[
    {
        "id": 206893,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1973",
        "page_number": 170,
        "title": "RAS-1973",
        "content_text": "164\n\nNOTES AND QUERIES\n\ntraditional 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.\n\nSome 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.\n\nThe 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.\n\nLikay 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.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r",
        "rank": 0
    },
    {
        "id": 207816,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1976",
        "page_number": 204,
        "title": "RAS-1976",
        "content_text": "The Ancient Mon-Pagan, Peru & Nakorn Pathom 189\n\n(Rama VI) complete with Shakespearian house and a statue to his dog whom he suspected had been poisoned by jealous courtiers.\n\nThe Pagan theme of temple paintings, though of a different period, may also be taken up again in Dhonburi, across the river from Bangkok. Dhonburi was the capital between the fall of Ayuthaya in 1757 and the establishment of Bangkok in 1782 and boasts a number of old temples, many still having their original mural paintings. The little visited Wat Wai Thepnimit is lost amid sluggish canals and has paintings in good condition dating from the late 18th century. Like many of such temples, the scene above the main door inside represents the victory of the Buddha over the temptations of Mara; the scene behind the altar shows the division of the world into paradise, earth, and hell; and at the lower levels on the sides, between the windows, are the stories from the last ten Jataka tales, while above are serried rows of alternating orahan, or devotees, and yaksa or giants. In better condition, though in not so charmingly dilapidated a building, is the temple of Wat Chaiyathit, which can only be reached by a walk by narrow canals and a railway track. The well-known paintings at the fine Wat Suwannaram on Klong Bangkok Noi need little introduction. The small dual buildings of Wat Rumarin Ratchapaksi near Wat Dusit, bombed by accident in the last war, are now at last being repaired, though not before the weather has caused considerable damage to the quality of the paintings. One of the most impressive buildings to survive the passage of time and weather is the old library at Wat Rakhang, the Ho Trai. This has three rooms and was formerly part of a dwelling of General Chakri, the founder of the present dynasty, in the 18th century. He had it converted into a library for the temple after he became king. The carved entrance doors are magnificent, and the Ayuthia period lacquered library cupboards are in very good condition. The paintings, which had been much damaged by time and smoke from a fire at the temple, are now being restored. The scenes depict barely recognisable episodes from the Thai version of the Ramayana.\n\nBangkok does not lack evening entertainment, but there is not much that can rival the setting of Krisnavara House, with its collection of antiques beside the Chao Praya River, for a performance of the now rarely presented hoon krabawk, or stick puppet theatre. The figures are clothed in 19th-century court dresses and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
        "rank": 0
    }
]