The Arts in Votive Tablets which His Majesty King Bhumibol

1
The Arts in Votive Tablets which His Majesty
King Bhumibol Adulyadej Participated in the Making
Peerapol Chatchawan
Abstract - The objective of this research is to honour and
promote the remarkable aptitude in Buddhist arts of His Majesty
King Bhumibol Adulyadej. The researcher has studied and compiled
votive tablets which His Majesty has participated in making since His
Majesty’s accession to the throne on 9 June 1946 to present. Data
were collected from various sources and with different methods,
ranging from documents to field work by interviewing experts,
observation and photo shooting. Data were then analyzed.
Keywords – buddhist arts, His Majesty King Bhumibol
Aduyadej, votive tablets.
I. INTRODUCTION
B
UDDHISM is one of the fundamental institutes which
are foundations of Thailand. It has significantly contributed to
security and preservation of the nation. It could be said that
Buddhist ethics have amalgamated into Thai traditions,
customs and conventions. Moreover, Buddhism has also been
a powerful inspiration for various creations of fine arts
including painting, sculpture, architecture and interior design.
[1]
Fig. 1 Phra Buddha Chinnarat, Wat Phra Si Rattana Mahathat,
Phitsanulok Province
“Votive tablet” is a term used for amulets which has an
archeological implication. Votive tablets, a kind of Buddhist
arts having both sentimental and social values in Thailand, are
Buddha or monk images. They are created out of respect and
faith in Buddhism. These auspicious objects carry with them
values for remembrance and worship. They are also a means
to pass along Buddhism from generation to generation.
Peerapol Chatchawan is with the Faculty of Fine Arts, Suan Sunandha
Rajabhat University, Bangkok, Thailand (tel: +662-160-1388 ext. 202; e-mail:
[email protected] , [email protected])
Fig. 2 A Dvaravati Buddhist art votive tablet found in
Nakhon Pathom Province
Votive tablets were first created after the Lord Buddha’s
paranibbana. The Lord Buddha’s followers or buddhists
visited the four Buddhist pilgrimage sites, [2] the birth place of
the Buddha, the place of the enlightenment, the place of the
first sermon and the place of the Lord Buddha’s paranibbana,
which each is far away from the others. They made great
efforts to travel the long journey to visit those sites. Once
there and paid respect to the sites, they felt overwhelmed as if
they were before the Lord Buddha himself. When they had to
depart those sites, they felt very sad and had an idea to make
miniatures of those sites for remembrance and worship when
they got home. The idea was then developed to make votive
tablets and later amulets.
In Thailand, Buddhism and the Monarchy have a long and
inseparable relationship. Not only the making of Buddha
images and votive tablets by kings is meant to express their
respect for Buddhism and make merit for themselves and their
relatives but also to gain political influence. Buddha images
and votive tablets are a symbol of love and loyalty between
kings and their subjects. They are also thought of as
auspicious for the country.
His Majesty King Bhumibol Adulyadej, [5] the current King,
is one of the most beloved and esteemed Kings of Thailand.
Since His Majesty ascended to the throne on June 9, 1946, he
has assiduously and tirelessly worked for the well being of his
subjects. His Majesty is a Buddhist who has great faith in
Buddhism and has been a strong patron of all aspects of the
religion. His Majesty has always made sure that Buddhist
related activities are well taken care of.
In the past, King would bestow a sword upon a town within
his kingdom to show his power and authority. However, His
Majesty King Bhumibol Adulyadej had an idea to additionally
bestow Nava Rachabopit Buddha images upon all provinces.
www.far.ssru.ac.th
2
Fig. 3 Emblem of the
House of Chakri
Fig. 4 The King’s royal
cypher and personal flag
Fig. 8 Somdej Chitralada votive tablet made in 1965
Fig. 5 Coronation
Fig. 6 The King in monkhood
The Nava Rachabopit Buddha image is a Buddha image of
Manvichai posture with 23 centimeter width and 40 centimeter
height. The base of each Nava Rachabopit [1] Buddha image
contains a Somdej Chitralada [1] votive tablet, which was made
by His Majesty and given the name “puissance of the land”.
The Nava Rachabopit Buddha image is, therefore, an
auspicious Buddhist symbol which represents close bonding
between His Majesty and his subjects.
Fig. 9 The King in a consecration ceremony
Fig. 7 Nava Rachabophit Buddha Image
His Majesty’s participation in the making of votive tablets
ranged from pouring gold liquid to consecration to sprinkling
holy water to anointment and to praying for a blessing from
the Buddha. The researcher has realized His Majesty’s divine
devotion to the making of votive tablets and felt the need to
study the artistry aspect of it and record the findings for
historical purposes.
