- Introduction
There are ten sub-topics in Thai Handicrafts. We two as chosen to present the works on Handicrafts, we both divided the sub-topics. The first five are presented by the presentator and the rest are another. We have referred many topics and books which were found from different libraries. The quotations will be taken from different backgrounds and sources.In this paper, we are presenting all the basic information about Thai Handicrafts. The sources we have been collecting from different places, texts and scholarly works on Thai Handicrafts are not a day or two works, it have taken our enormous time and energy. So, in this paper, the Thai handicrafts represent purely about Thai societies and the experiences we have been observing and knowing for several years.
1. The History of Thai Handicrafts
As determined by history, Thailand has up to our time, never developed beyond the state of an agricultural country. The main economic activity of the people in the plains has always been rice cultivation with rudimentary implements. The agricultural technique of the highland people, even more backward, consisted of sowing right after the burning of a strip of jungle and of farming non-irrigated and.
In these conditions, improvement of farming implements was essential if production was to be increased. Until the end of the second century B.C. our mental-craftsmen worked only bronze. It was probably Chinese refugees who taught them the technique of making iron. After that, farming tools of iron or an alloy of iron and bronze and drawn by animals no doubt boosted agricultural production. Step by step, iron supplanted bronze.
In the tenth century, on the kings’ order and together with the large-scale reclamation of virgin land, the digging of irrigation networks and the construction of dikes were intensified. Canals were dug and a network of communication lines built. All these undertakings could not have been carried out without a marked development in the production of iron tools.
Progress in agriculture in its turn spurred the production of consumer goods, particularly that of textiles and earthenware.
The localities of Thai say that, our handicrafts industry, as a whole, has certainly not developed in a confined way. From the first centuries it has benefited from foreign importations. In its contact with refugees and by imitating the good features of imported products, it has become richer through countless experiences. The influence of our great neighbour China has manifested itself in home building, in the casting of statues as well as in the production of ceramics and textile. Thai architects and sculptors also drew their inspiration, but to a lesser degree, from Champassak art for the creation of remarkable work, stamped with Thai genius[1]. One can find again in the motifs used in the ornamentation of several historic monuments, either the Chinese influence or that of India or Champassak. The merit of our artisans lay in their understanding of the artistic genius of other peoples and use of foreign techniques without altering the Thai character of their work, in many cases, their skill and patience were quite surprising when one realizes what makeshift tools they had to use. The Thai workers have always given proof of remarkable manual skill and ingenuity.
Handcrafts are the fist stages of manufacturing industries. We may say, indeed, that manufacturing industries are simply handicrafts which have been brought to a very high stage of commercialization and development.
At a time not far distant in Thailand’s past, every household practiced various handicrafts in order to supply itself with the handmade articles which it required. Skilled craftsmen, whose livelihoods depended wholly on their artisanship, existed only to supply the temples and rulers with those finer articles which they alone could afford to h
ave made.
Today, commercialization of the crafts has proceeded to a very limited degree. In most parts of Thailand each household still makes a large part of the articles which it requires.
Typical Products
Dressmaking: Thai weavers have made. Cotton fabrics and silks since time immemorial. Thanks to its climate and its alluvial soil, both favorable to the growing of mulberry-trees, Thailand has always been a producer of natural silk. Numerous villages have devoted themselves for a long time to silk weaving only. Each has kept the secret of one or two specialties which have been handed down from generation to generation.
Each Thai province where silk weaving is carried on his its characteristic silk fabrics, which are distinct from one another it a glance either in style or arrangement of colour. They are all, however, of like structure, based upon the taffetas weaving pattern, and are thus identical in appearance on both sides. The shape and size of the pieces depend upon the uses to which the fabric is to be put. Such pieces would, however, generally include Pha-sins (the traditional dress of the northern women, a product stuffs, to show the talents of local embroiderers, rather than tailoring skill), scarves, shawls, and sarongs or kilts, and amongst these last, the famous striped ones, as well as the plain-colour Pha-muang hang karok of Korat, the check and plaid silks of Pattani, and the flowered and brocaded ones of other provinces.
Almost each village or group of villages has a weaving family. As each family expends more and more groups of weavers are “born.” A weaver is thus both born and made. Most weavers are women and from childhood a girl watches what her mother does. Weaving comes almost instinctively to her. As she grows up she learns the technique intimately and although generally a traditionalist she has no objection to the introduction of new patterns.
In the Southeast there are textile developments in Chon Buri and Chanthaburi. Pha-noongs are the chief product, and these are better in quality than the ones produced by Chinese in Bangkok.
2. Evolution of Handicraft in Thailand
It is very much interesting point for us to look at the history and tracing back into the distant past; we ill see that the prehistoric man lived on a vegetarian diet before he proceeded to animal hunting. Yet, it is believed that quite early in his existence man tired to make use of natural objects such as stones in his struggle for survival. He might have begun with learning how to peel fruits with a stone he cold firmly grip. This kind of learning was the initial basis for man’s subsequent inventiveness and craftsmanship[2].
Handicraft may be said to have begun when man invented chopping tools from pebbles. This is man’s earliest invention –a hand- made tool from natural objects.
In Thailand chipped –off stone tools and polished stone axes were found at Ban Kao in Muang District, Kanjanaburi in 1965. It is clear evidence that, these prehistoric tools were evidence of the earliest craft to be found in present- day Thailand. Subsequent developments of such prehistoric craft include cherty-stone discs, pointed triangular stone tools, pick-like pointed stone tools, as well as chipped- off stone tools with wooden or animal- bone handles.
A part from stone tools, the prehistoric man invented arrow-point lances or pikes for animal hunting. He also knew how to make ornaments from oyster shells and stones such as stone bracelets and beads.
