June 2011 - National Museum Volunteers (NMV)

Transcription

NEWS
National Museum Volunteers
Bangkok No. 6 June 2011
National Museum Bangkok
Hours of Operation
The National Museum Volun
teers (NMV), under the auspices of the Department of
Fine Arts, is a recipient of the
Thai National Heritage Preservation Award 1989, 2001
and 2004. The group is also a
Member of the Council of the
World Federation of Friends
of Museums.
Wednesday to Sunday:
9:00 am to 4:00 pm
Monday and Tuesday:
Closed, except on public holidays
Thai New Year and 1 January:
Closed
Entrance fee: baht 200
NMV Library
The library is located at the rear of the
Museum grounds behind the Palace building.
Hours of opening:
Wednesdays: 10:00 a.m. – 4:00 p.m.
Thursdays:
10:00 a.m. – 3:00 p.m.
Membership cards must be shown when
borrowing books.
E-mail: [email protected]
The National Museum Vounteers is an organization with
Thai and international members whose purpose is to
serve the National Museum
Bangkok
and
the
public
through a variety of activities.
Guided Tours
English:Thai Art, History and Buddhism
Wednesday & Thursday
The NMV Newsletter
A monthly publication of the
National Museum Volunteers,
distributed free to members.
French:
Pre-Thai and Thai Art
German:Thai Art and Culture
Japanese: Buddhaisawan Chapel
Buddhism and Thai Art
All materials published remain
the property of the NMV. No
part of this publication may
be reproduced without prior
written permission.
Time:
9:30 am
Meet at: Museum ticket office
Fee:
Free (Museum entrance fee must be paid.)
For information call:
Guide Chairperson (Guiding and Special tours):
Bela Woodrow
082 078 9111
Tour Leaders:
English:
Alan Needleman
French:
Isabelle Depaty
02 261 1964
Jean-Pierre Joly
02 271 1249
German: Barbara Frank
080 088 3962
Japanese: Kumi Ishii
02 662 2179
Naomi Nomoto
02 664 3640
Cover photo:
Statue of Rama, one of
ten avatars of the Hindu
god Vishnu and hero of
the Ramayana, in front of
the Buddhaisawan Chapel
Printed by TR Enterprise Bangkok
.
NMV Website address:
http://www.museumvolunteersbkk.net
Newsletter National Museum Volunteers
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June 2011
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IN THIS ISSUE
Contents
2
Calendar
3Notices
4
Message from the President
6
500 Years: Europeans in Siam
8Study Group
12
Recent Happenings
18
Book Review
22
Guides Guide Guides
27Excursions Policy
28
Membership Application
This issue edited by:
Devin Brougham
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June 2011
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1
CALENDAR
June 6
Study Group – “The Major Arts of China”
June 27
Study Group Orientation – “Architecture in Thailand”
July 11
Study Group – “Architecture in Thailand”
July 18
July 25
Aug 1
Sep 12
Study Group Orientation – “Foreigners in Siam”
Sep 20
NMV Annual Reception
Sep 26
Study Group – “Foreigners in Siam”
Oct 3
Oct 10
Oct 17
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NOTICES
Welcome to Our New President!
In the last NMV Steering Committee meeting INES EHRLICH was unanimously
elected President of the NMV – congratulations, Ines! Many of you already
know Ines, either through her various roles within the NMV or her activities in
the wider Bangkok community as a writer and speaker. As a freelance feature
writer she has written on Thai art, history and architecture. Ines originally comes
from the UK but makes her home in Israel and has lived in Bangkok off and on
over many years.
We also want to give our heartfelt thanks and best wishes to our former
President, BO MAZUR, who dedicated herself so thoroughly to the tasks and
responsibilities of this key role. Thanks to Bo’s outstanding leadership the NMV
has thrived over the past two years, achieving many highlights and special
experiences for all our members – thank you, Bo! Fortunately Bo is staying on
in Bangkok a while longer and, of course, continues to serve the NMV diligently
in the role of webmaster (which she never gave up even while President!). So
the NMV will continue to benefit from her contributions and wise counsel.
Seeking Contributions for the Newsletter
We are always on the look-out for contributions to the NMV News. We
encourage members and friends to put their creative writing skills to use on
topics of interest relating to NMV activities: the art, culture and history of
Thailand, or just about any aspect of life in Asia that would be of interest to
other members. Photographs are welcome, too. Feel free to submit:
..
..
..
An article
A book review
A travelogue
An essay
A story
Photographs
Please send your submission(s) by the 10th day of each month to: nmvnews@
gmail.com.
We look forward to hearing from you!
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MESSAGE FROM THE PRESIDENT
Dear NMV Members,
After two prolific years with Bo Mazur gallantly
heading the NMV it will not be easy for me
to step into the gigantic shoes she is leaving
behind. Fortunately, Bo will still be an active
member of our committee and available for
consultation when needed, which I know she
will provide in her typical graceful and charming
manner. I would like to take this opportunity
to thank her for her endless support and
enthusiasm which she managed to instill in us
all, raising the bar of the NMV to a level that
from now on will be incumbent upon us all to
maintain and extend further. Together I am
confident it can be done, because by default
members of the NMV are an inquisitive group,
eager to learn whether it is a new culture,
a history or an art – it is what inadvertently
brought us to the NMV where many of us now
guide, conduct study groups, join excursions
or simply make the most of what Thailand and its culture has to offer.
Recognizing the unique opportunity of being part of this endeavor is what
characterizes our membership, it’s what fuels it and what puts the wind in the
sails of our activities.
