วิวัฒน์การอ่านไทย = Communicating with the Thai alphabet from the years past to the present

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i^a4*&t££Gsrw\\ Thailand is a country with a long history and a fascinating culture. King Ramkhamhaeng the Great of the Sukhothai Kingdom devised the letters to differentiate them from other ancient letters in use, and called these devised letters, \"Lai Sue Thai\" - Thai alphabet in the year 1 283 or the past 730 years. This kingdom thus has its own culture, language and alphabets. Throughout time, the Thai people have maintained their knowledge, language, locai wisdom, culture, tradition and beliefs through various tools that have been chronicled and recorded by our ancestors. This has been transformed into the essence or the core of our identity and a cause of national pride for all Thais. Bangkok is the metropolitan hub of administration. To maintain it sound level of progress and prosperity, it is essential that its people and younger generations embrace the importance of education and reading as they are the greatest source of knowledge for anybody to achieve development goals, in terms of personal improvement and national prosperity. Looking back, the country has accumulated and forged together the culture of reading until it becomes significant local wisdom. The executives of the Bangkok Metropolitan Administration (BMA) envisaged the importance of reading, thus designated the BMA's Culture, Sports, and Tourism Department to initiate the \"Thai Scripts: a 730-Year History\" project as well as produce a special publication, \"Communicating with the Thai Alphabet ... from the Years Past to the Present\" which is a book in the \"Thai Scripts: a 730-Year History\" series. This publication aims to compile all knowledge related to our national heritage, our rich history and our arts and culture. This is one way for people to learn from the past and observe the present, in order to create a sustainable future. Culture, Sports, and Tourism Department Bangkok Metropolitan Administration

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??' \\ .. VYIU1 riauwiliumwiu **&* Csl€l a-* *A ^k nBun^umThfmBnmlumTuunmTBsi rn iiarnBuyimTBStJ^umvitnuhjtfafiiJ uiinuiw TJB^ml^mtjnBfifnijJL^im^nCiJruruirafiiSNi cninnfmfm') mB?fB?h7fit/lutf\\ifuj iiaz rnTiiQni^'iuiiuiJinfiBilinvnBfiiTCjfm umiJiYr (wn-ur-iln-fi:) ^iiJti7tJuiJiJ suB\\)rn7fi?ifiB u A1 J .J v, I - i ?*B?h7mmunMmm:;ifikn7mimn7::rmBBnliJ lin^miNi MTBrnTtiiunB^ifniufifi nuyi>ii7B>3 mfn\"ijjiifBCJ\"iiifi«iJ:iniii>3msi'] nfu ^rnnnu flmifacjmTJj im:il7rfiknn7TW Before our ancestors started writing and before reading became common, Siamese or Thai people passed on their knowledge, beliefs and wisdom to the younger generation via other forms of communication. Oral communication, the oldest form, was able to reach a really wide audience. Ideologies, wisdom and stories, however, were also distributed via various other media such as painting, architecture and sculpture.

q <*9 IJlllllJ': nkncjn^rnTfinoviQtiiTB^mlfiarnT Oral communication is communication by mouth or word of mouth. Stories are handed down, utjnitnuuuiJinfiBilifi Ifinwlfii^oulniJiifiiD^nyai not via texts, but orally from generation to generation. snwT vnniifitnffEJfmjjnT'JiiliifnTiiionBfmfiTii Relying on the people's memory, oral communication encompasses songs, tales, adages, proverbs and unm^^ttj jjTithYrijMfntniJiitJii iiu uniu tfrn wfi beliefs. fhrNirm uflsfmunfDfrN\"] Oral communication has long existed in Thai lumsiuijiTB^mm^ffitdn fmmifB nninunijuiij society. It is a means of communicating beliefs, faiths, local tales and stories - many of which are utisumu T^MflnaiiB^lfinmEJiiJinTTfiififiMfl^nncniJ retold over centuries before, finally, becoming m7fiT[jn!)fiiiiJiJjJTiiJiY:ijniilijn«iiniJiJiiT!)ail literature. 3JuiJifn^uuiiJiJfiyn it^uQ\\i!]^fifm3J7MuyiQ?i Oral communication, therefore, is a source of knowledge that has been passed on from generation nil ritujihitfafi ulna to generation in Thailand and it has long been a really important tool for the distribution of v knowledge, memories, beliefs, traditions and cultures in Thailand. Bn^n«\"n l^i\"inijnnJnYridiJimB>3kJi)fifnfiru1'um7 1 oJ CI fnuYiBfifmm finwmw rmmifD iianwjinmij d7:mn1llB>]flllUl?fafllJ]J~md~Na\"ninil 0<x|K