From such simple prehistoric crafts man later developed other more sophisticated inventions including bark-cloth beaters, which were found in Chumporn Province. History says that, these tools were estimated to be 4,000- 2,800 years old. A bark cloth beater is of a fist size with a flat grid- marked front side. This was probably the part with which to beat barks, such as hemp or other fiber –producing barks, so that the fibers could be easily pulled out after being retted. These would then be woven for clothing or other purposes. It may thus be surmised that the Neolithic man in present –day Thailand already knew simple weaving craft which was the precursor of manual or shuttle- loom and of today’s textile industry.
A part from these prehistoric artifacts fragments of 10,000- 8,350- years old cord- marked and net- marked ceramics were found at Taphi in Maehongsorn Province. This indicates that the prehistoric man of that age knew how to extract fibers from barks and weave them into nets as was evidenced in those net marked ceramics.
In addition, at the Ban Chiang prehistoric cultural site in Nongharn District, Udonthani, earthen spindle whorls were discovered. This was a cotton spinning instrument. it has a rose- apple shape with a hole in the centre into which, perhaps, to insert a wooden shaft. When the shaft turned, its groove marked end would spin up the cotton with the help of the rotary motion created by the spindle whorl.
I have found that the important evidence suggesting the existence of weaving craft at that time is the earthen rollers found in great number at the Ban Chiang Site. They are of thumb-size, with diverse patterns. It is believed that they served to print those patterns on the cloth. All this evidence indicates the development of such craft from the late neolithic age, through the historic period, to the present. These are the oldest that have ever been discovered (China, 1969:23)
Another important craft showing an evolution in both its forms and operating techniques though then thousands of years is ceramics. In Thailand ceramics of about 10,000 – 8,350 years old were unearthed at Tham Phi in Maehongsorn Province.
3. Handicrafts Chapter One
3.1 Bencharnong Ware
It is a glazed ceramics enameled with five colours. Sometime we find more colours. The Bencharong enamel can be bowls, covered bowls, plates, teapots etc. In the time of Ayutthaya period and Ratanakosin period, there were more famous using Bencharong, especially in the Ratanakosin period, the most popular design on Bencharong Ware was praying celestial beings decorated with a running scroll. But in Ayutthaya period, the Chinese ceramics were commonly used. Now a day, Bencharong Ware is a keepsake and valuable antique. The Bencharong Ware in Thailand is produced for everyday use and for export.
Meaning five colours in Thai (Benja = five, rong = colour) is a hand painted enamel painted enamel overgrazed decorated ceramics. They were originally made in China. With the assistance in design work of Siamese (Thai) artists and in 18 th Century they were used exclusivelyBencharongware is frequently gilded as well to heighten the decoration. Traditional Bencharong items were designed as items to grace the Royal dining table in the form of food containers or tea sets.Bencharong ceramics are handcrafted in Thailand by skilled craftsmen.Only the finest white clay is selected to produce their graceful beauty.Many designs are accented with 12K gold. Today, Bencharong Ceramics are world renowned for their unique forms, designs, colour schemes and graceful beauty. They are of the finest quality and are recognized by collectors around the world.These pieces come in a variety of colours, sizes and shapes including vases, ginger jars, Trinket boxes, dinnerware, tea sets and more. Sizes vary from tiny to large display piece. They are ideal as gifts and for home decoration.
3.2 Folk Crafts
In the near past, we could even see people making folk crafts. It is very necessary for home use at that time. Even now, if we go to remote village in Thailand or any other country in Asia; even sometimes, village people make them as hobby or for selling and make their own living. The materials to make them are found from either from bamboo, wood, rattan, coconut shells, palm leaves, reeds, etc.
When one talks about arts and crafts, one comes to the word “folk” as mentioned by scholars in the field of Folklore studies. Folk means a group of people, regardless of race, which possesses a common identity. This identity could be a similar occupation, languages, religion or tradition which unites them into a single regional group. The common identity of the group should be quite unique, distinctive and free from the cultural influences from other groups. Such a group of regional people is than called a folk. When the folk group creates its handicrafts, these objects can be considered artistic folk handicrafts or folk crafts. In other words, folk crafts are handicrafts produced by artisans of a certain group following the methods and skills passed on to them by their ancestors. The traditional methods and of production must remain acceptable among the present-day group of craftsmen. Folk-craft objects are made to be used as tools or to be exchanged among the people in the group. Folk crafts also make life more life more comfortable or can serve the cultural and religious needs of their makers. There are other words than folk-crafts being used for the same meaning, for example local craft, village craft, or village art. Professor Silpa Bhirasri once gave a definition of folk-craft. It is worth quoting here because it will further clarify the meaning of folk art and craft.
“Folk craft may be created by the local people themselves or by other artists who understand the culture and the way of life of the region. Folk crafts vary a lot within one country. Different regions tend to have different characteristics of folk crafts. That is why these folk crafts are so effective in reflecting the easy way of thinking and the beliefs passed on by generations of the people in the region.
Folk crafts in each region contribute to the over all picture of the culture in the country. In Thailand, folk crafts reflect the Buddhist way of thinking and the spirit of the local people. This is the same thing that happens in any country with its folk-crafts.”
From what has been said one can see that each culture’s folk crafts are unique. Such handicrafts then possess some characteristics which belong only to that folk and region. These characteristics can be the type of the beauty and forms particularly appreciated by the people in that region for so many generations that they are now unchanged.
An example is a water container called Kablao made from palm leaves used in the South, especially in Nakhon Srithamarat. These containers, sometimes called machak or malao, all have a unique from found only in the Southern regions. This distinctive form has evidently been passed down for generations, and this is regarded as an important feature of folk craft.
