Brief history
Most northeasterners speak a dialect that’s more comprehensible to residents of Vientiane than Bangkok, and Isaan’s historic allegiances have tied it more closely to Laos and Cambodia than to Thailand. Between the eleventh and thirteenth centuries, the all-powerful Khmers covered the northeast in magnificent stone temple complexes, the remains of which constitute the region’s most satisfying tourist attractions. During subsequent centuries the territories along the Mekong River changed hands numerous times, until the present border with Laos was set at the end of World War II. In the 1950s and 1960s, Communist insurgents played on the northeast’s traditional ties with Laos; a movement to align Isaan with the Marxists of Laos gathered some force, and the Communist Party of Thailand, gaining sympathy among poverty-stricken northeastern farmers, established bases in the region. At about the same time, major US air bases for the Vietnam War were set up in Khorat, Ubon Ratchathani and Udon Thani, fuelling a sex industry that has plagued the region ever since. When the American military moved out, northeastern women turned to the tourist-oriented Bangkok flesh-trade instead, and today the majority of prostitutes in the capital come from Isaan.
Isaan’s border crossings
Isaan has four major border crossings into Laos, all of which issue Lao visas. The most popular of these is at Nong Khai, a route that provides easy road access to the Lao capital, Vientiane; the others are Nakhon Phanom, Mukdahan and Chong Mek. If you want to avoid possible queues at the border, you can get a Lao visa in advance from the consulate in the central Isaan town of Khon Kaen. Here you’ll also find a Vietnamese consulate issuing visas for Vietnam.
It’s also possible to travel overland between Isaan and Cambodia through two different border crossings: via the Thai town of Kap Choeng, in Surin province, to O’Smach, which has transport to Anlong Veng and then on to Siem Reap; and via Sa Ngam in the Phusing district of Si Saket province to Choam in Anlong Veng.
Phimai
Hemmed in by its old city walls and encircled by tributaries of the Mun River, the small modern town of PHIMAI, 60km northeast of Khorat, is dominated by the charmingly restored Khmer temple complex of Prasat Hin Phimai. No one knows for sure when the prasat was built or for whom, but as a religious site it probably dates back to the reign of the Khmer king Suriyavarman I (1002–49), and parts of the complex are said to be older than Cambodia’s Angkor Wat. The complex was connected by a direct road to Angkor and oriented southeast, towards the Khmer capital. Over the next couple of centuries Khmer rulers made substantial modifications, and by the end of Jayavarman VII’s reign in 1220, Phimai had been officially dedicated to Mahayana Buddhism. Phimai’s other claim to fame is Sai Ngam (Beautiful Banyan), reputedly the largest banyan tree in Thailand. Otherwise there’s plenty to like about its peaceful, small-town feel. Most visitors arrive here on day-trips, but with an excellent guesthouse and plenty of opportunities for early-morning bike rides, it’s worth staying overnight.
Prasat Hin Phimai
Built mainly of dusky pink and greyish white sandstone, Prasat Hin Phimai is a seductive sight from a distance; closer inspection reveals a mass of intricate carvings. Entering the complex from the main southeastern gate, it’s worth checking out the visitors’ centre on the right-hand side after the ticket office, which uses simple wall-hung exhibits to explain the history of the site.
Outer areas
Heading into the complex from the southeastern gate, a staircase ornamented with classic naga (serpent) balustrades leads to a gopura in the outer walls, which are punctuated on either side by false balustraded windows – a bit of sculptural sleight-of-hand to jazz up the solid stonework without piercing the defences. A raised pathway bridges the space between these walls and the inner gallery that protects the prangs of the inner sanctuary. The minor prang to the right, made of laterite, is attributed to the twelfth-century Buddhist king Jayavarman VII, who engaged in a massive temple-building campaign. His statue is enshrined within; it’s a copy of the much more impressive original, now housed in the Phimai National Museum. The pink sandstone prang to the left, connected to a Brahmin shrine where seven stone linga were found, was probably built around the same time.
