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Wat Phra That Hariphunchai ( ) Sited in Mid-Town, It Was Built During the Reign of King Arthitayarat, a Descendant of Queen Chamthewi Some 800 Years Ago
Amphoe Mueang Lamphun 01 - Wat Phra That Hariphunchai ( ) Sited in mid-town, it was built during the reign of King Arthitayarat, a descendant of Queen Chamthewi some 800 years ago. A principal landmark is the 46-metre tall golden Chedi whose present appearance was the result of the restoration work in 1443 by a king of Chiang Mai. It has long been regarded as a major place of worship. Other architectural works include the ancient-style brick arch adorned with fine designs and the pair of sculptured lions at the door. There are also a square-shaped Chedi and a Khmer-style Buddha statue. 02 - Hariphunchai National Museum ( ). Located on Inthayongyot Road almost opposite Wat Phra That Hariphunchai it displays and exhibits include historical development and archaeological items found in Lamphun. These include prehistorical human skeletons and objects of arts from the Dvaravati, Hariphunchai, Lanna and Rattanakosin periods. A chamber is devoted to a collection of inscription stones in Mon and Lanna scripts. Another displays ancient utensils, Lanna indigenous arts and carvings. The museum is open Wednesday-Sunday from 9.00 a.m. to 4.00 p.m. 03 - Phra Nang Chamthewi Statue ( ) Located in the Nong Dok public park in town commemorating the first ruler of Hariphunchai. 04 - Suthewa Rusi Statue ( ) In front of the Town Hall, the Legend has it that the Rusi, or ascetic, was the actual founder of Hariphunchai. As an ascetic refraining from worldly affairs he invited Phra Nang Chamthevi, a daughter of the King of Lopburi, to ascend the throne and helped her to firmly establish Buddhism in the land. -
Iconographical Issues in the Archeology of Wat Phra Men, Nakhon Pathom
75 Iconographical Issues in the Archeology of Wat Phra Men, Nakhon Pathom Nicolas Revire Wat Phra Men, an important temple site at Nakhon Pathom in the central plains of Thailand from around the 7th to 8th centuries CE, is re-examined for the diverse conclusions that can be drawn from iconographical study of its Buddha images. Four or five colossal images, seated in the so-called “European fashion”, are reputed to have originated here although they are today displayed in different temples and museums. The history of the discoveries and restorations at the site is reviewed. While the precise nature and original appearance of the monument remain a mystery, the iconographical significance of the images lies in different possible interpretations according to the Buddhist traditions that were practiced here. The nature of Buddhism in the Dvāravatī period was evidently very heterogeneous; esoteric forms of Mahāyāna Buddhism may have evolved at Wat Phra Men in Theravāda guise. The results of this re-examination should hold implications for other Buddhist sites in Nakhon Pathom and neighboring provinces. The importance of Nakhon Pathom in the early history of Thailand is well recognized because of the large number of archeological remains found there: ruins of stūpa or caitya foundations, stone and bronze sculptures, and clay and stucco artifacts, among other items (figure 1). How much is really known about the iconography of its art? While new archeological discoveries have been made1 and excavations are being carried out in central Thailand, art historians still need to rely on earlier studies and museum collections, not only for reference material but also in reconsidering some of what has been found and has fallen, for the most part, into oblivion. -
Malay Minorities in the Tenasserim Coast
ASEAN Journal of Community Engagement Volume 4 Number 1 July Article 12 7-31-2020 Malay minorities in The Tenasserim coast Ma Tin Cho Mar Department of South East Asian Studies, Faculty of Arts and Social Sciences, University of Malaya, Kuala Lumpur, Malaysia, [email protected] Pham Huong Trang International School, Vietnam National University, Hanoi, Vietnam, [email protected] Follow this and additional works at: https://scholarhub.ui.ac.id/ajce Part of the Polynesian Studies Commons Recommended Citation Mar, Ma Tin Cho and Trang, Pham Huong (2020). Malay minorities in The Tenasserim coast. ASEAN Journal of Community Engagement, 4(1). Available at: https://doi.org/10.7454/ajce.v4i1.1069 Creative Commons License This work is licensed under a Creative Commons Attribution-Share Alike 4.0 License. This Review Article is brought to you for free and open access by the Universitas Indonesia at ASEAN Journal of Community Engagement. It has been accepted for inclusion in ASEAN Journal of Community Engagement. Ma Tin Cho Mar, Pham Huong Trang | ASEAN Journal of Community Engagement | Volume 4, Number 1, 2020 Malay minorities in The Tenasserim coast Ma Tin Cho Mara*, Pham Huong Trangb aDepartment of South East Asian Studies, Faculty of Arts and Social Sciences, University of Malaya, Kuala Lumpur, Malaysia bInternational School, Vietnam National University, Hanoi, Vietnam Received: December 29th, 2019 || Revised: January 30th, 2020 || Accepted: July 29th, 2020 Abstract This paper discusses the Malay Minorities of the Malay Minorities in the Tenasserim Coast. And Tanintharyi Division is an administrative region of Myanmar at present. When we look closely at some of the interesting historical facts, we see that this region is “Tanao Si” in Thai, or Tanah Sari in Malay. -
