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

rnnnutj t rhmulu cs du flmmD-iJJDaiMnj\"n>)wu>]a Dlijaiu laulinnu [mihriniu <^o-«o iifufiiijm Stand for palm-leaf manuscripts consists of eight wood rods. ^Pew^tO c£eew&l In the past, residents of Thailand's (jiM8numijfliiDaiU'nwiia:aiflaiuiifinm>inuliJ northeastern region believed that the merit earned from inscribing one character of Exquisite fabrics for wrapping scriptures. Dhamma would equal the merit made by casting one Buddha statue because this was a means to keep Buddhism alive. Inscribers or those who paid for the inscription were believed to be rewarded with the wisdom and intellectual acuity. Therefore, people were keen to have Dhamma inscribed on palm leaves in dedication to Buddhism, their parents and the deceased. Traditionally, women were prohibited from inscribing Dhamma texts, to gain an equal merit they thus chose to weave exquisite fabrics for wrapping the scriptures instead. CtCl 47

R S51 tnii lumuau fin nnwrurfiznafitifna injuarnltl unuflfirnwifiirm fliTjjtfsfnnlun^uYlimivnitJumrfiNm Ifimljjfiimfifmfifilijmu finjmyN^lklBQUMlQunLnuliJwi^ifiunfimliTn^ijjiu nnuufifilumu Iwlfvumfi uililfiuummnlMiiM^mBlMiiJBaiiJiMilai uw nainiij utnin ItjmiiiJiiTENTfBijniififiTiBi/lvufliJB ^nniiin>uiii>flijmi/lwiiJinmw7ij TBEntfBfi u°i nn mi BumBtJfN nun Bm^WnflinkiffsBnmifOfiEnliimii iMiraiifnuflfiilTSfiiJ umiKlilriT qdfiTrumTmnB iwarm7 ijanuruziwijBiJiMariMiNnfiilmaiiwajj ntiBfinm mBihcj'lMi^iiBfiwTiTEJijliJiiliii^aii irormfifmnTiitn a^ijinmTiiiEJiJBnmiiiilumiiBniDMij^ tfsfltfrmiJ iftjwijnwTM in![jii7ilBnmviTBiifimniiyiijmm7 irurm iflinfu crc;|-48

^ VB^mrmsb IteVr I. -\\ 'Hi ^TTi—ww >* mrnifiurmuaiufntiiMarmi Palm-leaf scripture is written using iron stylus. f?>Igy^*r»J|£J-jS>*gM«JS3SS? ....... - «$^»S«a2»ct ^'fawn Place the palm leaves in a pile ensuring that the rims are lined up, then punch holes through the pile of leaves. ^fc^i^vht^ed^ Heat them in an oven in order to make them resistant to fungi. Clean the palm leaves and then apply hot balls to The palm leaves used for inscriptions come from a the surface to smooth it. Now, the palm leaves are ready perennial plant by the name of the Fan Palm that looks very similar to the Toddy Palm. The process of preparing for inscription. An iron stylus is an ancient writing instrument with handle made of wood or animal horn. When writing or the palm leaves for inscription involves the followings: marking, the stylus has to be sharp at all time for clear and Select good-quality palm leaves. They must be neither sharp script. too young nor too old. Dry them in the sun for three days. In addition to using styli, a brush dipped into ink or Cut them to a uniform size. Boil them to make them softer, whiter and more elastic. Then, dry them again in the sun. paint can be used to write or draw pictures on palm leaves. This method is called sen chub (dipping line). 49

NKlfntlnnouuntNlntii mjuintfuimm^ncuefiiTiwilanuMiTi'irTtfman « n™m:n]nnId7mnaiTlMijm7r^]fnrjin milmtlrjniianfirriiji/lij n.fl. tocnm® The \"Thong Yai\" Edition of the Tripitaka scripture made at the command of King Rama I the Great in 1788. ilizwmmmjri'Shjsiiu M^aEiluaiunQ-iMii^T niminuanLriYlfinpnu uunmilijfUjrnHij'i m-imlmiumn G>. fijjmlu^iutJiJUM^i^ nDflumnffn^ni/IfifjmsiJTiJ ntNaifiiJiMinanpiNUinTiij'smmjB'jilin nB^iuliJihsmj to bu uinuwin - wa*] Uiunnuu ^: ufi^LiJufiUtJiJulMuntiuu-DUT Ifififi^Qn fiumluanu muuinwufi'umodfnijuanijn'lija-iij LriolvTa-iijini^iiT^ IwGfi wn ifn: WBQmnfilfbnu Quire, or a \"Phook\" of scripture has different thickness. Each quire is ouuvifn^wni7finu^?fi[j\\ii3j iihj fNTnilfimNyitj (smj vnwlnnj Ttfmari o>) luiJniTiaiifliEJTfiiJiuimiJiifi^ (quu sandwiched on both ends with thin pieces of wood to protect the ifiuiufisi TUTnavi to) luumiiEJiJtntJTfiinTiJiTimfiJiJij scriptures. .11.(auuiyirnfkiiJjJTTi'mfiy) m ulufiu) anttrunfinfiruBn o f tJ7^miMu^ GUB^fi3jm lu^iuQuuMfn^nt) Imifi^Quu KijTilfiruanuruilTrfntfmafi'lmtNLlfi utiziirofmu mmTMwslfiiTlgnyvMfii ijouufnufiu aumrmtj cmufifmn ouimB>nfifi un: QUUTHNTUJ c nwnTn^QuiJvin\"3'rirti:QuiJTiHQTYi^ liJ!fiJCi Iwodnnurnrnrlmilnn jjaryan»njdiriTiina:rifnnBiJirfi'ulY tfifiaiyiJjnlTiliJTiTsrnrfin ms'nDyn^iu mm^w The first page of the royal palm-leaf scriptures bears ihwumin intnnu\"N\"ia uarifiaBiJEnEjtfzfnn the emblem of the king who ordered the inscription. IMJJISUfimTllflJTSflDtJfnTlTHllJ (TO 50

nmrlmSrjnkjwDmrijrumiJiimij ifimrfnimifhflfnnij ifmuruninntnrnrlfnilgnauufrNn The Phra Monthien Dhamma Hall of the Temple of the Emerald Buddha houses a number of Tripitaka cabinets where various editions of the Tripitaka scriptures are kept. Palm-leaf scriptures can be divided into two groups. The commoner-initiated palm-leaf scriptures are the versions made by monks, novice monks or One group features scriptures inscribed at the order of a commoners. There are various styles for these scriptures, king and the other contains scriptures that have been namely, raw palm leaves, lacquered palm leaves, lacquered made on the initiative of commoners. gold-gilded palm leaves, cinnabar-covered palm leaves and gold-gilded palm leaves. The royal palm-leaf scriptures have been made at the order of a king. They have high accuracy and are often Palm-leaf scriptures, which have been made at the used as source documents from which texts will be copied. The royal palm-leaf scriptures are beautifully decorated, order of a king or anyone, are important books for use for example, some are covered with lacquer and gold leaf at royal ceremonies and Buddhist rites. These palm-leaf (the Thong Yai Edition, King Rama I). scriptures are lightweight, easy to maintain and they are also highly portable making them perfect for monks to use during sermon sessions. cro •4

Hurn:omnh:mj>jn aTfiaitmicj-nij Mother-of-pearl inlay Heeb Phra Dharama (Scripture Trunks). (nrnrlmilgniwijnJTiil MDmrwraniJ ifimrffnVnjfnSfi-mij Mondop-style Tripitaka cabinet is kept at Hor Phra Mondop at the Temple of the Emerald Buddha. f)iimvimimf)$U6}i\\i niTmuTfittimjmlutnu uBninnMBnumfhacniifh n^uGw^n^MiJM'Trjri^D^?ifT'3jmliJ^iiJ Guijnfim^ ] ijyHtfufi fMflamfitniTCjrm wuMi^fliuyiffij utuHumtilfiiJififiTi H^fiwmiranii Huwrtsmi njjnTmanuYiwBcuiiiaiijajJiniJin^iTEj^TrrJijniJiJinfijlijfi fin , U 1//• i i i lifinijmfliiJisijanimjsiQTnrntf^infimfit) mumunwKmtitiij mantnffn firjuuu?frju ri fn uMfi a knnynTfifinij fnuutmijow fimifNfnHAifiA'miifnwflfm ttaiflMtinuiitnaTfiihilfiritN in>ini3urn7il7:fiujjn ilirfiumnn utisfnaiMfimifiriijnijm 1u«nij^7i70>i1ijn7:l?i7ilQn tf^iilijm::B77Jjfl^flBiJTiB>jw:flYinm ^{jowilonnurjnfrjH^ii frnirnTTw MTDnwslimlfifi Fim*D77kJfnknfifn\\n ihtflMnmBalumnmaynzmlafrn wbHBtiTrlfiTiIgn vibI^it imrwBomi cTb|52

