In many sects of Buddhism, the rice field is considered the original merit-field, where seeds offered to fertile ground create an abundant harvest. The word “srie” in Khmer language means ‘rice field’, and the artist borrows the word “bun” to refer to the ceremony of merit-making. Lowland paddy’s rectilinear plots vary in size and are framed by dykes. The patterns reflect cyclic and seasonal relations with land and water through the social cooperation of a village community and/or reigning power. Buddhist monks’ robes were originally made from pieces of donated shroud. At some point, it was decided that the robe’s design should mimic the rectilinear pattern of the rice field’s geo-social aesthetics. In “Srie Bun”, Than reveals this historic design of the Buddhist robe to question the translation of a merit field and the enmeshed power of its Buddhist civilizational origins. Than levels the height of the robes hanging outstretched on the wall, revealing their geometric abstraction and de-ranking the different colors that signify hierarchies within the two sects of Cambodia’s Theravada Buddhist system: three orange shades of Maha Nikaya and the darker maroon and ochre hues of Thammayut. Such robes in Cambodia are garments that can be worn by males only, in whose presence laypeople offer alms, good intentions, prayers, and material gifts, and in return hope for a range of abundant karmic blessings for oneself and for others in this life, in death, and future lives.