Prior to the rule of King Chulalongkorn, it is known that Thai sculpture work, if not created for household items or used in religious ceremonies, will largely reflect a strong faith in Buddhism. As seen from the creation of Buddha images, sculptures, castings, or carvings used to decorate temples. When the country officially transitioned to an absolute monarchy under king Rama V, sculpture work was adapted to emphasize the virtues of the monarch, blending sacredness into the individual, such as creating a likeness of the king with qualities resembling a god (apotheosis) until the post-revolution period after 2475 when the People’s Party attempted to present modern art, including conventional sculpture, to break away from the constraints of the old power groups, while also supporting the idea of equality with the people at the center. This was accompanied by the creation of architectural designs and artworks that served as mediums of expression for the democratic aspirations of the state. Conversely, the public showed awareness of the arrival of a new order through the creation of objects with patterns reflecting constitutional principles, symbols of governance in a democratic regime, similar to the sculpting type of sculpture clearly seen in this sculpture of Phraya Phahonphonphayuhasena. Sculpture is considered a pointer to new political perspectives while still mixing the interesting influence of conservative ideas of the old era.
The sculpture of Phraya Phahonphonphayuhasena was created on December 4, 2476, by Mr. Soonha Tawalaphan, a Thai of Chinese descent who supported the "Revolution of 2475." He sculpted this figure to serve as a memento presented to him as a memento of his status as one of the leaders of the revolution. The sculpture has a celestial statue style made of carved sandstone, named "Lord Shiva in the form of the vanquisher of the demon Tripura, in honor of the Constitution of Siam." It is approximately 60 centimeters tall, with the right hand holding the constitution. On the left shoulder, there is a small sculpture of a person perched. The face of the celestial statue is based on Phraya Phahonphonphayuhasena's likeness. The creation of the aforementioned celestial statue still connects with the ancient belief in creating images of ordinary people to resemble gods. The creator used symbols that indicate the belief that those capable of changing governance or leading a country are individuals of sacred status or those born with virtuous governance. The small sculpted figure on the shoulder is explained as a symbol representing the people who Phraya Phahonphonphayuhasena has led into the new governing system, although it may reflect the conflicting views of the creator with the democratizing view of the Ratthanakosin era (after the creator presented it to Phraya Phahonphonphayuhasena, the former Prime Minister retained it as personal property, never displaying it anywhere). Although the investment in creating this sculpture by an ordinary villager reflects an awareness of the Revolution of 2475, as well as sentimental feelings and hopes for a better future under the leadership of the new regime.
Throughout the life of Phaya Phahon (Phraya Phahonphonphayuhasena), this sculpture in the form of a deity was never publicly displayed. People became aware of its existence only after some of Phaya Phahon's collected items were exhibited at the Phaya Phahonphonphayuhasena Museum, within the Artillery Center, Phaholyothin Camp, Lopburi Province. Following the People's Party's promotion of modern art concepts, we rarely see creations that exalt individuals to the level of deities, except for sculptures that follow the People's Party's ideal of physically fit citizens, such as the "Phraya Phon Buddha on a Three-Headed Elephant" sculpture at the National Stadium, which features a body full of muscles. This trend continued until the advent of social media, where contemporary people created memes or humorous parodies by editing photos of iconic figures or politicians symbolizing the fight for democracy, overlaying them with elements that appeared sacred and superhuman. However, this approach carries different intentions and meanings compared to the aforementioned deification sculptures.