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The Buddhist Scriptures Box: The Preservation of Identity, 

Values, and the Management of the National Intangible Cul-

tural Heritage by the Community in Lanna

Phra Nakorn Pragnrit, Phrakrupariyatjetiyanurak

Tippanakorn Laolee, Phra  Theethat Jaejai, Prateep Peuchthonglang
Mahachulalongkornrajavidyalaya University, Chiang Mai Campus

Email: phranakornpragnrit@mail.com

Abstract
This is qualitative research using documentary research and field sur-

veys. It aims to study the structure, pattern, craftsmanship techniques, and pat-

terns of the Buddhist scriptures box in Lanna. The study was conducted across 

61 temples, including 21 in Chiang Mai, 21 in Lampang, and 19 in Lamphun, re-

sulting in the examination of 103 Buddhist scripture boxes (26 in Chiang Mai, 46 in 

Lamphun, and 31 in Lampang). Keys informant in-depth interviews, focus groups, 

and activities related to Buddhist art, a total of 30 persons, including 22 abbots 

or monks, 4 community leaders/village scholars, 4 academics of Buddhism, art, 

and culture, and 2 Lanna craftsmanship. The research employed three primary 

instruments: 1) Buddhist scripture box surveys, 2) Interview forms, and 3) Focus 

group approaches. The findings were presented through an academic seminar 

and a descriptive lecture following data collection, analysis, and synthesis into 

categories.

The results revealed that Buddhist scripture boxes consist of three 

parts: the base, body, and lid, with designs categorized into box designs and 

chest designs. Craftsmanship techniques encompassed six methods: 1) gilding 

technique, 2) lacquer and vermilion technique, 3) woodcarving technique, 4) 

glass decoration technique, 5) lacquer moldings technique, and 6) painting 

technique. In terms of patterns, Dhamma scripture boxes in Chiang Mai and 



804

Lamphun provinces displayed similar floral motifs, such as the royal lotus and 

gardenia flower patterns, often complemented by stalks, branches, leaves, and 

animal designs. Angel patterns were popularly employed to adorn the center 

body, door panel, and side lid. In contrast, Dhamma scripture boxes in Lampang 

Province exhibited unique patterns, including Lanna flower pot patterns, flora 

patterns, and angel patterns, making them distinguishable from other regions.

Keywords: The Preservation of Identity, The Dhamma seats, The Buddhist 

           Scriptures Boxes, National Cultural-Wisdom Heritage, The Lanna 

           Traditional Altars (Sattaphan)

Introduction
A type of Buddhist art of worship was created by the Lanna people out 

of faith for performing rituals, storing the Buddha’s teachings, and for decorations 

such as Dhamma Seats, Dhamma scripture boxes, the Lanna Traditional Altars 

(Sattaphan), Holy scripture halls, etc. (Mani Payomyong and Sirirat, 1995). Suppose 

these artifacts are ancient and have exquisite patterns. In that case, they become of 

interest to tourists, scholars, researchers, and lovers of local antiques, which are an 

important part of promoting religious and cultural tourism (Prateep Peuchthonglang 

et al., 2015, 2017, 2018; Nakorn Pragnrit et al., 2020). These works of art reflect the 

local cultural identity, indicating the beliefs, values, and worldviews of the Lanna 

people, distinct from other cultures. Additionally, they hold value for both the 

mind and society in various aspects, which is why the Lanna people have continu-

ously developed and preserved their local identity. Researching the mechanism for 

maintaining this identity, including the value, artisanal wisdom, and management 

of the intangible cultural heritage of Buddhist arts, is particularly interesting. These 

arts are among the worship instruments created by faith and then utilized in various 

fields (Sirisak Abisakmontri and Thanikarn Worathammanon, 2016; Kanjana Cholsiri 

and Watchara Wiangcahi, 2018).



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Dhamma scripture boxes are used to store palm leaf scriptures, which 

record the Buddha’s teachings for monks to read and perform the Dhamma. The 

Lanna Traditional Altars (Sattaphan) are used to light candles to worship the triple 

gems according to the Lanna tradition. Therefore, these items are considered forms 

of worship that express the Lanna people’s faith in Buddhism (Phramaha Charan 

Yawinan, 2006). In the northern provinces of Chiang Mai, Lamphun, and Lampang, 

many temples still maintain such forms of worship. Some temples are in perfect 

condition, some are in disrepair, and some are registered as antiquities or artifacts 

by the Fine Arts Department (Prateep Peuchthonglang et al., 2012; 2017; 2020). 

Some temples are preserved as museums for community tourism. Many research-

ers, scholars, and students interested in studying these artifacts visit these temples 

because they organize religious and cultural tourism, leading to a trend of religious 

and cultural tourism in the community. This reflects the mechanism for maintaining 

the artisanal wisdom identity and managing the community’s intangible cultural 

heritage, which must be systematically managed with community participation 

(Kannika Khamdee, 2015; Phra Nakhon Prangrit et al., 2022).

This research paper presents findings on the storage of Intangible Cul-

tural Heritage (ICH) data, specifically regarding Dhamma scripture boxes. Data is 

stored randomly or added to existing data. Additionally, this research supports 

and encourages the registration of certain Buddhist arts as National Intangible 

Cultural Heritage in the field of traditional craftsmanship, a type of folk art. The 

Bureau of Intangible Cultural Heritage (ICH), the Department of Cultural Promo-

tion, and the Ministry of Culture have continuously upgraded ICH management 

to be valuable and systematically preserved, meeting international standards 

(Phrasuthirattanabandit, 2021). The researcher has collected data and has ex-

tensive experience in researching these issues, integrating other disciplines such 

as social sciences, Buddhism, Fine Arts, and Cultural Heritage Management. 

