Votive Tablets 140
Sanskrit Language Sanskrit is a language that evolved from the Aryan language, or Indo-European, the ancestor of the Indo-Aryans who settled in Northeast Asia (Central Asia) without a permanent address. Like other tribes, the Aryans were nomadic, which caused their displacement and led to the birth of different traditions and languages. The Aryan tribes brought the ancient Vedic language to India along with their religious beliefs. In a later period, Panini, a grammarian, composed the Sanskrit grammar text called “Ashtadhyayi” (eight stanzas of grammar). Panini observed that Vedic Sanskrit already had enough dialects mixed in without a formalized grammar. The Vedic Sanskrit used since that period had mixed with various local languages, which compromised the sanctity of the rituals. Therefore, “Ashtadhyayi” was composed. In fact, grammatical texts preceding Panini’s work already existed, but with the emergence of “Ashtadhyayi,” those texts lost popularity and eventually disappeared. The result of Panini’s grammar was that the language became too restrictive, impeding its development. Traditional Sanskrit then became a written language used in literature, which required significant time and effort for reading and translation. Sanskrit is a language in South Asia belonging to the Indo-Aryan branch of the IndoEuropean language family. It originated in South Asia after earlier versions of the language spread there from the northwest during the Late Bronze Age. Sanskrit is the sacred language in Hinduism, the language of Hindu philosophy, and the language of Buddhist and Jain literature in the past. It was also one of the lingua francas in South Asia from ancient times to the Middle Ages and played a role in the spread of Hindu and Buddhist cultures to Southeast Asia, East Asia, and Central Asia in the early Middle Ages. Sanskrit became the language of religion, high culture, and political powers in certain regions. As a result, Sanskrit has had a lasting influence on languages in South Asia, Southeast Asia, and East Asia, especially in the formal and academic vocabulary of those languages. Sanskrit does not have any specific writing script. And it’s similar to many other languages. That is, it can be written with many types of characters. There are many types of ancient scripts used to write Sanskrit, such as Kharoshthi script or Gandhari script. There are also Brahma letters. The Ranjana script, which is commonly used to inscribe Buddhist texts in North India and Nepal, is also the Siddham script, which is used to record Buddhist scriptures and Sanskrit chants in China and Japan, especially in the Montrayana sect. However, Sanskrit is generally written in the Devanagari script. Other characters is popular in each locality. This is because the alphabet is used in India usually belonging to the same family Therefore, it can be easily adapted and transferred between character 141
sets even in Southeast Asia There are also Sanskrit inscriptions that use the Pallava script, the Khmer script, and Europeans also use the Roman script to write Sanskrit with only a few additional dots and marks Original copy of the Prajnaparamita Haruthai Sutra in Sanskrit at the National Library in France 142
Comparison Table of Brahmi and Thai Alphabets Brahmi Script The Brahmi script is an ancient South Asian writing system. The Brahmi script was developed into an international script in the 3rd century BC and is the origin of a part of the writing systems in South Asia. Brahmi letters are compound vowel letters that use a system of phonetic auxiliary marks. These marks, which can be letters or symbols, are used to represent different types of sounds and connect vowels with consonant symbols. However, this writing system saw little development from the Maurya period (3rd century BC) to the early Gupta Empire (4th century AD). It is believed that literate people were able to read and understand Maurya inscriptions until the 4th century AD, but the ability to read traditional Brahmi script has been lost over time. The oldest and most well-known Brahmi inscriptions are Ashoka’s decrees in India, which date back to 250-232 BC. 143
Brahmi script and Sanskrit Language read the alphabets on the above votive tablet to be “Ti-Tha-Thi-Ra” Sanskrit is used to record Buddhist scriptures, including Sanskrit mantras, in China and Japan, particularly in the Mantrayan sect. However, Sanskrit is generally written in the Devanagari script. In other regions, different scripts are popular. This is because each locality has its own script, usually belonging to the same family. Therefore, it can be easily adapted and transferred between character sets, even in Southeast Asia. There are also Sanskrit inscriptions that use the Pallava script and the Khmer script. Additionally, Europeans use the Roman script to write Sanskrit, with the addition of a few dots and marks. 144
