DOCSLIB.ORG

Tradition and Transformation of Thai Classical Dance: Nation, (Re) Invention and Pedagogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tradition and Transformation of Thai Classical Dance: Nation, (Re) Invention and Pedagogy Tradition and Transformation of Thai Classical Dance: Nation, (Re) invention and Pedagogy Submitted by Pawinee Boonserm to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In October 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract This research aims to analyse the role and consequence of state patronage and promotion of Thai classical dance after the revolution of 1932, when the patronage of court dance changed from royal to state support. This research examines connections between the authority of the state, nationalism, Thai identity, and the invention of tradition, by focussing on the reconstruction of Thai classical dance, the promotion of spirituality in the Wai Khru ceremony, and dance pedagogy. This study uses historical research and ethnography through participant-observation, and interviews with senior dance teachers, national artists, masters of the Wai Khru ceremony, and dance artists in the Fine Arts Department, and also draws on the researcher’s personal experience in dance training as a dancer and dance teacher for several years. The thesis offers a detailed analysis of the socio-political context and cultural policy in relation to the establishment of the Fine Arts Department and the Dramatic Arts College; the national institutions whose main roles were to preserve, perform and offer training in traditional dance. After the revolution of 1932, the Fine Arts department played an important role to authorise, preserve, and standardise Thai classical dance. The function and meaning-making processes surrounding dance changed in accordance with the development of Thai identity and cultural policy. During the period 1932-1945, state policy emphasised the homogeneity of ‘Thai-ness’ and civilization, and traditional dance was adapted and combined with classical, folk and western elements. However, after the mid-1940s, the socio-political and cultural policies changed; the state operated the project of cultural revivalism. The court dance style and its rituals were revived with the establishment of a code of ‘classicalism’ which became the central aesthetic identification of Thai identity. The newly-coined classicalism has become the standard, and has been passed on to succeeding generations in the new educational system. These new invented traditions were preserved as if they were sacred, a practice which continues to the present. 2 Acknowledgements A great number of people have helped and supported me throughout the process of writing this thesis. To all of them I want to express my deep gratitude: Thammasat University for funding and other forms of support which have allowed me to complete this thesis, and the University of Exeter. Thoughout my study at Exeter, I have been fortunate to have Professor Jane Milling as my supervisor. Her constant guidance, and her comments and suggestions in every supervision have been invaluable. Professor Milling has made it possible for me to finish this thesis. I am also grateful for the beneficial comments of my second supervisor, Professor Jerri Daboo who provided encouragement throughout the PhD process. My sincere gratitude to Dr.Kerrie Schaefer and Dr.Ashley Thorpe - my viva examiners, for their valuable comments and suggestions that help me to improve the quality of my thesis. I would also like to thank those who have helped me in the earlier stages of my thesis. I am deeply indebted to my three academic mentors, Associate Prof. Chanthana Iamsakul, Arjan Suthida Kalayanarooj and Dr. Pornchai Sriprapai, for their generous encouragement. I particularly indebted to all of my interviewees for sparing their precious time for interviews. Among the many national artists and senior dance masters who generously gave me their time, I am especially grateful to Arjan Noppharat Wangnaitham, Arjan Suwannee Chalanukhro, Arjan Rachana Pungprayong, Arjan Boonnak Tantranon, Arjan Nongyua Aumrungpongwattana, and Arjan Sakul Muengsakorn. At the National Conservatory in Bangkok, I received considerable support from the Head of Bunditpatanasilpa Institute, Dr. Chanai Vannalee, Assistant Prof. Kwanjai Kongthaworn, Asst. Prof. Dr. Jintana Saitongkum and teachers from the College of Dramatic Arts: Arjan Chalemchai Piromrak, Arjan Pramjai Pengsuk, Arjan Achara, Arjan Thanyawadee. I am 3 indebted to Arjan Sombati Kaewsujarit, Dr.Chulachart Aranyanak, Captain Dr. Akarin Pongpandecha, Tada Vithauapul, Thakoon Samranpong, Dr. Kerdsiri Noknoi for sharing their knowledge of the Wai Khru ceremony and the Ong Phra Phirap dance and dance artists in the Office of Performing Arts such as Dr. Pairoj Thongkumsuk, Somrat Thongtae, and Dr. Treeradach Klinchan. The completion of this thesis could not have been possible without the companionship and