This characteristic also appears in the folk crafts of other regions. An example is a water bucket of the North called nam tung which is made from a completely different material than the machak of the South. Nam tung is a kind of bamboo basket coated with resin or a black sap. Its shape is rather rounded with a handle made of crossed wood on top. A namtung, tied to a rope, is used to draw water from a deeo well. The difference in materials between machak and namtung indicates the different local traditions in choosing the material for a folk craft.
The different features of folk crafts in various regions of Thailand clearly reflect different beliefs and traditions, including the different facets of Buddhism. This supports professor Silpa Bhirasri’s definition of folk craft as quoted earlier.
The Different kinds of Thai folk crafts
There are many kinds of folk crafts in the different regions of Thailand and these crafts can be categorized in many different ways. Focusing on their functions, household handicraft used in cooking are rice-cookers, stoves and coconut meat shredders. Handicrafts used for earning a living include fishing instruments: lob, sume, tume, chanang etc.
In dividing crafted objects according to their functions, one should consider faith and religious functions as well. However, the division of crafts according to their uses is still not appropriate. Various handcrafted items tend to overlap different functional areas. As a result, the author feels that Thai folk crafts should be classified according to the materials and the methods used to produce handicrafts.
There are 10 groups of Thai folk crafts according to the matrial and the methods of production: ceramics; textiles and embroidery: carving; metalwork; basketry; m[3]at weaving and wicker motifs; papier mache; and miscellaneous.
3.3 Khon Masks
The Khon mask is used by the players who perform things and characters in a drama. People in Thailand wear Khon mostly to perform the epic of Ramayana. So, the characters in Ramakien presented by the people with Khon mask wearing on their heads.
The drama referred to as Khon is associated solely with the representation of the Ramayana epic, known in Thai as the Ramakien[4] (translated as the Glory of Rama). Over the centuries the epic has been adapted to Thai culture and traditions, with some episodes and details being expanded and others being reduced or removed. The Ayutthaya and Sukhothai Ramakien verses, written mainly for recitation during the shadow play and other dramatic performances, were mainly derived from oral sources and these were later used as the basis for the versions that we know of today. Records of the Ramakien in Thai literary works data back to the reign of King Ramkamhaeng of Sukhothai period as we find stone inscriptions relating to Rama and Sita. In addition, episodes from the Ramayana appear on lintels at various Khmer temples. Foreign sources such as the writings of the sixteenth century French diplomat La Loubere also described Khon performances and it seems that the Thai version of the Ramayana was already a well established literary tradition during the Ayutthaya period.
The characters of Ramakien can be divided into three main groups: human beings, demons and monkeys. Human beings do not wear masks corresponding to their status. Khon performance is considered a classic art form which combines all branches of traditional Thai arts and craftsmanship and the masks are a good example of Thai artistic heritage.
Most visitors to Thailand have the opportunity to experience the masked "Khon" drama, a uniquely Thai version of the Indian "Ramayana" epic, with tales of gods of ferocious demons. Khon was originally developed as an exclusively Royal entertainment, popular at the courts of Ayutthaya and later of Rattanakosin.
In addition to the exquisitely controlled grace and charm of the dance and its symbolic gestures (it takes over ten years to train a leading Khon actor), the most memorable features are certainly the gorgeous costumes with richly gilded crowns and colourful masks.
Each character in the Ramayana, or Ramakian as it is known in Thailand, has a different costume and headdress. Of the leading roles the most easily recognized are the noble God - King, Phra Ram, the demon, Thotsakan[5], and the local monkey general, Hanuman. There are more than a hundred support characters and most of them wear different styles of masks and headdresses which are lavishly decorated. The making of these masks is an art form that highly specialised and there are only a very few craftsmen in Thailand who have mastered this skill. One is M.R. Charoonsawat Suksawat.
The making of each mask can take many days of detailed work. The first stage is the moulding of a plaster form to the size and shape of the actor's head. On to this is applied many layers of papier mache in order to build up the character's features. For the best masks a special tissue thin paper (hand - made from a tree bark called "khoi") is used. Up to 20 layers of khoi paper are glued on to the form, then the surface is dried and smoothed. The mask is then cut away from the form, the two halves begin rejoined by sewing with fine wire. A final layer of papier mache is added, holes made for eyes and mouth, and the decoration finished using paint, lacquer, gold leaf and coloured glass fragments. For the finest examples semi precious gems are used and real ivory for tusks and fang
3.4 Lacquerware
Among the Thai indigenous manufacturers, lacquerware has long been considered as one of the most distinguished handicrafts and home industries as well. It is mainly produced in Chiengmai, Northern Province of Thailand.
There are two kinds of this product in Thailand. One is the “native” or primitive lacquerware. It is usually done on a base of woven bamboo. The other one is done on a piece of wood which has first been turned or carved. The letter is of finer quality and much more ornate than ways, are very attractive. In the other parts of The country lacquered cabinets or tu lai rot nam containing Tripitaka[6] are common in temples.
In the past the Tai Khern colored engraved and Gold Leaf lacquer processes were used for elaborate palace and temple designs in Thailand. The 'Gold Leaf' concept itself comes from the process used in applying gold leaf to the old Buddhist manuscripts. Today, gold-on-black trays, plates and containers are available in Chiangmai, and while these are usually not the true gold-leaf pieces described they are close to the real thing and are usually painted in dragon, garuda and naga designs as well as such fundamental Buddhist symbols as the Wheel-of-Law.
