164
NOTES AND QUERIES
traditional Buddhist scenes. Wat Suwannaram on Klong Bangkok Noi is one of the best known temples for murals. The building was constructed in the reign of Rama I and its paintings, dating from the time of Rama III, were executed by two artists, Luang Vichit Chetsada and Kru Khonpae, whose names have, unusually, come down to us. The wall inside the entrance illustrates the conquest of the Buddha over the spirit of evil, Mara, and the wall behind the altar shows the Buddha descending to the earth, the Traibhumi. At the upper levels on the long side walls are rows of orahan or followers of the Buddha, and between the windows the jataka tales, the stories of the last ten incarnations of the Buddha-to-be, are represented, the whole of the left-hand wall being given over to the very last jataka, the Vessuntarajataka, or renunciation. The paintings are remarkable for their delicacy and charm.
Some more examples of traditional Siamese painting were to be seen in the collection in Krisnavara House, the home of the epigraphist and art historian Alexander B. Griswold, which was opened specially for the tour. Mr. Griswold's collection of rare Sukhothai porcelains and ancient stuccos and bronzes was much appreciated.
The Siam Society, a learned body established in 1904, has a traditional northern house, the Kamthieng museum, re-erected in one corner of its fine grounds. The Society was the setting for an introduction to traditional Siamese folk opera, likay. Especially for the tour, the Hom Huan troupe of actors performed with verve the story of Chantakorop. The prince of this name falls in love with a fickle girl Mora who has come from a magic casket and who agrees to be his wife, but she is then attracted by a bandit leader and enables him to kill Chantakorop. The prince is taken up to heaven by the god Indra, the bandit leader runs away from his new wife who is alone and hungry in the jungle. Indra, disguised as a bird, offers her food on condition she marries the bird. She agrees and is transformed into a gibbon as a reward for her fickleness.
Likay is an old theatrical form, possibly of southern or Malay origin, but having by syncretism absorbed most other Thai theatrical forms including the masked dance khon. Once extremely popular, it is now dying out in the capital. It is rumbustious and bawdy, and incorporates popular songs, traditional dance and improvised dialogue. The costumes are gay, extravagant and imaginative. The small orchestra of six performed on traditional instruments.