The characteristics of this chedid demonstrates the influence of Khmer art that has been existed before the diffusion of the Ceylonsese art to this region. Apart from the way the main structure of this chedi that is in Khmer style, the decoration has shown the influence of others. For instance the decoration in the style of the dragon with its tail pointing out showing the Ceylonese style of art, while the way there are chedis decorating at the corners representing the influence of Pukham-Lanna art.
The impressive style of the chedi with its top section in a lotus-bud style is unique to the architectural style of the Sukhothai period. This is considered from the way in integrates Khmer and Ceylonese styles together. This chedi is used to house the sacred relics of Lord Buddha that is in accordance to the belife of Buddhism (Ceylonese ideology). Sukhothai accepted the diffusion of this belife in order to show that Khmer had no control over Sukhothai any longer.
Beyond the inner section of Wat Mahathat, it is the area of Vihara. The grand hall ant the tall Vihara which were constructed adjacent to the east of the central chedi as the integral part of the Vihara has shown its significance and outstanding characteristics.
The grand hall or the grand Vihara is situated adjacent to the central chedi. It was used to house a bronze Buddha image in Sukhothai style. It was cast during King Li-Thai in 1362 later. King Rama I has taken the image to the grand hall of Wat Suthatthepwararam in Bangkok, and its was known as Phra Sri Sakayamuni after that.
The tall Vihara is situated next to the grand hall. It has tall pedestal. Presumable, it was built when the Ayyuthaya ruled Sukhothai. At the rear of Vihara, a stone inscription was found it inscribes the vow made between Sukhothai and Nan.
Both side of the central chedi, there are Mandapa that houses a standing Buddha with 9 meters height. This image is in Ceylonese style. According to the inscription of King Ramahamhang, it is called Phra Attharot.