Modern Asian Studies , () pp. –. © The Author(s), . Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/./), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:./SX First published online August The Roots of Comparative Alterity in Siam: Depicting, describing, and defining the peoples of the world, s–s* MATTHEW REEDER Asia Research Institute, National University of Singapore Email:
[email protected] Abstract This article identifies a moment of conceptual innovation—the s to the s—in which everyday artists and writers in Siam were tasked with creating comparative representations of the peoples of the world. Although their compositions took a variety of formats, they departed from earlier representations of alterity by devoting equal attention to each ‘type’, including the Thai themselves. This approach is best exemplified in three mid-nineteenth-century works: () a set of archetypal portraits of about peoples painted on the shutters of a major Buddhist monastery, () sculptures of peoples at the same monastery with a short poem describing each one, and () entries defining terms for peoples in an early Thai–Thai dictionary. The systematic formatting of these works drew on similar compositions circulating across the nineteenth-century globe. Yet, despite the presence in Bangkok of foreign interlocutors and imported books and prints, the mid-nineteenth-century compositions preserve ethnic tropes and practices of expression specific to Siam. In addition, the agents of intellectual innovation were not restricted to the usual princely or missionary protagonists.