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“Having
persuaded her to make the visit, a servant brought her a basin full
of water. She changed her dress and powdered her face with scented
sandalwood powder. She neatly combed her hair, pinned with a gold
flower, Entwined with a jeweled hairpin and gold egg-plant flower,
Wearing long Gold necklaces decorated with diamonds and jewels,
A filigree of jewels, bracelets on both arms, Wearing rings of diamonds,
black and green sapphires, scented yellow shoulder shawl, Her parents
were taking her to the engagement, leaving the house in a large
entourage.”
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A-C A belt of woven
gold mesh with a gem-set buckles, from Bangkok, late 19th-early
20th century. Some details influence from Western expatriate jewellers.
D. A mango-shaped pendant originated in Sukhothai.
E. Gold ring set with coloured stones, a small
hinged ruby-set earring, 12th - 16 th century. |
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The
verse describes how Kwan Saenkamman and his wife, Ngernyueng, took
their daughter, Laothong, to be introduced to pan and, at the same
time, mirrors how the Thai have always been meticulous about their
dress and personal ornaments. From birth, a child would receive
gold ornaments as gifts for being born into a family and from relatives
and family friends. When they reach marriageable age, whether formerly
or presently, dowries are usually in the form of ornaments. So too,
in the greeting of a favorite |
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daughter-in-law,
ornaments will please all. In old age, it is also ornaments,
that are equitably distributed to children and grandchildren,
while favorite pieces will adorn them when they have passed
away. It can be surmised, there-fore, that ornaments are then
firth factor in the life of a Thai. Since time immemorial.
The popularity of personal ornaments never changes, but designs
do change, more or less, following changes in the culture
of each age.
A bracelet made from a hollowed
stone, or animal bone in the pre-historic age, evolved, eventually,
into metallic gold decorated with colored jewels in various
designs of the Ayutthaya period. Visiting the Three Kings
Museum in Ayutthaya, there is a display of ornament of high
society people, including necklaces, pendants and bracelets.
Imagine living in the Ayutthaya era up to the Ratanakosin
era, when the Thai still wore only loin cloths and shoulder
shawls and walked bare-foot. You would most probably encounter
high society ladies wearing personal ornaments, adorning arms
and legs, necklaces overlapping their shoulder shawl, with
ornamental belts for their loincloths. These same trends are
apparent in present day fashions. The designs on the ornaments
of those eras also reflect the was of life, which was more
closely attached to nature. They also reveal an insight into
what was beautiful in Thai eyes at that time. Rather than
copy nature exactly, they devised and recreated designs closely
affiliated to the delicate forms and beauty of nature. |
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Rings with fine gems such as large cabochon rubies
and diamond, date from the 18th - 19th century. |
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Approaching
the are of revolution in dress, the Thai gradually began to adopt
a combination of traditional eastern designs, influenced by western
fashions. In lieu of shoulder shawls, high society ladies now began
wearing a silk shawl over a Victorian, western style blouse, the
so-called “leg-of-mutton” blouse. This resulted in a
change in necklace and pendant attire to the western breast brooches,
securing the silk shawl draped over the blouse. Choker ribbons and
pearl necklaces were also popular as ornaments, similar to western
fashion at the time. Leg adornment gradually disappeared as socks
and shoes became more common. Today, the mix between Thai and western
personal ornaments provides greater freedom to mix-and-match than
ever before, and aptly reflect the Thai ability to adapt to change. |
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A. Siam Style from Cartier, 1931 B. Princess Ubon
of Chiang Mai, 1867. She wears gemset finger-rings and chains with
beads common in central : her earrings are reminiscent of northern;
her massive bracelets are more characteristic of Laos and Tai Lu. C. Stone bangles found at Banmhee, lop Buri. D. A royal bangle was buried at Wat Ratchaburana, Ayutthaya in 1424 |
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This,
however, does not mean that the Thai style of personal ornaments
is losing its value. Instead, the unique beauty of Thai personal
ornaments has proved to be a valuable asset to latter day designs,
originating many attractive innovations. For example, Cartier, a
world leading fashion brand name, adopted Thai headbands as an inspiration
for its headgear designs as far back as 1931. At present, the world
fashion trend has turned once again to the east for inspiration.
