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The Dynamic Creation of Thai Classical Music Sacred Object in Contemporary Thai Society
Iyared Boonyarit Department of Thai, Faculty of Arts, Chulalongkorn University, Thailand
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The Dynamic Creation of Thai Classical Music Sacred Object in Contemporary Thai Society Iyared Boonyarit Department of Thai, Faculty of Arts, Chulalongkorn University, Thailand ABSTRACT This research studies the dynamic creation of "Thai classical music sacred object" in the context of contemporary Thai society. Traditionally, Thai musicians perceived certain masks of “teachers” as sacred objects, e.g., mask of Shiva, Vishnu, Brahma Wissunukam, Panja Singkhon, Prakhonthap, or mask of Rishi Nart and Yaksa Prapirab .These are sacred figures in Brahmanism, Hinduism and Busshim. Besides, certain music instrument, particularly taphon drum, also contains sacred meaning since it represents the image of Prakhonthap who is the master of the music band. Since Taphon is a rhythmic instrument controlling the music performance acting as the conductor and the leader of the music band, thus taphon is perceived to be the “master” or the “teacher” of the band and is, therefore, a sacred object in Thai classical music. In 1970, it was the first time that Prapiren temple in Bangkok made sacred coins with the figure of Rishi Nart, and that is the beginning of the dynamic creation of sacred image in the form of a "sacred object." The Rishi Nart coin was created with a similar concept of the "votive tablets” or “amulets." The purpose of making such coins was to generate income for the Siam Artist Association (SAA) in the occasion of Thai Classical Music Competition in the ceremony of worshipping the Music Masters at Papiren Temple in the year 1970. In addition, it is also noteworthy that nowadays the society "outside of Thai musical culture" create new sacred objects by applying traditional music sacred figure to have “new” meaning to serve the need of contemporary Thai people, for example, by naming the sacred object as “taphon riak sap meaning “taphon attracting wealth” or “prakontap rak khad jai meaning prakontap attracting absolute love. Given the dynamic creation of Thai classical music sacred objects, the researcher is then interested in collecting and studying the forms and content as well as classifying the newly created Thai classical music sacred objects in the present society, and analyzing the phenomena. The appearance, production and purposes of the Thai classical music sacred objects will be analyzed in relation to the context of contemporary Thai society. Overall, the research will help understand the dynamism of Thai music culture in relation to Thai culture in present day Thailand. KEYWORDS: Thai Classical Music, Sacred Object, Dynamic Creation
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The Dynamic Creation of Thai Classical Music Sacred Object in Contemporary Thai Society Iyared Boonyarit Department of Thai, Faculty of Arts, Chulalongkorn University, Thailand mrboonyarit@gmail.com Introduction Any object defined as an auspicious thing would pass the process of sacralization which comes from belief, religion, doctrine, worship, legend, etc. When the object can fulfill believer’s desire, sacredness will arise as the abstract attached to them. In Thai Classical Music culture, sacred objects are various. In general, they are related to Khon masks which commonly seen in Ramayana play and developed into Thai classical music sacred object creations. The process of making Thai classical music sacred object is different comparing to making Buddha amulet in terms of concept, story, and meaning. The creator of Thai classical music sacred object will tile story, belief, ways of life, and Thai music worship in the creation showing their respect to the Master or Guru in Thai music culture. The dynamic creation of Thai classical music sacred object is both an art and society phenomena in many forms such as coin, amulet, locket, mini instrument, etc. Those Thai classical music sacred objects are vary in terms of faith in music and other creation context. The process of creation consists of the creators who might be inside or outside of Thai music culture society, so they create the sacred object from combining belief and stories of Thai classical music, local tradition, and Thai literature together representing the dynamic of Thai classical music in Thai society nowadays. The original Thai classical music sacred object The system of Thai musical tradition gives an important to the concept of paying respect and worship to the Masters. By connecting myth and knowledge spreading from Indian culture, the word “master” got its own power to motivate human and response to human objectives. Also, it means a person who gives knowledge to other people or a person who pass on their knowledge to the others. So people in Thai music society show their respect toward their masters through master worship. There are many concepts of this worship represented into different forms of sacred worship as follows: 1. A certain mask or “Hua Khon” or “Sian Kru” Master worship in Thai music culture uses “Hua Khon” as a symbolic object to represent as a symbolic meaning of “Gods”. The symbolic object is compared as “symbol of master” which reflects disciples’ gratitude toward their master. The belief and gratitude lead the society then changed into the form of God Faces on Hua Khon in the worship. Originally, “Hua Khon” were created to use only in Khon play.1 Hua Khon were created to be a symbolic object represents the characters from “Ramayana” play which is about the story of Hindi god. It is presumed that “Hua Khon” were created during the end of Ayutthaya era until the 1 Hua Khon: The Art of Thailand, (Bangkok: U-com Company limited,2009)
