DOCSLIB.ORG

Chapter Iii a Comparison on Lan Xang and Early

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CHAPTER III A COMPARISON ON LAN XANG AND EARLY RATTANAKOSIN BUDDHIST ART AND ARCHITECTURAL DESIGNS As a Buddhist kingdom, both Lan Xang and Rattanakosin cherished their temples by put every effort to build one and decorate it with the most beautiful artwork they could create at that moment. Those architectures and artworks not just express how luxury each kingdom was, but also represent the thought and circumstance in the meantime. Even though Lan Xang and Rattanakosin had a same religion and were neighbor, their arts and architectural designs are different as follow: 3.1 Lan Xang Buddhist Art and Architectural Design Lan Xang was a kingdom with diversity; even in the Lao race itself. Since the end of the reign of King Suryawongsa Thammikkarat, Lan Xang was divided into three separated kingdom; Luang Prabang, Vientiane and Champasak. Even though they were split up, they still shared their art and architectural designs. Each kingdom had been influenced by the neighbor surround and outsider as described below: 3.1.1 Lan Xang Architecture Developed through centuries, Lan Xang architectures may contain a lot of outsider influence, but at some point, they have their own unique style of architecture. Lan Xang temples can be divided into two part; Buddhawat and Sangkhawat. This chapter will discusses only on the Buddhawat area which cantains of That (ธาตุ), sim (สิม), Ho Wai (หอไหว), Oob Mung (อูบมุง), Hotrai or a library (หอไตร) and Ho Klong or a drum tower (หอกลอง), 3.1.1.1 That (Pagoda or Stupa) That (ธาตุ) in Lan Xang architecture is a Buddhist monument which can refer as a Chedi or pagoda (in Thai Architecture). The component of a That can be divided into three parts (Figure 3.1); base part, middle part or ‘Ruen That’ (เรือนธาตุ) and top part. That in Lan Xang architecture can be categorized into three types; Lan Na influenced That, Original Lan Xang That and Mon-Burmese influenced That. 24 25 Top Part Middle part/ Ong Rakang Base Part Figure 3.1 A Figure illustrate the componant of a Chedi 1) Lan Na Influenced That Lan Na Kingdom and Luang Prabang had a very firm connection. The location of the two kingdoms is geographically closed. Furthermore, the Great king of Lan Xang, King Saisethathirath once ruled Lan Na Kingdom before he came back to Lan Xang with Lan Na artists. The culture between the two kingdoms was not only transmitted by a closed distance but also by royal families. 1.1) Lan Na Bell-Shaped That The bottom of the base part was built in a double lotus square-base (Than Bua Yok Kej-ฐานบัวยกเก็จ in Thai architecture)1. The next layer is a triple lotus base support the ‘Ong Rakang’ (องคระฆัง). The middle part or Ruen That is in bell-shaped, in circle plan. The top part, above the Ruen That has a Rattana Banlang (รัตนบัลลังก), Plong 2 Chanai (ปลองไฉน) and Pli (ปลี)1 . The example of Lan Na bell-shaped That is a That in Wat Apai, Luang Prabang (Figure 3.2). 1Than Bua Yok Kej is composed of superimposed pedestals. The first is called the ‘Chopping Block’, the second part is the ‘Lotus’, the third part is the ‘Chopping Block’ and the fourth part is the ‘Lion’ base. (K.I. Matics, Introduction to the Thai Temple, p.67) 2Sakchai Saisingh, Chedi Buddha Image, Huptam, Sim in Lao and Esan Arts, (Bangkok: Museum Press, 2012), 53. 26 Figure 3.2 a That at Wat Apai 1.2) Lan Na Prasada-shaped That A Ruen That part of the That is in a square plan. It has a ‘Sum Choranum’3 (ซุมจระนํา) contains four Buddha images in four directions. Above the Ruen That usually built a Lan Na bell-shaped That, contains arch-structure. At the top and bottom part of the Ruen That contain a ceramic ornament made in form of Chinese flowers called ‘Kab-Bon and Kan Lang’4 (กาบบนกาบลาง). The example of Lan Na prasada-shaped That is That Noi at Wat Mahathat (Figure 3.3). Figure 3.3 That Noi (ธาตุนอย) at Wat Maha That 2) Traditional Lan Xang That 2.1) Vese-Shaped That (เจดียทรงบัวเหลี่ยม) Basically, a vase-shaped That (Figure 3.4) has an Ong Rakang in square shape and so as other features in the top part. It may have a short two or three Than Kieng (ฐานเขียง). A big Luk Kaeo (ลูกแกว) 3 A small, roofed space attached to the main body in four directions of the pagoda. (The Office of the National Culture Commission, 1993, p.83) 4Ibid, 59-60. 