The way to keep palm leaf scriptures is to wrap them in fabric. fjwrorannSMihrfliiwn fi aibaijowulnSuni lunartj:ij(viLTio5omj People at that time also made boxes or caskets of various sizes in which to keep the scriptures. Some boxes could only hold one nriN] csb nfufuum on ow itfumum mzfi ®e>« nftjfiwm quire, or a \"Phook\" of scripture and were called Heeb Nangsue Thes (Notebook Trunks). Those used to keep many quires of This mother-of-pearl inlay scripture cabinet with scriptures are called Heeb Phra Dhamma (Scripture Trunks). lion-feet legs in the Phra Monthien Dhamma Hall Buddhist palm-leaf scriptures wrapped in fabric are normally has dimensions of 86x99x178 cm. stacked in cube-shaped cabinets with a tapered top. The inside of the cabinet is painted with red cinnabar. The exterior of the cabinet is *&&&<&*?&$&&&*;#£&,. ?&'-.##&&8&6!% exquisitely carved or painted with elaborate motifs and gold applique. Some are decorated with mother- of-pearl inlay or colored glass mosaics. Since the palm-leaf scriptures contain the teachings of the Lord Buddha, the cabinet where the scriptures are kept is called the \"Phra Dhamma Cabinet\". Normally, these cabinets will be stored in Hor Phra Tripitaka or Hor Trai, and Hor Dhamma (Tripitaka Hall or Dhamma Hall).

3~'J '* .. - ^*ii #9 -- i J* ><:-.' • -\" -v ' '\" tibmtivri'j n-r: • -it******\"*'??- fiimlm fijjfllnrj mij^wfiuuuIiJTinj^Q^lyiolfuu'nnil'Djj^tm^^fi *dj Q--* I <=d u t-4^ Q.J rmwjm^n ifatiBniJTifi unslfiTumTfifitfTm^ijfnTismtinBfiMTBu'ijyinli flNfllyiaiiltj ^fn>n ifu rrmmTurma FmimiM^muj fhrirrNDnwfhtffn irannnuiitNijaiJTiri mniJ7:nt)uticn^!tia>nwTifiiTi!ffnT uuifluniTwuiniBiinTnmiiJiTijjlTnijfniJJTlfiijdi^ {frunjiuB^n[jlmiJu!)di^fi

Bi^nHrulfn^iI'BfiiiymBijnju flJfl7f)>8W>J fiB wmfofiurilm f3Jfim7fj3J fiD MUNi^D^ijfilna n nu h n ual ui ft si ii t in ij o Ci b sil i ^iud Thue Fao is a notebook ised by scribes who rook dictation rom the King. 5amud Rong Song is a lOtebools used by a king. >amud Trai Bhum is a set of votebooks specially made for ecording the stories of Trai 'hum. (jSfa^pM^J ^zJuWtyW n of notebook used by Thais. In the old i er information was considered useful, mud Thai. They served as reference book n Thailand but also in m beast ed ic bj ofpictoria y are

. .V'.- - '\"*'\"*«, iftj flint) imuaitojfilnufli v- White and black paper Samud Thai books. * V'-'>V»^ Samud Thai are made . from tree bark. Among the many plants that have provided bark that can be turned into paper are Streblus asper Lour, Mulberry, Pineapple and Jute. Samud Thai ffutJrTfi lit) lfifjyii1miliJiicjiJEjmfi^niJU«:viinri!)^ufn7 are pieces of long folded tree bark that are quite thick. nun^u1iJn?iu3Jilfi ffninTninmulfiYNflBM-iiJ jj«nwru: Texts can be written on both sides of the tree-bark pages. The ancient writing utensils for Samud Thai are llllJTlJtflMfl£Jlj3llCn1irTB^TUfnTl?£JlJ rnTTftJfnBflWT U1 varied and include white pencils (made from chalk) and quills or metal nib quills dipped in colored inks. rninmumTi mTi^ou^nni^udi^ ] fmiijouwlt) White-colored ink is made from pulverized oyster shells. Black ink is made from soot mixed with the mTfifi«!)nff!i>]!nffcjfmjjfl'\"iiJinjii«:iJ7:nj?i sap of the elephant apple tree (Feronia limonia). Red ink is made from cinnabar mixed with the sap of the irtflffttfini[jijijH?rmBd\"N iihj fiuflBim rilmnnn elephant apple tree, while yellow ink is made from wufitJfiB ua-iJinniMBtJinlntf/ltftfiJwijntfm^ a mixture of the sap of Garcinia hanburyi Hook and ] iimiJfnviiNflB IfiEjMJjnSTmlfi'un^nniilSBnMBaijn dumBijfilvmriBCJfi MwnSfinwmnnijJnlrlijficj^jjrmEJi^ wiNfiBfiijfllyiLi jj to fl nt) tffri mrisEJBjjnTSfnH orpiment. rmiiluiifin i ^a Ira ifij filn ej fTn tfiuniuuSim inns Samud Thai have two colors: white, the original color of the paper and black for which black dye is mrfnuliJlfitjBUfli fi^^finkiD773j°ififi (rcirrh fftifilncnm added during the paper-making process. £t>|56

^ljiiaoimjlijriijuijuiijimmrmttmjfilritj The bark of Shakhotaka (Streblus asper Lour) is ideal for the production of paper for Samud Thai. \\ ! nw w» ijhfljjminTniHi'nIurtfilun*' irltiurn \" n.jjn •» \" ivtdu \"> r1 Ii * nuimrmjvnunnm idwrvnumfii... aunivfittruin' J™lu£n] Jjrmwii Imnu Jnmimk Wi-itlujmnnir-miw^ J (M57

9 GUBrrstirfffltistn ifuijwfiiifiimtftjfi muu hfnuui b fi^ufiKWEiKinriEJ moQiilTj'uunn iiBsimfin^*] nftj mmijyifiiTD^m ni^fhfltnB£j~Ni7Bsilp)7fiijm:™ i? 4 J TNfifinBfUjmiS^nmiiiJ ufiiuun cmun 18 o rn if jj ffl Tiotfij a rtlim a Ifitftuvna^ilmumflntn mums m miui jji nr iu Tii u n nBsi fi jjt mtifin^\"] inirMu^liitJijfiBfnTTJijfin mmtfnwmaijYniiriiliJ^ujjfiiYin fu?Du im^wniTiJU'nnA^kJfilnfib I b si n i t u i>3 .in n 1 irl u a o ti b tin rmBjjifNvi iTflunTsmrniinnB^ih^ nimfiinnijdnaii^riTCjliiiintiluafiifiiifi'iiiiirimnnijn'ifiiiJvniMii c?C 58 Mural painting on the walls of Suthat Thepwararam Temple's ordination hall.

i.''fjnj««««!in»ii'p- vi'^otc^S -'S-S^'S-' cjufimfD tfmmhfifi inmunim cicnuinm bgdui ffjjifitriTsnjjnnuf! ffTflumuiiJ niniffinfiaoNiniS^fi'auriBfifitikiiiiiriNjiiija'Ttiu'iriSijrii wvnVnrvmriffT mfmntf riiuwsiiniijuru oi 1 mrmnm:ntfrioflaB>itf™iUium:uiriflmflni7:iaiBmna'imBym Ttfman & firuBium Bimifftnki iifiB\"miknfn vmfkah The elephant trapping ceremony has been passed down to the Rattanakosin Period. tnifiBUfnt)f|riDnijfnn inilmounu nun wv rn rmtH nrmrnivTtlfli luibimfi rmfil^in QPefyiod fninaB^vnfj fiun^vi^iojjnmB^i'niiiuri In the Ayutthaya Period, Samud Thai were clearly recordings f]f]\\mv\\ imirwu1?ft wnrmfn dsiulwrm of knowledge and information and some courtiers read from Samud Thai during royal ceremonies. lUfflklTU lUfhlJlflBll BCnlN inasu1ii?(\"ijji! In the Ayutthaya Period, kings were considered to be semi- n (-/<al A<U *i e\\ divine and so royal ceremonies were sacred and sophisticated. Procedures for the ceremonies were recorded in writing. BtnlvmfhjfliflmkiBlfi For instance, in swearing-in ceremonies, there was a poetic fealty oath and curses against traitors to be uttered and in elephant- BoinminmBlrbufntj catching ceremonies there were also poems used to attract the pachyderms. is to 59 Ongkan ChaengNam (Fealty Oath and Curses against Traitors) This literary piece was used in the swearing-in ceremony. Its content reflects the close links between Brahmanism, Buddhism and superstition and is in line with Thai beliefs at that time.

