Ye + wnorad + amdounssy svipicie Yau = =—- BUDDHIST ART ARCHITECTURE PART I BY RP PHROMBHICHITR AdenAu ° wa % wv amiaunssuuacarmaed mala unsanuidauaciseduusem : 4a AA wo g din a 14 any wionsendusiawlisun Wuisdedalunseunaan aan » yA ga Ayer a Aga 94 z vorlny Iuavelunodnresivwilaaasss auudiinmomny vz yl» taf dl eal al g doutudinandusrdhaanindudy “4 Hae wssnefidesnn e. A vd a > a 4 aioatudiqve dlawisnvestaadwnoatetunawl laaun o ¥ ow saedaunraNineswria awe dudes vo og d tw y va ¢ oo Xd4 y v4 dl HwiHcuImvowdwaihaavinvewwnauds — dnwu ad dio a ye Yor So & 4 a gl AMUUI WOU WuovlAwowwsuAIMeuAINU — Wermaoly dye Y v ey : ouasaliimmnldadmnmeanuidell ssnoutsuvoudsiian ~ tow a % ys yy s 1 . TunamssutannawauAwueltieua dnaTNiAsaIy 1 y gon 1 Xue y + ae 1 af foo anh Tremivundwh sumamednioslidrlseloaiunlseine ay oe 1 a Ae a 2 © y gaviudy dolifasumounuenlusianwuonsaawae ler Sud a dl oo RA yy al ¢ yd Ae TlanaswaUMsAUWolUuOnAse uazanNs tuduAH LD A Ae gh & 4 “ » ireantarmaid — vmadi aed * wun alaoitinunssy 1 al * 4 » Aw vy & udseomis es ara FeAIAMUUAsMmaW Taersueauetedw ll o X wo Yyve & Av v » 1 » mw vauaidemimeduladusaseuIeuud wastwndiniaay de a ch 4 duit v1 yd .s NIAWNNIMMULNTHUU Weld WT MENETINTAN x 4 o mavawiuanednlulemadnassUv daw vite Urvindalgasqunann ahd wesw, wanting (waewsmantiag ) wouuziaeyd . Gudsvemseduasudadins ile WA, ledato It! ox 7 sak muinhordihyasulusimetwos hunensaslonane dog a1 vivananaseuirivnanctih fwanmentoudiundiuan downey ihidaneionmeigen seamsdmuivuesidhaniin sw lomdmsfertoadehlaynanosensrensmnn thnamesnenn mua vaduu undai te Invarenraenmumstivoonhlegidaulh await on aaluniasatheldugnitimsnawaandy iad densa ofsiumtensaslumsinr souwasuneunaensesod¥arsmait » lwsensmuniaen waunallemiers dhinaudalrasuastidhunidase asuaaihasla diuiuadin ¢ ‘Adoaheiiiail waned wudvaadsaumansunss Uswustint asatinmlilsen ten loves domreudang withing Waewusan tailed Mauudemmunsnmahasananssivs oawnseind unaassiararl > a Wortiumaaazaud asuteline Agnyuad uaiimedalatimsannngantthitvsmsmaey 4 naUsBNNTH nema off ivitaon menial nite suns ymusuitouirtyna Aoswniatavam iautananeeensiernym nsedaaa duis ania auifangiueduiun uarlavarsdauhnsamuawdy vnavaM Vinansenganwvor afndioinnaennasinsianed ralhasanm awvatautaunliiorersd da WA, nee wldun udasarunases srovfatnuamlavsinlyadbunsutanhast vor) AIeMTIINTINMT atiqontunaugarlinstouanetintadinnunspaniadAUN aN y Hata News HORN nucRareeH aKa A va yo 2 a4 1 & Aye ew + useitarisnrsvesdwisilavdouly osama AolaTUsyAIIUA a y Al o WA lode DUI WA, wade OWA dle U utwedlunansan if i Wun ¢e F 9 60. oo. aa ege & A 8 ° ' pan MUNUATIANITLAEM WNW 4 oan ros & HWUGTU FU d, on, lo 2 SIAN FU o AMiiAvATIY x 4 4 agen gu o Urzundalniy aanltia aanlaunssy d a1nisivenaawnunssy _ 9 44 wanuinowssased alas ww ca o a wWonwineananau AsNAA MM aMUNIMMeM aUATIN d ¢ o oMAvANMAeTsN ne aWrasnsdiMMnTras J wv aisinerwaniavassaine amduendudadins é. 4 orsdwirumolnuaryaiuuen 3.3. iwiedr teavu As ° Timnthurtad Usedinsudadins é d o orniiwaniinvass ns awrasianninends é o amitwiavanwaunssylne unanedeearins y 4 Soo d Vian oo vouRT UMA aia! SunosMUN WsenAT4 a“ ae ann vse AIT df wa dyy % yo el oo + al A ” Gunariomlaanivbilueasy wives ma re manu we yd 1 voy af wo 1 1 Xo ohm Aumalaw ‘WswudmaduIupunidryagedials maw hiveinn ro 1 eyo 1 eA y o y wistaiay uazlsaensTinghivw uddtusvenumlaaulasds ° dy y ed x 4 Ak dyes Hulselusicnnseandudtawamsiuadela wetudlisunt a AA 1 4 a Ime asisunonsdanuandail ae wmeneiitanegiadhafiinounedan alone tacoma Ay Adhwne usdofsmmduetluisiautels Adhu@auuforty sw a anwaeaqiasi ilarumany » Useni Aa o. yuna te. anwas noe om, VMI . 4 Suammuuwudacwian wintudaudrtyia innenisiuendiawae y y Tinganuenvedral livin wuduauswlansscaw nea ued 4 dvoeldanudalsesiniseminianigew dnlsenouamnsevanusls % laujdunzonhenaunoophtiee faadmnensiowdeau ot ra A a w pinnldowhdnynsuds — aenunsealseneui ow idawnlseet 1 ayo Rwy. adwhnlvanainla ANNHNIE oa a « 3 dae ot Be ArueNvoudazniavore adnasununsunnuedan en NNW y et yd ys 1 4 aa 1 4 1 anid lana sun UN aw ANN AUALINIT AWA wlasan) @ ef 2 Hanuvedunn4 pM et ls aA ot « »ertur ae Howawarn “aw” AM wasatd “nun” Ae ‘hinveuru ude eda ow + & yl yo 4 a Aw AMANO WN Pouluasaenlwnomunron uduga al y y 4 wo rc a y al ihmenki whl wegnelauvdaut usta Iumedlmroauayail ug Aide ad 4 ody gonly dadludumtorionievesawmauagnanseniids y ow ” gc g ‘Jat vu mua aut cugiuind giunse winsenu ey A ° 2 4 quad wow'lt uaemvdus, Iwuesmudtuvansomunuunuag a ada A vs ea UATEISa Adunselinwewlasinmuusea eels i daudyh aun wh itpstnwaueifhune aw fia tm wu thu fauktgaann Tiles donnafernitocyn auld qrswmun a Ad a sun) qndbumunalmauneninnein auannla anattfinnithy manwneny anarhfignithannnendinan wae eontuguetadeha ume mwvenia thuseenun ouaastagsinaun anda’ Ay nents cdunoonnnduthudtiundouts loser inadly 