Chiangmai with its long history of lacquerware and its close access to the raw materials of the lacquer process, thrives on as one of the world's largest manufacturers of this handicraft in its many forms and designs. Chiangmai lacquerware artisans maintain a respect for the traditions of their craft and continue to school new apprentices in these traditions. When you visit Chiangmai and begin to take a look at the areas wealth of lacquerware, visit one of the many cottage industry lacquerware houses and let them show you how this handicraft art is maintained and enhanced. chiang mai,chiangmai,chiang rai,chiangrai,thailand, asia,southeast asia,Thai handicrafts,lacquerware lacquer ware.
The art of making lacquer originally came to Thailand from China. However, over the centuries, the designs and techniques in making lacquerware have become distinctively Thai, and lacquerware handicrafts is booming industry in Thailand. Lacquerware is made in Chiang Mai, the northern province of Thailand.
The art of lacquerware takes a lot of patience and time. It begins with fine woven bamboo basketry or wood that has been carved or shaped on a lathe. First a basic coating material known as Samuk is applied to basketry or wood. Samuk is nothing but ashes of burnt rice paddy husks or ground clay mixed with black lacquer. Black lacquer is obtained from a tree which grows only in the northern hills of Thailand. When the coating dries, it is polished with soap stone and another coating is applied. This process is repeated several times till the lacquer becomes durable on the basketry or wood. Finally, the object is polished with a sandpaper-like leaf called the bai-nod.
After this, the object is coated several times with just black lacquer. The coating of black lacquer is then polished with water and powdered fired clay. It is this last polish which gives the lacquerware of Thailand its unique glistening sheen.
Designs are then made on the object using two distinct methods. One is lai kud while the other is called lai rot nam. If the object is to be in color, the lai kud method is used. Lai rot nam method is only used for gold designs. Once the designs are done, they stand out beautifully against the black glossy background.
3.5 Mats, Wood Carvings and Paper Umbrellas
Mats:
Mat weaving is concentrated in the North-East Thailand and also in the Chonburi area in the South-East. In both places a local reed is used. it is estimated that about 1,000 families carry on this craft in the North-East and about 200 families in the South-East. in the North-East, a simple, single-colour type of cheaper mat is make for the national market, where mats made in the Chonburi area are usually multi-colored and of better quality. The farmers are mostly sold as sleeping mats in Thailand, the demand for them being fairly steady; the latter are also largely sold in Thailand as sleeping mats, but a small quantity is exported or sold to tourists and foreign residents in the form of floor coverings, table mats, etc.
Wood Carvings:
This craft activity is also concentrated around Chiengmai, only a very limited number of families now being engaged in this industry. Teak wood is the basic raw material. The products are mostly of the carved and turned type, and some of used as bodies for the making of Lacquerware. The products find both a local and a tourist market.
Paper Umbrellas:
Paper umbrellas are also produced in the Chiengmai area where “Between” 500 to 1,000 families are engaged in this work, which includes the making of handmade paper, bamboo and wooden parts, the assembling of these parts, fixing of the paper, oiling, and decorating of the umbrellas. The umbrellas are for the most part sold in Thailand and the market is protected by an import ban.
4. Handicrafts Chapter Two
4.1. Nielloware
With the understanding of my common sense that, the different persons have given us their own and several descriptions for us to know better the meaning and value of one’s activity. So that, I have pointed out below with the circumstances of the intellectual Thai authors and their wonderful explanations in following pages;
The unique Nielloware is one of the most distinctive Thai arts. It has been making in the country for many centuries. Producing a fine piece of Niello is an operation calling for great skill, patience and precision. The process consists in the tracing of designs on silver, by means of gentle reposes work, and afterwards filling up the slight depression, so make of a black metallic substance obtained from lead, copper and silver melted together, fused into place and polished until an smooth, even surface is obtained. The details of the pattern are shown with clearness and effect against the black filling. There are almost unlimited forms of pattern and kinds of silver product selling in the market. Among the favorite products are ornaments, personal and household effects. Many producers issue catalogues for the purpose of ordering.[7] From my through observation, I can suggest that the leading of sources of supply as; Thai Nakorn- 276-278 Chakrapet Road, Thai Nello- Wares Association- Narayana Building, 275/2 Larn Luang Road, Bangkok.
According to International Labor Office, Nielloware, which is made chiefly in the Bangkok- Thonburi area, is a kind of silverware decorated with traditional Thai figures such as dragons, dancers, temples, etc. the articles produced are usually cigarette lighters, candle stands, boxed necklaces, bracelets, etc. this craft has developed most as compared with other crafts in Thailand due to the fact that almost all the manufacturing establishments are fairly large, each employing sometimes over 100 workers and the processes are mechanized, power tools being used extensively. The products of this industry find mostly a tourist market, and a small quantity is exported.
(6) From the Treasure of Thailand, we can notice that Nielloware or ornamental metal alloy is an ancient fine art of Thailand. It has been known since the Ayuddhaya period. What has survived from that period comprises spittoons, jugs, tobacco boxes, betel sets and mirrors, including utensils in black or gold alloy belonging to Ayuddhaya officials. There are three kinds of nielloware: the oldest is “tom dam” or black alloy made from a mistue of silver, tin and copper (the proportion of the components varies according to the skill of each craftsman); “tom tatong”, metal alloy with gold painted on in places (now rare); and “tom tong” metal alloy with gold lavishly painted all over. What is found of the third type dates from the early Ratanakosin period.[8]
The designs found on Ayuddhaya niellowares show a freedom of movement. The lines are free and they rhythms are lively. On the other hand, Ratanakosin designs are very ornate with more intricate interwoven patterns. Niellowares are still made nowadays, especially in black and gold alloy. Both require expensive investments, and demand a lot of time and delicate skills in drawing and engraving the designs on to the surface. All the skills are still alive and practiced at Nakorn Si Thammarat Province; hence the familiar term “tom Muang Nakorn.”
