The Preliminary Course of Training in Thai Theatrical Art by Thummachuk Prompuay

THE PRELIMII{ARY G(|URSE (|F TRAIIIII{G III THAI THEATRICAT ART

LAA DHANIT YUPHO

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THAI CULTURE, NEW

SERIES

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THE PRELIMINARY COURSE OF TRAINING IN THAI THEATRICAL ART

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Dhanit Y,tpho

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PUBLISHED BY

THD FINE ARTS DEPARTMENT BANGKOK, THAILAND

s.rc. Z5Zl

f'1. Dhnnit

Yupho, Director-General of the Fine ArtsDepartEEnt from 1956 to 1968, was born in Nakorn-Sawan province, Thailand, in 1907, and came to learn Pali at Wat Mahadhatu, Bangkok, in 1918. He was a graduate of the ecclesiastical doctorate of Thailand. He entered the governrnent service in 1934 and became Chief of the Research Section of the

National Library in 1943. From 1g46 to 1956, he was Director of the Division of Music and Drama in the Fine Arts Department. Formerly Mr. yupho was also a lecturer in the history of Thai literature at Chulalongkorn University. He is Editor of the Thai Culture, New Series and is, himself, the author of the following publications:

The Economic Conditions of India in the Buddha's Time; The Khdn; The Classical Siamese Thearre; Artists of the Thai Dance-Dramas or Lakon Vol. I; The preliminarv Course of Training in Thai Theatrical Art; Thai Musical Instruments; The Khon and Lakon presented by the Depart_ ment of Fine Arts.

etc_

First

Published

Revised:,and Second

Third Edition Fourth Edition Fifth Ediiion . Sixth Edition

LgSz

Edition

1954 1960 196g 1969

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Seventh Edition 1980

Pthted bt Ken Srsue press, 314-316 Brmrung MurnS Ro]L

TcL

ZXt3:t51, ZB{t548

Bnlroh Tbttd.

THE PRELIMINARY CCURSE OF TRAINING IN

THAI THEATRICAL ART Masked plays, dance-dramas and Thai ballets are considered to be the classical forms of histrionic art which are peculiar to the Thai and are the symbols of their original

and highly developed civilization. The artists who can perform well have not cnly to be intelligent but must also be trained. Dr. Ananda Coomaraswamy too has said " It is the action, not the actor, which is essential to dramatic art. Under these conditions, of course, there is no room for any amateur upon the stage. hi fact the amateur does not exist in Oriental Art. " (Mirror of Gesture p. 3). The classical theatrical art of the Thai is typical of the cultivated art of the East and requires good training for its skillful execution. It cannot be staged off-hand at the pleasure of the actors. Furthermore even skilled exponents of this art who are out of practice begin to deteriorate.

For want of attention, Thai theatrical art fell into for some time till in 1947, when the World War was drawing to an end. The Department of Fine Arts drew up a plan to revive the national arts of drama arrd music and one of its important proposals was to establish a school to teach the arts. Then, after peace was concluded, the department hastened to open .the school, prescribe an advanced course of studies and take in students who had cornpleted primary education. The students received a general education as well as training in theatrical art. decay

The school, however, attaches more importance to the latter and in this article I shall therefore deal with only that

part of their education. But it is difficult to Dancers " Nang" Fenale Charactet Miss Nandini Deeprazuat

describe

without the aid of ocular demonstration and the readers mav find it difficult to follow. " Phra" Male Character

Mr.

Thongchai Bodhayarom

*-J- a

Usually training is given in theatrical art every afternoon throughout the term. There are both boys and girls among the students. Boys who wish to learn the art of acting in masked plays are sent to the teachers of that art

for selection. Then they are trained to play the part of hero (Phra), heroine (Nang), demon or monkey according to their fitness. Students who have been selected to act demons or monkeys begin by learning the " Mae Thi " ( rrilrir ). Mothers of Postures, which will be explaiilied later

on.*

But the boys who have been selected to learn the parts - who are also known respectively as the major hero and the minor hero-or those of the heroines, namely, Sida and MontLo-who are also known respectively as the major heroine and the minor heroine, 'oegin by learning Ram Phleng " ( irrnnl ), Dancing to music, just like girls who learn to take pdrt in ballets. Girls who will learn to perform dance-dramas and ballets are placed in charge of the teachers of those forms of art and are divided into two groups, namely, those who will act the parts of male characters and those who will act the parts

heroes, namely, Phra Ram and Phra Lak

of female characters because, though

executed to lthe same

musico the acting of each group is of a distinct kind.