27 supports Than Bua Kwam Bua Ngai (ฐานบัวคว่ําบัวหงาย). The Than Bua (ฐาน บัว) of the That is usually decorated by Lan Xang style Luk Kaeo Ok Kai (ลูกแกวอกไก). At the four corners of the pagoda are decorated with ‘Karb’ (กาบ) which similar to the Lan Na prasada-shaped That and the ‘Karb Bhrama Sorn’ (กาบพรหมศร)in Rattanakosin arts. The base part of the That has a ‘Bua Ngon’5 (บัวงอน), a lotus petal-liked flick upward to the sky. From a Than Kieng (ฐานเขียง) to a Pak Rakang (ปากระฆัง) are in a pattern of an increased corner That (ธาตุ แบบเพิ่มมุม). The body or Ong Rakang of the That is in a square- shaped. The throne (บัลลังก also built in square plan) is made in form of the Than Bua Kwam Bua Ngai (ฐานบัวคว่ําบัวหงาย) which has a Luk Kaeo Ok 6 Kai (ลูกแกวอกไก) decorated. Figure 3.4 That Luang, Vientiane 2.2) The Prasada-Shaped That The most important feature of this That is that the Ruen That (เรือนธาตุ) has four Sum Choranums (ซุมจระนํา) which enshrined Buddha images at every direction. Above the Ruen That (เรือนธาตุ) is a bell square-shaped That with a point top.7 The pasada-shaped That was influenced by Lan Na arts and soon developed to a new style as below: A That influenced by Lan Na and Ayutthaya Arts: it contains two main parts which are 1)the Ruen That (เรือนธาตุ) in square plan with increased corners. 2) The top part built in the bell-shaped That. This part has three styles; a vassel-shaped That (Figure 3.5), an increased 5Bua Ngon is called ‘Bua Pak Pling’ in Thai arts. 6Ibid, 63-64. 7Ibid, 79. 28 corner That (Figure 3.6) and the type that has a double Ruen That (เรือน 8 ธาตุ) and a vassel-shaped That at the top (Figure 3.7). Figure 3.5 Pra That Bang Puen, Nong Kai, Thailand Figure 3.6 a That at Wat Naga Yai, Vientiane Figure 3.7 Pra That Nong Sam Muen, Chaiyabhum, Thailand 8Ibid, 80-86. 29 A That influenced by Khmer-Cham-Ayutthaya and mixed with a vassel-shaped That: this type has a body like a Khmer prasada, with Sum Choranum (ซุมจระนํา) that enshrined Buddha images. Vassel-shaped That was built at the top of the Ruen That(เรือนธาตุ). The Ruen That of this type of That is built in a square plan almost like Khmer or Cham prasada on a small base. The Ruen That of this type can be divided into two groups; a Cham influenced (Figure 3.8) and a Khmer 9 influenced (Figure 3.9). Figure 3.8 Pra That Cheng Chum (พระธาตุเชิงชุม), Sakon Nakorn, Thailand Figure 3.9 Pra That In Hang, Savannaket, Lao PDR. 3) Mon-Burmese influenced That A Mon-Burmese influenced That most likely to be found in Xieng Kwang; for example That Phun (Figure 3.10). This type of That has a base of Than Bua Thala Yok Kej (ฐานบัวถลายกเก็จ-lotus base increased corners). The part that support a That’s body was built in a ‘Bua Song Klum’ (บัวทรงคลุม) shaped, influenced by Ayutthaya arts. It has a 9Ibid, 88-94. 30 decoration at the body in Mon and Burmese style. The top part built a 10 simulation of a That in circle plan with no throne (บัลลังก). Figure 3.10 That Phun, Xieng Kwang, Lao PDR. 3.1.1.2 Sim11 (Ordination Hall) Sim refers to an ubosot or an ordination hall in Lan Xang architecture. The word ‘sim’ is form ‘sima’ or ‘sema’ which means a boundary stone of the Ubosot. Sim has a component and element as below (Figure 3.11, 3.12); Pan Lom Na Ban (ป้านลม หรือ รวย (หน้าบัน) ระกา) Hang Pung or Gable (ฮังผึ้ง) Kantuay in Elephant ear shaped (คันทวยทรงหูช้าง) Figure 3.11 A front side picture of Sim of Wat Xieng Thong, Luang Prabang. 10Ibid, 105-107. 11 Refers to a ‘Chapel’ or an Ubosot in Lan Xang architecture. The word ‘Sim’ is from ‘Sima’ or ‘Sema,’ which means the boundary stone installed around an Ubosot. 31 Cho Fa or Sattaburipan (ช่อฟ้า หรือ สัตตะบูริพัน) Ngo (โหง่) Multi-tiered Roof หลังคาซ้อนชั้น Figure 3.12 A side plan of Wat Xieng Thong's sim Sim in Lan Xang architecture can be categorized into 5 types; Luang Prabang, Tai Lue, Vientiane, Xieng Kwang and Mixed Sim. 1) Luang Prabang Sim Luang Prabang sim has a features much similar to Lan Na vihara as it is believed to be influenced by Lan Na arts in about 15th -16th centuries. Luang Prabang has elements as below (Figure 3.13): ‘Turb’ (เทิบ) or the roof of Luang Prabang sim has a ‘bird wings’ shaped. It has a multi-tiered roof cascading down in layers, the front side has three layers and the backside has two layers, the lowest flaring out, almost touch the ground.12 In the middle of the roof has a ‘Sattaburipan’ or chofa. The roof of Luanf Prabang sim contains no Bai Raka and Hang Hong.
Recommended publications
  • National Geographic Traveler