Which marries well with Thailand objective of creating Bangkok as
a center of fashion for the region. Under Thai government policy,
this will provide additional impetus and opportunities for Thai
designers, using the Kingdoms wide spectrum of natural resources,
to create fashionable designs for a wide range of personal ornaments
that will reflect the unique Thai characteristics and close affinity
with nature. |
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A. H.H. Princess Saisavali Bhiromya B. H.M. Queen
Saovabha Phongsi, wife of Rama V (1868-1910), is anorned in diamond
necklaces and her famous strings of magnificent pearls. C. Gold armlets set with rubies, from 19th century. They were worm
at the royal court. D. Gold ring in the form of
a naga, decorated with enamels and set with rubies. |
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To
the question as to why gold plays such an important role in world
society, the most common answer is that it is the most valuable
metal known to man. Though there are other valuable metals, none
can match the value of gold. Gold has a unique characteristics in
that whatever metal it alloys with, its characteristics are further
enhanced in relation to its quantity and it can be extracted again
from any alloy into its original sole element form. Another important
fact is that it is a stable element in itself. Further-more, the
process of purifying gold is so complicated, that it makes gold
so much more valuable and also rare.
In scientific terminology, gold is
a natural, free element, which may be mixed with other metals such
as silver, copper, iron, telluride, ect. with a hardness of 2.5-3.0
and a specific gravity of 15.6-19.3, depending on impurities. It
portrays various shades of yellow, and is shiny and very heavy.
It is so tensile, that it can be beaten into wafer-thin sheets,
bent, or extruded into a delicate, stranded wire.
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A. A miniature gold pagoda
in Sri Lanka style. It is believed to have contained the Buddha's
relics.
B. Gold Buddha image in Subduing Mara
Posture, seated in an ornate aureole under a Bodhi tree.
C. Seated Buddha image made of sheet gold.
D. Gold
Buddha image in Subduing Mara Posture.
E. Phra
Tao Thaksinothok (water container). |
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It
can be dissolved only in mercuric acid. Its purity is measured in
Karat. The benchmark is that pure gold is 24 karat or 1,000 fineness.
18 karat gold means that the metal is 18 karat gold and 6 portions
of others, such as silver, copper, nickel, or 750 fineness gold.
Or 75% gold.
These unique characteristics also
ensure it is valuable and rare. Its popularity is thus thigh and
it can easily be substituted for money. In ancient times, gold was
used as a reward to high-ranking soldiers and as a bounty to the
conqueror. It was also used in the casting and decoration of Buddha
statues in Buddhism. Thus it became popular as an ornament to show
high social status such as kings and high-ranking officials. Gold
was therefore used as both ornament and decoration. And to create
recognition of royal rewards As the saying goes; “Silver is
counted as the younger brother, but gold is the elder brother.”
Gold therefore gained popularity among high-ranking of- ficials
and has claimed maximum respect since time immemorial. Even today,
it continues to be very popular, so much so, that some people are
called mobile gold boxes.
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A. Belet nut set. B. Gold boxes are made of embossed gold. C. The Buddha
relics |
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Even
in name gold is popular, especially Thong Thongdee, Thongkam, Thongduang,
Khunthong, Suwan, ect. Both Kings and the Kingdom also carry renowned
titles, such as King Uthong and Suwanapoom. |
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In
Thailand, gold artwork originated from craftsmen in the royal palaces.
Craftsmanship was developed through the ages and during the Lawo
period, Queen Chammadevi journeyed from Lawo (presently Lop Buri
province) which was the center of the Khmer kingdom in the Ayutthaya
Basin, to be enthroned as the Queen of haripunchai (Lampoon Province).
Her Majesty was accompanied by 500 goldsmiths, silversmiths, ironsmiths,
and other smiths, demonstrating how important craftsman ware in
building an empire and beautifying a city.
Goldsmiths’ artwork was considered
the most valuable and the craftsmanship was very refined. Gold ornaments
and decorations were all of the most beautiful forms and designs.
The creation of crowns, necklaces, bracelets, rings, earrings, beads,
Buddha statues, pagodas, royal and religious accoutrements was so
important as to be the subject of royal sponsorship and funds to
enable the craftsmen to create artwork of great value and beauty
for the Kingdom.
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A. A
man’s headress.
B. A lady’s headress is made of woven gold. |
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Among
the many artworks of gold ornaments and royal accoutrements, it
was fund that during the 11th -16th centuries B.E., a large number
of gold Buddha statuesttes were made, mainly b y craftsmen in fluenced
by the ancient images in India. In Nakorn Prathom, Suphanburi and
Ratchaburi, which were a part of the old Twaravadee Kingdom, it
was found that gold sheets were used to inlay only the face of Buddha
statues. Although the goldsmiths were well able to inlay the gold
faces of the Buddha statues. Although the goldsmiths were well able
to inlay the gold faces of the Buddha statues, the number of these
particular images was small in total.
During the
Srivichai period, goldsmiths knew how to make gold foil for use
in Buddhist religious ceremonies, as more and more Buddha statues
were gold plated. Of the gold ornaments produced, gold beads were
made in the South and Central regions, while in the Lop Buri period,
various objects used in religious ceremonies and utensils were gold
plated in Nakhon Si Thammarat and in the eastern part of the South.