-^ •. _X s; -,. S -' s* A?Nr < ififinnmrclmilnn nQvtu-aluiJuiJntininTurinfffi Jataka in the Tripitaka is one of the oldest forms of oral communication. This religious fabric painting, currently on display at the British Museum, depicts one part from the Jataka mmmmimjurnrur) naiimsnrtrtufliiimfl^'iiaBniJiVtJiiiinuriTi^iiriiii'lM'un'ririviijnjri'iiLiln ru fmnmuwiwififiENnqu - Prince Vessantara Giving Away his White Elephant to Eight Brahmans. QC?|15

moui'immfufniijlntj i-inimnmirnsaluifn ifim:iirfiriinjjaijgfininiJ7Ttr™vmvnj Mural painting at Phra Chetuphon Vimolmangklaram Temple or the Temple of the Reclining Buddha. Qt)|l6 1

>nu^mn77miluni7riiunBm7B>]7mfmmfl't)criu Paintings communicate beliefs. In ancient rnn ill au ltjtfijoIminjnBijfini7B^iJiadiJvmmwfn[j times, before reading became common, stories were ni7i?nilB^B^cnijn77}jir]Bu°] R^iJslfiJJiQrn\" often told via the arts especially painting. Most Thai ifi7fi7Tjj1>] illume iRBnwu>]1ijm7icjaim7fmiJ7ii«: paintings had a religious theme. Although they were fmrnifB lmm7ki1yio?hi/lMtmijmlB^vn^m::vNvii7 done as offerings to Buddhism or in dedication to the i,d i deceased, their messages also served to reinvigorate Buddhist faith. These paintings, therefore, helped i to purify the hearts of the people, promote morality and maintain a happy co-existence in society. Often, iftunrftimuncmirNiiiJiiJiun tNiTJEJumBflBuhNriD the paintings told of history, literature and way of fhflumfij lMinfifmumBu1^ff7nm1un7:y]yinffi^iJi life as well. ^mnfmrflVlvirtrBifiinffyii infifinjD77u ua:fi7\"N ii ?faflJj'lwBti7')lJfllJB[J\"Nfi>]lJfi1) UBDlVlijBnniJlJ U 1 , EN5niTi?amTiNrrNil7nfifhtfm i77trufi^ luinnififi 4 fmw {JUBO imnmuDinnimTnmjim Just like painting, sculpture and architectural disfiwnmiJjiiarrtinilViuriTTiJ buildings have communicated ^{juihuMUMtHrnTUBnifh belief. For example, many m m mio n 8 r\\ i:b ^ temples or pagodas have jj if b m built in line with the mduiytfu niTtfrNififnjjfifi ai Bhum (Three Worlds) rn \"i ij nfB yi-nIti 7 nij mtbhit \"^ncept or casting of Buddha flnwfmmuwii'nmimtfByrKi itues in various attitudes to fhflrn fnifirNmiinviDTtJ portray story of Lord Buddha's ili^fii^l ^nJun\"i7i?i\"ii7B>3m nnnisrinniiJiln^iJTialatj unrrtnnnnTjj iflunnnuffitnriij Hand-carved wooden Buddha statue in the attitude of accepting a beehive from a monkey and a water pot from an elephant. (Possession of Makutkasattriyaram Temple) on 17

9 imm73jdiatj^Iimmyn^w^WABmmi^ijij Ifiim rnmimiJfliBm^fi (mvNViijflmmwa^mm)iJtJCJLi\\] fivmnfiuyifffmijfin imifianmmi UBrmnumiJiJifiij tfnmjuiiinfmii malutfiwfiiJtimihfiffTifij rmumnj ai 1 11 IV ^fi7ri77Ufi>3uiviii^Tnmn^fiTfiTTijyiniivia>]mpiBU\"iti>] {muu vumrmfifimzrmDiri LifiSfrmiTtNmnnifmfi f lu?}3ja^ni7DiiJO\\ilmm7Vi^iaun mrN^fi7n77kidnaj , u^lfi' ^MunmdiJim!)>jij!)diaYi!)fi{7B>37niyi\"i>3ffn^iiTm!)^!)ij'li iMfUJilTsnqfiilflijfiBylijfiflnmiBijfl'Oiij i&V ' QPefrioi/ Some murals from the Sukhothai Period still exist today. Among them is the monochrome mural on the wall of Chedi Chet Thaew Temple's western pagoda. There are also the ancient engraved lines on slates found inside the tunnel of the mondop of Sri Chum Temple. Indeed, such murals testify to the Buddhism boom in the Sukhothai Period. The existing paintings from the period feature Lord Buddha and stories about his past lives. At the time reading was not yet common, so the murals told religious stories to remind people to behave in line with moral propriety. Otf|>8



mruinm:«iin ifi7ifnftjfi>n uaziwaimuinn Mural painting at Koh Kaew Suttharam Temple, Phetchaburi Province lmnmiaijanMrtiDqiioi ru mtoluari inirnrurnanmnij V^winimftm depicting Mount Sumeru and deities at different levels of heaven in the Ayutthayan style of art. bo 1 20