When the students have been divided into groups they begin to learn on a Thursdayo the Teacher,s Day. At first they are asked to kneel down, keep the bodies erect, open their hands and lay them, palms down, on the thighs. Then they are taught to resume the postrire dis_ tinguished by five feature)s, namely, keeping the head, the * cf- The Xt on t ltorpraTtoyl Wn ii ,nX -

,u;o

-+-

Fig,

fully stretched. In other words, they are trained to sit erect with expanded chests. ( See fig.. I and also rntice the d'ifferences bef'ween the postu,re of tlrc male and the female characters. )

shoulders, the trunk and the waist erect and the hands

'I'hen they are taught to indicate the rhythm of their own movements by singirtg together "cha-chong--chathing-chong-.thing " eitc. ( See musical eramples 1 and 5 ) Vocal Part

cha chong cha thing chong thing

(1) r.nlzo 5in3 : -

--5-

Tune Vocal

Part

cha cha cha cha

chong cha thing chong cha thing chong cha thing chong cha thing

chong chong chong chong

thing thing thing thing

t7)

PHLENG CHA (cr.ow tuxr)

CHA (guow rurr)

ru).

rh3 thr

Ihr th3

lbr

These sounds which are sung to indicate the rhythm are

to have been adopted from the notes of the Taphdn ( nylxu ), a kind ofdrum used in the "Piphat band" to indicate the rhythm o.f what is called, not very accurately, "Phleng Cha" (rwarfi ), Stau Tune. The stiokes on t[; Taph6n which accompany the Phleng Cha are indicated in understood

musical example No. 7.

(?)

PHLENG CIIA

Tune Taphon

phring phring phring tup pa tup phring phring tup phring phring phring tup pa tup phring phring tup phring phring phring tup pa tup phring phring tup phring

-6-

prg

pr' tup pr

vt- w

Then the students learn to place their hands on the upper parts of their thighs, raise their seats, start and sway their waists slightly. Doing like this is called Krathop Changwa ( n:tvtuo"lr:a), " Beating the Rhythm", and is meant to train the students, from the very outset, to recognize the rhythm. When the students have leamt Krathop Chaugvta the teacher claps. the hands, rattles or castanets and sings

examples 1 and 7 to indicate the rhythm and teaches the students to dance. At this stages the students bend their fingers back, raise the palms of their hands a little above their

thighs and sway their bodies, now to the right and now to the left. This part of the dance is called ,, Klom,, ( na'ol ).

(Seefig.2)

.'.;

Fig. 3

-lh*'x,*:*a;i

Fig. 2 Then the students are asked to manipulate the fingers of their right hands as shown in fig. 3. After that they slowly raise their hands up to their breasts in salutation, 1S:ee 4 ) and then bow and raise their hands above their heads like a person slowly doing homage to a king. ( See fig. 5)

-fiq.

-8-

Fig. 4

-9-

Afterwards they raise one

of the knees

and bring

towards forward, stretch the arms and bend one of the hands

'fha the head. This posture is called 'o Kt'ai Khiin (

n:ruiurir

). ( See fs.6

)

Subsequently they begin to stand up and move rhythmically, executing various figures of which there must be more

than

ten. It has been noticed, however, that even students

who very well remember every one of the figures take about one hour to execute all the figures. So ti:ere must be a great manY of thern.

Fig. 5 ''s

it is surmised that

The students have to practise dancing and singing in this way {or not less than one term before they can dance all the figures executed to the Phleng Cha keeping to the correct rhythm. It is said that some students have no sense of rhythm and that even though they can dance in company with others, they cften make mistakes in rhythm and move out of harmonY with the rest'

When the students have learnt the rhythm to the " ( ldnilos ) notes of the Taphon, they change to "Lai Noi oosroi Son" that is to say, learning the rhythm of the ( ( aiouau ) tune which is a variety of the Phleng Cha' See eramPle No. 2 )

At this

stage the students are trained

dance to-

time indicate the rhythm by singing ; cha-chong-cha-thing-chong-thing " ( 6v-I d': - 6a' vr''r -ld l-n's ) and sometime the Lai Noi till the teacher finds the

gether and at the same

students can dance readily and correctly to the rhythrn of the Phleng Cha. Then the students are trained to dance to the

Fig. 6

- 1l --

(2) PIILENG CHA (SROI Vocal Part noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi

(4) SON)

PHLENG REO (ourcx ruxe)

rr).nt

noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi noi

(21

PHLENG CHA (suow ruNe) sROt SON

(6) PHLENG REO Tune Vocal Part tup thing thing tup thing tup thing thing tup thing tup thing thing tup thing tup thing thing tup thing

thing tuii thing thing tup thing thing tup thing thing tup, thing

thing tup thing thing thing tup thing thing thing tup thing thing thing tup thing thing

PHLENG REO (Qurcx tute)

"Phleng

R* " ( ,nao,i. ), QuickTune,imitating,

at the same

ip rhr

tup thiry dr3

time, the notes of Taphdn which the mouth thus; tup thing thing ( fiu. n'1. i.r. ) etc. ( See erample 3, 4 and. 6 )

