#: locale=en
## Tour
### Title
tour.name = The Dream of AYUTTHAYA - NAFA
## Media
### Title
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map_D224B4D5_C0E2_C0DE_41E4_6653F67BD158.label = Lim Hak Tai Gallery floorplan_outline
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panorama_CA4A70B5_C011_8BC6_41DB_BB9F38C3343C.label = Scene 3.0
panorama_CA4A75E8_C011_954E_41E3_428E22BACE1F.label = Scene 4.0
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photo_D0855989_C4CE_721D_41B9_3F7E30A9C993.label = 14
photo_D0DC87C1_C4CA_DE0D_41BB_F05B1A86E4A1.label = 13
photo_D14648D8_C4CA_723A_41DB_96C88E12425B.label = 15
photo_D1588F0D_C4D5_EE1A_41D4_EB89A7797365.label = 8.1Ayutthayamap
photo_D1C569F9_C0E7_40C9_41E8_0ADB4EF69EC5.label = 1112
video_CA3A9A75_DFCC_5B58_41E5_5EBFC2650675.label = Piphat video link for wall
video_CC9D98AF_D50E_A43F_41D4_F6C9D1D4FD2E.label = NEWSLINE for wall video
video_DCE07DE6_C011_7545_4185_73EFB79D9D82.label = 11. Taphon
video_DCE0A02B_C011_8AC2_41E6_C6995C648A8B.label = 13. QSMT “Dressing Gods and Demons_ Costume for Khon”
video_DCE0C520_C011_8AFE_41C5_57F7D0D59D7D.label = 12. 2020 Flagship Genius featuring Ayutthaya
video_DCE2260B_C011_76C2_41C8_D0440F17EBB4.label = 11. Khong Wong Yai
video_DEB42B97_C016_9DC2_41E0_C5B472CF2A2A.label = 9. Ranat Ek
video_EF29C0B5_E243_B59D_41E9_70B1E7CEB62F.label = video link for mask
## Popup
### Body
htmlText_C04BEC73_D493_74B2_41E0_70EEACE26E88.html = Ranat Ek
National University of Singapore collection
Chada Headdress (Female)
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
Ranat Ek
National University of Singapore collection
Ranat Thum
National University of Singapore collection
Ranat Thum
National University of Singapore collection
From left:
Phra Ram and Hanuman
Miniature khon masks
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
From left:
Nang Sida, Phra Lak and Thotsakan
Miniature khon masks
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
1. Khong Wong Yai
2. Taphon
National University of Singapore collection
Dressing Gods and Demons: Custumes for Khon
Google exhibition
Flagship Genius Featuring Ayutthaya
Exhibition Opening
Video
02 minutes 49 seconds
From left:
Jasslyne Oh Jia Yinn
Ayutthaya Sunset
Jasslyne Oh Jia Yinn
Wat Phra Si Sanphet
Bridget Tracy Tan
Wat Chaiwatthanaram at Night
Jumana Haseen d/o Abdul Ghani
Sacred Journey
Adel Amelia Desmond
Wat Ratchaburana - Beyond Wonder
Bridget Tracy Tan
Wat Putthaisawan
Inkjey print on HD Photo Paper
50 x 40 cm and 40 x 50 cm
From left:
Joyce Bee Tuan Koh
Edge
Droima Quek Zi Lin
Golden Hour
Ng Ho Wei Vareck
0700hrs
Nur Syazwani Syairah Binte Herman
The Cathedral Western Influenced Interior
Chng Yong Fang
Buddha
Inkjey print on HD Photo Paper
50 x 40 cm and 40 x 50 cm
Mask of Thotsakan
Khon mask
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
Chada Headdress (Male)
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
Mask of Hanuman
Khon mask
Paper mache, resin, gold leaf and cubic zirconia
Dimensions variable
The shape of the chada closely resembles the lomphok, a style of hat that came into vogue during the mid 17th century of the Kingdom of Ayutthaya. What is striking is how many pieces of documentation survive, particularly in images of diplomatic exchange with France, showing the Siamese wearing this style of headdress. King Narai or Ramathibodi III is likely the first King of Ayutthaya to be seen wearing this, that closely resembles the current Crown of Victory worn by all monarchs during their coronation in the current era.
