- Take A Tour
The resort, a fusion of traditional Lanna and contemporary Thai, designed to merge harmoniously with our riverside surroundings
Warm smiles and friendly faces you are likely to meet at The Legend.
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Transfer by bus or private limousine
Located in single or two-storey contemporary Lanna-style buildings of two, four or six units
Located in single-storey buildings of two units designed in contemporary Lanna style
Located in single-storey buildings of two units constructed in contemporary Lanna style
A beautiful accommodation choice, ideal for honeymooners, wedding anniversaries or other ‘special’ holidays
Our biggest accommodation. Spacious, luxury 2-bedroom pool villa for your family. With uninterrupted riverviews and its own pool
The legacy of this region is shared and perpetuated by the local people
Our treatments use ancient remedies handed down through successive generations
The Riverside Terrace, Ou Kao Classic Thai Restaurant, and Suan Chainam BBQ Restaurant and Beer Garden
An infinity pool of over 200 square metres with integrated bubble bed
Located on the river front, this attractive venue is suitable for various important events and special occasions
The Gateway to the Golden Triangle. Chiang Rai the capital of Thailand's northern most province
Doi Tung Temple, Mae Faluang Garden, the Royal Palace, Doi Mae Salong and boat trip along the Kok river
Yao, Long Neck Karen, Lahu and Akha villages; Mae Sai, Golden Triangle, Chiang Saen, etc.
Discovering the hill tribes around Chiang Rai
Golf, cycling and elephant trekking, riverboat rides and more.
- Special Packages
Comparable to Songdej Thipthong, Phantong Saenchun is a traditional Thai Buddhist artist who seeks to reinvent the language of the iconography that typically represents Thai Buddhism. Phantong’s paintings of statues of Buddha and related imagery employ chiaroscuro with a heightened sense of artificial color; acid greens, austere blues, and vibrant reds highlight his crisply delineated religious forms. Though sometimes Phantong has a softness of touch that suggests his images of Buddha are transient, or impermanent, and this fits well with Buddhist themes.
To look at Phantong’s paintings is to be faced with a seemingly spot-lit subterranean world. We are in the world of traditionally dark, Thai temples where sculptures of Buddha are lit in such a way as to suggest they are not mass and floating. Buddhism teaches transcendence as the ultimate goal of meditation. Phantong illustrates this goal; his statues are simultaneously present and absent in terms of the intangible. His use of color, however, suggests another dimension; that of the surreal. In other words, our sense of reality has been altered and we are prompted to see and think differently. In this respect, Phantong expertly links traditional understandings with contemporary sensibilities.