like the temples, by a roof. Usually, the chapel hail has only a single entrance and one or two windows along its sides. If the hall is large, it would have pillars; in this case, the chapel would resemble a real temple.

The funerary chapel of King Sisavang Vong at Vat Xieng Thong, the most important in Laos, is one of the finest examples.

Chapels of the third type are classified as vaulted chapels. Decorated with stucco-work, these small chapels were built from bricks and mortar, including the roofs. The leafs of the only door are as richly adorned as the temple decorations themselves.

Niches, looking very much like the vaulted chapels, and mounted on square-based elevated pedestals, shelter small Buddha statues. Meant for receiving offerings: flowers, fruits,21

Vat Pa Huak with Vat Phou Si in the background (M.L.P 1894)

dishes of food, candles, rice balls - they are erected in front of the chapels or at the foot of the stupas.

In Luang Prabang, as in other parts of the country; the stupa is a solid building with votive or funerary

characteristics.

According to belief, reliquaries of the Buddha, saint monks, kings, members of the royal family,

high-placed dignitaries, or even of wealthy individuals are preserved within.

In Luang Prabang, stupa styles, whose height can vary from less than two meters to several tens of

meters, are extremely diverse. The Indian-style semi-spherical stupa of That Mak Mo within the grounds

of Vat Vixun is one of its kind in Laos. Another stupa characteristic peculiar to Laos is the carafe shaped

gemlike type of construction. Its appearance elsewhere, as in the case of Burmese stupas, indicates an

accessorial function; and not part of the main building.

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Previously hidden from view, sema (stones marking the boundaries of viharns and sacred cultural buildings) are revealed at last. Sometimes decorated with lotus petals or lotus buds, most of the sema are roughly carved large stone balls that were buried in the centre or around the sides of the viharn.

Laotian religious architecture is distinguishable by the general form of the main temple building or viharn and its roof. Three major styles corresponding to the regions of Vientiane, Xieng Khuang and Luang Prabang can be observed.

The temples of Luang Prabang are characterized by immense two- or even three-layered roofs covered with flat tiles, sometimes with a change of roof gradient. Another characteristic is the existence of a peripheral nave.

Roof ornamentation, which is very varied in Luang Prabang, is overall characterized by horned ridge-tiles portraying a naga92s upper torso; these may be richly decorated or sometimes reduced to a simple schematic contour. A medial spike, often with three, seven or nine small prasat rises from the top. Depending on the number of spikes, the prasat represent Mount Sinew (the most important mountain in the Buddhist cosmology, with seven annular chains on either side. Features like crested spikes and horn-like gable slopes, designed to cut out the wind, are the finishing touches to roof ornamentation. The gable planks are generally decorated with stencilled gold patterns on red and black backgrounds. The main difference between the architecture of Luang Prabang and that of Thailand and Cambodia lies in the presence of porches under the gables. In the same way, roof intersections, common in Bangkok and Phnom Penh, are absent in Luang Prabang. Another feature that differentiates Luang Prabang architecture from that of the above-mentioned neighboring countries are columns without bases and lotus leafdecorated capitals. Where one may notice some Chinese or

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Burmese influence in the decoration of door leaves, this usually represents deities and persons from

Buddhist mythology Carved from a solid block of wood, these unrivalled pieces are among Luang

Prabang92s most beautiful works of art due to their simple and more primitive forms. The mixture of

elements from the vegetable, animal and human world employed in decorations originated from the

animistic beliefs of the Luang Prabang people.

Another wooden article, typical of carving in Luang Prabang, is the valance, which is composed of a pair

of blind arches coupled with a medial pattern tapering down the facade of the porch. The delicacy of the

work shown in the treatment of animal or floral patterns gives work an overall ‘beehive94 appearance,

hence its Laotian name Huang Pheung.

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The lower part of the mural, like those of the columns and pillars, is bordered by a broad belt of floral-looking patterns.

Columns and pillars are often crowned with dok kal bua sao; large mortar or gilded cement leaf designs representing

banana flower petals or lotus leaves. Gold or silver designs stencilled on red or black backgrounds cover most of the lengths of these columns or pillars.

As a rnle, the designs are in the form of thick-set crosses or trellis-work with lozenges or octogons.

Columns and pillars may be decorated differently, to further vary their appearance; in this case the lattices are filled with various patterns of lozenges, florets and rosettes.

The rosettes may be used alternatelywith mythical aminals or deities.A ceiling extends above the centralaisle, at times only at the bay area

where the Buddha statue is placed. This

lacquered plank ceiling is often paintedred and decorated with flowerets, large

roses, dancing dieties or mythical animals.

25b;VIHARN AND DECORATIONSUntil the 1960s, most external walls of temples in Luang Prabang were decorated with very beautiful mural paintings. However, they have since then been replaced with whitewash. Now, only the external temple walls of the larger pagodas are decorated, either with gold stencils on red or black backgrounds (Vat Xieng Thong), or with bas-relief in gilded cement (the walls under the porch of Vat Mai), or otherwise colored (the walls under the porch of Vat That).

The internal walls are often decorated with stencilled paintings on red or black backgrounds. On lateral walls these depict the episodes from the Jataka or Laotian legends.

Front walls are evenly covered with many images of small Buddhas, while the back walls are always filled with bands of varied patterns. The most common of these are of principal deities (thep phanom) framed by foliated scrolls with two or four arms in the praying position. Some are of the Kinnari type, half-human, half-animal figures. And yet others depict various mythical animals like the peacock, naga- or gajasimha-headed birds and lions with an elephant heads.

27Temple of Vat Khili in 1’0 before its restoration(E.F.E.O. 1’0)This Vat whose full name is Vat Souvanna Khili, the 91Golden Mountain, was built by Chao Kham Sattha, a Phuoane prince from

Xieng Khuoang, in the last quarter of the XVIILth century.