Furthermore, there was cooperation from monks, local wisdom scholars, Lanna 

craftsmen, and related agencies and organizations in the area, such as the Pro-

vincial Administration Organization, Provincial Cultural Office, Provincial Buddhist 



806

Office, Lanna Craftsmen Club, and Provincial Tourism and Sports Office. The re-

sults of this research can guide policymaking, and develop, and create economic 

value based on cultural capital, which continuously impacts the development 

of communities in various aspects. 

Research Objectives  
It aims to study the structure, design, craftsmanship techniques, and 

patterns of Buddhist scripture boxes in Lanna. Additionally, it examines the 

mechanisms of identity preservation and the management of national intangi-

ble cultural heritage, specifically “Dhamma scripture boxes,” by communities 

in Lanna.

Research Methodology 
This is a qualitative research that was conducted in 21 temples in 

Chiang Mai, 21 temples in Lampang, and 19 temples in Lamphun, totaling 61 

temples. The research involved examining 26 Dhamma scripture boxes in Chiang 

Mai, 46 in Lamphun, and 31 in Lampang, amounting to 103 Dhamma scripture 

boxes. Key informants included 30 individuals: 22 abbots or monks, 4 community 

leaders or village scholars, 4 academics specializing in Buddhism, art, and culture, 

and 2 Lanna craftsmen. These participants were selected through purposive 

sampling. Three types of research instruments were used: 1) Buddhist scripture 

box surveys, 2) interview forms, and 3) focus group approaches. Data from all ar-

eas were analyzed using content analysis, and the content was validated through 

expert review to ensure the accuracy of the findings. Descriptive reports were 

prepared to disseminate the findings, and research articles were submitted for 

publication in academic journals at national and international levels. Additional-

ly, a comprehensive research report containing valuable insights was compiled.



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The Findings
The Dhamma scripture box in Lanna is a sacred item created by the 

Lanna people to store Dhamma scriptures. These boxes are often adorned with 

motifs and inscriptions related to Buddhist stories and teachings, which are 

structured and formatted carefully. The craftsmanship techniques and patterns 

of the Dhamma scripture boxes are as follows:

1. Structure of Dhamma Scriptures Boxes in Lanna 

Dhamma scripture boxes in Lanna are primarily made from wood. This 

is the most common material used for these boxes, with the entire structure 

being crafted entirely from wood. In the case of ancient scripture boxes, they 

are constructed using wooden dowels. This method ensures that the box is both 

sturdy and flexible, especially for the Lung-shaped scripture boxes. The creation 

of these Dhamma scripture boxes requires the skilled wisdom of the craftsmen 

who make them. The Dhamma scripture boxes in Lanna have two main struc-

tural elements as follows:

 1) The base of the Dhamma scriptures box can be divided into two 
types according to the style of the Dhamma scriptures box as follows: 

1.1) The base of the Dhamma scriptures box found in Lanna is 

mainly made of 4 wooden legs on all 4 corners of the box. The appearance of 

wooden legs and scripture boxes have both a pig leg base style with drawers and 

without drawers and a couch leg type. It is also popular to make a columnless 

box base which looks like a set of lotus-flower-shaped pedestals for a Buddhist 

image base with plexiglass around the wooden belly. Some boxes are stenciled 

with hatch grooves in the wooden belly layer, and others are made into lotus 

bases or inverted cornices stacked on cutting board bases. 

1.2) The base of the Dhamma scriptures box is usually made 

into a set of lotus-flower-shaped pedestals for a Buddhist image base (Pad-base) 

or a set of cutting board bases in front of the stacked boards, reducing the shape 

as if it were a throne platform supporting the body of the Dhamma scriptures 

box. This style of base consists of a cutting board base in front of the board, an 



808

inverted cornice layer, and an upturned lotus layer. It is a base without pillars 

and is found mainly in Dhamma boxes in the form of Dhamma scriptures boxes 

in the Lung and square shape. There is also a base pattern with regulars at the 

four corners of the box, which is not very popular. This style of the base consists 

of 4 wooden legs fixed at 4 corners, stacked with another layer in front of the 

board supporting the body of the Dhamma box, similar to a table on which the 

Dhamma scripture box is placed.

Table 1: The Structure of Dhamma Scriptures Boxes



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2) The body of the Dhamma scripture box is divided into two types 

according to the style of the Dhamma scripture box: 

2.1) Scripture box type: This type resembles a horizontal square 

box with two front doors. Some boxes are decorated with openwork woodwork 

along the edges, featuring patterns resembling grille designs, arranged consec-

utively on all four sides. These are most commonly found in the temples in Pa 

Sang District, Lamphun Province, such as Wat Nong Ngueak and Wat Rong Chang. 

Some boxes have an upper edge decorated with lotus petals arranged in suc-

cession, as seen in the Dhamma scripture box of Sung Men Temple, Sung Men 

District, Phrae Province.

2.2) Scripture chest type: There are two types of scripture chests: 

The first feature is a Lung-shaped chest that features a wide upper part with an 

outward-facing mouth. The lower part tapers downwards. The second characteris-

tic is a square-shaped chest that has a square or horizontal cabinet-shaped body.

 2.3) The Lid of the Scriptures Chest: There are three shapes for 

the lids of the scripture chest, consisting of 1. The canopy-shaped lid looks like 

a wide mouth lid with upper corners that converge, forming a cone or rhombus 

shape, similar to a castle canopy. Some lids of this shape have ornamental tops 

used for both Lung-shaped and square-shaped scripture chests. 2. Cross-section-

al shape lid appears as a wide-mouth lid with slightly angled sides, resembling a 

trapezoid commonly used as the lid for Lung-shaped scripture chests.  3. Board 

face-shaped lid that has a horizontal square-shaped lid on all four sides.