4 oy ys dior y aa wo! sf Mow udWanawiiusonununn Tavtsunncaylniuduny w di x x y aX od 4 Jucevadunlawnsawandu amvalaaduseswingnaunsenowa x dg daSunmwdhriyvesmindh thhingaidesqnu AGuarudi ded thamrtudadoomns Aiuladrounfududitoden et a ain Aa di 4 y 4 doliiwamisiawia — dundlAdtondaunvvedine lt 4% ° ae Anaa ynonAatimalnsuverlnuntlavlnan —usanwais 5 4a yt \ : vi oad dalarvorlnaindndaiameud ums —usswuywdsehng 4 y 8.33, et wuudounssueermusnrzaaoa inedeng = Weds msa floatslunadai Ins waooluan wamngyrousnbsed yg HillAen ‘ame uf lunnuowedradea Fmmfogluanitontrelaugnros eMUUULeMA dovngstodituncdideaedadtucioguels vufia 4 anmiaoulaluniewnseiaw WMovaannuaaduaawelutun ayy & ayy o Bag taf nlanu manawa ume uaihunnediseaug la = 2k A v4 = y oa » Usedugailaw nansinadadiusenoy himuamauiang udwhuenn « a « a 4 a4 TomssmanUnigauaigianmavtiswa suseuihuinysa % vosmmod van aaul anuiAaaulay unasdadoulunanla Cidieg wee et JusdunastanoUundnlannanuduseulaouniay dou a4 ood » qe & ' A AuUMDMNDIAMINseN VAN | YoU WuIwaulUnoN mvountvAIN 4 v 4 aa oe A 1 fuvan > wou 4 suinsenateraaiuoude taal . uemenuslenda uoemwlldunntuaetostunsat dd ole unnwvtes d Gd ates wanieeineene) ree 9G. ce Toa ee oe fen y To aaMAIMuMaaUNasaunaNT WntaInumawiaala a vr a aA ans nvinunesitinhveuitfolumednmaviontt smmoummeartuuidummnsiantuntouts 4 Aodthunemauans 4 roufieain ithunrosmneunentansiaina 9 dhuntoaansdeiter wontovenoonurndit laufalanuaala ed ae Audineiunianioutyn 4 woormmdy — msnariuubudindiodamadnduudy —matlava y gy 4 a iduamiduile fufuumotaeanuediut dollsladuauias :a daithurt luton migendvuarsaorhui adits wuivnaen shudaittorndadarlgaudts oadolldoevtudansmaalslanunn usenrs ch Bangnuanntidiegarn wh uaedeidietyit aauude mmsetansomarinatusl Ahi Meh ea wroududtedlumstavos {auithuoustunsemaiitoa nila malta Hehpicualdey qatorubudnl Lahde Intaeerourtils Monsrnorfemaminagyns ussaoania vasanusouylunrnssttaaldawasddumasenouda deuteinur dadoalse notin Mod ludauvoonmnsed wiadhumha wourlaudiivane Sundin ndusosivawuae miemadou MunenwTiudestandwsain unudievoanidaaeldnawdly uuuFOREWORD Decorative patterns knewn as “Lai Thai” form the. most advanced subject for students of Thai design. In the old days persons who were reputed to be the most proficient in this branch of art had to be those who had practiced it for decades, So, they were mostly advanced in years and therefore did not live long enough, after achieving reputation, to hand down all their knowledge to their students but took it with them to their graves. I realize I too am old now. A large number of my students desire me to write a text book for their use which I can also leave behind in my memory, My colleagues too urge. me to.do the same, | myself realize, again, that if I should not share my knowledge with others to the benefit of my country and my nation, | too should be, like the ancients, letting my knowledge die with me, | have therefore decided to write this book and get it translated into English as well since it is now seen that the study of Thai design is getting more and more popular with Europeans and Americans, I have named my book “Buddhist Art: Thai Design” and purpose to publish it in two parts which begin with the easier patterns and gradually lead up to the more difficult ones. Now the first part is in the hands of the readers and, if it should meet with their approval, I shail try to bring out the second part in due course. Banghok,..ccccscevecsvessecceees 1952 P. Phrom PhichitThai Art : The two parts of this book together form the theoretical portion, The student, however, should not stop merely at the study of it but should adapt it to his needs and then only will he attain to practical mastery over the art. Shape, contour and rhythm are the three important factors which form the criteria of good Thai art, Shape and contour are by themselves enough to make a thing beautifal though the effect may be enhanced further by well-chosen ornaments while the latter, however beautiful in themselves, cannot compensate for defects in the former. If one has not made a dcep study of Thai art, one may be misled into thinking that it is based on no principles, But, in fact, Thai art follows principles not only of its own but of many other. subjects including psychology. To give an example, the religious edifices, shrines and halls of ceremony built by our ancestors on correct moderns axe not only beautiful but also inspire the visitors with piety and noble ideas. All this is not achieved by mere chance but by following certain definite principles, At present, certain technical expressions relating to Thai design are used confusedly, For instance “Sen” (lines) is used synonymously with “Lai” (patterns) and the latter, again, eynonymously with “Kanok” (arabesques) The “Lai” are patterns in the shape of flowers, vines and leaves, real or imaginary, employed for decorating ceilings, walls, pedestals, panels etc, in various styles and accordingly called by different names. The “Kanok” are arabesques of interlaced leaves, branches etc, These are for advanced students and are rather difficult for less skilled hands to design, When filled with figures of birds and animals, these patterns represent the haunts of the former. The arabesques are composed. of flowing lines interspersed with leaf-like patterns which resemble flames or strips of cloth fluttering in the wind. It is therefore important that in agood Kanok pattern not only should the lines be drawn well but they should also be spaced well.3 The post formerly held by the Author in Government Service. \. First grade teacher of Architecture. } in the Department of 2, Chief of Division of Handicrafts. Fine Asts. 3. Member of the Royal Institute in the Section of Fine Arts. 4, Member of the National Institute of Culture in the Section of Fine Arts, 5. Part-time lecturer on Thai art for students qualifying, at the Arts and Craft School, to become first grade drawing masters. The posts held by the Author at present in Government Service. 6, Consultant on fine arts to the Department of Fine Arts. 7, Part-time lecturer on Thai architecture at the Chulalongkorn University, 8. Part-time lecturer on Thai art the University of Fine Arts. Place of Residence “Phrom Phichit House”, [1 Si Bamphen Lane, Thung Maha-Mak, Yan-nava Amphoe, Bangkok,4 The Method of Study What we can derive as a principle from any. successful act is achieved gradually just as many dreamlets join themselves into a large dream. But every bit of hope and dream should be achieved quickly and with perseverance, It is persons who have both knowledge and experience that are able to see that things of the mind are more desirable than those of the body, Able psychologists have express their opinion that education in drawing is similar to that in a language, that is to say, in learning to express one’s ideas understandably, Thus art is a means of expressing one’s feeling just like language and gestures. In practicing to draw, learning straight and curved lines is comparable to performing physical exercises at a fixed spot. Later stages in the practice are comparable to more complicated smovements like walking and running. With advancing knowledge, the students acquire discernment and learn to think creatively. Designing is, therefore, the most important of the stages. Its most important feature is the ability of the artist to identify himself with the minds of others, But the correct order for learning these stages cannot be laid down by anybody axcept through trails and a knowledge of psychology .........a mone Al wed a 4 al we lnunwierndcuumaslamieonuuy uugddieassemy 59 a ~ vo dl 9 y Tnwasswlsecat gents da nudaenmunasmnuaumnawas ao 4 x 2 Ayyo roa “| AL, souty alaiusinannedls Ilewneviws wolurlssdaa os X ed Buy gq. 1d . aon iawevadsnuilaunladdeuudarhemlonaduaas al ed 4 do dyvX yy Awietansunn aenaviang - uaiinndssayg bu la w 4 a8 danausnsoon wWilagunin laa mate GUARDIAN GODS OF 8 QUARTERS The following 8 figures are parts of the pattern on the outer surface of a silver basin of Phya.Prasertsuphkit. It is designed by H.R.H. Prince Naris, the Great Artist of Thailand, and fair- copied on the basin by the author. The original pattern, called the pattern of “Deva-disa”, is com- posed of guardian deities of every. quarter of the universe. It is here reproduced only the regents of the four cardinal points and four interme: diate points of compass, The reproduction with some slight alterations is regarded as a glorious honour to the author, who is a pupil of this great artist,d yam DIAL a ¢ WISOunT ak waAad a . NoaqogTs Complexion + Cloth : red. a hook. Complexion : Oloth + ved. v es Winns g19 WwIstru WIM TH AUAS WOLLAS AMI Revie a v 2 ou HOD IWDODW No90198u WadWHAN INDRA Regent of the East Quarter dark green, Vehicle: an elephant. In his right hand, a thunderbolt, and in the left one, AGNI Regent of the South-east Quarter red. Vehicle : a ram. A spoon in his right hand and a javelin in his left hand.WISN WIAWSAITE wazluzqa WIAWSNT a. a a nom AWAY wag Aa UMIAY A a ay ¢ a Ae cue NAVUANTUIA NOWUNTSATIA Hag nolan YAMA Regent of the South Quarter Complexion : black, Vehicle : 2 buffalo. Cloth : red. A noose in his right hand and a double-edged sword in his Jeft hand. NAI-RA-RU-TI Regent of the South-west Quarter Complexion: dark blue. Vehicle; a horse. Cloth : yellow. A sword in his right hand and « shield in his left hand.vA N AN y ANNA TRIO APRA gnrdaen nhoveda win © a wear WIMWSHANT WIsWaeL WYUse a a a: 9919 