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era of king Rama 2 which was the golden era of performing art, music, and other field of arts. In that era “Hua Khon” were developed to be more refine and beautiful. “Hua Khon” which is used to represent respect or gratitude toward master in performance art of Thai culture, were created from scripture, myth, folk, and concept of belief and religion. The meaning in terms of art interpreted from the performing myth described in Sanskrit2, story and characters in Sanskrit, and literature described in Pali3. Tradition of belief in “Krutep-Krutewada” worshipped through the symbolic object “Hua Khon” or “Sien Kru” or “Srisa Kru”. In Thai music master worship ceremony, “Sien Kru” will be placed on the temporary altar below the statue of Buddha. Generally, the faces of master or “Hua Khon” will be arranged respectively as follows: 1. Siva or Shiva 2.Narayana 3. Brahma 4. Indra 5. Vishnu 6. Ganesha 7. Phra Prakontap 8. Phra Banja Singkhorn 9. Phra Narodmuni Rishi and 10. Phra Pirap Sometimes only 5 important Hua Khon are used in the worship as follows: 1. Vishnu Green human face Hua Khon with globular-shaped crown on top representing the master of craft who created all of the music instruments we use nowadays including the anonym ones (in Thai music culture, it is believed that Vishnu created all music instruments also its custom and passed it to human). 2. Phra Narodmuni Rishi The purple hermit face Hua Khon with Thai theatrical trumpet flower-shaped crown made of tiger leather on his head and hollow cheeks face or “Na Thai” (Thai face) which is different from other hermit face Hua Khon in performing art field whose faces are quite rounded and the cheeks are full or more chubby. It is called “Na Keag” (Indian face). 3. Phra Pirap A monster face Hua Khon painted in deep purple color, grimace with the crocodile shape eyes and strait fangs. 4. Phra Prakontap A green human face Hua Khon with the trumpet flower shaped crown (symbol of hermit) is a master of rhythm and leather instruments. 5. Phra Banja Singkhorn A white human face Hua Khon with five bottle gourd tips crown represents a master of stringed instruments. 2. Sacred images of departed Thai musical master “Kru Pee” (masters who passed away) or ancestor masters in terms of Thai music culture means human masters that once alive and did so many good things for their disciples and the society they lived in. After they died, their disciples will place their pictures together with those sacred Hua Khon (below the sacred Hua Khon) to show their respect and their gratitude toward 2 Jarunsri Wirawanich. The worship of KHON and Dramatic. (Bangkok: Saha Vittayalai Rattanakosin Cultural Center, Rajabhat Saunsunontha University),1989. 3 Pratuan Boonpok. Gandharvas in Sanskrit and Pali literatures. (Faculty of Arts,Chulalongkorn University,1980)
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their masters and to remind them of good deed they did when they were alive. This can also refer to ancestor ghost belief which conforms to the original Thai worship that is the model of Thai music master worship ceremony in present day. Therefore, the ancestor worship means the worship that “Human Masters” (teachers who are still alive) and their disciples joint together to show their respect to “Ancestor Masters”, “Gods”, “Angels” (Shiva, for example) who were masters once they were alive. Moreover, there is a worship called “Krop Kru” which is a symbol of propitiousness before start learning music, performing art, and etc. In this worship “Hua Khon” called “Po Kae” will be used as a symbol of ancestor master which is representing to his knowledge (since he was a human that once spent his time to do good deeds then became to be a hermit or angel) to put it on the disciples’ heads for a while before taking it off to give them some will to start learning about the art officially while another master who is leading the worship must communicate with the spirit. Their duty is like a mediator who invites sacred power from the ancestor master to stay in their body before passing the power through Po Kae Hua Khon then to the disciples’ heads. Besides raw sacrifice and cook sacrifice that will be arranged separately, there are some cigarettes and rice whisky, which are not commonly seen in the sacrifice for angels, are provided as well as performing Buddhist monks related worship such as offering food or dedicated to the Buddhist monks, or doing any good deeds to sacrifice to those ancestor masters.