2. The Design of the Dhamma Scriptures Box 

The design of the Dhamma scriptures box in Lanna can be classified 

into two types: 

1) Scripture Box Type: This type is characterized by a large, 

square, and horizontally shaped box. The base is commonly made into various 

types of stands, such as a pig’s leg base (with or without drawers), a contorted leg 

type, a set of lotus-flower-shaped pedestals for a Buddhist image, and a single 

pillar type. The trunk of most boxes features two front doors with a chest on the 



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door. The upper part of some scripture boxes is decorated with carved wood 

grain and stencils in a grille shape. The lotus petal shape is arranged continuously 

along the upper edge of the Dhamma scripture box. The door, which opens and 

closes, is made of solid wooden panels. In the 25th-century Buddhist style, glass 

was used as a material to make the Dhamma scriptures box more translucent. 

2) The Dhamma scriptures chest can be classified into three 

subtypes: 

2.1) The Lung-shaped Dhamma Scripture Chest: This very pop-

ular shape in Lanna Dhamma scripture boxes consists of three parts. The base 

is usually in the shape of a set of lotus-flower-shaped pedestals for a Buddhist 

image or a cutting board base in front of a stacked board, forming a platform to 

support the chest body. The body of the chest is wide at the upper part, with 

an outstretched mouth, tapering into a square plan at the lower part. The up-

per part has a lid, usually shaped like a cross-sectional lid, board-shaped lid, or 

canopy-shaped lid.

2.2) The Square-shaped Dhamma Scripture Chest: This type 

has a square chest shape. The base is typically made in the shape of a set of 

lotus-flower-shaped pedestals for a Buddhist image base, a cutting board base 

in front of a stacked board, and various types of stands. The body of the chest 

is shaped like a square box or a horizontal square. The lid of the chest is also a 

horizontal square shape resembling the face of a board. 

2.3) The Castle-shaped Dhamma Chest: This shape has the 

same base and body structure as the Lung and Square Scriptures Chests but 

features a lid in the shape of a castle canopy. This design makes the Scripture 

Chest quite tall and exquisite.
 



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Table 2: The Design of the Dhamma Scriptures Boxes  

Design of the Dhamma Scriptures Boxes  

Designs of the Dham-

ma Scriptures Boxes  

Designs of the Dhamma Scriptures Boxes  

Castle-shaped Lung-shaped Square-shaped

3. Craftsmanship Techniques for Decorating the Patterns of the 

Dhamma Scriptures Box 

Dhamma scripture boxes in each Lanna area exhibit unique patterns, 

structures, and ornamental designs. Some Dhamma scripture boxes have com-

plex structures, requiring various decorative techniques to create beautiful, 

clean, and proportionate designs. The commonly used techniques for decorating 

the patterns of Dhamma scripture boxes are as follows:

1. Most Dhamma scripture boxes in Lanna are adorned with gilding 

patterns on various surfaces, including the base, body, and lids. In the past, 

gilding techniques involved applying gilded patterns on a lacquer layer and a 

vermilion or tail background, known in Lanna as the “Lai Kham” technique or 

gilding work. The gilding techniques used on Dhamma scripture boxes include:

1) Stencil gilding (Lai Kham Work): This technique involves creat-

ing patterns on paper, gouging them into grooves using a chisel to make a mold, 

and then applying them to the surface of the boxes to be gilded. It is commonly 

used on the vermilion layer of chest or box bodies with smooth surfaces. The 

stencil gilding technique often decorates various layers of bases, the body of the 



812

cabinet or chest with patterns such as floral designs, tall or regalia patterns, and 

angel motifs, as well as the lid of the Dhamma scripture chest.

2) Stencil Gilding and Scraping: This technique builds upon sten-

cil gilding by scratching the pattern with a sharp tool, such as pointed steel, to 

create more intricate designs. The lines are scraped on the gilded stripes to pro-

duce clear outlines and richer shapes. In Lanna, this technique is known as Hai 

Lai gilding or Hai Lai Scratch Pattern (Thapakorn Kruanraya, 2020). This method 

involves scraping lines that decorate the face, body, and ornaments of human 

patterns, groups of angels, flora, and tall ornaments or regalia. Examples include 

the lines on the Buddha’s face and body, lines outlining human and angel faces, 

body ornaments, leaf stem lines, and pagoda-shaped lines.

3) Scratching Gilding: This technique involves gilding a work sur-

face and then scratching lines onto the gilded surface to create various patterns. 

The process is similar to creating patterns on lacquerware. In the Lanna Dham-

ma scriptures box, it is popular to gild the lacquer and vermilion layers before 

scratching the pattern, similar to writing vermilion on a gilded surface.

4) Gilding-Lacquerware Painting Pattern: This traditional Thai 

craftsmanship technique involves writing patterns in lines, and then applying 

lacquer and gilding. This method is used to decorate the body of the Dhamma 

scriptures box and the Dhamma scripture chest. This technique is commonly 

used to create offerings for Dhamma scriptures among lords and deacons, as 

seen in the lacquerware painting on the Dhamma scriptures box of Sung Men 

temple, Sung Men District, Phrae Province, and the Dhamma scripture chest of 

Wat Sri Komkham Cultural Hall, Muang District, Phayao Province.

5) Smooth Surface Gilding: This technique involves gilding the 

surface of the scripture box without adding ornamental patterns. The surface 

is often backed with a lacquer or vermilion layer before gilding. In the Dhamma 

scriptures boxes, smooth surface gilding is frequently found in the Dhamma 

scripture chest styles. It is common to gild only certain parts, such as the body, 

the lid, and the base, including an inverted cornice, upturned cornice, and plexi-



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glass with a wooden belly.

2. The Technique of Painting the Lacquer and Vermilion Layers: The 

technique of painting lacquer and vermilion layers is fundamental for creating 

a backing paint to decorate the Dhamma scripture box. It is popular to apply 

lacquer and vermilion layers to various surfaces before decorating the Dhamma 

scriptures boxes with different patterns or using lacquer or vermilion colors as 

ornamental patterns. The techniques are as follows:

1) Applying a Lacquer Layer and Painting Vermilion Over It: This 

method is commonly used as a backing paint on the surface of the Dhamma 

scriptures boxes. After applying the lacquer and vermilion layers, the surface is 

then gilded with stencils or scratched gilding. The vermilion color enhances the 

brightness and shine of the gilded pattern.