Vat Khili is a beautiful building in the Xieng Khuoang style. This temple, with its original form and decor intact, was constructed in

the plain style comprising a single nave and porch. Its distinctive characteristic lies in the addition of a rear hail and posterior stupa.

The double roof over the hail, which is plain and lower than that of the rear hail, features dragon head roofridge horns in masonry

inlaid with flame shaped glasswork.

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Situated at the confluence of the Mekong and the Nam Khane, Vat Xieng Thong is the largest and oldest of the monasteries in

Luang Prabang.

Its history is linked to the legend of the founding of the town. According to tradition, two hermits settled near a striking mai thong

tree which became the site of the future kingdom. A betel-nut trader from Vientiane, chosen for his intrinsic merit by the people,

became the first monarch of the kingdom.

Under the name of Phagna Chanthaphanit Sathit Souvannaphouma, he ordered the construction of the royal palace and the first

monastery at the site indicated

31bby the two hermits.Contrary to this legend, local annals mention that Vat Xieng Thong was built by King Saya Setthathirath in 1560. It was the only

monastery to escape the 1887 fire, at the time of the sacking of Luang Prabang. Vat Xieng Thong was restored twice - in 1928 and

then again between 1952 and 1960 under the rule of King Sisavong Vong.

The viharn was conceived as a development of the plain type, with three naves and a single porch. It is set apart from other

monasteries by the harmonious lines of its superposed roofs that are more flared than usual. The central spike of the roof has

seventeen prasat and the horns of the ridge-tiles portray naga heads.

The last large-scale restoration was carried out on the decoration and the construction of a funerary chapel; work upon which began

in 1962. Both sides of the interior walls have been decorated with gold stencilled designs on a black background. Antique paintings

on red backgrounds have been preserved along the southern side of the Western section.

On the rear wall, the original features of the glass mosaic decorations have been kept intact and completely refurbished. Above the

pillar capital, illustrated images of Buddha and a stupa portray his descent from the sky with the 33 gods. Below the capital is a

representation of the mai thong tree, in memory of the two hermits who demarcated the site of the future kingdom.

34Vat Sibounheuang (Fomberteaux, E.EE.O. 1’0)Vat Sibounhenang was built in the 18th century Luang Prabang style during the reign of King Sotikakoumane in 1758, During its

restoration in the early 1900s, some changes were made to its windows and porch. The viharn is characterized by its elevated base

and simple roof, overlapping in the middle and bordered with roof-horns in glass-inlaid stucco, representing the upper torso of a

naga.

Originally, the lateral walls and the wall under the porch were decorated with gold stencilled paintings on red backgrounds

illustrating the legend of Vessantara Jataka. Unfortunately, the paintings within the viharn are deteriorating increasingly However,

one can still see very fine Buddha statues in the Hiek Fone Rain Calling attitude, which are good examples of Luang Prabang art of

the XVIIIth century.

38Vat Sene: Viharn and chapel (M.L.P 1926)

Founded in 1714 by Ta Tiao Hang during King Kingkitsarath92s reign, Vat Sene is a viharn featuring a single porch and triple

nave of four bays with lean-to structures added onto the sides. The viharn is surrounded by eleven small stupas. Most of the

restoration work carried out between 1’2 and 1’6 involved the re-covering of the hail flooring, the decoration of Buddha92s

altar, the framework, the door leaves and decorations of the front and porch. The viharn was renovated ag

ain in 1957, during

Buddhas 2500th anniversary The lean-to structures were added to the present structure, which includes five naves and four bays.

The three-tiered red and yellow tiled masonry roof now covers all five bays and slopes downwards to curve inwards on each side.

42Vat Nong Sikhounneuang (M.L.P 1950)Constructed in 1729 under Ong Nok92s rule, this (<Pond Monasterybb owes its name to a Buddha92s statue. This 211 kg bronze

statue was miraculously spared in the 1774 fire which ravaged the town and the monastery. It was re-constructed in 1804 and

features a single nave and porch with square pillars. Facade and pediment decorations were completed by the end of the 19th

century. This was demolished once more by adverse weather conditions in 1965 and subsequently rebuilt on a reinforced concrete

structure. The present building is in the simple style featuring a single porch and a triple nave with six bays. The imitation prasat is

situated in front of the monastery. False doors shelter small Buddha statues in the ~Rice Acceptingbb posture; hands resting on

knees.

43Vat Pa Phay (E.EE.O.1’0)Vat Pa Phay92s Monastery of the Bamboo Forest date of construction is unknown.L. Finot and H. Parmentier placed it under the reign of King Suryavongsa, in 1645, but Chao

Khaminanh Vongkot Rattana, historiographer of Luang Prabang, dated its construction in 1815, at the time of King Anourut92s reign.

The vat was originally built in the simple style featuring a single nave, porch and a single roof.

The facade of the viharn and wall below the porch were covered with murals. A single stupa

with prasat was erected in front of the monastery

In 1’2, three dormitories and a viham in the simple style featuring a hail and a single porch

were constructed.

The restoration, carried out between 1966 and 1969 has not changed the main viharn much. The old paintings below the porch were replaced with oil paintings; pale imitations of the originals. All the doors and windows are of carved wood. Two bearded divinities with Chinese-influenced costumes can be observed.

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Oral tradition tells that this vat was erected during King Chantharath92s reign(1851-1870) by Phragna Sisonxay in 1853. In

ancient times, its name, Vat Sieng Monane or the ‘Monastery of Melodious Sounds94 arose from the harmonies of its drum and

gong. It was latter renamed Vat Xieng Mouane or the ‘Monastery of the Joyous Town92.

