Exploring Religio-cultural Pluralism in Southeast Asia: Intercommunion, Localization, Syncretisation and Conflict, 2019
[Note: This paper is written in traditional Chinese]
In the corridor of the Temple of the Emeral... more [Note: This paper is written in traditional Chinese]
In the corridor of the Temple of the Emerald Buddha in the Grand Palace in Bangkok is the murals of Ramakien, which is the Thai version of Ramayana. The stories of Rama that Ramayana or Ramakien tells have gained tremendous popularity since its introduction to Thailand. Few people in Thailand would suspect why the images of this Hindu mythology occupy the entire corridor of a Buddhist temple. Besides the Ramakien Murals decorating the entire corridor, there are other visual elements of Ramakien in the Temple of the Emerald Buddha. Therefore, the Rama stories that belong to Hinduism must be significant in this royal Thai Buddhist temple, and its significance is worth further investigation.
Kingship and religions are closely related in Southeast Asia. Temples often occupy the prominent places in palaces. Very often these temples contain the images of Ramayana. The Ramayana relief in Angkor Wat is a well-known example. Thailand was once within the territory of the Khmer (Angkor) Empire and the culture of the former was much influenced by the latter. Angkorian architectural heritage can be seen in the palace structures of Sukhothai and Ayutthaya. Ramayana stone relieves appear in these Angkor-influenced architectural remains. When it came to the late 18th century, Rama I established the Chakri Dynasty, compiled Ramakien, and commissioned the Ramakien Murals in the Temple of the Emerald Buddha. Although the elements of Ramayana have long embedded in Thai culture, for the Chakri Dynasty, making Ramakien stand out in the Temple of the Emerald Buddha might suggest strengthening kingship.
The Ramakien Murals have been repaired or repainted many times. Although the extant work may not be original, its artistic heritages can still be traced by analyzing it in current condition. By observing the Ramakien murals, one can easily see the influence from the West. This article suggests that the Western style and technique in the murals might come from 19th century British landscape painting. Besides Western influence, Thai domestic painting traditions are in the murals. Meanwhile, this article also suggests that Chinese influence is in the murals. Therefore, the Ramakien murals present a pluralistic cultural heritage in the inheritance of domestic artistic traditions and the exchanges with China and the West.
摘要
圍繞泰國曼谷大皇宮玉佛寺的迴廊上繪有拉瑪堅壁畫。《拉瑪堅》也就是泰國版的《羅摩衍那》，其主人翁羅摩的故事在泰國家喻戶曉，鮮少有人懷疑此印度教神話故事圖像為何充滿一間佛教寺院的迴廊。除了拉瑪堅壁畫裝飾整個迴廊之外，玉佛寺內還有其他《拉瑪堅》的視覺元素，可見屬於印度教的《拉瑪堅》故事在此一皇家佛教寺院具有重要地位，值得深入探究。
東南亞的王權與宗教緊密結合，神廟常是皇宮內最重要的建築。東南亞的印度教神廟時常可見羅摩衍那故事的圖像，柬埔寨吳哥寺的羅摩衍那浮雕是一著名的例子。泰國曾為高棉（吳哥）王朝之勢力範圍，文化深受其影響，素可泰與大城王朝之王城建築均可見吳哥建築傳統，許多受吳哥影響的建築遺跡中也可見羅摩衍那浮雕。18世紀晚期拉瑪一世建立卻克里王朝；編修泰國版羅摩衍那《拉瑪堅》；並且於整個玉佛寺迴廊呈現《拉瑪堅》故事的壁畫。僅管羅摩衍那的元素早已深入泰國文化，卻克里王朝在玉佛寺中突顯《拉瑪堅》，或許與鞏固王權有關。
拉瑪堅壁畫經過多次的整修與重繪，雖然已經不是原始的遺跡，但仍可從現存的樣貌推敲其藝術的源流。觀察拉瑪堅壁畫，很容易看到西方的影響，本文認為壁畫上的西方風格與技法可能來自19世紀英國風景畫。除了明顯的西方影響之外，此壁畫仍可見泰國自身的繪畫傳統，同時，本文也認為此壁畫存在中國繪畫的影響。拉瑪堅壁畫可說見證了曼谷在藝術上對傳統的傳承以及與中國、西方之間的藝術交流，呈現了多元的文化傳統。
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國的繪畫傳統。由於意識形態的關係，長久以來林玉山的作品常以中國繪畫傳統的框架詮釋，而忽略了林玉山是去日本學習「日本畫」的事實。本文以國立故宮博物院（簡稱故宮）所收藏的林玉山作品為例，試圖還原林玉山作品的日本因素。林玉山於中華民國政府遷臺後轉以水墨畫為主要繪畫媒材，他二十世紀後期的水墨作品有許多走向融合西方寫生技法的作品，不受限於傳統風格，反映當時臺灣求新求變的藝術氛圍。
In the corridor of the Temple of the Emerald Buddha in the Grand Palace in Bangkok is the murals of Ramakien, which is the Thai version of Ramayana. The stories of Rama that Ramayana or Ramakien tells have gained tremendous popularity since its introduction to Thailand. Few people in Thailand would suspect why the images of this Hindu mythology occupy the entire corridor of a Buddhist temple. Besides the Ramakien Murals decorating the entire corridor, there are other visual elements of Ramakien in the Temple of the Emerald Buddha. Therefore, the Rama stories that belong to Hinduism must be significant in this royal Thai Buddhist temple, and its significance is worth further investigation.
