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The International Journal of the Royal Society of Thailand

Volume XVI-2024 (Special Issue)

The Ayutthaya kings took an active role in the development of these art forms, providing

royal patronage to artists, musicians, and playwrights. They established dedicated spaces
within the palace grounds for training performers and staging performances, ensuring that

the performing arts were closely tied to the prestige of the court. Performers, particularly those
involved in royal ceremonies, were given high social status, with some dancers and actors even

receiving official titles, reflecting their importance in the royal hierarchy.
In addition to formalizing Thai dance-drama, the Ayutthaya kings also codified the roles of

performers within the social structure, as reflected in legal documents from the era. The Royal
Mandate of Ayutthaya, for instance, specified the ranks and privileges of performers, underscoring

the institutional importance of the arts during this period.
The Ayutthaya period thus marked a golden age for Thai performing arts, with the monarchy

at the center of cultural and artistic patronage. The elaborate performances that emerged during
this time laid the foundation for the further refinement and development of these art forms in

the Rattanakosin period.

The Thonburi Era (1767–1782)

The Thonburi era, though brief, played a critical role in restoring the performing arts after

the destruction of the Ayutthaya kingdom in 1767. The fall of Ayutthaya resulted in the loss of
many cultural treasures, including valuable manuscripts, musical instruments, and the disbanding

of court performers. However, under the leadership of King Taksin, the first and only ruler of
the Thonburi Kingdom, efforts were made to revive and restore Thai performing arts.

King Taksin, a warrior-king who sought to reunify the fractured Thai states, also understood
the importance of cultural cohesion. He re-established many of the traditional art forms that

had been prominent during the Ayutthaya period, recognizing their role in reinforcing national
identity and royal authority. King Taksin commissioned the reconstruction of classical works

such as the Ramakien, which had been an integral part of court performances in Ayutthaya.
This was vital to restoring the grandeur of Thai performing arts, as the Ramakien continued to

serve as the foundation for Khon performances.
The revival of traditional Thai performances, especially Khon and Lakon, was part of

King Taksin’s broader efforts to rebuild the nation’s cultural and political strength. He encouraged
the training of new performers and reinstated court ceremonies that featured dramatic

performances, helping to ensure that the legacy of the Ayutthaya period would not be lost.

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