a/ /=*» gnwnwflwtidtn 99 v mtninim tin HknotwcJiiah ^i7:niB^fi7fi77ij ln[j1ii^ijan7>]ff7BEJDm 1fiEj1inh>ui7ntj>] mw :r w vi d pub ntHTJ fH 1i fNiJum^mlra^BfirimrywmriimsTfifin fiBwnWkiiiJfirjiJ mswinDnnm^sjuuuaiJcn i ja V 11 i L/ fimmlBsm^fhfluiuijaLicr) flifum^atJtnoFiBnlmi^fiyiiJW^niyi ifiTfimitfuaBtinEnijiiluiJu B^fiihzrmu mnun ua: ltfu°tnimikjcjiNlu?fn iv\\n 1U ffimrmnlraru mcniJimrm o ^^o^l i CI 1 =J civ. \"» *=» T?3JiJD773j?iiuuuu l}fi7n773JiJ7\"mnjnifinpn^yitfi7UBnDrNB uift meltfiJirriBuflDrm f V y| lltlBUmn Till ITJ3J7 llJ7t[J\"U7n lTf^llJ177nJ\"LBn7\\lf1 flBIJI fhfitn iia^7i^ tuuifiBDriff mBwm7^dBniJfii^iJ7anff^}j^i^ c mmmui toviBiJ nffacjfiunjuncjn?rKmu i Imrmu1wiwijfmjJiilijS>]fiuiniJiirifiniB>3n7>]f(7BaDfjn In Thailand, there are \"Parp Phra Bot\" or i1 \"religious fabric paintings\". ivmtftiAiirurit/liimrB'Itiflri ffn«nrn7nJrtjru HDlm nn oi cy 1*J Bot is derived from a Pali a-i-jgcfc word, which means fabric and so, Phra Bot here fm7:n77U iiflrwruri s to the paintings of Buddhism continued to be the theme of Thai paintings Painting on cotton during the Ayutthaya Period. Thai paintings during the (Ayutthaya Period). i^uid Buddha or his stories Ayutthaya Period used components, techniques and the culture of people in the Central region, which had m fabric. Parp Phra Bot been influenced by the Indian, Chinese and Khmer jaintings narrate religious styles. Paintings in Thailand were initially monochrome. stories. The religious fabric However, with the influx of foreign cultures, more laintings were hung on he walls of ordination color was added to the paintings. The multi-colored halls, Buddha image halls and sermon pavilions as paintings reflected Ayutthaya's status as a city of offerings to Buddhism or multinational character. Most Thai paintings from the Ayutthaya Period are found in religious sites. for use in religious rites and also in dedication to the bo 21 deceased.

J''» t,* 4# mmrnnmidicJiN msiimHB'N innifiJiifiicfaftniJvnSinnij Mural painting i. I of Ratchapradit Sathitmah showing strong bo. people's w.i', ni lift and uafiNmimnififniONmijInorionriijnumnnfnaiJT I

mmmhmm luffijaTfiulniiumfiBUfitJ ilra^TiifirrmviBfidiij In Early Rattanakosin, many paintings were still mn^fi7n7Tjjcj>]n>3iiJTJi70>]7\"nrn>an7rnyinffi?ftJi influenced by the Buddhism theme but, gradually, the content became more varied. Apart from Lord iu VJ ' Buddha's life and his past ten lives, paintings also nuriTrrmnrhtfin featured Dhamma puzzles that encouraged viewer vi contemplation in the attempt to get at the hidden messages. Sometimes, paintings told of the Thai way iilunini?iTn773J^waT?iijIniun7 IflauumiJEJiJihsmja of life in a manner that reflected its close links to *J \\ ^1 cu q Buddhism. For example, there were paintings about ordination ceremonies, the presentation of robes to mjj?ftuFii\\n i]B>nfi itfu mmfi7n77m7tN?n}jnnlu monks who had completed the Buddhist Lent Period n^iijjiilij^ijaTfiijlfi^iiriTnnTBnij^imTVi^iq and the observance of Buddhist precepts. wmuu ufrniTnmifiEi^iiliJBnTn^inBfiHiJ^KiHTuayi New themes for paintings during the Rattanakosin VI Era came from literature and these themes were usually I painted on the walls of temples. ^u^ftnbiMnniikJ7i7!)>]ff \"1^111119:1^111377^117:11101 Although more Thais could read in the VI Rattanakosin Era, interested people could still glean religious and cultural knowledge from paintings. cnuyrNimmnj Khrua Inkhong was the first \"\"tist to draw Western- .intings on the walls of temples. In his paintings, ^eople and places look Western. ), Khrua Inkhong was the first visional painting technique ting depth in his pictures igh shading. He broke away the previous Thai painting . bo ..