Safe Haven: Mon Refugees at the Capitals of Siam from the 1500S to the 1800S
151 Safe Haven: Mon Refugees at the Capitals of Siam from the 1500s to the 1800s Edward Van Roy From the 16th to the early 19th centuries Siam received a series of migrations of Mon refugees fleeing Burmese oppression, as well as sporadic inflows of Mon war captives. Large numbers of those arrivals were settled along the Chaophraya River and at the successive capitals of Ayutthaya, Thonburi, and Bangkok. This article examines the patterns of Mon settlement at the successive capitals and the patronage system whereby the Mon were granted privileged status and residence in return for military services. It considers the Old-Mon–New-Mon tensions that were generated by the series of migrations, including those that marked the transition to the Bangkok era. In closing, it refers to the waning of Mon ethnic identity and influence within Bangkok over the course of the 19th century. That analysis of the Mon role provides fresh insight into the evolving social organization and spatial structure of the three consecutive Siamese capitals. Old Mon and New Over the course of the past millennium and more, a succession of Mon migrations crossed the Tenasserim Hills to settle in the Chaophraya watershed. Each new migration encountered earlier groups of Mon settlers. In many cases the encounter entailed tensions between the old and the new settler groups, and in each case the newly settled groups, or “New Mon,” became established communi- ties or “Old Mon” who were to face yet newer Mon immigrants. The distinction between Old and New Mon thus historically presented a “moving target” in the history of Mon migration into the Chaophraya watershed and their interaction with Thai civilization. -
Pierre Dupont's L'archéologie Mône De Dvāravatī and Its English Translation by Joyanto K. Sen, in Relation with Cont
Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research Nicolas Revire To cite this version: Nicolas Revire. Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research. Journal of the Siam Society, The Siam Society (Thailand), 2011, 99, pp.196-225. hal-00713316 HAL Id: hal-00713316 https://hal.archives-ouvertes.fr/hal-00713316 Submitted on 3 Jul 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 196 REVIEW ARTICLE Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research Nicolas Revire L’archéologie mône de Dvāravatī was published in 1959 by the École française d’Extrême-Orient (EFEO; Dupont 1959), based on a draft left by the French archeologist Pierre Dupont who died in 1955 at the age of 47. It remains unrivalled in importance for all students of pre-Thai art and archeology1; that is, the period before the Tai kingdoms in Sukhothai, Chiang Mai, Lang Xang or Ayutthaya were established (ca. -
Visualizing the Evolution of the Sukhothai Buddha
Visualizing the Evolution of the Sukhothai Buddha Sawitree Wisetchat* As Buddhism spread from India to cover much of Asia, sculptures depicting the Buddha varied regionally, reflecting both the original Indian iconography and local ethnic and cultural influences. This study considers how statues of the Buddha evolved in Thailand, focusing on the Sukhothai period (1238–1438 CE), during which a distinctly Thai style developed; this style is still characteristic of Thailand today. The Sukhothai style primarily reflects features of the Pala, Sri Lankan, Pagan, and Lan Na styles, yet contains new stylistic innovations and a refinement over the four successive schools that were subsequently lost in later Thai Buddhist styles. To analyze this evolution, first a conventional “visual vocabulary” approach is used, wherein 12 styles (precursors, contemporaries, and successors of the Sukhothai style) are described and summarized in a style matrix that highlights commonalities and differences. Then a novel application of digital “blend-shape animation” is adopted to assist in the visualization of differing styles and to better illustrate style evolution. Rather than comparing styles by shifting attention between sample images, the viewer can now appreciate style differences by watching one style metamorphose into another. Common stylistic features remain relatively unchanged and visually ignored, while differing features draw attention. While applied here to the study of Buddhist sculptures, this technique has other potential applications to art history, architecture, and graphic design generally. Keywords: Southeast Asia, Southeast Asian art, Sukhothai Buddha, sculptural style, visual vocabulary, style analysis, digital animation, blend shapes Introduction As Buddhism spread outward from India to cover much of Asia, both the teachings of Buddhism and the religious art evolved. -