Piphat วงปี่พาทย์เครื่องห้า with translation from NAFA Art Galleries
Khon Masked Performance of Thailand
Video feature by NEWSLINE
Dressing Gods and Demons: Costumes for Khon
Google exhibition
Taphon demonstration featured by ธีระศักดิ์ ธีรวัจณนาภา
Demonstration of the Khong Wong Yai by a student from Chulalongkorn University
Flagship Genius Featuring Ayutthaya
Exhibition Opening Video
Flagship Genius Featuring Ayutthaya
Exhibition Opening Video
Dressing Gods and Demons: Costumes for Khon
Google exhibition
Khon Masked Performance of Thailand
Video feature by NEWSLINE
Demonstration of the Khong Wong Yai by a student from Chulalongkorn University
Taphon demonstration featured by ธีระศักดิ์ ธีรวัจณนาภา
Hanuman the Monkey General, a snippet with จตุพร ภักดี
Although the Kingdom of Ayutthaya is synonymous with an historic epoch, people overlook that today, it is actually a modern city known as Phra Nakhon Si Ayutthaya. In 1916, a Royal decree identified the city and province, while its status as a municipality came about as late as 1999. The city has a population of over 50,000 residents, many may work locally or commute to surrounding cities. Known by its current name since 2005, Ayutthaya as we know it is located a 100 minute drive north of Bangkok. The citadel can be easily tracked following the Chao Phraya river, offering an historic connection of both eras through the waterway.
The Ranat Thum is a low tone xylophone similar to the Ranat Ek. The keys are wider and larger, giving the instrument a lower tone. It is said to have been created in the 19th century by the brother of King Rama IV, several hundred years from the origins of the smaller piphat ensemble comprising among others, the sibling instrument in Ranat Ek (also in this exhibition).
Strictly speaking, there is no one incident in the Ramayana where Hanuman does battle singlehandedly with Thotsakan. Hanuman does fight the brothers and sons of Ravana as well as features highly in the Battle of Lanka with the demon army. It is said that in one meeting between the two, Hanuman delivers his signature death blow to the chest of the demon, flooring him without killing him. Versions of the fight scenes illustrate the mounting of the chest, though the translations are subject to interpretation. It is likely in Khon, the dramatised feature highlights the moral superpower of good over evil by the posture of Hanuman arched over the demon beneath him.
The most striking thing about Ayutthaya in the present day is how you can notice the sky unpolluted by modern profiles and atmospheres. The landscape of the historic city reveals a wide range of iconic temple structures. Deeply influenced by Buddhist philosophy carried over from the age of Sukhothai, the architecture of stupas evolved from the smooth, bell-shaped style into an angular profile, graphic with indented corners and decorated tiers. Building and designing were reflective of a humbling tribute to show the prevalence of Ayutthaya due to a higher power and purpose. This was the language that the Kings of Ayutthaya used to write their stories and legacies.
In 1639, King Prasat Thong ordered the relocation of a giant Buddha originally at Wihan Klaep and Wat Chi Chiang Sai, now a set of ruins, north of the current Wat Phra Si Sanphet. This map by Vingboons in 1665 shows a distinctive circular building found top left that is not easily comparable to other maps. It is suggested that this was the new temple King Prasat Thong erected to house the giant Buddha. There is no concrete evidence to identify this building however, since through the next several hundred years, the housing for the Buddha was destroyed and several times, ultimately re-erected as the current Phra Mongkon Bophit.