During the Sukhothai Period, more gold was beaten into flat, thin
sheets to cover Buddha statuettes, and goldsmiths knew how to goldplate
large Buddha statues, for example, Prabuddhachinnarat, Prabuddha
silhing,
Prasrisakkaya munee, and Prachinnsri. It was also found that gold
foil was used to plate bronze and other metallic Buddha statues.
Ornaments were, however, simple, smooth and with minimal designs.
Containers found were gold caskets and boxes with small replicas
of pagodas made of gold to contain relics Gold utensils were rare.
During the Ayutthaya Period, gold played a major role in the constructions
of Buddha statues, temples and palaces, so much so that it was considered
the Golden Age of gold. Gold foils were used to cover the spires
pagodas, and finials on the roof ridges, and Buddha statues. During
the Rattanakosin era, gold plated and gold foil works were considered
masterpieces, as were art works for royal utensils, ornaments and
embellishments.
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A. A Buddha image in the
altitute of Stopping Quarrelling Relatives. Uthong Style.
B-C. Gold Buddha images in Subduing Mara Posture, seated in an ornate aureole
under a Bodhi tree.
D. Miniature pediment i
gold. about two meters high. from the crypt of the main prang at Wat
Ratchaburana. |
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In
summary, the special characteristics of fine artwork from
goldsmiths in each part of the country cannot be clearly distinguished.
Gold beating, plating and inlaying, including purifying and
engraving were practiced in all eras, subject ti the influence
of various Kings and having the capital city for models. There
were imitations, of course, but they could not match the particular
talents of the royal craftsmen who were sponsored by Kings.
It can be said that gold ornamental work relied extensively
on the royal courts and artworks developed during the different
periods of Sukhothai, Ayutthaya and Rattanakosin, all of which
can be clearly observed in the designs of Buddha statues from
each of those periods.
Subsequent designs of royal
utensils and decorations, continued to be modeled on those
of the ancient Sukhothai period. Gold ornaments designed during
the Ayutthaya period were creations from the know how of goldsmiths,
which reached a masterpiece design peak in the Kingdom of
Siam.
Ayutthaya’s capital city
was known as the largest gold market and the arrival of the
Portuguese, who were the first foreigners to arrive to trade
in B.E. 2054, during the reign of King Ramathibodi II, mentioned
resources in the Kingdom of Siam, that included lac, gum,
fang wood, lead, tin, Silver, Gold, ivory and coon tree. The
Siamese also sold utensils made from copper and gold, as well
as diamond and ruby rings. Royal gifts and others were mainly
in gold. Even royal letters were inscribed in gold sheets,
or bas-relief in gold, in adoration of the Lord Buddha.
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Mara Posture. B. A miniature gold royal slipper. |
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Nicolas
Cherves, a Frenchman, called King Uthong the “King of Gold”.
The King of Siam had 8-10 treasury rooms, each containing a large
number of jars filled with silver coins and gold ingots, stacked
up to the ceilings. There were ten gold utensil sets for use, including
dinner tables and decorations at the white elephant house. Yet,
no gold mine was ever found in Siam.
In the search for gold in Siam, alchemists
often found pure gold for example, after floods, when the water
had receded, some some large gold ingots ware found on the banks
of the rivers. The Siamese, however, did not know how to follow
the various lodes that were discovered and it could be surmised,
that formerly there was a lot of gold, but then there was no more.
It could not be said that such a huge quantity of gold was imported
(from Ache, which had a gold mine) to make trays, food trays, statues
and others.
Lalubere, a Frenchman who traveled to Siam during the reign of King
narei, believed that in the past the Siamese smelted a lot of gold
to adorn Buddha statues, which were molded in large number. Finials
on roof ridges and ceilings of temples were often decorated with
gold
(inlaid) in glittering patterns. Time and again, old empty gold
mines were found, along with smelting furnaces. The war with Burma
and the Mon stopped the search. Though gold lodes were not found,
silver lodes were discovered, proving to be valuable and worth the
search. But the Kings of Ayutthaya continued to pursue gold and
often invited foreigners to lead the explorations. The Spanish and
Vincent, the French physician, never found any mine. Some monks
persuaded Mr. Vincent to teach them how to smelt and purity gold
and bought high-grade ore as a sample to compare with the results
of their own efforts
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A. The gold royal sword, length 115
cm. |
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The
Siamese were experts in gold alloy and knew how to beat gold paper-thin.