(3) Vocal

Sing

Part

brp

PHLENG

tup thing tup thing

Ains th3

tup tbg tlg

RTDo

thing thing

tup thing thing tup thing thing

9 thg 6r tp thg 6g b ths

-12-

thg

tls

nhs

During this period in which the students are trained for many months to dance to Phleng Cha and Phleng Reo, the teacher sometimes demonstrates the movements and postures in order that the students may remember and imitate them. 'The students do so sometimes correctly and sometimes incorrectly. If their hands and feet do not lcrok graceful, the teacher bends them to the required shape. Sometimes the students are also asked to tap the knees, hnoch the waists with their elbows and move their necks in order to learn to move rhythmically in the same way as in training for tlu Kh-on. They are trained like this every day till the teacher considers they can dance to Phleng Chd and Phleng Reo tunes conforming correctly to the rhythm indicated by their singing' Later on they practise dancing to the music of the xylophone' One has to practise for about a year to be able to dance to Phleng Cha and Phleng Reo readily and correctly, and even longer to dance to them very well. Movements of trained dancers have become such criterions of beauty that even the movements of women who have not learned to dance but walk rhythmically have been praised as compa.rable to the former. For instance Sudeshna 7a king of gods/ in Madanabddlid. praised Madana /a nymph) thus: " Her hands are like the trunk of the heavenly elephant ridden by the king of gods. Her movements are like those in a dance."

But some persons who have been leaming to dance till are unable to dance well. In fact a student who age old learns to dance from the time he or she is eight to ten years old is generally able to dance better than one who begins to learn when older, say fifteen or sixteen years of agen unless the latter really has a talent for dancing.

-l+-

Phleng Chd and Phleng Reo are known together as instru"Phleng Na Phat" (rvralurirvrrvr,ll, tttut is to say' Formerly, rn'hile training boys and girls to mental

music.

preliminary stage' dance, vocal music was not used at the

The method followed by teachers of old has been dancing' For' as merely to teach the basic figures of Thai

well to Phleng Chd a matter of fact, students who can dance with credit on and Phleng Reo can really acquit themselves gained proficiency ih" 1.hui stage. But usually when one had Chd and Phleng Reo one was taught to in dancing to Phleng

of the elementary dance to other items of instrumental music ( rr'n "Smoe" ( ralo ), " Rua" ( r-l )

grJ" fif.u "Choet'n and "La" ( at ).

But The above is only as much as I am able to relate' more I feel, what I have learnt by actual observation is, case of some of difficult to describe and write about' In the So I write the items I do not know how to write intelligibly. briefly leaving out much of the information' When the students are able to dance to items of instruto mental music of the elementary grade, they are taught comthe interpret histrionicallyo words, generally those in position known as "Mae Bot" (rniun), The Alphabet of Dancing, which is sung to the tune of " Phleng Chom Talet" ( rnarttrrato ), The Song describing the Market'* There are two versions of the alphabet. The first which is a short

list of the evolution used in Thai dancing, is found * Formcrly the " PhraThong" tune taas used for this purpose.

the episode of "Tlrc Destruction of Nonthuh fut Phra Ndrai"* inthe Rdmakien comped by King Rdma I. It is as follows**:-

Thep-pranom 2. Pra-thom 3. Plrrom Si-nd 4. Sot Soi Mala 5. Kwdng Doen Dong 6. Hong Bin 1.

Lai

Kaeo 13. Mayuret Fon

The four-faced phrorn.

14. Yot Tong Tong

tosses

16. Phisamai Riang 17. Yia

Mon

her gem.

sways the rops of

ik ) Cha Nang Non' Phamon Khlao' Khaek Tao, Ph-a La Phiang Lai' Mekhala Yon Kaeo (waeo wai)' MaYuret Fon ( nai amPhon )'

( )' Phra Si-Kon Khwang Chak ritthirong

lsee scores 8 and

Wedded lwe.

2. Pra-thom 3. Phrom Si-nd 4. Sot Soi Male 5. cha Nang Non 6. Pha In Phiang Lai

tha

Many of these ezpression have been borcawed from the translation H.LI. Prince Dhanini-.-at Krornamiln Bidyald,bh Bridhyakorn.

The Salutation of the celestials'* T h e PreliminarY rnm)errwnt'

The four-farcd Phrom'

Stringing a gafland' Singing iltz Iad.Y to slee7' The hilloch reaching onIY uP to the shoulder.

This Episode was filmed by the Fine Arts Departrnent, entitled .The Diamond. Finger,"

the translation Many of these erpression hatte been bo'raued' from Bridhyahorn' Prlnce Dhanini'nat Kromamiin Bidyatabh H.,Fi.

of,

-16-

the evolutions The second is a comprehensive list of had taken the ttouble which H.R.H. the late P;1""; Damrong Fon Ram" to obtain and includJ-it-ttit book "Tamrd published bv the f ;"]f.";ij , Treatise on Dramnturgv' 'it^iit"na" LiLrury. It mentions the following:1. Thep-Pranom

19. Phra Si-kon Khwang Chak Phra N-arai hurls the discus.

Bin'

(

Phrom's creation.

Changing the posture. 18. MaEhchd Chom Sakhon The fish plays in the ocean.

Si-nE'

Nimit' [ 3 ] Yot Tong Tong Lom'?hrom Mon' Riang ( ik thang ) Phisamai Yai Tha, MaEhchd Chom Sekhon'

cave.

The pacoch dances.

Lom The uind

Nimit

The swan inflight,

plantain leaves.'

15. Pbrom

Stringing a garland. The stag walhing in theforest.

Mekhald

Thep-Pranom' Pra-t\m'.Phrom Sot Soi Mala (choet chin)'

Kinnarin

The preliminary movenrcnt.