Our recent symposium celebrating 500 years of European presence in Thailand
gained the NMV a lot of recognition and attention in the local press; I believe it
has helped open the door to future events that will require the assistance of the
local community, which is now more familiar with our work and eager to assist.
I encourage all of you to come forward and share your ideas and thoughts on
how we can introduce the treasures of the museum to an even wider audience
through special events and exhibitions.
I would like to welcome all the new members who joined this year, and to
congratulate those brave persons who rose to the challenge and immediately
began guiding after completing the guiding workshop, it is by no means an
easy feat! I also would also like to welcome three new members who will
be joining the steering committee this year after several members – who
had served for prolonged periods – will be returning to their home countries
– such is the nature of living in Bangkok. It is dynamic and constantly
changing with new people introducing new ideas and bringing with them the
inevitable winds of change. Although we are very sad to see our outgoing
treasurer Benedicte Haute, our Guide Chair Berni Sabatini and membership
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chair Annmarie Hellemans leave, I would like wish them the very best in their
new environments and extend a warm welcome to Sabine, Bela and Suzanne
who have recently joined the steering committee. Welcome on board!
Special activities for the coming year will include the Annual Reception and
Living in Bangkok held in September, and we are currently working on filling
the host of other events regularly held by the NMV. I hope you will actively
participate in as many as possible.
And lastly, it is a great privilege and an honor to represent the NMV, and brighteyed and a little teary-eyed I look forward to the year ahead!
Best wishes,
Ines Ehrlich
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5
500 YEARS: EUROPEANS IN SIAM
This is a notice from the NMV Library highlighting the books related to the rich
history of Thai-Belgium relations (reprinted from November 2008).
Thailand and Belgium: Two Kingdoms with a Long Friendship
Belgium has a significant place in the history of Thailand, underscored by King
Rama V’s two visits to Belgium and the appointment of a former Belgian Minister and leading expert in international law, Gustave Rolin-Jaequemyns, as General Advisor to the King. In the course of 10 years, assisted by a team of Belgian
lawyers, he helped to establish the justice system of Thailand and played a key
advisory role to the King in steering Siam successfully through the imperial challenges posed by the reigning colonial powers, France and Great Britain. For his
service to the Kingdom of Siam he was honored with the highest non-royal rank
of nobility, Chow Phya Abhai Raja. A statue of Rolin-Jaequemyns now stands
on the campus of the Law Faculty of Thammasat University in Bangkok.
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In more recent times a close relationship linked King Baudouin (died in 1993)
and HM King Rama IX, as they both had studied at the same school in Switzerland.
Related books available in the NMV Library:
A century of Thai-Belgian Friendship. One Hundred Years of Belgian
Diplomatic Presence in Bangkok 1904-2004, P. Broussard, G. Walewijk, Amarin Printing, Bangkok, 2004
King Chulalongkorn’s Journey to Belgium, Dir. P.Broussard, Institute of Asian
Studies, Chulalongkorn University, Bangkok, 2005
In Siam, The Diary of a Legal Adviser of King Chulalongkorn’s Go
vernment, Mr. and Mrs. Emile Jottrand, translated by Walter Tips, White Lotus,
Bangkok, 1996.
Gustave Rolin Jaequemyns and the Making and of Modern Siam, Walter
Tips, White Lotus, Bangkok, 1996.
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7
STUDY GROUP
THE MAJOR ARTS OF CHINA, PART I
As so much of western culture, arts, religion, and customs, stem from ancient
Greece and Rome, so, too, do the civilizations of Asia and Southeast Asia find
much of their origins in ancient India and China. Having recently probed the Indian arts, Mahayana and Vajrayana in study groups, it is time to delve into the
major arts of China. Part I of this two part study group will concentrate on the
oldest of the materials used in artistic expression bronze, jade, ceramics, and
sculptures for four weeks.
Dates:
June 6th (Final)
Time:
09:30 a.m. – 12:00 noon
Co-Leaders:
Else Geraets and John Toomey
Place:TBA
Sign up:
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Martine MAUFFREY: [email protected]
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Architecture in Thailand
Orientation:
June 27th
Sessions Dates: July 11th, 18th, 25th, August 1st.
Time:
9:30 a.m. – 12:00 noon
Leader:
Khun.Chomporn, Co-Leaders Siew Eng Koh and John Toomey
Place:TBA
Registration:
Martine MAUFFREY: [email protected]
The architecture of Thailand spans many centuries and was influenced by its
neighbors China and India, as well as by the Khmer Empire, Burma, and Laos.
Conscious of the constant possibility of flooding, the people of Southeast Asia
built their homes using the post and lintel method, so that during flooding they
could still live dry. Examples are the Central Plains domestic architecture of
the Red House at the National Museum Bangkok and the Northern Plains do-
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9
mestic architecture of Kamthieng
House at the Siam Society. Styles
varied by region and historical period. As the need for more elaborate
temple, palace and other public
buildings grew, the wall-bearing system of architecture was added using
brick and plaster. The post and lintel method was still retained to support the eaves over the verandahs
and in the interiors to support the
roof over a very large space.During
the 5th and 6th reigns Thailand’s
monarchs invited Europeans to build
the royal city of Bangkok in more or
less the way we see it still now.
The
Grand
Palace,
Phratinang
Chakri Maha Prasat, is the prime example of the synthesis of this new
style incorporating a traditional mondop roof.
