สำนักงานราชบัณทิตยสภา

100  The Journal of the Royal Institute of Thailand Volume IV - 2012 produce the ambrosia. During the Ayutthaya period, performers were dressed up as Devas and Asuras. There were also the gods : Shiva, Narayana, Indra and Visvakarma. Some monkey characters were also in the performance. It was not known how these characters were dressed and performed, or how different they were from the present day Khon. However, Khon has greatly developed during the Rattanakosin (Bangkok) period. There have been many types of Khon performances: (1) open air on the ground, (2) open air on a raised platform or stage, (3) Khon in front of a screen for shadow play (Nang Yai) that precedes the Khon performance, (4) Khon Rong Nai which performs like the court drama. i.e. more re fi ned, and (5) Khon divided into scenes as in modern plays. This last one is called Khon Chak and it began in the reign of King Rama V. King Rama V appointed Phraya Devesvongsavivat (Mom Rajavongs Lan Kunjara) Director of Krom Mahorasob and Hun (Department of the Performing Arts). There were many artists who taught and passed on the knowledge of the performing arts and music down to the reign of King Rama VI. The Crown Prince Vajiravudh, who later became King Rama VI, was fond of all kinds of arts including Khon. At Saranrom Palace where he resided, he promoted the art of Khon. The Crown Prince selected good Khon teachers from the Department of the Performing Arts to train Khon performers. There were outstanding teachers such as Khun Rabam Phasa (Thongbai Suvarnabharat) who trained the Yaksa characters. He was later promoted and given the title of Phraya Brahmabhibal. Another teacher was Khun Natakanuraksa (Thongdi Suvarnabharat) who was later promoted to Phraya Natakanuraksa. He trained the male and female human characters. Khun Phamnaknatnikon (Puem Sugrivaka), teacher of the monkey characters, was later promoted to Phra Phamnaknatnikon (Dhanit Yupho, 1995: 78). King Rama VI’s Promotion of Khon and Drama in General