^ mmmnmiTfiJfllncjiTB'Owinifsftjmififin Painting on Samud Thai portraying an episode entitled naiTionttmo flaiksijurn-jfiiDijoui Cho Kasatr (The Six Kings) in the Vessantarajataka. 9 TTTain^fiiiiffn^inM^TEJiTB^fiinfniijIij^iJEjnT^ i \\\\ Buddhist-related literature thrived in the Ayutthaya i Period, reflecting the boom in Buddhism during those days. The religious stories reminded their audience to utisgrvjwafiuuliiffflTjmifntfBU uivnrijmwnvifnafiBij stick to religious precepts and follow Lord Buddha's luri7:lfi7ilr)ririifi7ijri\"i7MDijanijnufi>]n]iJ!jyiil7:nijn teachings. Some stories were based on the Tripitaka ufiiTD>jyilfiTiJfmuu£jjJiJifiyit(fifi!) nfhfirnfifin nan and the most popular one was Vessantara Jataka, a story uwinflffiifn ^Lft)n!JiiMin ,R^inff!j^7un^ 05m nnjn about Lord Buddha's past life. It was widely believed that linumtm-lmjnjjjin u^rlfTintiliJEifnjB^nTrflTBnTEJ anyone who listened to all 13 chapters of Vessantara 11ijjnlfiTEJ ^iuufjfiiivi>3fmij^>]iJ^TJii«^7:nnDffn^in Jataka in one single day would reap huge merit and 1 would be born again in the Age of Buddha Maitreya. iVrru7>3i7B>3mn?f3Jtj\"UB>]ri7s^jjrulfi^iiJ Maha Chat Kham Luang tells of Lord Buddha's GJ 1 .— q j ,1 p _jj jJ life. This piece of literature was very important because £_y it inspired the writing of many other Buddhist-related uvntfifl finnan ^itJm7B^7iim^ Gtrifi?ffivn[nfN stories. flmrnmrflkJijnfi'ijflyiDiri iilin77aifififn^inriijfmjj c tf'ifiru LmaiJufiumi lHuni77njfi^fti?fuiL'7!]^DiJi nfu mmwai^m^flfm ®m nnjYi In n.ff. tooted t)o|60

mmmm:m™m:nsiiuOTififiniJtJsftjfilritj fiaiJ:«Mjnisifmirjotn Painting of the Vessantara Jataka on Samud Thai in Ayutthaya art. GO 1 61 ... «*.

mrinauffljninnminuiviairnuiriri mrtifiiriTUjnnjOjfllntjflailraqtitn yi7:jJi«anJiiBniT!)>3Vi !j>3nlfi7Ufm]JiJ[Jwiifi>JiiJiJ Painting on Samud Thai depicting Phra Malai i having a Dhamma discussion with deities in Ayutthayan art. imthrflunihrmYifrN*) lum^nfrntwrnrinKEJ mimmn i]\\v\\m ^qnD3JiriLL^^lfT'muinn^1iJliJ7fiS<rnu7n i\\iv\\m mriJ'mtntJfiBritrmri'ifirjrnrininj u 5S ij nliJ uifirtTrnfitJ iwiunJUiJthTTfijftjfmfNif m^iflomjjihinfnijm.Bijm n>ii7!)>3fn7ijnmnjnff« ritiiJiriTSffTtnTaiufilfiTtilfiitffiiiJi tfiiniJimtilfimjJifmTifmjJiiJij1inijltifiuij»EJ iifi:m>i mrfum nisiNnisitfniiNmilTSfnffiiTSfhiftn wjDffnKin HB^mrfiijrijlfifiiJffiJfimijB ^,ooo ihi?h olfiislfimfi lijfli^iJi^f:^ri7\"!)^n^^ !)^jiiiJtijniani7rN^mftiJ3JMiTi'ifi i fntrmi/bnu iflufiii lijB^ijfn^inuB^nT^uailfifiuuSi mnwiatjfi BnqfiufiijmcN £-©0 il iiarfiuluflsB-mfiBtnil ijjuilijafinitiiiiaiisifififmiJBfiiJidJUTtiJTiiJKTiTnliJ m:in a ulfiuni7B^7niiiB>jm:ff7Bn to awn lib man Ivuin iTmfljTjmil ifijjn7:un«aiiliJi7B>3yiuau^Tfi1ijfiniifl>]>]nij inBrtBulilMfiimrtniuiJfiiJfi n^ajundluff^ioTTkj mi: irwnfntntJtinjfitijIntt tmuuijuiJtfiflnifliJ^nurfmrniJiJ In the Story of Phra Malai, an arahant ( Buddhist saint) by the name of Phra Malai has great supernatural powers. He has traveled to the Tavatimsa heaven to pay homage to Chula Mani Stupa. There, he meets Buddha Maitreya who will go down to the human world 5,000 years after the religion founded by Lord Buddha has come to an end. Buddha Maitreya says only people who listen to the Maha Chat will have the privilege of being born again in his era. Following this discussion, Phra Malai came back to the world and told people in India about Buddha Maitreya. The Story of Phra Malai was usually chanted at wedding ceremonies to remind the bride and her groom to uphold morality and maintain scruples. Currently, it is chanted during funeral rite only. t>b 62

mmiauTUfltnlurnfiutnniniyivntj rnmirnmnmj'hmijfi'lritj Phra Malai, an arahant (Buddhist saint), receiving a lotus from a poor man. <^! *p£ ^T*j fcS^ **«3*wj, i»««S' %*?f*5«|5 jgijc rsfngsa <$>- «»?*$ \"Jj/n^ta er)fqz&& i €>»«< _ _tv —^-i; .-'. mmfiinnwuijffijfilnofnij'jStj itawmnnaufi unyiafiimffufui Paintings on Samud Thai portraying the period of mayhem mmfiinnwinjawfilnofninm uflfi'ornriLfirnrffiinra yinBtJi^mmaimaijann after the religion founded by Lord Buddha ends (left) and the Utopian age of Buddha Maitreya (right). t>o|63 X

mwutfi imm mmk 9 i7TaififiiiliJ>nurtRilrii«:iiliJCJSficjayinij1iJ^>3fiuiifi«: fnEjffaihwjiJimiJ ™i!h77njflmnniJij]jirijj~mvi?nrivifnEj tlisinm m^flii^fnalfi^ sun nnrNtj rmuu imrfm nftfija GU!)^?f3jmin7\"UT7ionj3jvn7Tfn!)ln'iiLiJucjftn!)\\i G y!)\\i i77tufifflyi[iqfiww ^Jjn7l5Uyfl1€!ljyillJuV1^1ui77nJfl^ 1flUJ Ufl^lllllTIB ,1 o^, i iiluijiifinvnm?itJViij>flu>ntJiijrin\"mn TftifliwiuinSiJ mnfUNTminnTU texs: r^77m ij^BfiuijtHhijt^cjiifN knnw~m ufi?iiulMnjif!)niJiifi!)u^uu^IfitjrN7^vn7i c iffi7 rmuuwifliJiitNtfmfnmsinriunjiJMiTiif uasflfima fimfnwsuvriflijnjin mkim^ihmijf^Tlmfllfim^tiriijn fiTfluflijEnfii/MiiYn ffkjmlaufhoiJYikmij'mmTtH tfijrfijJifififin^iJiJtiJnntftfififi iifirlfmjrnTrjndfmnn 1 , CI CI . i77njfi^l3J?f7lmiJu[j0fiuM^miJ7\"rNiJOiJ7annfiii3un mmii(JijSiiun«innD'0?(ijni'l5Jt»niaijn ififiSfnninrivm A painting on a sheet of glass hang on the wall in the ordination hall of Dusitaram Temple depicting a story from the Samuttakhot Poem. t><x 6/. -^t-

