cloister galleries called Rabiang Khot (), which was not present in Ayutthaya. Sacred ceremonial grounds for monks were marked by Bai Sema () stones. Prasat () was new structure of Early Bangkok characterized by cruciform plan with Angkorian-style Prang towering in the center. While temples were built with sturdy bricks, vernacular and lay residential structures were wooden and did not endure for long period of time. Redented-corner and Neo-Angkorian Prang were the most popular styles of Chedis or pagodas in Early Bangkok Period. The grand Prang pagoda of Wat Arun was constructed in 1842 and finished in 1851. It remained the tallest structure in Siam for a significant period of time. When King Mongkut, who was then a Buddhist monk, made pilgrimages to Northern Siam he took inspiration from Sukhothai-Singhalese rounded pagoda style, culminating in construction of round-shaped Wat Phra Pathomchedi pagoda in 1853. Traditional Thai painting was dedicated to Buddhist mural arts of temples depicting Buddhist themes including the life of Buddha, Jataka tales and cosmology. Colors were restricted mostly to earth-tones. Buddha images were not as extensively cast as they used to be in Ayutthaya Period. Numerous Buddha images from ruinous cities of Ayutthaya, Sukhothai and Phitsanulok were moved to be placed in various temples in Bangkok during Early Bangkok Period. Chinese influences King Rama III, known before ascension as Prince Chetsadabodin, had overseen Kromma Tha or Ministry of Trade and had acquainted with Chinese traders in Bangkok. In 1820, Prince Chetsadabodin led army to the west to fight the Burmese. He rested his troops at Chom Thong where he renovated the existing Chom Thong Temple in Chinese style using stucco decorated with Chinese motifs rather than traditional Siamese decorations. The renovation completed in 1831 and the temple became known as Wat Ratcha-orot Temple, which was the prototype of Sino-Siamese fusion architecture – called Phra Ratchaniyom () "Royal Preference" style. Sinicization was strong during the reign of King Rama III (r. 1824–1851), during which up to seventy Theravadin temples were either constructed or renovated and one quarter of those temples involved were in Chinese style. Chinese elements introduced were blue-and-white inlaid with stucco, ornate ceramic mosaic, ceramic roofs and ridged tiles. Pediments were plastered and decorated with Chinese floral motifs in ceramic mosaics rather than traditional wooden gilded Hindu-deities decorations. Chinese decorative objects including Chinese pagodas, door guardian statues, door frames and glass paintings were imported from China