    National Geographic Traveler

    an APPETITE for LAOS The complexity, grace, and taste of Luang Prabang unfurl one delicious bite at a time The Nam Ou river was once a major transport route, bringing people and produce from northern Laos to Luang Prabang. By Andrew Nelson Photographs by Ewen Bell 54 NATGEOTRAVEL.COM SOMETIMES Raise a spoonful of tom kha kai, a traditional Laotian coconut chicken A PORTAL soup, to your lips, and a tantalizing perfume of lemongrass, lime, and galangal wafts upward. Its scent is ISN’T A DOOR. sublime and earthy, hot and sour. The fragrant plume comes with a peppery kick. The sensation is vivid, somehow poignant, and utterly transporting. IT’S A BOWL The memory brings a smile as I stand in a line of passengers at Luang Prabang airport, in the Lao People’s Democratic Republic. I’ve traveled OF SOUP. 9,000 miles to Southeast Asia inspired by Van Nolintha, a charismatic 32-year- old Laotian-American restaurateur in Raleigh, North Carolina, whose inventive renditions of his child- hood dishes from his native land have earned the acclaim of diners and food critics alike. Now I’ve come for a taste of the real thing. Upon leaving the airport, my first views of Laos are the Phou Thao and Phou Nang mountain ranges, which surround the ancient royal city of Luang Prabang like an embrace. The slopes are lush with trees that comb and catch the low-lying clouds. As I enter the city, a cluster of motorbikes overtakes my taxi, trailing fumes and impatience. A teenage girl, sitting sidesaddle in a Laotian silk tube skirt called a sinh, flashes past.
  • Management Plan of Historic Site for Cultural Tourism

    Management Plan of Historic Site for Cultural Tourism

    MANAGEMENT PLAN OF HISTORIC SITE FOR CULTURAL TOURISM ATTRACTION: Management Plan Proposal for IRIH Center at Ministry of Defence By Korn Prabhasabhakdi A Research Project Submitted in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS Architectural Heritage Management and Tourism (International Program) Graduate School SILPAKORN UNIVERSITY 2005 ISBN 974-11-6522-6 The Graduate school, Silpakorn University has approved and accredited the research project title of “Management Plan Proposal for IRIH Center at Ministry of Defence” submitted by Mr. Korn Prabhasabhakdi as a partial fulfillment of the requirement for the degree Master of Arts in Architectural Heritage Management and Tourism ………………..…………………………………. (Associate Professor Wisa Chattiwat, Ph.D.) Vice President of Academic Affairs Dean of Graduate School …..…………./…………………./……………..... The Research Project Advisor Asst. Prof. Sunon Palakavong Na Ayudhaya The Research Project Examination Committee …………………………………………….. Chairman (Prof. Trungjai Buranasomphop Ph.D.) …………./…………………./……..…….... …………………………………………….. Member (Asst. Prof. Den Wasiksiri) …………./…………………./…………...... …………………………………………….. Member (Asst Prof. Sunon Palakavong Na Ayudhaya) …………./…………………./………..….... b K 46056310: MAJOR: ARCHITECTURAL HERITGAE MANAGEMENT AND TOURISM KEYWORD: MINISTRY OF DEFENCE, INNER RATTANAKOSIN ISLAND, TOURISM MANAGEMENT PLAN, SIGNIFICANT. KORN PRABHASABHAKDI: MANAGEMENT PLAN OF HISTORIC SITE FOR CULTURAL TOURISM ATTRACTION: MINISTRY OF DEFENCE. RESEARCH PROJECT ADVISOR: ASST.PROF. SUNON PALAKAVONG NA AYUDHAYA, 80 pp. ISBN 974-11-6522-6. The research project is about creating the history center of Inner Rattanakosin Island at Ministry of Defense, Bangkok. It is specifically designed to give the background about the history of Rattanakosin period. History center can be the best way that will give background for visitors who will visit Rattanakosin Island, so that they will acquire much more knowledge, and also appreciate what they will see.
  • Country Profile Laos