$§/<awM4€c)] -ZJuwfost* &Ct£eka£i€4<e Created by people from various periods of time, literature is a form of art. During the 417-years-long Ayutthaya Period, Ayutthaya was a prosperous city where the arts and culture reached an advanced stage. Many types of literature emerged for the first time in Ayutthaya. The Samuttakhot Poem, one of the important literary pieces from Ayutthaya th Period, was written as a play script for the Benjapit ritual (25 birthday celebration). No one knows exactly who authored the poem. The Samuttakhot Poem is based on * ;-..\" ' the Samuttakhot Jataka, which recounts part of Lord Buddha's wisdom and his past :: . lives. It is considered to be the best of the . Kham Chan, a type of poetic rhyme. ' :. ?n ' . • TcmmiWMiNlwtii iiluwM:ffnimun'fii3k)iwufifiT^n7N3ffTQ[jnuifiBUfiii iuv\\u<nimmmmiuiim\\\\w\\\\mmr\\i im.wlkJCjnmiifnvi'u^lT'nNj^B^Ti^m!) ajiaijiTB^njJifitiTnintj^iiB^ifimiynuij Shadow puppetry is a unique form of theater employing light nd shadow and can be traced back to the early Ayutthaya Period, 'he puppets are crafted from buffalo or cow hide and mounted on Nowamboo sticks that are used as control rods. very rare, the only tory played is drawn from the epic, the Ramayana. t><£ 65

mriii ^^ rtfti i f)? mtofW V* «4«ti ' nn ' v n• • < I « M rfln iijfnu«u ouiffliSimiiJfl Bi«)win»mimii.wwSii»rm«fTliiii mmhti UVVLWU lindamanee - the only Samud Thai textbook left today. nifnwtu ifluwiJsi^!)t?\"innji7BsivitJsiii!)N5lman5jj\"ifi^ufi^jJEjn^ffT!){jna\"i QuunMtNwSBJJitN \\iiwn nrQuiJTjQ^nirlviTniijfi liiTTffljJotfjJifnTiTsinrianjjJMirnf lUBtniiBMUfnijniiTiJfNUfi rnTHfiBiu miiTtJiJTffrm iifirfinutltnitJ^ffTinfn^\"] niTlift(T:ufl:wonjTfu:rithfifu rmcjflUBnm m7CJUBnw7fnjj7iJi77fUEjfifi mTlTffnifrnfiliJiwjm^n rmuu^iTkiBBmutWiMfNlfifN sun mrm ffBumtnifitjmijrnijfiijmtii iiifruju! Ej^TTunjjnBEjfTifitn^iTJEJijS^i iifu fhakjmtnfn^ttaiviff frma>nil vn b^l^lin3 ^oiiliifinfuTilijrntniTJEJij 7iwf^m7BDinamBwanmBdi^ionm^fniJ7::ritJD fin*] !^^!J!jyfiiJiiMTj^^Diij^iwnjmiJuiJiJi7oij^iM7ijariijmiGmiTJi7iJ7i^ni7H7!)Cjridnvi?iiiJijm V •* -^ q ^<~ •=»r U / iS IS iS L/aJ 1 <=J a-> «S aJ o « *=l Q-J Gil eSi «=* a^» <i njni3jnj^uu ciJ!)^'n7nH7inu?ilfitilij?iumiiMniJiu^ikjnjQuu!)u c BnwrmQuu wjumufrm ] tfinnrtijniTi(BiJiWBmTBi^iNm*Bfitttrt^ U 11 CI msufmlntkim t>t)|66

/o4+ -JLewi&iw/tAb The Jindamanee is an important book that has existed in Thailand since the Ayutthaya Period and the version of Jindamanee that has lasted until today is called the Phra Horathibodi Version. This important book addresses the subjects of how to read, how to combine letters, how to use vowels and important letters, how to pronounce words with different tone marks, and how to pronounce words in the different final consonant groups. It also offers new vocabulary and its meaning. The latter parts of the Jindamanee teach readers how to compose various types of poems and deal with advanced levels of language and literature. The Phra Horathibodi Version of the Jindamanee has inspired many other versions and textbooks so this, the oldest surviving version, is considered to be a very important textbook and reference book about the study of letters in the Ayutthaya and Rattanakosin Periods. t)Cl 67

W IKZ 1 ' oAl o oI « wn ® OTfynr. Tgf'fr ai nff~ jg riffr nj'rn - Qffttj -ij ' :. msenuwju giJ»KIHHH,airBgF;PKI[iailllillSlKlllir1Ri wfimzmHiNlNifh «fiMfuunii!Jufuii?riMiwflu n i farm msenueh MWiflVrntflnunTNtbtNitu 9 au tmtbswitu la-m tfen ntnm is msitmei mufiltfiiBuvitwfto ItfnuqwnaENiifltJ rfimwtMe) nutHm ftuieifllMM i«sssaij^MiMf9firttiu^E)5iu?f9iini winltftriaijqsMilwmsmttiTlejn \\'.i vn iwiuuMn j Gignnuu ivw^n?s;iii9^riicjviiJuasi9£jwpicjnriijun?nvn*ntjanpi?^MU^ ivui

rft irntifii <** vn&iflrriuuujhivuifivifmufiwnfidtfifhnirNji Til ft Tfnyfi wrJnjJb nnw Tfa'wttf^ -imuv ' i nm© 77 ri jnirntnininlTitmm* urn njj nunhhhniv U mm m© ^f)f?)^ nf\\ 7 < in 1 in 1 n in I M ^'- . <^ r 1 ^s / imtntii «~><>-> nidi . © TTitn'rwifamrii^ b Tfutnunviwnyln \\, \\ \\J ' IPfffiuwumv.u: j / - wiriirmiiwi 'iimni'sn -2 i mfllttthuiiJuvniJUinDWin'Mi o oo o' o oo o d? iOr? T . 1 ./.;>r.:v;v;::: ';^,;\\ 5' Jindamanee - the Samud Thai textbook. Slates When the use of paper was yet uncommon slates were important learning tools. According to Phraya Si Sunthornwoharn (Noi Arjarayangkoon), there were two types of slates. The first type was for beginners and they were called Kradan Dam. Slates of this type were 25-cm-wide wood boards. They were between one meter and one-and-a-half meters in length and each slate was about half an inch thick. The other types of slates were made of coral trees or cotton trees. The trees were cut into boards, each with a 50-cm width and 75-cm length. Coral and cotton trees were chosen for slate production because they could absorb lac latex well. After the lac latex or the Samuk mixaire had been applied, the slate's surface was covered with a mixture of ceramic powder and lac latex. Next, the slates were rubbed with stone or Entada rheedii Spreng seeds. After the surface was smooth, the slates were framed.

A Mu ^J -s I mmiaunfnwnwuD^n[jiiaf^infi\\)iiJo-jiianm:fno Ancient map of Ayutthaya showing its acropolis and islands. ^ uwww uaijmiJiJrjnTduiJiJMu^iJfj^niTrjiijluffkjnnT^mBODOiilQOjjniijn^^jjonT^TfiijlnBijrii uaunuuulfunijiiilfi') U 1 1 1 rnuriNiawiinmraiui i II DtJn^nan') nniljjfifnn ImnijflijonwfriBqntn fiBiifiu iicjuyminmijfNiJijfijjfllyia luT-o-uTnucju'nm^ouI^ofiulnoljjS^^nijjji^Tii'iiuw Trai Bhum Map inNfiulncj fiBrnTriitjyitififmiJiTrQiiJTiliiijmfiTnTTjj lUBm^umnoiijfNntjmtvNviDfMiJi itfu depicting Semeru Mount MjJimsii^rwvn^jjnT nijyNflfiiiJYifinfmjyrNfhfiin fiBwilij^ijcjnT^'ifnjlnRijriT ucJimtiniflriE] in the middle, surrounded vi u is® i by tour dvipas (continents). yi ' i This map is taken from the Trai Bhum Illustration Book of the Ayutthaya Period. . DO 70 1 —x_