2) Painting the Vermilion Layer and Applying Lacquer Over It: In 

this technique, the surface of the Dhamma scriptures box is first painted with 

vermilion. A specific lacquer layer is then applied over it to highlight the pattern, 

resulting in a brighter and more luminous finish.

3) Applying a Lacquer Layer or Vermilion Layer Without Em-

bellishments: This method involves applying lacquer or vermilion in simple, 

unadorned lines. It is often used to separate stripes, create borders, or apply a 

flat color without ornamentation. Examples include adorning the cornice wire 

and the wooden belly layer of the base of the Dhamma scriptures boxes, or the 

borders and lids of the Dhamma scriptures chest.

4) Writing Lacquer and Writing Vermilion: This technique involves 

applying lacquer and vermilion to create patterns on the surface of the piece. 

It is often seen in lacquerware and weaving, commonly referred to as Krua Rak 

Krua Hang (Thapakorn Kruanraya, 2020). In the context of the Dhamma scripture 

box, this technique is used by applying a lacquer layer and writing patterns with 

vermilion, as found in the technique of writing vermilion on the lacquer layer 

and gilding it into the Lanna flower pot pattern of the Dhamma scripture chest 

at Wat Pa Chuam, Mae Tha District, Lampang Province.



814

3. The Woodcarving Technique: The woodcarving technique is not 

very popular for Dhamma scriptures boxes in the Lung-shaped form, but it is 

used to decorate various parts of the box, including the base, body, and upper 

part. These parts consist of the box’s edges, doors, walls, and the upper body, 

often carved into various patterns, both in relief and high relief. The woodcarv-

ings found in the Dhamma scriptures cabinets have two main characteristics:

1) Carving Patterns on Wooden Panels: Wooden panels are 

carved into various patterns, such as angel motifs, four-petal guard flower de-

signs, or floating flower patterns. These carved panels are then assembled into 

different parts of the Dhamma scriptures box. This style of carved woodwork is 

often used to decorate the body and lid of the Dhamma scriptures box.

2) Carving Directly into the Wooden Structure: This technique 

involves carving various patterns directly into the wooden parts of the Dhamma 

scriptures box. It is commonly used to carve the body, upper part, and base of 

the box. In the body of the box, wood carvings are often found along the edges 

of the wooden frame, the chest of the box, and the wooden walls. Patterns such 

as inverted lotus, supine lotus, guarding flowers, and Chinese wrench designs 

adorn the edges and walls of the Dhamma scriptures boxes. In the upper part of 

the body, wooden carvings often decorate the edges, planks, or flared mouths, 

featuring intricate patterns such as angel motifs and Manta (lunar eclipse) pat-

terns, which correspond to the heavenly theme. Burmese art scriptures found in 

Lanna temples often use wood carving techniques with floral patterns, like can-

thus leaf moldings and vegetable petiole designs, to decorate the upper edge of 

the arch of the Dhamma scriptures box. The base of the box frequently features 

carved patterns like lion bases and lotus designs. The wooden belly layer is of-

ten carved with transparent patterns or openwork designs, creating hatches or 

grooves in various patterns. These grooves are then decorated with glass, adding 

to the embellishment of the wooden belly layer at the base of the box.

4. Glass Decoration Technique: The glass decoration technique in-

volves adorning various shapes of glass on the surface of the Dhamma scriptures 



815

box, enhancing its visual appeal with shiny, colorful accents. This decoration can 

be applied to different parts of the box, including the base, body, upper part, 

and lid. The most popular types of glass used to decorate Dhamma scriptures 

boxes in Lanna are leaded glass (cracked glass) and stained glass. The specific 

techniques are as follows:

1) Decoration with Leaded Glass (Cracked Glass): Leaded glass is 

relatively flexible, bending easily, and is commonly used to decorate various 

parts of the Dhamma scriptures boxes, including both smooth and concave sur-

faces. Lacquer, shellac rubber, and small nails are used as binders to attach the 

glass to the structure of the boxes.

1.1) Leaded Glass Decoration in Carved Wood Grain Grooves: 

The wood is carved into a pattern, and then the leaded glass is placed into the 

grooves, making the design stand out beautifully. This technique is often found in 

striped grooves in various parts, such as inverted cornice grooves, the upturned 

cornice at the base of the Dhamma scriptures box, the petal pattern groove on 

the body, and the lid of the Dhamma scripture chest.

1.2) Leaded Glass Decoration on a Flat Surface: Glass, typically in 

triangular shapes, is arranged in full succession on the flat surface of the Dham-

ma scriptures box. This type of decoration is often found at the base of the 

Dhamma scriptures box, used to embellish the base layer in front of the board, 

cornice wire, and wooden belly layers.

2) Stained Glass Decoration: Stained glass is generally found on 

flat or sloping surfaces that meet the wooden structure of the Dhamma scrip-

tures box. Unlike leaded glass, stained glass is hard and cannot bend, making 

it suitable for flat or straight-sloping surfaces. Stained glass is often used to 

create geometric shapes such as triangles, squares, rectangles, and rhombuses, 

arranged in successive colors along different parts of the Dhamma scriptures 

boxes.

5. Lacquer Molding Technique: In the creation of Dhamma scripture 

boxes, the use of the Rak Kra Nae technique is relatively rare. This technique 



816

requires significant skill and involves rather complicated methods. Most lacquer 

molding found in the decoration of Dhamma scripture boxes consists of paste-

style sculptures. These sculptures are typically molded into lines arranged or 

coiled into floral patterns, or formed into flower patterns, stems, and leaves, 

which are then attached to the workpiece. Pointed tools are used to draw the 

lines of the petals, stalks, and leaf stems, giving the lacquer sculpture a more re-

alistic appearance. Next, these sculptures are gilded and decorated with mirrors 

to enhance their beauty. This technique is popular for sculpting and decorating 

the base, the body, and the lid of Dhamma scripture chests. Notable examples 

of lacquer molding decoration can be found in Lampang province, such as in the 

Dhamma scripture chests of Wat Pong Sanook Nuea in Muang District, Wat Lai Hin 

Luang, and Wat Phra That Lampang Luang in Koh Kha District.