Although the Kingdom of Ayutthaya is synonymous with an historic epoch, people overlook that today, it is actually a modern city known as Phra Nakhon Si Ayutthaya. In 1916, a Royal decree identified the city and province, while its status as a municipality came about as late as 1999. The city has a population of over 50,000 residents, many may work locally or commute to surrounding cities. Known by its current name since 2005, Ayutthaya as we know it is located a 100 minute drive north of Bangkok. The citadel can be easily tracked following the Chao Phraya river, offering an historic connection of both eras through the waterway.
In 2018, a television drama titled Bupphesanniwat or Love Destiny, made its debut in Thailand. The series was dramatised from an original novel by Chanyawee Sompreeda. It follows a story of history student who wakes up from an accident as a figure in the Kingdom of Ayutthaya. This series gained a massive following so much so that many locals flocked to the scene of filming - Wat Chaiwatthanaram. Services offering costume rentals became popular, where the locals would dress up as though they were citizenry of Ayutthaya and take photos of themselves. It has been said that this revived in the younger generation a strong interest in Thai history and culture.
The three main stupas or pagodas as seen here are synonymous with Wat Phra Si Sanphet, the first and main complex visible once visitor enter the Ayutthaya Historical Park. The stupas here commemorate 3 Ayutthaya kings, erected at different times to match one another: the first 2 were built in 1492 by King Ramathibodi II to house the remains of his father and elder brother (East and West, the actual centre one) and third far West was built by King Boromracha IV, to house the remains of Ramathibodi II himself, a good 30 years or so after. Much of this complex, including the viharn that houses the giant Buddha, Phra Mongkhon Bophit, has been rebuilt and restored over the last few decades, and these 3 pagodas have become an everlasting symbol of Ayutthaya.
The iconic Wat Niwet in Ayutthaya stands out today with its Gothic-style architecture and church-like interior. Commissioned by Rama V, this temple is one of many examples of how western elements were incorporated in Siam, beginning from the mid-19th century. Unlike its neighbours who had been colonised, Siam had full autonomy on the extent of western influence.
During the Rama V’s visits to Europe, he would invite artisans to share and exhibit their crafts in Thailand. This gave the Thai artists opportunities to learn and exchange ideas and techniques, which in turn led to more European influence their everyday life. Besides architecture, Western influence is also evident in Thai painting.
Wat Niwet is considered a legacy from the era of Ayutthaya, when diplomatic relations with Western countries offered much exchange in culture and other forms of knowledge. The sense of the open mind is seen in Wat Niwet, where Gothic architecture is interpreted to accommodate Buddhist features. There is another historic building in Ayutthaya, seen in St Joseph's church of 1695. The mission itself was established much earlier, while the first wooden church erected in 1666 was replaced by the current Romanesque style cathedral, basilica plan in a Latin cross layout, terminated with a tall bell tower on one end, and a decorated apse on the other.
The characterisation of Hanuman in Khon shows him always in white, and in a mask with his mouth open. Unlike some of his fellow characters in the Monkey army, such as Sukhrip, Ongkhot and Chomphuphan, Hanuman seldom wears a headdress, unless he is in disguise or for a specific occasion. The characters of Khon are defined as much by their costume as by their movements, perfected and stylised to convey the expressions, habits, strengths and peculiarities beyond the mask. The acrobatic nature of Hanuman is his best attribute and prowess. The performance spans across all versions of this monkey in the epics across Southeast Asia.
Demonstration of the Ranat Ek by a student from Chulalongkorn University
The shape of the chada closely resembles the lomphok, a style of hat that came into vogue during the mid 17th century of the Kingdom of Ayutthaya. What is striking is how many pieces of documentation survive, particularly in images of diplomatic exchange with France, showing the Siamese wearing this style of headdress. King Narai or Ramathibodi III is likely the first King of Ayutthaya to be seen wearing this, that closely resembles the current Crown of Victory worn by all monarchs during their coronation in the current era.