iitjiiniBrfcjfinuBBniau'jlfiiiuiifiriiifin ifiiWTfimflrnWluaiJtjnNfnBtJBtn n.fi. tooati Map of Southeast Asia drafted by a Portuguese cartographer in 1575 (Ayutthaya Period). Maps were a part of the reading culture in the Ayutthaya and Early Rattanakosin periods. In those days, maps were drawn on Samud Thai. However, unlike their foreign counterparts, Thai cartographers initially did not stick to a scale that would best reflect the real distance between sites marked on a map. Foreigners needed the most accurate map possible for their travels and so they paid a great deal of attention to the realistic scale and drew their maps on paper. However, Thais initially created maps mainly to communicate their beliefs. To them, maps were akin to a form of painting and most maps created by Thais in those periods were about Buddhism. no 71

ifijfinirilmnijaijtjniiiJi : Trai Bhum Illustration Book i-.ii..;-.~. *w*te>°—'^ of the Thon Buri Period rtnwMH M.-&«TUWJ . I emdwmmmtimvi infiSR.4 <m am i v.n..nSii)r.irflvirrv luwi'fttowmi fftnft iannhUvmjtiuivu^ >B^i»Bn»twiwaiiwii^^vrfn/mn7i/i,nMi bmvniSrrrti nivsitmiliilinftit ^*B>ml ,ri?bWflmiwAfi(if<Jfa*'mirfl>ffVfnittfirifli towmol irf^n* .'?» i mD^wm^r^T^nifnniukJvnnifnT^^niiJuitwB^nuijI mimifmii Imilifuntm IwTiurlifnnfmjJTnKtuMialilniJ rn id jjff «n ejtj b >] n i>a ffrt) cj n onlvTri K'u fl u jj n id u w K'nlvTnTj ud u fin IfiaijywyiiibfunSi'] 1vrnur]iJiBn^n7fiM«>3Lvia0 t rjdfnwvnm^m^T im«mil7filMriv3iJUJji lvijJiirim\"iJjyiK i 5\"i Au J i iifii unnsmiTD^nuinaTfi 9 9J After King Taksin the Great established Thon Buri as the new capital, he ordered the revival of all fields flsjflrrmlmnij iilinmm7ijyu^aija>fliiflkjfflinrjiia:: of knowledge and the arts - which otherwise would have been lost forever after the fall of Ayutthaya. At ijfhii77rj~mffin ihsnBumn rtrmiunnmTrHjaBfi King Taksin's command, all existing documents were Q^fifmjjTim-fiTinnTnwdDinnjnTTjjfn^uiiTB^lfiTnwnfii gathered and knowledgeable people were asked to provide information from their memories. v 2Z^€ii(^A^44^^lltMiteMo4^(Mim^ mtb I fiTnijnT\"rj>a ^nJuuyin7:mfuniinu!)>3rinjnHlyifi>Jiifl This Samud Thai is a book of illustrations featuring II o both paintings and captions and is a result of the Thai n n?f 3j tj t>3 WTtj ej faith in the Trai Bhum Phra Ruang (the Story of the i77njn773Ji7!)^lfi7fijj^7m^muyN7nifununninfi cuu Three Worlds). The illustrations penned by King Lithai iimiiftn\\i^uf]iihKiih\\mi)iftnmr\\mi<\\°) knnrm during the Sukhothai Period, are based on the story. cno fium iUrjfni3jluilD\\inan^in7ii^in[ji tbtfnn Paintings in the Trai Bhum Illustration Book reflect the wisdom and beliefs of Thais in the Thon Buri Period. T7Uffiflf)7 fmjjnfifmjjnfBfniJMflnriTsnniiffiUin Each painting subtly carries a philosophical or religious ^nuummmwfmirnimrj nsnufmuifi di^nBunTTkifi message and, collectively, they indicate the social norms mulw?hkn7nm7AW^fi^^tfifi and traditions during the Thon Buri Period. n~irNin7n77ulijviu^^t)^k)fin~iyNlfi7riki utffNflmmitN f lum: nwift^njm^«fm3Jifu':u!)\\ifiii lu?fwnn7^niiij1 U CI Qi j /i 1 JL niari!)finiijj7fin3Ji < 'ili1ui'7B^1fi7nD9DnkJiiiJufiTn^ ij UU fmw>3yi>anuii«sijfn\"ijjviijTCj1iJiTr\">aiJ7 <ii'runiLR\"ffi?ftn I , CJ ^7ntj«:iBtJfiTiB>3finyia>]^:yiBii'lvi'iMiiti>3^riiri^>]fiiJii«: 7rm°U U U D 77W id U 3J ll njlu ft JJ EJ U U B fl ffi U ob 7?

ninIanunu7niinaufiniTilfi7nuaijtjn:')niJij^fi7n)jti::f)^unuiuti^u7nijiJuiiiduujn™lMtu Btjuemnma ijfiuulijiJua-) uarinwliJfntJnriainnifimij am'u7n^B^riijrinw7i)iunfinuniJm~]fnoaan77iJ l)inni7iinufiiiJi7f)n m:B7HUfi uarrhlMmjririBirmB'afinmsiafifi The abyss of hell is where those who have committed five sins with heaviest punishments have been tortured. The sins include parricide, the killing of an arahant, etc. This illustration is taken from the Trai Bhum Illustration Book of the Thon Buri Period. CIO 73

iUjnlnunrjvuntjririil'iijn'N m^wMmi^imhmm The Law of the Three Seals. M^iinLTioTifniujjio^cJ^fi^iiJBrjniJBNiukJiJ'iniriKoi yiTsuiTitJiJtfnTiTsrjyiiiEiBfirh^i'nliifi ni>]ffTBunEjnLi«rt^3J£jnT>]nijmjjnTTJjniJtt«:iri7s^Mnn^B>3iflBidiJVi«n dcr 74

m:uinfiuinw7:rinoa8fiifa'?wilanuHin ,tfTtfrnari a dtiinufnoiivumijriiftnn'Off .. Iwn-owiimanlibfurifl''^ Ivnfnrnrjviinuirn rajnuiLluiJTJknangviwitJDU UIB^flflnmJ'sxsbiD MJB n.ff.tarxfey . King Rama I the Great ordered the assembling and revision of the Law of the Three Seals, consisting of old Ayutthayan and Thon Buri laws. The seals are: The Royal Lion of the Minister of the Interior; The Trunked Lion of the Minister of Defence; and The Crystal Lotus of the Minister of the Port. MB '^y L/uiftaMtiAxkiMr QPefowtz Ttfmafi © Inm^m^mruilihrnrmi^ Iwtfn: Bangkok was established as the capital of ngHunmnnimriijuiiififwiLmtTj mfhirmm^mirnij Thailand as soon as the Rattanakosin Period started. fmwfiflimfiAQijrjLiwin utnnunjjIwiumJTsuia Its founder, King Rama I the Great, also ordered the nr)MjjTCJTJtJi3JB n.ff. fem^ffy i7EjrmngwiJ\"mfmt(\"iiJfrN rehabilitation of the Thai kingdom in all respects: politically, religiously and more. As the country mm Aiij!)>]nnnriMunEJiifiR:u'fn:il7:riufin^i3Jfn>3 fie needed something to hold on to, the king had his mfSw utuinum officials gather all the documents from the Ayutthaya lufnunYinfhtfin \"nfmavi © lihfunmi 1m and Thon Buri periods and revision of these documents iWfiiaiiiTiTsmTiJnnmBWUfmijrinfiB^liJfiflifiififltiii took place to ensure their accuracy. Being of the opinion that the existing ancient laws lu n.ff. fecnm© iiDrmnuiia^liJTfiififlT] iMmrtn books had already deviated considerably from their origin, King Rama I ordered that they be assembled and reviewed. As a result, in 1804, Thailand came up with a new Code of Law called \"The Law of the Three Seals\". nTTUilrfi (urn) iramlLNlmnijnrnfimnififiruaiA:: mfu run filing BBfiuii rnmaunm