6. Painting Techniques: In the decoration of Dhamma scripture boxes, 

painting techniques are used to create colorful patterns on various parts of the 

boxes. These techniques include traditional watercolor methods and modern 

plastic watercolors:

1) The watercolor painting technique: This technique is relatively 

rare in the decoration of Dhamma scripture boxes.

2) The plastic watercolor painting technique: This modern dec-

oration technique is commonly used to paint in red, brown, and gold tones, 

depicting Buddhist stories or important events on various forms of Dhamma 

scripture boxes. This technique has gained popularity in modern times due 

to the availability and affordability of materials and the creativity it allows for 

young technicians. Notable examples include the Dhamma scripture chests of 

Wat Phrathat Hariphunchai and Wat Chedi Luang, which are painted red on a 

gold background. One side of these chests features a picture of the Doi Suthep 

Pagoda, created for the monks at the royal funeral ceremony in 1999.



817

4. Patterns of the Buddhist Scriptures Boxes

The patterns adorning Dhamma scripture boxes vary across 

different Lanna communities, each with unique designs tailored to fit the 

surface of various scripture box shapes, ensuring they look beautiful. The 

most popular pattern groups used to adorn Dhamma scripture boxes in-

clude flora, Buddhist beliefs, and literature motifs. Communities in Chiang 

Mai, Lampang, and Lamphun often share similar motifs, though the details 

may differ due to the artisan’s influence and artistic traditions passed down 

through generations and trading contacts. Each area’s patterns are distinc-

tive, divided by province and research areas:

 4.1 Chiang Mai Scripture Box Patterns

Decorative motifs on Chiang Mai’s Dhamma scripture boxes 

predominantly feature floral patterns, including royal lotus and gardenia flow-

ers, intertwined with stems, branches, and leaves. Animal patterns are often 

incorporated as well. Angel patterns are typically central, adorning the body 

of the scripture chest, the cabinet door, and the side lid, depicting angels in 

various gestures surrounded by floral patterns. Patterns related to Buddhist 

myths, beliefs, and literature are often arranged to tell a story, with significant 

characters depicted on the body of the scroll box in important scenes. Chiang 

Mai’s Dhamma scripture boxes are notable for their intricate patterns, which are 

characteristic of each locality. Some patterns are influenced by Thai, Burmese, 

and Chinese art, blending these styles into unique designs.

1) Decorative motifs of Dhamma scriptures boxes influenced by 

Thai art: Observed from the binding of the flora pattern together with the angel 

pattern of the Dhamma scripture box of Wat Khao Tan Luang, the door of the 

box is a scripture decorated with angel patterns, standing leaning beside, one 

hand holds the sword and the other hand holds a vine of flowers decorated 

with garments in the style of angels in Thai art such as Kranok patterns, Krajang 

patterns, and Baited patterns. It is a template pattern inserted on the ornaments. 

The face of the angel has a line of the eyebrow, the nose, and the mouth, sep-



818

arated into parts, not connected, and looks slender, delicate, and beautiful. 

It is tied together with a pattern of gardenia flowers with branches and leaves 

surrounded by a Chinese and Thai pattern. For example, the Dhamma scripture 

box was built by Chao Noi Srivichai in 1885 when Lanna was under Siamese rule 

and there was contact with the elite. Therefore, Thai art forms are especially 

popular during this period. In addition, the work of the Thai Dhamma scriptures 

box of Chedi Luang Worawihan Temple decorated with floral and angel designs 

with Thai lacquer works patterns, was created as a sacrifice in the Prince Mahidol 

Adulyadej Crematorium. This traditional Thai Dhamma scripture box appears in 

important temples in Chiang Mai. 

2) Decorative motifs of Dhamma scriptures box influenced by 

Burmese art: Notice from the group of angel designs decorated with boxes of 

Wat Khao Tan Luang Museum, San Sai District, Two boxes decorated with angel 

designs made of saluting by Wai, which have Burmese ornaments. The face of 

the angel is decorated and scratched with the lines of the eyebrow, the nose, 

and the mouth to look slender and harsh.

 4.2 Lampang Scripture Box Patterns 

Lampang province features unique and distinct patterns that 

differ from those in other localities, such as Chiang Mai and Lamphun provinces, 

where the patterns can be quite difficult to distinguish. The ornamental patterns 

popular in decorating Dhamma scripture boxes in Lampang province include 

Lanna flower pot patterns, flora patterns, and angel patterns, each with special 

and distinctive characteristics that set them apart from those in Lamphun and 

Chiang Mai. The key pattern groups in Lampang include:

1) Ornamental Flower Patterns with Flower Pot and Angel Pat-

terns: These patterns are prominently found in the Dhamma scripture chests of 

Wat Phrathat Sadej, Muang District, and Wat Ban Luk, Mae Tha District. The two 

patterns are always decorated together. One side of the Dharma scripture chest 

depicts angels standing side by side, facing outward, and performing the wai ges-

ture with curved, protruding flower stalks. The other side features a tall flower 



819

pot with protruding flower stalks that curve symmetrically on both sides. The 

center of the flower pot is decorated with a lotus pattern, with the stem upright 

and the protruding rod curved. This pattern is common in the Dhamma scripture 

chests of Lampang province and is often decorated using the technique of gilding 

stencils and scraping the pattern to achieve fine body lines of angels and petals.