Our study group leader Khun Chomporn Dhanesnittaya graduated with a degree
in architecture from Chulalongkorn University and has restored some of the Thai
nobility’s mansions along the Chao Phraya River. We feel very privileged to
have her as an expert to guide our study of Architecture in Thailand.
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Foreigners in Siam
Orientation: September 12th 2011 at 9:30 a.m.
Sessions: Mondays, September 26th, October 3rd, 10th, 17th
Time: 9:30 a.m.-12:00 noon
Leader: Jean Pierre JOLY
Place: TBA
Registration: Martine MAUFFREY: [email protected]
Following the theme of our Euro 500 Symposium last February 24, this new
Study Group “Foreigners in Siam” will give us the opportunity to analyze the rich
and multi-faceted relationship that has developed between different countries and
Siam over the past half-millennium. We will explore the reasons why Foreigners
came to Siam, for example trade, to establish diplomatic ties, to spread their
religion, to share their expertise, and for tourism. We will look into the conditions
of travel and life they had then as compared with now, and what knowledge they
gained from the countries they visited and what knowledge they brought to Siam,
and overall and what kind of exchange they really had with Siam. We will
explore the culture, architecture, education, religious tolerance and proselytism,
the literature of travellers, diplomats, and expatriates, and the Thai diaspora into
the West—all of which resulted from this half-millennium of contact.
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11
RECENT HAPPENINGS
WFFM Vice President Visits NMV
by John J. Toomey
The National Museum
Volunteers
Bangkok
is a member of the
World Federation of
Friends of Museums
(WFFM), headed by
a president and his
staff in Israel.
The
WFFM
is
divided
into several world regions, each headed
by a vice-president. A
year ago, I had the
privilege of representing the NMV on the
WFFM Council at the
annual meeting in Lisbon, Portugal, where I
NMV’s Mrs. Else Geraets (L) guided Carolyn (Center) and
met Mrs. Carolyn ForRichard (R) Forster through Khmer sculpture
ster, the WFFM VicePresident for Asia, Africa, and the Pacific. Readers may remember the report
I wrote on that meeting last year and the photo of Carolyn and her husband
and me, along with members of the newly formed Korean Friends of Museums
that opened the article. Carolyn honored the NMV with a visit this last May 4,
accompanied by her husband Richard. They were stopping over in Bangkok on
their way home to Canberra, Australia, from the annual business meeting of the
WFFM, held this year in Copenhagen April 28-30. Also visiting that day was
Patricia Bjaaland Welch, well-known to us as a former member of the NMV and
now a member of the Friends of Museums in Singapore. Patricia wrote the
book Chinese Art: A Guide to Motifs and Visual Imagery (Tuttle, 2008).
The four of us joined the tour
guides Alan Needleman through
dhaisawan Chapel and the Red
member Mrs. Else Geraets and I
conducted by the head of the NMV English
the exterior areas of the NMB and the BudHouse. Later, NMV Study Group Committee
guided the
Forsters through the Dvaravati and Khmer
as well as the puppets which was a special
gallery which Carolyn had especially wished
mid-tour when she received a call from her
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collections and the ceramics room
interest of Richard’s and the textile
to see. Patricia had to leave us in
husband that she had to go to the
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airport immediately as her daughter
had just given birth!
In the Buddhaisawan Chapel
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Despite the intense and fatiguing
heat and humidity of the day, Carolyn and Richard greatly enjoyed our
museum and continued touring until
about 1:00 PM, at which point we
had a light lunch in the cafeteria
where we were joined by our NMV
librarian Françoise Vincent.
They
then retrieved their bags from the
ticket office bag check and caught
a taxi to the airport for their journey
home. They made very favorable
comments about the treasures of our
museum and the courtesies of our
members and expressed the desire
to return to explore its wonders more
in depth in the near future.
Carolyn and Richard Forster (on left with fans) and Patricia Bjaaland Welch
(on right with umbrella) listen to Alan Needleman’s
explanation of Hinduism and Buddhism
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13
Visit to Prince Naris’ House – Baan Plai Nern
By Fred Prager
On 29 April 2011, our patron Khun
Chai, grandson of Prince Naris
(Born: 28 April 1863, Died 10 March
1947) hosted a tour of the Prince’s
home.
The house and its compound, normally used as a teaching
center for Thai dance and art, is
usually not open to the public but for
one day a year. This day the open
house was extended for an additional day to give the general public
a chance to learn more about the
life of this amazing person.
“Plainern” means “the end of the
mound” and refers to the fact that
Rama IV Road, which is in front of
the house, was much lower than the
railway tracks which cross it. A carriage from the city had to ride up,
over and down the “mound” to reach
the front entrance to the compound,
thereby placing the home at “the end
of the mound”.
After partaking of a wonderful selection of Thai foods, and a chance to
meet and greet other NMV members
and friends, we were escorted to a
beautiful, polished wooden staircase
which took us to the upper level of
the home. I have often wondered
why staircases in Thailand have so
Our host, NMV Patron Khun Chai
many steps of different heights, especially considering the average height of the Thai people. It was almost a
pleasure to walk upon these steps which had a solid feel but a springy sensation unlike most other wooden staircases. Khun Chai later informed us that
these stairs were the result of Prince Naris’ desire to create a stair that was
truly compatible with the people using it. Much research went into the width
and depth of the tread and the spacing and the result did not disappoint. And
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we hadn’t even gotten into the home itself and we were already benefiting from
the brilliance of the owner.