Usnisa Vijaya Dharani Sutra in Siddham Script and Sanskrit Language Siddham Script The Siddham script is an ancient Indian script that developed from the Brahmi script and later evolved into the Gupta script. It was primarily used in northern India. Simultaneously, Tibetans adopted the Siddham script as their national alphabet. Despite being over a thousand years old, the Siddham script is still used by the Shingon sect of Buddhism in Japan, mainly for writing mantras and recording Sanskrit scriptures of Buddhism. In Japanese, the Siddham script is known as “Bonji.” In China, many ancient Buddhist sutras and texts are written in the Siddham script, which the Chinese refer to as “Siddha Matrika.” 145
Backside Picture of the Stele with Eight Great Events from the Life of the Buddha in Siddham Script and Sanskrit Language The Siddham script is used in the Sanskrit language, appearing behind the votive tablet named Stele with Eight Great Events from the Life of the Buddha in the Golden Chedi (Suwan Chedi) or the Pathumwadee Chedi. When translated into Sanskrit, it reads “Ye Dhamma,” which is an inscription of an incantation representing the Noble Truth, the core principle of Buddhism. This inscription was revealed by Phra Atchi, one of the Panjavaggi, to Phra Sariputta before his ordination. It signifies that “All dharmas have a reason to exist. The Tathagata explained these reasons to put an end to suffering. The Great Ascetic consistently imparted such teachings.” The Siddham inscription “Ye Dhamma” is found on the back of the votive tablet named Stele with Eight Great Events from the Life of the Buddha. It is a relic of Pala art from India, dating back to the 13th-14th Buddhist century. 146
Development of the Devanagari script from the 1st-12th Centuries AD Devanagari Script The Devanagari script is an alphabet that has evolved from the Brahmi script. The word “Devanagari” is a combination of two Sanskrit words: “Deva,” which means god or divine, and “Nagari,” an adjective derived from the noun “Nakri” or “Nakhon” meaning “city.” Therefore, “Nagari” refers to being born in the city or related to the city. The term “Devanagari” can be interpreted in two ways: “Letters born in the City of Angels” or “Alphabet used in the city of the angels” as it signifies the script used for sacred purposes. The Devanagari script, also known as the “Alphabet of the gods,” has developed from the Brahmi script in the northern region. It is found in the oldest inscriptions that solely utilize this script. Its usage can be traced back to Buddhist manuscripts from the 12th century and even earlier writings dating back to the 17th century AD. 147
Backside Picture of the Stele with Eight Great Events from the Life of the Buddha in Devanagari Script and Sanskrit Language The Devanagari script is used in the Sanskrit language, appearing behind the votive tablet named Stele with Eight Great Events from the Life of the Buddha in the Golden Chedi (Suwan Chedi) or the Pathumwadee Chedi. When translated into Sanskrit, it reads “Ye Dhamma,” which is an inscription of an incantation representing the Noble Truth, the core principle of Buddhism. This inscription was revealed by Phra Atchi, one of the Panjavaggi, to Phra Sariputta before his ordination. It signifies that “All dharmas have a reason to exist. The Tathagata explained these reasons to put an end to suffering. The Great Ascetic consistently imparted such teachings.” The Devanagari inscription “Ye Dhamma” is found on the back of the votive tablet named Stele with Eight Great Events from the Life of the Buddha that is a relic of Pala art from India was found in inside the principle prang in Phra Nakhon Si Ayutthaya Province. 148
The Egyptian number system written by hieroglyphs Roman Numeral System Cursive hieroglyphs were often used to write religious literature on wooden panels and papyrus. Early Egyptian hieroglyphs date back as far as 3300 BC and were used until the end of the 4th century AD. They were eventually discontinued due to the closure of non-Christian religious sites, rendering the need for writing memorial notes unnecessary. Within the Golden Chedi (Suwan Chedi) or Pathumwadi Chedi, hieroglyphs were found representing numbers. These were used to indicate the year of the Buddhist era in which the votive tablet was constructed. Similar to Roman numerals, the Golden Chedi or Pathumwadi Chedi employed a similar system. However, there is a distinct difference in representing the number 6. In hieroglyphic letters, it appears as “IIIIII,” a combination of six strokes. In Roman numerals, it is represented as “VI,” combining “V” with “I.” Egyptian Numbers The Egyptian number system was used in ancient Egypt from around 3,000 BC until the beginning of the first millennium. It is a decimal number system that was written using hieroglyphs. 149