Wat Phutthaisawan is located on the West bank of the Chao Phraya river that borders the citadel of Ayutthaya. This temple commemorates the founding of the Kingdom of Ayutthaya under King U-thong in 1350. According to established chronicles, it is the oldest temple in Ayutthaya, and the only temple to have survived the final sacking of the kingdom by the Burmese in 1767. This temple shows the influence of a Khmer style ‘prang’. But unlike Khmer prangs which taper, the prang here shows equal proportions as it rises, illustrating the first of several unique attributes in Ayutthaya ‘style’ of architecture.
Although the chada itself is said to have derived from the Ayutthaya period, the style of headdress in performance can be found elsewhere, including the folk dances of Southern Thailand, into Peninsula Malaysia called the Manora. This dance features a mythical bird/human figure known as the Kinaree. The tall apex shape also references Mount Meru, the holy mountain found in Hindu narratives. There are also examples in over thousand year old ancient reliefs of Borobudur and Angkor Wat that show the dinstinctive shape. Characters in performance who wear the chada, also called makhota and kecopong (Javanese and Malay) are likely noble, royal or of elevated status.
In 2018, a television drama titled Bupphesanniwat or Love Destiny, made its debut in Thailand. The series was dramatised from an original novel by Chanyawee Sompreeda. It follows a story of history student who wakes up from an accident as a figure in the Kingdom of Ayutthaya. This series gained a massive following so much so that many locals flocked to the scene of filming - Wat Chaiwatthanaram. Services offering costume rentals became popular, where the locals would dress up as though they were citizenry of Ayutthaya and take photos of themselves. It has been said that this revived in the younger generation a strong interest in Thai history and culture.
It is said that Thotsakan (Ravana) actually has 10 arms and 10 heads, representing Kama (lust), Krodha (anger), Moha (delusion), Lobha (greed), Mada (pride), Maatsyasya (envy), Manas (mind), Buddhi (intellect), Chitta (will) and Ahamkara ( the ego). The masks of Thotsakan and in several versions of Ravana have 9 faces, as anecdotes tell of how he sacrificed one to please Shiva.
Taphon demonstration featured by ธีระศักดิ์ ธีรวัจณนาภา
Demonstration of the Khong Wong Yai by a student from Chulalongkorn University
Wat Chaiwatthanaram is likely the most intact temple complex, assiduously restored and rebuilt over several recent decades, in the historic city of Ayutthaya. It closely resembles the complex of Angkor Wat in Cambodia. Wat Chaiwatthanaram has a central 35m prang, surrounded by 4 smaller prangs and bordered by 8 'meru' structures. The apexes of the prangs and merus were copiously decorated with plentiful and lotus motifs and once shone gold. Stupas located on site show the quintessential 4 indented corners of the Ayutthaya style.
Although the chada itself is said to have derived from the Ayutthaya period, the style of headdress in performance can be found elsewhere, including the folk dances of Southern Thailand, into Peninsula Malaysia called the Manora. This dance features a mythical bird/human figure known as the Kinaree. The tall apex shape also references Mount Meru, the holy mountain found in Hindu narratives. There are also examples in over thousand year old ancient reliefs of Borobudur and Angkor Wat that show the dinstinctive shape. Characters in performance who wear the chada, also called makhota and kecopong (Javanese and Malay) are likely noble, royal or of elevated status.
In 1639, King Prasat Thong ordered the relocation of a giant Buddha originally at Wihan Klaep and Wat Chi Chiang Sai, now a set of ruins, north of the current Wat Phra Si Sanphet. This map by Vingboons in 1665 shows a distinctive circular building found top left that is not easily comparable to other maps. It is suggested that this was the new temple King Prasat Thong erected to house the giant Buddha. There is no concrete evidence to identify this building however, since through the next several hundred years, the housing for the Buddha was destroyed and several times, ultimately re-erected as the current Phra Mongkon Bophit.