We crossed a small foyer and entered a large room, the centerpiece of which
was a beautiful painting of the Buddha flanked on either side by smaller, but
still impressive, paintings of two angels. These pictures, drawn by Prince Naris
are the prototypes of the images in the mural paintings drawn and painted
by C. Rigule, an Italian artist who also painted the interior domes in the
Ananda Samakhom Throne Hall, in the bot of Wat Rajatiwas. To the right of the
paintings was a bust of the Prince done by Professor Silpa Bhirasri (Corrado
Feroci), one of two in the room. Below the altar were waist high, wall to wall
bookcases which normally would have contained the many books and periodicals collected by Prince Naris. The shelves were presently empty as the books
were undergoing restoration. The upper area of the adjoining, long wall held a
group of framed “talapats” (fans) designed by the Prince for various occasions
during his lifetime. The wall was dominated by a low seating area as the day
before the room had been used for ceremonies commemorating the Prince’s
birthday and the area had been used for chanting. Khun Chai informed us that
this area of the house was designed in a three bay configuration. The first two
bays, separated from the third bay by the bookcase wall, was originally used as
the entry area of the house where the Prince would welcome and entertain
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Khon Mask Collection
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Bedroom with carved bed frame
guests. The second, smaller bay, was originally used as a dining area but was
presently being used for the “wai kru” ceremony arranged on Naris Day. An exquisite Ayutthaya era lacquered cabinet by the famous school of “Wat Serng
Wai”, a gold and black, two sided, lacquered panel, Buddha image(s) and three
wonderful, rare Khon masks were also included in the room’s furnishings. This
entire level of the house, originally constructed from mis-matched components
from older homes rescued by the Prince, was once an open sided area ringed
by roll up style bamboo shades. As this design proved impractical, windows of
varying sizes from different salvaged structures were incorporated allowing better security from the elements but maintaining the cross ventilation used to
keep the house cool. A second structure was erected near the first that would
contain the bedroom unit. The bed original to the house had deteriorated and
the beautiful, carved wooden bed currently on display belonged to his mother,
the Princess Consort Pannarai.
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The walkway between the two structures, with its perfect alignment, was turned
into a small studio where the Prince continued to work. This area now contains some of the furnishings original to the room and many of the designs and
sketches he created during his lifetime. The north verandah spanning the front
of the house, originally a royal page room, now houses a collection of Khon
masks.
The overall design of the compound is quite different from the design of the
normal Thai house. In most cases the living structures are built on an elevated
structure with an open area in the middle. The Prince’s concern was that this
traditional design would block the cooling winds so he restructured the compound to take advantage of the southern winds by facing each unit east.
After his passing in 1947 the house and land passed to his descendants. During the widening of Rama IV Road the compound was disassembled and relocated by about 50 metres. Due to the high cost of taking apart, moving and
reassembling the structures, some of the original buildings were kept in storage
and only the major structures were renovated and rebuilt.
His Royal Highness Prince Chitcharoen, the Prince Narisara Nuvativongse lived
in a challenging time. The ancient culture of Thailand was being influenced
more and more by the ideas and values of western civilizations. This simple
house belies the creative genius of its brilliant resident. His legacy includes,
the Bot of Wat Benjamabopit (The Marble Temple), the Bot of Wat Rajatiwas,
Racharidee Palace, Bangkok Noi train stations and the crematoriums of King
Rama VI and other members of the Royal Family. He also designed innumerable small decorative objects, Royal decorations, memorial medals, talapats and
the like. The image of Indra on Erawan that appears on the Bangkok City Seal
was also of his design.
By all accounts an enjoyable, and educational, time was had by all. Our
thanks to our beloved patron, Khun Chai, for sharing his knowledge and family
stories with all of us.
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BOOK REVIEW
Présentation du livre
“Auf Elefantenrücken durch Siam – Europäische Reiseberichte
über das alte Thailand”
- avec quelques commentaries par Cosimo Nocera
A dos d’éléphant à travers le Siam :
ce n’est pas par hasard que Markus
Bötefür, historien et journaliste allemand, a choisi le titre de son recueil de récits de voyage. Son petit
livre de 128 pages, paru en 2009,
en langue allemande, aux éditions
Ostasien-Verlag, à Gossenberg, constitue une excellente introduction à
la présence européenne au Siam à
travers les siècles.
En parcourant les 18 et plus récits de voyage, on est frappé par
la fréquente récurrence de l’éléphant
dans ces textes écrits par divers
voyageurs. Cet animal, jadis nombreux au Siam, ne pouvait manquer d’impressionner les étrangers
lorsqu’ils le voyaient pour la première fois. Sa présence à la cour, le
culte dont certains spécimens dits
“blancs” faisaient l’objet, son étrangeté, sa taille, sa force, son intelligence comparées au monde animal
européen, fixaient l’attention des voyageurs et en faisaient un symbole
incontournable du Siam.
Les récits proprement dits sont précédés d’une brève introduction à
l’histoire du Siam dans ses rapports
avec l’Europe, couvrant une période
de 500 ans. De manière concise,
mais exhaustive, Bötefür met en évidence non seulement la chronologie,
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mais aussi les principales caractéristiques de ces rapports. Il relève ainsi
un certain nombre de points forts les
concernant et les réponses données
par le roi du Siam et son peuple aux
défis représentés par l’arrivée des
étrangers.