Kingship and religions are closely related in Southeast Asia. Temples often occupy the prominent places in palaces. Very often these temples contain the images of Ramayana. The Ramayana relief in Angkor Wat is a well-known example. Thailand was once within the territory of the Khmer (Angkor) Empire and the culture of the former was much influenced by the latter. Angkorian architectural heritage can be seen in the palace structures of Sukhothai and Ayutthaya. Ramayana stone relieves appear in these Angkor-influenced architectural remains. When it came to the late 18th century, Rama I established the Chakri Dynasty, compiled Ramakien, and commissioned the Ramakien Murals in the Temple of the Emerald Buddha. Although the elements of Ramayana have long embedded in Thai culture, for the Chakri Dynasty, making Ramakien stand out in the Temple of the Emerald Buddha might suggest strengthening kingship.
The Ramakien Murals have been repaired or repainted many times. Although the extant work may not be original, its artistic heritages can still be traced by analyzing it in current condition. By observing the Ramakien murals, one can easily see the influence from the West. This article suggests that the Western style and technique in the murals might come from 19th century British landscape painting. Besides Western influence, Thai domestic painting traditions are in the murals. Meanwhile, this article also suggests that Chinese influence is in the murals. Therefore, the Ramakien murals present a pluralistic cultural heritage in the inheritance of domestic artistic traditions and the exchanges with China and the West.
摘要
圍繞泰國曼谷大皇宮玉佛寺的迴廊上繪有拉瑪堅壁畫。《拉瑪堅》也就是泰國版的《羅摩衍那》，其主人翁羅摩的故事在泰國家喻戶曉，鮮少有人懷疑此印度教神話故事圖像為何充滿一間佛教寺院的迴廊。除了拉瑪堅壁畫裝飾整個迴廊之外，玉佛寺內還有其他《拉瑪堅》的視覺元素，可見屬於印度教的《拉瑪堅》故事在此一皇家佛教寺院具有重要地位，值得深入探究。
東南亞的王權與宗教緊密結合，神廟常是皇宮內最重要的建築。東南亞的印度教神廟時常可見羅摩衍那故事的圖像，柬埔寨吳哥寺的羅摩衍那浮雕是一著名的例子。泰國曾為高棉（吳哥）王朝之勢力範圍，文化深受其影響，素可泰與大城王朝之王城建築均可見吳哥建築傳統，許多受吳哥影響的建築遺跡中也可見羅摩衍那浮雕。18世紀晚期拉瑪一世建立卻克里王朝；編修泰國版羅摩衍那《拉瑪堅》；並且於整個玉佛寺迴廊呈現《拉瑪堅》故事的壁畫。僅管羅摩衍那的元素早已深入泰國文化，卻克里王朝在玉佛寺中突顯《拉瑪堅》，或許與鞏固王權有關。
拉瑪堅壁畫經過多次的整修與重繪，雖然已經不是原始的遺跡，但仍可從現存的樣貌推敲其藝術的源流。觀察拉瑪堅壁畫，很容易看到西方的影響，本文認為壁畫上的西方風格與技法可能來自19世紀英國風景畫。除了明顯的西方影響之外，此壁畫仍可見泰國自身的繪畫傳統，同時，本文也認為此壁畫存在中國繪畫的影響。拉瑪堅壁畫可說見證了曼谷在藝術上對傳統的傳承以及與中國、西方之間的藝術交流，呈現了多元的文化傳統。
國的繪畫傳統。由於意識形態的關係，長久以來林玉山的作品常以中國繪畫傳統的框架詮釋，而忽略了林玉山是去日本學習「日本畫」的事實。本文以國立故宮博物院（簡稱故宮）所收藏的林玉山作品為例，試圖還原林玉山作品的日本因素。林玉山於中華民國政府遷臺後轉以水墨畫為主要繪畫媒材，他二十世紀後期的水墨作品有許多走向融合西方寫生技法的作品，不受限於傳統風格，反映當時臺灣求新求變的藝術氛圍。
In the corridor of the Temple of the Emerald Buddha in the Grand Palace in Bangkok is the murals of Ramakien, which is the Thai version of Ramayana. The stories of Rama that Ramayana or Ramakien tells have gained tremendous popularity since its introduction to Thailand. Few people in Thailand would suspect why the images of this Hindu mythology occupy the entire corridor of a Buddhist temple. Besides the Ramakien Murals decorating the entire corridor, there are other visual elements of Ramakien in the Temple of the Emerald Buddha. Therefore, the Rama stories that belong to Hinduism must be significant in this royal Thai Buddhist temple, and its significance is worth further investigation.