4.2 OTOP (One Tambon One Product)
This OTOP product is one of most important works and occupation of the locality in this beautiful land that we observe today. In case of given information of the Thai scholars OTOP was originated by the government as part of the policy to encourage and support community development and to build strong, independent communities. The objectives of the OTOP project are as follows: [9]
1. Creating job opportunities and generating income to communities.
2. Strengthening community development.
3. Promoting local wisdom.
4. Supporting human resources development.
Villagers are encouraged to generate income by developing good quality products using local resources and wisdom. Products do not only refer to goods but also services. Both are the outcome of a careful consideration concerning conservation of natural resources and environment, preservation of Thai local wisdom, tourism, arts and culture, customs and traditions and learning and exchanging knowledge. The aim is that the products will be of high quality, have distinctive characteristics and are known throughout the country and the world.
Types of OTOP products include agricultural produce, mechanical parts, construction accessories, garments, toys and games, jewellery, gifts and home decorations, office equipment, food and food products, electronic equipment, furniture, home equipment, leather goods, sports equipment, printing materials, services related to hospitality and tourism industry, etc. contests are often organized at the provincial and national levels for each category of OTOP products. The best product is awarded a five star certificate to guarantee its quality or craftsmanship. OTOP products have been popular among Thai customers as well as visitors. By supporting the OTOP project, we not only provide jobs for country people but also indirectly encourage them to use their natural resources wisely and sufficiently. The latter is the essence of sufficiency economy initiated by His Majesty the King.
OTOP – From nature, extraordinarily skilled lands and Thailand’s cultural heritage – to the “One Tambon One Products” Project. Thai skills weave tradition into a fine and beautiful collection of products, using an array of unique local materials. Presenting applied ingenuity as well as reflecting an ancient heritage and local inspiration…
Unique raw materials
There are some important materials given in below that it modifies the works in different ways. And all are crafted into products that perfectly suit modern lifestyles. Every product is designed to capture and sustain attention. The most impressive aspect of all, these items are manufactured to be the best quality products that meet international standards while preserving Thai heritage. (From encyclopedia).[10]
4.3 Gold and Silverware
Around six centuries ago man started using old and silver to fashion jewellery and precious artifacts devoted to gods and kings these two metals were chosen because they are relatively rare and very durable. Other durable metals could have been chosen but gold and silver had the added advantage of melting at temperatures which can be obtained simply by burning wood or charcoal with excess oxygen, with the extra air being delivered originally by blow pipes and later by bellows. After so many centuries and notwithstanding the discovery of many other rare metals, gold is still man’s most cherished metal. It is easily recognized by its colour, its malleability and weight, and centuries of effort by alchemists and scientists to concoct a good imitation of gold using other metals have failed miserably. No wonder that it is still considered as one of the best mediums of exchange in times of crisis. All around the world families stock up on gold when they think that unrest or calamities may provoke the breakdown of all other payment mechanisms. Because of this confidence in gold as the ultimate mode of payment it has also remained the most fundamental mode of accumulating wealth. Even in our age of lighting –fast, satellite-based electronic fund transfers, countries and wealthy individuals like to keep some of their reserves in the form of bullion.[11]
Although silver has also been used as a medium of exchange and store of wealth, it has always played second fiddle to gold. Curiously enough, the relative value of gold and silver is symmetrical to their relative symbolic standing. In most cultures gold and silver form s symbolic pair: gold represents the sun, silver the moon. Gold and silver are used for differentiating the positions of people. Kings use gold implements, their subjects use silver. Achievements are also marked with the metals, winners get gold medals; the second placed get silver.
For many centuries silver as the preferred companion of diamonds. Where gold would give clear diamonds a suspect yellow tinge, silver can provide a neutral background against which diamonds can dazzle. Nowadays other metals considered more precious, such as platinum or white gold (an alloy of gold, copper, nickel and zinc), are used to set diamonds.
In the creation of precious objects, gold and silver will not be displaced. The reason is that their infinite versatility gives the jeweler total creative freedom. The art of gold and silver smithing has evolved over many centuries and adapted to fashions and to the quality and the cost of the artisans, but the fundamentals of the trade have remained surprisingly constant. The essence of smiting is to transform a lump of metal into shapes that satisfy that functional requirement of the object, are pleasing to the eye and are able to support additional decoration such as precious stones or enamel. All this has to be done while trying to use as little of the precio8us metal as possible. Thus the secret of a master jeweler, goldsmith or silversmith, is to create much splendor out of very little.
Traditionally jewelers started from scratch by buying fine gold or pure silver from merchants. However, pure gold and silver are too malleable and would wear much too fast if used pure, therefore jewelers would always start by forming alloys. The composition of these alloys would depend on the type of object it was going to be used for. Alloys are produced by melting precious metals in a crucible together with other metals.
So, jewelers all over the world are tempted to save on costs and use metals which contain less silver or gold than they would like their clients to believe. In many places jewelers guilds decided to set standards and regulate themselves. In other areas specially appointed government officials were handed the responsibility of assaying gold and silver objects. Small imprints, called hallmarks, were punched into the backs or recesses of precious objects to confirm the fineness of the alloys used. Because hallmarks were periodically changed they now also help to date artifacts and to indicate their origin.
