Relevant bibliographies by topics / Buddhist art Thailand

Academic literature on the topic 'Buddhist art Thailand'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Buddhist art Thailand"

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Blackburn, Anne M. "Buddhist Connections in the Indian Ocean: Changes in Monastic Mobility, 1000-1500." Journal of the Economic and Social History of the Orient 58, no. 3 (July 6, 2015): 237–66. http://dx.doi.org/10.1163/15685209-12341374.

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Since the nineteenth century, Buddhists residing in the present-day nations of Myanmar, Thailand, and Sri Lanka have thought of themselves as participants in a shared southern Asian Buddhist world characterized by a long and continuous history of integration across the Bay of Bengal region, dating at least to the third centurybcereign of the Indic King Asoka. Recently, scholars of Buddhism and historians of the region have begun to develop a more historically variegated account of Buddhism in South and Southeast Asia, using epigraphic, art historical, and archaeological evidence, as well as new interpretations of Buddhist chronicle texts.1 This paper examines three historical episodes in the eleventh- to fifteenth-century history of Sri Lankan-Southeast Asian Buddhist connections attested by epigraphic and Buddhist chronicle accounts. These indicate changes in regional Buddhist monastic connectivity during the period 1000-1500, which were due to new patterns of mobility related to changing conditions of trade and to an altered political ecosystem in maritime southern Asia.
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Krairiksh, Piriya. "Re-visioning Buddhist art in Thailand." Journal of Southeast Asian Studies 45, no. 1 (January 10, 2014): 113–18. http://dx.doi.org/10.1017/s0022463413000635.

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The Asian Civilisations Museum, Singapore, is to be congratulated for organising a splendid exhibition of Thai Buddhist art entitled ‘Enlightened ways: The many streams of Buddhist art in Thailand’, which ran from 30 November 2012 to 17 April 2013, and for publishing the exhibition catalogue as well as a separate monograph, Buddhist storytelling in Thailand and Laos, which elucidates the long cloth scroll depicting the story of Prince Vessantara on display at the exhibition.
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Singsu, Santi, and Metta Sirisuk. "The Development of Contemporary Buddhist Art in Northeastern Thailand." International Journal of Religion and Spirituality in Society 10, no. 4 (2020): 25–35. http://dx.doi.org/10.18848/2154-8633/cgp/v10i04/25-35.

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Virunanont, Pannee. "Traditional Intricate Paper Cutting Techniques of Southern Thailand: Background, Beliefs, and Cultural Animation of Thai Buddhist Culture." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 60–85. http://dx.doi.org/10.1163/26659077-02301004.

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Intricate paper cutting of Southern Thailand is a traditional folk art, which is passed down from one generation to another. However, there are no detailed studies or records of the historical backgrounds, beliefs, and cultural animation of Thai-Buddhist culture in Southern Thailand concerning this folk art. This study, therefore, aims to examine this art form in Songkhla and Nakhon Sri Thammarat provinces, which have their own cultural identities. The goal is to register this art form as a part of cultural heritage. The compilation of vital data includes (1) paper characteristics, (2) paper engraving methods, (3) colours, (4) instruments, (5) pattern designing, (6) purposes of the arts, (7) origins and history, and (8) knowledge of transferring methods. The findings reveal the origins of the beliefs and Buddhist faith of the community. The intricate paper cutting techniques are still maintained in the form of decorations found at auspicious events, festivals, and cultural ceremonies in every region of Thailand. The techniques of this art form are in decline but its use still prevails in community life, remaining favourites at auspicious festivities and cultural events for the sake of conserving distinct identities.
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Husarski, Roman. "Moral Entertainment – The Buddhist Hell Parks of Thailand." Studia Religiologica 54, no. 3 (December 1, 2021): 195–216. http://dx.doi.org/10.4467/20844077sr.21.013.16550.