TNO DS aaa Aw1919 A 4 Bow ou A Row < NaITiMoNWIA Nate laws NOD9198 Nog ww BITA VARUNA Regent of the West Quarter Complexion : white. Vehicle: a fabulous marine dragon, Cloth ; yellow. A noose in his right hand while his left hand iv the gesture of giving a boon. PHAYU (VAYU) Regent of the North-west Quarter Complexion : black. Vehicle ; a deer. ~ Cloth: white. A banner in his right hand and a double-edged sword in his left,hana,8ns dri * ¢ 4 . waslwagwe, — wamusau wrsoraa = waMusaa wonas DSTHIAS woni9 qyang 4 Bove 4 a fun NODNNIuAd NaswaNs NodoTAs NodudaciawA PHAISRAVHANA (VAISRAVANA) Regent of the North Quarter Complexion : golden. Vehicle : a man. Cloth: red. A club in his right hand while his left hand in the gesture of forgiving. ISANA. Regent of the North-east Quarter Complexion: white. Vehicle : a cow. Oloth ; white, A trident in his right hand and a chain of mythical serpents in his left hand,An \S (SA ar {__ Wasmraeray waeladasay ag a ke ussdng aaa ursdnanai GANESAVARA VISSUKARMA bestows swiftness bestows artsoA Waieqsaoa a & we A ussang AQNTWASATINAADY SURASVATI Bestower of Knowledge and FertilityKoy wd 1 2 c= 8 wmirsaundria ludun Wal naw aMuNa uu wuyadaaray luupaniUA qrganTUINE I Ta'lunsuferhinsnanuuanasnauaunasnads rs A ooud a ou wal Uauunealtedre ANMTONE aE aa ¢ tuulag wrewaMW ait AUDITORIUM of Chulalongkorn University Designed by Phra Phromphichit and constructed under the supervision of Fine Arts Department during the tenure of Field Marshal P. Pibulsonggram as the Rector,atadn awe vos va ensiecrmurln ncunangdoreumacasnenlgun oudwnninneaua An usemranwnoonls ww 1 am) 2 melwanamy 3 wana go maminnw 4 saa Aa ow vie iA voi 4s % mruniiermudunun iaunaneyn gal 1 aaidaumamasaula . vii & v . : v 2 malnoannorusnduansunaraaye tty Wurandwao7aaunlomdy v B v vo oat a . wos ganiduaanaénsais 3 naudunensesnans Lb uaamanismanizanainaqads gull ¢ Sadun ag saudi lncouecnsanenes 1,23 Preliminary Practice Firgt notice the growth and the bvanehing of the patterns such as those of (1) tendril pattern, (2) pattern of stolons with chipped sides, and — (3) pattern of stolons with chipped sides aud chipped “ngao”. (“ngao” ix the base or the spacing. clement of the principal mass.) (4) flickering lines. Practieal ries for beginners are as follows + (1) Fig, 1. Phe basic line should be drawn npwards, Fig. 2. First draw the middle line upwards and then’ from the upper end of this line draw two side-lines downwards, Fig. 3, Pirst draw the line as in fig. | and then draw the chipping lines. Fig. 4, as indicated by 1, 2, 3 respectively.o 4 2 3 4 Roe mn malnouniamu malyounnmsuinmy T9éunh 1, Tendrils, 2. Stolons. 3. Stolons with chipped sides. 4, A fluttering tape,10 aon? oo A wads Uiatainunaden) ASAMUUANEINIT at asin. himangosrvau: nasagniT mayuaiuintiunaarduladiwnute LOTUS An important source of inspiration in the Eastern Arts, Patterns are adapted. from this fairest flower. hoe aE Rd abe tbl Dos ‘ nvaunet awe ~ ative Ss Wunnnsaanasnaoiunanagses econ cwuesnun ‘nstocnnenela is % aoa a mu PruTuna stun iuaenaiaum Pow 4 uosraetiniauhauat deste aagenniiuenauta TUA THET Tua Thet, a componet part of Thai pat- terns, is adapted. from a lotus petal: It resembles the Sgyptian “ nament,” grape or-netawuar diwdy nqumundatstiazatanonisnilvuaen emaraitite 3 wu 5 a adhiiidnlinen amnanumidarumorneice fotany tu 1 nTs 2, anwms uas 3, amas * Fish Tooth Kra-chang: = 9, - bones et ~ This indented pattern imitates the contours of lotus petals. Using these. imitated petals 4 as basic units, we can draw upon them other petals 3 or 5 times as big as the basic ones. ‘Kra-chang is a decorative design used for edgings of shelves and along the base of pulpits. These ave carved or chased in the shape # upright leaves’ or lotus ® petalsula s ean uzun: ad nswlnan vaTUMnE neat losing enone 1, dunes amenn 2, tines una 3. _ ne deh Sua nashucte nine sacs Fumio wens mugnainnt winger Jrnzonimsenan am una “soma * Kra-chang Klone (Elaborated Kra-chang) “Kra-chany Fan Pla” in the clibovated forms used for carving or chiselling works, They are call (1) Kra-chang resembling the nodes of sngur.emnes, (2) Kra-chang resembling the exotic cotton-plant leaves (or vine kaves), (8) Kra-ehung Pa-Un-yan. 9 When stuck to the edge of tho upper part of the lotus pedestal or of con pedestal they resemble the petals of the blooaing Jotusagvaluinet a wee ae ew as LUMAULAHTUMAR AI MS Zal8 ava: lea Kra-chang Bai Thet An enlarged pattern shows the well-arranged partitions.muwsurs awl aw a be 4 - upilonwmsudnazun unas ld paudTéawy7ean vs 3 va soe Tedalg ya AOE MuMAMsMussssAud “laNditennaN 4 uasnvindanyjandéaun Br ORS) SE omer he yk Sheath in the shape of Brahma’s bow.. Bamboo Sheath These are archival istnarionts' for covoring the base of a pillar, ‘They are symbol-ef protectionsanid sdignity"Pheir forms are * adapted from those of the Kva-chang Pa-tin-yan. (see No. 12)| as — — anageoo. Aw dais § UST G1.90 1H! (= cro etal Ha oe kad — — ca. Fag TINH —— 8-0 ides ay pusnnat may a Bysalids RR sa ements wyaannnd gman, INustration of Proper Proportion of a Lotus Pedestal, 10491 - § MA, 251916 E; wd quan a e ” 1, Wes 2, WN LognuNG Lotus Pedestal 1, and 2. Lotus pedestals with a torus, a ee 3. UM ruUognwN = 3. Lotus pedestal with a panel.a .