From comparing the letters used in the inscriptions of the Buddhist era found on the votive tablets of Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi, a distinct feature emerges that suggests the possibility of hieroglyphs. This evidence becomes evident when examining the inscriptions on the back of the votive tablet, which indicate the year of construction for two different eras: 1232 and 1263. These inscriptions display the following sequences: “I II III II” and “I II IIIIII III.” According to local legends, Phra Nang Chamdhevi was the first king of Haripunjaya City. There were five hermits involved in the city’s development: Hermit Sonantho or Buddhachatil Hermit, Sutheva Hermit or Wasuthep Hermit, Supromana Hermit, Khattiyaratana Hermit, and Anusissa Hermit. They designed and built the Lamphun or Nakhon Haripunjaya votive tablet with the intention of establishing a monastic community in the city. The votive tablet was created at various times, including the years 1200, 1202, 1232, and 1263. The votive tablet of Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi clearly displays Egyptian inscriptions representing the years 1232 and 1263. In 1232, Phra Nang Chamdhevi abdicated the throne to the great prince and a replica of Phra Rod Luang was built and distributed to the people as a souvenir. In 1263, the 80th anniversary of Queen Chamdhevi’s reign was celebrated, and she was honored with the title of “Empress.” Inscription in the year of 1232 Inscription in the year of 1263 150
Yonakapur The original word “Yonakapur” (Yo-na-ka-pura) means “Yonok City” in Buddhism. According to the Ionian chronicle from the 11th to the 18th centuries, the Nakhon Suwan Khom Kham Community was established. This community included Yonok Nak Nakorn, Chiang Saen, and the Lanna Kingdom of Thailand, situated along the Mekong River, Kok River, Ing River, Ping River, Wang River, Yom River, Nan River, from Sips Song Panna down to Haripunjaya (Lamphun). An important ruler during this time was Phaya Singhanawat, who founded the city of Yonok Nak Phanthusinghanawat in the Mekong River Basin on the flat land in Chiang Rai in 1117 B.E. According to many Lanna legends and chronicles, the area near Doi Tung was originally settled by the Lua or Lawa people, who resided within the territory of the city of Yonok. Later, a country was established on a flat field called “Hiran Nakhon Silver Tire Chiang Saen,” and a new city called “Phu Kam Yao or Phayao” was created after the fall of Yonok City. The records of Luang Pu Man Phurithatto, as recorded by Luang Ta Thongkham Charuwanno, mention that misfortune began to occur about 500 to 900 years after the Buddha’s death due to the invasion of the Persian people from the Middle East, who practiced Islam. India, which was the refuge for the people of the Indian subcontinent, including Lord Buddha and his Sakya family, faced a powerful invading army. The preparation for battle was insufficient, and as a result, a national genocide took place. The treacherous escape of the states, including Nalandaei University, Phra Veluwan, Phra Jetavana, and Buppharam, along with tens of thousands of monks, has been recorded in history like the sound of a drum. • The people of Kosol State and smaller states such as Lichchawi Malla also migrated to the land of Shwedagon, which is present-day Burma, Mon, and Thai Yai. • The people of Biharta had Rajagaha as their capital. They escaped following the path of their relatives who had previously traveled and headed towards “Suvarnabhumi.” This migration included small and minor states, with Sakka, Koliya, and others following as well. They split into two groups, with one group heading towards “Yonok Pradesh” in Shan State, now in Burma, and the other group continuing to Yunnan Province in China. During the reign of Queen Chamdhevi, who ruled Haripunjaya City around 1300 B.E., Haripunjaya City was the city of the Mon or Meng people. while at the foot of Doi Suthep is the location of the country of “ Lua People “, which is the location of “Yonakapur City or Yonok City” with Khun Luang Wirangka being the 13th Lua king of the Raming City in the Gunara dynasty at that 151