Picture 1: the image of departed music masters arranging in order of priority Furthermore, sacred object creation is arised under the idea of ancestor masters worshipping through "Po Kae" statue. The departed master's bones would be combined with the statue components, for example,"Pokae" statue molded by Krukien Suksaichon, which made from bones of Kru Prik Krokaew, Thai music master from Ampawa, Sumutsakorn Province. It is said that Kru Kien applied Kru Prik Krokaew's bone mixed with the dirt from seven different graveyards to the chest of the statue. It was molded in similar to Kru Kien's face. However, it was given to Kru Chin Krokaew who was a disciple in the same institution as Kru Prik Krokaew. At present, it is succeeded to Krokaew heirs and being brought to the master worship ceremony every year. It is also heart and soul in Krokaew Thai music institution.4.
4 Interview with Piyawan Korkaew, 25 Apirl,2016.
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Picture 2 : Po Kae statue containing Kru Prik Krokaew ’s ash bone 3. Thai music instrument In Thai classical music culture, there is not only “Kru Tewada”, “Kru pee” and “Human masters” that people who value Thai music has worshipped, but also Thai music instruments. These instruments are the mediator of the players and listeners. They will also be placed on the temporary altar together with “Na Kru” and the image of departed music masters in the worship ceremony. Thai classical music players see the music instruments as sacred objects. They would pay respect to the instrument or bring garland to worship the instrument before playing. Taphon is the instrument that people respect and regarded as Phra Prakontap, as Narisara Nuwattiwong had said to Lady Pattanayudiskul: “Kru Taphon is the master for it is a rhythm control instrument. It controls every performance, thus Phra Prakontap is Kru Taphon” What makes Taphon a special instrument is white cloth that attached to the body of Taphon because it refers to the symbol of morality and purification. For sacredness, the drumhead would be made of tiger or bear leather instead of cow leather. Besides, Taphon is the only one leather instrument that has supporter lifted from the ground and the water cleaning the drumhead can wipe ill-omen out. To respect the instrument as a master conforms to Thai way of life; to pay respect and gratitude to the instruments which helps earning a living. In each master worship ceremony, the instruments will be cleaned, repaired and anointed with auspicious flowers, also attached with a small red square cloth called “Pa Na Khon” to point that the instrument has passed the sacred ceremony. At the present time, “Pa Na Khon” is regarded as a sacred object.
Picture 3: Pa Na Khon, a sacred symbol for indicating the instrument that has passed the worship ceremony
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Furthermore, the instrument has been sacralized in various ways such as Kru Kam Kleebcheun’s taphon has been made of tiger leather, gaur leather, sacred barnar and kaffir; all of which considered as an auspicious object. However, the sacralization has been descended with new methods of sacralization, for example, when a master passed away, the disciples will collect the master’s bone or hair to attach in taphon for good fortune and to pay respect to the master5.