7'hz hiltoch reaching only up to the shoulder.

12. Mekhala Yon

VERSES

( thang) Kwdng Doen Dong' {on9 LiaP Tham ( amphat )'

Tlrc Sahutation of the celestials.

7. Kinnarin Liap Tham The kinnonzpalks arou,ncl the 8. Cha Ndng Non SinSinS thz lady to sleep. 9. Phamon Khlao Thc bee caresses the flower. 10. Khaek-Tao 'fhe cockatoo. 11. Pha Ld Phiang

[

CI{OM TALAT

Andul.

TO RITONNELLO

I tt

PRl

pilion' si.

NOU.

TO RITORNELLO arHANc)

-- -

rwirroooeu ooro, or

- -\ TO RITORNELLO

[" tzl

rixl

- - - - cri - riNcron.

TO RTTORNELLO

|-," -

YoN

KEo

0l TO NITONNELLO

It"

r3l

tOT - - - -

TONG.TONQ

toi.0r--:--

PEROM NI

Io, YAI----

TF^.UACR

GHOM

LIAP rHAn-0a--:---(AM

ua---t0nET:--FON TBAtfo)- PRtgA M^l- - 0f - - --

RtrlO

TALAT ( Rtronxeuuo)

RITORNELLO

7. Phisamai Riang Mon Wedded laue. 8. Kang-han Ron Tlu blades of the zairulmill in motirm.

9. Klraektao Khao Rang The cockatoo retires into its nest. 10. Kratai Chom Chan The hare adnzires the moon. 11. Chan Song KIot The maonis investedwiththeha|o L2. Phra Rot Yon SEin Phra Rot thrqps an epistle.* 13. IMdn KIap Lang T'lB Ez,;t One tarns his back. 14. Yuang Krai Walhing gracefutgt,

15. Chui Chai Khao Wuog Sutaggering into the palace. 16. Mangkon Riak Kaeo The dragon demands rhe gem

MuEhalin Ram 18. Chdng Prasdn Ngd 17. Kinnon

their

Sin

24. To Len FIEng 25. Ndng Klom Tua

The lady

26. Ram Yua

Lasciztious dancing.

Rit Phra Lah* displays

his prousess.

The Kinnon dances i'n a group.

T'lv peacock dances spread'ing

40. Khat aChng Ndng

niL 'flv c-ross.

41. Tha Nai Sdrathi

T'lu posture of tlrc chnrioteer.

42. Imven Vehd

Patrolling the sky.

43. Khi Ma

Ti Khli

TiThon Yon ThaP

45. Ngfi Khwang Khon

su,ays from side to side,

Playing polo. Beating thc drums,

throus its bodY fuzoard ( as if it anere thrwing The

sna.ke

a hamrrcr).

Crushing talc (cosmetics).

46. Ram Krabi Si The

Four postures of tlu raPia-dance.

The wind xpays the top of

47. ChinSao Sai

The Chinese disemboutels n;mietfi.

48. Chani Rai Mai

Tlu

plantain leaaes.

* Phra Rot:

37. Phra Lak Phlaeng

44.

Tlu lion plays with its tail.

Nd 28. Lom Phat Yot Tong Chak Paeng Phat

The Hera (a kind of dragon) sports in tlu water. Thc lotas plant raiws its Pod. 'fhe serpent coils its tail.

its

Complaely infatuated. The suan atalks gracefully.

23. Hong Linld

Keeping otrt the sun.

'f he stag ual.ks in tlrc forest. 34. Phra Narai Kwang Chak Phra Nd.rai hurls his discus. Tlw elephant scatters tlrc grass. 35. Chdng Wan Ya 36. Hanumdn Phldn Yak Hamttndn kills the ogre. 33. Kwdng

tushs

19. Phra REm Kong Sin phra RErn bend.s thc bout. 20. Phamon Khlao The bee caresses (.the flouter). 21. MaEhchii Chom Warin The fish enjtrys itsetf in the ocean.

22.Ibng Lai Dai

Fldng Doen Dong

32. Nakha Muan

38. Kinnon Fon

The Kinnan dances.

(infislx).

31. BuaChuFak

FEng 39. Yfrng Fon lldng

from Muilatin. Elephants lock

Suriyd 30. Hera Len Nam

29. Bang Phra

Prince Rothasen, see story

Dhanit l'upho, pp. 8S-9O.

-20-

;" fiEno ora6,

gibbon msings

to tree. * Phra Lah : I'akshman in Ramayatu, an Indian Epic.

_2t_

fram

tree

49. Mekhali Lo Kaeo 50. Kinnon Liap Tham

MeklnlE

tosses

her gent.

The Ktnnon walks around. the ccvae.

51: Nang Nd Fai

The shadout play character is alanys.blamed

52. Sua Thamlai FIEng

for

Tlu tiger destroys

anho

trouble,

53. Chdng Thamlai Rong The elephant destroys the stable,

Ti Lek Tuching up the loose ends of the loin-cloth and hamnrcring iron.