2) Bat Pattern for Corners: This pattern is mainly found in Lam-

pang province and features a main stem resembling a bat raising its wings. Some 

boxes have stalks of coiled patterns similar to pig gut patterns, while others have 

branches and leaves connected in a pattern, commonly decorated in triangular 

frames or tied patterns in a triangular layout. These adorn the four corners of the 

Dhamma scripture chests at Wat Phra That Sadet, Wat Pong Sanook Nua, Muang 

District, Wat Phra That Lampang Luang, Wat Lai Hin Luang, and Wat Phra That 

Chom Ping, Koh Kha District.

3) Upturned Lotus Petal Pattern: This pattern supports the body 

of the Dhamma scripture box in the form of a Lung shape, with small upturned 

lotus petals arranged continuously along the upper edge of the base. This 

decoration is primarily found in Lampang province, as seen in the Lung-shaped 

Dhamma scripture box of Wat Lai Hin Luang, Koh Kha District. Many boxes are 

decorated with various types of upturned lotus petals, wooden carvings with 

leaded glass in grooves, and Dhamma scripture boxes of Umlong Temple, Thoen 

District.

 In addition, the lacquer technique used to decorate various 

patterns on the base of the Dhamma scripture box has been especially popular 

among Lampang province technicians in the past. Notable examples include 

the Dhamma scripture box of Wat Pong Sanook Nua, which features lacquer 

sculptures of angels pasted onto the box. The pattern formation of Lampang’s 

Dhamma scripture boxes is quite detailed, reflecting the craftsmanship of many 

past artisans. Some motifs are influenced by Thai, Burmese, and Chinese art, 

blending these styles into unique designs.



820

4.3 Lamphun Scripture Box Patterns 

Lamphun’s Dhamma scripture box ornament from the research area 

is popular for decorating a group of flora patterns, which consist of royal lotus 

patterns, gardenia patterns, etc., together with branches, stalks, leaves, and 

angel patterns, both of which are very common patterns in Lamphun province, 

especially the Dhamma scriptures boxes of the district of the Yong people in 

Lamphun province, such as the Dhamma scriptures box of Wat Nong Ngueak 

and the Dhamma scripture chest of Wat Pa Sang Ngam, and Wat Rong Chang. 

The pattern is quite similar to the pattern of the Dharma scripture box of Chiang 

Mai. It is characterized by emphasizing the flora pattern as the main pattern tied 

together with the pattern of stalks, branches, and leaves and an animal pattern 

inserted into it. However, if it is a group of angel patterns, it is popular to decorate 

the central part of the body, the Dhamma scripture chest, the door, and the side 

lid of the Dhamma scripture box. However, due to the relationship of the group 

of people, contact with each other, and Buddhist relationships, the patterns of 

Lamphun and Chiang Mai provinces are quite similar and difficult to classify, such 

as the Dhamma scripture box of Wat Phrathat Hariphunchai or a temple in the 

city area of Lamphun. The motifs of the Dhamma scripture cabinet in Lamphun 

province have distinctive patterns as follows:

1) Varicose Heads Rambutan Moldings (Fern Leaf Patterns Adorning 

Dhamma Scripture Boxes): This pattern decoration is popular for covering the 

entire surface of each side of the Dhamma scripture box, featuring a central or-

namental flower pattern. It includes curved varicose heads rambutan moldings 

with interconnected petioles. Some Dhamma scripture boxes also feature animal 

designs such as birds or chickens, as seen in the Lung-shaped and square-shaped 

Dhamma scripture boxes at Wat Pa Sang Ngam, Pa Sang District.

2) Lotus Flower Patterns: Two types of lotus flower patterns are com-

monly used for decoration: the royal lotus flower and the water lily flower. The 

royal lotus pattern is particularly popular for decorating Dhamma scripture boxes 

and chests of various shapes. 1) Royal Lotus Flower and Flower Pot Pattern: 



821

This combination is found in several Lung-shaped Dhamma scripture boxes at 

Wat Phra That Hariphunchai. Royal Lotus Flower Moldings: These moldings re-

semble tangled petioles with lotus buds, blooming lotus flowers, fully bloomed 

lotus flowers, and lotus seeds with interlocking stems that fill the space on the 

sides of the Dhamma scripture box. This pattern can be seen in the Dhamma 

scripture boxes at Wat Nong Ngueak, Pa Sang District, Wat Phrathat Hariphunchai, 

Wat Phra Yuen, Wat Moo Poeng, Muang District, and the Lung-shaped Dhamma 

scripture box at Wat Ban Pang, Li District.

3) Angel Pattern Decoration on Dhamma Scripture Boxes: In Lamphun 

province, Dhamma scripture boxes often feature angel patterns influenced by 

the art of the Tai Lue people of Yong City, which incorporates elements from 

Burmese and Thai art. Tai Lue-Inspired Angel Patterns: These patterns, influ-

enced by Burmese art, are seen in the square-shaped Dhamma scripture box 

at Wat Pa Sang Ngam. The angel is depicted in a sitting posture with one knee 

raised, and the body straightened in a wai posture, with layered garments and 

Burmese-style costumes. The angel’s face features slender and sharp lines on 

the eyebrows, eyes, nose, and mouth. Thai-Inspired Angel Patterns: These 

patterns can be found on the Lung-shaped Dhamma scripture box at Wat Pa 

Sang Ngam, featuring an angel in a standing wai posture with a fire halo and Thai 

ornaments, observed from the use of Kranok patterns and Thai Krajang.