The main prang
After more than twenty years of archeological detective work and painstaking reassembly, the towering white-sandstone main prang has now been restored to its original cruciform groundplan and conical shape, complete with an almost full set of carved lintels, pediments and antefixes, and capped with a stone lotus-bud. The impressively detailed carvings around the outside of the prang depict predominantly Hindu themes. Shiva the Destroyer dances above the main entrance to the southeast antechamber: his destruction dance heralds the end of the world and the creation of a new order, a supremely potent image that warranted this position over the most important doorway. Most of the other external carvings pick out momentous episodes from the Ramayana, starring heroic Rama, his brother Lakshaman and their band of faithful monkeys in endless battles of strength, wits and magical powers against Ravana, the embodiment of evil. Inside, more sedate Buddhist scenes give evidence of the conversion from Hindu to Buddhist faith, and the prasat’s most important image, the Buddha sheltered by a seven-headed naga, sits atop a base that once supported a Hindu Shiva lingam.
Phimai boat races
Phimai’s biggest event of the year is its festival of boat races, held on the Mun’s tributaries over a weekend in early November, in a tradition that’s endured for over a century. In common with many other riverside towns, Phimai marks the end of the rainy season by holding fiercely competitive longboat competitions and putting on lavish parades of ornate barges done up to emulate the Royal Barges of Bangkok. During the festival, a son et lumière show is staged at the temple ruins for five nights in a row.
Phanom Rung and Muang Tam
East of Khorat the bleached plains roll on, broken only by the occasional small town and, if you’re travelling along Highway 24, the odd tantalizing glimpse of the smoky Phanom Dangkrek mountain range above the southern horizon. That said, it’s well worth jumping off the Surin-bound bus for a detour to the fine Khmer ruins of Prasat Hin Khao Phanom Rung and Prasat Muang Tam. Built during the same period as Phimai, and for the same purpose, the temple complexes form two more links in the chain that once connected the Khmer capital of Angkor with the limits of its empire. Sited dramatically atop an extinct volcano, Phanom Rung has been beautifully restored, and the more recently renovated Muang Tam lies on the plains below. Most people visit in the morning, so if you’re staying in nearby Buriram or Nang Rong, consider visiting in the afternoon when the sites are less crowded.
Prasat Hin Khao Phanom Rung
Prasat Hin Khao Phanom Rung is the finest example of Khmer architecture in Thailand, graced with innumerable exquisite carvings, its sandstone and laterite buildings designed to align with the sun at certain times of the year (see Spiritual alignment). As at most Khmer prasats, building here spanned several reigns, probably from the beginning of the tenth century to the early thirteenth. The heart of the temple was constructed in the mid-twelfth century, in early Angkorian style, and is attributed to local ruler Narendraditya and his son Hiranya. Narendraditya was a follower of the Shivaite cult, a sect which practised yoga and fire worship and used alcohol and sex in its rituals; carved depictions of all these practices decorate the temple. There are cheap foodstalls outside the Gate 1 entrance and in its car park area, where the museum-like tourist information centre provides an outstanding introduction to the temple’s construction, iconography and restoration.
The approach
The approach to the temple is one of the most dramatic of its kind. Symbolic of the journey from earth to the heavenly palace of the gods, the ascent to the inner compound is imbued with metaphorical import: by following the 200m-long avenue, paved in laterite and sandstone and flanked with lotus-bud pillars, you are walking to the ends of the earth. Ahead, the main prang, representing Mount Meru, home of the gods, looms large above the gallery walls, and is accessible only via the first of three naga bridges, a raised cruciform structure with sixteen five-headed naga balustrades. Once across the bridge you have traversed the abyss between earth and heaven. A series of stairways ascends to the eastern entrance of the celestial home, first passing four small ponds, thought to have been used for ritual purification.
A second naga bridge crosses to the east gopura, entrance to the inner sanctuary, which is topped by a lintel carved with Indra (god of the east) sitting on a lion throne. The gopura is the main gateway through the gallery, which runs right round the inner compound and has been restored in part, with arched stone roofs, small chambers inside and false windows; real windows wouldn’t have been strong enough to support such a heavy stone roof, so false ones, which retained the delicate pilasters but backed them with stone blocks, were an aesthetically acceptable compromise.
