Authors:Suwilai Boonthawatchai, Dr. Samniang Leurmsai Pages: 11 - 34 Abstract: This article aims to present Kāmadeva in two prominent roles; that is, as the god of love, and as Māra who tries to drive the Bodhisattva away from his seat under the Bodhi tree, as depicted in “Padyacūḍāmaṇi of Buddhaghoṣācārya”, a Sanskrit Buddhist text on the life of the Buddha like Buddhacarita, Mahāvastu and Lalitavistara. The story is set in the intermediate epoch (avidūrenidāna) and begins with a group of devas ascending to the Tusita heaven to invite the Bodhisattva to be born in the human world. It ends when he is enlightened as a Buddha. Even in this text, some parts of Buddha’s life are missing, but the chapter on the temptations of Buddhisattva by Māra is still the crux of the story. From the study, it was found that Buddhaghoṣācārya, the author, tilizes Kāmadeva, a Hindu mythological deity, to play both explicit and implicit roles throughout the story, by taking two different roles; that is, as the god of love and Māra. This indeed has never appeared in any other Buddhist literature pertaining to the life of Buddha. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Rapeepun Areelertrat Pages: 35 - 64 Abstract: Three versions of the Thonburi Traiphum manuscript can be found nowadays; Traiphum MS No. 10 and No. 10/ก, are kept at National Library Phra Nakorn in Bangkok and Traiphum MS No. II 650[1] (Berlin Traiphum Manuscript), is located at Museum für Asiatische Kunst, Staatliche Museen zu Berlin. All are remarked within to be created at King Taksin’s will in 1776 CE. However, the artistic styles found in each manuscript are mutually distinct. The result of the examination and analysis of artistic styles and motifs shows that the style found in the Berlin Traiphum Manuscript is close to that of Late Ayudhaya, while the other two are presumably the works of the Early Rattanakosin period. Therefore, Berlin Traiphum Manuscript is likely to be created in 1776 CE according to the inscription while the others were created later in Early Rattanakosin. Additionally, Traiphum No.10 and No.10/ก conceivably are copied from the original Berlin Traiphum Manuscript. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Paranee Inlek Pages: 65 - 96 Abstract: This article discusses the style of forest temples’ ubosots located in Thailand’s northeastern region. These temples were influenced by modern architecture during the period of 1967-1987. Only the ubosots in the temples that are related to Phra Ajarn Man Phurittto Forest Monastery in the northeastern region are selected for study. From the survey of ubosots influenced by modern architecture, there are 8 places in total, divided into 3 styles as follows: (1) Applied Thai architecture style ubosots, (2) Modern Thai architecture style ubosots, and (3) Contemporary Thai architecture style ubosots. We can characterize these styles as follows: Applied Thai architecture style ubosots: In general, many ubosots are the continuation of the style of the applied Thai building. The modern architectural feature that appears in this style of ubosot is the rectangular layout. The exterior of the building is decorated with smooth walls, which is a modern architectural style. In addition, building design techniques are found to be consistent with the environment and climate with more emphasis on usability and savings. Modern Thai architecture style ubosots: This group is the group of ubosots that shows the most influence from modern architecture in terms of style, starting from adopting an international style. As for modern architectural techniques, emphasis is placed on the design environment in harmony with regional architectural styles, including using the concept to design the ubosots in line with an architect’s interpretation. Contemporary Thai architecture style ubosots: This style is a combination of traditional Thai ubosot style and the Sim Isan pattern, producing a new design by using construction technology found in modern architecture and including traditional Thai patterns or decorative features, making the building look more Thai. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Sura Piriyasanguanpong Pages: 97 - 116 Abstract: The making of Mandalay style Buddha images has been continuously popular since the 25th Buddhist century until the present day. Apart from the Mandalay area, they have also been found prevalently in other parts of Burma, and in many areas in Thailand. In each area, they often show different artistic styles that cumulate in their unique traits. Chiang Mai is another area where Mandalay style Buddha images can be found widely. Therefore, the objective of this research was to examine the artistic styles of Buddha images made according to Mandalay style found in Chiang Mai area around the 25th Buddhist century. This study used research methodology from Art History to explore important artistic features of the Buddha statue samples in the area which can be different from the original style in Burma. The study reveals that most Mandalay style Buddha images found in Chiang Mai were blended with Lanna art in many ways. This is consistent with the area being the center of Lanna culture. As a result, this finding indicates that Buddha statue samples in the study area were not made by craftsmen from Mandalay but by local craftsmen in Chiang Mai. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Vajaradhon Simking Pages: 117 - 146 Abstract: The purpose of this study is to identify the characteristics of architectural and decorative arts of Lue that appear in the Tripitaka Hall, which was built by the Yawng craftsmen in Lamphun Province, by drawing comparisons with Lue arts that appear on religious sites in Mong Yawng and Kengtung in Eastern Shan State, Xishuangbanna Dai Autonomous Prefecture, People's Republic of China and Luang Prabang township, Lao People's Democratic Republic. The results of the study reveal that Tai Lue arts in Lamphun Province clearly appeared in the Tripitaka Hall built in the 19th century. The architecturally unique style of the Lue arts, such as shed roofs and stacked roofs, were found in the Yawng art of the Pratu pa - Ban Luk and Mae Tha - Mueang Chi craftsman groups respectively. As for the decorative arts of the building, the Lue style was found in the Yawng art of the Pa Sang, Pratu Pa – Ban Luk and Mae Tha – Mueang Chi. Architecture and Building decoration art of the Lue art that were found in Lamphun Tripitaka Hall are a reproduction of popular ideas from Lue Eastern Shan art group rather than replication from the original style. In addition, these Lue arts have influenced the local decorative arts offering the development into the typical style of each area. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Dr. Wachirawit Tungtananuwat Pages: 147 - 170 Abstract: Using Chinese astronomy, this study attempts to understand the architectural design concepts of Ratcha-Orasaram, Ratchasittharam, and Sudatsanadepwararam temples. At Ratcha-Orasaram temple, a sculptural representation of a rooster surrounded by a red circle symbolizes the Sun and conveys iconographic significance for Amitabha Buddha (Mahayana). There are 28 Chedi Rais (Thai pagodas), which represent the former Buddha, and 28 Meditation Pavilions of the Ratchasittharam temple which represent the 28 Chinese stars. The Sudatsanadepwararam temple has traditional Thai symbols depicting the sun and moon. A total of 28 Chinese pagodas represents 28 Chinese stars, resulting in all three Chinese auspicious light symbols (the sun, moon, and stars). In addition, these Chinese pagodas also represent the former Buddha of the Theravada religion. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Nitaya Thanyaphanit Pages: 171 - 194 Abstract: The original version of the “Siriwibulkit Thai Jingle Poem” was recorded on a black folding-book manuscript and stored in the Kanchanaphisek National library, Songkla. Moreover, this has never been exhibited to the public. The purposes of this study were to study in detail the story, the prosodic aspects, and the author’s biography. The major findings in studying the “Siriwibulkit Thai Jingle Poem” were that the story was from Siriwibulkit Jataka and composed in Khlong Si - Suphab Poem form with 67 stanzas, including stanzas in acrostic, Thai jingle acrostic and Thai jingle poem style. Thai jingle acrostic and Thai jingle poem were found in 23 stanzas (23 types). The content in “Siriwibulkit Thai Jingle Poem” holds more details about the author Luang Sipricha (Seng) than can be found in “Siriwibulkit Thai Jingle Poetry”. It dealt with the author’s name, birthplace, migration, capability, government service worker, royal sponsored official title, and works. These made the readers know more clearly about the author. Some new details shown in the literature are different from the former assumptions. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Dr. Sirisak Apisakmontree, Somsak Promjak, Phra Samuh Anon ndavaṁso Pages: 195 - 218 Abstract: This research article aims to analyze the patterns and inscriptions at the base of the Buddha image in Phrao District, Chiang Mai Province. The results of the study showed that Flower Buddha images can be divided into standing and sitting Buddha images. The standing Buddha image depicts a round object in his hand. This may refer to the Buddha taking the anchor fruit in Theravada or Bhaisajyaguru in Mahayana. The sitting Buddha images dressed in royal clothes are found in two styles: wearing a high and low crown and wearing long and short sleeve clothes. For sitting Buddha images not dressed in royal attire, a unique feature is seen in pulling the robe to cover the right shoulder in a semicircle shape and overlapping the robes on the left shoulder. In addition, the disciple sculptures, Phra Upakut and Phra Bua Khem, were found with inscriptions at the base, which could be inscribed with three types of characters: Lanna script, Tai script and Burmese script. The oldest inscription is 1895; the most common is 1927; and the newest is 1935, and all of the inscriptions were in the reign of Kruba Bhun Chao Boon Chum Sirivichayo, the abbot of Wat Pa Tum Don, which was the period before and after the construction of the temple. All Buddha images had been imported from Burma by merchants in the 25th century of the Buddhist Era. The inscription contains contents about the age of Buddhism and wishes of having nirvana as the ultimate goal. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Sureeratana Bubpha Pages: 219 - 246 Abstract: This article presents a synthesis of knowledge related to spatial archeology, land use and natural resources related to the sacred place and landscape on the eastern Phnom Dongrek mountain range. The objective is to consider the relationship between land use and sacred landscapes. The results of the study found a total of 10 archaeological sites in the research area, including 4 prehistoric archaeological sites and 6 historical archaeological sites. All archaeological sites are scattered throughout the highlands along the eastern Phnom Dongrek range, with the cultural chronology of the sites ranging from the prehistoric period in the Iron Age and the historical period in the Dvaravati culture and the ancient Khmer culture, respectively. Significant evidence indicates the site-function of these sites was as space for rituals/religious activities. All the sites are in the form of rock shelters with paintings and carvings, Buddha's footprint, and sanctuaries. It was found that the use of space in this area is influenced by the subsistence pattern and religious systems and beliefs. For this, the presence of dense ancient sites may be related to the settlements or religion that are consistent with the meaning of sacred landscape and sacred place. It should also be mentioned that another important factor is the ability to access resources and raw materials for the construction of religious sites in this area. PubDate: 2024-06-27 Issue No:Vol. 23, No. 1 (2024)
Authors:Dr. Sunporn Eiammongkhonsakun Pages: 247 - 270 Abstract: The selection of suitable strategies and self-regulation methods in learning contributes to increased opportunities for learners to achieve success and/or higher motivation in learning. This is because learners are able to engage attentively in their studies and various activities until their objectives are accomplished. The study aims to examine self-regulation strategies in the French language learning process among Thai tertiary-level students and propose effective learning methods and guidance for anticipated success. The researcher conducted interviews with 30 Thai learners studying French language at the tertiary level in Bangkok. The interview questions employed are open-ended inquiries centered around three academic situations: regular classroom learning, exam preparation, and group work. The findings revealed that different learning situations influenced the selection of strategies and self-regulation methods. Specifically, learners emphasized self-directed learning in all activities, but in regular classroom learning, learners prioritized learning objectives. On the other hand, during exam preparation, learners focused on content review with peers, and in group work, social dynamics were identified as a highly influential factor. Additionally, the observed self-regulation processes in all activities included maintaining focus on goals. Furthermore, learners exhibited individual differences in the selection of self-regulation methods based on their own characteristics. PubDate: 2024-06-26 Issue No:Vol. 23, No. 1 (2024)
Authors:Dr. Chen Pecharat Pages: 271 - 294 Abstract: This article aims to study the five-topped Prasat-styled stupa inside the cloister of Wat Phra Borommathat Nakhon Si Thammarat, as well as to study the relationship in style with Phra Borommathat Chedi Nakhon Si Thammarat, Phra Borommathat Chaiya and a group of stupas with indented corners in Ayutthaya. The results of the study found that this pagoda in the shape of a five-toped Prasat-styled has an important pattern related to Phra Borommathat Chedi Nakhon Si Thammarat, Phra Borommathat Chaiya and a group of stupa with indented corners in Ayutthaya. It shows a unique blend of Ayutthaya art influences and local art. In addition, this pagoda served as the main inspiration for the five-topped Prasat-styled stupa outside the cloister of the same temple. The stupa can possibly be dated to the 16th-17th centuries CE, indicated by the development of style together with location, archaeological excavations and in conjunction with environmental elements. PubDate: 2024-06-26 Issue No:Vol. 23, No. 1 (2024)
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