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Visiting Hell parks is a popular pastime in contemporary Thailand. Situated near Buddhist temples, these gruesome sculpture gardens depict the Buddhist vision of Hell. These grotesque and violent sculptures are usually seen as an oddity and a form of low art. Perhaps for this reason, they are rarely studied by scholars. This article focuses on the parks as modern entertainment. Usually found in rural areas, these spots try to answer the challenges of the commercialisation and globalisation of Thai society. A detailed analysis of four Hell parks, Wang Saen Suk, Wat Pa Lak Roi, Wat Pa Non Sawan and Wat Pa Thewapithak, shows that these religious amusement parks serve not only as means of entertainment but are also places of Buddhist morality.
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PELEGGI, MAURIZIO. "From Buddhist Icons to National Antiquities: Cultural Nationalism and Colonial Knowledge in the Making of Thailand's History of Art." Modern Asian Studies 47, no. 5 (February 1, 2013): 1520–48. http://dx.doi.org/10.1017/s0026749x12000224.

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AbstractIn the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.
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Sirisawad, Natchapol. "Significance of the Śrāvastī Miracles According to Buddhist Texts and Dvāravatī Artefacts." Religions 13, no. 12 (December 9, 2022): 1201. http://dx.doi.org/10.3390/rel13121201.

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The story of the Śrāvastī miracles is one episode of the Buddha’s biography that is depicted in the art forms of Dvāravatī from about the 7th to the 11th centuries CE. The fact that many artefacts were produced—in such variety, over such a long period, and at so many sites—shows the popularity of the scene of the Śrāvastī miracles in the Dvāravatī culture. The objective of this research paper is to analyze the significance of the story of the Śrāvastī miracles that affected the creation of Dvāravatī art in Thailand by examining the textual sources together with the Dvāravatī artefacts. The analysis shows that the stories of the Śrāvastī miracles were significant in various ways, being one of the Buddha’s necessary deeds, a principal miracle only performed by the Buddha, a means of converting others to Buddhism, and a key source for the idea of making Buddha images as an act of merit. These significant features may explain the popularity of the Śrāvastī miracle theme in Dvāravatī culture.
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Chang, Ya-Liang. "An Investigation of Naga Art in Buddhist Temples of Mueang Chiang Mai District, Thailand." South East Asian Review 45-46, no. 1 (January 21, 2022): 153–71. http://dx.doi.org/10.32381/sear.2020-2021.45-46.1.8.

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Schalk, Peter. "The Vallipuram Buddha Image "Rediscovered"." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 295–312. http://dx.doi.org/10.30674/scripta.67235.

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When, at the end of the 19th century, the Visnu kovil in Vallipuram, in Vatamaracci, in northern Ilam (Lanka) was (re)built, a Buddha statue was unearthed close to this temple, 50 yardsnortheast of it. It remained in the lumber room of this temple until 1902, when it was set up in Old Park at Yalppanam under a bo-tree. In 1906, the Vallipuram Buddha image was presented by Governor Sir Henry Blake to the King of Siam, who was particularly anxious to have it, as it was supposed to be of an archaic type. This event together with the statue, was forgotten for almost 90 years. All Tamilar and Sinhalese born after 1906 have never seen the Vallipuram Buddha image, provided they have not gone to and found it in Thailand. The study of the religious significance per se, in its historical setting, of the statue is important. The Vallipuram Buddha image is a typical creation of Amaravati art, the spread of which documents the spread of Buddhism to Ilam, where it exercised a decisive influence on the first period of the development of Buddhist art in the Anuratapuram school. We get then a geographical triangle of a cultural encounter between Amaravati, Anuratapuram in its first phase, and Vallipuram. This happened at a time when Buddhism was still not identified as Sinhala Buddhism, but just as Buddhism. The study of the Vallipuram statue is thus a way of transcending or at least suspending for some time polarising ethnic identities, not ethnic identities as such.
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McDaniel, Justin. "The Bird in the Corner of the Painting: Some Problems with the Use of Buddhist Texts to Study Buddhist Ornamental Art in Thailand." Moussons, no. 23 (September 22, 2014): 21–53. http://dx.doi.org/10.4000/moussons.2966.