55. Thaeng Visai

Guardian deities

fight

Reaching out to Meru mauntain.

57. Khrua-wan Phan Mai The creeper tuists itself around the tree.

58. Pralai-Wdt

Tlw storm of uniaersal destruction.

59. Yang Khit Prakit Tham Inaenting. 60. Krawat Klao

Doing up the h,air.

61. Khi Ma Liap Khai

Riding thc horse and inspecting thc camp.

62. Kratai Tong Ram Khlaeo Tham

Tlw lure caught in tlu trap escapes

into tlu caae,

63. ChakSoSdmSai

Playing on the three shinged violin.

64. Yai Lam Nam

Changing tlw sutg.

-22-

Rima IV wlfiih give its history thus:-

"The story of Phra Narai destroying Nonthuk'' At the beginning of Treta Age' Was one that had come down from ancient times When

reached AYudhYd."

atith

sfuars.

56. Klot Phra Sumen

Lpiof of Thailand, and is learnt from the verses of King

the hunter's

cottage.

54. Chong Kraben

Dancing to the " alphabet" of either version is a model to of Thai theatrical art which our ancestors have been able to generation from preserve for us by handing it down the was generation, at least from the time rvhen Ayudhya

In fact the greater part of the " Alphatet of Dancing" has been adopted from the evolutions which accompany learn to Phleng Chd and Phleng Reo to which the students words dance at the beginiig. But while interpreting

postures and gestures were found histrionically **" -* words better' necessary tomake the spectators understand the from those So they were either invented'outright or adapted items other alreadv erecuted to Phleng Cha, Phleng Reo and the of instrumental music of the elementary grade. Thus amounts introduction of the histrionic interpretation of words gestures' and' to fixing their meaningsby the movâ&#x201A;Źments and ,""ipJly, the first occation in which the hitherto nameless to the names movements and gestures were made to conform evolutions of giuen to them now in the same manner as the the lndi"r, dancing which are provided with names in that Jiiy"-tu*1' of the sage Bharata' I understand the students a formerly the names were used for giving of

-21 -

of the evolutions. For instance, the teaeJrer would tell thern that " ^Sot Soi MAla,, referred to the move_ ments of stringing a garland and how the students should general idea

second and

o(ecrrte them to make them appear beautiful, or, again, how to q(ecute the figure " Tlw stag zpalks in the forest,, beauti_

walking in tiie forest. We cannot say whose representation of the 6gure, ours or theirs, is more correct since technique depends upon personal taste, suided by the artistic tradition,

fully. Then the students would be able to use their imagination and understand what was required of them.

Thus in the case of the latter figure they have to remember that by nature rhe stage is timid and cautions and walks looking to the left and to the right. A poet has compared this to the shy behaviour of maidens saying;

" Saw a stag walks gracefully glancing sidelong like young women who wait upon a king with his sword and articles of toiler.',

third fingers, and stretch the thumbs and little fingers out. That is their "way o[" representing the stag

of one's nation, So, in spite of such mannerisrns of the dancers all representations of afigure according to its narne are satisfactoryo provided that the spectators can recognizi their purport and their beauty from the point of view of art. So I understand that the names of thesefgures were formerly used by theteachers merelytohelp the students in inventing the appropriate movements and gestures by themselves, according to the injunction " Dance customsn manners and beliefs

with your head." But objected to

this.

some well-informed persons have

They say the evolutions which have names only when ihey are

from the alphabet of dancing are correct

If the studenrs learn guiding facts like this and use their imagination, they can form a mental picture of a stag walking in the forest and represent it with their movements and gestures which need not be alike providd they are beautiful. For

Thai arristes formerly represented the stag walking in the forest by spreading both the hands and bringing the palms to the front. But now they stretch the forefingers and middle fingers out, clench the others, stretch the arms down till the palms are level with the seats, invert the hands so as to bring the palms below, raise the first and second fingers up till they are level with the waists and move them from side to side and up and down alternately. But the afiistes of India clench the first, instance,

-2+-

performed according

to rules. But the objection can

correct only for the time subsequent to that in which the rules become stereotyped. When their names have come to be interpreted in a stereotyped manner, to execute them differently has, of course, been considered incorrect. Thus teaching the theatrical art has come to mean training the students to rernember the evolutions, that is to say, training

their memory more than their imagination- But the practice is beneficial too, since without it the old way of executing the figures named in the lists would have been changed beyond recognitiono if not forgotten altogether, and would not have come down to us in the forms in which they were prevalent

during the Ayudhya period.

-25-

A COMPBEIIENSIVE LIST' OF FIGURES WHICH

FORM

THE ALPIIABET OF THE DANCING 1. Thep-pranom 2. Pra-thom 3. Phrom Si-nd 4. Sot SoirMdld 5. Cha Ndng Non 6. Phe In Phiang Lai

The salutation of tlu celestials. The prelim.inary mwen ent.

The four-faced Phrun.