Erected in the style featuring a triple nave with four bays and a single porch. It has three mullion windows and six irregularly placed

doors. The simple overlapping roof does not have a central spike, only naga decorated roof horns. The viharn has undergone some

partial

restoration, particularly in 1964 when windows were added and the wall murals under the porch were white-washed. The wooden

balustrades were removed and the old paving covered with copper sheets.

Nevertheless, the pediment and haif-pediments with their vegetable inspired designs, as well as the stencilled paintings on red

backgrounds symbolizing Savatti92s miracle during which Buddha multiplied his image infinitely; were kept in conformity with its

original appearance.

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Vat May Sisouvanna Phoumaram (Lef~vre-Pontalis, June 1894 T2/3)

Vat May which means New Monastery is without doubt one of the finest in Luang Prabang.

The Pra Sangkharat, highest Buddhist dignitary in Laos has been residing here since 1894.

Built in 1796 by King Anourout, Vat May was given its present name following the

restoration undertaken in 1821 by King Manthatourat. The construction of two colonnaded

porches, one in front of the monastery and the other behind, was decreed.

In 1891, during the reign of King Oun Kham, his son Sakarine decreed the construction of the

Eastern and Western galleries.

The charm of Vat May comes from its four-tiered roof. The upper portion of the central

double roof sheltering the nave is two-tiered. The lower section which extends over the length

of the peripheral side aisle is really a lean-to roofing that runs on all four sides of the building.

Most of he restoration work undertaken in 1943 and 1962 was done on the cement bas-relief

decorations which were then re-coated with black laquer followed by gilding. Scenes from

daily life in Luang Prabang symbolizing the legend of the Vessantara-Jataka were employed

on these bas relief ornaments.

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Vat Pa Khe Door of the 91Dutch Temple94 (Fomberteaux, E.EE.O. 1’0) The Vat Pa Khe, the ‘Monastery of the Forest of Khe trees94 (Sesbania grandiflora - leguminosae), was built in 1853 by King Chantharat. The viharn, walls, door frames, roof shape and fa~ade are all in the Vientiane style.

The murals on the internal walls, the paintings on the leaves of the Southern door on the Eastern side showing persons in XVIIth century Dutch costumes, as well as those on the leaves of the Western door illustrating persons in XVIth century aristocratic Venetian costumes give this monastery its quirky air.

Laotian influence is evident in the wall murals depicting episodes of the Phalak Phalam

(Laotian Ramayana), the inward incline of the pillars, the artists92 sculpting style as much for

the Buddhas as for the door leaves.

The Chinese influence commemorating the dispatch of a Laotian delegation to Knnniing to

pay homage to Tong Zhi, the Emperor of China; to counter the increasing Siamese grasp, is

very obvious in the ceramic patterns and in the vat92s furniture.

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Vat Pa Khe: Buddha92s altar within the vibarn (M.L.P. 1920)

On the altar92s right is the manuscript chest, a cupboard painted with stencilled decorations and the pulpit, a simple low-backed

seat, where the monastery 91s head monk sits cross-legged to preside over the assembly of devotees. Another piece of the vat s

furniture is the candle-holder in front of the altar. Chinese influence is recognisable in the design showing the bodies of two

mangara-naga entwined in a simple knot. The naga heads stretch out on each side under a jagged crest. A prasat rises in the middle

of the reptiles92 back.

On the left is the cleansing shrine used during the Laotian New Year. The comice frames the ceiling which is pierced with holes

over which is placed the hang lin: the conduit for the holy water.

54Vat Pa Houak, the Monastery of the Bamboo Forest92 (E.EE.O. 1’0)Built at the foot of Phon Si hill facing the former royal palace, Vat Pa Houak is named in honour of the forest which formerly occupied the viharn92s present site.Built in the Vientiane style in 1861 during the reign of King Chantharat, the viharn was built in the simple style featuring a single hail and porch. The roof, decorated with the upper torso of a naga, features a change in gradient. Toothed ornamentation on the roof borders are executed in the style of Cambodian pagodas as well as those found in Bangkok. Inside the viharn, paintings by Laotian artists retrace the Jambupati-Sutta legend. Chinese influence is recognisable in the ornamentation of the clothes and in the rendition of King Bimbisara who appears as a Chinese dignitary55

traditions tell that Vat Aham was built in 1822 by King Manthatourath near the site chosen by Fa Ngum, founder of the

Kingdom of Lan Xang. The site was selected for the erection of an altar dedicated to the town92s dieties, Pou Gneu Gna Gneu.

In the simple style, the temple features a single nave, two porches without lateral galleries. It is covered by a double-layered roof

decorated with naga-headed roofhorns. Vat Aham is a fine example of XIXth century religious construction in Luang Prabang.

The viharn, which possesses six sets of stairs before its restoration in 1’1, now has five windows instead of the seven previously.

59Vat Vixun: That Kak Mo seen from Vat Aham (E.EE.O.1’2)Before its partial destruction in the fire that blazed through the town in 1887, and prior to its restoration by King Sakharine Khamsouk in 1898, Vat Vixun was one of the most imposing monasteries of the old royal town.Built between 1512 and 1515, during the reign of King Vixun Harath, legend has it that no less than 4,000 trees were used for its construction. 12 pillars each 30 meters high and 1.30 meters in diameter, supported its roof, each and and every one procured from a different forest.

Originally built entirely of carved wood, the viharn is now of masonry, but the general shape and character of the formerstructure is more or less retained, particularly the window formation.Vat Vixun is in the style featuring a peripheral nave and lean-to porch in front. The central four-sided roof features a central spike with seventeen prasat and three-headed naga. Displayed inside the viharn is one of the biggest Buddha statues in stucco and gilded masonry in Luang Prabang. A most beautiful collection of stelai statues and ancient objects, especially Xlth and XIIth century Khmer pieces which can be viewed today at the National Museum; was to be found at the Vat Vixun between 1942 and 1975; when it was the museum of rellgious arts.