Each style of Lanna’s Dhamma scripture box is decorated with pat-

terns on different parts: the base, the body, and the lid. Each part of the struc-

ture of the box has a unique ornamental pattern, designed to suit the Dhamma 

scripture box’s surface condition, proportion, and size. The patterns are divided 

as follows:

1) The most popular patterns that adorn the base of the Dhamma 

scriptures box are mainly flora and night patterns, such as four-petaled flowers, 

floating flowers, gloriosa lily guard patterns, chain guard patterns, and guard 

patterns in rhombic frames, curved stem patterns, coiled stem pattern, gardenia 

flower coiled stem pattern, inverted lotus petal pattern, upturned lotus petal 



822

pattern, the gardenia flower pattern in the panel is a geometric pattern of various 

shapes as shown in table 3: 

Table 3: The Ornamental Patterns at the Base of the Dhamma Scriptures Boxes

Ornamental Patterns at the Base of the Dhamma Scriptures Boxes
Gloriosa lily patterns Chain guard patterns Inverted lotus petal 

pattern, Upturned 

lotus petal pattern 

Inner Flora in 

arched frame 

pattern

Floating Flowers 

Pattern

Four-petaled flowers 

pattern

Curved stem 

pattern

Glass decora-

tion Pattern

  

2) The popular patterns that adorn the body of the Dhamma scripture 
box are divided into nine groups as follows: 

2.1) A group of motifs derived from beliefs is a group of patterns 
that focuses on Buddhist mottoes. Some designs replicate symbols and important 
events or characters of events to decorate the Dhamma scriptures box, such as 
Buddha images, pagodas, and regalia.



823

   (1)      (2)

Figure 1: The Lung-shaped Dhamma Scriptures Box at Wat Phra That 

Hariphunchai, Lamphun Province

Figure 2: The Lung-shaped Dhamma Scriptures Chest at Wat Phra That 

Sadet, Lampang Province

Source: Research Team

 2.2) A group of patterns derived from Buddhist literature and 

other literature, such as Buddhist history patterns, Vessantara Jataka patterns, 

Vidhura Bandit Jataka patterns, and Ramayana patterns.

 (3)         (4)               (5)



824

Figure 3: The Vessantara Jataka pattern on the Dhamma Scriptures box 

at Wat Si Khom Kham Cultural Center, Prayao Province

Figure 4: The Vessantara Jataka pattern on the Lung-shaped Dhamma 

Scriptures Box at Wat Chediluang Voravihan, Chiang Mai Province

Figure 5: The Ramayana pattern on the Lung-shaped Dhamma Scrip-

tures Chest at Wat Umlong, Lampang Province

Source: Research Team

 2.3) A group of angel patterns commonly adorn the center of the 

body of the Dhamma scripture box. The Lung-shaped Dhamma scriptures box 

features various poses such as angels performing Wai holding various flowers in a 

standing position doing Wai, a kneeling position to do Wai, and a Brahma pattern 

with three faces, making Wai holding a lotus flower.

        

        (6)    (7)    (8)

Figure 6: The angel pattern on the Dhamma Scriptures box at Wat 

Khao Tan Luang, Chiang Mai Province

Figure 7: The angel pattern on the Lung-shaped Dhamma Scriptures 

Box at Wat Phra That Sadet, Lampang Province

Figure 6: The angel pattern on the Lung-shaped Dhamma Scriptures 

Chest at Wat Pa Sang Ngam, Lamphun Province

Source: Research Team



825

2.4) A group of human patterns are commonly adorned in various 

poses, such as images of people playing musical instruments and a photo of 

people wrapping the Dhamma scriptures.

        

        (9)                           (10)

Figure 9: The human pattern on the castle-shaped Dhamma Scrip-

tures Chest at Wat Phra That Hariphunchai, Lamphun Province

Figure 10: The pattern of people wrapping the Dhamma scriptures on 

the Dhamma Scriptures Box at Wat Sung Men, Phrae Province

Source: Research Team

2.5) A group of non-human motifs includes the following:

- The Manta (lunar eclipse) pattern is inspired by the legend of 

Phra Pritra in lunar and solar stories, where Chandadevabutr and Suryadevabutr 

were captured by Asurindrahu. In the Dhamma scriptures, half-manta patterns 

are often depicted as pretending to devour the moon or sun.

- Kala’s facial pattern is influenced by Brahmin traditions. In Bud-

dhism, the mask symbolizes that time will swallow everything, including itself. 

The face pattern represents a giant or monster making a gesture of spitting out 

flora or other patterns instead of the moon and sun.



826

         

 (11)                   (12)

Figure 11: The Manta (l unar eclipse) pattern on the Dhamma Scrip-

tures Chest at Wat Phra That Hariphunchai, Lamphun Province

Figure 12: The Kala’s facial pattern on the Lung-shaped Dhamma 

Scriptures Chest at Wat Mu Peng, Lamphun Province

Source: Research Team

 - Lai Kinnara and Kinnaree: Kinnaranna, also called Kinnaron, are 

male nonhumans, Kinnaree in Lanna pronounced Kinnaree (Udom Rungruangsri, 

2007), is a female nonhuman living in the Himmapan forest. It has a half-human, 

half-bird appearance. The upper body is human, the lower body is a bird with 

wings and a tail. In the work of the Dhamma scriptures box, the Dhamma scrip-

tures boxes are often decorated with Kinnara and Kinnaree making dance moves.

 

Figure 13: The Kinnaree’s dancing pattern on the Lung-shaped Dham-

ma Scriptures Chest at Wat Chedi Luang Worawihan Chiang Mai Province

Source: Research Team



827

 2.6) Flora pattern group: In the Dhamma scriptures box, this group 

of patterns is tied in the form of a bunch of floats intertwined in the entire area of 

the body of the Dhamma scriptures box, with branches, stalks, leaves, curled and 

intertwined with flower patterns, such as flower pot or Puranakata pot pattern, 

lotus flower bloom pattern, lotus bud pattern, artificial lotus pattern, gardenia 

flower pattern, acacia flower pattern, flora coiled stem pattern, and four-petal 

flower guard pattern in a rhombus frame.