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mwiu\\lvmlutimiw 9 ^Gi twvr ltnh\\miniruiiD^if)JtJD7iumii)iiniD\\ilrio mifinina^jJiinTViaiouariinflBti I L^eJ IS ,=S aJ *H OI *J f£ <=» ISd loynsnau ain?tijjn7fimfNViiJ>jtfBil7:ifmm>n o^fi^nJufufu^im^nTrrinyajj finm utmrintJijfniJCJNfmawnj^ mulflflflflUlUtNilLl cjwYiijriJCJU^iifiTVi^nij III iTCJUMu^^BfiijnTrnnw^iunjj fni JJ7 iim>mnrn7 thuiim^atjlmdiJifoVafinfmjym tfofllJ rl!}iJ^niT^k)yN^ruyNT^^iolii?f^fikj1yiolijqfiiiiTfi^!)^ffiiTt?aij niTflAn mnii u^mifiViAun^lmunehTUfi^tfik im^ffi^ajfiiJiruriiTmiiii! mlw ^iiJiTna5fi>3iii!)Bnjj^fi:>3«:ii!)tiiifiijfiajfii!)(j'i>i5>3 mn^TlurinjIiicjfi^fim^ When reading first developed in Thailand it was restricted to a small section of the population. Only members of the upper class such as royalty or courtiers and educated monks had access to books. Tradition back then also discouraged females from studying. In those days, temples were the centers of learning. Parents sent their children to temples to learn from knowledgeable monks and the consequent literacy paved the way for people to enter state service and climb the social ladder. Back then, writing, engraving, inscribing and duplicating done by specialists were the means of producing texts and since only a few copies were prodi each time, each had a high value. Texts during this era were usually found stones, palm leaves and Samud Thai. &£&

SI1W nri}jyii)>jfnn:;iJLjnritNfifmiJT iit^m utisfmjjnfDTrowiJwi L73JTJU fl>l LLriuiJl*CJ LTJJJJBITa DT73J LLtlSlUUl fliTUflUllll^niTlJTSfiU'Y u' , 1 «> i DnmmDlifttjfmijijyin ni7in7nfl>aiJtJT'flfuiJBiiiNifiBfn~ijj YiiiTiiiifiBfnflnnniiflstfmmnfiflBij^nulfiYnyiniiMii^ DiTDBTTjjlijnnjTiB^fln Ikm^nJuiiBtJfi uilrthJifiiija iu HIBBLUflfJ inTnljjl^nfiBEJifi[j>]rin7^«n«>]iiiJucjiJMiJiyiiiiij ufiEj^njjltJti^rnTtfnnn^iJintffiBiJi nSmnuiN u«:5rtrrm n^riuniiTlfitJikiB^Tn^uui^^n^riTfjrifinkJifDTJBNjT'^fiuii niti fftnnin nTnudimmcn nTnudulw ninudimiin riTfiudiJYiB>jfh rirntniJNii uasrirntniJinfi u LvikJCUTiJTjJTnn^fi UU 1 lUimTnnffanfnmBEJiJf) There are three types of alphabets luntu unsrntnmnlimnj Ifialtf used here: Egyptian hieroglyphics, which were developed based on the pre-Christian BflW en UUl) flB BntmrmBOlJfl WB version; the Greek Demotic (around BC 520); BnwfmwuiJji^nnBnuTmnBatJfi and Greek letters. The Rosetta Stone is of nBUfir^fimn Bnwml^nTJB^mn uaronwimn umdunTnfijjfmij crucial importance in the study of the world's ?nfifU8[i\"M5>jliJfn7fintn civilizations. /fifn^fiiuasBiTDnmilan mnuouriD')fnnnmrii;iJn>)fnfminjifu: iNjvnfUTCumfttDunLn repository under the paeod i o bt> Katchaburana lemple, Phra Nakhon Si Avuttha\\

m? J^i>T ' Ss nlniicjunogmnnrniiKilnsifnfin'ifuiai: lOMTfinirummDuiiui ins found ni:fit)\\iifnTOnfnrnin[Jt)infiFiiiB^mjiijnnj Chinese propheo m on turtle shel tJtitieli/iliori ir knowledge, stories and i xtured materials which have d in public ai they Egypt, Mesop< or India. sible. were also used. fulfil thei sh that the message from