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Dissertations / Theses on the topic "Buddhist art Thailand"

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Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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Hall, Rebecca Sue. "Of merit and ancestors Buddhist banners of Northern Thailand and Laos /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1694502661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Clarke, Wesley S. "Return to P'ong Tuk: Preliminary Reconnaissance of a Seminal Dvaravati Site in West-central Thailand." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1321396671.

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Phisalaphong, Rathdow. "Teacher Practice, Curriculum, and Children's Moral Development in Buddhist Temple Preschools in Thailand." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3001/.

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This study investigated what constitutes a moral development program in Buddhist temple preschools in Thailand. The researcher employed three qualitative methods: structured, in-depth interviews, observations of teachers' instruction, and document analysis of curriculum guides. Four Buddhist temple preschools were selected as the sites. Participants for interview included three abbots and one head nun, four principals, and twelve teachers. Participants for observations included four teachers of third year classes in each preschool. The study concentrated on four research questions: (a) what are the elements of the character education curriculum? (b) How do teachers teach moral development concepts and skills? (c) What are the teachers' perceptions of the moral development of third year preschoolers? (d) How do teachers assess their pupils' moral development? Key findings for the research questions were: character education was not a subject in the National Preschool Curriculum which was implemented in the Buddhist temple preschools. Core morality was integrated into every topic. The moral behaviors emphasized in the curriculum and the lesson plans included discipline, mindfulness, kindness, helpfulness, patience, honesty, respect, thriftiness, and politeness. The Buddhist concept of the process of moral development includes character education and meditation. The preschoolers were trained to pay respect to teachers and parents as an obedience approach to character education. Preparation of teachers included screening for their values and pre-service training. The instruction of meditation was approached gradually and aroused the children's interest. After three years of schooling, the third year preschoolers were well-behaved, helpful, and kind; no aggressive behaviors were reported. The assessment of moral development of preschoolers was based on observation of the teachers throughout the school year. Implications for practice are discussed, including procedures for gathering information on beliefs, attitudes, and culture of the parents before implementation of different models of moral development. Finally, future research directions are proposed.
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Tran, Jade D. "Charming the Image of the Buddha: A Brief Look at the Relationship Between Birthdays and the Amulet Collecting Tradition in Thailand." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261422416.

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Thanapet, Komgrij, and n/a. "Campus planning for sustainable development from a Buddhist perspective." University of Canberra. Design and Architecture, 2002. http://erl.canberra.edu.au./public/adt-AUC20050719.114301.

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This thesis is about the concept of Sustainable Development and its application in Thailand. Whilst many people and Thai Government itself accept the need for sustainable development as an integral part of the country's future, there is no clear consensus on what the application of sustainable development will actually mean for Thailand. Up until this point in time the most common referent for sustainable development in Thailand has been the United Nations´ "Our Common Future" and "Agenda 21". Even though this document contains many broad principles that are applicable, there are significant differences in Thai context, which require alternatives to be proposed. Buddhism supplies a Thai point of departure for such an alternative. This thesis purposes that the principle of Buddhism such as Arriyacca, Patticca-Samuppada, Tri- Lakkha and etc. are entirely appropriate for application on the Thai socio-environment development. This discussion is a key part of this thesis. As a mean of verification and of applied example, the last section of the thesis looks specifically at growth patterns of areas and spaces in "Central Academic Area" (CAD) in the main campuses of regional public-universities of Thailand.
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Tayac, Sébastien. "La commande des peintures bouddhiques dans les monastères de la province de Chiang Mai." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030132.

