This report examined models, backgrounds, and ages of Phuan chedis or pagodas at Maha Chedi Temple in Phanom Sarakham District, Chachoengsao Province, and Saeng Sawang Temple in Srimahosot District, Prachin Buri Province. It also utilized evidence on the artistic models when they were assimilated with other cultures. The investigation results revealed that artistic models of the pagodas in the two Phuan communities were related to those in Laos, especially in Xiang Khwang Township, regarding general structures, an addition of 20 wooden angles, higher extended bases, a less focus on right-side-up lotuses, use of numerous metal cords, smaller bell-shaped structures, and no bases to support the spires. These details indicated an artistic relationship that used stylistic uniqueness for their creations in order to commemorate the places where they were from. However, different aspects were inserted according to the aesthetics of artists, for instance, designs of lotus petals, the base of the bell-shaped structure of the pagoda at Maha Chedi Temple, with an angle twisted to the center. The cause of this distortion might have been due to additional construction or repair mistakes. The ages of the pagodas could be between the late 20^th century and early 21^st century, indicating that the Phuan ethnic group migrated from Xiang Khwang Township and played a major role in the reign of King Rama III (pp. 25-28).