help of my friends through the various stages of this project: Assistant Prof. Dr. Sukanya, Dr.Phakamas, Dr. Kailas, Dr. Alongkorn, and Dr.Valulee for sharing their research, and knowledge of cultural studies and Thai theatre. Many thanks to Arjan Siriphan, Arjan Asdavuth, Nareerat, Julsub, Watcharawan, Pimrat, Aekanan, Nathaya, Maneerat, Vorakrit, Prapasri, Worakamon, Katsamaporn, Sirirak, Jantima, Chalersak, Natthakan, Nantida, and Rattasard who help me with archival work in Thailand. I am greatly appreciative of my editor, English teachers in INTO tutorials, Suthee, Aqeel, Faustina, and am especially grateful to Sharanya who helped me with proofing. Special acknowledgements are due to my colleagues and staff at the Faculty of Fine and Applied Arts at Thammasat University who have always supported me. Special thanks to all my friends both in Thailand and in Exeter, for their support and encouragement during difficult times: Sonna, Nora, Sharanya, Evelyn, Swati, Sabina, P’thing, Pol, Gough, Fon, Lin, Poppy, Joyce, Ohm, Kim, Pom, Pat, Bua, Ome, Dao,Ta, P’Kob, Lee, Num, Off, Bom, Tew and Faulkners family. A special note of thanks to my dear host family, who throughout the long years of my staying in UK have provides me with a sense of home and language: Lorraine and Rob. Last but not least, I thank my beloved family in Thailand; my mother and father, Yuawapa and Vichit; my sister, Chonlada; my brother, Jakaphan; my sister-in-law, Monlarat, and all my relatives who are always with me, encouraging me to finish this thesis. To those are present but remain unnamed in this thesis, my thanks are due to them too. 4 Table of Contents Abstract ........................................................................................................................... 2 Acknowledgements ......................................................................................................... 3 Table of Contents ............................................................................................................ 5 List of Figures ................................................................................................................. 8 Introduction .................................................................................................................. 10 Overview and Research Questions........................................................................ 12 Critical Framework and Review Literature........................................................... 20 Dance, Nationalism and Identity ................................................................. 20 Some Studies on Thai Classical Dance and Thai Theatre ........................... 24 Thai-ness and Thai Identity ......................................................................... 29 Some Studies in Spirituality in Dance and the Wai Khru Ceremony .......... 31 State and Dance Education .......................................................................... 32 Research Methodology.......................................................................................... 33 Organisation of the Dissertation............................................................................ 36 Chapter 1 ....................................................................................................................... 40 Nationalism, Cultural Policy and Traditional Dance: 1932-1945 ............................ 40 Thailand from Absolute Monarchy to Democracy ............................................... 41 Classical Dance Patronage before the Revolution ................................................ 43 Changes in Organisation of Court Dance ............................................................. 47 New Organisation of Court Dance: The Fine Arts Department .................. 48 The Establishment of the Academy of Dance and Music............................ 51 Productions of the Fine Arts Department: The Hybrid Dance Drama to Propagate Thai Nationalism ......................................................................................... 54 The Transformation of the Popular Play to a New Theatrical Genre .......... 56 The new Thai Theatrical Genre: Luang Wichit Plays ................................. 60 Dance Choreography in Productions of Wichit’s Plays .............................. 61 Impact of Social Change on Court Dance: Bridge Elite and Ordinary Taste ....... 63
Load more

Recommended publications
  • 1 the Master Plan for Conservation