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Cette étude, conçue comme un état des lieux des peintures murales dans les monastères de six districts de la province de Chiang Mai, a permis d’une part d’étudier les différents acteurs de la commande artistique [commanditaires, donateurs, artistes] et d’autre part de définir ces peintures en quatre groupes selon une classification à la fois chronologique et stylistique. Les multiples facteurs susceptibles d’influencer la présence ou l’absence de peintures dans les temples ont été également examinés. Une comparaison de l’iconographie présentée dans ces temples entre les quatre groupes retrouvés a été également entreprise afin d’affiner les caractéristiques de ces derniers. En parallèle, une attention toute particulière a été portée aux artistes travaillant dans les temples afin de mieux connaître ces individus méconnus et ignorés. Formations, milieux sociaux, place de la femme artiste, inspirations et influences, autant de thèmes évoqués au sein de cette étude
This study, designed as an inventory of murals in the monasteries of six districts of the province of Chiang Mai made it possible on the one hand to study the various actors involved in an art order [sponsors, donors, artists] and on the other hand to classify these paintings into four groups according to their chronological and stylistic description. The multiple factors likely to influence the presence or the absence of paintings in the temples were also examined. A comparison of the iconography between the four groups found in these temples was also undertaken in order to refine their characteristics. In parallel, special attention was paid to the artists working in the temples in order to learn more about these unsung and ignored individuals. Training, social environments, place of the woman artist, inspirations and influences are topics discussed in this study
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Gamache, Genevieve. "Between localism and nationalism: two contemporary examples of Thai temple art and architecture in Northern Thailand." Thesis, 2010. http://hdl.handle.net/1828/3184.

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This dissertation is about the tension and continuum between localism and nationalism in contemporary Thai Buddhist art and architecture. It deals with two contemporary Buddhist temples as works of art and architecture set into particular spatial relations. In this dissertation I compare two contemporary neo-traditionalist Buddhist temples, Wat Rong Khun and Wat Pa’O Ram Yen, situated near the city of Chiang Rai in northern Thailand. Neo-traditionalism has been identified as an important and relatively standard artistic style in Thailand since the 1970’s. However, the social anxiety experienced during the 1970’s social uprisings, then following the 1997 Asian financial debacle and more recently during and after the early 21st century yellow and red shirts rallies in Bangkok and Chiang Mai led to a profound reevaluation and reassessment of Thai national identity formation. Many Buddhist, social, ecological and political movements have since either obviously or subtly destabilized the perceived Thai national image. These movements often include, even promote, discourses on localism where Thai nationalism is experienced, questioned and adapted by and for the local community. Yet the art historical discourses on neo-traditionalism still follow a conventional national identity formation and visual propaganda. In this dissertation I analyze how two northern temples promote different national vocabularies, from a centralized and more accepted nationalism, to one where concepts based on localism, such as local knowledge, have the potential to destabilize and reevaluate, national identity, without negating it. Charlermchai Kostipipat is the mastermind behind Wat Rong Khun’s design and construction. Though this temple seems to differ from other temples in Thailand, I will show how the main emphasis of this neo-traditional monument is to promote and support a more conventional and institutionalized version of national identity. I will show how the visitor’s aesthetic experience emphasizes aspects of Buddhism also promoted by the centralized Thai national identity formation. Most importantly, there is a strong artistic emphasis on the Traiphum Phra Ruang, an important religious text in Thailand. Wat Pa’O is also the artistic project of another northern Thai artist, this time Somluk Pantiboon, a ceramicist established in the village of Pa’O. The temple of Pa’O is a neo-traditional work because of its use of traditional media, artistic details and monastic conventions. Yet I will show how this artistic architectural project has the potential to destabilize the more conventional understanding of ‘neo-traditionalism.’ For example it promotes different elements of the Thai discourses on localism, including an engaged form of Buddhism focusing on social interactions and an acknowledgement of one’s relation to others at the immediate local level. It also promotes a connectedness with nature, allowing the participant to experience and realize dependent origination by observing and experimenting with nature. This dissertation shows the complexity of Thai national identity negotiated in two case studies of northern Buddhist art and architecture in a post-1997 financial debacle and current political situation. I hope to have demonstrated that this complexity needs to be taken into account in the artistic discourses on Thai neo-traditionalism.
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Books on the topic "Buddhist art Thailand"

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McNair, Scott Miriam, ed. Buddhist sculpture of Northern Thailand. Chicago: Buppha Press, 2004.

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Khōsitphiphat, Chalœ̄mchai. Creating Buddhist art for the land. Bangkok: Amarin Printing and Publishing, 2005.

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Dhammasiri, Kandarapanguwe. The Buddha images and pagodas in Thailand. Bangkok, Thailand: Mahachulalongkorn Rajavidyalaya Buddhist University Press, 1991.