The main prang
Phanom Rung is surprisingly compact, the east gopura leading almost directly into the main prang, separated from it only by a final naga bridge. A dancing Shiva, nine of his ten arms intact, and a lintel carved with a relief of a reclining Vishnu preside over the eastern entrance to the prang. This depicts a common Hindu creation myth, known as “Reclining Vishnu Asleep on the Milky Sea of Eternity”, in which Vishnu dreams up a new universe, and Brahma (the four-faced god perched on the lotus blossom that springs from Vishnu’s navel) puts the dream into practice.
On the pediment above this famous relief is a lively carving of Shiva Nataraja, or Shiva’s Dance of Destruction, which shows him dancing on Mount Kailash in front of several other gods, including Ganesh, Brahma and Vishnu. The dance brings about the total destruction of the world and replaces it with a new epoch. Of the other figures decorating the prang, one of the most important is the lion head of Kala, also known as Kirtimukha, symbolic of both the lunar and the solar eclipse and – because he’s able to “swallow” the sun – considered far superior to other planetary gods. Inside the prang kneels an almost life-size statue of Shiva’s vehicle, the bull Nandi, behind which stands the all-powerful Shiva lingam, for which the prang was originally built; the stone channel that runs off the lingam and out of the north side of the prang was designed to catch the lustral water with which the sacred stone was bathed.
Two rough-hewn laterite libraries stand alongside the main prang, in the northeast and southeast corners, and there are also remains of two early tenth-century brick prangs just northeast of the main prang. The unfinished prang noi (“Little Prang”) in the southwest corner now contains a stone Buddha footprint, which has become the focus of the merit-making at the annual April festivities, neatly linking ancient and modern religious practices.
Spiritual alignment
Prasat Hin Khao Phanom Rung is so perfectly built that on the morning of the fifteenth day of the waxing moon in the fifth month of the lunar calendar you can stand at the westernmost gopura and see the rising sun through all fifteen doors. This day is celebrated with a day-long festival of huge parades all the way up the hill to the prasat – a tradition believed to go back eight hundred years.
Prasat Muang Tam
Down on the plains 8km southeast of Phanom Rung, and accessed via a scenic minor road that cuts through a swathe of rice fields, the small but elegant temple complex of Prasat Muang Tam is sited behind a huge kilometre-long baray (Khmer reservoir), which was probably constructed at the same time as the main part of the temple, in the early eleventh century. Like Phanom Rung, Muang Tam was probably built in stages between the tenth and thirteenth centuries, and is based on the classic Khmer design of a central prang flanked by minor prangs and encircled by a gallery and four gopura. The history of Muang Tam is presented in brief at the Tourist Information Centre in the temple car park.
The ruins
The approach to Muang Tam is nothing like as grand as at Phanom Rung but, once through the main, eastern, gopura in the outside wall, it’s a pretty scene, with the central gallery encircled by four L-shaped ponds – such important features that they are referred to in a contemporary inscription that states “this sanctuary is preserved by sacred water”. The shape of the ponds gives the impression that the prasat is set within a moat that’s been severed by the four entrance pathways at the cardinal points. Each pond is lined with laterite brick steps designed to enable easy access for priests drawing sacred water, and possibly also for devotees to cleanse themselves before entering the central sanctuary. The rims are constructed from sandstone blocks that form naga, the sacred water serpents.
The rectangular central gallery was probably roofed with timber (long since rotted away) and so could be punctuated with real windows, rather than the more load-bearing false versions that had to be used at Phanom Rung. Inside, the five red-brick towers of the inner sanctuary are arranged on a laterite platform, with three prangs in the front (eastern) row, and two behind. The main, central, prang has collapsed, leaving only its base, but the four other towers are merely decapitated and some have carved lintels intact. The lintel above the doorway of the front right tower is particularly lively in its depiction of the popular scene known as Ume Mahesvara (Uma and her consort Shiva riding the bull Nandi). There are interesting details in the temple complex, including recurrent motifs of foliage designs and Kala lion-faces, and figures of ascetics carved into the base of the doorway pillars on the eastern gopura of the outer wall.