Stringing a garland. Singing thc lady to sleep. The hilloch reaching only up to The shoulder. 7. Phisamai Riang Mon Wedded lone. 7'he blades of the windmill in 8. Kang-han Ron motiat. 9. Khaektao Khao Rang The cockatoo retires into its nest. The hare admires the moon. 10. Kratai Chom Chan 11. Phra Chan Song Klot T Iu m om i s imte ste d with thc halo. Phra Rot thrmps on epistle. L2. Phra Rot Yon Sdn Ughting the fire of universal 13. Cho Ploeng Kan destruction.

TIu Evil

14. Mdn Klap Lang 15. Phrom Nimit 16. Yuang Krai 17. ChuiChaiKhao Wang 18. Mangkon Len Nam

Phron's creation. Walhing gracefully. Susaggerring irxo tlu palace.

19. Kinnon Ram 20. Chdng Prasdn

Tlrc Kintnn dances. Elephants lock their tushs (in

Ngd

One turns his back.

Thc dragon sports in the water.

fisht).

21. Phra Ram Kong Son Phra Ram bend.s the bout. 22, Phamon Khlao The bee caresses the flonrcr. * Pleasc cec tlv Pictur*s of the eoolution in this bnk.

-26-

23. Yai The 24. Ma6hchdChomsdkhon 25. Long Lai Dai Sin 26. Hong Linla 27. Sing-to kn Flang 28. Nang Klom Tua 29. Ram Yua 30. Chak Paeng Phat Na 31. Lom Phat Yot Tong 32. hngPhra SuriYa 33. Herd Len Nam 34. Bua Ch[ Fak 35. Nakhe Muan Hdng 36. Kwang Doen Dong 37. Narai Kwang Chak 38. Chang Sabat Ya

Changing the posture. Thefish disports in the Cornpletely infatuated.

ocean.

T he sanan ualks grarcfullY. The lion plays anith its tail.

The lady

sasays

from side to side'

Lascivious dancing-

Crushing talc ( cosmetics )-

The wind

svuctys

the tops of

plantain leaaes. Keeping otrt the sun. The Hera ( a hind' of dragon ) sports in uater . The Lotus plant raises its Pod. The serpent coils its tail. The stag walhs in the forest, God Narai hurls His discus. 'flrc elephant stri.kes its legs with a bunch of grass (tofree the latter

frorn. earth etc.). 39. tlanuman Phlan Yak Hanum-an destroys the demon. 40. Phra Lak Phlaeng Rit Phra Lah displays his prouess. The Kinrnn dances gracefully. 41. Kinnon Fon O The peacoch darues ITAng Fon 42. Nok Y6ng its tail.

43. Khat Chdng Nang 44. Sdrathi Chak Rot 45. Traven Vehd 45. Khi Me Ti Khli 47. Ti Thon Yon ThaP 48. Ng! Khwing Khon

The cross. Thc charioteer drhtes the chariot.

Patrolling the sky. Playing poln. Beating the drurns. The snakc throu.ts its body forutard (as if it uere thrqping a hatnnrcr).

-n-

49. Chak Krbbi Si The

T he fwr posture s for unsheathing

a rapier.

50. Chin Sao Sai 51. Chani Rai I\[ai

The Chiruse disembauels himself . Thz gibbon swings from tree lo tree. Ktton beats his breast.*

52. Khon Thing Ok 53. Mekhala Yon Kaeo Mekhatd tosses her gem. 54. Kinnon Liap Tham The Kinnon walks around 55. Nang Nd 56. 57. 58. 59.

Fai

tlte

cave.

The shadou play character who is alusays blamed for trouble. Sua Thamlai Fldng Ttu tiger destroys the huner,s cottage. Chdng Thamlai Rong Ttu elephant destrosts tlrc stable. ihong Kraben Ti Lek Turhiag up the loose and of the lnin-cloth and hammcring iion. Visai Thaeng Tti The guardian deiries with

fight

"##;,

60. dharot phra sumen the sumerumauntoin. 61. Grua-wan Phan Mai The creeper tanists itself around the tree-

62. Yuang Phai Kathin

The .oar-sateep

Rattun procession.

63. Pralai-wdt

Tlu tion.

of a

boat in a

storm of uniaersal deitruc-

64. Yang Khit Pradit Ram Still immting a dance. 65. Krawat Doing up the hair. 66. KhiI!{6LiapKhai .Ridngin" n*n and.

Klao

inspecting

6r. Kratairong

Raeo '*";ff:;

68. Chak So Sam

* Khan

is nmne

Sai ,H::

a Demon prince.

-28-

r, caugttt in the tap.

the three_striiged

TIIE ACCOMPANYING ILLUSIBATIONS O}' POSTUBES

ri I

li r3 It,

T[,cp-pra.om Ihe:alulalion ol the celestiâ&#x201A;Źls

& rfu

',1

'4.

t\:''';4''' -'\

,r..

tto ,'i,tVlg', 'i.:,,

.tN,.t''

'rl

,,,

<';a f,t \14 L { fnv f,. v'

,'t-C.

:1'

. -)'1",, :t . ,d 'Y". 'r' . '{.'i'., 4' i.:{ .4-4.iJ .