New Creation of Thai Classical Music Sacred Object In 1970, Prapiren temple made Rishi Nart coins as sacred coins. It was the beginning of creation of sacred image in the form of a sacred object which similar to the concept of the votive tablets. The Rishi Nart coins were made in order to generate income for the Artist Companionship Support Association on the occasion of Thai Classical Music competition and master worship ceremony at Prapiren temple in 1970. The coins were made of gold (9), silver (99) and copper (5,000)6. In the ceremony, the coins were recited incantations over by many of renowned masters such as Tanchaokun Nararatanaratchamanit from Thepsirin Temple, Luangpor Pair from Pikunthong Temple, Luangpor Koon from Baanrai Temple, Luangpoo Toh from Pradoochimplee Temple. However, the book named “Memorial of Master Worship Ceremony by the Artist Companionship Support Association on September 6, 1973” has described the atmosphere and the event that had happened during the ceremony: the rainbow was appeared in the sky for everyone in the ceremony be convinced of the sacred of The Rishi Nart coins.
Picture 4: Rishi Nart coin (Po Kae) made of bronze in 1970 The creation of The Rishi Nart coins in 1970 was in the attention of many people who love to own such coins for their fortune. On the other hand, the possession of such coins could mean the owner was a true disciple of Thai Classical Music, so as there was a saying “The true disciples of Rishi Nart must have Prapiren Temple’s Rishi Nart coin”7. In 1972, the second model of Rishi Nart coins were made, similarly to the 1970 model, except the text behind the Rishi Nart and Taphon’s relief, which was changed to “Memorial of Master Worship Ceremony on September 20, 1973”. The amount and the material of the coins was unknown.
5 Interview with Chaiwut Koson, 20 December,2013. 6 Interview with Woraphod Manasompong, 6 March,2013. 7 Interview with Woraphod Manasompong, 6 March,2013.
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Picture 5: Phra Nartmuni coin (Po Kae) made of silver in 1972 Since 1970, Thai Classical Music sacred object has been created in various forms as follows: 1. Coin After the Rishi Nart coins were made in 1970, other models has been created ever since. These coins were different from each other by symbol appearing on each model, the occasion, or the purpose of each creation.
Picture 6 : Different forms of coins that has been created (front-back) Furthermore, the music teaching institutions usually make various forms of sacred object, depending on each area, for example, in the event of the ceremony of worshipping the masters at the Faculty of Humanities of Chiangmai Rajabhat University ,sacred coins were made as a commemoration. The coins contain the image of nine music masters and the image of Lanna style Buddha.8 The interesting aspect is the bringing of local beliefs to blend with the master coins in the image of nine music masters, Kruba Siwichai, Phrachao Kaotue and Phra That Doi Suthep. Chiangmai. Such sacred coins were made as spiritual anchor in music culture and local beliefs.9
8 Interview with Ronnachit Manmalai, 25 April, 2014. 9 Interview with Buranaphan Jailar, 25 April, 2014.
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Picture 7: Memorial coin (front-back) in master worship ceremony 2011, the faculty of Humanities, Chiangmai Rajabhat University (Front – the image of nine music masters Back – the image of Kruba Siwichai, Phrachao Kaotue and Phra That Doi Suthep. Chiangmai) In this case, One of Thai music teaching institutions, Wiset Dontree in Singburi province, designed a model of sacred object called “Banja Singkhorn Thepabut”, for the reason that Banja Singkhorn coins were rare and never been made in the field of Thai music, there were only the Ganesha, the Rishi, and Phra Pirap. It was only once that Banja Singkhorn Thepabut coins were made and not in a great number so these coins were rare and had a great value. Also they were recited incantations over by many of renowned masters.
Picture 8: Banja Singkhorn Tepabut coins by “Wiset Dontree”, Singburi province 2. Talisman (Yantra) Ronnachit Maenmalai (interview on March 23, 2016) remarked that the creation of Talisman had the influence by the Northern amulet. In the north of Thailand, there was a great number of amulets and talismans, so in the occasion of master worship ceremony, the Talisman has been created for distribution in various kind of forms and colors. Each year, the image of Thai music masters in the amulets was different. To make amulet more sacred, Lanna Dhamma Alphabets were written along with the image of Thai music masters and recited incantations over by renowned masters.