Quant à eux, les récits s’étendent
sur une période de 350 ans; ils ont
été choisis en fonction de leur pouvoir d’évocation du Siam à l’époque
où ils ont été écrits. Par un effet
de miroir, les avis, préjugés et jugements portés par les voyageurs constituent un portrait non seulement du
Siam et de ses habitants, mais aussi
une représentation de l’imaginaire
d’Européens confrontés à l’étrangeté,
à la différence. Le livre présente à la
fois des témoignages privés (lettres
et journaux de voyage) et des documents officiels rédigés à la demande
d’une instance de pouvoir.
Parmi eux, on reconnaîtra certains
personnages bien connus du lecteur français (Nicolas GERVAISE,
Alexandre de CHAUMONT, Claude
de FORBIN), mais aussi un certain
nombre de voyageurs peu connus,
voire inconnus. Des illustrations
d’époque judicieusement choisies
complètent cet ouvrage bien documenté et plaisant à lire, qui mériterait d’être traduit en d’autres langues.
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Le premier récit sur le Royaume du
Siam à être parvenu en Europe est
dû à un commerçant vénitien de
Chioggia, Niccolo’ di Conti. Parti de

Venise en 1419, à l’âge de 34 ans,
il parcourut une grande partie de
l’Asie, apprit le persan et l’arabe et
se fit passer pour musulman pour
ne pas attirer l’attention. Ses voy
ages sont contemporains de ceux
de l’amiral chinois Zheng He et ses
récits se recoupent avec ceux des
chroniqueurs qui accompagnaient
le navigateur et explorateur chi
nois.
Entre 1425 et 1430, Niccolo’
di Conti visita la ville portuaire de
Tenasserim (aujourd’hui Tanintharyi
au Myanmar), qui faisait alors
partie du Royaume d’Ayutthaya. Il
relate brièvement le grand nombre
d’éléphants qu’il a aperçus dans les
environs de la ville et la présence de
beaucoup de bois précieux. Cela
contribua sans doute à fixer de façon durable l’image que les Européens se feraient du Siam.
A la demande du pape Eugène IV,
en guise de pénitence pour sa supposée apostasie, Niccolo’ di Conti
dicta le récit de ses aventures au
secrétaire papal, Poggio Bracciolini,
humaniste et historien florentin, qui
les fixa sur papier. A la fin de ses
pérégrinations, en 1444 , le Vénitien retourna dans sa ville natale où
il mourut, commerçant respecté, à
l’âge de 84 ans.
Il faudra attendre plus de 70 ans
avant que d’autres Européens pénètrent sur territoire siamois. C’est
chose faite avec la conquête de la
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ville portuaire de Malacca par les
Portugais, en 1511. Le sultan de Malacca était vassal du roi d’Ayutthaya,
mais se signalait par de fréquents
conflits avec son suzerain. Avant
même la conquète de la ville, le
chef des armées portugaises, Afonso
de Albuquerque, avait envoyé des
émissaires à la cour
d’Ayutthaya
pour proposer au roi Ramathibodi II
l’établissement de relations commerciales. Ces démarches furent couronnées de succès et les Portugais
purent établir un comptoir commercial, pratiquer leur religion et construire une église. En échange, le Siam
réclama la livraison d’armes à feu
portugaises, qui l’aidèrent dans les
incessants conflits qu’il entretenait
avec les royaumes environnants.
L’arrivée des Portugais marque un
changement de nature dans les relations entre le Siam et l’Europe.
Comme de nombreux autres commerçants italiens, notamment génois
et pisans, les buts de Niccolo’ di
Conti étaient avant tout commerciaux.
Il ne voyageait pas au nom de la
République de Venise, mais en son
nom propre. Toute autre est la figure d’Afonso de Albuquerque. Gouverneur des colonies portugaises en
Inde, il est le représentant du roi du
Portugal et fait partie d’un imposant
système de pouvoir, alors en plein
essor. Aussi, l’arrivée des commerçants lusitaniens est suivie de près
de celle de missionnaires chrétiens.
Les Portugais, comme plus tard les
Espagnols et les Français, se sentent
investis de la mission de diffuser le
message de l’Eglise de Rome.
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L’auteur relève là un premier point
fort : les tentatives répétées de
missionnariat
et
de
conversion
auxquelles
certaines
puissances
européennes (avec la notable abstention de la Grande-Bretagne et
des Pays-Bas) soumettent le roi et
la population siamoises. Ces efforts
étaient d’autant plus appuyés que
les chrétiens se voyaient soumis à
rude concurrence par une autre religion conquérante, déjà présenté sur
place. Les missionnaires arabes et
persans établis à Ayuthaya n’avaient
de cesse de propager l’islam, sans
plus de succès que leurs concurrents chrétiens.
Par ailleurs, les missionnaires chrétiens étaient tout sauf unanimes
dans leur effort de conquête des
âmes, les Jésuites le disputant aux
Dominicains et aux Missions de Paris.
Les rois surent habilement se soustraire aux diverses tentatives de
conversion, non sans manifester, en
même temps, une grande tolérance
religieusen qui permettait aux Européens de pratiquer leurs religions
sans encombres. Toutefois, cette
tolérance avait paradoxalement l’effet
de susciter dans l’esprit des missionnaires des espoirs jamais taris de
pouvoir un jour parvenir à leurs fins.
Certains rois, notamment Narai,
plutôt qu’aux messages spirituels,
s’intéressaient plus particulièrement
au savoir scientifique dont les missionnaires jésuites étaient amplement
pourvus.