time. In addition, the legend of Wasuthep hermit or Phra Suthewari has a story in the legend that it was the creator of many cities in the Ping River basin such as Haripunjaya or Lamphun; including the name Doi Suthep comes from the hermit Wasuthep which corresponds to the Ionian chronicle Specified in the 11th - 18th century Phuttha has created various communities. From Xishuangbanna down to Haripunjaya (Lamphun) in the royal history of Queen Chamthewi in Chamthewiwong Scholars believe that Wasuthep was an “Indian ascetic”, but the Chiang Mai-Lamphun natives believed that they were “Lua people”, which is related to the teachings of Luang Pu Man Phurithatto, who stated that Bihar” has the city of Rajagaha as its capital. fled by the line of relatives who had traveled before and headed for “Suvarnabhumi”, including small states, minor states, Sakka states, Koliya states, and others followed by splitting into two lines One line towards the “Yonok Pradesh” is the “Shan State” in present-day Burma, and beyond to the “Yunnan Province” of China, where both beliefs are possible between scholars and natives. According to the commentary of Phra Kanthajanajarn about the explanation of the Tripitaka, it was explained that the Lord Buddha had come to stamp the Buddha’s footprints in 5 locations, namely 1. Suwan Malik, Lanka City 2. Suwanbanphot, Saraburi Province 3. Sumanakut, Sri Lanka 4. Youakapur mane of four footprints of the buddha in Chang Mai City 5. Nam Nanthi, believed to be Koh Kaew Phitsadan Phuket Map Showing Location of Kingdom of Yonok and Chiang Saen 152
Prototypes Found in Government Museums Champadad Volcanic Soil, Lampang Province Conclusion Based on the study and research of the votive tablet of Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi, the age of the votive tablet can be determined by considering the following main factors: 1. Analysis of antiquity: This involves comparing the votive tablet with other examples of similar nature such as prototypes found in government museums that are 1,300 years old. 2. Examination of minerals: The minerals used in the creation of the votive tablet, such as volcanic soil and various herbs, are compared with the minerals found in the votive tablet. 153
3. Verification of inscriptions: The inscriptions found on the back of the Buddha image in Stele with Eight Great Events from the Life of the Buddha or the posture of the first sermon are examined and compared with inscriptions found on the back of the Buddha images in Stele with Eight Great Events from the Life of the Buddha from India, specifically Pala art dating back to the 13th - 14th centuries B.E. This includes comparing the Siddham letters found in Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi with the characters found on the back of the Buddha image in Stele with Eight Great Events from the Life of the Buddha. Additionally, the inscriptions found in the recess of the Phra Prang in Nakhon Si Ayutthaya Province are also taken into consideration. Backside Picture of the Stele with Eight Great Events from the Life of the Buddha in Siddham Script and Sanskrit Language Backside Picture of the Stele with Eight Great Events from the Life of the Buddha in Devanagari Script and Sanskrit Language 154
Questions and Answers Question: We pay our respects to Phra Khru Palad Suradet Khunwaro. We seek your assistance in expanding the evidence that you possess and gathering more evidence to confirm the creation of Phra Nang Chamdhevi’s Lamphun family’s votive tablets. We are grateful for the guidance and knowledge you provide, which helps alleviate doubts surrounding this matter. Answer: In order to establish a connection with the terra cotta Buddha images from that era, we need to first prove and crystallize which group of terracotta images were constructed during the early period. Specifically, we refer to the beginning of the era when Phra Nang Chamdhevi ascended to rule Haripunjaya as the first individual. We can consider the following elements that can be linked together: 1. Legend of Chamdheviwong, the Legend of Chinnakan Malee Pakorn, Legend of Haripunjaya has said that Phra Nang Chamdhewi was born in the era 12th - 13th Buddhist century, as detailed below: • Phra Nang Chamdhewi was believed to be the first king of Haripunjaya City. She was the daughter of the King Chakraphatdiraj of Lawo (Lop Buri). Year of birth, period of reign and the year of the death of Queen Chamdhevi had the different recorders or analyzers; for example, Chinkala Maleepakorn said that she reigned in 1205 B.E., reigning for 7 years, Mr. Manit Wanliphodom said that she was born in 1166 B.E., reigned in 1205 B.E., reigning for 17 years, died in 1258 B.E. in the age of 92 years old, Mr. Sutthawaree Suwannaphat said that she was born in 1176 B.E., reigned in 1202 B.E, abdicated in 1231 B.E., and died in 1274 B.E. Phra Nang Chamdhewi was a Benjakalyani or five attributes of a beautiful woman who had precepts and was capable, living as a widow because her husband which had the name in the annals of Haripunjaya that was a ruler in the city of Raman. This corresponds to the religious legend that the city of Ra or the city of Ram had faith to ordain as a monk. King Chakraphatdiraj gave permission for Queen Chamdhevi, who was 3 months pregnant, to travel to rule Haripunjaya City. At the invitation of Hermit Sukok Thanta and Hermit Wasuethep who sent Mr. Kawaya as an envoy to invite Queen Chamdhevi to bring the monks Brahmin congregations, merchants, craftmen, artisans around 500 people of each, and in estimated total of 7,000, traveled slowly by the Ping (Phing) waterway, setting up towns to propagate Buddhism along the way. It took 7 months 155
