There are so many temples that even a small village is likely to have a miniature version of the massive edifices of Bangkok’s most prestigious religious monuments.

In Northern Thailand, a temple is much more than a place of worship. The wat is the centre of village life, serving (at times) as a school, orphanage, theatre, meeting hall, crematorium, youth club, playground - even sometimes a market, political centre or restaurant. Although one’s  behaviour must always be correct and polite in a temple, there is no feeling of remoteness or superiority in a Thai wat; it is a repository for all aspects of the life and spirit, as well as the spirituality of the community it serves.

Thais love to “make merit” with Buddha by donating religious objects to temples. These are always accepted, which means that temples are cluttered with religious bric-a-brac.  The richer the populace the more extensive and impressive the objects donated. Several years ago, a poor lady won six million baht in the national lottery. She spent all the money on the building of a new temple, so staying poor but making enough merit to assure her of a good reincarnation at her death. Truly a long term investment!

Although wats are exclusively Buddhist, there are elements of pre-Buddhist, Hindu beliefs in most temples. Hindu gods such as Shiva may have their statues included, and Thais combine Buddhism with ancient animist beliefs so that temples have become centres of local superstition as well as Buddhism. For many visitors, wats can become ‘too much’. Having seen a few, they merge in the mind’s eye into an unfathomable riot of strange sculptures and bright colours.

Without some understanding of the design and function of the various parts, the brain can switch off and “no more temples” is the unfortunate response.

A wat is a complex of several buildings. There is no fixed pattern, but in general the largest and most central building is the viharn. This building will have one or more Buddha statues at the far end (Buddhas should always face east), before a large open area for the general public. In this area people come to worship, and to receive instructions from the monks. The chief monk (or Abbot) may have a special low dias of ornamented wood to the left of the altar area. The walls of the viharn are usually decorated with murals depicting the life of Buddha. These vary from exquisite ancient depictions to less artistic modern ones.

To one side of the viharn there will usually be one or more chedis. These conical structures of brick, coated with plaster painted white or covered in brass or gold, are said to resemble piles of rice. When asked at his death how he should be remembered, Buddha replied “Make piles of rice to remember me by”. Chedis contain the bones or other relics of religious leaders. The most prestigious (giving the temple the name of Wat Prathat or Wat Mahathat) contain relics of Buddha himself. Many Thais on cremation have their remains interred into the side of a chedi, identified by a small plaque set into the surface.

The bot is the building where monks are ordained. It may contain the most sacred Buddha sculpture, but is often closed when not in use, and the building may be quite small, tucked away in a corner. The area of consecrated ground is marked by eight black stones around the corners and axes of the bot.

Most temples also contain a library, usually a decorated wooden building raised on a podium, and a sala where novice monks or orphaned children are educated by ordained monks. It is customary to have a bodhi tree within the temple grounds. It was under this thick trunked tree with heart shaped leaves that Buddha became “enlightened”. To one side of the temple grounds, identified by the saffron robes hanging out of windows, are the monks’ quarters. Monks administer, clean and look after the wat, as well as teaching and meditating in it.

All temples are covered in small, highly reflective mosaics of coloured glass. Their significance is to drive away evil spirits - if they approach too close they will see their reflection and be frightened away. There are other precautions to ward off bad spirits, including the monster figures often guarding doorways. Many temples are approached by long flights of steps, guarded at the base by pairs of fearsome serpent heads (nagas) whose long scaly backs form the walls on either side of the steps.

The naga is a serpent which can change shape at will. One guarded Buddha in the wilderness by growing seven heads to form an umbrella over Buddha’s head, and promised to give his body for use by Buddha for all time. Candle-holders near the altar within the wat are normally made in the form of a naga.

Singhas are very popular in Northern Thailand. These are stylised lion statues, and originate in Burmese folklore. They represent strength and power and are usually depicted with mouth half open, seated outside temple door, or devouring a frightened victim. The Kala is a monster that devours itself, representing the relentless passage of time. It is usually shown without its lower jaw, which it has already eaten. Originally a Hindu god, it is often seen above windows and doors.

Kinnari are beautiful women above the waist, but with the wings and legs of a bird. They are companions to the gods, and are Himalayan and animist in concept. Ornate Kinnari are popular in Chiang Mai temples.

The Hongse is a mythical swan-like creature, the mount of the god Brahma. It is often seen in northern Thailand as a decoration for ornamental gates or standing on a tall pole in front of the wiharn.

All temples contain at least one, and usually many, Buddha images. They can be made from a wide range of materials, but are commonly brick-based and covered in cement or plaster stucco. Smaller or more venerable statues will be made of moulded bronze, brass or gold. In front of the main image in every temple will be an arrangement of offerings, including lotus blossoms covered in a tea cosy-like hood of dried flowers; bronze or copper money trees and commonly a host of lesser Buddha statues, donated by worshippers to make merit.

The physical features of Buddha are largely determined by convention. These vary over time and from place to place. All Buddhas though, have certain features in common. There is a lotus bud on the head to symbolise enlightenment, and very long earlobes which show he was of a royal family who wore such heavy earrings that the ears became lengthened. The fingers are, in most styles, of equal length, as are the toes.

Some statues of Buddha are very different. The Chinese favour an obese, pot bellied Buddha. One at Doi Tung  has a large deep navel in which visitors are invited to toss coins. This Buddha is associated with happiness, wealth, food and plenty. A fine example towers over the food market at Chiang Rai.  An emaciated statue refers to Buddha’s experiment as an ascetic - when he decided that total self denial was unnecessary, until he subsequently developed the idea of ‘the middle path’.

Buddha may be pictured in  number of different poses. Most usually he is seated cross legged, which indicated meditation. If the right hand is raised, palm outwards, this indicates that Buddha is imploring peace. With left hand raised, palm up, he is teaching. If two fingers are held up, he is blessing. If both bands are down, then Buddha has achieved enlightenment.

The reclining Buddha, in which he is seen resting on a cushion with one arm holding his head, refers to the death of Buddha - the point at which he achieved nirvana.

The walking Buddha refers to walking meditation - regarded as very difficult by most monks. Standing with both hands raised, palms outwards, is a sign of power and refers to a legend in which Buddha stopped the sea from engulfing a village by adopting this pose.