    Country Profile Laos

    Country profile Laos GEOGRAPHY Laos is located in southeast Asia and is approximately the same size as Victoria. It is one of the few landlocked countries in Asia with a landscape dominated by rivers and mountains. The Mekong River runs the entire length of the country and forms the national border with Thailand. The climate is tropical, with high temperature and humidity levels. The rainy season is from May to November. The tropical forests which cover much of the country are rapidly being logged. PEOPLE The official language is Lao, but French, English and other languages are also spoken. Theravada Buddhism is the dominant religion, although animist beliefs are also common, especially in the mountainous areas. The population of Laos consists of approximately 130 different ethnic groups and 80 percent of the population live in rural areas. HISTORY Laos has its origins in the ancient Lao kingdom of Lan Xang, established in the 14th century. For 300 years this kingdom Map courtesy of The General Libraries, included parts of modern-day Cambodia and Thailand, as well The University of Texas at Austin as all of what is now Laos. From the late 18th century, Laos came under the control of Siam (now Thailand) before coming under the control of France in the late 19th century. policy, but has struggled to find its position within a changing political and economic landscape. Despite tentative reforms, In 1975, communist forces ended the monarchy in Laos and Laos remains poor and dependent on international donations. ruled with a regime closely aligned to Vietnam and the Soviet It became a member of ASEAN in 1997.
  • View Full Activity Guide

    View Full Activity Guide

    Activities Guide Experiences are personal journeys. Our goal at Amantaka is to introduce you to Luang Prabang’s deeply-rooted cultural heritage, natural wonders and contemporary attractions, and help you establish a personal connection with its warm and friendly people. As part of UNESCO, Luang Prabang has 32 temples and 111 historic Lao-French buildings throughout the town, citing Luang Prabang as the best-preserved traditional town in Southeast Asia. New construction is limited, and development must be in keeping with the spirit of the town. Luang Prabang is small in scale and easily explored either on foot or by bicycle, ideal for discovering notable architectural landmarks and other distinctive attractions in town. At Amantaka, tailor-made itineraries can be made to embrace passions and interests. From a traditional Lao cooking class on our organic farm to a sunset cruise on the majestic Mekong, or from a tour of the most sacred temples to a walk-through surrounding villages, our team at Amantaka are here to help you create your own journey into the heart of this fascinating town. Luang Prabang – a UNESCO town Luang Prabang city tour Temple and village walk Half-day excursion Half-day excursion Begin the tour at Amantaka, with the first stop at Wat This adventure begins with a short river-crossing from the Visoun and Wat Aham. Within their precincts stands the boat jetty behind the Palace Museum. After disembarking gigantic That Makmo (Watermelon), originally known as at Xieng Mene’s makeshift boat landing, walk through an That Patum or Lotus Stupa, built in 1503 A.
  • A New Method of Classification for Tai Textiles