¢ gyudon af oe wv a ad a 1, wugoudsngnung 2, wuugaéamnuua Lions? Pedestal 1. with a torus. 2. with lotus sheaths,suas at . = tee 1 A IunwalTsast 374 mourralagasuuusiin . e a var gquunidunsahs (une veins Lions’ Pedestal ” If an inscription piece is fixed at the pedestal, a rectangular projection is added to the front, Such addition is called “ Yoh-kot .1 goudera “ v Le & eo 4 ‘UMS AoNZ MS THINTMINNOGNETs — IML WNgawiaE ¥ a oe &. a 4 wv 4 ad Tu 2 (UNS WUAN Fy 38. Wugqiges tu 4, Luu gjaudan a wa gud ade a . Bar we tung rmdry mwataRndaasamasunastulyaund Yoh-ket Pedestal It is composed of superimposed pedestals, The first is called the “ Chop- ping Block”, the second the “Lotus”, the third the “Chopping Block” and the fourth the “Lion”.e ow 3 quonharananeaan ae yit og a vga ayes L dwamestuiugnin 2, suenethaiuewaen 3, sumnothuenaas a eo wR gt we - “ ideas foedansdiny Wutodainmuamsluniauwnrtaaes Pedestals with Cyma Recta and Cyma Reverse 1. with panels in the middle part. 2. with floral pattern in the middle fillet. 3. with holes in the middle fillet.a wow 1 4 vd df v mingnes rinaTmleermuardoebinudnelmmMuMEunss ATEN vow 4 ‘ ~ Ae - va eA nalonwasian layuasaanasavnaanamoaw mimo MAQAALUINGSLVAIN a wid . a 1B od “ v . 7 noma laa downninan lwywungnmans lew lMmeniinewngaNaT es vos Tada ae Masoummt oven aunmntia Composition Oonfine the lines within the contour of the pattern and fix the appropriate space in it. The size of the pattern depends upon its contour and upon the space to be decorated.AWAWN a Aa A Aqui wos e uununarasnarely ailagnmnnilosnsinnes ayy nanny A bo ye Y » asnviraninylanessdunmunciduseasmnanazslnta Kra-nok Nang Adapted from the Kra-chang Pa-tin-yan (see No, 12) by bisecting theupright leaves,26 4 4 mised tial Bove badge vo awrzvnnduinen? nianrensentenlzemwla wn 18 ap v7 tas Boag UK “Vexnveuamnt WROAnHNTELTETA LS MND Characters in a drama, ‘‘ Savitri” oul . ‘The following 13 drawing pictulesate the works of the Great Artist (ic. YLR.H. Prince Naris), who’ presented them to the author, They are reproduced here to commemorate his fame,x wIUIST WSMHT Narada the Seer28 King AsvapatiUG), ug (Co =F § ¥ eS ie z CK ci =U ainads wa warns Couttierwritin oan Military officers 3132 ee se wnaan wa yada Page and Lady-in waitingwine ida ne uatawen King Djumatsen and Queen Seivya 3334 ~ an WYN NY WHAM Recluses (Brahmin)Q a3 ws.dGun Wu maa Satyavan and Savitri37 wrauns g Indra38 w5:3304 Varuna40 rs LAUNA town Soe va vod need ow sunanaranaccuualt aaah 9 innrslanonnnwan 3 aun 1 ern, siguinsaingon 2. eendiningadiuzznaain 8, dangubuzindasinnenla Tuning asic iro iulunenianuoenunaunon an aun Pillars with knobs on: the capitals There are 3 varieties :— (1) .with the knob shaped like a lotus bud; (2) with octagonal knob ; (3) with round and pointed knob called “Med Song Manda”.4] Usetuuwun a trovrallain 4 qua dntiatounisnntéalfisichwanmaseerins Ae fimnany uoslhatnaanitiusdivémmis Gus lauernu wn nad Thitetarranuanaussaw small Portable Pavilions for Torches Your types are illustrated. Notice the slightly different shapes.42 a EX BOOM=u eR < on44 TT es AS a + SE ie SO4546 sun Ad . vs mngundnuun Ine rminueliigutos dowusnslontinn niféninslius nraemmeunara 1 43 2 vieaennas 1 a 2 ueawrirandauaanau munsnudugannentaaile 9s vtnifdiaaniowdiunmnas Portable Pavilions As a rule its acute corners are tripled. Tn this instance they are doubled, Its proportion is :— h-of pavilion : its = 2:1 h-of its canopy : its bn =: 2:1 With the vertex of the pavilion as a centre, we can measure other partis,CN eet Adis sang 4 aod “ ws ~ e B TU 1 was 2 UNDUE iMoeNA AUNT ieuit on Til 1 Masmuadoady ¥ aa nil 2 voamndagy anaumn . Fy ATMS TINAN AAMAS A Sepulchral Room topped with Pagodas In fig. 1 and fig, 2 pagodas are short ar nd rectangular. In fig. 1 the roof is shaped like superimposed lotuses. In fig. 2 the roof resembles 3 superimposed lotuses, 4748 Ad wanting A Sepulchral Room topped with a Pagodaad ranting a - aA ’ a es whim “ CHLEMMTQNA Aaa laNEOFITE Variety of No. 4050 t _, Ulan fiaeshaiw madera quit, duydrdindun pl 2 suucriialn na uowuardns. nzagniinornawsna nat ine angumaduphiores nammgnureamintariiani alert » iamnunnnuunennsininin an ade oe ihwmianeniinintainniuiuncresiaesy A Capital Type 1. a