Cyberspace is an artificial
cosmos created by man out of a figment of
his imagination. This cosmology exists as a two-dimensional world in
which "pixels" replace the molecules of life; "millions of colours"
represent the infinite variety of hues in nature; great distances may
be traversed at the "click of a mouse button". In this
cyber-cosmology, man is striving to deposit his immense pool of
knowledge and wisdom. This has made the concept of "cyberspace" so
vast that no individual can observe it in its entirety, but only in
small portions at any one time through a "window". There is nothing
"real", but everything exists in the "virtual reality" state which can
be both created and manipulated at will, utterly open to the whims of
their creators.
This state of being is eminently suitable for the representation of
the most important aspects of Thai Culture - the classical culture
based on the belief of "Tri Bhumi" (The Three Planes of Existence).
THE TRI BHUMI BUDDHIST COSMOLOGY
It is said that the oldest Thai literary work in existence is an
extensive treatise on the Buddhist Cosmology written by Phya Lithai,
the 5th monarch of the House of Phra Ruang of the Sukhothai Kingdom
(1238-1378), the first independent state of the Siamese people. This
work was given the title "Tribhumikatha" by the author although it is
more popularly known in Thai today as "Tri Bhumi Phra Ruang"
Phya Lithai became king in 1347 under the royal title of "Phra Chao
Sri Suriyapong Ram Maha Dhamma Rajadhiraj" (The Royal Descendant of
the Sun God, Great Righteous King of Kings), often shortened to "Phra
Maha Dhamma Raja I". He compiled his studies into the Tri Bhumi in
1345 while he was the Uparaja or the Prince Successor of the City of
Sri Satchanalai. Phya Lithai is recognised today not only as a great
monarch, but also as a great scholar of the period. He was an expert
on the Tripitaka Buddhist scriptures, which had become the state
religion during the 13th century, and in astrology. He was learned in
the magical arts, a development of the basic animistic beliefs of the
people. He was a staunch patron of the Arts, building many fine
architectural complexes in his Kingdom and using them as places of
learning which may be regarded as the fore-runners of today's Buddhist
theological colleges. In 1357, he sent a mission to Ceylon to receive
relics of the Buddha and built the reliquary at the ancient city of
Nakorn Chum, a part of present-day city of Kampaeng Phet. In 1361, he
invited Singalese monks to Sukhothai, notably Phra Maha Swami Sangaraj
who became the Supreme Patriarch. He took the robes of a monk himself
in 1362 under the supervision of the Supreme Patriarch and became
known as the first Thai monarch to be ordained as a Buddhist monk in
Thai history.
Many of these virtues remain unsurpassed even to today. It is not
surprising that such a scholarly king should produce a great scholarly
work as the "Tribhumikatha". This treatise may be briefly described as
a comprehensive study for the self-improvement of man. The scenario
embraces the three planes of existence as understood in that period:
Kama Bhumi (nether world), Rupa Bhumi (physical world) and Arupa Bhumi
(ethereal world). Manifestations within these three planes, Tri Bhumi,
are fraught with kiles or temptations, which generate the perpetual
cycle of suffering. The treatise does however, offer an enlightened
path out of this perpetual cycle, known as "amatanipana", achieving
the supreme state of contentment.
The original manuscript of this treatise was probably in the form of a
palm-leaf book-bundle inscribed with the ancient Thai alphabet the
invention of which is attributed to King Ramkhamhaeng Maharaj, Phya
Lithai's grandfather. The oldest known copy of this book dates to
1778. This copy is in the form of the palm-leaf book-bundle, inscribed
with the modern Thai script of the late Ayudhya Period. Now the book
has been published in the modern book form using computerised
typesetting, and soon it will be available in CD-ROM in Thai and
English. The Tribhumikatha's durability of over six and a half
centuries time span signifies its importance in Thai culture.
THE TRI BHUMI AS AN INSPIRATION OF THE THAI ARTS
The Tribhumikatha defines and describes at great detail, all things
which exist in the Buddhist cosmology, including the physical terrain
and its inhabitants. The seemingly factual descriptions of these
things are written in such a florid literary style that artists
through all the generations have been inspired to dream and to create
imagery based on this one book. Here are some examples of the
descriptions.
On mountains and rivers:
"The mighty Sumeruraj Mountain is 84,000 yojana high and stands 84,000
yojana deep in the water. It is 252,000 yojana in circumference. From
the east, it appears silvery in colour, from the south facing the
Jambu Dhaveep, where we reside, it appears crystalline and bright
around Sumeruraj Mountain is a river which is 84,000 yojana wide and
84,000 yojana deep. Beyond the river there is a ring of mountains
42,000 yojana high standing 42,000 yojana deep in the water and is
42,000 yojana thick."