Fig. 10 The King pouring gold liquid to cast votive tablets
II. OBJECTIVES OF THE RESEARCH
1) To honour and promote the remarkable aptitude in
Buddhist arts of His Majesty King Bhumibol Adulyadej;
2) To study and compile the votive tablets which His
Majesty has participated in the making since His Majesty’s
accession to the throne on June 9, 1946;
www.far.ssru.ac.th
3
3) To categorize the votive tablets which His Majesty has
participated in the making since His Majesty’s accession to the
throne on June 9, 1946.
III. RESEARCH METHODOLOGY
1) Surveyed and studied related documents for
information needed to set the direction and outline the
framework of the research, including information needed to
present the outcome of the research;
2) Collected field data by interviewing experts, observing
and taking photos as follows:
i. Population and sample of votive tablets used in the
research:
- Population : votive tablets which His Majesty
granted approval of making;
- sample : 25 votive tablets which His Majesty has
participated in the making since His Majesty’s accession to the
throne on June 9, 1946;
ii. Interviewed experts to receive necessary
information for the research.
3) Data collection was in the following order:
i. Examined data from both documents and field
work, i.e. interviews, collected additional information for
incomplete parts and summarized the information as outlined.
ii. Examined photos and drawings collected from
both documents and field work, collected additional
information for incomplete parts and categorized them.
4) Presentation of the result of the research:
The researcher presented his analysis and findings as a
descriptive research with photos.
Fig. 12 A votive tablet made by casting
- 6 out of 25 votive tablets, or 28%, were made by
imprinting;
Fig. 13 A votive tablet made by imprinting
B. Type
- 3 out of 25 votive tablets, or 12%, are low-relief;
IV. RESULT OF THE RESEARCH
It was found that the 25 votive tablets which His Majesty
has participated in the making, ranging from pouring gold
liquid to consecration to sprinkling holy water to anointment
and to praying for a blessing from the Buddha, could be
categorized into 4 categories as follows:
A. Method
- 5 out of 25 votive tablets, or 20%, were made by
compressing;
Fig. 14 A low-relief votive tablet
- 10 out of 25 votive tablets, or 40%, are semi high relief;
Fig. 11 A votive tablet made by compressing
- 13 out of 25 votive tablets, or 52%, were made by casting;
www.far.ssru.ac.th
4
Fig. 15 A semi high relief votive tablet
- 12 out of 25 votive tablets, or 48%, are round-relief;
Fig. 19 A Gandhara Buddhist art votive tablet
- 5 out of 25 votive tablets, or 20%, are Tang Dynasty arts;
Fig. 16 A round-relief votive tablet
C. Material
- 6 out of 25 votive tablets, or 24%, are made of non-metal;
Fig. 20 A Tang Dynasty art votive tablet
- 1 out of 25 votive tablets, or 4%, is Dvaravati Buddhist
arts;
Fig. 17 A non-metal votive tablet
- 19 out of 25 votive tablets, or 76%, are made of metal
Fig. 21 A Dvaravati Buddhist art votive tablet
- 1 out of 25 votive tablets, or 4%, is Lopburi Buddhist arts;
Fig. 18 A metal votive tablet
D. Era of arts
- 1 out of 25 votive tablets, or 4%, is Gandhara Buddhist
arts;
Fig. 22 A Lopburi Buddhist art votive tablet
- 1 out of 25 votive tablets, or 4%, is Chiangsaen Buddhist
arts;
www.far.ssru.ac.th
5
This research could not be completed without support and
assistance from various organizations. The researcher would
like to especially thank the National Research Universities,
Office of the Higher Education Commission and, Faculty of
Fine Arts, Suan Sunandha Rajabhat University, for funding
this research project.
Fig. 23 A Chiangsaen Buddhist art votive tablet
- 15 out of 25 votive tablets, or 60%, are Sukhothai
Buddhist arts;
Fig. 24 A Sukhothai Buddhist art votive tablet
- 1 out of 25 votive tablets, or 4%, is Ayutthaya Buddhist
arts;
Fig. 25 An Ayutthaya Buddhist art votive tablet
V. ANALYSIS OF THE RESULT
For the 25 votive tablets which His Majesty has participated
in the making, the findings could be concluded as follows:
1) Casting has been the most popular method;
2) Round – relief has been the most popular type;
3) Metal has been the most popular material;
4) Sukhothai Buddhist arts has been the most popular arts.
The researcher felt very honoured to have an opportunity to
study the votive tablets which His Majesty has participated in
the making. The result of this research could be further studied
to find out how fine arts could be used as a tool to pass down
Buddhism from generation to generation.