The surrounding walls of Vat Vixun are punctuated by four gates in the form of three-tiered prasat and crowned with a bowl of lotus flowers. On the temple grounds stands a square monument surmounted by a semi-spherical dome - That Pathoum, the ‘Stupa of the Great Lotus92, better known to the people of Luang Prabang as That Mak Mo, the ‘Watermelon Stupa94. Erected between 1514 and 1515, its semi-spherical form is of such an exceptional type that no other monument of its kind can be found where else in Laos, not even in other Indochinese countries.

After more than three years of work, the monument92s reconstruction was completed in 1’2. The semi-spherical body stands on various tiers of differing shapes and is crowned by an Usnisa(cranial protuberance) of the Laotian Buddhist type.

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Vat Mune Na: Vaulted chapel and stupa before restoration(M.L.P. 1920)

The Monastery of Ten Thousand Rice Fields92 is named in commemoration of the contribution of one meun (a unit of weight,

equivalent to 12 kg) of rice from the ricefield of each villager at the time of its construction in 1533, during the reign of King

Pothisarath.

Originally, the vat consisted of a viharn in the simple style featuring a single nave and porch, a stupa and a vaulted chapel.

In 1920, it was restored to its original state. Two lateral galleries were added to the viharn in 1949. The decorations in gold relief of the front and rear pediments represent a praying diety on a three-headed elephant. The previous lives of Buddha are depicted on both the external and the internal walls.

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Vat Manorom: The great bronze Buddha statue before its destruction (M.L.P. 1887).

This is the oldest known bronze statue in Luang Prabang and in Laos. Created between 1378 and 1379 under King Sam Sene Thai,

the Buddha statue weighed, according to a stone inscription, nine million seven hundred thousand sang, or approximately twelve

tons, and measured almost 6 meters in height: 1.90 meters for the head and 4 meters for the bust. During the plundering of the town

in 1887, the Buddha statue was eviscerated and partially destroyed. It was re-erected in 1919 and subsequently restored in 1971.

The missing members (arms and legs), were repaired in cement, lacquered and coated with gold leaf.

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Vat That: The Great Stupa (M.L.P.1920)

The big stupa that has lent its name to the monastery was built by King Saya Seithathiraths mother. It is square and comprises three

parts. The first level of the three-tiered base features open-work ornamental roof eaves. The second part comprises the square

crenellated main body; each side on which is fitted a false door that shelters a standing Buddha (symbol of the Master92s

omnipresence and his protection over the world). The last and bulbous part of the stupa is crowned with numerous circular

mouldings ending with a sharp-pointed arrow No tiered parasol is featured.

67Vat That Luang (Fomberteaux E.EE.O.1’0)Built in 1818, the square creneilated stupa is in three pans. The base rests on three tiers. On the uppermost one, four kneeling

statues are in the praying position. A border of lotuses line the sides of the middle tier. The massive base was at that time covered

with gilded leaves, and the bulbous section crowned by a seven-tiered copper parasol.

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Vat Xang Khong (Fomberteaux, E.EE.O.1’0)

This vat stands to the north of the Nam Khane, outside the city. From its style which is similar to that of Vat Xieng Lek, it can be

inferred that Vat Xang Khong was built at the end of the XlXth century.

The viharn has remained intact since its establishment and is of the simple type with a single hail and porch.

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Vat Xieng Lek: The Great Stupa (Fomberteaux, E.F.E.O. 1’0)

Built by King Ong Nok around the middle of the XVLllthcentury the stupa rests on a three-tiered square crenellated base. A body of hexagonal mouklings cover most of the

upper section.

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Vat Phan Luang: in the village of potters, on the Nam Khane river (E.F.E.O.1’0)

The founding date of the monastery is unknown but the style is similar to that of the the XVIIIth and XlXth centuries. In the simple

style featuring a single hail and porch, it was demolished in 1948. Two lateral galleries were added during the reconstruction which

began in 1951. The interesting feature of this monastery is a strange-looking chapel in the form of a prasat sheltering some Buddha

statues - two of which are in the posture Calling on the Earth as witness. This small chapel is placed on the monastery92s altar. Local

information has it that they were brought from Muang Gnou near the Lao-Vietnamese border.

77

Originally built by King Anourout in 1804, it was restored in 1914 and again in 1’6 when the 328-step staircase was built. One of

the interesting aspects of Phou Si hill lies in the legend that surrounds it.

Tradition has it that at the site of the sacred hill, there used to be a deep pit that led to the centre of the earth. Helped by villagers, a

Vat That Luang (Fomberteaux E.EE.O.1’0)Built in 1818, the square creneilated stupa is in three pans. The base rests on three tiers. On the uppermost one, four kneeling statues are in the praying position. A border of lotuses line the sides of the middle tier. The massive base was at that time covered

Vat That Luang (Fomberteaux E.EE.O.1’0)Built in 1818, the square creneilated stupa is in three pans. The base rests on three tiers. On the uppermost one, four kneeling statues are in the praying position. A border of lotuses line the sides of the middle tier. The massive base was at that time covered

monk went down into the pit and found an immense treasure. The villagers seized the treasure and buried the monk alive by sealing

the pit92s mouth. However, armed with magical charms, the monk succeeded in extricating himself after defeating the treasures

seven guardians. News of this murder attempt reached the King92s ears and he punished the villagers by condemning them to take

turns in beating drums, gongs and cymbals every three hours to stop the dragons from disturbing mankind.