to travel and then arrived at Haripujaya City. After arriving seven days later, she gave birth to twin sons whose names were Mahantayot and Anantayot. Next time, both of them got their own elephants that had the color like a silver and green sesame (short and big white ivory or black ivory) from the foothills of Doi Ang Song (Ang Song) in Khao Luang, Chiang Dao District, Chiang Mai Province. When her son was 7 years old, Queen Chamdhevi abdicated the throne to assign Mahantayot for reigning in Haripunjaya City. About Anantayot, Phra Nang Chamdhevi had brought people to establish Kelang Nakhon or Lampang City in the present. It was considered as the expansion of the kingdom and the Buddha’s kingdom far and wide. As for her, she wore white robes to pay homage to the five precepts until the day of her death. According to the religious legends, it had been said that she always practiced five precepts every day without lacking in religious ideology that was a good role model in the practice of Dharma to all followers or called Sena Amat, Rajamontri, and those people also practiced it very well. Most importantly, she was the patron of Buddhism to prosper and develop until the present day, and built Chatura Phutthapraskan as a monastery in the four corners of the city in order to be a fortification of the Buddha to protect the city to develop buildings free from various disasters. 2. The Fine Arts Department has divided the era of Haripunjaya City into three periods: 2.1 Haripunjaya City “Early or Early Era,” which occurred around the 12th - 14th Buddhist centuries. This era was associated with the ancient city’s central temple area. 2.2 Haripunjaya City “Second Phase,” which occurred around the 15th - 16th Buddhist centuries. During this period, the city continued to be inhabited, and evidence of this could be found through excavations in the Lamphun City Hall area. 2.3 Haripunjaya City “Phase Three,” which occurred around the 17th - 19th Buddhist centuries. During this period, the community expanded to surrounding areas and reached its peak before eventually collapsing. The influence of Haripunjaya also extended to nearby ancient cities such as Wiang Mano, Wiang Tho, and Wiang Tha Kan, which experienced growth during the same period. The culture of Haripunjaya initially drew influences from various cultures; including Dvaravati, Phyu, Pagan, and Khmer cultures. However, as time progressed, it developed into a distinct Haripunjaya culture, reaching its zenith. When examining evidence such as inscriptions, legends, and chronicles, the credibility of the origin and development of Haripunjaya Ancient City aligned with archaeological findings. It was important to consider archaeological evidence, architectural evidence, and other supporting evidence in conjunction with legends and chronicles in order to gain a comprehensive understanding. The influences and origins of arts 156
and architecture in this ancient city of Haripunjaya could be categorized into four groups: Pala-Pagan cultural influences, Dvaravati cultural influences, Phyu-Bagan cultural influences, and Lanka pagoda influences. These various influences had contributed to the diverse and distinct styles observed in the arts and architecture of Haripunjaya. 3. The evidence of Buddhist art found in the clay votive tablets provided valuable insights into the age of their creation. It could be concluded that the journey of creating these art pieces began around AD 711 or the 12th - 14th Buddhist centuries, which corresponded to the early era of Haripunjaya City. This period of artistic development was influenced by the emergence of Islam invasion in the 11th century. The invasion led to the dispersal of Buddhist communities, particularly towards the Kingdom of Srikaset (Muang Prae), which served as a major trading center. The connection between Haripunjaya and Bagan, which occurred during the 12th - 13th Buddhist centuries, is evident and significant. Haripunjaya held strategic importance as a port city, facilitating the flow of civilization from North India, Bagan, Tibet, and Dvaravati. Further exploration and study of the terracotta votive tablets within Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi, considering their nature, age, and other variables, remains to be conducted. 