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Picture 9: Memorial talismans in music master worship ceremony, the faculty of Humannities, Chiangmai Rajabhat University 3. Locket The sacred locket was created to generate income for associations or foundations, for example, Thai music master locket, the commemoration of Thai music masters worship ceremony at Bowon Nivet school. The locket was special custom made. The back of the locket was filled with various auspicious mass and wood dust. Also the model was made in different forms and colors, unlike the creation of sacred coins.
Picture 10: Lockets of the great Thai music masters (front-back) Furthermore, on August 17, 2014 at master worship ceremony arranged by Luang Pradit Pairoh Foundation, the image of Luang Pradit Pairoh’s locket, which was distributed in the occasion of 60 years celebration, has been shown to the public. The locket was decorated with golden frame and diamonds. At the master worship ceremony in 2014, Luang Pradit Pairoh silver-framed stamps were distributed 350 Baht for each stamp. Atsadavut Sakrig (interview on August 17, 2014), the great-grandchild of Luang Pradit Pairoh, was the one who invented this kind of sacred object as a commemoration for the master worship ceremony arranged by Luang Pradit Pairoh Foundation. Before these sacred objects were distributed, they were recited incantations in the master worship ceremony for eight times.
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Picture 11: Locket of Luang Pradit Pairoh (Sorn Silpabanleng) from the poster in the master worship ceremony arranged by the foundation in 2014. The locket was created and distributed in 1941 in the occasion of 60th year celebration
Picture 12: Stamp of Luang Pradit Pairoh in silver frame, 350 Baht for each stamp Memorial of the master worship ceremony arranged by Luang Pradit Pairoh Foundation on August 17, 2014 4. Traditional music instrument figure The various creation of music sacred object not only blend with local beliefs but also particles, symbols or meaning of the Thai music culture. In some case, the new sacred object could be created by folk wisdom such as “taphon riak sap” which imitated from “Thai taphon”, one of traditional music instruments. The figure also applied new auspicious meaning, for example, Chindamanee dust, which its origin was from one of Thai literature called Sangthong. In addition, the way of playing music instrument was included in the creation of sacred object. The attribute of Taphon Riak Sap was as follows: Taphon Riak Sap is composed of Chindamanee dust, Pattamun Mahakun powder. Taphon is the great master and the symbol of Phra Prakontap, God of music. Thus Taphon is the most popular talisman. The bell inside taphon means the power of mercy charm. The user could recite the incantation as “Ohm imasmin PhraPrakontap PhraMuneeDheva Hitatum He Praripunkhantu”. When opening the shop, the user must pray for Buddha Dhamma Sangha, the blessing of taphon and Luaung Poo Boon, Hua Khao temple, then recite the above incantation. After that the user must
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hit taphon three times to invite customers. If the user demands payment of a debt, taphon must be hit in direction of the debtor destination.
Picture 13 : Taphon Riak Sap, Thai music instrument in the new meaning of earning a living or doing business Taphon Riak Sap is popular in the area of Angthong, Singburi, Lopburi, and Phetchabun province. Rangsipan Khaengkhan (interview on January 12, 2016) explained that Angthong, Singburi, Lopburi and Petchabun province are the source of production of traditional music instrument, especially leather instruments or drums. With the local culture along with many renowned masters in the area, this kind of sacred object was created.
Picture14 : different models of Taphon Riak Sap In addition, traditional music instrument is used as a symbol in the creation of sacred object, based on local beliefs that traditional music instrument is worth worshipping. There are many traditional music instruments that have been used in sacred object creation as follow: - Taphon which means Phra Prakontap - Four-stringed lute and three-stringed fiddle which appeared in the sacred object named “Banja Singkhorn Thepabut” made by a traditional music institute, Wiset Dontree. - Other kinds of traditional music instruments
Picture 15: Four-stringed lute and three-stringed fiddle appeared in the sacred object named “Banja Singkhorn Thepabut” made by a traditional music institute, Wiset Dontree and other symbol coins
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5. Chatu Kham Ramthep The creation of sacred object affected the influence of Chatu Kham Ramthep, the popular talisman during 2006-2009. For this reason, since 2006, the sacred object were made in the form of Chatu Kham Ramthep. Chan Kaewjino (interview on March 23, 2016), the creator of a sacred object called Chiangmai college of dramatic art 2007, explained that the inspiration was from the popular Chatu Kham Ramthep. Thus this form of sacred object was made in the occasion of the annual master worship ceremony at Chiangmai college of dramatic art. The image of Ganesha, symbol of college of dramatic art, was in the front and the image of Kruba Sriwachai, the most respecting master, was in the back.