ACKNOWLEDGMENT
REFERENCES
[1] Rattanakosin Bicentennial Celebration, Committee, Rattanakosin
Sculpture Picture Book. Bangkok: Graphic Art, 1982.
[2] Buddha Monthon Construction Administration, Committee, Buddha
Monthon: In Honour of His Majesty King Bhumibol Adulyadej the Great.
Bangkok: Victory Power Point, 1988.
[3] Religious Affairs, Department, In Honour of His Majesty King Bhumibol
Adulyadej’s Eightieth Birthday Anniversary. Bangkok: The Agricultural
Co-operative Federation of Thailand, 2007.
[4] Kowit Tangtongchit, The Nineteen Sangharaja (Supreme Patriarches of
Thailand). Bangkok: Suveeriyasan, 2006.
[5] The
Basic
Education
Commission,
Office,
Sodej
Phra
Navamindharadhiraj: A Book on the Sixtieth Anniversary Celebration of
His Majesty King Bhumibol Adulyadej’s Accession to the Throne.
Bangkok: The Agricultural Co-operative Federation of Thailand, 2007.
[6] Thammasat, University, Wat Kasattrathirach Varanihara: Royal Kathina
at Wat Kasattrathirach Varanihara on November 5, 1977. Bangkok:
Thammasat University, 1977.
[7] Wat Bowonivet Vihara, The Myth of Wat Bowonivet Vihara during the
Reign of Somdej Phra Sangharaja Chao Krom Luang Vajirayanawong.
Printed with Consent for the Royal Cremation of Somdej Phra Sangharaja
Krom Luang Vajirayanawong at Wat Depsirin Raja Varavihara on April
26, 1960.
[8] The Disciples of Wat Bowonivet Vihara, The Complete Picture Book of
Wat Bowonivet Vihara. Bangkok: Kor. Pol (1996), n.d.
[9] Thai Culture Inheritance Project, The King under the Monkhood.
Bangkok: Star Print, 1999.
[10] Wat Phra Chettuphon Wimon Mangkhlaram Raja Varavihara, Two
Hundred Years: Somdej Phra Mahasamana Chao Krom Phra
Paramanujit Jinoros 1990. Bangkok: Amarin Printing Group, 1990.
[11] Wat Phra Chettuphon Wimon Mangkhlaram Raja Varavihara, The Story
of Phra Wanaratana: the First Rector of Wat Phra Chettuphon Wimon
Mangkhlaram Raja Varavihara in the Rattanakosin Era. Bangkok:
Printed for the Royal Cremation of Phra Kru Dhammadorn Supan
Atipunyo at Wat Phra Chettuphon Wimon Mangkhlaram Raja Varavihara
on November 14, 1991.
[12] Wat Phra Chettuphon Wimon Mangkhlaram Raja Varavihara, A Treatise
on Buddha Image Postures: Conclusion of Somdej Phra Mahasamana
Chao Krom Phra Paramanujit Jinoros. Bangkok: Amarin Printing Group,
2007.
[13] Peerapol Ariyarattana, The King under the Monkhood in 1956. Bangkok:
S.P.K. Paper and Form, n.d.
[14] Mahamakuta Rajavidyalaya, Foundation, The King’s Royal Duties during
His Majesty’s Monkhood. Printed for the occasion of celebration of the
eightieth birthday anniversary of Somdej Phra Sangharaja Krom Luang
Vajirayanawong on November 22, 1956. Phra Nakorn: Mahamakuta
Rajavidyalaya, 1956.
[15] His Majesty’s Principal Private Secretary, Office, The Myth of Wat
Bowonivet Vihara. Printed with His Majesty’s permission for the seventy
second birthday anniversary celebration of Somdej Phra Nyanasamvara,
the Abbot of Wat Bowonivet Vihara, on October 3, 1985. Bangkok:
Bangkok Press (1984), 1986.
[16] Wat Ratchabopit Sathit Maha Simaram, The Creation of Buddha Statues
and Sacred Objects: the One Hundredth Year of Wat Ratchabopit Sathit
Maha Simaram and the Consecration of Buddha Statues on 29 – 31
January, 1971.
[17] His Majesty’s Principal Private Secretary, Office, Royal Duties during
October 1970 – September 1981.
www.far.ssru.ac.th
6
[18] Wiboon Leesuwan, Life and Work of Ajarn Silpa Bhirasri. Bangkok:
Group of Companies, n.d.
[19] Adul Kitchaiporn, The Auspiciousness of the Land. Bangkok: Bangkok
Press (1984), 2008.
www.far.ssru.ac.th
7
www.far.ssru.ac.th