Jewelers prepare for the mixing and casting of alloys carefully, not only to be sure to meet fineness standards but also to save effort in further processing. Usually jewelers cast their alloys into shapes that will save time during the shaping of the metals. If he intends to produce sheets the metal is shaped into flat ingots. Plates are shaped by passing the flat ingots through rollers which are progressively tightened. Wire is produced by pulling the metals rods through progressively narrower holes of a draw plate. There are a great number of other techniques used for shaping precious metals at the casting stage. For instance, the tiny pieces of metal melt and form spheres under the action of surface tension. The tiny balls are cleaned, sorted and kept for later use. These little spheres are soldered onto plates to create patterns. In the Middle East and India granulation is often used in combination with filigree.
The earliest archeological evidence of gold and silver craftwork found in Thailand dates back to the Dvaravati Period (sixth to ninth century A.D.) with excavations yielding a variety of jewelry and religious artifacts. Archeological digs at sites of later historical periods also produced jewelry as well as gold and silver Buddha images and ceremonial objects. The use of noble metals reached unprecedented heights during the Ayutthaya period (14th to 18th century A.D.) as can be witnessed from the artifacts that were recovered from the vaults of the Ratchaburana Temple in the former capital Phra Nakhon Sri Ayuttha.
As laid down by department of history, faculty of arts, Chulalongkorn University reported that, a part from Thai silk which is well known the world over, one of the best buys in Thailand is silverware.[12]
The Thai silverware includes many kinds of jewelry, smoking accessories, tea and coffee services, napkin rings, belts, hairpins, vases, bowls, powder compacts, trays, etc..,
Silver is among the best known arts of Thailand and it is exported throughout the world. Quality varies greatly but even the least expensive pieces require a tremendous of skill, patience and precision.
Here, I would like to mention the leading sources of supply; Rin- 54 New Road (Near Chalermkrung cinema hall) Bangkok. Bua Kaew- 80 Larn Luang Road, Bangkok. Narayana Phand 275/2 Larn Luang Road, Bangkok. Thai Home Industries- Oriental Avenue, Bangkok.
4.4 Bronzeware
Among the traditional home industries which characterize the cultural pattern of Thai nation is the bronzeware industry. Notwithstanding its time- honored workmanship and excellent quality, however, it was not until very recently that Thai bronzeware make an entry into foreign markets. Some of the popular bronzeware items are dinner sets, tea sets, ashtrays, candlesticks, letter openers, fruit knives, temple bells (wind-bells), flower vases and a variety of utensils. The raw material for the manufacture of bronzeware is an alloy of copper and tin. The production process entails molding, turnery, heating and polishing. Each step requires great skill, effort, and precision. As we see a nice description on behalf of Bronzeware which is given by International Labor Office that, Bronzeware is festinated that there are about 100 workshops which together employ a total of about 1,000 persons.[13] The products are tableware (forks, knives, spoons, etc.) and such bronzeware articles as trays and fruit bowls. The tableware consists of parts which are cast and the designs are either stamped or hammered; the bronze bowls and trays usually have only hammered designs. The products have a wide market, both among tourists and in the export trade.
I can counsel that the leading sources of supply nowadays as; S. Samran Thailand- 377/1 Petburi Road, Narayana Phand- 275/2 Larn Luang Road, Thai Home Industries- Oriental Avenue, Bangkok.
4.5 Thai Silk
It is strong evidence that, silkworms have been reared in Thailand from the earliest times, and their precious products worked and exported since the first centuries of the Christian ear. A Chinese ambassador who visited Cambodia in 1296-7 relates that the Thai raised silkworms and wore silken nether garments of dark tissue which the Cambodians were in the habit of buying from them. According to old Thai chronicles, the province of Phatthalung sent a tribute of silk, which proves that sericulture had been developed, especially in the Thai-Malay peninsula, the ancient Golden Chersonese- as is further confirmed by later records by the Thai, because the culture of silkworms and mulberry trees was always unknown to the Malays. Sericulture was extensively practiced also in the north of Thailand among the Lao people and to this day the provinces of Nakhon Ratchasima and Nan are the ones where most silkworms are bred and where silk is produced in the largest quantities.
King Rama V has done a good deal to foster the local silk industry and develop it on modern scientific lines, by the institution of a section for Sericulture, under the immediate control of the Department of Agriculture of the Ministry of Lands and Agriculture. In 1902, an expert in sericulture, Dr. Toyama, had been engaged from Japan for surveying and teaching the methods of rearing silkworms and how to cultivate the mulberry at a certain region in the country. Provincial Sericulture Stations and Experimental Farms have been established, first at Nakhon Ratchasima, and next in other provinces of eastern Thailand, which, from time immemorial, have been the centers of silkworm-breeding.
After the occurrence of an epidemic disease in 1919 which affected the industry, sericulture was not seriously looked into until 1937 when a centre for processing was established in Nakhon- Ratchasima, but during the war, production was halted again.
Thailand’s silk programme was revived in 1952 when the Ministry of Agriculture distributed silkworm eggs to more than a thousand families and several sericulture centres were re-opened up-country, and today the Ministry of Agriculture plans to gear production up to greater heights by changing its current “Section” in the Department of Agriculture to a “Division” and raising the number of employees from 50 to about 400 in the very near future.
So that, genuine Thai silk has been handwoven in Thailand for generations as a cotton industry. When we look at the past it is says that, in olden times the bumber of colours was restricted because only vegetable dyes were used, thus it required a long time to prepare and finished as single colour. Also, the material was making in lengths of not more than three yards because of its use for traditional Thai costumes, for both men and women; in other words, Thai silk was making in those days for domestic use on a very small scale. A new era of Thai silk production was ushered in shortly after the Second World War when Mr. J.H.W. Thompson retired from the US military and settled in Thailand after becoming fascinated by the beauty of Thai silks. He hit upon the idea of using chemical dyes instead of vegetable dyes, and of exporting Thai silk to countries abroad. He first suggested to manufactures that they make bolts of 30 to 40 yards rather than the short lengths that had been their practice. Stemming from this initiative were other improvements in the quality of the silk, so that more efficient dyeing and weaving techniques were introduced. Still, the natural beauty of Thai silk was preserved. And this, of course, contrasts with the machine-made silks of other countries.