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n*innr)H)j-iuanuru::'hi nimfiuiwrin-) r.i Mamuang Temple Inscription. «&i *§$$&&& iJizmvimwim n mlnluTnrurNulfi'mliJlu^uu^UBUiiJu'nnNiUB^lriG ..1 1/ -* 1 oss Thailand. iwi vei di pen li 1/ ! *5 Ly\" . *=* *-*> bed. The inscriptions =J VI types according to their jjvi^itJiJT-Lmn iiiNrnijiirofmijyimTTTlfifNiJ Inscriptions concerning public announcements. i v public inscriptions, ninmL/L/iiirmffafiinTfu: nTnynfirhuu ; mDmsmffironriijrifiTNrnTicmuw construction of historical incidents mrwiiznifWfu mfiflTNiJiftiEiflmii wBmsTritjnjun ;es involve tain person or UB>n?iH7Brt\"iflij?frniJ kiniji7B>miiiB>j a ffrN viTBivinminj ^nflfUTIBN]iniJlUB>] Iutjoj^uij IfiSfJfUBI ddfcfi rf innrmffiKvi iiB^wsrwDflntfiniJiriTfilT' Religious inscriptions;-!! type. They usually : es and Buddhist- vurmutitmruzivijtfmi&runji mnmimmu\\\\r\\miw w m mvivi flu ah u hint/ 9\\h fi tew s i/In n tin Agreement inscriptions or inscribed pacts. i!so inscriptions that are a. part of something else.

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snwmnw*=£> a/ O-ZJw ^riwlr^S)tele cvr 'lwim 9 King Ramkhamhaeng stele is a stone inscription for public y\\mmrmm\\km attention that was found at the Sukhothai Historical Park, 9 Sukhothai Province by King Rama IV. The stele was inscribed ^ilnwBTJimwfhuvN iilimlntbrinmhrrnff on siltstone in the Thai Sukhothai alphabet. ffiimnj: numuiJtbifiTyuijB^irhtflijyiEj rhua The inscription is divided into three parts: part one from the w:iBmn?nmBdin Tifmayi d Bntufu^ninnJij th Bnmlntjffluna ^i7fia>iiJiJMijymcjiiifjiUB«:iBtJfi first to the 18 line is about his life from birth to enthronement. L7B\\iniJ7innluRai^n7nriB uu7i3jmuM^uiJ^BBn The first person singular pronoun, Guu (I; me; myself), is used. « The second part uses \"King Ramkhamhaeng\" instead of \"Guu\" ©^ iilu and tells of the traditions and customs of Sukhothai, ™ImiJu^jjfiBU fiBuri © fNiifiuTTWifi © the construction of the Manangkhasila Throne and Pagoda containing the relics of Lord Buddha in Sri Satchanalai City / ts as well as of the creation of the old Thai scripts. The third llB^BTJmiJJfi^UWlfll^lfbB^m.B^fl MUfllbfifi part from line 12 to the last line on the fourth side is assumed to have been inscribed some years iulm?n[miffi]jufntffh\"h \"n\" liJuvnu fiBufi to liJm later since the script is different Iffiiii \"n\" ma liffrm \"nBijmiJjmuvN\" iin™ from the first two parts. This thrnrifiiMfifi-N*) uasmmijEJij'liJiijB^fllTiyuj part contains a eulogy and glorification of i7B>3^7i>]n7:iintJjJu>3fifi«i!naiJ i7B^7~^m::rnfi King Ramkhamhaeng iijB>3ff7?iftJi«o u«:i7B>iil7:fiwJfnBfiw7lyiEJ and describes the vast fiBun m fi>]im^nijyi ^ U77vi?ivi ®to fwtmnfi realm of the Kingdom fffifntj iTnWilmi^nmcjMa^MsiEJilmnrfn at that rimp vnj\\i^BlmHWBunu?iBun ® uarfiBiifi to nBfnfluruiftj:mjrrh vNftoyutfnfmnijirN fiBim en umufnftoifimjiiaraBwrtfitnfifiai TiB>iriBi|ii7iJjfiiuvi>3 ua:n?mti>JBianiiifl mBsitlluri'fjmidBBnliJluih^nBnju

*£ 4^fes- '-' -\" ~ i«r: I - jt mf - *f^£J SSR *^'^ + r- JB?':'-*g£Z££ t^rrr

?«3SBr15 99 rirnucjtjfiijn iViJJvnrrifi idurmiLtaifiyiitarnmjnj i1 1 1 CJ nuikiB n.ff. tetfoo rmm7Tifimjri7i'iijm::ib\"Nf) ifiuvncnfi V>3MifinT:ijfi7fi7!)EJDtJi Bnw7vftijST7n nJuBny7lrifJBEJDtjninTna>3utiucJijfiun ^Bfmijyni7nidiJfl^Bviffihtjnfffiiinrn7M?iB ni7yfsin7\"Qno773J <?y mim^MiinWflfifnvNHfncj ufn runfifiiJB>a iifl:fiuiB>i IfioTJBlwfm1fftiJm?itJti?n77fi idunTrnnntin niiB^wfiijlninmfllumznflnttfnEJ ajfui7BU7 n«nvnru n®i narn^iinunrnij fiBunialm:iJ^Bim:BitJiJB>]^ri>]ri7:fijJY{ The tin plates of Mahathat Temple are a type of merit announcement inscription that were found in 1957 during the excavation of the underground repository of the pagoda at the Mahathat Temple, Phra Nakhon Si Ayutthaya Province. The plates are inscribed in Ayutthaya period script. They bear wording assigning merit for casting of Buddha amulets, paying respect to the Three Triple Gems and listening to the seven scriptures of the Abhidhammapitaka delivered to all living creatures, parents, relatives and oneself. nn 33