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Vers la moitié du XVIIe siècle, l’Asie
du Sud-Est avait été investie par
plusieurs puissances coloniales européennes. L’archipel indonésien était
aux mains des Pays-Bas, qui en
exploitaient les richesses par Com
pagnie des Indes Orientales (VOC)
interposée; une grande partie des
Philippines appartenait à l’Espagne
et le Royaume-Uni, à travers sa
propre Compagnie des Indes Orien
tales, commençait à prendre pied en
Inde. Situé en position stratégique
entre ces régions et le monde
chinois, le Siam, quoique relative
ment peu pourvu de biens pouvant
attirer les commerçants, constituait
un pôle d’intérêt aussi bien pour
les Arabes et Persans que les Européens.
A ce propos, on voit émerger un
deuxième point fort : contrairement
à l’Indonésie, où le marchands se
voyaient confrontés à une multitude
de principautés indépendantes et ne
savaient parfois pas avec qui négocier, au Siam c’est le roi qui réunissait
en lui tous les privilèges commerciaux et représentait donc un interlocuteur unique.
A cela s’ajoutait le fait que les rois
siamois étaient en général ouverts
aux relations commerciales extérieures. En conséquence, Ayutthaya
et le reste du Royaume avaient vu
s’établir sur leur territoire de nombreux comptoirs commerciaux : Persans, Arabes, Japonais, Vietnamiens
et Chinois y côtoyaient Portugais,
Néerlandais, Britanniques et Français.
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Chaque délégation cherchait évidemment à s’assurer des avantages et
privilèges commerciaux, souvent au
détriment des autres, ou alors la
possibilité de propager la foi.
C’est ici qu’apparaît un troisième
point fort. De tout temps et jusqu’à
l’apogée des impérialismes francobritanniques au XIXe siècle, les souverains siamois ont tenté, non sans
succès, de manipuler les puissances étrangères en les montant les
unes contre les autres, dans un jeu
où seul comptait leur propre intérêt.
C’est cette tactique qui a permis
au Siam de se soustraire à la colonisation directe, une particularité bien
ancrée, encore de
nos jours, dans l’inconscient collectif
siamois.
On sait que l’ouverture aux étrangers connut un brusque arrêt après
les événements liés à la montée au
pouvoir, puis à la chute de Constantin Phaulkon, à l’arrivée des Français
et aux tentatives d’ingérences de ces
derniers et des Néerlandais dans
la politique intérieure du Royaume.
Celui-ci se ferma à l’extérieur et ses
souverains rompirent toutes les relations avec les cours européennes.
Cet état de choses dura de 1690
à 1820, mais une vraie ouverture
n’intervint qu’avec le roi Mongkut,
vers 1850, lorsqu’il se vit confronté
à la pression conjointe des impéri-
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alismes français et britannique, agissant en Indochine et en Birmanie.
A la manière de l’empereur japonais
Meiji, Mongkut chercha à moderniser
son pays selon le modèle européen,
suivi après sa mort par le roi Chulalongkorn, qui réussit à maintenir
la balance entre les exigences françaises et britanniques et à éviter la
colonisation de son pays, tout en
poursuivant sa modernisation.
A ce point, l’auteur note qu’à mesure
que le Siam était visité par des voyageurs de plus en plus nombreux,
souvent pourvus d’appareils photographiques, les récits parfois invraisemblables des origines laissent
la place à la présentation d’un pays
merveilleux et mystérieux, dont les
habitants captivent et à la fois déroutent les étrangers par leur apparente tolérance bouddhique et leur
caractère aimable et xénophile.
Plus tard, journalistes et romanciers créent l’image d’un pays où la
population est à la fois remplie de
joie de vivre et de superstitions, se
consacrant entièrement à l’accueil de
ses visiteurs avec une certaine naïveté enfantine.
Cela n’empêche pas ces mêmes
chroniqueurs de regretter, tous, le
bon temps jadis, où les éléphants
blancs rôdaient dans les forêts et le
tourisme n’avait pas encore exercé
ses ravages.
(à suivre)
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21
GUIDES GUIDE GUIDES
Table screens
in the
Mother-of-Pearl Inlay Room of the National Museum
By Shalindri Ranawana
The art of Mother-of-Pearl Inlay
which is commonly called Khruang
Muk in Thai, is the art of inlaying iridescent shells on a glossy black lacquer background. This contrast or interplay creates a stunning effect
which is visible in the many objects
that are on display in the Mother-ofPearl Inlay Room in the National museum. While each and every piece is
unique and visually pleasing, the two
screens displayed side by side seem
to personify the beautiful, detailed
and painstaking craftsmanship of
Mother–of-Pearl Inlay and the skill
and dexterity of the master artists
who created them.
22
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The two screens are from the 19th
Century Bangkok period. Screens
such as this were generally set upright to be used as miniature
screens on tables. The first screen
depicts the Buddha with his chief
disciples Sariputtra and Moggalana.
The Buddha is standing with his
hands in the Abhaya Mudra (denoting the dispelling of fear) within a
Kranok or flame decorated niche
with celestial beings floating among
the clouds and paying homage to
the Buddha in the background. The
Thai variation of the Abhaya Mudra
is shown here with the Buddha raising his right hand with palms out-
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ward and fingers pointing up which
signifies the Buddha pacifying the
relatives. The two disciples are also
within two smaller Kranok styled
niches on the two sides of the Buddha. The falling flowers on the background indicate that it is an auspicious moment. The Kranok, which is
a very common design in Thai art, is
simpler than usual. The clouds are
Chinese style (popular during the
reign of Rama 111 – 1824 -1851))
but the overall design reflects essentially Thai style and sensibility.