    0 State of Conservation Report on the Historic City of Ayutthaya World Heritage Property Thailand Submitted to the World Heritage Centre by 1 December 2018 CONTENTS page Executive Summary 1 Details of Thailand’s Implementation of the World Heritage Committee Decision 2 41 COM 7B.98, 41st session of the Committee (Kraków, 2017) Annex 1: Executive Summary of draft updated Master Plan for Conservation and 18 Development of Historic City of Ayutthaya (2018-2027) Annex 2: Notification on Rules and Procedure in Pursuing Permission of Building 32 Construction within Ayutthaya City Island’s Archaeological Area (1997) Annex 3: Notification on Rules and Procedure in Pursuing Permission of Building 36 Construction within Ayutthaya City Island’s Archaeological Area (updated edition) compared with the 1997 Notification Summary The Fine Arts Department, Ministry of Culture of Thailand has actively undertaken conservation and management measures at the Historic City of Ayutthaya in line with the recommendations from the World Heritage Committee in Decision 41 COM 7B.98. Capacity building activities in monument conservation have been conducted with the development of a curriculum and on-site training based on scientific conservation principles and the use of traditional materials and skills. The comprehensive revision of the Master Plan for Conservation and Development (2018-2027) has been finalized. The updated Master Plan provides a comprehensive and over-arching framework to address the World Heritage Committee’s concerns regarding conservation and utilization, which includes sub-plans specifically related to a conservation and utilization within the Historic City of Ayutthaya such as, a systematic strategy for disaster risk reduction and the additional updated regulations to control development within the property.
    [Show full text]
  • 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.
    [Show full text]
  • Thailand: History & Culture
    http://asiasociety.org/policy-politics?newsid=77892 Thailand: History & Culture An AsiaTODAY special report (April 11, 2002): Celebrate Thai New Year news stories; multimedia; recipes; Thai temples; links & resources Ed's Photos: The A gallery of photos by Ed Kaspar Thailand Galleries The History of Thailand A brief illustrated history Created by Michael Leming: student-written The Karen of Northern ethnographic report (1999): Karen Weblinks; a Thailand Web museum of artifacts; video; bibliography A Smithsonian Magazine article on a bust of King Mongkut in the Smithsonian collection, debunking The Object at Hand the caricature of the king perpetuated by the musical The King & I Introduction to "the people, arts & cultures of South Thailand between the Thai & Malay Worlds The South Thailand on the Golden Peninsula": research projects & Homepage publications of Ryoko Nishii, Alexander Horstmann, & others; photo gallery; links A Frenchman's perspectives on Thai society & Thai WorldView culture Research on "the region of mainland Southeast Asia & those areas of the Peoples Republic of Thai-Yunnan Project China, particularly Yunnan,which have had long cultural, economic & social relations with each other" Thailand: SiamWEB Discussion forum for people with interest in Cyber Culture Thailand, general information & news, etc. History & culture, sights & experiences, travel Tourism Thailand tips & information Ups and Downs: Anchalee Chaiworaporn's program notes for the Thai Cinema in 2003 Udine Far East Film Festival 2004 The Making of a Nation Thailand is one of the few countries in the world which has never been colonised.The first independent Thai Kingdom was established in 1238, but the origins of Thailand and the Thai people go back much further.
    [Show full text]
  • A Simultaneous-Equation Model of the Determinants of the Thai Baht/U.S
    A SIMULTANEOUS-EQUATION MODEL OF THE DETERMINANTS OF THE THAI BAHT/U.S. DOLLAR EXCHANGE RATE Yu Hsing, Southeastern Louisiana University ABSTRACT This paper examines short-run determinants of the Thai baht/U.S. dollar (THB/ USD) exchange rate based on a simultaneous-equation model. Using a reduced form equation and applying the EGARCH method, the paper fnds that the THB/ USD exchange rate is positively associated with the real 10-year U.S. government bond yield, real U.S. exports to Thailand, the real U.S. stock price and the expected exchange rate and negatively infuenced by the real Thai government bond yield, real U.S. imports from Thailand, and the real Thai stock price. JEL Classifcation: F31 INTRODUCTION The choice of exchange rate regimes, overvaluation of a currency, and global fnancial crises may affect the behavior of an exchange rate. Before the Asian fnancial crisis, the Thai baht was pegged to a basket of major currencies and was substantially over-valued. Due to speculative attacks and running out of foreign reserves, the Thai government gave up pegging of major currencies and announced the adoption of a foating exchange rate regime on July 2, 1997. As a result, the Thai baht had depreciated as much as 108.74% against the U.S. dollar. In the recent global fnancial crisis, the Thai baht had lost as much as 13.76% of its value versus the U.S. dollar. While a depreciating currency is expected to lead to more exports, it would cause less imports, higher domestic infation, decreasing international capital infows, rising costs of foreign debt measured in the domestic currency, and other related negative impacts.
