Little-known Nan goes back to the depths of the history of Thailand. For centuries it was an separate, autonomous kingdom with few relationship with the outside world.
There are many evidence of prehistoric habitation, but it wasn't until several small ''meuang'' united to form Nanthaburi on the Nan river in the mid-14th century - contemporary with the creation of Luang Prabang and the Lan Xang (Million Elephants) kingdom in Laos - that the city became a power to be taken into account. Associated with the mighty Sukhothai kingdom, the ''meuang'' took the title Wara Nakhon and played a significant part in the development of early Thai nationalism.
By the end of the 14th_century Nan was one of the nine northern Thai-Lao principalities that comprised Lan Na Thai (now Lanna) and the city state flourished throughout the 15th century under the name Chiang Klang (Middle City), a reference to its position roughly midway between Chiang Mai (New City) and Chiang Thong (''Golden City'', which is today's Luang Prabang. The Burmese took control of the kingdom in 1558 and deported many of the inhabitants to Burma as slaves; the city was completely deserted until western Thailand was retaken from the Burmese in 1786. The local dynasty then regained local sovereignty and it remained semi-autonomous until 1931 when Nan finally accepted full Bangkok dominion. Parts of the old city wall and several early wat dating from the Lanna period can be seen in contemporary Nan. The city of Nan's wats are distinctive: some temple structures show Lanna influence, while others belong to the Tai Lu language, a legacy brought from Xishuangbanna in China, where the Tai Lu's came from.
The city spreads out along around 4 km, between the ''' airport ''' at the North end of the town and the Bus station at the Southern one but its '''historical and commercial centre''' is more compact. Its area follows roughly a North-South direction, along the right bank of the river Nan. The two main axes of the town, more or less parallel, are the ''Th Sumonthewarat'' (the easternmost one and the closest to the river) and the ''Th Mahayot''. The city_fs '''main monuments''' are located at the junction of the three parallel axes, the ''Th Pha Kong'' (West), the ''Th Mahayot'' (middle) and the ''Th Sumonthewarat'' (East) and the ''Th Suriyapong'' which is perpendicular to them. As to the main '''shops''', they can be found along the ''Th Sumonthewarat'' and its perpendicular, the ''Th Anantaworattidet''.
In the town, three '''bridges''' connect the right bank to the left bank of the river Nan : the southernmost, the ''Sriboonruang bridge'', the middle one, the ''Pattana Paknue bridge'', under which are held the boat racing and the northernmost, the ''Nakorn Nan Pattana bridge'', seriously damaged during the August 2006 floods but fixed since the beginning of July 2007.
Nan is connected by plane and by bus to the rest of the country.
The local means of transport include ''sawngthaews'', motorbike-taxis and trishaws.
The '''Nan National Museum''' is located in the original palace of the last two Feudal Lords of Nan. The building was originally constructed, in 1903 by ''Phra Chao Suriyapnong Phalidet'', the last but one Lord of Nan to replace his former wooden residence. After the death of the ''Chao Maha Brahma Surathada'', the last Lord of Nan, his heirs donated this palace to the government in 1931 in order to be used as the provincial hall. The museum (''Th Pha Kong; admission 30B; 9AM-4PM Mon-Sat'') was inaugurated in 1973 after the new provincial hall building had been erected. Thanks to relatively recent renovations, it is one of Thailand's most up-to-date provincial museums, contrary to many of them, it also has English labels for many items on display. The ground level is divided into six exhibition rooms with ethnological exhibits dealing with the various ethnic groups round in the province, including the northern Thais, Thai Lu, Htin, Khamu, Mabri, Hmong and Mien. Silver work, textiles, folk utensils and tribal costumes can be found on display . Exhibits on Nan history, archeology, local architecture, royal regalia, weapons, ceramics and religious art are shown on the second floor, divided into two sections. The first is the main hal whic used ro be the throne hall of the Feudal Lord. The second consists of the rooms in the north and south wings. The museum exhibits a wide collection of Buddha images which includes some rare Lanna styles as well as the floppy-eared local styles. Usually made from wood, these standing images are in the 'calling for rain' posture (with hands at the sides, pointing down) and they show an obvious Luang Prabang influence. Also on display on the 2nd floor is a rare black (in fact reddish-brown) elephant tusk said to have been offered to a Nan king over 300 years ago by the ''Khun'' lord of Chiang Tung (Kengtung). Held aloft by a wooden Garuda (mythical bird) sculpture, the tusk measures 97 cm long and 47 cm in circumference. Books on Thai art and archeology are sold in a building adjacent to the museum.