When the King of Siam sent greetings to other kings, he had them
inscribed on paper-thin gold sheets. The King also had a gold fruit
bowl made when he threw a party for a M. De Chomont. The Siamese
did not have gold or copper mints, they only had silver coins. Gold
was therefore a commodity worth 12 items that of silver. Sword sheaths
and knife handles were often plated with gold or silver and given
to high officials. Although highly skilled goldsmiths were quite
common, the Siamese still lacked the know-how to mould glass, or
make mirrors and continued to import them from China.
In short, the City of Ayutthaya had
a plentiful supply of gold and was the talk of marine merchants
who came from various countries. They said that during the reign
of King Narai, 46 boxes of gold were shipped to France in B.E. 2293,
and there was a gold mine at Ban Paron, Bang Sapan District, Prachuap
Khiri Khan Province, yielding 90 chang, or 109.5 kilograms.
Later explorations found gold resources
spread widely in the plateau of Korat and the central lower plain.
Two potential high areas of gold sources were on the west ridge
of the Korat plateau from the provinces of Loei, Nongkhai, Phetchabun,
Phichit, nakhon Sawan, Lop Buri, Prachinburi, Sa keaw, Chon Buri
and Rayong, and in the north from the provinces of Chiang Rai, Chiang
Mai, Lampang, Phrae, Uttaradit, Sukhothai, and Tak. Gold has also
been found in other widespread areas in Paron, Bang Sapan District,
Prachuap Khiri Khan Province, the mine in Tambon Tohmoh, Sukirin
District, Narathiwat Province (230 kg. production in B.E. 2533),
at Boh Thong District, Prachinburi, Province (production 54.67 kg).
Between Loei province and the border between Phichit and Phetchabun
Provinces, (estimated five tons of gold), and in Pai District, Mae
Hong Son Provinces, Thongphapoom District, Kanchanaburi Province,
Nangron Mountain, Chum Phon Province, Khong River, Songkhram District,
Nongkhai Province Tha Utain District,Nakhon Phanom Province, Changkran
District, Loei Province, where ancient gold mines were never location.
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The
Kingdom of Siam, during the Ayutthaya, was a prime source of gold
ornaments and considered the center of major gold trading, well
known to many foreigners. Goldsmiths of this period produced beautiful
examples of fine arts in gold. They also created unique designs
and intricate patterns, such that gold ornaments from the Ayutthaya
period were accorded the topmost accolades for craftsmanship. Apart
from using gold ornaments as royal awards, they were also used as
royal gifts and major export products to other countries.
After the fall of Ayutthaya in B.E.
2310, a large portion of the gold fine arts of the Kingdom of Siam
was lost. Following the chaos and aftermath of the defeat a large
portion of the fine arts was appropriated by the conqueror, while
some were melted down to extract the gold content, and yet other
were s ecretly removed and hidden with so many varying inscriptions
as to their location that it became virtually impossible to find
them again. Many illegal diggings have since occured in search of
hidden treasure in the ruins of palaces and temples in Ayutthaya,
so much so that loosses could not even be estimated. Following government
action to protect the ruins, a gold cache was unearthed at Mahathat
Temple in August B.E. 2499 and a number of gold ornaments were found
under the foundation of a major pagoda. Later, another cache of
gold was found at Ratchaburana Temple in September B.E. 2500 and
at Chaivattanaram Temple in B.E. 2501. The unearthed gold ornaments,
though small in quantity, nevertheless revealed the excellence of
the gold fine art designs of the Thai, sufficient to testify that
the Ayutthaya period was indeed, the Golden Age of the Kingdom of
Siam. |
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A. Gold swan-shaped utensil : 9.5 cm. Long and 4.5
cm. wide. |
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Only
a few artistic handicrafts and design patterns of gold ornaments
remain from the heavy plunder, unchecked pilferage and massive loss
during this period. Yet, the remaining examples are considered masterpieces
of craftsmanship, created in the past as a tribute and devotion
to the Lord Buddha.
They were unmatched artistic pieces
of their time and, today, have become important examples and models
for modern designs and patterns of gold ornaments depicting the
Ratanakosin period. The construction of the Grand Palace in Bangkok
was, in fatc, a replica of the architecture and fine arts of the
original Grand Palace in Ayutthaya. Like wise, today, there are
many talented architects and highly skilled craftsmen, schooled
and skilled in the ancient fine arts, who have inherited the same
skills and expertise of their forebears, and are similarly dedicated
to preserving the sncient Siam legacy of fine arts, including the
original ten craft groups and assortment of gold ornaments, which
are now greatly enhanced through the use of modern technology. |
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A. From left to right,
the whisk, a fan decorated with tamarind pods design. Valvijni, and
a waving fan.
B. Perforated gold sheets in the
shape of animals of the Himavanta forest. |
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