79Tham Loun: The Cave at Pak On (E.F.E.O.1953)Situated at the confluence of the Mekong and Nam On rivers is the Pak Ou cave, usually called Tham Ting. It is actually made up of two caves - the upper cave is known as Tham Theung and the lower cave is Tham Loum.The upper cave, formerly fitted with doors, contains a multitude of Buddha statues, generally standing, with hands aligned along the body. Most are made of wood or terra cotta. Halfway inside it is a hang lin whose spout is a representation of naga emerging from a dragons mouth. The particular characteristic of the lower cave lies in the presence of limestone animals and dieties.

In between the spaces occupied by various altars filled with Buddha statues are images of Hanuman and of a forest-living hermit, Rusi (a very popular figure in Laotian legends) seated in the Javanese manner.

Local tradition has it that Tham Ting cave was founded by King Say Setthathirath in 1547, after the construction of Vat Pak Ou on the opposite bank of the Mekong at Ban Pak On.

83a

In Luang Prabang, temple furniture style and ornamentation are much richer and more original than elsewhere in Laos. Pulpits, candleholders, hang un (holy-water conduits) and manuscript coffers for example, can be identified.

The pulpits, always placed at the southern nave in the middle of the bay before the main Buddha statue,

are of mixed

83bconstruction. In fact, the word ‘pulpit94 is used to describe shelters or shrines that are designed for other uses as well.The first kind, of carved wood, rests on a plastered and molded masonry base with a horizontal surface. It is decorated with patterns in stucco and enamelled lead and is used as a shrine for sprinkling water on the Buddha images during the Laotian New Year. The hang lin (water conduit) is placed above the roof of the shrine, which is pierced with holes to sprinkle the Buddha statues placed below. The hang lin, whose main feature is its bird-like shape and naga-shaped spout, was also used to sprinkle water on the King and Queen during the Pimay festivities (Laotian New Year) and

on new monks for their ordination.There are two types of genuine pulpits. The first, called ho thammad, features a multi-tiered roof and is used for the teaching of Buddhist precepts or for the recital of the episodes from Buddha92s Jatakas during important religious festivals. The second type is a low-backed simple seat where the head monk of the vat sits to preside over religious gatherings.

In pagoda viharn halls in Luang Prabang, many manuscript coffers are placed by the side of Buddha92s altar. They are in the form either of a Laotian goblet or a cupboard and are usually painted and decorated with golden stencils. The most typical are those currently preserved in the former royal palace, the National Museum of Luang Prabang.Placed on Buddha92s altar, the candleholder can be found in all temples. The most common are those shaped as a curved iron stem turned up at the ends, resembling a two-headed naga. But the most beautiful are those made in the 19th century in the form of a carved wooden screen charged with cosmic symbolism; with the upper part of the screen representing the body of two magara-naga. Carved candleholders decorated with scenes representing the Laotian Ramayana are from a more recent date.

85

BUDDHA IMAGESIt is undeniable that Khmer and Thai arts have had an influence on Laotian sculpture, but Luang Prabang artists, for whom each Buddha image possesses its own spirit, have sought to attain their goal by following a path which led them to an elegant

and spare stylisation. In its most highly idealized representation, the image of the Buddha should have an egg-shaped head and face, eyebrows like a drawn bow, a nose like the beak of an eagle and smooth, round arms like elephant tusks.However, three major features characterize the Luang Prabang Buddha in comparison to those of the neighboring countries. The usanisa (cranial protuberance) is always embellished with a stylized flame; the ear-lobe unusually long is shaped like a snail shell; and the urna or divine frontal sign is never represented.Images of the Laotian Buddha, like all others in South East Asia, wear clothes: the antaravasada wrapped around the hips and the uttarasanga draped in monastic style. The sanghati folded and carried on the left shoulder, can seen on some Buddha statues.The sitting Buddha, in the virasana in the maravijaya attitude

has his left hand resting on the lap; while the right hand, palm on knee,

touches the pediment with the tips of the fingers, thereby calling the earth as witness. Those in the samadhi attitude, both86

hands resting in the lap, right hand on the left, are most often represented in Luang Prabang.The Buddha of Enlightenment, seated under a canopy of naga head protecting his profound meditation is quite rare in Laos. The attitudes of the Standing Buddhas are more varied. The Buddha may be standing still with a gesture of ‘Absence of Fear94, interpreted in Laos as being the ‘Buddha quietening family quarrels94. In the abdhaya mudra attitudes, both palms are turned forward or if both arms are hanging beside the body, it is considered to represent ‘Calling the rain over a Kingdom affected by drought94. In some cases, the hands may be crossed on the stomach or carrying an alms bowl with both hands in the attitude of the begging Buddha.There is also a Buddha in a walking posture advancing on either foot. On the side of the leading foot, the hand is lifted in the gesture of ‘Reassuring 94 or of ‘Increase94.

In Luang Prabang, wooden or bronze Buddha statues adorned with the finery of Cakravatin monarchs, or even with the attributes of royalty on their monk92s robes are not that common. And even rarer, since in Luang Prabang there is only a single statue at Vat Xieng Thong dating from 1569, is a representation of the Buddha lying down.

The Luang Prabang Buddha has a profoundly moving effect by its grace, its gentleness, the fluidity of line of its chest and thighs, the narrowness of its hips, the elegance of its gestures and the slimness of its hands. It is covered with gold leaf by the faithful, not so much to enrich the image, but to convey the color of the great sage92s skin endowed with a golden incarnation. It is therefore one of the most representative elements of the traditional art of Luang Prabang which must, in our opinion, be protected and preserved.