    [Show full text]
  • 68Th Annual Report Chapter VI. Exchange Rates and Capital Flows
    VI. Exchange rates and capital flows Highlights In 1997 and early 1998 current and prospective business cycle developments in the three largest economies continued to dominate interest rate expectations as well as the movements of the dollar against the yen and the Deutsche mark. The yen showed more variability than the mark as market participants revised their views regarding the momentum of the Japanese economy. As in 1996, the dollar’s strength served to redistribute world demand in a stabilising manner, away from the full employment economy of the United States to economies that were still operating below potential. A question remains as to whether the US current account deficit, which is expected to widen substantially as a result of exchange rate changes and the Asian crisis, will prove sustainable given the continuing build- up of US external liabilities. Under the influence of several forces, large currency depreciations spread across East Asia and beyond in 1997. Apart from similarities in domestic conditions, common factors were the strength of the dollar, competition in international trade, widespread shifts in speculative positions and foreign investors’ withdrawal of funds from markets considered similar. The fall in output growth and wealth in Asia depressed commodity and gold prices, thereby putting downward pressure on the Canadian and Australian dollars. Against the background of a strong US dollar, most European currencies proved stable or strengthened against the mark. As fiscal policies and inflation converged, forward exchange rates and currency option prices anticipated the euro over a year before the scheduled introduction of monetary union. Already in 1997, trading of marks against the other currencies of prospective monetary union members had slowed.
    [Show full text]
  • SBI FOREX CARD RATES Date 30-09-2021 Time 10:00 AM
    SBI FOREX CARD RATES Date 30-09-2021 Time 10:00 AM CARD RATES FOR TRANSACTIONS BELOW Rs. 10 LACS CURRENCY TT BUY TT SELL BILL BUY BILL SELL TC BUY TC SELL CN BUY CN SELL PC BUY UNITED STATES DOLLAR USD/INR 73.50 75.00 73.44 75.15 72.80 75.40 72.50 75.50 73.39 EURO EUR/INR 84.71 87.60 84.64 87.78 83.90 88.05 83.50 88.25 84.58 GREAT BRITAIN POUND GBP/INR 98.34 101.48 98.26 101.68 97.40 102.00 96.90 102.25 98.19 JAPANESE YEN JPY/INR 65.23 67.48 65.18 67.61 64.60 67.80 62.10 70.00 65.13 SWISS FRANC CHF/INR 78.11 80.99 78.04 81.16 77.35 81.40 74.35 84.05 77.99 AUSTRALIAN DOLLAR AUD/INR 52.44 54.64 52.40 54.75 52.40 54.90 50.40 56.70 52.36 NEW ZEALAND DOLLAR NZD/INR 50.20 52.39 50.16 52.49 0.00 0.00 47.80 54.35 50.12 CANADIAN DOLLAR CAD/INR 57.35 59.27 57.31 59.38 56.80 59.55 54.60 61.50 57.26 SINGAPORE DOLLAR SGD/INR 53.71 55.41 53.66 55.52 0.00 0.00 51.15 57.50 53.63 HONG KONG DOLLAR HKD/INR 9.38 9.69 9.37 9.71 0.00 0.00 8.90 10.05 9.35 DANISH KRONER DKK/INR 11.40 11.77 11.38 11.80 0.00 0.00 10.80 12.25 11.38 NORWEGIAN KRONER NOK/INR 8.34 8.62 8.33 8.63 0.00 0.00 7.95 8.95 8.31 SWEDISH KRONA SEK/INR 8.30 8.57 8.29 8.59 0.00 0.00 7.90 8.90 8.27 BAHRAINI DINAR BHD/INR 191.13 203.01 190.97 203.42 0.00 0.00 185.65 206.50 190.84 KUWAITI DINAR KWD/INR 238.76 254.17 238.57 254.68 0.00 0.00 231.90 258.55 238.40 UAE DIRHAM AED/INR 19.62 20.84 19.60 20.88 0.00 0.00 19.05 21.20 19.59 SAUDI ARABIAN RIYAL SAR/INR 19.21 20.40 19.19 20.44 0.00 0.00 18.65 20.75 19.18 SOUTH AFRICAN RAND ZAR/INR 4.76 5.06 4.75 5.07 0.00 0.00 4.55 5.15 4.74 CHINESE YUAN CNY/INR
    [Show full text]
  • “Siam's Borān Buddhism” from the Reign of Rāmā I (1782-1809 CE.)