square capital, Type 2. its acute edges:are veduced by: doubling. Its shape resembles the hub of an umbrella or the round and pointed knob of a pillar,| ore dawn “ag Ad tye to yee wd oe luwtildimoun ualuuan Aouvalududesuaznmauiinn .4u + guys : duran drunsstacnislanngun A Capital Tt is quadrilateral. The acute of each cdge is veduced by doubling or tripling the edge. 5152 mw 4x6 Mnsanrvsinuaste lanann Srunieagsin rawuliuaalaueln ssn > vonds wlan 4x6 mda 4x7 no 4x8 uu wudslinouing Baye nsibuntu nsw 4 dou fuga 6 éon nawiilngnain Gievansdun lan Decorated Struts Proportion between the height of the decorated brackets and the length of the projected rafter is as follows, lof brackets : |. of rafters = 4:6 or. =447 or = 4:855 Usediwiwatial sa v Ye \ “ wv as ' TUyorumwantsaw aried itintou UNE UNgaquTALNE?. 1, AITEN| hig Bde cae ek es id Ai gatedey! UTWNMUUAAERS LVNUMMARaMsATAMINA — unsndénaunaunen ied Be Ag tid ee 4s wight es 2 matia)iuneniswinuanuAaalzzaran iw luiduud aiumidos lw lveia i . . aA Bw Ke ei as , oe UAWNAUAS INNGTUNIaIMTAUNURaTANNy wwalrse aN oot Tablet Flowers and Pincers It jg used, to decorate a girding band, a frame.and.a panel. The flowers are, called. Pra-cham,-yam, (pointing, to the four-cardinal points of the compaga),56 4 oF _gaviadun] Aa. 4 tow sew . tae Ss MITHNTIQNWARY WIMAIGHULEUIABINULT SRI LAN net seH19 « eB A akg ea ae a bow yg LUM Me sgriNn vWauladuat ruler tl SounManagummeuny LoMum a 4. wo Kia Doe ge IgapAuAZAqaT MNTBALAUNIGHsW, Ag 1. qnacqay 2. gnwnnszeiuAn Ea oe a , a. QnWnvanitunnydy WWIWIAN Panels and Pincers Panels are calied “TRk-phak/(isli-pimkpin or white gourd) by the Siamese. Thesetwo patterns ave-adaptéd from: (1) 2 fastened piéee of * kao-tom” (a cake nude of partly: ‘cooked’ gintinows. vice, cocoa-nut milk and: banatia,wrapped ina " panana leaf resembling a faggot of wood), (2) an embossed panel, and (3) a panel resembling God Brahma’s face on the gable end.anlaedieniqnla ve ‘ eye vie ge gua dunn nugn low deanatinaanas Minuaanas “ : ‘ gage NAMNME doucwasiugouBNleenila Chain of Tablet Flowers ‘A pattern composed of tablet flowers (or four-petalled flowers) and Jinks of a chain. 5759 whe ( C) ~ wo 8 AW IW IWIN 4 Bev ie a doe dye aw luuTineuurtoudon ATORSUNTHOTNTASANISN LA MWAnaUUd epee eo 4 ve da doe Bok a ow anbuiuenun and iniprarasa lannnuainettsuaionsune wreuonragnaaa Mh 8 buooe zw 4 Twerizaluauitsgy NANG AM NU AALAT AAG TANTO Cyma Recta and Cyma Reversa These patterns are deduced from petals of the doubled lotus flowers and sometimes lineal designs are put at intervals between the petals. Most of the petals are shaped Jike the exotie cotton plant leaves, Its modified forms are called inclined or bisected lotus petals,60 eeeaunswids a veg d A aoe Hherwranennn Awaqwseuasid awe Aa oy a4 vos u 1. MAAN nua TalnanTaNa avunau “ro AaNnAW of a dye Ad KA woe 2, muqnawussuniuuewaunlantn mIMMaE MiTEN ANgTOM Aaa » da ea? - : 3. uorNosgnenatanewesns munwoejauiren lssemaugn Vs aid we aa ‘ vod ie v + 4. CUNT MAUUNOUAINANITEN FOUAINOIWAIUATN «= - MANTA qunsay Cone-shaped patterns ‘These are adapted from designs along the edge of cloth and used chiefly ag decorative patterns on tie beams or on the lower parts of the walls. 1. Four-petalled flowers arranged at right angles are called “ Filigree Pattern”. 2, Fagot Pattorn, a variety of conical pattern. 3. Chain of Flowers having four petals, a baste motive. 4, A variety with exotic cotton plant leaves hanging between cones.AHATLM a veiw + vd og Aa dow e tuyenggn Laz ainuanma SounpunnsiunandnoutuMagnuaay eked oe a . a bye ue aria cumin ion wectuowlsaunssanianoanaslygy mum Net of Gold Filigrees It is composed of tablet flowers on the crossing points of gold filigrees and used as an arnamenting pattern for glass mosaic on the lotus pedestal andme ey TnTOw Ll CT woe Miumandtuanuduly vnlsussmugnunreninga — usetrentaos nondunadunlamwanscusnquew Strung Flowers of Calotropis Gigantea Tt is a pattern composed alternatively of Tua Thets (grape-vine leaves) and flowers. Its shape resembles that of strung flowers of calotropis gigantea (Ascle- pindeae). A torus and girding bands of a pedestal are decorated with such pattern,64 4 aWwATOULTEMLUD va ok ae ® uarunuaraiinenntsd Ww nseas la dunrougnlssminele unaanow raudt budnaannéay asdlummuasdantadunnva Pattern for a Nimbus It is shaped like a rice ball with tufts of a lion’s hair or with a chain of heads, In gome cases the tufte are reduced proportionately, then it is ealled « pattern resembling a lion's hocks.65 Ne e a op Nes ae Hy (Ss Yelp & ac nasdaaaidiuuds andra esa einnroz nuns wih aanaw 1s duslhiiw lau lita wawnun nasal dtoueranasern ice-ball wit me nelosi ng branches Appropriateer ya uNIVIAW a wie wget 4 ke wud ueanandanmuis waliined