>&^£&cirn&%r& mm •$&m w#8P, *M<J5b(m%. .9CS^lKc^^^3<rf»i/5u3 fctfju?^, uriuvnil'fjJiiiBdfliijVbnfliMB^Burwi uinD77iJ!(>iflrijviBM)jlYii]un7BiJiJBniTi7i:uiiTniviufiiiiJrtifi'tijiiD>iiMn thrwu'iaiwuirnfjiijfia'ifh ^LBicnmBT'af]BUHBM7jflBil7:fi'i)tJ7:fiB-]lYiuiJB[Ji-jfi irm:ntr)finnBui:lfijufmiJii(tivniJ It can be assumed that the Maha-patthana at the center of the inscription means that the inscriber saw the importance of causes more than results like gems that are carefully enfolded and kept in exquisite fabric.

^ilnni^nnTTkJiOui^nniNini^fli^in nummikJiJiliiJ mumuBv] mi B°ninBiijB>3 V^vnWlumj DrittiyilirtTTfiiuiJBntmnjjjtrtTiyianTfin^ uuiiumifniJ fifliiTTriTiist)niimiijriiTiT7niiluiJi7yifi IfiafimBiJiLlij vo ifu msii ifuh/lintrN'iro^fntjri © ^ilntjyiwvnifnYiuiiB^m.BnoiTm^mjm niBinfuiJBnnTnyi7:D77Jj^firiJ«Bjj7B' lYiu nn^nwnj: HBsimniTniUuniB Bnimuiiflmim utouvnilnfiu ml^iianinfi^iatd^li^icjfniwviwia Bu^n^mainiJLUBfmknjBNin7\"BnD773J mBmlunnim ud^ifhu drVtajiDTTki ijyiiJMiiJritiiiiiJiiuyinnti'nti^iMfi unnnutftnainimfiMti fiwrnnivipi s:;injejii1n^nBiBiivimdijuvi?hfmj citnrfiwTBif] vun 1U 1o u inn iiJijm7BDiJiaiimufmjJLmm::rmBmij \"m nukn mnddnn infl ivifi nrnnlfi inffruVla {jItIm lbt nnuvntfijlnj\" uuib^ Abhidhammapitaka Inscription is a religious record found on the bank ofjone River in Sukhothai Province. Ii is inscribed in Sukhothai Khmer script on shale plate. The inscription is divided into two parts. The inner part, within ime, is the Maha-patthana (the root causes) surrounded by ie result ofthe causes). This implies that the results verything, good or bad, come from th

Q 9 <U 9 ninth in?ru intifl mBnlnikunwaiu itlu nlnttamyifffiafltiian PWBdtilnnmitfhitiBsiTrn B ffl U vi{mvri7vm\"N fnuHa^vn7fl>nfiiJM\"iinfi B°nnB ijjQ^i V^vnWl^vio anwru^niniifiifikJitliiiiJIu itfmiifttflifnfufitivnti BnmrilinilmiJiJBnw Ino^lunonln^^uuHunufnu TiBfmjjnTnfnuyi © \"Ifinfmtkmivhtffiu f vo mun^iij\"!U7^ii^cjLiJu lMnjlun7^^I Gun[j c rntm m itlufntfitluift ifin^nn^?(i77fifufii^ i wmsrhcifififififi ans^y riTfifnunto First side of the inscription. Second side of the inscription.

J^t kThe Khun Jid-Khun Jod Inscription or Grandfather Darned Nephew Inscription is an honest promise located at the right column of the main chapel behind the high chapel of Mahathat Temple in Sukhothai Province. The original inscription was in the shape of Sema leaves (akin to the shape of the leaves of the Bodhi tree) inscribed in Sukhothai script on shale plate. It is currently in a worn-out condition. The epigraph on the first side mentions the adjuration of persons in the rural class of Sukhothai. The second side mentions the different levels of heaven, while the third side details curses for wrongdoers and traitors. Third side of the inscri] W&i ^ =? «&?^ -vai -