    The Dhammakāyānussati-kathā: A Trace of “Siam's Borān Buddhism” from the Reign of Rāmā I (1782-1809 CE.) Woramat Malasart A thesis submitted for the degree of Master of Arts Of the University of Otago, Dunedin New Zealand June 4, 2019 Abstract The Dhammakāya text genre appears in manuscripts, inscriptions, and printed texts found in Central Thailand, Northern Thailand, and Cambodia. Texts belonging to this genre share the same core Pāli verses, and date back to the Ayutthaya period. In this thesis, I transliterate, translate, contextualise and analyse the Dhammakāyānussati-kathā, “Words on the Recollec- tion of the Body of Dhammas,” which was part of the Suat Mon Plae, a collection of Bud- dhist chanting rituals compiled during the 1st reign (1782-1809), using a historical-critical approach to the text. The Dhammakāyānussati-kathā consists of verses composed in Pāli fol- lowed by the Thai translation, using a traditional method called yok sab. The first three parts of the Dhammakāyānussati-kathā share the core Pāli verses of the Dhammakāya text genre, but the final section, which praises the Buddha‟s physical body, is different. The Pāli vers- es describe the Buddha‟s auspicious marks including radiance, hair, height, etc., verses that are also found in the Golden Manuscript Braḥ Dhammakāya, a text that can be dated to the 1st reign. Today, the Dhammakāyānussati-kathā is not well-known in Central Thailand, but its similar texts are still used in Northern Thailand and Cambodia during buddhābhiṣeka and the ritual of installing the Buddha‟s heart into a Buddha statute and chedī.
    [Show full text]
  • Review of the Funeral Casino
    Journal of Buddhist Ethics ISSN 1076-9005 Review of The Funeral Casino The Funeral Casino: Meditation, Massacre, and Exchange with the Dead in Thailand. Allen Klima, Princeton: Princeton University Press, 2002. 336 pages. ISBN 0691074607 (paperback). Reviewed by Patrice Ladwig PhD. candidate, Social Anthropology University of Cambridge Copyright Notice Digital copies of this work may be made and distributed provided no change is made and no alteration is made to the content. Reproduc- tion in any other format, with the exception of a single copy for private study, requires the written permission of the author. All enquiries to: [email protected] Patrice Ladwig Review of The Funderal Casino Variations on Death and the Necromantic Field in Buddhist Thailand The Buddhist meditation technique called asubha kammaṭṭhāna is a practice that fo- cuses on the contemplation of death, the impermanence of the body and the repulsiveness of single body parts in various states of decomposition. In the course of their often year- long practice, some Thai Buddhist monks and nuns visualise gruesome death images, such as photos taken from autopsies, real bodies or mummies, which are donated to the temple and kept there as meditation objects. Some of the more austere monks live on charnel grounds for many years in order to achieve the desired state of detachment. A topic like this could have been the subject of another study of radical “otherness”, one of the narratives that have been nourishing anthropology as a discipline for so long. If one wants to follow Alan Klima, however, the image of the cadaver leads the reader not only onto the charnel grounds of central Thailand, but also onto the streets of Bangkok in 1972, 1976 and 1992 when the pro-democracy movement had clashes with the military regimes and the symbol- ism and the power of the dead body had a decisive influence on the direction taken by Thai politics.