susan us wytal - : . onan tutianesdasaunrzanmudeauw ues londawnat Pattern of Composite Circles of Glass Ik ig used chiefly as decorated dosign on the guilt-lacquered objects or for glass mosaic on panels or for wood-carving.67 va MUMIA % “ a aw : Tusasow uasnousingndiueruannetnucsnaua doy ve aw bk a ge v Ko gu WuaouaslaunaondnouuMaanasomMN — omuuAlay v a A eye v OWASHOSMAQUANES aroaanluunnassizsaunszan Variety of No. 65 Tt is composed of civeles and tablet flowers. In each circle is a water lettuce leaf, It is a decorative design for cloth or for chasing-works or for guilt-lacquered works.68 bx) U] SZ gS S Yea ep x gS —RYOAQIERQ Se <5 Les COO GOD Rem iz MWSTIIAT La aa vas tuwanuannent Wut OUT TAA WR ft Bois Rachawat Fence Rachawat is a lattice fence decorated at intovals with small, tiered, paper erceted around the axvea in which ceremonics are performed. ambreliaeGRINS SSS CKSELIZI LISTS Key ES gilveawiy Awe v w Bao & \eutnsoauusie ad] WTIQAUNAARG ALON AAMNU WAT ATAU we . a a wwe ee oe a we anpinqamimuvtauaun GumutouTlgwua Jasen aww ‘ we de awe a qadiw - TuWaaNAaadniuNTn lasais WUD asNTMUA AUS Forms of Phan Phin is a motal ov gailded trey supported on a pedestals, There are many types of them such as a table-liked “phin”, a loius-like one, a “phiin” resembling a lion's hocks ote. ‘They are distinguished “hy the bands above and below the minute fillet. 69v y ww VA Front view Side view arawsead + ee dad vA LaMMinMIATA andanasaesanmN Typical House for a Guardian Angel of the Place It is the animists’ shrine.Sx fe wows eK nd aw ae fe ke we suMNansMny ‘Truusduenunentoaasany lousadann Six types of Window Fagades yoy BNAWION72 v woe . ad we 2 A ow we, 1. tu 2. Talnay 38, ide 4. Jada TANMATULTUN WAMANIM IAA Window witha Nimbus 1. Fagade. 2, Lintel, 3, Pillar with a totus eapital, 4, Lion pedestal.Xx] ‘ay jaune: fhe [fee = I15 et nseaiasnu wee ue Bw eA aoy e Sew narmnrananagans 4 aa i. cnegila wae lmdwaagniinns oso aooe.e4 KA tw hw t 2, CWIUNTUUIURN TOBIN AMEN UMIANAT SOW MAY — Was 3., 4. UT é whe . * oo eytae vow we a ve wrnagy warn aly aera wrauuesn 991804 Ae Tanuacsouns rane Bai Ra-ka and Gable End Practical hints of finding forms of tho following 4 types of gable ends ave (L) Fix the secondary tie-beams in the shape of a panel, (2) fix the lotus bud pattern. The sky- tassel (Choh-f4) of this type is callod “T'alaing Ohoh-fa”, (3) and (4) with the patterns in the form of the contour of seated Buddha, After these, decorate each with Tua Ruay (a vow of Bai Rata) and “na Lamyong” (see No. 77)vid nua ek aot A es A op A wage 4 wo e ORAM TWENTE OWT A ao Meoadasunngn amumwnUsAMATG Pattern for a Gable End Tt is shaped. like the contour of sented Buddha. Mor #eyeral generations this has been: pleaeant sight,\ _panuistonvnrsnoamun urna itu Senmamanaisn 4 “éou ‘nu + had he 4 a douonand 3 dow wnnuusennaaganilal tu auutaduaeesotinnsuaie 5 dow & WIA anaudn lath 7 dowitugananta radeaneiriest aus steals aiureiendounn noawennssly Relation of a tie beam and a gable end The height of a gable end is three-fourth of the length of a tie beam. The second formula is h. of a gable end: 1. of tie beam = 7:5, If the roof is superimposed, the first formula is used for the lower roof and the second for the snperimpased one.78 Vane ®@ ff lage f eP fh = ue LAC | fee Sots wo # @ $ soya, @ obi Maron ahiiidy @ K ee1. OHOH FA, Sky Tassel, 2, BAL RAKA, an ornamental root-edging shaped Iiked leaves. 3, PAB LAX, a purlin. 4, PAH NGUANG, a purlin, 5. TUA LAM YONG, a decorated gablo-board shaped liked # frightened soxpent. 6. HANG HONGSE, an noveterion in the shape of a swan’s tail, 7. PAB HUA 8A0, a pole plate. 8. CHERNG KLON, an cave board, 9, TIN.PHI, a space filler. 10. SPAN NU, a tilting fillet 11. TAO, a short cross beam fastened lo the king post Lor supporting rool-timber. 12, PAE PLAT TAO, a purlin at the end of the TAO. 13. KAN TUAY, a bracket, 14, CHERNG PAE, s lower part of a purlin, 15. PUK, a cleat of wood nailed to a post for additional support, 16. LAI NA UT, a spandrel, 17. BUA HUA SAO, a.cap of the pillar, 18, LAI NA UT PIK NOK, a spandrol shaped like a wing. 19. KHU HA, an arch-way, 20, PHAENG LAB KHO SONG, a lower tiv-beam. 21. KRA CHANG THAN PHRA, a decordted tie-beam, 22, BANG NOK, parts of gablo-boards, 23, CHONG PITAL, pattern spaces.Ne AMIR aIN a wR nmirsA MA 1. Gable-end with panels bossed panels- 8l yd myn « Aq ad a aoa dt + uv 4 Guonuataliing aly leumnzinzanidnsmaznguaauuzamaiey win . . 