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4=p <=x rnnfiumrBfmiijB^murwm mim^mf7Bny7^1iflijn\"i7 i}n7niiJ!Jt)ny7ln[j?|l ,! uyi[j iu!)fniwnd\"nn\\in\"in7^oiff'7n773Jilffn7nfiJ7^uYiu7iJ'n7^fn7 im.lmhmnjfhrmnjnffA ol V CI 1 ^B^rNT^B^fi ftBtfm^m-mmitfim^Viudij^ijm^fflBODaim-B^fiMij^ uarffuifn mmwiDiifiYi fe iJjBtNihinnrmtjikni n7:nfyYn itliJBil7\"nffi7B>]tijB>jfluriAfin DflTlTaNflMlN metJnA*>btjfa£i€wis a£> CAjca*ie The epigraph is part of the chattels or material found at the Shrine of Shiva in fS * Kamphaeng Phet Province. It is inscribed in Thai Sukhothai script on bronze plate. ,. > •' The inscription is about Chao Phraya Sri Dhamma Sokarat who presided over the '&*PBt enshrining of the Shiva Statue and conducted a merit-making ceremony to celebrate the occasion. He also commanded the renovation of Phra Mahathat Pagoda and its thoroughfares wishing to assign merit to two kings: His Majesty the King of Ayutthaya and King Ramathibodi II, who was the then the viceroy of Phitsanulok city. - -r\"* -St. . - i. •> . ,*%

\")fim:i\"ifrimj-]]jau>ifiaT7ijj fljjtjmiinriajjifiimiinjjtna'imDyvn iifrnan d Photograph of the Temple of the Reclining Buddha taken in the fourth reign. \"nJtmtbsmgtJ

(ifiti) rnnfrmwjBirifi (im) ftainMamrmmwujincnn ininifllwsMlfliuniinuniiuatuiJuHiffln Painting contains knowledge in massage therapy (left) and stone inscription depicting an episode from Ramayana (right). pmmiiw'tanN §>,aVo %'u wfamhmulmwmim Wat Pho Inscriptions v\\ 9 ti^cnwflwimGitAitri sninng^uann Pho or Photharam Temple is an ancient temple with origins UK'iwim ;ninn<Nwi{ : twcsinv) ^InohTmi ^iinorm dating back to the Ayutthaya Period. King Taksin turned this mei ^ilmia^tniimi ©o tin ^ilnlfl^N religious site into a royal monastery during the Thon Buri lanuei vniutiusriirupinli vnmoutfotNWum^tJiN Period. Then, in the Rattanakosin Period, King Rama I ordered snlminutnudnlu w£jwm(iiriw~HffnaNT30 ^iln the restoration of the temple and renamed it Phra Chetuphon Vimolmangklawas Temple (King Rama V renamed it Phra A total of 1.140 Wat Pho inscriptions have Chetuphon Vimolmangklaram Temple during his reign). In the been retained in the UNESCO Memory of the reign of King Rama III, another big renovation took place. Apart from the work done to the temple buildings, the effort involved World because of their historical value and recorded knowledge. The Inscriptions about King Rama I, for the installation of stone inscriptions around the ordination hall, example, tell of Wat Pho's construction. Another set the Buddha-image hall, the gallery and the multi-purpose of inscriptions feature the most outstanding disciples pavilions as well. He ordered scholars to choose useful books of Lord Buddha. There are also inscriptions about from various fields for the inscriptions. Apart from the inscribed Lord Buddha's Footprints; inscriptions featuring the texts, there were accompanying paintings and sculptures to List of Siam's Colonies and inscriptions about provide further explanations. Hermits in Yoga Positions, for instance.

rfjnmnHjjmnfi fifiDn'B'iioatN fna-mtifiMu-imsiJvnnnu Inscription of Thai massage at the pavilion in front of the stupa. Tilmeimo idumitJuvinArnmiuu iv\\v btuuM The Wat Pho Inscriptions record Thai knowledge at vi«sin«tiuwnmtu?uum^v a time when Western knowledge was starting to flood in. v To prevent this Western influx from undermining :':. nnTiu?ni«fuiiu lyi!j tfHmmimmwNJim mNmstnflTN the old local wisdom, King Rama 111 ordered the stone inscriptions for the monastery. HRH Prince Damrong iHimiTiwimfnmifi tn^sittintjcn^nmuwnws ^IwitJu Rajanubharb explained the wish of King Rama 111 Hfrnwenwi win: as follows: fflvrnwrewu*} fmJwmu ifotJflu thsm 9 unu cnn uu 6 leifjum ] \"When ordering the restoration of Phra Chetuphon Temple, the king had a special wish. He hoped that the temple would also become a learning center for people regardless of their social status. If we use the modern term, the king hoped Phra Chetuphon Temple would become a university. King Rama HI ordered that the stone inscriptions containing this knowledge be placed at Phra Chetuphon Temple. Paintings and sculptures were also made to illustrate the inscribed textbooks. People, regardless of their family and social class, were then able to visit Phra Chetuphon Temple and obtain knowledge about any field they were interested in.\"

mnmncn fififnuianflnanntj ifimnifnninijaiNfia-inij Marble inscriptions containing knowledge about herbal medicines were affixed on the -*£