Tzuo danctrs

"7'lu:

the 1>osture

coc/:atoo retires

into its ttcst',

Pra - thont Ihe preliminary

- l.i*.

moveme'rl

nrumturir

Phrom Si-na The lour-leced phrom

dogtdr'ouu1a1

rlul{,ttou

Cha Nang Non Sinorng

tha Ledy to slcco

Sot Soi Mala Sl.tnging e gorlond

nmrrilurlnd

Pha La Phiana Lai

Thc hlllock reaching only

uplo rhc shorlde,

orl

v{dilurru0lltJou

Phisamai Riang Mon Wedded love

i Jo ru1lRr911t1lt0

Khaektao Khao Rang Thc cockaloo.cltrca Into i,3 nesl

n{flurou

Kang-han Ron

lhc bladcs ol the windmill in molion

n:esirurur'uni

Kratai Chom dhan The harc edmires thc moo.

r^lrsd"ufl5m:iflao

wrs:nIuild'rt

Phra ehon Song Klot

l0r}|{ntnln

Lighting lhe lire

The moon 13 Invesled with lhe halo

Phra Rot Yon San Phra Rol lhrows an epislle

Cho Ploeng Kan

:Jtrnaufla{

ol universal deslruclion

Men Klap Lnnq

The Evil Onc tr,ns hi: bn.t

yrt?ruuufl \

{

tUO\:nflU

Phrom

Ni-it

iluQlUrlr'llil

Cbrri Chai Khao Wang Swagger;ng into the palaco

Phrom's crealion

Yuang Krai Walking grace[ully

utt

tJ{n:rauut

Manglon Len Nam

lhe

dragon sporls in the waler

fiuu:ir ( r)

iirnr:ir

(

)

Kinnon Rarn

,4 The Kinnon danccs

dnil:sarurr

Kin.ron Ram B fhe Kinnqn

dances

Cha"g Prasin Nga Elephants lock their tusks

l^trsrluIr;{fl:

(in

licr,.

Phrn llam Ku,rg l'hra Rirn bendr the

bow

t RU1fln1

Phamon Khlao

Ihe bec caresses lhc flowe,

Yai Tha Chonglng tire gosr,

illAlSUdlRt

rr{

fla0lflatndu

Maihcha Chom Sakhon The lish di3portr in the ocean

Long Lai Dai Sin Completely inlatueted

Hong Linla

fi{daun'l

frrlnrdunn

The swan welks gracefully

Sing.to Len Hang Thqlion playr with ll3

tlil

rnndotn-r

rluf

Nang Klom T.ta lady sways from side lo side

Ram Yuo Lasclvlous dancing

tllu',

TnttunHo?tu1

ChaL Poeng Phat Na Crushiog lalc ( cosmeltca I

nUilOU09l9lO.t

Lom Phat Yot Tong Ihe wlnd sways lhe lops of plantatn lcavcr

Band Phrq Suriyd

lJ{y{:gd:91 I

rt tfifltauul

Keeping oul lhe sun

Her-a Len Nam

The Here

(a kind of dragon) sporls in

wslcr

rirqf,n (n )

Bua

Chr Fak

The Lolus planl raises ils pod

il1n1il?Ull'l,l

u1qiln ( t )

Bua Chn Fak

Nakha Muan Heng The serpenl coils ils loll

The Lolus plonl rolscs lls pod

ntrufruol (n)

KwEng Doen Dong

Thc Slag walks In thc foreil

Chang Sabat YE

Jwt

n?l{r9ruoi

(")

Kwdng Doen Dong B

ildcunilful

The elcphanl slrikca ils lcg wtlh (

The stag walks in lhe loresf

rtrtuoltrtnr'nt

Ndrai Kwane Chal( God N6rai hurls His discus

?rluru}{a1quflr

bunch ol

lo lrec lhc laller from carlh clc,)

Hanumdn Phlan Yak Henumdn dcslroys the &mon

grus

wrcn-nurduiluoqnf

Phra Lak Phlaeng Rit rh,o Lrk

fiuurrilould

unu,:ilou?n{

NoL Ynng Fon Heng The peakock d€nces sp.eading

lls

displays his prowess

flo0't0u'tit

Khat Cheng Nang The crosc

l€il

rrrir'nrn

Sarathi ChaL Rot The chariotecr d.ivca the chsriol

tt:&t?ul2Hl

Traven Veha Petrolhng thc aly

ir{

{

Khi Ma Ti Khli

l|lJlflRA

fiIvruluuvr-u

Playlng polo

Ti Thon Yon Bclting thc

Thap

drums

rrrirn'ou

(n)

mrrorlnoou (

)

NgD Khwang l(hon

The snakc throws its body {omard ( as i[ it were lhrowing a hammer I

Ng[ Khw6nc Khon B .he (

itj body lorward wcre lhrowing a hammer 1

s.nakc throws

â&#x201A;Źi il il

{{

uflt'tt&udyt'l

Chak Krabi Si Tha {he four postures lor unshealhinO a rapier

louarrl#

Chin Sao ihe

Sat

Chincse .lrrcmbowcls himscll

rilrntluuuri?