There are three categories of silk yarns are available in these grades such as;
First grade for manufacturing light weight silks used mostly for making men’s sport shirts, ladies’ blouses, summer dresses or for painting.
Second grade for manufacturing medium weight or dress-weight silks that are used mainly for ladies’ dresses, for cocktails or evening wear, and men’s summer suits. Bow-ties, neckties and gift items are made from silks of this grade.
Third grade mainly for manufacturing super-heavy and heavy weight silks for suits, draperies and upholsteries.
Thai silk has been popular ever since it was first introduced abroad, and the level of export of Thai silk has risen steadily over the past ten years, even through there has been little effort on the part of the Government to promote it.
The first markets to accept Thai silk were that United States, Great Britain and Switzerland, followed shortly thereafter by countries in the Caribbean which found the brilliant colours and light weight very appropriate for both their climate and culture.
Hong Kong, Singapore, Japan and Sweden quickly followed suit and were joined later by other Scandinavian countries. Hong Kong is the largest market for silk- a great deal of which is re-exported followed by the United States, Japan and Singapore Exports.
Thai silk has been regarded in overseas countries as a fabric most suitable for evening wear. This is mainly because of the high price of the silk as well as the relatively high cost of cleaning it, since dry-cleaning charges overseas are by no means cheap.
Now that Thai silk is machine-washable, more and more people will be using Thai silk for sports wear and, in effect, a whole new market is opened to the fabric. This innovation is the result of years of study by Mr. Surapan Shinawatra, managing director of T. Shinawatra Thai Silk Weaving Factory in Bangkok.
The new type of Thai silk, which is in fact hand-woven and processed by what is known as the “anti-crease” method, never shrinks or stretches. And added advantage of this type of Thai silk is that it is machine-washable. It can be washed like other kinds of textiles and this means that dry-cleaning is not necessary for this kind of Thai silk. Thai silk’s biggest drawback in the past has been that it shrinks and stretches, but the new product, according to the manufacture, is 100 percent non-stretchable and non-shrinkable.
There are different qualities of Thai silk, for example; light weight, medium weight, heavy weight and extra heavy weight, known also as one-ply, four-ply and six-ply respectively. It is usually 36 inches in width, in plain colours or printed in beautiful designs and motifs. Prices vary with the different qualities, with from 10 baht to 15 baht more for printed. The first two qualities are generally the most popular. For really good quality Thai silk of, for anything bellows it the quality is doubtful. Eighty-five baht a yard for medium weight is real top quality.
To curb quality manipulations, the Government has rightly imposed, under the Standard of Thai Silk Act, a quality regulation whereby all Thai silk for export is t be submitted for quality control before an export quality certificate is issued by the Ministry of Economic Affairs. This act came into effect in November 1968.
The exporter has to take the silk he is going to export to the Ministry where it is weighed to ascertain the quality. A small piece is cut from each bolt of silk and the cuttings placed on record. On the bolt so inspected a seal is stamped. This is also done on the outside of the packing. A quality certificate is then issued and this concludes the quality control formality.
The following table gives the weight requirements imposed by the ministry:
Type of silk
Weight in grams
Per square metre
Light weight
Medium weight
Heavy weight
Extra weight
Drapery weight
Upholstery weight
59 to 95
95 to 143
143 to 179
179 to 275
179 to 275
239 and up
According to the Customs Department, about 53 million baht worth of Thai silk was exported from Thailand in 1969, almost double the 1968 figure of approximately 30 million baht. It is also believed that another 60 million baht worth of the product is purchased by tourists every year. In addition to this, over 10 million baht worth of Thai silk is believed to be leaving the country annually through the southern border to Malaysia and further to Singapore from where it is re-exported to other countries.
Silk exported through the southern border is thought to be on inferior quality because only the Thai silk exported from Bangkok comes under the control of the Office of Commodity Standards.
In view of the popularity of Thai silk, opportunist manufactures in some countries are trying to misguide overseas customers by introducing cheap machine- made silks to the world market and advertising them as “Thai Silks.” The price of the machine-made silks is less and the quality poorer. Even in Thailand there are opportunists who encourage manufactories to mix Thai silk threads with rayon and then try to sell them as pure Thai silks. This has been due, in recent years, to the shortage of raw silk and the greater demand abroad for Thai silks. Whenever Thai silk is required, it is important that buyers go to a reliable shop to ensure they are getting the genuine material. It is always prudent to check carefully before making a purchase. In fact it is relatively simple to distinguish the real silk from rayon. When burnt, silk melts like wool or feathers, leaving a knob at the end, rayon on the other hand, burns like straw. Buyers have to be on the alert for inferior quality silk readily identified because it crinkles easily. Shoppers are advised to check the material carefully before making a purchase, bearing in mind that it is better to pay a little more and have the “A” grade genuine hand-woven Thai silk. Remember also that good Thai silk is not cheap – not even in Thailand.
A Washing-Tray in Gold Alloy
This is an early Ratanakosin work. Used for receiving the water that had been used for face washing, the tray in fact was originally to be found on the side-table next to the “Toh Kan chong”, or the mirror table.
The tray was originally round but with a smooth wooden base to hold a tray in alloy.