    A New Method of Classification for Tai Textiles

    A New Method of Classification for Tai Textiles Patricia Cheesman Textiles, as part of Southeast Asian traditional clothing and material culture, feature as ethnic identification markers in anthropological studies. Textile scholars struggle with the extremely complex variety of textiles of the Tai peoples and presume that each Tai ethnic group has its own unique dress and textile style. This method of classification assumes what Leach calls “an academic fiction … that in a normal ethnographic situation one ordinarily finds distinct tribes distributed about the map in an orderly fashion with clear-cut boundaries between them” (Leach 1964: 290). Instead, we find different ethnic Tai groups living in the same region wearing the same clothing and the same ethnic group in different regions wearing different clothing. For example: the textiles of the Tai Phuan peoples in Vientiane are different to those of the Tai Phuan in Xiang Khoang or Nam Nguem or Sukhothai. At the same time, the Lao and Tai Lue living in the same region in northern Vietnam weave and wear the same textiles. Some may try to explain the phenomena by calling it “stylistic influence”, but the reality is much more profound. The complete repertoire of a people’s style of dress can be exchanged for another and the common element is geography, not ethnicity. The subject of this paper is to bring to light forty years of in-depth research on Tai textiles and clothing in the Lao People’s Democratic Republic (Laos), Thailand and Vietnam to demonstrate that clothing and the historical transformation of practices of social production of textiles are best classified not by ethnicity, but by geographical provenance.
  • THE ROUGH GUIDE to Bangkok BANGKOK

    THE ROUGH GUIDE to Bangkok BANGKOK

    ROUGH GUIDES THE ROUGH GUIDE to Bangkok BANGKOK N I H T O DUSIT AY EXP Y THANON L RE O SSWA H PHR 5 A H A PINKL P Y N A PRESSW O O N A EX H T Thonburi Democracy Station Monument 2 THAN BANGLAMPHU ON PHE 1 TC BAMRUNG MU HABURI C ANG h AI H 4 a T o HANO CHAROEN KRUNG N RA (N Hualamphong MA I EW RAYAT P R YA OAD) Station T h PAHURAT OW HANON A PL r RA OENCHI THA a T T SU 3 SIAM NON NON PH KH y a SQUARE U CHINATOWN C M HA H VIT R T i v A E e R r X O P E N R 6 K E R U S N S G THAN DOWNTOWN W A ( ON RAMABANGKOK IV N Y E W M R LO O N SI A ANO D TH ) 0 1 km TAKSIN BRI DGE 1 Ratanakosin 3 Chinatown and Pahurat 5 Dusit 2 Banglamphu and the 4 Thonburi 6 Downtown Bangkok Democracy Monument area About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections and you should be able to find whatever you need in one of them. The colour section is designed to give you a feel for Bangkok, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The city chapters cover each area of Bangkok in depth, giving comprehensive accounts of all the attractions plus excursions further afield, while the listings section gives you the lowdown on accommodation, eating, shopping and more.
  • FIGURE CONTENT Figure Page 2.1 Landscape of Luang Prabang

    FIGURE CONTENT Figure Page 2.1 Landscape of Luang Prabang

    [6] FIGURE CONTENT Figure Page 2.1 Landscape of Luang Prabang…………………………………………………………………………………….7 2.2 Landscape of Luang Prabang (2)………………………………………………………………………………..8 2.3 A map showed the territory of Mainland Southeast Asian Kingdoms……………………11 2.4 Landscape of Bangkok……………………………………………………………………………………………….17 3.1 A figure illustrate the component of a Chedi………………………………………………………….25 3.2 A That at Wat Apai…………………………………………………………………………………………………….26 3.3 3 That Noi (ธาตุนอย) at Wat Maha That……………………………………………………………………26 3.4 That Luang, Vientiane……………………………………………………………………………………………….27 3.5 Pra That Bang Puen, Nong Kai, Thailand…………………………………………………………………28 3.6 A That at Wat Naga Yai, Vientiane……………………………………………………………………………28 3.7 Pra That Nong Sam Muen, Chaiyabhum, Thailand………………………………………………….28 3.8 Pra That Cheng Chum (พระธาตุเชิงชุม), Sakon Nakorn, Thailand…………………………….29 3.9 Pra That In Hang, Savannaket, Lao PDR…………………………………………………………………..29 3.10 That Phun, Xieng Kwang, Lao PDR………………………………………………………………………….30 3.11 A front side picture of Sim of Wat Xieng Thong, Luang Prabang…………………………30 3.12 A side plan of Wat Xieng Thong's sim……………………………………………………………………31 3.13 Sim of Wat Xieng Thong, Luang Prabang, Lao PDR……………………………………………….32 3.14 Sim of Wat Pak Kan, Luang Prabang, Lao PDR……………………………………………………….32 3.15 Sim of Wat Sisaket, Vientiane, Lao PDR………………………………………………………………….33 [7] 3.16 Sim of Wat Kiri, Luang Prabang, Lao PDR……………………………………………………………….34 3.17 Sim of Wat Mai, Luang Prabang, Lao PDR………………………………………………………………34 3.18 Sim of Wat Long Koon, Luang Prabang,
  • Contemporary Phuthai Textiles