Picture 16: Thai classical music sacred object created in 2007 by Chiangmai college of dramatic art, in the trend of Chatu Kham Ramthep 6. Other forms Other forms of Sacred Object, mostly created by Thai musicians or music associations, for the purpose of a commemoration in traditional music performances, Thai music universities, or Thai master worship ceremonies. Receiving the sacred objects, the musicians will put them in the set of altar tables. Moreover, it is found that the material (mass) of Thai music instruments was used to create the sacred objects such as the Rishi Nart made of plaster, created by Kamphaeng Phet Rajabhat University were given to Thai music universities as a commemoration; Ganesha made of plaster, created by Suranaree University of Technology were given to the 34th Thai music universities; or amulet made of tiny rolls of drum leather.
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Picture 17 : Other kinds of Thai classical music sacred objects
The Dynamic Creation of Thai Classical Music Sacred Object in Contemporary Thai Society The Creation of Thai Classical Music Sacred Object in Contemporary Thai Society is regarded as a cultural recreation, adjusting the changing situation and applying the remaining cultural capital with the current social context. It is seen that beliefs and knowledge in the culture has been used in the new form of sacred object. In some case, the concepts indicated identity has been integrated for holding the group of music art society. The creation of Thai Classical Music Sacred Object has been classified into three aspects as follows: 1. The original creation of Thai Classical Music Sacred Object The original creation of Thai classical music sacred object is the result of the original beliefs in the society such as Buddhism and Brahmanism, as well as Thai art performances especially Thai classic masked drama, for which Khon masks was a symbol of “master”, based on Thai performing arts’ culture. Thai musicians show their respect through the master worship ceremony, thus the symbolic objects in the ceremony are various. The symbolic object from the master worship ceremony is regarded as the original creation of Thai classical music sacred object that has been traditionally created and worshipped such as Khon mask, the image of departed Thai music master, music instrument, and Pa Na Khon including oblations which can be collected for good fortune. The auspice of the objects has been created through the concept of the society and master worship ceremony, especially the beliefs of the sacred of the Khon mask. Thai classical mask drama is originally performed in the royal court, thus the drama is regarded as sacred matters. It
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is believed that one should not kept the masks or costumes in the house for misfortune might occurred, so the masks and costumes are kept in the temple. Being in the process of worship ceremonies, it is believed that Khon mask has a spirit or holy power of the god, even the “great master” has possessed in the mask. In the aspect of creating Khon mask, the auspice has been initially occurred in the master of craftsman worship ceremony. However, Khon mask creation has a complicated process and an extensive skill is needed, thus the creation of the mask is regarded as a high level of creation. However, the worship of music instrument and the image of departed master is the original belief of worshipping spirits, which match to “the ritual of spirit worship”. Sujit Wongthet (2005) explained the ritual of spirit and master worship in the book called “where does Thai music come from?” that “the master worship ceremony, Krob Kru (Thai sacred ceremony to indoctrinate the art pupils), music, and performing arts are important rituals for the ones who involve in the music and performing arts. The ritual usually arrange once a year, originated from the ritual of spirit worship which has been practicing for 3,000 years. Brahman ritual has been included in the later years.” The original creation of sacred object exists under the condition of master worship ceremony which has been practicing for a long time. 2. The new creation of Thai classical music sacred object The new creation of sacred object affected the influence from votive tablet. Phra Piren temple’s Rishi Nart coin in 1970 was the beginning of sacred object in the form of votive tablet. The Rishi Nart coins were made in order to generate income for the Artist Companionship Support Association on the occasion of Thai Classical Music competition and master worship ceremony at Phra piren temple in 1970. The creation