91

The 91Pra Bang BuddhaThe Pra Bang, or ‘Holy Golden Buddha92, is a standing bronze Buddha covered with gold leaf. It weighs 43.4 kg and is 0.83 metres high. Melted and cast in Ceylon (Sri Lanka) in the VilIth century this statue was given to Fa Ngum in 1358 by his father-in-law upon his departure to conquer his kingdom.

Upon his coronation as King of [an Xang, Fa Ngum elevated this statue to the rank of the kingdom92s Holy Guardian. He left it in Vientiane, while he made Xieng Dong-Xieng Thong (Luang Prabang) his capital.

In 1489, King Sam Sene Thai installed the Pra Bang at Vat Xieng Kang. Two years later, it was transferred to Vat Manorom on the occasion of the change of name of the capital to Muong Luang Prabang. King Vixunnarath transferred the Pra Bang to Vat Vixun in 1513. In 1560, King Say Setihathirath, transferring his capital to Vientiane, took the Holy Guardian with him.

In 1779, the Siamese seized it and returned it four years later. The Pra Bang was taken to Bangkok once again in 1828, to be returned to Soukhaseum, King of Luang Prabang, later in 1839.

In 1894, King Sakharine transferred the Pra Bang to Vat May where it remained until 1947, when it was placed in the Royal Palace, now the National Museum.

Each year, on the third day of Pimay or Men Sang Khan Kheun, ‘Day of the Arrival of the New Year92s Thtelary Die~94, the Pra Bang is taken in procession to Vat May. It is exhibited at the purification shrine, surmounted by two hang lin to receive water dispensed by the people.

94

Vat Vixun: The great Buddha meditating in samadhi, sitting in virasana (M.L.P.1920)

Both hands of this 5.64 meter high Buddha statue are resting in the lap, right hand on left. Two standing Buddhas flank the larger

Buddha statue. Of gilded wood and dating from the XVIth centuiy, they are in the walking posture in the the Reassuring92 attitude.

Their wide shoulders, narrow hips, long thighs and very thin legs give them an extremely elegant profile.

There are also four other Buddha statues on the altar in old stuccoed masonry and sitting under seven-headed nagas. This

architectural style is rare in Laos.

96

The religion practised in Luang Prabang is a mixture of animist beliefs and Buddhism; the former having evolved from prehistoric beliefs and creation myths.

Outstanding natural sites embodied in large trees, big rocks and rapids, where the fifteen nagas (royal protectors of the town) live; as well as the sacred Phou Si hill, are worshipped. The creationmyths refer to the creation of the spirit idealized in local folklore.

Examples are the numerous cults in Luang Prabang addressed to the Phi (either good or evil spirits), or to Pou Gneu Gna Gneu, the tutelary spirits of Luang Prabang, whom the myths designate as the ‘Organizers of its territory94. This explains the presence of ho phi, shrines dedicated to the guardian spirit, to whom offerings are made within the grounds of ever monastery and in front of some houses.The local inhabitants visit the town92s numerous temples daily where

the monks are from the Theravada (Lesser Vehicle) school of Buddhism that replaced that of the Mahayana (Great Vehicle); in practice until the midXlVth century. The Laotian lunar calendar has twelve months a year. For certain years there are thirteen months; in which case the eighth month will be doubled. The calendar regulates religious and animistic festivals. Of a domestic nature, the festival of the third month is accompanied by an agricutural ceremonyDuring the fourth month, Boun Phavet or ‘Festival of the Ultimate

Existence94 is a holy festival, the Vessantara, the ultimate

97incarnation of the future Buddha, recited.In Luang Prabang the return to the beginning of the kingdom and the cosmos is sought after during the New Year festival. For this occasion the town observes a series of ceremonies over several days: religious services, the giving of offerings, prayers, processions, building of small sand stupas, spirit worship and nocturnal festivals.There are two New Year Days - the first is in December and marks the change of the zodiac cycle, which is based on the lunar calendar. The second is in April and marks the beginning of the civil year; this is calculated by the solar calendar and is solemnly celebrated in the fifth month. During the last three days of the year, ceremonial elephants are circulated in procession around the town where theypay homage to the guardian spirits at Vat Vixun, Vat May and Vat Xieng Thong. The last day of the year is a day of physical and moral purification. It is the day when the spirit of the world ascends to the sky to report on all of mankind92s acts during the past year. Therefore, the faithful must try to have their sins pardoned by accomplishing commendable acts. Therefore, at sunrise everyonc

98

goes to the market where live animals are sold. Thirties, fish, birds ... will be liberated on the same day by the buyers to make amends for their sins against living beings during the past year. At the end of the morning, Buddha statues from every vat are transferred, exhibited and sprinkled with holy water. In the afternoon, sand stupas are traditionally erected at Done Xay Moungkhoune. These stupas symbolize the great holy mountains of India - each grain of sand expiates a sin. On the intercalary day, mu nao, a procession of the faithful of Vat Vixun, Vat Aham, Vat May, Vat That and Vat Chomsi visit the Vat Xieng Thong to sprinkle the Buddha statues.

Pou Gneu Gna Gneu, the tutelary spirits of the city, and Sing Keo Sing Kham, the little lion, dance at Vat Xieng Thong. The masked dancers wearing costumes of vegetable fibers personify Pou Gneu and Gna Gneu. According to the local legend of creation, these mythical persons made the earth appear by

stamping on the

99immense ocean that covered the world. These mystical persons planted gourd seeds wherefrom man appeared. Thanks to the little lion that they had captured in the Himalayas and tamed, they eliminated a beast that terrorized the region of Luang Prabang. As compensation for all their deeds before their deaths, they requested that the inhabitants make effigies of themselves and the small lion. Every New Year, as protection against the country92s destruction, they should dance at both ends of the town.The first day of the New Year is fixed by the passage of the sun to samphout - or, to point zero. On this day, the spirit of the world descends again from the skyIn the afternoon, monks from different vats sprinkle the Buddha statues at Vat Vixun and Vat That; the Pou Gneu Gna Gneu is danced on the esplanade of each vat. In the evening, Ramayana dances are performed at the royal Palace.Early on the second day of the New Year, monks read the Phune Pra Bang, or Pra Bangs history before the statue Guardian of the Kingdom. Prayers over, the monks place the statue in a prasat or wooden shrine whereupon guards in procession transport it to Vat May to be transferred onto a gilded prasat. On Vat Vixun92s esplanade, the Pou Gneu Gna Gneu is danced.