The other screen depicts the Buddha
seated on a throne preaching the
Patimokkha or the Fundamental Precepts to his disciples. The Buddha is
in the Ardhapadmasana or half lotus
position where the left leg is crossed
and rests on the surface while the
right leg is crossed over the left. The
background shows flamboyant scrolls
or Kranok or flame-like sprays. Note
the fine design of the throne with inscriptions at the bottom. The design
of the Kranok is identical to the one
found in the other screen.
A closer examination of the two
screens shows a variation in size
and design of the borders. Also the
dimensions of the screens are slightly different, one being 45 cm wide
and 64 cm high and the other being
47 cm wide and 63.2 cm high. This
begs the question, do they form a
pair, which is the general belief or
are they stand-alones? The facial
features of the Buddha and his disciples in both screens show a distinct
similarity although details such as
the hair of the Buddha appear to be
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different. The quality and richness of
the two screens appears to be the
same. Also, the fact that one has a
certain Chinese influence and the
other not seems to point to the
greater possibility that the two
screens were crafted by the same
artist as single pieces but not as a
pair.
In Thailand, the art of embedding
rainbow-coloured, luminous seashells
on black lacquer background on special royal and ecclesiastical objects
thereby increasing its significance,
prestige and value goes back centuries. Most ecclesiastical objects or
objects with Buddhist backgrounds
were commissioned by the Kings to
prove their allegiance to Buddhism
and their commitment to protect and
preserve the religion.
The Mother-of-Pearl used is the
pearly iridescent inner part of a mollusk shell. While several species
were used the one used in Thailand
was the most beautiful hoi fai or
flaming Mother-of-Pearl from the turbo snail indigenous to the Gulf of
Thailand. This shell emits a deep,
rich, green and pink sparkle when hit
by light and has a distinct luster different from any other variety of
Mother-of-Pearl used in other countries.
The technique first involves the removing of the outer surface of the
shell with a special knife. Then the
pearly inner shell is cut into fairly flat
pieces, each about 2.5 centimeters
long and sanded flat. The shell is
then re-enforced on wood and cut
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23
into the desired pattern with a special curved bow saw. This painstaking process requires a gentle touch
since the shell that is used is very
thin and fragile.
The design to be drawn is first
sketched in its entirety on paper and
transferred to tracing paper in the reverse. Once the pieces are cut they
are glued onto the tracing paper.
The object that is to be decorated
with Mother-of-Pearl which is created
beforehand, is then given several
coatings of lacquer and while the final coat is still sticky, the tracing paper with pasted shell is attached
face down. The paper is removed
only when the lacquer is completely
dry and thereafter the gaps and hollows are filled with a paste made of
pulverized charcoal and lacquer.
When dry, the surface is rubbed
down with carborundum to give an
even surface. Finally the object is
polished with dry banana leaf and
oil. This process obviously requires
the skill of many craftsmen of different skills, including master artists,
cutters and lacquer specialists.
Decorations usually take the form of
Thai patterns and one of the most
popular seems to be scenes from
the Thai version of the Indian epic,
the Ramakien. Episodes from the life
of the Buddha were also depicted
through this art form. Other designs
and themes used commonly are Hindu Gods and celestial beings. One
of the most popular motifs, seen in
both screens discussed today, is the
Kranok design which is the trailing,
intertwining plant design often ending
24
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in magnificent ogres, nagas, bird’s
heads and animal masks.
It would be relevant at this stage to
also look at the evolution of motherof-Pearl Inlay as an art form in Thailand. Although the origin of this art
form cannot be traced exactly to any
specific period, the oldest existing
works of any real significance are
found on monuments dating back to
the Dvaravadi period (6th to 11th century). The excavation of the archaeological site of U Thong in the Suphanburi Province brought to light
Mother-of-Pearl inlay on the stucco
motif decorating a Chedi (stupa)
which changed the general perception that this special form of art was
not older than the Ayuthaya period.
This art form may have existed even
at an earlier time along the coastal
regions of the country around the
3rd or 4th Century although the fragments indicating this appear to be
crude and have only very rough and
hard shell cut into very basic shapes
inlaid directly into stucco.
After the Dvaravati period, this art
form does not appear to have
evolved into the Sukkhothai or Lannai periods of Thai art history, either
by way of written records or through
any significant archaeological findings.
The art of Mother-of-Pearl Inlay however developed significantly in the
Ayutthaya period, especially in the
latter part, during which time it was
considered an important decorative
art directly receiving the patronage of
the King and royalty. The classic
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Mother-of-Pearl techniques were perfected during this time and the works
of this period were magnificent pieces of art created by master artists.
Although the larger part of these objects were badly damaged, destroyed
or lost during the sacking of Ayutthaya by the Burmese in 1767, some
fantastic pieces, mostly door panels
from temples (wats) were saved, restored and are now housed in temples in Bangkok.
In the early Ayutthaya period under
Palace Law Mother-of-Pearl Inlay
works could be presented by the
King only to member of the Royal
household undoubtedly in view of the
value of the material used and the
specials designs used in keeping
with royal traditions. The objects given always indicated the rank and title of the receiver. As a result of the
prestige associated with these objects, King Trilok of Ayutthaya established a Department of Mother-ofPearl to oversee Mother-of-Pearl
craftsmanship and to limit craftsmen
exclusively to those within the royal
household. The value placed by the
Palace on this art form is clearly
demonstrated by the ranks and gifts
of land that were bestowed on the
craftsmen who engaged in this art
form.
