The Journal of the Thai Khadi Research Institute

The Round - shaped 108 Auspicious Buddha’s Footprint in Sukhothai and Ayutthaya Arts: A Study of Its’ Original and Developmental Styles

Sirot Pinanratchathon — Wed, 24 Jun 2026 00:00:00 +0700

During the twentieth century, the artist created the round - shaped auspicious symbols on the Buddha’s footprints, known as Buddhapada, under the influence of Sukhothai Art. These symbols represents Buddhist beliefs about auspiciousness, called Mankala - 108, which are counted as auspicious signs. Assuming that the creation of these symbols was meant for the need to display the auspicious symbols or Mangala 108. These symbols depict the circle universe and the Buddhist principle of Lokasart, the mythology of the earth’s existence, origins, being, and extinction. The creation of Mangala 108 enhances the footprint’s sacredness. Based on Sukhothai’s idea of the great Emperor, artists in the past highlighted the Cakka, or wheel of the Dhama, on the Lord Buddha’s footprint, which is encircled by 7 - 8 rings of auspicious symbols. Later, the Ayutthaya artisans were inspired by those of a century prior. In the twenty-first century, artists in the Ayutthaya period also drew on Sukhothai’s style. Not only did they build the Buddha’s footprint that exhibited the Cakka wheel and Mankala 108, but they also develop it by reducing the auspicious symbol to 3 rings. Hence, they highlighted the Cakka wheel or replaced it with a Lotus flower in the center of the footprint, making all the symbols appear larger.

Floral - robed Ornamentation on Buddha Images in Rattanakosin Art

Naran Akharanitipirakool — Wed, 24 Jun 2026 00:00:00 +0700

Floral - robed Buddha images cast from metal are widely distributed throughout Thailand. However, the form and method of making these Buddha images have not been thoroughly investigated. This article aims to employ art historical methodologies, historical documents, and interviews the artisans to analyse the evolution, the origins, and the factors contributing to the decline of the floral robe Buddha image, as well as to identify the reasons for variations in their forms across different periods.

Thefindings indicate that metal - cast Buddha images with floral robes from the late nineteenth and early twentieth centuries CEexhibit stylistic similarities to those produced in the eighteenth and nineteenth centuries CE. These images are likely the earliest group of floral robe Buddha images created through casting, resulting from the use of soapstone moulds since at least the reign of King Rama III. Most of the soapstone was likely sourced from Khao Cha - ngok, a site that continues to supply material today.

Floral robe Buddha images produced in the early to mid - twentieth century CE were influenced by the Phra Buddha Chinnarat group of Sukhothai style, in part due to the prominence of the royal court and nobility since the reign of King Rama IV. Additionally, these images were shaped by Lanna art Buddha images originating from Chiang Saen were regarded as ‘an authentic Siamese style’ and were believed to date back to the eleventh to twelfth centuries CE.

The general group of Sukhothai Buddha images also appeared in floral - robed Buddha images during the first half of the twentieth century CE. This trend is likely related to the use of Sukhothai art and culture to foster nationalist ideas since the reign of King Rama VI, as well as the publication of Sukhothai studies during that period. The decline of floral - robed Buddha images was likely due to the increasing popularity of Sukhothai Buddha images and the relatively high price of Buddha images with floral robes, which contrasted sharply with the serious economic decline in Siam at that time.

The Style of Trit Headdresses on Human - shaped sculptures from the Noen Thang Phra Archaeological Site in Sam Chuk District, Suphan Buri Province

U - bonwan Sokri, Chedha Tingsanchali — Wed, 24 Jun 2026 00:00:00 +0700

In 1979, the Noen Thang Phra archaeological site was excavated, revealing a number of figurative sculptures of individuals wearing headdresses called Trit. These sculptures have been partially studied, but comprehensive research is still lacking. This study focuses on the stylistic features of the plaster sculptures of individuals with Trit headdresses from the Noen Thang Phra site, comparing them with similar artworks from the Pala period (India), Angkor Bayon art (Cambodia), Khmer art in Thailand during the Bayon period, Pagan art, and Hariphunchai art. The findings indicate that the unique characteristics of Trit headdresses from Noen Thang Phra include a frontal crown with a single straight line, decoration with four - petaled flowers or other motifs, fish - scale patterns above the crown, and the presence of seven or more triangular decorative plates. These plates are arranged symmetrically, with the central plate being the largest and angled toward the center. The plates decrease in height progressively, and their interiors are decorated with overlapping triangular patterns, while circular motifs adorn the lower parts of the plates. These stylistic features show influence from the Cambodian Bayon art. However, distinct differences from Bayon art include a single four - petaled flower at the center of the crown and the absence of no fewer than seven triangular decorative plates.

