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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

trained to express the values of the court and religious teachings through their movements and

music.
King Lithai, another important monarch of the Sukhothai period, continued this legacy by

fostering the development of arts in connection with religious activities. He used performances to
enhance religious ceremonies, blending Buddhist teachings with dramatic storytelling, a practice

that continued in later periods.
The Sukhothai era laid the groundwork for the later development of Thai performing arts,

with the monarchy playing a pivotal role in elevating these traditions. It set the stage for the
more elaborate and formalized court performances that would later flourish during the Ayutthaya

period, marking the beginning of the monarchy’s long-standing patronage of Thai culture.

The Ayutthaya Era (1350–1767)

The Ayutthaya period marks a significant expansion of Thai performing arts, with the

monarchy solidifying its role as a key patron and driver of cultural development. During this era,
the arts flourished, particularly within the royal court, and became integral to both religious

and state ceremonies. The Ayutthaya kings viewed the performing arts not only as a form of
entertainment but as a powerful means to display royal authority and divine legitimacy.

Dance and drama became tools for reinforcing the monarchy’s cosmic and spiritual role,
linked closely to Hindu-Buddhist religious practices.

One of the most important developments of this period was the formalization of traditional
Thai dance-drama forms such as Khon and Lakhon. Khon, the masked dance-drama, became

especially important during this period. Rooted in the epic of the Ramakien (the Thai version of
the Ramayana), Khon performances depicted stories of gods, demons, and legendary heroes.

These performances were staged during significant royal ceremonies, such as coronations and
religious festivals, as a means of demonstrating the king’s divine power and connection to the

gods. The intricate masks and costumes worn by performers, combined with stylized movements,
served to elevate Khon into a highly revered art form reserved for royal occasions.

Lakon, a form of dance-drama that featured both male and female performers, also rose
to prominence during the Ayutthaya era. Unlike Khon, which primarily focused on epic tales,

Lakon portrayed a broader range of stories, including Jataka or Buddha’s birth stories, historical
narratives, moral tales, and courtly romances. Lakon performances were known for their

graceful and fluid choreography, highlighting the elegance of Thai dance and court costume.
These performances were often staged in the royal court as part of festivities or religious

ceremonies, reinforcing the cultural and moral authority of the monarchy.

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