During the late Ayutthaya period
Mother-of-Pearl objects were not limited to royal utensils or religious objects. Ordinary people who could afford these wares could buy them at
a high price and there is evidence to
show that Mother-of-Pearl inlay
wares were sold in shops to local
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customers in certain parts of the city.
Since some of the master craftsmen
of Ayutthaya survived after the fall of
the city, they were formed into a Department of Mother of Pearl craftsmanship by the government in the
early Rattanakosin/Bangkok period.
Many objects created during this period are also of breath-taking beauty
and fine craftsmanship. In the reign
of Kind Rama 111, techniques and
styles of Thai Mother of Pearl were
influenced by the Chinese art form
which appears to have concentrated
on the inlay of Mother-of-Pearl on
wood rather than on liquor. Thai artists seem to have been influenced
also by some Chinese techniques
and themes although most of the objects retained the basic Thai tradition. The quality and finish of the
earlier works are far superior and
aesthetically pleasing since these objects were created exclusively for
royal and ecclesiastical use only by
the most skilled artists of the day.
The more familiar pieces which are
displayed in the Museum consist
mainly of inlays on the doors of vihara Mondops and Ubosots, Tripitaka
cupboards, Buddhist altar offerings,
royal regalia and Buddhist monks’
utensils, two tiered trays for offerings, bowl covers and smaller boxes
for areca nuts and medicines. The
Talum a wide-mouthed container with
sloping sides on a high pedestal
seems to be one of the most common religious utensils decorated with
Mother-of-Pearl. Brilliantly and intricately designed boxes to store manuscripts also appear to have been
popular amongst the artists.
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25
Mother-of-Pearl inlay became less
popular by the end of the 19th
Century and lost its royal patronage

during this time. Some present
day mother-of-Pearl works are of
high quality but are executed by
private artisans who may be com
missioned by royalty and laymen
alike. The works that were created
and are being preserved in the temples and in the National Museum are
not only a testimony to the great
skill of Thai artists of centuries
before, but also an important part of
Thailand’s artistic heritage. It is
heartening that this magnificent tradition is still carried on by present day
artists.
Books and publications consulted:
.
.
.
.
.
‘Treasures from the National Museum of Bangkok’ published by the National
Museum Volunteers Bangkok
‘Thai Mother-of-Pearl Inlay, A (Not So) “Minor” Art for Court and Cloister’ by
John J.Toomey appearing in the National Museum Volunteers News Edition
of 1 January 2010
‘Thai Mother of Pearl Inlay’ by Julathusana Byachrananda
‘Inspirations – A guide to our forty favorite Pieces’ published by the National
Museum Volunteers, Bangkok
National Museum Bangkok Guiding Handbook.
26
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June 2011
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EXCURSIONS POLICY
Participating in NMV excursions is a benefit of being a member. An NMV
member may be accompanied by a non-member if they are family or a house
guest (maximum of 2), space permitting.*
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.
.
.
.
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Bookings
Always make reservations by email to the organiser listed in the announcement.
Please provide your name, mobile number plus membership status of you
and guest(s).*
You are not registered until your request has been received by email and
an acknowledgement has been sent to you in writing.
Reservations are on a first-come, first-served basis.
By making a booking, you are committing to pay in full for your place.
If full payment is requested prior to an excursion and has not been
received, the organisers retain the right to pass your place to another

person.
Often an excursion announcement will give a booking deadline. If full, the
trip may close and be finalised before this date.
Until the excursion organiser is actually in receipt of your payment, you
are not considered to have paid.
The NMV reserves the right to cancel an excursion if enough members
do not sign up.
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Cancellations
Your payment indicates your intention to travel. If you cancel, there will
not be a refund.
If you cannot attend an excursion, please notify the organiser immediately.
If you cancel your booking, unpaid fees are considered a debt owed to
the NMV. We regret that no further bookings can be made until this debt
is cleared.
WAIVER OF LIABILITY
The NMV will not provide personal insurance for excursion participants.
The Museum Group’s Excursions are an activity of the National Museum
Volunteers, which is a non-profit organization and is not a professional travel
service. It cannot be held responsible for any injury, loss, or damage that may
occur during any excursion, although the Museum Group’s Excursions will
make reasonable efforts to provide for the safety of participants.
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June 2011
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27
MEMBERSHIP APPLICATION
Please complete all details on this form and mail to the address below
with a crossed cheque of 1,200 Baht for residents in Thailand (1,800
Baht for couple) or 2,000 Baht or US $60 (for cheques drawn on a US
bank) for an overseas subscription, made payable to NATIONAL MUSEUM
VOLUNTEERS. We regret Postal Orders cannot be accepted.
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June 2011
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NMV STEERING COMMITTEE
Patron:
MR Chakrarot Chitrabongs
President:
Vice-president:
Secretary: Treasurer: Guide Chair: Ines Ehrlich *
Isabelle Depaty *
Claudia van der Heyden *
Benedicte Huaut * / Sabine Lefeuvre
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Contact us:
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[email protected]
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www.museumvolunteersbkk.net
P.O. Box 1305 Nana Post Office
Bangkok 10112
Thailand
กลุ่มอาสาสมัครพิพิธภัณฑ์สถานแห่งชาติ
ตู้ ป.ณ. 1305 นานา
กรุงเทพฯ 10112
The National Museum Bangkok is located on
ถนนหน้าพระธาตุ
Naphrathat Road (
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between the National Theatre and Thammasat University,
across from the Sanam Luang