History of the World Research
History of the World Research History of Civilisation Research Notes 200000 - 5500 BCE 5499 - 1000 BCE 999 - 500 BCE 499 - 1 BCE 1 CE - 500 CE 501 CE - 750 CE 751 CE - 1000 1001 - 1250 1251 - 1500 1501 - 1600 1601 - 1700 1701 - 1800 1801 - 1900 1901 - Present References Notes -Prakrit -> Sanskrit (1500-1350 BCE) -6th Dynasty of Egypt -Correct location of Jomon Japan -Correct Japan and New Zealand -Correct location of Donghu -Remove “Armenian” label -Add D’mt -Remove “Canaanite” label -Change Gojoseon -Etruscan conquest of Corsica -322: Southern Greece to Macedonia -Remove “Gujarati” label (to 640) -Genoa to Lombards 651 (not 750) Add “Georgian” label from 1008-1021 -Rasulids should appear in 1228 (not 1245) -Provence to France 1481 (not 1513) -Yedisan to Ottomans in 1527 (not 1580) -Cyprus to Ottoman Empire in 1571 (not 1627) -Inner Norway to sweden in 1648 (not 1721) -N. Russia annexed 1716, Peninsula annexed in 1732, E. Russia annexed 1750 (not 1753) -Scania to Sweden in 1658 (not 1759) -Newfoundland appears in 1841 (not 1870) -Sierra Leone -Kenya -Sao Tome and Principe gain independence in 1975 (not 2016) -Correct Red Turban Rebellion --------- Ab = Abhiras Aby = Abyssinia Agh = Aghlabids Al = Caucasian Albania Ala = Alemania Andh = Andhrabhrtya Arz = Arzawa Arm = Armenia Ash = Ashanti Ask = Assaka Assy/As = Assyria At = Atropatene Aus = Austria Av = Avanti Ayu = Ayutthaya Az = Azerbaijan Bab = Babylon Bami = Bamiyan BCA = British Central Africa Protectorate Bn = Bana BNW = Barotseland Northwest Rhodesia Bo = Bohemia BP = Bechuanaland -
The Corpus of Inscriptions in the Old Malay Language Arlo Griffiths
The Corpus of Inscriptions in the Old Malay Language Arlo Griffiths To cite this version: Arlo Griffiths. The Corpus of Inscriptions in the Old Malay Language. Daniel Perret. Writingfor Eternity: A Survey of Epigraphy in Southeast Asia, 30, École française d’Extrême-Orient, pp.275-283, 2018, Études thématiques. hal-01920769 HAL Id: hal-01920769 https://hal.archives-ouvertes.fr/hal-01920769 Submitted on 13 Nov 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Writing for Eternity A Survey of Epigraphy in Southeast Asia ÉTUDES THÉMATIQUES 30 Writing for Eternity A Survey of Epigraphy in Southeast Asia Edited by: Daniel Perret 2018 Writing for Eternity: A Survey of Epigraphy in Southeast Asia Édité par / Edited by Daniel PERRET Paris, École française d’Extrême-Orient, 2018. 478 p. (Études thématiques 30) Notes en bas de page. Bibliographie. Illustrations. Résumés. Index. Footnotes. Bibliography. Illustrations. Abstracts. Index. ISSN 1269-8067 ISBN 978-2-85539-150-2 Mots clés : épigraphie ; Asie du Sud-Est ; sources ; histoire ; archéologie ; paléographie. Keywords: epigraphy; Southeast Asia; sources; history; archaeology; palaeography. Illustration de couverture : Assemblage des feuilles de l’estampage de la stèle digraphique K. -
Treasures of Thailand
Treasures of Thailand. Tour designer: Daniel Gregori Telephone: +66 22 45 15 51 Email: [email protected] THAILAND | 4DAYS / 3NIGHTS Route: Chiang Mai to Bangkok Type of tour: Culture Departure days: Tuesday and Saturday 1 TOUR OVERVIEW Journey back in time to the ancient kingdoms of Thailand with this enchanting four-day tour. Start your adventure in Chiang Mai, the beautiful former capital of the Lanna kingdom, before continuing to Sukhothai and Ayutthaya, two UNESCO World Heritage Sites that both served as capitals of Siam. Your odyssey ends in bustling Bangkok, the capital known as the ‘City of Angels’. TOUR HIGHLIGHTS Chiang Mai: The fragrant ‘Rose of the North’ was capital of the Lanna Kingdom founded by Mangrai the Great in the 13th century Sukhothai: Explore the well-preserved ruins of the former capital of the Sukhothai Kingdom Ayutthaya: Discover the impressive ruins of what was one of the world’s biggest cities during the early modern period Kanchanaburi: Visit the notorious ‘Death Railway Bridge’ that inspired the World War II novel and film, The Bridge on the River Kwai Damnoen Saduak: Immerse yourself in the scents and sounds of Thailand at the colourful floating market – one of the most enchanting images of the country DON'T MISS Chiang Mai: Treat yourself to coffee Sukhothai: Join the locals for an early Nakhon Pathom: Behold the sheer and cake in one of the many cool cafés morning offering of food and alms to scale of the stunning stupa of Phra that have sprung up in the city in Buddhist monks in exchange for Pathommachedi, the tallest in the recent years blessings world at 127 metres DAY BY DAY DAY 1 | CHIANG MAI – LAMPHUN – LAMPANG – SUKHOTHAI (380km – 4.5hrs) Pick-up from 08:00 from your hotel in Chiang Mai city. -