Built in 1866 with golden teak and reconstructed in 1941, this large house (''Th Mahaprom'', opposite the backwards entrance of the '''Wat Phra That Chang Kham''') is now the residence of ''Chao Sompradhana Na Nan''. It exhibits heritage antiques such as ancient weapons, war elephant ivory and photographs by King Rama V. Contact the owner for visiting (Tel. 0 5471 0605).
Constructed in 1885 by ''Chao Anantavorarittidet'', Nan_fs ruler, the wall was built in place of an old log wall destroyed by flood in 1817. Remnants of the wall - around 400 m out of the original 3 600 m - can be seen at the junction of the ''Th Mahawong'' and the ''Th Rob Muang'', at the South-West end of the town.
'''Nan''''s most famous wat is renowned for its cruciform ''bot'' that was constructed in 1596 and restored during the reign of '' Chao Ananta Vora Ritthi Det '' (1867-74). It is the only built temple as if it were on the backs of two immense snakes (or Naga). Each of the four entries is preceded by a small corridor surmounted by a point shaped finely decorated (underlining the royal origin of the temple) structure and is equipped with smoothly carved doors, with Chinese demon guards in the East, flowers in the North and forest life motives of Lanna style in the West and the South. The wat_fs interior is impressive. It is also a good example of Thai Lue architecture. The structure of the roof is supported by twelve teak pillars decorated with gold on black and red lacquer and elephants motives. The ceiling is also finely decorated. The flowered altar resting in the center of the'' bot'' supports four Buddhas of Sukhothai style in the Bhumisparsha-Mudra (_gBuddha Invoking Mother-Earth, Bhumi to be His Witness _h or _gvictory over Mara_h - the hand pointed down to the earth with the fingers touching the ground), facing the four directions. The shape of their ears and of their nose shows a Lao influence. Aside to the altar, sits a splendid '' thammdat '' (a ''dhamma seat'' used by teaching monks). Murals of great value and well preserved illustrating tales from the Jataka are on the northern and the Western walls as well as scenes of the local life of the time when they were painted (Europeans can even been noticed - a probable reference to the arrival of the French to which the East of the Nan valley area was yielded in 1893. ) Thai Lue were carried out during the restoration of the temple by artists at the end of the 19th century. The style is rather distinctive quite far from the traditional style and is close to the murals of the ''' Wat Phra Singh ''' of Chiangmai. The setting is however, here, that of the culture and the everyday life of Thai Lue. The two most famous scenes are of greater dimensions than the majority of the other paintings: a man whispering to the ear of a woman (on the Southern side of the Western door) and the portrait painted on the side of the Southern door, which could be the king '' Chao Ananta Vora Ritthi Det''_fs. Other natural size paintings on each side of the main entry are of Chinese influence which can be explained by the origins of Thai Lue.
Two kilometers past the bridge that spans the Nan River, heading southeast out of town, this temple dating from 1355 , under the reign of ''Pray Kan Muang'', is the most sacred wat in Nan Province. It's set in a square, walled enclosure on top of a hill with a view of Nan and the valley. The Thai Lue influenced ''bot'' features a triple-tiered roof with carved wooden eaves and dragon reliefs over the doors. A gilded Lanna-style stupa sits on a large square base next to the ''bot'' with sides 22.5m long; the entire stupa is 55.5m high.