2/ vmu wit) mrmntunrnn: <u miimmmim .11 U' miJufiwtfrufU'TUB^lyiojjifiuiu jjitNtnatifiimjBfitmjimfi lnjuifufilyiainBiuijfmiJTfitiliJ'liiitJD^Min nfii mn^tfo u ,1 . ^finw fhnniffhiffn ermfitfffnflfiT iilumi luff^fmu TNurnJTiTffuyn^TunTKjjaTijrinjuii^Tiijnfi ci ilT^umTnjmtilmijJyi'niJiEjnB^lTfrtnyn iiflsiiliifiijBltjrm V if' B^uTornnulviHinanvnTWTroTfiJ^imin^n luiiJBvmrtmi 11n^onD ummtim anmnrnmifmn nftj mnn minsmj v1 if niTinJiuuiunrN niTlfDuinvii^iann^n uBnnmjutNijiiJBvn , i. . mdtjfiiiwtfQrii^fnijl^7\"iffiitfiiL<inkiiiJi\"nQij mil mifiqnyfjijj lurnTififlBunTi mivii'noiJw^T'ajil'i^nim-TjiT^^T'ajditj^u 2£<S&^jfWa'oAj aufilmjfiinri litis*] mil) Thais had long passed on useful knowledge and traditional wisdom from generation to generation, often via books. In the Military Treatise on Samud Thai. Early Rattanakosin Era, these books were gathered together and copied into Samud Thai. They became textbooks on military strategy, the medicine and the characteristics of elephants, etc. The textbooks on military strategy taught the techniques and strategies for winning battles. Experts in military technique wrote these books based on experience and experiment for army eaders/heads of military units to study. These books became manuals and reference books that soldiers could turn to and the techniques for all known military operations in those days were included. Dt) 76 1

iumm (uu) rhnin nnfiirmifoiMfiruj (an) m^fim:inunmnjuuifiinjj nnphnfiifu?(N]firiu (Above) Treatise on horses from a military treatise. (Under) Military formation in the shape of Naga, taken from the manual of a military treatise. Clrt 77

n rinrijjujfn: rinrtufflnufrmfrtfanuru ru nnomuTifiail: jjwnncnaufnmin Enthroned elephant divinity named Vighneshvara depicted in an Elephant Treatise. (Possession of Harvard University Art Museum) pmimtFnm? , CI tl U . fiTsnflfii^n YNflntttusmdukNflmiarfiWruzrm iJBn^nniriiJijmMiJ-liJEjnjj^ntf^fiTnuiiSi en i flu idufldisNfia ri7BJjyisin?imn>3nruu9^yiHTJt3snfi>3 ^fnjj>jfianinTijTiB>]n7:uvnfiufiTEJ IfiauuiflimiWhj iifl«:«nwnj: fliurifftuilarm irmmfmnj TfaidinYi urn in urn i|iifia>]um Tjunaiim uarumijrij fiulmo f wfmmiit)^ <if'i^iiJijQdi^^}ji?i^im?fw[jlu7inj unslfiifi iimainni7VufT^3n^u^^DijlMfi^i7[JiJ7m!) lf uu^nififnijJ7i7!)^?i^ mlonii iinfiiffnfifnfHlu lumifrifiutfN rhrmiffhifm thrrmijfntjfltNfhu ebmnnflii umwuimfifhririiffftifm ^>] id u fTn itb >it ifi ermfitfanttru tf>uduiinfi:hfnu7tJflnuru::iJt)>]tf*N TfNim G^ijfiiTii(fiifhiffiiBfiMniEiiJTrifinTiiiliJfmjJ7 finnDfiwrnnnifwciliinm iifu rrmanimjriJi rhn Bnwnjsiuji uasmnnnwuriinTiTiiJ DC 78

imwmuiftjfilnofiirifnfantinj MDflijfuiffiiJim \\jr\\r\\ Elephant Treatise recorded on a folding book. (Possession of Chester Beatty Library, Dublin) ifi*januai:ri\"N~irinfnrifiii'antiru Different kind of elephants from an elephant treatise. Elephants have been revered in Thailand for many centuries. Renowned as the strongest beast of burden, in Thailand they were also important in battle. Elephants are considered to be one of the Saptarattana (the Seven Precious Jewels) Aof the emperor. branch of study dealing with elephants had been followed by a group of Thai people for a long time. This body of knowledge has been recorded in Samud Thai and is known as Kotchasart or elephant science. fled 79

mq-|bfifi(nij rnnnnsjjfilnu MB'OrnnfiailriBainBj lijB^uafiwBi miinvmflm Painting of the hermit exercise depicted on Samud Thai. (Possession of Walters Art Gallery, Baltimore) nn7uy^iiaiiwijlijnnjiJB>3lyiEJiiJiJfin^mylJjfinjfii!)EJi>3a>i rhnrnTimna HB^noufUunnjuinrtninarmrfn^n rufiEnnutfurnn yisttfmiriJnfi un: tfrm:yicjmJnfi (iilufrfi) lfia1?yifiwQfmutfuf)«UB>3m firing*] lurNmunrun douio Tiwri^i^lijninnwinifiTJB^ii^nnnl^wn^fnaniilTf^wijlyiTiJT.Lnri J CI DTsififiTsnoniiBti rnawiNriTriniiifoJifiiflTCitnmritnmBEJjrc 7tfniflri £ yudyranffiil iu i in nijn7iminaiJB>]mainmiJijrinfiiniJ7BiJjjfiruiJ7:lcj ciJ'iJiiriucjiJfiiiii«:lifffriyn 8unBnuuilmTUtftuwiaun:nfinmfmDuuinua-l rjlilifimmi lumnn 7ifi^ffLDB n7k)Hwuriumifvif]rin iflmiwriB^fivn 7imi3j tfnrtfBiiff'JiJ ^7iJfiJjnTuiiyiafu¥nuB£iTinj:iJiJ^Mfirifm^ utuV^n^mtWkimimvio ao mo

*~c • s#m, ! ajjnlnfjntffnflfnfhrma'N Medical Textbooks of the Royal Court. ' turn aftT&t^l ^^s tj ' X\" •^^w.x,, r-^Wf}jcn • T ri A/, *\"n*/j %jP*K?»'t <«*#$, /'•>? <vrr,{,rifu s \"nifrnhnnn,e.\"**.r/,mv .X nrntij^ mrimitjniiibriliifliJinnriifn^TjfNri'On-iu tyfteelieiried^ The nervous systems of the human body. Traditional Thai medicine is a compilation of Buddhists principles, cultural medicinal practices and traditional philosophies. The basis of Thai traditional medical theory states that the human body is composed of 4 basic elements. Each element refers not to a physical substance but to the qualities of that substance. Traditional Thai medicine seeks to overcome imbalances in the system using herbal medicines for health care. Each practitioner has a specialty in certain illnesses and so knowledge was never coordinated. King Rama V wished to conserve the textbooks of medicines to counteract the loss and inaccuracy of knowledge. He commanded Prince Amarit Krom Muen Phubodi Ratcha Haruethai to compile and revise the textbooks and created Vejasart Chabub Luang (medical textbooks of the royal court), which include both medical and medicinal plant textbooks. GQ 81

—W-> 7 j. }J ^ f/f>nm/y»e/ o'tH/yHtHikhrr . y1ttotiv>rjrfn}/rit>w7t/fMm'm/ I , .-iwi/Ai:'- . nnviDfl]jfHiW'ain?™nr|tt The personal prospects of those born in the year of the pig. (Folding book manuscript, British Library) Ha-> I aJ momnrfnwriTnJiJffntffiTYiniJ iMfmutftfinjuirNuntftJEJ luntu m7iyn>]iMnfn^fi7UM«itjQuiJ immiJunnnnijmn , UI I r yiflfini) fhnwwjtfifi tfNdu^7nf)dT:nt)ijfnoiififh>n iifu i. -I i u y-,?7<8? d^nilrju miriltin vrinimif wimfiLiYrNlLlyrNlflrrNWiN U V. 1V n^7iijvnqnttltfflt]ny>n]jaiijfi lfiafiBf]fiwfnjJT'injuiiTJj luimnsifiBii TikjyNfhiiLnkirjfiYma ^nJunumimuri ^<SO/, iTfnuBdi^umMfliafi^iiffliJTinj fhulwduauifnunliflijrnT cb

:- / 3.')gjl/3l/>Ar>?W*/*'> <!•-, ,un<j ra toil jinuBffwfiiiM-iiftfiBNjnnu SijfilnalMnffiafi7riiinoanwm;amnfiluil'ina rmwBflwmiwifififKnqu groups of figures relevant to the personal prospects of those born in the year of ie horse and the year of the pig. (Folding book manuscript, British Library) Year of Tiger, from a fortune-telling manuscript. (British Library) ?WtG

