郑皇寺巍然峙立在湄南河西岸的吞武里府。既然是我们由水上巴刹回程的必经之路，因此就有顺道去瞻仰一番的必要了。

我们舍船登上郑皇寺的码头，只见凉亭的两旁，全是兜售明信片，土产手工品和墨拓佛像的摊贩。这些物品的价格，比起刚才在吞武里水上巴刹所卖的要贵得多。买了门票才能进寺参观，我们一踏入殿堂內，迎面就是两个高照(大灯笼)，分插在两旁。灯笼上用红字写着大大的「荣阳堂」三字。殿堂中央供奉着郑皇像，给人膜拜。在寺中还有一块用大木板制成的坐坛，据说是郑皇生时静坐用的。还有郑皇生前御用过的木床，这些都是富历史性的古物。但因为我们都不是考古学家，又不想搜集有关，郑皇的历史资料，所以只略事盘恒便离开了殿堂，大伙儿再转到寺后去参观了。

踏出寺院外，仰首便可以看到一座高耸云霄的婆罗门式宝塔。 气魄雄伟，色彩灿丽，图案别致，在周围还有四个塔身较主塔小数倍的陪塔，其建筑的风格与样式与主塔是完全相同的。中国式的塔是从塔內螺旋而上，每上一层，都可以步出塔廊眺望。可是这座Phra Prang 宝塔却是座实心的塔，不过四面都有一道陡峭的石级直通塔腰。我从塔下沿着笔直的石阶而上，又高又陡相当难走。 我们一行十二人，能登达宝塔的最高层的只有三人，我算是其中之一。

从塔上俯瞰那川流不息的湄南河，竟像一条黃褐色的腰带，展延在我们們的脚下。远眺隔河曼谷的市区，別具一种风味。那对岸一幢幢红顶绿檐的寺院，那名闻遐迩的玉佛寺与越菩寺的金碧辉煌的尖塔，都争妍斗丽似地掩映在苍翠的林木之中，更具有无限迷人的魅力！ 如果以近处的精致雕刻飞檐和层叠的暹式屋瓦为近景，衬上湄南河的景色与远处的尖塔，倒可以构成一幅相当完整而且有气派的风景画，即有层次，又有浓淡的色度，鲜艳对比的色彩，十足的可以表现出泰国的特有凤光呢！

这座郑皇寺。是郑召建都於吞武里府时候重修的。泰人称它为「越亚仑」(Wat Arun)。华侨则因郑召是华旅的后裔，为了纪念郑皇，所以都称郑皇寺。虽然，这座郑皇寺有气概雄伟的建筑，有许多富於历史价值的古迹，那寺塔外面的壁上，更镶嵌色彩缤纷，巧夺天工的精致图案，每座佛龛都有佛陀一生故事的雕刻，使它成为泰国的名胜之一。不过在我们画人的眼里，这些都不是顶可爱的绘画题材呢！

Wat Arun, standing majestically on the west bank of the Chao Phraya River in Thonburi, was a necessary stop for us on our way back from the floating market.

We disembarked at Wat Arun's pier and were immediately greeted by vendors selling postcards, local handicrafts, and ink-rubbed Buddha images under the pavilions. The prices for these items were noticeably higher than what we had seen at the Thonburi floating market. We purchased tickets to enter the temple and, upon stepping into the main hall, were greeted by two large lanterns with the bold inscription "Rong Yang Tang" on them. In the center of the hall stood an image of King Taksin, which inspired reverence among the visitors. The temple also housed a wooden throne that was said to have been used by King Taksin during meditation, as well as a wooden bed that the king had used in his lifetime, all of which were rich in historical significance. However, as we were not archaeologists and did not wish to collect historical data about King Taksin, we briefly explored the main hall before moving to the back of the temple.

Once we stepped outside the temple compound, we were greeted by the sight of an imposing Khmer-style prang (tower). It stood tall against the sky, with vibrant colors and intricate patterns. Surrounding the main prang were four smaller satellite prangs, all of them sharing the same architectural style as the central tower. The prang could be accessed through a steep staircase that spiraled around its exterior. While some members of our group chose not to climb, a few of us made the arduous ascent to the highest level, and I was among them.

From the top of the prang, we had a breathtaking view of the Chao Phraya River, which stretched out like a brown ribbon beneath us. In the distance, we could see the cityscape of Bangkok across the river, with its red-roofed temples and glistening spires, notably the famous Wat Pho and Wat Phra Kaew. These temples were nestled amidst lush greenery, creating a captivating and picturesque scene. The intricate carvings and tiered roofs of the nearby temples provided a stunning foreground, complementing the river view and distant spires. The juxtaposition of these elements formed a captivating and harmonious landscape, with depth, vivid color contrasts, and the unique radiance of Thailand.

Wat Arun, also known as the Temple of Dawn, had been extensively renovated when King Taksin established his capital in Thonburi. Although the temple boasted grand architecture and many historically significant relics, it was not the most appealing subject for our paintings.