    Contemporary Phuthai Textiles

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Contemporary Phuthai Textiles Linda S. McIntosh Simon Fraser University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons McIntosh, Linda S., "Contemporary Phuthai Textiles" (2004). Textile Society of America Symposium Proceedings. 481. https://digitalcommons.unl.edu/tsaconf/481 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Contemporary Phuthai Textiles Linda S. McIntosh Simon Fraser University [email protected] © Linda S. McIntosh 2004 The hand-woven textiles of the Phuthai ethnic group continue to represent Phuthai identity but also reflect exposure to foreign elements such as through trade and changes in the regional political power. If one asks a Phuthai woman what is Phuthai dress, she will answer, sin mii lae suea lap lai, or a skirt decorated with weft ikat technique and a fitted blouse of indigo dyed cotton, decorated with hand-woven, patterned red silk. Despite the use of synthetic dyes readily available in the local markets, many women still grow indigo and cotton, and indigo-stained hands and the repetitious sounds of weaving are still found in Phuthai villages. This paper focuses on the Phuthai living in Savannakhet Province, Laos, but they are also found in Khammuan, Bolikhamsay, and Salavan provinces of Laos as well as in Thailand and Vietnam.1 Contemporary refers to textile production in the last thirty years but particularly in the last ten years after the liberalization of the Lao government policies and the return of private business and tourism after the 1980s.
  • Iron Man of Laos Prince Phetsarath Ratanavongsa the Cornell University Southeast Asia Program

    Iron Man of Laos Prince Phetsarath Ratanavongsa the Cornell University Southeast Asia Program

    * fll!!I ''{f'':" ' J.,, .,.,Pc, IRON MAN OF LAOS PRINCE PHETSARATH RATANAVONGSA THE CORNELL UNIVERSITY SOUTHEAST ASIA PROGRAM The Southeast Asia Program was organized at Cornell University in the Department of Far Eastern Studies in 1950. It is a teaching and research program of interdisciplinary studies in the humanities, social sciences, and some natural sciences. It deals with Southeast Asia as a region, and with the individual countries of the area: Brunei, Burma, Indonesia, Kampuchea, Laos, Malaysia, the Philippines, Singapore, Thailand, and Vietnam. The activities of the Program are carried on both at Cornell and in Southeast Asia. They include an undergraduate and graduate curriculum at Cornell which provides instruction by specialists in Southeast Asian cultural history and present-day affairs and offers intensive training in each of the major languages of the area. The Program sponsors group research projects on Thailand, on Indonesia, on the Philippines, and on linguistic studies of the languages of the area. At the same time, individual staff and students of the Program have done field research in every Southeast Asian country. A list of publications relating to Southeast Asia which may be obtained on prepaid order directly from the Program is given at the end of this volume. Information on Program staff, fellowships, requirements for degrees, and current course offerings is obtainable· from the Director, Southeast Asia Program, 120 Uris Hall, Cornell University, Ithaca, New York 14853. 11 IRON MAN OF LAOS PRINCE PHETSARATH RATANAVONGSA by "3349" Trc1nslated by .John B. �1urdoch F.di ted by · David K. \-vyatt Data Paper: Number 110 -Southeast Asia Program Department of Asian Studies Cornell University, Ithaca, New York .November 197·8 Price: $5.00 111 CORNELL UNIVERSITY SOUTHEAST ASIA PROGRAM 1978 International Standard Book Number 0-87727-110-0 iv C.ONTENTS FOREWORD • • • • • • • • • • • • • • • • • • • • • • .
  • From the Myths and the Beliefs on Naga of the Isaan People to Cultural Tourism: a Case Study in Nongkhai Province, Thailand

    From the Myths and the Beliefs on Naga of the Isaan People to Cultural Tourism: a Case Study in Nongkhai Province, Thailand