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Images of the Buddha in Thailand. Singapore: Oxford University Press, 1989.

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photographer, White Dan 1965, ed. Buddhist temples of Thailand: A visual journey through Thailand's 42 most historic wats. Singapore: Marshall Cavendish Editions, 2014.

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1965-, White Dan, ed. Buddhist temples of Thailand: A visual journey through Thailand's 40 most historic wats. Singapore: Marshall Cavendish Editions, 2010.

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John, Hoskin, ed. Buddha in the landscape: A sacred expression of Thailand. San Francisco: Pomegranate, 1998.

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Phraphuttharūp khūbān khūmư̄ang =: The sacred Buddha images of Thailand. Krung Thēp: Samnakphim Thiphākō̜n, 2004.

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Buddhist iconography in Thailand: A South East Asian perspective. Kolkata: Punthi Pustak, 2007.

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Patry, Leidy Denise, Asia Society Galleries, and Kimbell Art Museum, eds. Buddha of the future: An early Maitreya from Thailand. New York: The Asia Society Galleries, 1994.

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Book chapters on the topic "Buddhist art Thailand"

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Lefferts, Leedom. "Textiles and Social Action in Theravada Buddhist Thailand." In A Companion to Asian Art and Architecture, 48–69. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch3.

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Jilek-Aall, Louise, and Wolfgang G. Jilek. "Buddhist Temple Treatment of Narcotic Addiction and Neurotic-Psychosomatic Disorders in Thailand." In Psychiatry The State of the Art, 673–77. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_107.

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Chirapravati, M. L. Pattaratorn. "Development of Buddhist Traditions in Peninsular Thailand: A Study Based on Votive Tablets (Seventh to Eleventh Centuries)." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 172–93. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-012.

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Medhekar, Anita, and Farooq M. Haq. "Promoting Trade and Economic Relations via Buddhist Spiritual Tourism Circuit Between India and Southeast Asia." In Evaluating Trade and Economic Relations Between India and Southeast Asia, 167–85. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-5774-7.ch009.

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Spiritual tourism is one of the oldest forms of tourism. The purpose of this chapter is to review the key reasons for lack of promotion of investment and economic relations via tourism services related to Buddhist heritage and spiritual tourism circuit and sites to Southeast Asian countries as well as to domestic tourists. Sarnath, in Varanasi, is the hub of Buddhism in India, opened in 2016. There is road, rail, and air connection from Sarnath to various other Buddhist sites. This circuit can be promoted in counties of Southeast Asia and South Asia to spiritual followers of Buddhism as well as ‘New Age' Buddhists. Thailand, Japan, and Korea have invested in spiritual infrastructure in Sarnath for their citizens who visit for Buddhist pilgrimage. This chapter identifies the challenges, opportunities, and provides recommendations for the Indian government to provide a business friendly environment and to encourage foreign direct investment for state-of-the-art infrastructure development from Southeast Asian nations around the Buddhist spiritual tourism circuit.
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Ford, Eugene. "Introduction." In Cold War Monks. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300218565.003.0001.

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This introductory chapter reveals the contours of a Buddhist political history in which Southeast Asia's national borders are transcended by connections and perceptions formed among Buddhists of different nationalities, as well as other international protagonists. The monkhood's relations with Washington were based on a mutual keeping up of complementary appearances: that one side was avoiding religion while the other was staying out of politics. Despite appearances, the Buddhist clergy in fact grew more politically internationalized under the U.S. embrace. So, too, was Thai Buddhism growing more religiously internationalized through institutions such as the World Fellowship of Buddhists (WFB). It was through involvement in this group, seen by some as a “miniature Asian U.N.,” that Thailand's lay Buddhist leadership contended with the major international Buddhist issues of the day.
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Kaur, Harpreet, and Ayasha Siddika. "Strengthening the Bilateral Relationship Between India and Thailand Through Tourism." In Evaluating Trade and Economic Relations Between India and Southeast Asia, 144–66. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-5774-7.ch008.