On the following day, the procession visits the Vat Sangkhalok to sprinkle the Buddha statues. On the morning of the fourth day of the New Year, the population travel up the Mekong by boat. After stopping by at Vat Done Khoune to sprinkle the Buddha statues, the cortege stops next at Pak Ou to sprinkle the Buddha statues in Tham Ting cave. The procession then stays overnight on the sandy beach facing the cave.

On the afternoon of the fifth day, the Pou Gneu Gna Gneu is danced before

the Pra Bang statue at Vat May. It is then sprinkled

100with holy water after which a vigil follows.On the morning of the sixth day of the year, the Pra Bang is escorted back in procession from Vat May to the Palace. Finally, in the ninth month, the famous ‘Boat Festival94, Boun Xouang Hua, is celebrated in Luang Prabang to achieve purity and bliss. This event is celebrated the following month in other parts of Laos.

108

The Ramayana is composed of a set of epic Indian sacred poems that describe the legend and achievements of Rama.

Traditionally, the Ramayana is an integral part of Laotian choreography It is associated with the tale of princes Phalam and Phalak,

who were exiled by their father, the reigning king, to a huge Laotian forest. They arrive at a paradisiacal place known as

Savannakhet, the terrestrial paradise. Princess Sida, Phalams wife, a ravishing woman of unequaHed beauty is kidnapped by the

Demon God, Ravana. Thanks to Hanuman and his army of monkeys, allies of Phalak and Phalam, Nang Sida is freed. This

choreography was revived in Luang Prabang in the first half of the 19th century

123

Before the administrative restructuring of the 191 Os, Luang Prabang province covered most of northern Laos, or almost one third of the present country. It encompassed most of the present provinces of Sayaboury Oudomxai and Phong Saly Only the Oun Neua district in the North and the province of Upper Mekong, which included the present provinces of Bokeo and Luang Namtha in the West, were not part of it.

In the earlyl900s, the population of this vast, sparsely populated territory was no more than 250,000 and represented all the main linguistic families of Laos. The Ai-Lao, who belong to the Tay Kadai linguistic family, the most numerous in the province, were represented by scattered groups composed mainly of the Lao and Lu and in lesser numbers by the Thy Dam, lay Deng, lay Khao and Gnouan.Austro-asiatics from the Mon Khmer linguistic family were found in all parts of the province - the most numerous being the Khmu. At the borders of the Khmu domain were scattered ethnic groups, such as the Khmu Rok, the Khmu Lue, the Khouen and the Bit. The Miao-Yao linguistic family whose presence was observed around the 1870s, includes the Hmong, Yao and Lanten. Mainly located in the North and belonging to the Sino-Tibetan family, the presence of the Phou Noy, the Ko, the Ho and the Lob were observed while the Mousseu and the Khouy were found in the South.Luang Prabang, capital and centre of all activities, administrative as well as commercial, attracted the admiration of the first explorers. Francis Gamier of the Mekong exploratory mission, recorded in 1867 after having travelled 2,000 kilometers: ‘It offered us a most picturesque and animated sight.

Since our departure from Cochinchina, we have not met such a conglomeration of houses.94 He also noted the harmonious

124arrangement of this town with its roofs aligned in parallel rows along the river and, above all, the sight of Vat Chomsi on the green hill of Phou Si. This panorama was matched by the sight of the temples at the foot of the cosmic hill, while along the banks of the Mekong the floating town stood, raised on permanent rafts.

The first visitors also noticed the wide and regular roads, crossing at right angles and bordered by beautiful houses surrounded by fences.

The whole of the upstream section of the peninsular was reserved for the

royal family and the aristocracy The commercial quarter extended on both sides of the main market, which stretched for almost two kilometres, and the downstream part of the town belonged to the ordinary people.Except for the main Vats, such as Vat Xieng Thong, Vat Mai, Vat That ... that were constructed of lasting materials, all the others were of wood, as were the main houses in the town. The people on the whole lived in bamboo houses.The French presence from the 1900s is recognisable from the construction of masonry buildings. This was accompanied by the destruction of certain Vats to make place for administrative buildings or housing. However, the restoration of the towns main Vats began from this period. This rehabilitation work continues today; thanks to the combined efforts of the Laotian Government and UNESCO.

130

Boat for transportation on the Mekong.

Measuring about ten meters long with a low draught and an effective load capacity of five tons. These boats were operated by a

crew of six men. Going downstream from Luang Prabang to Vientiane during the high water season took ten to twelve days. The

return trip took three weeks.

(Pavie, May 1888, T7/125)

133

The pa boeuk, one of the biggest fish in the Mekong, is a silurian reaching a length of two meters and can weigh up to 300 kg. Pa

boeuk fishing was practiced between the 6th and 7th months. Its roe was much appreciated by the Laotian who used it to prepare

Laotian caviar, called som khay. (Pavie, 1890, T6/135

136

Covered market of Luang Prabang (Roquebain M.L.P 1924) Other than edible products, fish, meat ... imported products, often of

English production, fabrics, hardware, porcelain.., could be found and exchanged - particularly for forestry products: beuzoin,

cardamom, lacquer, wood ...

