The upper section is made of teak which is said to more resistant to decay than stone and is one of the few woods which are ignored by ants. The facade is decorated with carved foliate work in faded gilt with a tower ornament on the gable end. The walls are of teak and treated with red lacquer as are the nagas along the bargeboards and the chofa finials. Along the ridge of the roof are a line of small hamsas and in the middle a small gilt finial also with bird figures.
The End
One of the other main attractions is the exquisite ho trai or manuscript depository building. It’s a masterpiece of the Lanna style of architecture and regarded as one of the most beautiful in Thailand. The building originally dates from 1477 and undergone several restorations including in 1867 and 1920.
The building has two levels as usual with the depository placed on the upper floor to protect from insects the sacred Buddhist texts which are inscribed on cut palm leaves.
The lower section is built of stone with around 20 beautiful Devata figures in bas-relief set around the walls between the windows and on the corners. Most of the figures are in the anjali pose with hands clasped in the gesture of respect but several placed on the corners are more animated, dancing and raising lotus flowers over their shoulder.
The main chedi, which dates from the establishment of the temple in 1345, has been expanded and renovated in the past The style has Lanna and Burmese features and has been entirely gilded.
The high square base has elephants protruding from the structure on each of its four sides. The base supports the circular mid-section which rises to support the bell. Above the bell is the usual finial including the hti or Burmese style umbrella.
Next to the chedi is a smaller one also gilded with a high square base in similar style.
Next to mondop tower is a stone stele made from red sandstone with inscriptions carved on the front, flanked by two deva figures and a mom, a mythical creature resembling a small crocodile. The life-like figures of revered monks in wax which used to sit in front of the mondop are no longer present.
On each side of the mondop tower is a Buddha image including on the east side a copy of the "Emerald Buddha" which it’s said was originally housed at the temple in the 14th century.
There is also a Buddha image which was cast in 1898 in the mudra less seen with an open palm signifying an invitation to give alms.
In addition, the ubosot contains the shrine containing the Buddha images for each day of the week and boxes in which you can make a donation depending on what day of the week you were born——something which every Thai adherent knows together with their zodiac animal which also plays an important part in encouraging donations. Unlike most ubosots or initiation buildings women are allowed to enter.
The interior is dominated by the mondop tower positioned in the centre of the room. The walls which are of teak display old photographs of the temple and past celebrations.
The Ubosot is placed between the Viharn Luang and the large chedi. It has two entrances, one for monks on the south side and one for nuns on the north side. It is as such a song sangha ubosot（'song' meaning 'two' in Thai）.
It was built in 1806 in the Lanna style and mostly of teak. The roof has three interlocking tiers with unusual finials. Along the bargeboards, instead of the usual nagas, there a patterned teak pieces with kranok shaped heads protruding from the sides. In addition, the chofas placed at the apexes of the roof are ornamental and not representative of the usual bird’s head.
This plain style is followed throughout the interior which is a common feature in the later 20th century temple buildings. The columns and the roof supports are plain white except for the lotus flower capitals in gilt. The walls are also plain white and this has the effect of focusing the attention on the main attraction being the Massive Buddha image.
This Buddha image called the "hra Chaon Thong Thip Buddha" was cast in 1477 and is composed of an alloy of gold and copper. One of the most venerated Buddha images in Northern Thailand it was given by monks from Southern Yunan province of China.
The image is very striking with the eyes well pronounced giving a watchful countenance. It is seated on a dais in the usual mudra of Subduing Mara with right hand towards the ground. In front are numerous other smaller Buddha images and an attractive arrangement of flowers, candles and ornaments on gilt tables. Behind the alter is a large wheel of Dhamma in gilt and blue decoration.
The main viharn is relatively modern and dates from 1925 having replaced the original viharn from the 15th century and contains an important Buddha image which was cast in 1477.
The word "Luang" means "big" and it certainly lives up to its name. The imposing facade is the first thing you see when you enter the temple. It is decorated with intricate carvings of figures and foliate patters in gilt set on a sparkling mosaic of blue glass pieces.
The roof is also impressive having three tiers and three horizontal splits and sweeping low to the ground in the typical Northern Thai style. As usual the bargeboards are decorated with nagas running along the edges of the roof and the apexes are adorned with slender bird chofas.
The entrance to the viharn is guarded by a fearsome pair of nagas set along the balustrades and the porch has three doors each with decoration above the lintels in the form of an arch composed of bodies of nagas. Otherwise the porch is without ornamentation.