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India and Thailand have a long-term relationship. Both countries geographically are in extended neighbourhood and share a maritime boundary. Both countries taken together constitute 18.6% of the world's population. They have deep rooted similar history, cultures, philosophies, and religions. They share the same link of Buddhism. Even Hinduism has some reflection on Thai architecture, arts, names of cities, sculpture, dance, drama, and literature. In this chapter, Thailand has been chosen due to physical proximity, cultural, and ideological similarities with India. India and Thailand have celebrated more than 70 years of bilateral diplomatic relationship. In the past two decades, with regular political exchanges of growing trade and investment, India's relationship with Thailand has grown into a comprehensive partnership. India's ‘Act East' policy has been complemented by Thailand's ‘Act West' policy in bringing the two countries closer. Both countries are important regional partners under BIMSTEC linking Northeastern Indian states with Southeast Asia.
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Pascoe, Daniel. "Kingdom of Thailand." In Last Chance for Life: Clemency in Southeast Asian Death Penalty Cases, 66–94. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198809715.003.0004.

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Chapter 3, the first of the book’s four case study chapters, provides an outline of the death penalty laws and practice of Thailand during the period 1991–2016, describes Thailand’s clemency laws and accumulated practice in death penalty cases over the same period, and most importantly provides several theoretically supported hypotheses potentially explaining Thailand’s extremely ‘high’ clemency rate of 95 per cent or more. This structure is reprised in each of the four case study chapters, leading to a comparative analysis of the respective explanatory factors in Chapter 7. In Thailand’s case, suggested factors explaining the overwhelming likelihood of capital prisoners to obtaining capital clemency over the aforementioned twenty-six-year period are the following: Thailand’s Buddhist monarchy, headed from 1946 until October 2016 by King Bhumibol Adulyadej; the drawn-out royal pardon process leading to excessively long stays on death row; the practice of arbitrary and extrajudicial executions against criminal suspects over the years; and the special treatment enjoyed by foreign prisoners to safeguard Thailand’s international relations.
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Turner, Alicia. "Epitaph." In The Irish Buddhist, 251–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190073084.003.0012.

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This short chapter discusses the last days of the anti-colonial Irish Buddhist monk U Dhammaloka, following his reported death in Australia. It discusses sightings in Singapore, the Federated Malay States (Malaysia), and Siam (Thailand), as well as reports of time spent in Cambodia. The last recorded sightings are in Singapore in late 1913, including diary entries from the Sinhalese Buddhist activist Anagarika Dharmapala. It is not known what happened next, and surprising given his celebrity that the facts were not recorded. Did he perhaps die far from media attention following the outbreak of war, or change his identity in response to renewed police pressure?
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Cassaniti, J. L. "Introduction." In Remembering the Present. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501707995.003.0001.

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This chapter introduces the landscape of mindfulness practices in the regions of South and Southeast Asia, where people overwhelmingly follow the kind of Theravāda Buddhism from which the modern mindfulness movement emerged. The chapter begins with a question: what kind of mindfulness-based therapeutic interventions are and could be used in a Thai psychiatric hospital, as part of a broader Buddhist cultural environment? It answers this question by introducing the methodological and theoretical project of Remembering the Present, including an overview of the interview and survey-based ethnographic research into sati with over 600 psychiatrists, monks, students, and villagers in Thailand, Burma, and Sri Lanka. It also previews some of the central findings of the book, in relation to what the author calls the TAPES of mindfulness: the ways that people frame mindfulness culturally around issues of Temporality, Affect, Power, Ethics, and Selfhood.
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Newbold, Chris. "The World’s Largest Water Fight, or the Battle for the Soul of a Festival,Songkran in Thailand and South East Asia." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3011.