Buddhism in Thai Architecture
BUDDHISM IN THAI Lord Indra went down from heaven and ARCHITECTURE : STUPA took the tooth relic with him. Indra then placed the relic inside 'Chedi Chulamani', which is located in Tavatimsa Heaven, where Indra resides. Santi Leksukhum1 Beforehand this Ched i had been the place whe re the hair of Prince Siddhartha, which the Prince (the future Abstract Buddha) cut off when he denounced lay life (Phra Pathomsompothikatha 2519: Buddhist stupas have existed in 143-144, 474). Thailand for more than a thousand years. They have evolved their own distinctive The stupa where the Buddha's relics are styles in each period, and today's style kept are known variously in Thai as consists of modifying the styles of the 'Phra Borom That' , 'Phra Mahathat', past so as to create a new style for ' Phra Sri Mahathat', or 'Phra Sri today. Ratanamahathat'. In the Sukhothai Inscription, each mention of the word History of the Stupa and Its 'chedi' always occurred in the context of the place where the Buddha's relics Meaning were kept. Thus there is written in the Inscription: " ... [The King] had the When Buddhi m first came to this area Dhatu excavated and performed ritual more than a millennium ago, the land ceremonies in homage of the relic for here was ruled by the Dvarati Kingdom. six days. Then he put the relic at the Buddhist temples in the Dvarati period center of Sri Satchanalai inside a now only exist in foundations; the 'chedi' ... " (Sukhothai Inscription 2526: survtvmg tupas are also very 19). However, Prince Darnrong thought dilapidated . -
(A Concise) History of Thailand
(A Concise) History of Thailand From Wikipedia, the free encyclopedia Thai peoples who originally lived in southwestern China migrated into mainland Southeast Asia over a period of many centuries. The oldest known mention of their existence in the region by the exonym Siamese is in a 12th-century A.D. inscription at the Khmer temple complex of Angkor Wat in Cambodia, which refers to syam, or "dark brown" people.[1] It was believed that Siam derived from the Sanskrit word syam, or brown race, with a contemptuous signification. Sien in Chinese writings is the name for the northern kingdom that centered around Sukhothai and Sawankalok; but to the Siamese themselves, the name of the country has always been Mewing Thai.[2] The country's designation as Siam by Westerners likely came from Portuguese, the first Europeans to give a coherent account of the country. Portuguese chronicles noted that the king of Sukhothai had sent an expedition to Malacca at the southern tip of the Malay Peninsula in 1455. Following their conquest of Malacca in 1511, the Portuguese sent a diplomatic mission to Ayutthaya. A century later, on 15 August 1612, The Globe, an East India Company merchantman bearing a letter from King James I, arrived in "the Road of Syam" .[3] "By the end of the 19th century, Siam had become so enshrined in geographical nomenclature that it was believed that by this name and no other would it continue to be known and styled."[4] Indianized kingdoms such as the Mon, Khmer and Malay kingdoms had ruled the region. -
A Fifteenth Century Lan Na Bronze-Casting Workshop
SOP-LI: A FIFTEENTH CENTURY LAN NA BRONZE-CASTING WORKSHOP Carol Stratton Abstract An inscription on the base of a major Buddha image from Lamphun identifies the date of casting (equivalent to 1489 CE) and the cast- ers as the metal workers from Sop-Li village. This important Lan Na inscription is probably the first in Thailand to pinpoint a bronze casting workshop by name, location and date. The Buddha image in question displays some distinct stylistic details particular to images from the Chiang Mai/Lamphun area in the late fifteenth century. During the “golden age” of Lan Na sculpture (the last quarter of the fifteenth century to the beginning of the sixteenth) a wealth of fine Buddha images, many with inscribed dates, was cast in the northern kingdom of Lan Na, and some exceptional examples coming from the Chiang Mai/ Lamphun area. An analysis of the stylistic aspects of the 1489 Sop-Li image and a comparison of these characteristics found on other images from the same general locality, suggests that at least two other Buddha images were cast by a Sop-Li workshop. Common iconographic combinations for Northern Thai Buddha images The “golden age” of Lan Na, mid-fifteenth to the early sixteenth century, was a time of enormous artistic creativity and abundance. Energized by King Tilokarat (r.1441–1487)1 and continued by his grandson Yot Chiang Rai (r.1481–1495) and great-grandson Kaeo (r.1495–1526),2 the arts flourished throughout the Lan Na kingdom, particularly in the Chiang Mai area. During the eighty-five years or so of this sculptural florescence, artisans produced images of iconographic and stylistic variety.