4. Letters inscribed around the terracotta Buddha image which was removed in the Devanagari script and the Siddham script. Both types of letters had spread into Haripunjaya City. It was an original script estimated to have entered during the 12th - 13th Buddhist centuries in the form of research from the inscriptions of the terracotta votive tablet, and most importantly, the emphasis on “This Devanagari script was not the work of a human being, but it was used in the heaven. Devanagari script developed from Brahmi script began to be used in northern India in the 9th - 10th centuries which was commonly used to write. The Sanskrit script was derived from the Brahmi script through the development of the Gupta script which later resulted in the Devanagari script and many other letters in Asia such as the Tibetan script, etc. The Siddham script was distributed along with Buddhist scriptures from India into China and Japan, respectively, since 1349 B.E. by Kugai, who learned Sanskrit and Buddhism from China. In Japan, this character is called “Bonji”, written from left to right, horizontally. Today, the Siddham script is still used in the rituals of the Chingon (Montrayana) sect in Japan from proof of the characters. According to the process, therefore it could be concluded that Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi which had the same old nature, one color, living together as a group; including the inscriptions of Devanagari and Siddham script. It was truly a group of Buddha images built in the 12th - 13th Buddhist centuries. 157
Photo of Chedi Thong or (Suwan Chedi) or Chedi Pathumwadi 158
Questions and Answers Question: We pay our respects to Phra Khru Palad Suradet Khunwaro. How many do Phra Rod votive tablets have the molds or category? Answer: The term “Phra Rod” could be categorized into three types based on its age: 1. Phra Rod that belonged to the era of their creation such as those built during the restoration of Phra That Haripunjaya in the 35th year. This group corresponded to the specific era of their creation (taking the year of creation as the reference point). 2. Phra Rod that had achieved authenticity was referred to they had been verified and their true age had been established. This verification should not be based on individual claims or societal beliefs, as they were not conclusive evidence of votive tablet’s genuine age. To establish the true age of votive tablet, it was necessary to consider all relevant evidence and facts. 3. Phra Rod that aligned with social trends. This primarily referred to a large group of votive tablets that had been widely circulated and popularized over a long period. The proof of their age often relied on the collective beliefs of individuals involved in the process, rather than evidence or scholarly research. For example, Phra Rod Mahawan was believed to have been created 1,300 years ago (12th - 13th Buddhist century). However, the academician later verified its actual age to be from the 16th - 17th centuries (700 - 800 years ago), based on evidence gathered through the identification process of Phra Rod Lamphun in accordance with social customs. To provide a detailed answer, the following points need clarification: 1. What types of votive tablets did Phra Nang Chamdhevi, the first King of Haripunjaya City, create? 2. How were the different variants of Phra Rod divided in each era? 3. How many different molds of Phra Rod which truly represent their respective eras? Addressing these questions will help to provide a comprehensive explanation as follows: 159
Item 1 Firstly, it is essential to study the fundamental information regarding the subject matter. The “Old Buddha Image from the Lamphun Family” needs to be compared or contrasted with the standard image, specifically the terracotta votive tablets from the 11th to 14th centuries in the Buddhist era. It is necessary to gain clarification on the level of craftsmanship during this period. To achieve this, reference can be made to the terracotta votives discovered in the city of “U Thong,” which the academicians from the Fine Arts Department have determined what were created during that era. Consequently, these artifacts are considered an international standard within the academic community. Once the prototype is obtained, it should be compared with the authenticated votive tablets to ascertain its resemblance to the original clay votive image. The repository that contains such content (natural and old) that closely resembles or is equivalent to the original piece is considered to have been constructed in the early or initial period. This is because the city of Haripunjaya established a rule to construct the city 1,300 years ago. Therefore, the Buddha images that successfully pass the examination are deemed to have been created during the 1,300-year-old period as well. Item 2 What kind of Phra Rod was created by Phra Nang Chamdhevi? This is an important issue in data analysis because it is considered a very in-depth question. First, let’s gain an understanding of the Buddhist art created by royal craftsmen and the Buddhist art created by villagers, in order to crystallize our understanding. 