Indian palm leaf manuscript. mmmnmiehuiu mrqluamfimritffiriinijaij-ifia'mij Mural painting in the ordination hall of the Temple of the Reclining Buddha. hsnu lutnu vi7B?fjj^ilu^nu viTQfiJjnimflnii mmBn^7rmnjBaiwwmtfnijhj Biommfi\"N*) •uu^iBit'akn^u^iJEjlijnnj uuyinmaflriimjBnttTfnfnmTfnBnwii^uij lutnu ?h}ji7nii7lfivi^fNfntj mBii7m7B^imn1fthofluB^7Bm?iamiJiJ © fium ui^L7B^m3uL7[)^ni^^n nfij fhnniflrhtffn mnlwTiffitfm imsngMuia mijiij ciJD^'n7^riDfti^ij\"i7^iJi\"im7yii?\\ifncjinifti7\"lfi7iJnn m^vi £ (ifruwifafrmin) ritNrnrnil iilumlijmjTiB^mTiJijflnmjnTmsflviiJ rfitfiniuufllDflfitmjBnwriJi/hjtnii nnfintjfNm rN7^nny^^^i?iiJiJilm^ijrii^liJHnwi'ri7\"y]rinffiffiJi'nfi^niMfiinfi7^ fi>aiLfi #ijHm::uiwmynidijfUJ3Ji mBni'iJ3Jinl^iJimifi'}jn7ri7tlfi7ilgnmi7^^iJijliJ^iijn^iJ3jn ^nLinJiJ^itnTJknn im^!)ifuiin7^iiJ <:ifi^n[fi7UE)nn ,n^wi^inrjinji^n7^iuuit]nn!)?iviiJ^ I*-> <=j nilMiwjun77wlum7 1}i7^3jn7li)^i!Jt1unDfiffBinjiin7^iiJii'i^im^mfif]^iu cuD^in[jni[j CtC?|44

^Po£thO £eawe& In ancient times, palm-leaf notebooks or palm-leaf scriptures were important documents in various Asian kingdoms. Texts could be inscribed on both sides of the palm leaves. Once these leaves were bound together with a lace they became a book. Most of the time, such books were called scriptures because the content on the palm leaves was usually about Buddhism. However, some palm-leaf notebooks contained worldly issues, for example, there were palm-leaf textbooks on medicine, astrology and law. According to Buddhist tales, the th revision of the Tripitaka took place in Lanka 5 and marked the first time Buddhism scriptures were put on to palm leaves. It is believed that palm-leaf scriptures later came to Thailand because of the country's link to Lanka Buddhism. From the reign of Queen Chamadevi, many monks from Lanna traveled to Lanka on several occasions to study Dhamma. When they returned, they came with copies of the Tripitaka. Also, influenced by Lanna, the Lan Xang Kingdom as well as the northeastern zone of Siam or Thailand adopted the culture of palm-leaf inscription. fwnThia\"iinjB'Of(Ta>!rn Sri Lankan palm leaf manuscript.

cnMDm:fijjrnLUiJcnlmj[jnaiommitj>i iiarcnafiafimifi^aioflDnlvinriBiimu Embroidered silk and floral-patterned red fabr from India are used to enfold palm-leaf manuscripts. liisnunuFmiHtlB TfriBthuliJBfinijniiijnftm mmi rmiBfi i*Tfn niTjj ® isIa BiijK^tfMTBcitiunjimnurnTKn^ 1o ni^nnnTiJ © b>ja innsmmiMTB 1u mTfififlBfifiijn7liJtniiiilijfnT3unBfi 0,msrm1 offifiin 8riTi^cjiiTMTBmiiB^fliiJCjmi£jnijnTnislfit)iiJif>jt( \"Iwjaur1u0ijfifiifruruniaaaififnfi tl tl mD^l^mTmiaainn^mstjyivntjlijtfififiin Ill nulriai^uau^ri^nijflTriiiamiJTiyiiiiJif^MTTiiriBByifl 1' 1 tl 1 tftunffmMununmTUflsann'NaiJliliitn u 11 , TjBfiiinuunijn7^iJfliiia^iiliJTiB^f(fifii?riDiTiTisiijuiTB>JTnyii^TiyinffitfiJi i^infimuumiiiJaiJijaiJ ffn^anMBnumm-mifi tTJB^iinfinjjdT-mruavifu^lw^ijjiTfiiiT'riT^nTTjj^^iJijlij^iijI^ tjuejij WrjaiM9fiwmuyimmiaif'rjii^mDiij^?nrnntj m7yiBcnMBfiijfm::yiBlMjjTitnfirii\"N[niflBfiniJ nii^GiinjB^TjfjitJBdi^dT^run^fi^iwfhcjanTfTJfifii^ ! TnolkJ^nnn^ifi^iLi