After '''Wat Phra That Chae Haeng''', this wat is the second-most important temple (''Th Pha Kong'') in the city. The main vihara, reconstructed in 1458, has a huge seated Buddha image and faint murals. Also in the vihara is a set of Lanna-period scrolls inscribed (in Lanna script) not only with the usual Buddhist scriptures but also with the history, law and astrology of the time. A ''thammdat'' (a ''dhamma seat'' used by monks when teaching) sits to one side. The magnificent stupa behind the vihara dates from the 14th century, probably around the same time the temple was founded, It features 24 elephant supports similar to those seen in Sukhothai and Si Satchanalai. Next to the stupa is a small, insignificant ''bot'' from the same era. '''Wat Phra That Chang Kham''' is also eminent by having the largest ''haw trai'' (Tripitaka library) in Thailand, but it is now empty.
This small wat diagonally opposite '''Wat Phra That Chang Kham''' comprises a distinctive Lanna / Lan Xang-style stupa with four Buddha niches, a wooden ''haw trai'' - now used as a ''kuti'' (monk cell) - and a noteworthy ''bot'' with a Luang Prabang-style carved wooden veranda. A carved wooden ceiling and a huge naga altar can be found inside. Stylistic cues suggest this may be one of the city's oldest wats though the temple's founding date is unknown
Supposedly established in 1456, the ''' Wat Suan Tan ''' (''Palm Grove Monastery; Th Suan Tan'') comprises an interesting stupa of the 15th century (40 m high) which combines Hindu/Khmer style motives (stupa in form of ''prang'') and, surmounting it, an obviously Sukhothai style motive in the shape of a lotus bud, modified in its current form in 1914. The heavily restored vihara contains the Phra Chao Thong Thipun, out of of early Sukhothai style bronze sitting Buddha in Bhumisparsha-Mudra. It measures 4,10 meters and could have been ordered by the Chiangmai sovereign Tilokaraj following its conquest of ''' Nan ''' in 1449.
This temple is located close to the '''Wat Phumin''' on the same side of the ''Th Suriyaphong'', further west. Its ubosoth's exterior is embellished with elegant bas-relief stucco while its interior is adorned with mural paintings depicting Nan people's way of life, painted by present-day local artists. The Holy City Pillar is enshrined in the four-sided Thai styled pavilion in front of the ubosoth. This pillar is 3 meters high, stands on a carved gilded wooden base and is topped with a four-faced Brahma, representing the four virtues on Buddhism. It is an ancient Thai totem that is still very significant. The city pillars were probably erected as a ritual centre for agrarian fertility rites in ancient Thai towns and kingdoms, in the heart of the old cities and just next to the seat of power of a king or a chief.
Located in the ''Th. Phaya Phu'', west from the Main Police Station, this '''wat''' was built during the reign of ''Pra Chao Phukheng'' and is about six centuries old. There is a big ''chedi'' behind the ''vihara'' whare are enshrined two ancient Buddha images. The vihara's door are carved with image of mythical giant guards.
This '''wat''' is located on the top of ''Khao Noi'' hill, two kilometers west of the town. The hill is 800 feet high. The recent temple buildings are nothing special but from the top of the hill, easily accessed by a road, one can see, side by side with a giant Buddha statue, the entire Nan town
'''Boat racing'''
For centuries, long-boat racing have been held annually in provinces with a major waterway running through. Long-boat racing is one of the traditional rites which commemorates the end of the Buddhist Rains Retreat. It takes place mainly in the 10th and/or 11th lunar months (around September/October) when the water level is at its peak. At present, long-boat racing is considered as a national sport. Its history can be traced back to Ayutthaya period, some 600 years ago. In that time, boat racing however was only a way to keep boat means fit for national defense.
Racing boats are usually made from dugout tree trunks and can accommodate up to 60 oarsmen (commonly dressed in the same colour) in a double row. The festival event attracts several hundreds of spectators. Trophies and prizes are given to the winning teams at the end The races on the Nan river are colourful and unequaled because the racing boats are brightly adorned with imaginatively designed prows. The cheering squads on the river bank are usually rumbustious and joyful..
Good buys include local textiles, especially the Thai Lu weaving styles. Typical Thai Lu fabrics feature red and black designs on white cotton in floral, geometric and animal designs and also indigo and red on white. The ''lai naam lai'' (flowing-water design) shows stepped patterns representing streams, rivers and waterfalls. Other excellent quality textiles are the local Hmong applique and the Mien embroidery.
Htin grass-and-bamboo baskets and mats and hmong silverware are also available.