2.1 Buddhist art refers to artworks that are created by technicians or artists in connection with Buddhism or built to serve Buddhism. This includes paintings, such as wall paintings in temples and viharas, sculptures like Buddha images, and architectural works such as religious buildings like churches, viharas, sermon halls, stupas, and pagodas with content related to Buddhism and Buddha’s history. 2.2 Buddhist art craftsmanship: • When discussing the term “Ten Essential Traditional Craftsmenship” according to the dictionary of art terms from the Royal Institute, it refers to “Royal Craftsman”. This term was coined by His Royal Highness Prince Krom Phraya Naritsaranuwatwong with the royal endorsement, as documented by Phraya Anuman Rajadhon on August 31, 1936, in a book that records various knowledge stories. The book states, “Ten Essential Traditional Craftsmenship is the name of a department that brings together Ten Essential Traditional Craftsmenship.” • The gathering of ten groups of artisans began during the reign of King Rama V. There were ministries such as Wiang, Wang, and Klang Na in the government. Each ministry required artisans with fine arts skills to create items for government use, personal belongings of the royal family, and to serve religion and the public. However, skilled craftmen were scattered in various areas at that time, so it was necessary to bring them together in the same department. This marked the beginning of 160
the formation of the Thai arts craftmen, which eventually grew to more than 10 groups. They were collectively referred to as the “ Ten Essential Traditional Craftsmenship” to categorize these important craftmen. Later on, more groups emerged based on the nature of their work. • In the past, Ten Essential Traditional Craftsmenship were directly involved in creating various works of art; including fine art and decorative arts for the royal government such as consumer goods, royal vehicles, and royal palaces. They continued to gather individuals with knowledge, abilities, and skills in various crafts to serve as regular government officials, becoming royal craftmen who fulfilled the king’s desires. Therefore, the department was originally named the “Department of Ten Essential Traditional Craftsmenship” These groups can be classified as follows: 1. Drawing and Painting 6. Molding and Sculpting 2. Carving 7. Model Building 3. Engraving 8. Lacquering 4. Turning 9. Metel Beating 5. Casting 10. Plastering Therefore, the term “Buddhist Art of Royal Craftsmanship” refers to the Buddhist art created by artisans in the palace or the king’s craftsmen. As a result, royal craftsmen are known for their attention to detail, beauty, and the inclusion of all necessary elements. Due to their exceptional skills, they are designated as “Royal Craftmen” or, as they are currently recognized, “ Ten Essential Traditional Craftsmenship”. 2.3. The Buddhist art created by village or local craftsmen differs significantly from that of royal craftmen, and can be further explained as follows: The distinguishing characteristics of Buddhist art in villages can be summarized in three aspects: • Simple communication style: It communicates through the building’s shape or the functionality of the space in a simple and straightforward manner. This style corresponds to factors such as the villagers’ lifestyle, social conditions, and cultural norms. • Freedom and creativity: Villagers have the freedom to create diverse artistic expressions, unconstrained by traditional craftsmanship conventions like the “Chang Luang or Royal Craftmen”. • Thoughtful selection of decorative materials: Villagers exhibit a discerning use of decorative materials, choosing them appropriately based on factors such as status and availability. They emphasize efficiency in the use of space and cost-effectiveness. In contemporary society, two types of Buddhist art related to Phra Rod have gained popularity: 1. Buddhist art of Phra Rod created by royal craftmen 2. Buddhist art created by local craftmen This classification aims to distinguish between Phra Rod crafted by royal craftmen and those created by villagers, following the aforementioned criteria. In this era, there exists a wide range of Phra Rod 161