On the sun and moon:
"From the inner mountain range to the edge of the universe is the
orbiting path of the sun and moon and all the stars. Their paths vary
such that we can recognise the year, month and day as well as the
goodness and badness of the period. From our land to the orbiting sun
is the distance of 42,000 yojana and 8,000 wah and the moon orbits
8,000 wah lower "
On forests, flora and fauna:
"The continent known as Jambu Dhaveep is 30,000 yojana in area. We
human beings inhabit 3,000 yojana, 4,000 yojana is covered with
seawater the other 3,000 yojana is covered with a forest named "Phra
Himapaan". Himapaan is an exciting place some birds are as big as
elephants some elephants are as big as houses
Beyond, there is a forest of Nareepol trees. These trees bear fruits
in the form of beautiful 16 years old maidens. All men who venture
across this tree instantly fall in love with its fruits."
On the heavenly abode of the gods:
"On the top of Sumeruraj Mountain is the city of the Lord Indra which
is about 8,000,000 wah wide. The crystalline palace in this city is
surrounded by a crystalline wall with a thousand gateways, within
which can be heard the sweet sound of magical music."
It is easy to understand that the artists of old, with their
sensitivities and imaginations, found boundless inspiration from these
descriptions. The art they stove to create was not of their own world,
but the world of the gods complete with all the fantasy and the
fantastic imagery. The Thai classical arts were about this wonderful
world. They were so integrated and universal that the Thai language of
the Sukhothai Period, there is no word for "art" (silpa), "painting"
(chitrakarma), "sculpture" (pradimakarma), "architecture"
(sadhapatayakarma). All words in parentheses are modern words coined
out of the Sanskrit language in the modern era.
REPRESENTATION OF THE TRI BHUMI IN THAI ART
There came to be a need to represent the Tri Bhumi in Thai Art because
the Thai people came to accept the theological concept of the Hindu
God-incarnate for their monarchs. This was probably by choosing and
not through any kind of obligation.
Prior to independence as a nation-state, the Thai settlements were
under the suzerainty of Khmer Empire, which was heavily influenced by
Hinduism and Brahmanism. The advent of Buddhism in the region did not
change the main stream of the tangible culture by any large extent and
was only recognisable in the iconography. Thai culture itself
exhibited traces of Khmer influence as seen in the Khmer architecture
of Sukhothai. As for the intangible culture, there survives the
concept of the "Devaraja" (God-king) and its appurtenances such as
ceremonial rites and rituals and, most important, the royal language
which uses Khmer words and terminology. This is most evident in the
name of Sukhothai's first king "Khun Sri Indraditaya" which refers to
both Indra the supreme god and Aditaya the sun god. It should be
mentioned here that this concept of kingship was not native to the
Thai who had existed in a paternalistic society as evidence from
references to chiefs as "Por Khun" (paternal king) in early stone
inscriptions.
In order to uphold the concept and subsequently power of the
god-incarnate, there needed to be created imagery of god-incarnate's
environment. But where could one find descriptions of this
environment? Ready answers and lush imagery were there in the
Tribhumikatha and possibly other works which had not survived the
ravages of time. There were examples too in the Khmer architecture and
art such as the Angkor Wat complex which remains the most perfect
expression of the cosmology with the mighty Sumeruraj in the centre,
surrounded by rings of mountain ranges and continents. Thai artists
and craftsmen had access to other Khmer temples found throughout
Thailand's North-eastern Region and as far west as Singburi near the
Burmese border. They may have even taken part to craft such temples
for it is evident that local craftsmen had participated.
The most clear example of the inheritance of the Tribhumikatha imagery
until today is the tradition of painting a mural of the Tri Bhumi on
the cross wall behind the principle Buddha statue in the majority of
ubosoth (consecrated halls) across the country.
THE POTENTIAL OF USING MODERN IT PRESENTATION OF THAI ART
Traditional artists and craftsmen of old have always sought for new
techniques and materials to present the Tri Bhumi cosmology. The
Sukhothai period craftsmen created glazed-ceramic Naga (great snake)
head for use as roof finials. During the subsequent periods unto
today, artist and craftsmen have found and used a number of materials
which are all unnatural and not found in the natural environment.
These include glazed ceramics, glazed metal, tin, gold and a host of
bright and garish pigments. For example, in order to represent the
flora and fauna invoked by descriptions of Himapaan magical forest,
they invented the technique known as "lai rod nam" (literally the
washed painting) gilded painting to achieve fine monochrome imagery in
gold on black. This modern technology of the period made ingenious use
of the water-soluble mask and the insoluble sap of the rak (lacquer)
tree. They also perfected the technique of "hung krajok" (literally
cooking the mirror) to make highly reflective metallic membranes which
could be cut an bent at will to fit the contours of building and
free-form decorative elements. This was used to give palace buildings
that "crystalline" appearance mentioned in the Tribhumikatha.