    International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 15, Issue 8, 2021 From the Myths and the Beliefs on Naga of the Isaan People to Cultural Tourism: A Case Study in Nongkhai Province, Thailand Dr. Arunee Sriruksaa, Dr. Kittisan Sriruksab, aASEAN Languages Center, Faculty of Humanity and Social Sciences, Khon Kaen University, Naimuang Subdistrict, Muang District, Khon Kaen Province, 40002, Thailand, bFaculty of Fine and Applied Arts, Khon Kaen University, Naimuang Subdistrict, Muang District, Khon Kaen Province, 40002, Thailand, Email: [email protected], [email protected] This article highlights the evolution of the myths and beliefs on Naga of the Isaan people into cultural tourism through a case study in Nongkhai province, Thailand. The article is part of the research results on the beliefs around Naga in Nongkhai province, Thailand. The research aimed to study the history of the belief in Naga, and the area in Nongkhai province where the belief is still prominent, through non-participatory observation, non-structured interviews, and the study of the related documents and research. The study revealed the Nongkhai people have been passing down the myth and the belief of Naga, through storytelling from their ancestors to the current generation, as a way to maintain their faith in Buddhism and to draw the connection between the belief and their settlements. Currently, the myth is being passed on to the tourists who show an interest in knowing more about the tradition and culture. The "Naga fireballs" phenomenon, which had become a majestic festival that reflects the identity of the children of the City of Nagas, is also being passed on this way.
  • ED 206 7,6 AUTHOR V Understanding Laotian People

    ED 206 7,6 AUTHOR V Understanding Laotian People

    DOCU5ANT RESUME ED 206 7,6 OD 021 678 AUTHOR V Harmon, Roger E. and Culture. TITLE Understanding Laotian People, Language, Bilingual Education ResourceSeries. INSTITUTION Washington Office of the StateSuperintendent of Public Instruction, Olympia. SPONS AGENCY Office of Education (DREW)Washington, D.C. PUB.DATE (79) NOTE 38p. ERRS PRICE MF11/PCO2 Plus Postage. DESCRIPTORS *adjustment (to Environment): AsianHistory: Bilingual Education; Comparative Education;*Cultural Influences: Elementary SecondaryEducation; English (Second Language): *Laotians: *Refugees;*Second Language Instruction ABSTRACT This is a guide for teachersand administrators to familiarize them with the Laotianpeople, language and culture. The first section contains a brief geographyand history of Laos, a discussion of the ethnic and lingustic grpupsof Laos, and information on the economic andreligious life of these groups. Section two describes the Laotianrefugee experience and considers life in the some of the adjustmentsLaotians must make for their new United States. This section alsoexplains elements of the international, national and local supportsystems which assist Indochinese refugees. Sectionthree gives a brief history ofthe educational system in Laos, andthe implications for educational Suggestions for needs of Laotians nowresiding in the United States. working with Laotianp in'the schoolsand some potential problem areas of the are ale) covered. Thelast section presents an analysis Laotian language. Emphasis isplaced on the problems Laotianshave with English,
  • Chinese Art Within Thai Temples in Malaysia: the Disappearance of Thai Art

    Chinese Art Within Thai Temples in Malaysia: the Disappearance of Thai Art

    Asian Social Science; Vol. 11, No. 9; 2015 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Chinese Art within Thai Temples in Malaysia: The Disappearance of Thai Art Punya Tepsing1 1 Faculty of Liberal Arts, Prince of Songkla University, Songkhla, Thailand Correspondence: Punya Tepsing, Faculty of Liberal Arts, Prince of Songkla University, Songkhla 90112, Thailand. Tel: 66-83-14-6692. E-mail: [email protected] Received: August 12, 2014 Accepted: December 2, 2014 Online Published: April 2, 2015 doi:10.5539/ass.v11n9p43 URL: http://dx.doi.org/10.5539/ass.v11n9p43 Abstract The identity of Thai temples in Malaysia is disappearing, as the temples display more Chinese art than Thai. Thus, this research aims to investigate the patterns in Chinese art and the conditions that support the appearance of Chinese art within Thai temples. Chinese art appears within these temples in their sculptures of Buddha, pavilions, and walls. The conditions supporting the appearance of Chinese art include 1) the need for funds to construct new temples; 2) the abilities of pastors who can speak Chinese and English and are interested in art from various countries; and 3) the eastern coast of Malaysia being a place where many people of Chinese descent settled. Chinese people were not able to purchase land easily due to state laws; thus, they had to use Thai temples as places to preserve their identity by constructing Chinese art within the temple. Keywords: Chinese art, Thai temple, Malaysia, disappearance 1. Introduction Chinese culture has been found in Malaysia since the 15th century (Khin & Huat, 2005).