4 ws ana? lumtilo muon tes Pattern for the Gable End It is the indented pattern shaped like Bai si. (Bai-si is a piece of plantain leat cut in ornamental shape and used for placing offering upon),82 & A o DMBIDVUN as 2 a awa Lundosiltaw sw suwerunr sLaunras}y Niche with a Nimbus at the Gable End Partly in stucco and wood-work,2 Heutlawyeun . que A vaAAw uw re MiyamEsomannmlineweN Uaaesundalreneuuance owas ss gt uv © ' ae - 4 uv dadtaarnoneuNdeAN TY 1, minapunueeaAT 2, JunwaTouund 3. NANTWIL Unnaloam and Portable Pavilion Pattern It i a decorative pattern for a gable-end. Tn composing this pattern one should bear in mind the following casential elements (1) its symbol (2). grouping of a portable pavilion and a inany-tiered wnbrelli (3) 2 ‘Kanok’ pedestal and a nimbus and . (4) the flanking Kra-noks, Unnaloam is a peculiar curl tuft of hair between the eyebrows and consi- doved as xeevod and mystic, 83‘ ae ‘wid uns at Lv aa eee d bie wa LUMINES ES MALT ain fnwaag ludrnestranenies Indra and Gable Ends Gable Ends of Buddhist santnaries or of the Houses of Town Tutclary Deity are, at a rule, decorated with the figure of Indra, Regent of the East,85 init & 2. 4 DIWNSHNINU HIG WINNUAT a ao 4 . 4 Ava v a Tagnermiiugavntenung tuwTuwanNémwrdnat aruaandunn aoe a fg ke Wavadowma lwsreas suwang luda Gable End with a pattern representing Heavenly Abode of God Brahma ‘The pattern representing the four-faced God Brahma seated meditatively in his heavenly abode with the canopy shaped lke a nimbus and by his sides are two striped swans holding in their beaks bells in the shape of pipal leaves.86 5 qinaeilsenma Aa we : ben L fon ‘ereudmingio WasesUAMMANINsuM® Loam Ayes a 4 . & oc Salmoomamiimems @auanumnwiuanassnnalasaidannyy — wa e we é Lavaomnuridiy Magn Pra-cha—pa-ti In Sleuntala, an Indian deama, wé learn that Phra Pra-cha-pacti was son of ten or seven hermits, whose heads are seon around this god. ‘This is a symbolic seal of Departmont of Public Welfare, which was suggested by Phya Anuinan Rajathon and drawn by the author.1 4 UNAWISU wit avaue a woe dt a lunaitauAada away unluewagduaznanas Motif of Festoons of “Oo-ba” “Qo-ba” are flowers stitched together in the shape of tassels, tufts or fower- heads. These are used for decorative purposes and are often hung on garlands, This motif is, as a rule, for chasing round a nogging piece,wn 4 . , » v : Lowi 2, aquNsAWNAN 3, ATalMTy 4. mIUMEN Us 5. yg nny 4 ' : poe e by a aes a NAQWALW 194 aneluesmmmrendtiianos sana mawbund UasaqaiuuANta Ceiling decoration 1. Pattern for a tie beam, 2. Bordering pattern. 3. Big star. 4, Baclosing stars, 5. Patterns in the shapes of elephants ers, : These aro decorative patterns for carving or chasing or lacyuering and yuildin; on the ceiling.89 4 is ¢ NwuUMnWrsag was DssAUHTT Row of “Bai Ra-ka” with the acroterion shaped like a swan’s tail and with the one shaped like a head of He-ra, a fabulous marine dragon.anaiias lu 1, 2,3, 4 Maenaolay uuuuadnananecow nanpszuinnom ‘Tuenwausmany lasales sdannns iuianslunmanstann " et hsuunnaatyen Youiursmy nme agama "\ tountanrulaad Suwiunonsstnedig tin ty mnavaaalanlanate surnatiinrreanasssos shag 7 ian sehaltasunan x anarw clunentanieln nelanastaitetuueumissnns'ln A 4k oe pone memauunorston luweawunay 1 and , dounaryrn nos lanaudnadhvlensn ngananagalnounan red liudrants wauani : ok vA + Tachutnrawsinneioa *omicsndulshumnnstnt WO gAesinnuns safc sionomiftnsrng uu monlauudosnetaiasas iuandouvaisansaownnn Sala Thong (Spacious Hall) ‘Types 1, 2, 3 and 4 illustrate the various movement of the roofs. ‘The proportion of the floor is width: length = 1:297 marina aoa 4 woe a 5 MAGwTouwdauendly mentuMad@unads wa lwuMdnitzegn wh bb ad ee bow e . TUIO 9 QtIQUKLAWABANULUUNE Sala Thong Varicty of Ne. 91 with a veranda and two colonnades,98 matias a4 ea ot 4 4 . 4 NaouarouiMd wand lw lesst dounralaeulosasmpsninuy . e wis tHATAUNORMT OFoU LNA UAE Sala Thong Variety of No. 97.99 a a avn erailos aye Bu sow . vu KA . wee soe Mlansnuuanw 1 umnshinetuenmmmanuodrsts namwdany Aw a v eye we a . > we A aanesounintaNs walh ved \snaou — daudananarenamunegnss a yee Ao. 4 agrugunlanqummins wnenaindwnsaradduladula! Sala Thong Tbs beauty and dignity depend upon the shape of its gable-end, lower extremitios of the timbers, roof, and eave-board.T Wor |164105106 JaNseATMNIBIA AWaNAAd wei ve mauronvia a, Hussar sont San dingy Tas 09 AOWAAATIWNAT aguantwA auind Sowaunrreanuuunadue NENT WA i az aan aunneda acne » 2 g kat oC muaramuanononandur adenine lamutwasAuan The Monastery of Phra Sri Maha-that at Lak Si Village, Bangkhen District, Bangkok. Tt was constructed by the order of the Premier, Field Marsbal P. Pibulsonggrdm and supervised the planning by Luang Vichit Vathakan, the former Director-General of Fine Arts De- partment, designed and supervised the constrnetion by Phra Phromphichitr. Phya Phahol Polphayuhasena was the first to take the Holy Orde » this monastery.107 . 4 ° o4 IANIEMINNIBIA HVANANg wa The Monastery of Phra Sri Maha-that Bangkhen District, Bangkok.