Following the examples of the fine artisans of the bygone era, the
classical Thai artisans have striven to conserve this exuberant style
throughout the ages. Only recently i.e. during the early 19th century
did Western "civilised knowledge" arrive and came to be accepted. The
Thai began to learn of the new cosmology of a globular earth orbiting
the sun, of the new geography of continents and oceans, and about the
mighty Himalayas which men strove to conquer. The Tri Bhumi cosmology
became out of date and was ignored, replaced with the more exciting
western art and imagery of the Greek gods and humanities. Thai art
remained as a conservation movement, more or less.
During the past 50 years and less, there has been a revival of
interest in the traditional imagery. The art movement, now
sectionalised into architecture, painting, sculpture, dance, music and
the decorative arts are each finding new ways to present the
cosmology. There are new presentations and misrepresentations of the
Tri Bhumi in modern forms such as framed portable paintings,
individual art objects not related to any other art form, etc. As yet,
few have shown interest in using the new intelligent technology and
computerised imagery techniques. Available are CD-ROMs of photographs
of Thai art, huge inkjet prints of existing murals in immaculate
details, and not much else.
Computer imaging techniques are an ideal carrier of the classical Thai
visual arts. Computers will enable the artists of tomorrow to use
their imaginations to take the classical Thai arts to new dimensions.
Fantastic images created with three-dimension software such as those
seen in the multimedia presentations and special movie effects can
very well carry images of the Tribhumikatha. The cosmology can be
brought to life even in a more exciting manner than traditional
techniques.
IT can bring the myths of the Tribhumikatha to reality, or rather
virtual reality. Cyberspace will be enriched with yet another branch
of human wisdom.
The Wai
Many Asian cultures share the
same gesture of greeting - the putting
together of hands at chest level. Thai people use several modes of
this gesture in salutation, each mode suiting a particular purpose.
Each person learns to use the proper gesture for the purpose it is
intended for from early childhood. He is trained to do so until the
knowledge becomes a second nature. The variety is such that a
foreigner who attempts to conform, with all good intentions, may seem
awkward to the native Thai.
Putting the palms of one's hands together at chest level is not
actually a greeting, but is a gesture of veneration known as panom mue
. It is used to pay respects to venerated objects and people such as
Buddha images, Buddhist monks, the royalty, etc.
The panom mue becomes a wai salutation only when the hands are brought
up from chest level to face level. The higher they are placed in front
of the face, accompanied by increasingly deep bending of the head
forward, indicates the degree of respect. Basically, the degree or
gradation depends on social standing or seniority. For example, a
younger person will initiate a wai to be responded by a similar
gesture from the older person. By etiquette, the younger person bows
his head a little more than does the older person, and a layman will
wai a Buddhist monk without consideration of age.
The solicited response is of interest. Sometimes etiquette demands
that the older person responds by neither raising his hands nor bowing
his head and remains in the attitude of panom mue only. Generally, it
is rude not to respond to a greeting with the exception that Buddhist
monks never physically respond to salutations by the layman.
As the wai becomes more respectful and the head bends further forward,
the whole body may also be lowered until the person who is making the
gesture of salutation actually sits on the floor and places his hands,
still with palms together, on the floor. This posture is known as the
krab .
There are two different styles of sitting in salutation : the formal
benchangapradit style and the pubpiab ( half prostration ) style. The
benchangapradit style is used to venerate the triple gems of Buddhism
i.e. the Lord Buddha, his Dharma teachings, and the Sangkha order of
monks. The name derives from the fact that five (bencha) bodily
extremities : the forehead, both hands and knees, are profferred on
the ground to the worship of Buddhism. In action, the person sits
upright on his haunches. He performs the panom mue , brings the hands
up to his face to wai while bending the whole body forward to krab on
the floor. The palms are actually placed flat on the floor and the
forehead touches the floor between them. The process is always
repeated three times. To krab highly respected people such as members
of the royalty, the other seated attitude pubpiab is used. Here the
person sits on the floor with both legs folded to one side of the
body. He bends the torso forward and places both hands on the floor.
In this case, however, the hands maintain the panom mue attitude on
the floor.
The final salutation is the one which displays the deepest respect of
all. It is known in Thai as tawai bangkhom and is reserved for the
King. The person who performs this traditional salutation sits on his
heels, knees on the floor. He puts his hands together in the basic
panom mue attitude, sways the torso to the front while bringing the
hands up in a sweeping gesture to a position high on the forehead. At
the pinnacle of the hand sweep, the neck is bent backward to its
furthest extent. After that, the hands are lowered to chest level and
the process repeated twice more. This extreme salutation may be
witnessed at the public display of veneration of King Rama V on the
anniversary of his death on 23 October at the memorial statue in
Bangkok.