rciiruli

Mekhala tossc: hcr gem

Chani Rai Mai lhe gibbon swlngs lrom lrcc lo lree

q'1

flouyl{on

Mekhala Yon Kaeo

Khon Thing Ok Khon bcots

hii brciel

nuuttauunl

Kinnon Liop Tham Thc Ktnnon walks around lhs cave

nulnrirh,l

Nang Na Fai The shadow play characler who is atways blomed lor lrouble

#r.:rirarul:r

Cha"g Thamlai Rong The clephanl destroys lhc slablc

raiofirorunl.r

S"q Thamlai H6ng -. lhc liger Ceslroys lhe hunlc.'s collage

Iornrcruuilrfldn

iho.,g Kraben Ti Le[

Tucking up the loose end of the loin-clott, aod hammc.ing l.on

ilauuymsrl

uniltcdtut tt

Visai Thaens Tri

Thc Auardian dcirics

eharot Phro

ligli

with triden,s

{

g d s ut,

ln:02auilu lu

Grua-wan Phan Mai

lhe creeper lwisl3.itgcll around lhc

rrec

Sumen

Rcachihg thc sumoru mount6:n

lu0.t?{tuRnu

Yuang Phai Kathin The ocr-sweep ol a boot In

r Kalhio

proccssion

il:ca-urrsr

Pralai-wdt

'lhe slorm ol universal deslruciion

vtt

n:cil29lfln1

Krawat Klao Doing

rp the

hatr

'&.-

oln'nrrJrao'uff r

Yang Khit Phradit Ra* Slill inve"lin! a

dancc

{y< t {illrauunlu

klding the horse and lnspecilng lne comp

'l*" -,! f"iiu! " 1l

t.-! .'ti

o':;;tI 'd

{+:$', ,,t--\

s$"+L

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rffi)fr

.1^,,#n.',=* .i'i',., ii

cia,l" ;4)r\ '4Ir

*dJ ,#R E4

lrrl,

nt&9t1u910'tut?

l(rotai Tong

*. rhe

hare is caughl

lrep

rrR

tt*1f li:-'r. '*i*,.1 .:r#..

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TFtAt CULTURE, NEW

SERTES

ALREADY PUBLISHED

!.. INTRODUOINO OULTUFAL TEAILAND

OUTLTNE

67 Phya Anuman Rajadhon T. TEf,! ROYAL }IONASTEFIES AND IHEIB SIONITICANOE &y Luang Bortbal Burrbhand & A.B. Grtswold 9. SEADOW PLAY (tne Naq)

H.H. Prtnce Dhcntnrva-f Kromemijn Bldyalabh BrldhyEkorn

4, THAI BUDDEIST AET

t. 0. ?.

(ABCEITECTUBE) Ay Professor Sllpa Bhlrasrl TIIAI LAOQUEB WOFKS 6y Prolessor Stlpa Bhtrasrl THII KEON Cy H.H. Prtnce Dhenlnlvat Kromamljn Btdvalabh BrtdhyEkorn & Dhanlt Yupho KIION MAAKS iy Dhanlf yupho

E. CONTEMPORABT ANT

IN TEAILAND 6y Pro{essor Stlpa

Bhlrasrl

9. TEAI LITEBATURE IN BALATION I'O TEf,i DIFFUSTON OF EER CULTUBES by Phya Anuman Rajadhon IO. TE$ NATUBSI AIID Df,iVELOPIIENT OF THEi TEAI LANGTIAG[i

by Phya Anuman Rajadhon AND NTTS OF PAYING EOMAOII TO TEAOEEBS OF EEON, I,AEOH AND PIPEAT 6y Dhantl Yuoho lt. TEAI WOOD OABVINCS iy prolessor Stlpa Bhtrasrl 18. TEEI PBELIMTNAAY OOURSTi OF TEAININO IN IHAI TEXIATBIOAL ABI 0y Dhanr yupho 14, TSAI TBADITIONAL SALUTATION 11. TIIBI O[lsTOM

THAI MUSIO I8. THAI }IUAIO IN 16.

I'. AN

Dy Phya Anuman

Rajedhon

Phra Chen Duriyanga

WTiSTDBN NOTATION

Dy Phra Chen APPBEOIATION OF gttKHOTEAI AnT

Durlyanga

cy pro{essor Stlpa Bhtrasrl TEAI IMAOES OF EEA BUDDEA ey Luang Bortbal Burtbhand & A.B. Grlswold 19. WHAT I8 A BUDDH.A TMAGE!? 6y A.B. Grtswold 20. TEAI TBADTTTONAL PAINIINO $y Eltzabeth Lyons 21. TEET MAEfr, oE.iT t1 phya Anuman Ralajhon 22. THn |IOSaOEAT IN THAI PAINTINC 6y Eltzabeth Lyonr 2S. IflB BOYAL PALACNA by H.H. Frtnce Dhanlnlvel Kromamiin Btdyalabh Brtdhya-korn 24. TEE DEVELOPMENT Otr THXi HATIONAL MUSETTMS IN AEAILAND ly Dhanll Yuoho 18.

P6. IIBABMACAKEA (TEsWEI:DL oFTEELAw) 67 Dhantt yupho OTHER SUEJECTS TN PREPARATION