(tfiti) fiBUDiMuiBfiiunswia (im) fiaviBiHinliJiho'nijriKiij: fUjtfnrmBunmjjcNHjjtJMtn ifiinmjdTa^nKBlufin lflliOjimrnfinwn Mural paintings at Somanas Ratchaworaviharn Temple are drawn from Inao - Inao in his marriage ritual (left) and Inao attending his grandmother's cremation ceremony at Manya City (right). c£sOel€v6i4#*e iTiojfinknnkiionn^jjonT^ff'TfjanailfiitajMinliJ Following the fall of Ayutthaya, a number of lijam^iffum^mw Vo mrrjijnjJiTTainflmfiaijniiifi^ literary pieces disappeared. King Rama I the Great was fi^im^wnnT^ffirjnnmufiffijQuuiM^rjknljjnTij rnrtnn determined to revive the literary heritage of the old days wSm:flwifiim::yinnaBfii^wilfinijin7\"iTf itfniayi © as much as possible but only some of the original books could be recovered. Therefore, he ordered members of mffm mniiJiiwlmdtjQij'iJtlJjiJTnjmrjlmiJiJiTTnjfi^fii/iij nmiN iTinjfififi^ntim Ifiurl um^tfiTiT'Dsinwtnai^ Bonn the royal family and the court to rewrite four key stories: fnwiN uasBimn Ificj ^ iTB^ulnltJTfurmi^ IwrninfJim: the Ramakien, the Unarut, the Dalang and the Inao. The monarch reviewed the rewritten versions himself idimuomjfinwTtJWstjm IflmTthmmnaTfuiarBtiiTYiiJij msi because he wished them to represent a complete classical nTrmfunijnuijIviiJn^MJjfi limTTNBMinuflSfriMtN \"Wrn literature for Bangkok. The Ramakien and Unarut were irm~i*i 1mjiijnt<ucjnT^ff7!)CJDanuniiJiJMan u fhviNmrrnf rewritten but the Dalang and Inao were largely based on urnjD^QjJiiTfjJiQrnriiyiifijjyiinfivnrjliJ the old books with new chapters written solely to fill in the missing parts. ai 8/*

T \"^\" 2b ,,-rr^. 2i r W. /$$; • TTT? ^•!«! \\* V V V v'» V V S v'V', V 'V '•\"/'*' - 'v , v ^'.^- . V mMr_ -£t 9 9 a » '' L .J «*-* . *. Loan '.\"*

T*«• ••. ^*7 #'* •• • •• ^*fc • • • (t i#fc*. t£ J& ;> \\Al/V nfinnj] nntiuna>j na>m>Jintn?i •* v r* Jhossak in puppet from Ramakien. WLNlwrunfNnjJinu:?! Shadow puppet from Ramakien

•PS?***- / Muaimianira^nuintJTfi Puppet characters from Ramakien SufilnrjLTB^TikimoTfi iing book manuscript. nmntiw 4e*v TiuintJTfiijfi'ijmiufn'innwnEjnj: builIij Ramakien is a story based on the Ramayan; epic honoring Ind >rs. Phra Ram, the hero of c the Ramakien, is an incarnation of Vishnu and because \\mM^l?i7UflnjjDcj3JDdn^3Jin luiJ7\"iyifflyio mBaBsmfiunflmij ua:nJufn7fi!itinii7:Mii>] Thais believed that their king was also an incarnation n77Jj:u«;!)D77iJ uDn^nuuniniiJ rniBn of this god, the Ramakien became immensely popular in .I ,icuQ^L7!)^n!]mfi!nni7TJ!)^'n7^ui7innjvi'7QrN7nynj and. According to widespread traditional belief a tfnilyirjijfififmjjiTfBvn~i ynsujvnnufnufiB he incarnation of Vishnu and this explains mrtmifjnjznm? msinwiiB^numcnwfh'n why Ram or Rama is included in the names of Thai 713J BEJfnUlfilJB UBnTimimfl£J7fMlfB~milfi: lji) The Ramakien did not appear just in boc ii i itiunsniiitn ENuuMTifmrumiti\"] mniimutN also in female-only plays, shadow plays, puppet and Kl sked dance.

%— ffu - aijfilriuiiD'oaiunn GG The Romance of Three Kingdoms was translated and inscribed on black Samud Thai.

(im) mmoiiinjunnmlcNS-iufm inmniffiriiniJaiNfiinriiJ (Left) The original Chinese version manuscript of The Romance of Three AKingdoms. (Right) painting on glass in Phra Chetuphon Vimolmangklaram Temple depicting a scene from The Romance of Three Kingdoms. utnmtipmmwitivifi «% uvrmtf Ttfrnafi © ImnfluantJiwfm^Tii^jjYniJYiiiLlfi In the reign of King Rama I the Great, nnij£JiEifn>jThfiTiuifliJfiT^iiTn iTB^iiTriYuiiJalfliin translated versions of foreign annals and tales mfiirnf 5^1iJ TfilvTi Vi n 7r cjn n 7r fi «>i (mu) iiununiBtn emerged for the first time. The first translation llllfilll n.ff. femkc^ LUQl7t)^mumi^nnWT\"H1\"l\\)3JQnJ was the Story of Rajadhirat. In 1785, the King nTsnTfmsifanuwhifmiiJTi imjinT^tffuJtutinuncjTntJ assigned Chao Phraya Phra Khlang (Hon) and a1 ei u several scholars to work on this translation for the Urmriiluiriirm TriinvnT wBflmTBU stated purpose of giving knowledge to its readers, be they courtiers, soldiers or commoners. ffiunn iuuYWfmfln7mitJ?mnm>atfifiBfii7B>]viiN The Romance of Three Kingdoms also came UBmviijBTinrnfwvif itfniflyi © Ithmntn-) Ivunmrtn from the annals of a foreign country and King wrfifw (mu) muaBninomTiiilfl flii/hfflfii uJutjcrm Rama I the Great assigned Chao Phraya Phra rwfnifnnumtJTfun?h*i iMtfymiinrr^ miJwmtfN Khlang (Hon) to supervise the translation of this tnTfimijriiJTj luucroimarnTiiLm uuislmilimnnfiiJ story as well. Saihan was a Chinese novel based u 1 I JJ on Chinese Annals and King Rama I the Great umiimwfi\"m es'erijnSBnnn«riBi7TfUfi^?fjj{JfiB e jji nfij instructed one of his grandsons, a viceroy prince ] or Wang Lang, to supervise its translation. iTBWTrBncjiJtii ^fniBfi cihij'ii^jni7ii]iilmwBiJi^[jim^a^ The above three translated stories offered & unusual plots and sensations to their Thai iTTnjfifiniiilflnnri^ffnfnTm^nn^KiiJiTB^u readership focusing as' they did on strategies and fl ruses used in battle. muBt7B^ ,nlMU77[nnif[mJ^n lvimmaB iu lUBilB^iuuHun nmT^nnjJim: rnTiinnnayinmTfffi £cc|89

JJW ^£A^^^/«^^^fe &^«|4 ^^i^jf: ; yj/> -j '. m/5 rt ^v\\ >1 1 t» : Khun Chang Khun Phan. Folding Book Manuscript. 75itumil'3zismuviiu i4 mnTSfiuTfu rNnwirci tiuitn iiflrtfninij uBnnnuij iTTtufiSilismTifn^i Mu>]1iJiJiJfiin77njfifiil7;ifin tfitnijfiSBiJO^ninriiJuiStJU uniu tfjlmumnwiJUkjrmcjBnmmiiarNiitrNinri wrimcjjjrij muinfUfifrntfifinjutislfnufmiJiJEJiJ U ,i TJ umtfmmNi|infNi|UiiciiJ nJiniraififiiJTsirinijrnij 8£rN£NBfll7BSW1J>J fi'lJmiWSirimiJ'NfUDB mumscn ril^7Ufni3JU03jn] iJrj[ji^3Jin iffujujuumunuinij / | ?ii7^7ifiuni'nlfi yi7^^ijuwfiuii ^unirifi^frkjun^utj firidnTnij'iTiiJiJi7B>3i7>3mnfnjij1ij^ua^uifnwTr mBina3ilirimEJ>jfni!)siiiJ!)fi!)ijfififinlu^wD7iffn«yi vo 7ijjinu<nnki iWNfiNff7Bu.ofn fiuiJilfiiJCJinjjnufi^iiJii nfiimwMCifiliJ uarnaiJijniifNfiB'lmtffl'iJEjmrinYi iflnitfivntjmj fiTuS^KwanwTfnjTfiSuni m-inn tfmmm^mAimBdin rifniavi m flmmm:;rmmSffwfniJfrm£i nfmtiri ^ IfimrTTtfuyiuB iJ i i finwflumjB^B^m^BnawnjnynmwtlaTnufinrniJ uniKmiiuTfi^uuiKJUTiiJ unsIilTfiintn-i Iwniihonmij nuiiJu^uiu3Jin!)dmiJDi7D^mnnnnfn\"i}J7!)U7tt^j uu 11 I J of d7^uni7UJfi?i cU!)^?}un7fi atf3JCJ?hunintjFiuim7 II Ln^ntujliJufi^ nfu IvifftinTrl^wuTTfnffnfimij TJuffijmlivn7UfNfiBijmiijfiy,m~m>n]j LunnnuTh^ nnrNlnmfltinrifJi/UjufUfltnfiiJ rnUunfnTitufifi cUUUCJULl]u177njfl?inifl7Ufni3JlJD}jnm71\"LU!)l7!]^ ijvnmiJutJijlMw^dThniJi77njfi?]lfi°]1iJB^ tfumftufififnij ijnfnmflvmitJBi7]jnj uaswmasm no 90

