14 Best Sights in Northern Thailand, Thailand

Sitting amid a tranquil lotus pond, Wat Mahathat is the largest and most beautiful monastery in Sukhothai. Enclosed in the compound are some 200 tightly packed chedis, each containing the funeral ashes of a member of the royal family. Towering above them is a large central chedi, notable for its bulbous, lotus-bud prang. Wrapping around the chedi is a frieze of 111 monks, their hands raised in adoration. Probably built by Sukhothai's first king, Wat Mahathat owes its present form to King Lö Thai, who in 1345 erected the lotus-bud chedi to house two important relics brought back from Sri Lanka by the monk Sisatta. This Sri Lankan–style chedi became the symbol of Sukhothai and classical Sukhothai style. Copies of it were made in the principal cities of its vassal states, signifying a magic circle emanating from Sukhothai, the spiritual and temporal center of the empire.

Like many other sanctuaries, Wat Si Chum was originally surrounded by a moat, and the main structure is dominated by a statue of the Buddha in a seated position. The huge but elegant stucco image is one of the largest in Thailand, measuring 11¼ meters (37 feet) from knee to knee. Enter the mondop, a ceremonial structure, through the passage inside the left inner wall. Keep your eyes on the ceiling: more than 50 engraved slabs illustrate scenes from the Jataka, which are stories about the previous lives of Lord Buddha.

Across from Wat Mahathat, there's not much left of Noen Prasat, which translates as "Palace Hill," but you can get an idea of the size from what remains of the square base. In the 19th century a famous stone inscription of King Ramkhamhaeng was found among the ruins of the palace. Now in the National Museum in Bangkok, it is sometimes referred to as Thailand's Declaration of Independence. The inscription's best-known quote reads: "This city Sukhothai is good. In the water there are fish, in the field there is rice. The ruler does not levy tax on the people who travel along the road together, leading their oxen on the way to trade and riding their horses on the way to sell. Whoever wants to trade in elephants, so trades. Whoever wants to trade in horses, so trades." Essentially, Thais imagine Sukhothai's government as a monarchy that served the people, stressing social needs and justice. Slavery was abolished, and people were free to believe in Hinduism and Buddhism (often simultaneously), and to pursue their trades without hindrance. 

Si Satchanalai was a sister city to Sukhothai back in their heyday; it was almost a mini Sukhothai. The historic park consists of eight main sites that can be explored by bicycle or on foot. Wat Chang Lom, with its unique stupa, is adorned with figures of 39 standing elephants around the base.

Due east of the park is one of Sukhothai's oldest monasteries. Its bell-shape pagoda, thought to have been built in the latter part of the 14th century, is of Sri Lankan influence. The pagoda is perched on a three-tier square base atop damaged elephant buttresses. In front of the chedi are a viharn and solitary pillars; the remains of nine other chedis have been found within this complex.

Near the entrance to the Historic Park, Wat Chang Lom shows strong Sri Lankan influences. The 39 elephant buttresses are in much better condition than their counterparts at the same-named temple in Sukhothai. The main chedi was completed by 1291. As you climb the stairs that run up the side, you'll come across seated images of the Buddha.

This complex to the south of Wat Chang Lom has seven rows of ruined chedis, some with lotus-bud tops that are reminiscent of the larger ones at Sukhothai. The chedis contain the ashes of members of Si Satchanalai's ruling family.

To the southeast of Wat Chedi Jet Thaew, this temple has well-preserved floral reliefs on its balustrade and stucco reliefs on the viharn wall.

This former Khmer structure, once a Hindu shrine, was converted to a Buddhist temple. Surrounded by a moat, the sanctuary is encircled by three laterite prangs, similar to those at Wat Sri Sawai—the only one that remains intact is decorated with stucco figures. In front of the prangs are the remains of the viharn and a crumbling chedi with a seated Buddha on its pedestal. Facing these structures is the mondop, a square structure with a stepped pyramid roof, built to house religious relics.

This pretty wat is reached by following a slate pathway and climbing a 200-meter (656-foot) hill. An amazing standing Buddha, nearly 12 meters (40 feet) tall, gazes down on the mere mortals who complete the climb.

This peaceful temple sits on two connected islands within a lotus-filled lake that supplied the monks with water and served as a boundary for the sacred area. A Sri Lankan–style chedi dominates six smaller chedis, and a large stucco seated Buddha looks down a row of columns, past the chedis, and over the lake to the horizon.

Especially notable is the walking Buddha beside the Sri Lankan–style chedi. The walking Buddha is a Sukhothai innovation, and the most ethereal of Thailand's artistic styles. The depiction of the Buddha is often a reflection of political authority, and is modeled after the ruler. Under the Khmers, authority was hierarchical, but the kings of Sukhothai represented the ideals of serenity, happiness, and justice. The walking Buddha is the epitome of Sukhothai's art; he appears to be floating in air, neither rooted on Earth nor placed on a pedestal above the reach of the common people.

Sukhothai's oldest structure may be this Khmer-style one with three prangs—similar to those found in Lopburi—surrounded by a laterite wall. The many stucco Hindu images and scenes suggest that Sri Sawai was probably first a Hindu temple, later converted to a Buddhist monastery.

As you leave the park, stop at this wat to see a Si Satchanalai image of Lord Buddha, one of the few still remaining.

The square mondop of Wat Traphang Thong Lang is the main sanctuary, the outer walls of which contain beautiful stucco figures in niches—some of Sukhothai's finest art. The north side depicts the Buddha returning to preach to his wife. On the west side he preaches to his father and relatives. Note the figures on the south wall, where the story of the Buddha is accompanied by an angel descending from heaven.