    

 

    (14)                                    (15)      (16)

Figure 14: The flora pattern on the Dhamma Scriptures Box at Wat 

Phra Yuen, Lamphun Province

Figure 15: The flora pattern on the Dhamma Scriptures Box at Wat 

Nong Nguek, Lamphun Province

Figure 16: The flora pot pattern on the Lung-shaped Dhamma Scrip-

tures Chest at Wat Phra That Lampang Luang, Lampang Province

Source: Research Team

2.7) A group of animal motifs consists of sacred animals, Himmaphan 

animals, mythical creatures, and common animals. Examples include lion pat-



828

terns, bird patterns, bat patterns, tiger patterns, and three-headed elephant 

patterns.

      

    (17)                              (18)     (19)

Figure 17: The lion pattern on the Lung-shaped Dhamma Scrip-

tures Chest at Wat Phra That Hariphunchai, Lamphun Province

Figure 18: The lion pattern on the Lung-shaped Dhamma Scrip-

tures Chest at Wat Lai Hin, Lampang Province

Figure 19: The lion pattern on the Lung-shaped Dhamma Scrip-

tures Chest at Wat Umlong, Lampang Province

Source: Research Team

2.8) A group of Chinese motifs includes the Awanzhijin pattern, the 

Chinese swastika, and the wrench pattern.

     

        (20)        (21)



829

Figure 20: The Awanzhijin pattern on the Dhamma Scriptures Box at 

Wat Na Kuam Tai, Lampang Province

Figure 21: The Awanzhijin pattern on the Dhamma Scriptures Box at 

Wat Na Kuam Tai, Lampang Province

Source: Research Team

 2.9) A group of general patterns refers to patterns that are com-

monly found in the work of the Dhamma scriptures box. Examples include a 

group of four-petal flower patterns, a group of scrambled stalks, such as a pat-

tern of a funnel-like float filled with rice used as offerings, and a four-petal flower 

with a scrambled stem pattern.

     

            (22)                              (23)       (24)

Figure 22: The four-petal flower pattern on the castle-shaped Dham-

ma Scriptures Chest at Wat Pasak, Chiangmai Province

Figure 23: The four-petal flower with a scrambled stem pattern on 

the Lung-shaped Dhamma Scriptures Chest at Wat Phra That Hariphunchai, 

Lamphun Province

Figure 24: The four-petal flower with a scrambled stem pattern on 

the Lung-shaped Dhamma Scriptures Chest at Wat Mahawan, Lampang Province

Source: Research Team



830

Results from the survey on the status of the Dhamma scriptures box 

in Chiang Mai, Lamphun, and Lampang provinces, as well as in supplementary 

research areas, found that worship items being used to set up a museum-style 

exhibit for interested visitors are preserved and maintained by temples, com-

munities, and networks. However, some worship items that are no longer in use 

have been abandoned, damaged, and deteriorated, primarily because they have 

been replaced with new ones. The value of use has diminished, and there are 

limited maintenance budgets and awareness of their value within the temples 

and communities.

5. The Preservation of Identity and Management Mechanism of Na-

tional Intangible Cultural Heritage “Dhamma Scriptures Box” by the Community 

in Lanna 

The preservation of the identity and management mechanism of the 

national intangible cultural heritage, the “Dhamma Scriptures Box,” requires 

the participation of temples, communities, cultural agencies, and educational 

institutions. This collaboration must be integrated continuously and driven si-

multaneously across four levels of mechanisms:

1. Management of Intangible Cultural Heritage (ICH): It should be 

managed according to academic principles, including recording, storing, creating 

databases, establishing museums, and managing knowledge regarding origins, 

patterns, and craftsmanship groups. A collection of antiques, Dhamma scriptures 

boxes, and Lanna traditional altars should be set up within temples to prevent 

theft.

2. The management of People: People are the creators of Buddhist 

art, including artisans and local scholars with technical skills. Knowledge must be 

managed, recorded, and transferred to ensure it is not lost. Raising awareness of 

the value of the Dhamma seat, Dhamma scriptures boxes, and Lanna traditional 

altars among interested individuals, artisans’ heirs, and the new generation is 

crucial. Temples and communities must be concerned about this.

3. Management of learning spaces: Creating learning spaces by pro-



831

viding opportunities for interested individuals, successors, or the new generation 

to engage in learning is essential. This can involve creating “cultural spaces” or 

artisanal learning spaces in artisans’ homes and passing on knowledge to suc-

cessors to appreciate its value. To sustain the cultural and intellectual heritage 

and possibly give it economic value, users must help push towards becoming a 

soft power.

4. Management of Network: Community-led initiatives require coop-

eration from all sectors, including the community, government, and academic 

sectors. Effective management involves handling existing resources, people, 

display spaces, and networks collaboratively.

Acknowledgments 
 This research paper is part of the research project titled “Dham-

ma Seat, Dhamma Scriptures Box, Lanna Traditional Altar: Preservation of 

Identity, Value, and Management of National Intangible Cultural Heritage by 

the Community in Lanna,” which received a grant from the Science, Research, 

and Innovation Fund to support the Fundamental Fund for the year 2023. The 

researchers would like to thank the Buddhist Research Institute of Mahachu-

lalongkornrajavidyalaya University, as well as the target groups, scholars, and key 

informants who supported, provided information, and helped make this research 

successful.

Recommendations
This research has the following recommendations: 

1) The management of ICH in Lanna is currently limited in its adher-

ence to academic standards. Government agencies or educational institutions 

should collaborate with temples and communities to create databases utilizing 

modern storage methods.

2) Knowledge about the conservation and preservation of Lanna’s 

intangible cultural heritage should be disseminated according to academic prin-



832

ciples. This can be achieved through training, demonstrations, or studying from 

well-managed learning sources to expand these practices to other temples.

3) Buddhist monks and communities who own ICH often do not fully 

understand the concept of “registered as a national intangible cultural heritage” 

and mistakenly believe that registration means the government will confiscate 

the Dhamma scriptures box belonging to the community’s temples. As a result, 

some temples and communities are reluctant to cooperate in collecting infor-

mation. Relevant agencies should organize training sessions or create public 

relations media to foster mutual understanding between temples, communities, 

and conservation agencies.

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