Wat Phumarin Ratchapaksi is located on the western bank of Bangkok, Bangkok Noi district. It is a Buddhist temple likely constructed during the Ayutthaya period, before Bangkok’s founding in 1782; its boat-belly–style brick base echoes late Ayutthaya designs, underscoring its great antiquity.
In the early 20th century (c. 1915–1917), the Supreme Patriarch, finding only a single monk in residence, ordered its merger with the nearby Wat Dusidaram Worawiharn, after which it lost its independent status and gradually fell into disuse
The main hall of Wat Phumarin Ratchapaksi follows a traditional Thai twin-hall layout, with the ordination hall and the preaching hall built side by side, separated by a small water-based scripture library. Both buildings rest on boat-shaped, arching bases—an architectural style typical of the late Ayutthaya period and similar to that of the nearby Wat Dusidaram. The roofs are topped with Thai-style spires.
Above the entrance to the ordination hall, the triangular pediment is adorned with imagery reflecting the temple’s name: at the top is a deity riding a mythical bird, symbolizing divine protection, while below are peacock feather motifs—an allusion to “Phumarin,” which means “peacock.”
Mural
The murals in the temple are the most distinctive artistic treasures of Wat Phumarin.
These murals belong to the early Rattanakosin period during the reigns of King Rama III and IV, and were painted by royal court artists.
It depicts the scene in which the Buddha, on the eve of his nirvana, recounts to his disciples the former prosperity of the Kusinara forest.
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In the center of the scene, a king, Mahasutthana, is reclining, with a wheel of Dharma hanging above his head. On either side, there are palm trees, and the surrounding people express feelings of sorrow. Interestingly, this king is one of the past incarnations of the Buddha. Additionally, palm trees are depicted next to the doorways of each layer of the city wall, a detail not commonly found in the wall paintings of other temples. Therefore, the theme is likely to be about the Buddha recounting the past events of the place to his disciples, rather than the traditional story between the Buddha and Lord Maha Chompoo.
The murals on both sides depict various celestial beings, including gods, yakshas, and Brahmas, gathered together. Unlike in typical temples where the figures are arranged hierarchically according to their ranks, here all the deities are placed on the same level.
It depicts the solemn scene of the Buddha ascending to the Tavatimsa Heaven after his enlightenment to preach the Dharma to his mother, and then returning to the human world. The painting presents the heavens, the human realm, and the hells side by side, symbolizing the Buddha’s wisdom in transcending the three realms and his compassion in delivering all beings.
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The back wall of the hall depicts the story of the Buddha, after attaining enlightenment, thinking of his deceased mother and going to the Trayastrimsa heaven to teach her. In the image, the Buddha is seen returning from the heavenly realm to the human world, with the background showing the heavenly palace, as well as the three realms scene where human devotees offer offerings to the Buddha.
Buddha descended from the heavenly realm back to the human world.human devotees kneel in reverence to the Buddha.
The celestial goddess Mekkhala holds a jewel, facing the yaksha Ramasoon who is about to strike with his axe. According to Thai folklore, the jewel’s light becomes lightning, and the sound of the axe becomes thunder.
Conservation and community activism
In recent years, all parties have begun to pay attention to the cultural value of this temple. For example, at the end of 2022, the Bangkok Creative Economy Agency and other institutions held an art event called “Hidden Temple” here, and presented projection art on the Vijayanagara, using digital technology and ritual activities to draw the public’s attention to the temple and its mural art again.