Kingship and religions are closely related in Southeast Asia. Temples often occupy the prominent places in palaces. Very often these temples contain the images of Ramayana. The Ramayana relief in Angkor Wat is a well-known example. Thailand was once within the territory of the Khmer (Angkor) Empire and the culture of the former was much influenced by the latter. Angkorian architectural heritage can be seen in the palace structures of Sukhothai and Ayutthaya. Ramayana stone relieves appear in these Angkor-influenced architectural remains. When it came to the late 18th century, Rama I established the Chakri Dynasty, compiled Ramakien, and commissioned the Ramakien Murals in the Temple of the Emerald Buddha. Although the elements of Ramayana have long embedded in Thai culture, for the Chakri Dynasty, making Ramakien stand out in the Temple of the Emerald Buddha might suggest strengthening kingship.
The Ramakien Murals have been repaired or repainted many times. Although the extant work may not be original, its artistic heritages can still be traced by analyzing it in current condition. By observing the Ramakien murals, one can easily see the influence from the West. This article suggests that the Western style and technique in the murals might come from 19th century British landscape painting. Besides Western influence, Thai domestic painting traditions are in the murals. Meanwhile, this article also suggests that Chinese influence is in the murals. Therefore, the Ramakien murals present a pluralistic cultural heritage in the inheritance of domestic artistic traditions and the exchanges with China and the West.
摘要
圍繞泰國曼谷大皇宮玉佛寺的迴廊上繪有拉瑪堅壁畫。《拉瑪堅》也就是泰國版的《羅摩衍那》，其主人翁羅摩的故事在泰國家喻戶曉，鮮少有人懷疑此印度教神話故事圖像為何充滿一間佛教寺院的迴廊。除了拉瑪堅壁畫裝飾整個迴廊之外，玉佛寺內還有其他《拉瑪堅》的視覺元素，可見屬於印度教的《拉瑪堅》故事在此一皇家佛教寺院具有重要地位，值得深入探究。
東南亞的王權與宗教緊密結合，神廟常是皇宮內最重要的建築。東南亞的印度教神廟時常可見羅摩衍那故事的圖像，柬埔寨吳哥寺的羅摩衍那浮雕是一著名的例子。泰國曾為高棉（吳哥）王朝之勢力範圍，文化深受其影響，素可泰與大城王朝之王城建築均可見吳哥建築傳統，許多受吳哥影響的建築遺跡中也可見羅摩衍那浮雕。18世紀晚期拉瑪一世建立卻克里王朝；編修泰國版羅摩衍那《拉瑪堅》；並且於整個玉佛寺迴廊呈現《拉瑪堅》故事的壁畫。僅管羅摩衍那的元素早已深入泰國文化，卻克里王朝在玉佛寺中突顯《拉瑪堅》，或許與鞏固王權有關。
拉瑪堅壁畫經過多次的整修與重繪，雖然已經不是原始的遺跡，但仍可從現存的樣貌推敲其藝術的源流。觀察拉瑪堅壁畫，很容易看到西方的影響，本文認為壁畫上的西方風格與技法可能來自19世紀英國風景畫。除了明顯的西方影響之外，此壁畫仍可見泰國自身的繪畫傳統，同時，本文也認為此壁畫存在中國繪畫的影響。拉瑪堅壁畫可說見證了曼谷在藝術上對傳統的傳承以及與中國、西方之間的藝術交流，呈現了多元的文化傳統。