    [Show full text]
  • Foundation Annual Report 2012–13
    FOUNDATION ANNUAL REPORT 2012–13 FOUNDATION ANNUAL REPORT 2012–13 Polixeni Papapetrou born Australia 1960 Mark Elvis impersonator at Elvis Grotto Melbourne 1992 gelatin silver photograph image 100 x 100 cm gift of Patrick Corrigan, 2013 through the Australian Government’s Cultural Gifts Program © Polixeni Papapetrou Contents Office bearers 5 Objectives 5 Chairman’s report 7 Contributors 22 Membership 39 Financial statements 61 Colin McCahon New Zealand 1919–1987 Muriwai. Necessary protection 1972 synthetic polymer paint on composition board 60.8 x 81.2 cm bequest of Jane Flecknoe, 2013 100 Works for 100 Years © Colin McCahon Research and Publication Trust 4 natIonal gallerY of AUStralIA Office bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor-General of the Commonwealth of Australia guarantee under the Corporations Law, is a non-profit organisation established to Board members support the National Gallery of Australia. Mr John Hindmarsh AM (appointed 20.9.04; The principal objectives of the Foundation Chairman 27.10.10) are to: Ms Susan Armitage (appointed 11.5.11) Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop Mr Julian Beaumont (appointed 28.10.09) the national collection of works of Ms Sandra Benjamin OAM (appointed 27.4.06) art owned by the National Gallery Mr Anthony R Berg AM (appointed 16.3.99; of Australia Chairman 16.3.99 to 26.4.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.8.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.2.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00, resigned 21.1.13) by the National Gallery of Australia of The Hon Mrs Ashley Dawson-Damer (appointed 5.5.04) travelling exhibitions of works of art Dr Lee MacCormick-Edwards (appointed 26.10.11) ■■ raise money to achieve these Mr James Erskine (appointed 11.5.11) objectives.
    [Show full text]
  • Thai Buddhist Sculpture Recognition System (Tbusrs)
    IACSIT International Journal of Engineering and Technology, Vol.3, No.4, August 2011 Thai Buddhist Sculpture Recognition System (TBuSRS) Chomtip Pornpanomchai, Member, IACSIT, Vachiravit Arpapong, Pornpetch Iamvisetchai, and Nattida Pramanus Abstract—The objective of this research is to develop a computer system that can recognize some Thai Buddhist sculptures. The system is called “Thai Buddhist sculpture recognition system (TBuSRS)”. The TBuSRS consists of five components, which are 1) image acquisition, 2) image preprocessing, 3) feature extraction, 4) image recognition, and 5) display result. In the image acquisition component, the Buddhist sculpture picture is taken by a digital camera. In the image preprocessing component, the Buddhist statue image is enhanced for easy extraction of the Buddhist features. In the feature extraction component, the TBuSRS extracts 14 features used for recognizing a Buddhist sculpture. In the image recognition component, the Euclidean distance technique is applied to recognize the Buddhist sculpture image. In the display result component, a graphic user interface (GUI) is created for displaying the recognition results. The TBuSRS trained the database with 50 kinds of Buddhist sculptures with Fig. 1 The Buddhist sculpture styles in Thailand a total of 500 images. The experiments were conducted on 50 . kinds of Buddhist statue images, with a total of 500 images for • testing a training data set, and 21 kinds of Buddhist statue Dvaravati period (7th through 11th centuries) image with a total of 105 images for testing an un-training data This period consisted of three Buddhist image styles, which set, with the precision rates of training and un-training data set are: 1) Sri Vijaya images (as shown in Figure 1(a)), 2) of 90.00 percent and 72.38 percent, respectively.