139

Tal Lue weaver of Ban Phanom (Rivi&re 1890, Pavie T4/32)

Other artisans and guilds exist: cutlery-makers at Ban Don, basket-makers (lacquered baskets containing the necessaries for

preparation of betel nuts) at BanPak Khan, silversmiths at Ban Vat That ...

148

Homphanh Rattanavong, ex-alumnus of St. Cyr, graduate in sociology and journalism, is the Directorof the Institute for Cultural Research and a member of the Lao Commission for UNESCO since 1983. He was a director of the publication ‘Vanasim94 and is currently Vice-President of the Committee of Information and Culture of the ASEAN countries. Author of numerous books and publications and the Director of the review ‘Lanxang Heritage92, he is the founding member of the LaotianWriters Association.

Dr. Bouthieng Siripaphanh, director of the National School of Fine Arts, is aPhD holder from the University of Sofia and the University of Paris, wherefrom he obtained his thesis on the subject of Luang Prabang and its Art92 in 1994. His contribution to the survey of ~Luang Prabangawoild-wide heritage city94 is valuable. He is the author of articles on art andis currently doing research on the arts of Laos.

Dr. Patrick &ay, expert to the IRC, Doctorin Far Eastern studies(Paris 1989) had been attached to the CNRS URA 1075M, Paris 1990, on a temporary contract as well as to the E.P.H.E, lVsection(Sorbome-Paris).

He is currently an associate research fellow with the inter-disciplinary unit at the University of Nice-Sophia Antipolis for South East Asia, Madagascar and the islands in the Indian Ocean; of which he is the representative inthe R.D.P. Lao.

Michel Derepas, economist, has 30 years92 experience in the private sector and is an honorary specialist to the Courts. He has made several field trips to Vietnam and Laos from 19’ to 1996. He has been an associate researcher at the Institute for Cultural Research since 1996, andanassistant-editorforthe94Lanxang Heritage92 publication.

149

Abhay (Thao Nhouy) - Le Bouddhisme laotien, Imp. fran~aise d92Outre-mer, Saigon, 1949 Cli. Archaimbault - La naissance du monde selon les traditions Lao. Le mythe de Khun Bulom, in La naissance du monde, Paris, Le Seuil, 1959, pp. 385-414.

La fete du T92at ~i Luang Prabang, in Arti bus Asiae, 1,1966, pp.5-47. La course des pirogues au Laos un complexe culturel, in Artibus Asiae Ascona, 1972

Ch. Batteur - Sculptures rupestres an Laos (Grotte de Nong Phin), in BEFEO,XXV, 1925 pp.203-205 G. Coedes - Les Etats hindouis~s d92indochine et d92Indon~sie, Paris, De Broccard, 1964

Introduction Li l92Histoire du Laos, in France- Asie, (n0 118-120), pp. 711-715.F. Defert - Une exposition des Arts appliqiais laotiens ~ Luang Prabang in Revue Indochinoise, XXV, (5-6) ,1916, pp.365-37O.

A. H. Deydier - Le Ramayana au Laos, in France-Asie (78), pp. 871-873

Amphay Dor6 - Aux sources de La civifisation Lao, th~se pour le Doctorat d92Etat ~s-1ettres et Sciences Humaines, (2 tomes), deuxi~me ~dition, revue et corrig6e, 1987. M. Ferlus - Le r6cit Khamou de Chuang et ses implications historiques pour le nord Laos, in ASEMI, X, 2-3-4, 1979 B. Gay - Le culte des Devata Luang: Pu Nyoeu et Nya Nyoeu grands g6nies tut6laires de Luang Prabang, in Cultes populaires et socktL~s asiatiques, Paris 192Harmattan, 1991, pp. 157-168. M. Giteau - Notes sur les sculptures sur bois de Luang Prabang repr6sentant des sc~nes du Ramayana, in Arts Asiatiques, XLV, 1990, pp. 65-75.

150

ACKNOWLEDGEMENTSThe Institute for Cultural Research of the Ministry of Information and Culture and the Cultural Association of the Silk Routes wish to thank all the personalities, persons, companies and organizations that have made this book 91Treasures of Luang Prabang94 possible. In particular, our appreciation goes to: The Government of the People92s Democratic Republic of Laos and the Venerable of Vat Sene of Luang Prabang. To the National Committee presided by H.E. Somsavat Lengsavad, Deputy Prime Minister and Minister of Foreign Affairs, H.E. Sileua Bounkliam, Minister of Information and Culture, H.E. Soubanh Srithirath, Minister and Chief of Cabinet office of the President, HE. Bouthone Seng Khammi, Vice-Minister of Education.

To H.E. General Cheng Sayavong, Vice Minister of Commerce and Tourism, President of the National Tourism Authority and all the persons working under the Tourism Authority. To H.E. Chansy Phosykham, Governor of the Luang Prabang Province, the Department of Information and Culture, and the National Museum of Luang Prabang.

This publication would not have been possible without the support of Mr. Saly Khamsy, Counselor to the Institute of Foreign Affairs, of Mr. Khamphao Phonekeo, Counselor to the Lao National Commission of UNESCO, of Mr. Khamseng Soundara, former Director of the Department of Publication, of Dr. Chanthaphilith Boungnaseng, Director of the Department of Publication, of Dr. Thongsa Xayavongkhamdy, Director of the Department of Museums and Archaeology, of Dr. Saveng Phinith and of Dr. Mongkol D. Sasorith. Our special thanks are extended to Mr. Jean Pierre Dr~ge, Director of the Ecole Fran~aise d92Etr~me Orient who kindly permitted the reproduction of the EFEO92s iconographic archives.

Our gratitude also goes to all the companies who lent us their kind support and for their confidence in us.