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The Songkran Festival in Thailand, although not an indigenous festival, has become the most popular one in the region with tourists, which is why people around the world have assumed that it was originally from Thailand. Traditionally it is a time for reunions, house cleaning and Buddhist rituals and observances, however, it is water that is at the heart of Songkran. Water is celebrated as a blessing and is given as a sign of respect; festival participants sprinkle, splash or douse each other with water as an act of cleansing and good wishes. Traditionally in Thailand Din Sor Pong (white powder) or coloured powders are smeared on the celebrants’ faces, representing the sins of the past which can then be washed away by the water pitched at them by close relatives, friends or other revellers. This traditional lunar new year festival is celebrated by many of the bordering countries including Cambodia, Myanmar, Laos and Yunnan Province China where the new year festival is variously known as Chaul Chnam Thumey in Cambodia, Thingyuan in Myanmar, and Pbee Mai Lao in Laos. For the Dai people in the Dehong area of southern Yunnan Province of China it is called Shangkran or Shangjian, pointing to its common Buddhist roots with Songkran in Thailand. As we shall see, the festival has become an important tourist attraction for these countries, but nowhere is it more exuberantly celebrated and enthusiastically marketed than in Thailand.
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Conference papers on the topic "Buddhist art Thailand"

1

Yukongdi, Pakpadee. "Khao San Dam: The Archaeological Evidence of Burnt Rice Festival in Southern Thailand | ข้าวสารดำา: หลักฐานทางโบราณคดีเกี่ยวกับประเพณีการเผาข้าวในภาคใต้ของ ประเทศไทย." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-08.

Full text
Abstract:
Recently in 2021the 11th office of the Fine Arts Department, Songkhla has reported their annual excavations in Trang Province that archaeologists have found some set of rice while excavation in process namely,1) Khao Kurum Archaeological Site, Huai Yod District and 2) Napala Archaeological Site, Muang District. The artifacts which were found associated with the rice grains on the habitation layer consisted of potsherds, animal bones, grindstone, beads, etc. The grains of rice are short and brown in colour which is examined as carbonized since the beginning at its first left. The primary examination by archaeologists has classified the rice of Napala Archaeological Site as short grain of probably Orysa sativa (Indica or Aus) rice. AMS Radiocarbon dating by Beta Analytic Testing Laboratory shows the AMS standard results and calibration dating of charred material measured radiocarbon age:1440±30BP. Because of their geographical location, both sites are incredibly located on one side of the hill slope, where they were suitable for habitat and plantation, especially tiny paddy fields and farms with sufficient water supply either small stream or well. The found rice, which now still grows uphill, probably called ‘Khao rai’ needs less water or no marsh. Comparative study of ethnographic “Atong” 1 of 12 sub-tribes of the “Garos” Tibeto-Burman in Meghalaya, India which originated slash-and-burnt socio-groups, have shown an interest in growing rice activity. According to their ritual ceremony for planting of paddy, other grain, and seeds takes place. There are many ritualistic offerings of rice such as (1) flattened rice by asking for permission to cultivate the land from the first harvested paddy in May. (2) After the harvesting in September or October, the 1st ceremony of the agricultural year is a thanksgiving ceremony to mark the end of a period of toil in the fields and harvesting of bumper crops, which is probably the most important festival of the Garos locally called “Maidan syla” meant to celebrate the after-harvested festival or burnt rice festival. Their 2nd ceremony is to revive the monsoon clouds. People throw cooked rice on the floor to symbolize hailstones. Noticing the rice, were probably the assemblage of “Khao San Dam” in many activities of these ceremonies, that is the archaeological evidence found in Khao Kurum and Napala Archaeological Sites. In the Southern part of Thailand, once the crops have already cultivated, people celebrate to welcome their outcrops most probably at the end of September to October and mark their end of plantation before the monsoon come. People prepare 4 main rice desserts put together with other necessity stuffs in the “hmrub” special large containers and donate to the ancestors through Buddhist ceremony. Though archaeological evidence shows that southern peninsular was where the migrants from the west especially India origins, who shared same habitat of hillslope, might brought their different traditions through both land trans-peninsular and sea routes then settled down inner western or eastern coast since prehistoric times. The beliefs in animism might belong to some other western migrants and with having “hmrub” is one of their unique cultural characteristic material and tradition remain. Once they settled down then converged to Buddhism, the ritual ceremony may be changed due to religion, but tradition remains the same today, that is, Bun Duean Sib on the 10th of the lunar month or September-October.
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