® •mm iftjnlnuiiB-inirBri'uwrij ' Phra Apai Manee. (Folding Book Manuscript) 'ttini 7/ , Literature thrived in the Rattanakosin Era and tales were among the genres that were most popular with readers and listeners. Khun Chang Khun Phaen: The Poetic Story of Khun Chang Khun Phaen was immensely popular. It was the poetic version of a local tale that people say was based on a true story. In the Rattanakosin Period, King Rama II composed new poetic lines for Khun Chang Khun Phaen and instructed some other poets to take charge of some other parts of the story. Khun Chang Khun Phaen enjoyed huge popularity because the plot is fascinating and spiced with various emotions. The story also has all kinds of characters, from a king to courtiers Onand villagers. top of all this the poem is very beautiful. Phra Apai Mani: Offering an interesting plot and much fun, Phra Apai Mani had a large following. Sunthorn Phu used his extensive knowledge, his colorful life experiences and an expansive imagination to create the Story of Phra Apai Mani. It was a tale like no other at the time.

, m aaw- ttaMummmmt ja*t« *^*.~ v».% ?*-:- \"»»»''> ,;.,- „,/•,,.., . ,, mill' ,?. /r ,, :-17/rnilU/n, fhfi UlHlMltm /mrf„ .. . .„ Up-, ...... ,.„ nftent* (ifSfj) m:nilWi!ftim::irim>]D™ ui]aiiJumtnD\\inqtt a-0MiJ'iM!n\\iD^nqu1u{Ififnno (im) ^fuuntmnvfnmnnttfn (fiwwnjNmj) fan-a rlnuTfiflfln King Songtham's letter translated into English and submitted to the English governor in Batavia (left). Letter from Thao Thep Kasattri (Khun Ying Chan) to Francis Light in 1778 (right). msflimwai warns AlKlfl IWW iwiuun^ ilfjmi msmymai mM^m^im'gWuitJimuwwfgritfm? (sfltwityrn'Tm) fftdm tswrwNSNVia'NfuvniNSN t>mH'irivniNSNfNiN«Nvi«rN vniuuluugn iunmua?au , j zmmw www aiu^ignyi «iWuM9nfl?tJuiJijTwEiwwn?itiuviiwt9?it1ni? (sflvwitiTnlrrn) $AMtfhmiA<i$m§mim^iMziumui iTiHmwHiim iHQmuiiMvTvi sfiHiTnssswmij^^swinitluismou w win ch^ tin wnl^uvi u ien shiil'st in rrjsenmwsn rrreenwh mnfiuiimzmw^ / i«9W9^m?^ifnitiuii ^«lwliwa?iiwumr^nT^ntjnun nutn-vrcw c\\b

MgnnB ifeaw^fw nuniifluninffljifnm:un7iurujjvnnifttoTfrmncn>]iffa U ?<y?a List of goods King Narai the Great ordered from France. 1 6$&j^ ) Paper ^<V?4j3£M7yec In the Age of Samud Thai paper emerged but \\ it was not yet popular. Paper, back then, was mostly used in state affairs when messages being sent were not long. Public notices, letters and royal orders, for example, were released on paper. Kradas Plao (Plao Paper): Made from tree bark, Kradas Plao was different from Samud Thai in that it was very thin. It was used for official documents (letters sent by state agencies) exchanged between the capital and key cities. These documents were in the form of public notices, petitions, etc. Kradas Sa (Mulberry Paper): This was made from the bark of Sa or Mulberry trees. When being used for state agencies' letters, public notices, petitions and copies, Sa Paper was thin. However, Sa Paper was made thick when it was used for annals, royal orders and legends. The thick version was so designed to ensure that it could be bound into a book. Kradas Farang or Samud Farang (Westerners' Paper): Foreigners from the Western World invented this type of paper. Although it was thin, it could serve various purposes. In the beginning, it was used mostly for state agencies' letters. Later, Thais noticed that the Kradas Farang worked well and could be stored neatly so it gradually replaced die Kradas Plao and Kradas Sa.

[©3LiVIVI ni^ivhiHuiJFiniwm w& rmij^mqmj^niTWkm mTionwusiSmififlziAJj dT^mffufi^^ij'ii^yinfntjij!) fifiABniuBvnvifisudtJ uufiDumiluliJmGfnikimn^iuin rii^aS^iulfrDm^iinfi li)m^fimT^nwnu«:m7!)Stj^:iTjnnsiniJTnnnij^iiJijldlfiiJ'iri5>3 niimmiJu^mfiltjlfiSmTwwvNditjyn^ iiliitJiiuil^^mjBsimTtiniJimrrnTiTCJUT ImmTnT^io^fiwlno'lui^nTi^ iiar OttHQ uu i ** mn lvnn G[finuuuLfi3j 6un^nu Lntjm^iLitjmJ^^ i <un^'Dfinn?i fmmmfinnfmmifi 1 *U 1 2> U «-/ i 11 dt^Wl ifinfu^u^scjnjjYiiisimiiii mTnuvwLNflBTfia IvnjWtjfrN luffafiij Imu lama lumimnsiviiNflmimlmtjfmmrinrmtnu uBnTinu^wjunnufintmrmsiinisn tii i ii . . ^^lui^uTiJuuijlvikjmtfinfii^liJiin^'nfiiilnrjfiiimtj nfi^D^nnfikjrN tl 1 i 1 tJ^l^TfiunjtjnGn^TSnHn nB^mfifiT:tjylT>3i7aTJU«:uiiiJi7aiifiijjjifiTfiijnijriij sdiNjfMkiifiDWkJiriQ'u Before the Printing Era began, every book produced and every public notice issued was handmade. Someone had to copy texts on to a new page, manually, one by one. Consequently, the Thais' access to books and education in the pre- printing era was very limited. The manner in which Thais read and learnt underwent a revolution only after foreign missionaries introduced printing technology. Thanks to this innovation, reading materials became more varied and were able to reach a wide audience in Thailand. Overall, the printing era not only boosted Thais' access to education but it also changed the Thai lifestyle once and for all.



ihsnmi'miMlm mu njsbiiu nu unirfnwfntjfn^uriuuiiuaBnlunimiinnSfnjBNilii Vajracchedika Prajnaparamita Sutra or Diamond Sutra from the Tang Dynasty, China, is the oldest printed document using wood block printing technique. v uii7u^MwuummwmtjnaLimfln nflUfiwmTmififni) rn7^jjyiinfnjijfi7>]ii7nlfiEJirnilij3'^ lfliJiiicjuMij rmuurmwwnvubtign fNUfi Vafex* il rititjmtffimfi nlfi7um7nnjij\"ijjn0tn>]fit)iijt)>] B£j\"Nl7nfniJifliLm[jij mnryiilMtfiiJiTtitJflfiMiJ^SBlfim^nsiJifii fmwutju n^cjafiBrnTnjjnrni^ninfnjuLiJBlcj aruu nmuimin lumiYijjnMtj^^Bicjaiin n^ it ninTmamqlTil (Johannes Gutenberg) itaflttYiiyiiJfljjn warn doi^ 7ifii7i u^^L-tJuH^lijmfiluI^S^fnfinu^n iiwinjut<nvi7ijvis!)fnwjjyilavi:iicjn?n ffikmmlcN mtin iin unif iiffcj v : i2iimmiJiJ7^Ejnu«:iw!)lif^jjri liJiiS iri^njjn7riijnri«ij CCt>|96