Appreciation for Chinese Opera in the Thai Royal Court: Recognition of Chinese Cultural values or the Endorsement of Fashion Consumption

Tattanit Tongdaeng — Wed, 24 Jun 2026 00:00:00 +0700

This research aims to study the Thai royal court’s perspective on the Chinese opera from the past to the present. The study found that Chinese opera first appeared in foreign records during the reign of King Narai of Ayutthaya. Then, the Thai Royal Court always chose Chinese opera for many ceremonies, until the reign of King Rama V of Rattanakosin. During that period, the Thai royal court viewed Chinese opera as symbols of luxury consumption or merely as indicators of the kingdom’s wealth. Meanwhile, the fighting operas were the most popular performances in the Thai Royal Court. Later, Chinese opera has not been present at any royal ceremonies since King Rama VI's reign. The change in the status of Chinese opera arose from internal factors, such as financial problems and the promotion of nationalist ideology, as well as external factors, such as downturns and the flourishing of China’s culture and knowledge. But after Thailand formally established diplomatic relations with the People's Republic of China in 1975, the Thai royal court and government have once again been interested in Chinese opera, aiming to use Chinese opera as a tool to strengthen the relations between the two countries and foster a unity among the nation's ethnicities, as well as to preserve the national arts and cultures. The study also revealed that the Thai royal court has acted as the selectors, importers, leaders of cultural trends from abroad into Thai society and patrons, emphasizing the significant benefits to be gained. Furthermore, it was found that despite the Thai royal court preferring for both Chinese and Western cultures, both cultures still held lower status than Indian culture, due to the fact that Indian culture is associated with “the belief in kingship,” as exemplified by the status of Khon performances.

Historiography of the Upper Siam States (Lower Northern Region)

Chaipong Samnieng — Wed, 24 Jun 2026 00:00:00 +0700

Research on the lower northern region of Thailand has mainly followed provincial boundaries. These boundaries are defined by common social and cultural characteristics.As a results, the region is often perceived as homogeneous and closely alligned with the central state. This focus means research has lacked a deeper exploration of its unique socio - cultural and historical aspects, especially in the context of community establishment. Identities from a bottom - up perspective remain insufficiently connected to the broader structural context. These should be examined in relation to other regions. Additionally, the development of state formations and their connections with neighboring states has not been adequately addressed. Despite their significant historical roles, the incorporation of these lower northern states into the central state has obscured a comprehensive understanding of their societies and cultures. A review of historiography reveals three key findings that dominate understanding of state formation and community development in this region. First, historical studies of the lower northern region often depict it as an integral part of the Sukhothai, Ayutthaya, and Rattanakosin kingdoms. This perspective blursthe distinct history of the lower northern states and leaves their unique identities underexplored. Second, local histories have been partially subsumed into national history. In other words, local narratives are mainly used to reinforce the broader national historical framework. Third, due to these factors of local histories have been undervalued. Community formation processes and people’s experiences areovershadowed, and the lower northern states are usually viewed as extensions of the central state. This lack of clarity in historical study shows the need to revisit and re - evaluate the region’s local histories.

Knowledge Management Ecosystem to Convey and Preserve Arts and Crafts, Kolae Boat Model, in the Royal Craft Community, Khok Khian, Muang, Narathiwat Province

Abdullah Chelong, Mareekee Madeng — Wed, 24 Jun 2026 00:00:00 +0700

This qualitative research aimed to investigate the knowledge management ecosystem for conveying and preserving the arts and crafts of the Kolae boat model, with a foundation for the promotion of supplementary occupations under the Royal patronage of Her Majesty Queen Sirikit in Khok Khian, Muang, Narathiwat Province. The data was collected using two methods: group discussion and document analysis with 16 key informants. The data was analysed using content analysis and validated in a variety of methods: data confirmed during the interview; data triangulated after the analysis, and verified by experts. The results of the analysis are presented descriptively.

The results revealed that the knowledge management ecosystem to convey and preserve the arts and crafts of Kolae boat model in the Ban Thon community must consist of 4 principles: (1) Learning principle for the continuation and preservation of the arts and crafts of the Kolae boats; (2) Learning management innovation for the continuation and preservation of the arts and crafts of the Kolae boats; (3) Upskills the knowledge management for the continuation and preservation of the arts and crafts of the Kolae boats; and (4) Participation and a strong community for the continuation and preservation of the arts and crafts of the Kolae boats.

A study of Tourist Behavior Regarding Beliefs about Merit and Sin Influences Buddhist Tourism in Nakhon Ratchasima Province

Kittisak Klinmuenwai — Wed, 24 Jun 2026 00:00:00 +0700

This study aims to examine tourist behavior concerning religious beliefs about merit and sin and their influence on Buddhist tourism in Nakhon Ratchasima Province. A quantitative research design was employed, utilizing a questionnaire to collect data from a sample of 400 tourists engaged in Buddhist tourism within the province. The sample was selected through convenience sampling, and the data were analyzed using descriptive statistics, including percentages, means, standard deviations, and analysis of variance (ANOVA).

The findings revealed that overall tourist behavior regarding Buddhists’ beliefs about merit and sin had a significant influence on Buddhist tourism, with opinions rated at a high level. Specifically, beliefs that are influenced by social factors ranked the highest, followed by beliefs about good and bad karma, heaven and hell, which are all grounded in Buddhist principles. A comparative analysis based on age revealed no statistically significant differences (p = 0.05) across the dimensions of Buddhist principles, good and bad karma, heaven and hell, and social influences. These results highlight the pivotal role of Buddhist beliefs, particularly those that are shaped by religious principles in shaping Buddhist tourism. The insights gained from this study can be used to develop the sustainable strategies to promote Buddhist tourism in Nakhon Ratchasima Province.

Contesting the Mekong Frontier: A History of Disputed Territory

Pannatat Jittakul — Wed, 24 Jun 2026 00:00:00 +0700

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