    [Show full text]
  • Ayutthaya Wat Phra Si Sanphet Saraburi • Ang Thong • Suphan Buri Pathum Thani • Nonthaburi Contents Ayutthaya 8 Pathum Thani 44
    Ayutthaya Wat Phra Si Sanphet Saraburi • Ang Thong • Suphan Buri Pathum Thani • Nonthaburi Contents Ayutthaya 8 Pathum Thani 44 Saraburi 24 Nonthaburi 50 Ang Thong 32 Suphan Buri 38 8 Wat Mahathat Ayutthaya The ancient city of Ayutthaya, formally designated Phra Nakhon Si Ayutthaya was the Thai capital for 417 years, and is one of Thailand’s major tourist attractions. 8 9 Ayutthaya province is relatively small at 2,557 sq. km. and is easily accessible due to good road, rail and river connections and its proximity to Bangkok. Straddling the Chao Phraya River, the nation’s principal waterway, the province is extremely important, as it was the Siamese capital for four centuries. The city of Ayutthaya is 76 km. north of Bangkok and boasts numerous magnificent ruins from its days as the capital. Just to the south, in perfect condition, stands the royal palace of Bang Pa-in set in splendid gardens. The province is also noted for H.M. the Queen’s Bang Sai Arts and Crafts Centre. The ancient city of Ayutthaya, formally designated Phra Nakhon Si Ayutthaya was the Thai capital for 417 years, and is one of Thailand’s major tourist attractions. Many ancient ruins and art works can be seen in a city that was founded in 1350 by King U-Thong when the Thais were forced southwards by northern neighbours. During the period when Ayutthaya was capital, 33 kings and several dynasties ruled the kingdom, until the glittering city was sacked by the Burmese in 1767, ruined and abandoned. The extensive ruins and the historical records demonstrate that Ayutthaya was one of Southeast Asia’s most prosperous cities.
    [Show full text]
  • The Significance of Salahoen and Kaikaeo in Lilit Phra Lo1
    THE SIGNIFICANCE OF ordinary wild rooster whose significance SALAHOEN AND KAIKAEO lies in its roles in King Lo’s life and 1 destiny. As this paper reveals, King Lo IN LILIT PHRA LO wants to have the “kaikaeo” to relieve his anxiety and despair after receiving a bad 2 Cholada Ruengruglikit prediction from the guardian of the Kalong River. The belief that a fowl may be used to take away one’s misfortune and Abstract to foretell human fate exists in Thai and other Tai societies. Having unveiled the This paper examines the underlying significance of the flying betel nut and the meanings of salahoen, flying betel nut, and beautiful wild rooster in “the Tale of King kaikaeo, the beautiful wild rooster, in Lo” from a cultural/anthropological “Lilit Phra Lo” or “The Tale of King Lo”. perspective, this study then demonstrates “Salahoen” and “kaikaeo” are usually that King Lo is fully aware of his actions– considered magical items sent by Pu Chao a factor that enables him to be a great Saming Phrai, the Green Mountain tragic hero. Guardian, to aid Princess Phuean and Princess Phaeng in fulfilling their desire Introduction of acquiring King Lo’s love. By using an anthropological approach, this study Different interpretations lead to different suggests that the “salahoen” might be an understandings while studying the same ordinary betel nut. It is a symbol of the object. This paper attempts to present a princesses’ love for King Lo, their new and different interpretation of the invitation and gestures of warm welcome. salahoen, the flying betel nut, and of the As soon as King Lo receives these kaikaeo, the surpassing wild rooster, in messages from the two princesses, whom Lilit Phra Lo ‘The Tale of King Lo’ by he also desires romantically, he decides employing a cultural/anthoropological without any hesitation to leave his city to perspective in order to bring readers to a pursue his love.
    [Show full text]