of The Rishi Nart coins in 1970 was in the attention of the ones who sought for good fortune and were a true disciple of Thai classical music. The beliefs and faiths could be reflected the concept of Thai classical music culture. The sacred object has been created in various forms, using different kinds of symbols as follows: - The nine Khon masks - Various kinds of Thai classical instrument especially Taphon, which means Phra Prakontap, one of music god masters in Thai classical music culture - The image of departed master Furthermore, “Hiding coin” made by a Thai classical music artist, Peep Kongthonglai, was the sacred object that also used a symbol. These coins were created as commemoration in Thai classical music master worship ceremony arranged by the Office of Performing Arts, the Fine Arts Department. The coin had a symbol of the Buddha standing on Indra’s head. The concept was from the legend music Sathukarn which refer to Buddha and Indra playing hide and seek.10 The other example is the memorial coins made by the faculty of Humanities and Social Sciences, Naresuan University, Pitsanulok province. The symbol in the sacred coin, Bucha Kru Phra Naresuan Maharat, was King Naresuan.11 10 Interview with Pakorn Nuyee, 4 April, 2016 11 Interview with Butree Sukparn , 20 March, 2016
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Picture 18 : “Hiding coin” created as commemoration in Thai classical music master worship ceremony arranged by the Office of Performing Arts, the Fine Arts Department and “Bucha Kru Phra Naresuan Maharat” made by the faculty of Humanities and Social Sciences, Naresuan University (front-back) However, the new creation of Thai classical music sacred object has been created in various forms such as amulet and locket. The new creation of sacred object exists under the condition of trading and collecting. 3. The applied creation of Thai classical music sacred object The applied creation of Thai classical music sacred object is regarded as a creation in the concept of cultural capital. The beliefs regarding to Thai classical music cultural has been applied in this form of creation. Nowadays particles, symbols or meaning of the Thai music culture has been applied to the creation of concrete object, along with new meanings and forms of cultural context. In some case, the sacred object was integrated with folk wisdom such as Taphon Riak Sap. Moreover, the name of sacred object was related to the concept of value, also integrating with names, words, or particles from Thai literature, for example, “Petchalukan Turiya Luecha mahalaluy”12 or “Prakon Tap Rak Khad Jai Peri Turiyawet”13. The sacred object’s name was composed by the names, words, particles of Thai classical music beliefs and the content of Thai literature. Also the qualities of the sacred object were related to the way of life in the present time.
Picture 19: Prakon Tap Rak Khad Jai Peri Turiyawet 12 Aunamilit: The Miracle of intellect perception. 12 ,136 (October 2014): 81. 13 Aunamilit: The Miracle of intellect perception. 12 ,140 (February 2015): 6-10.
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The applied creation of sacred object exists under the condition of sacred object worshipping and trading in the context of trends in society. Conclusion The dynamic creation of Thai classical music sacred object is the phenomena reflecting the beliefs of “music masters” in Thai classical music culture, which keep changing and developing to maintain music arts beliefs. Thai classical music sacred object has been increasing in various forms, depending on the creator, the occasion, the area of creation, religion, and traditional beliefs. Considering the whole process, the researcher can see the beginning, which is the symbolic meaning, to the creation of symbolic object in various forms through cultural reproduction. The interesting aspect is that people outside of Thai musical culture can create sacred objects by applying cultural capital with the beliefs of Thai music. The phenomena can be explained by the aspects, elements, or components of sacred objects. Analyzing the dynamic creation of Thai classical music sacred object along with social cultural context, the sacred object has been integrated with stories, legends, and social context. So it can be interpreted that the sacred object is related to cultural capital. At last, the dynamic creation of Thai classical music sacred object has reflected the ideal that the belief system can be changed. As it can be seen in the variety of Thai classical music sacred object in contemporary Thai society.
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