and Buddhist art, not solely limited to the royal craftmen who serve the king. The openness in creating clay votive tablets during this early period was considered a religious inheritance, thus the monarchy had no specific regulations concerning this practice. The mold form of Phra Nang Chamdhevi represented the beautiful Buddhist art of that time, showcasing the craftsmanship associated with royal craftmen. Item 4 How many authentic ancient molds of Phra Rod of each era? To determine the number of authentic ancient molds, we must consider the specific era to which this question applies. Additionally, the term “real survivor” needs to be defined such as Phra Rod created by the instructor, Phra Rod Kru Mahawan, and Phra Rod in the Golden Chedi, which represent the eras that they were created. In society, the phrase “really reached the era” specifically refers to the Phra Rod created by Phra Nang Chamdhevi. Thus, we can calculate that Phra Rod created by Phra Nang Chamdhevi embodies the main theme of Phra Rod. To provide evidence of its ancient nature spanning 1,300 years and the craftsmanship of royal craftmen, historical proofs have been examined across various fields. The following conclusions can be shown: 1. Phra Rod created by Phra Nang Chamdhevi corresponds to Phra Rod in the the Golden Chedi (Suwan Chedi) or the Pathumwadee Chedi, and it is considered a royal mold. This determination is based on a comparison of ancient characteristics. The presence of the DevanagariSiddham script inscribing the Ye Dhamma verse on the group of Phra Rod supports this claim. The removal or carving of the inscription occurred during the 12th-13th Buddhist centuries, and scientific evidence further validates this. (Note: The use of age checker is not an international standard and thus not mentioned.) 2. The group of Phra Rod dating back 700-800 years includes Phra Rod Kru Mahawan and other Phra Rod molds found in three additional temples: Wat Phra Khong, Wat Don Kaew, and Wat Pratu Lee. This conclusion is based on the reasoning provided in the previous point. 3. The group of Phra Rod dating back 300-400 years can also be traced back to Phra Rod created by Phra Nang Chamdhevi, as established in Item 1. Therefore, a clear definition cannot be provided. It depends on the causes and factors that have been previously explained. Consequently, it needs to be calculated based on various components involved. The key principle is that the creation of votive tablets must exhibit meticulousness and beauty, reflecting the skills of a “Royal Craftsman.” Note: This lecture is an academic presentation grounded in evidential support. It does not pertain to the playful interaction of Buddha images. Therefore, the question of how society at large 162
will perceive or engage with these findings that is beyond the scope of this discussion. In conclusion, it can be affirmed that “Phra Rod created by Phra Nang Chamdhevi indeed exists based on the proof process as described above.” replica of Buddha’s footprint Kru Chedi Thong 163
mold sample 164
Names of Parts of the Buddha Image 165
1. Garland of Rays 2. Topknot 3. Hair 4. A band of hairline over the forehead 5. Forehead 6. Eyebrows 7. Eyes 8. Nose 9. Cheeks 10. Mouth 11. Chin 12. Ears 13. Neck 14. Shoulder 15. Outer Robe 16. Breast 17. Chest 18. Rim of Outer Robe 19. Navel 20. Hands 21. Feet 22. Fingers 23. Lap 24. Toes 25. Knees 26. Square Bases 166
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Author and editor Phra Khru Palad Suradaj Dussadin, Assistant Professor Dr. Former Special Lecturer of Mahachulalongkornrajavidyalaya University Chiangmai Province (Wat Rong Wua Daeng Classroom) Doctor of Philosophy in Buddhist Art in Amulet Conservation Mobile Phone: 093-736-4498 Line ID: sura771 Organizer Team 171
Preparation Consultant Organizer Team Mr. Mongkontep Khoo-Aroon Private Business Owner Mr. Verasak Sirikarnjana Certificate of High School Teacher in Agriculture, Bachelor Degree of Science, Kasetsart University, Bang Phra Campus in Chonburi Province, Counselor of Asia Pacific Logistics Industrial Management Trading Association (APLITA) Pol.Lt.Col. Kittisak Sommart Deputy Superintendent Inspector, Khao Panom Police Station, Krabi Province Gen. Sakda Deedecha Special Expert of Royal Thai Armed Forces Headquarters SM1. Suppadech Intaeng Government Officer from Internal Security Operations Command Ms. Rachanee Choonak Private Business Owner Ms. Sasikarn Keerativittayayoot Freelance Translator Associate Professor Dr.Vorasan Buranakarn Board of Directors of the Industrial Estate Authority of Thailand SM1. Natthanate Watcharaput Pensioner Lawyer Piamsak Iamcharoen Legal Counselor in Chiang Mai Province Ms. Prompassorn Jornjaranthanapong Private Business Owner 172