A Set of Water Bowl and Tray
The tray is the “tom tong” style, while the bowl is in the “tom tatong” style. The set dates from the early Ratanakosin period. “Tom tong” is metal alloy with gold painted all over; “tom tatong” is alloy with gold applied in certain places.
A Spittoon and a Cigarette-Box in Gold Alloy
Both early Ratanakosin, with decorative gold leaf designs.
A Kettle in Gold Alloy:
A kettle in gold alloy, with decorative leaf designs. The shape of the kettle is called “song look kaew.”
Thailand handicraft product pointed out that, for many generations, silk has been a traditional product of Thailand, and without exception it is a lady’s favorite material. Because of favorable natural conditions in the Northern and Northeastern parts of Thailand, silkworm breeding becomes a cottage industry of the Thai people of those regions and it is an occupation they have been engaged in from generation to generation for many centuries, long before Thai silk becomes world-renowned and popular with foreign people.[15] Thai Silk has now become a “must” among foreigners who come to Thailand or who pass through, and it gains popularity quite rapidly in countries all over the world now. In case of my through observant, I can recommend that the leading sources of supply as given thus; The Thai Silk Co., (Mr. James H.W. Thompson) 311/6 Suriwongse Road, Bangkok Silk Co.,- 92 Patpong Road, Usha Thai Silk- 64 Phra Athit Road, The Thai Silk Handweaving Factory- 430/7-8 Suriwongse Road, and etc., Bangkok.
Conclusion:
In this concluding paragraph we would like to have a discussion on these various handicrafts we modified on paper precisely and beautifully that, Thais are very dexterous and marvelous with their hands. They excel in wood carving, inlaying of mother-of-pearl, color- glass decoration, painting of golden design on black or red lacquer background, and inlaying of design on silver and gold. Also it can be expressed that, a common kind of handicraft may be made differently with regards to the methods, materials and forms. These differences are caused by the variations in geography, culture, religion and the general ways of beings living in this land of paradise. And all these variations are created by the unique characteristics of each individual area. Therefore, easy to address here that, Buddhism is the foundation of Thai culture. And it shapes the way of the Thais think, their tradition and art. So, it’s sense that, tradition is part of culture. As culture evolves, tradition also changes. Influence of other cultures can also lead to changes in tradition. In addition, many of their original animistic beliefs are still maintained, which makes Thai Buddhists rather unique. Finally, we love all these traditions in this green land as well as we love all the smiling people in this wonderful garden. That is all
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14. Thai Culture, Values, and Religion- An Annotated Bibliography of English Language Materials, Revised Edition by Philip J.Hughes, Chiang Mai, Thailand-1982
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[1] Resources and Products of Thailand by Suraphong Kanchananaga-1973, Printed in Thailand by Allied Printers, Produced and Published By Siam Communication L.t.d., 522 Prasumaine Road, Bangkok, Thailand (following page 180-185)
[2] Directory of Thai Folk Handicrafts Book of Illustrated Information by Viboon Leesuwan, Faculty of Arts Silpakorn University, Nakorn Pathom, Published by the Industrial Finance Corporation of Thailand- 1770 New Petchaburi Road, Bangkok, Thailand, Forward by Suki Kaocharern President the Industrial Finance Corporation of Thailand October-1989 (following page-25-28)
[3] Thai Folk Crafts: The Office of the National Culture Commission Ministry of Education, published in August 1986, Translated by Patcharee Pokasumlithi PhD. Edited by Douglas Larson, cover and Photography – Viboon Leesuwan, Bangkok- 10500, printed by Kurusapas Business Organization.
[4] http://www.bangkokbest.com/KhonMaskinfo.htm
[5] Thai Studies by Wadee Kheourai.
[6] Buddhist Canon, in Pali Tipitaka which means ‘three baskets’ also
[7] The revitalization process of the vanishing traditional Thai handicrafts and skills: a case study of the “palace” School (5th International Conference on Thai Studies Soas, London, 1993), By Assistant Professor, Department of History, Faculty of Arts, Chulalongkorn University.
[8] International Labor Office- Expanded Programme of Technical Assistance Report to the Government of Thailand on Handicrafts Designing And Marketing I. L. O Geneva- 1960 (using page 2-3)
[9] Thai Ties – Social customs and cultural traits that tie all Thais together by Pronpimol Senawong, Published by faculty of Archaeology, Silpakorn University, 31 Na Phra Larn Rd. Bangkok-10200, Reprinted: March 2008, Distributed by: Wirat Education Ltd. 779/12 Soi Suwanmanee, Pracha- Utis Rd- Samsenaok, Huaykwang, Bangkok 10310, Thailand
[10] http://www.thai-otop-city.com/ (followed by 10.02.2009)
[11] Some Splendid Crafts of the “Support” Foundation of Her Majesty Queen Srikit of Thailand Published by the Siam Society under Royal Patronage, Published 19943, First edition, Typeset by Jamie Lewis, Separations by Kanok Silp Co., Ltd. (using page 87-123)
[12] International Labor Office- Expanded Programme of Technical Assistance Report to the Government of Thailand on Handicrafts Designing And Marketing I. L. O Geneva- 1960.
[13] International Labor Office- Expanded Programme of Technical Assistance Report to the Government of Thailand on Handicrafts Designing And Marketing I. L. O Geneva- 1960 (following page-3)
[14] Resources and Products of Thailand by Suraphong Kanchananaga-1973, Printed in Thailand by Allied Printers, Produced and Published By Siam Communication L.t.d., 522 Prasumaine Road, Bangkok, Thailand (using page 175-185)
[15] Thailand Handicraft Products by Department of Commercial Intelligence, Rajdamnern Avenue, Bangkok, September 1965.
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