สำนักราชบัณฑิตยสภา

The Journal of the Royal Institute of Thailand Vol. 31 No. 1 Jan.-Mar. 2006 The Influence of the Ramayana on Thai Culture: Kingship, Literature, Fine Arts and Performing Arts 270 The Ramayana in Thailand The Rama story which is based on the Indian epic Ramayana is known in Thailand as the Ramakien (Ramakian). The Rama story may have been well-known in Thailand since the 13 th century if not earlier. In the Sukhothai Kingdom, mentions were made of Ram cave in King Ram Kam- haeng’s Stone Inscription No. 1, of Rama as the god Narayana in the Stone Inscription No.2 from Sri Chum temple, and also the very name of King Ram Kamhaeng shows that the Rama story was well-known at that time and possibly before. In various literary works of the Ayudhya period (A.D. 1351- 1767), there are frequent references to the Rama story. For example, the “ten-headed” demon king (Ravana), Rama and Lakshman are mentioned in Kloong Prakat Chaeng Nam composed in the reign of King Uthong (A.D. 1351- 1369) who was also called King Ramadhipati I. Similes and meta- phors referring to the Rama story abound. The king’s power in Lilit Yuan Phai 1 is compared to the might of Rama who subdued Ravana. In the Ayudhya version of Manohra, a drama in verse, the story of Sita is briefly told. Un- doubtedly, the Ramakien must have been composed and become quite popular in the Kingdom of Ayudhya. Unfortunately, just fragments of the Ramakien during the Ayudhya period are found. Only some parts starting from the punishment of Samanakha (Surpanakha) up to the death of Kumbhakarna in the form of recitation (Kham Phak) remain at present. 2 There is also evidence that entertainments related to the Ra- makien also existed in theAyudhya period. Nang Yai or the grand shadow play must have been one of the first forms of entertainment in Ayudhya. Nang Yai at that time presented many stories including the Ramakien. It is believed that Nang Yai existed before the reign of King Narai Maharaj (A.D. 1657- 1688) 3 . For it was King Narai’s intention to use the existing Nang Yai as the means to instil the Buddhist belief among Thai peo- ple through the story of Samu- draghosa Kham Chanda com- posed during his reign for Nang Yai performances. It is possible that the Thai Nang Yai was adapted from the Javanese shadow play because the performers hold the leather figures in front of the screen in the same way. The narrator (Dalang in Javanese) plays the most im- portant part in both Nang Yai and the Javanese shadow play. The masked dance drama or Khon might originate in the Ayudhya period from Nang Yai. The footworks of Nang Yai performers who manipulate the leather figures are rather similar to those of the Khon performers. Yet Khon might originate in the reign of King Ramadhipati II (A.D. 1491-1529). In Indrabhisek Ceremony of that time there was a performance of the churning of the milk ocean to obtain the Amrita (ambrosia) which gives immortality to the drinkers. 4 It was called “Chak Nag Duk Dam- ban” which means the ancient ceremony of pulling Vasuki naga (the divine serpent) which was tied to Mount Mandara used for churning the cosmic ocean. This story demonstrates Vishnu’s power who reincarnated as a giant tortoise supportingMount Mandara. When the goddess Lakshmi was born from the ceremony, Vishnu took her to be his consort. The giant tortoise is Vishnu’s second rein- carnation while Rama is Vishnu’s seventh reincarnation. Lakshmi also reincarnated as Sita. The Khon performance in the Ayudhya period was probably of Khon Roong Nok type 5 which was performed outside the building on a built-up stage for the purpose. It was performed with narrations and dialogues only, with no sing- ing. It was commonly known as Khon Nang Rao for the performers sat on a bamboo bar (nang - sit, rao = bar). In the reign of King Narai, Monsieur de La Loubère, French ambassador to Siam, wrote about the Khon performance in which performers wore masks. 6 So Khon was already known in King Narai’s reign. The Ramakien which means the glory of Rama must have