The Origin of Wisdom, Spirit and Craftsmanship
Introduction
From the old days until now, Thai people have the culture of crafting silver into silverware for several purposes. For example, religious objects, jewellery or household utensils. Archeological evidence indicates that silver has been used since Dvaravati, Sukhothai, Lanna, and Ayudhya until Rattanakosin period. Descendants like us thus having an opportunity to inherit the wisdom of turning valuable metal into life-blessing objects and the sophisticated craftsmanship. Though old evidence suggests that silverware was used only among members of the royal family, noblemen and the rich, from the late Rattanakosin period until now people have widely used silver in creating artwork and designing various kinds of products. This research article will show an aesthetical perspective of the people in the old days. It is aimed at reflecting the beautiful ways of living in harmony with objects. Readers might then realise the importance of silverware as national treasure and, therefore, preserve this origin of wisdom, spirit and craftsmanship.
The First Knowledge: The Origin of Wisdom
As mentioned earlier, we might divide the purpose of silverware usage into 2 categories. One is to create jewellery, household utensils or everyday arts. The other is for scientific purpose e.g. part of chemical elements. The article will mention only the first purpose. This is because it is concerned with the aesthetical wisdom of Thai culture which is different from materialisation in this globalised society.
We could assume from the archeological evidence that Thai people not only consume jewellery, household utensils and art for daily usage. But, these objects are full of meanings which show intellectual integration. Example can be seen from the discovery of silver coins from Dvaravati period at Tambon Prapatone, Nakornpatom. One side of the coin engraved the picture of “Puranakalasa,” a vase with flowers symbolises prosperity, and the other Palsa Dynasty’s Sansakrit saying “Sridvaravatisavarabhunya,” which means the merit of Sridvaravati’s king (Nangnoi, 1991, P.15). This was to always remind the people of the king’s generosity. Other example is a bracelet from northern part of Thailand. The silver bracelet in horseshoe shape called “Jiang money” could also be traded for things.
Silver is also cleverly used as signs, symbols and insignia of rank. In the Tra Sam Duang Law, the first enacted Thai law in the reign of King Boromatrilokanart, it is written that;
Governors of 20 cities must deliver silver and gold flowers. Silver tray with black niello was the insignia of rank for noblemen with 10,000 rais of land. In some royal ceremonies, 9, 7, 6, 5, 3, 2 and 1 level of tiered umbrellas were set imitating bloomed lotus. There were silver, gold, and silver and copper umbrellas. Governmental officials were paid in silver, gold, and silver and copper. (Fraser, 1989, P.36)
“Japing,” a shield used to cover girls’ private parts, also demonstrates cleverness of the people in the old days. This is because kids did not wear clothes in the previous time. Though Japing could be made of several materials such as coconut shell, silver Japing had the most value because of the nature of silver and the design. Silver could be forged into small rings connected together. Unlike Japing made of other materials, silver Japing did not rust or prevent air flowing. These evidences show the wisdom of our ancestors in making silver worth more than its basic qualifications; 100% pure and gleaming metal with specific gravity of 10.5. Silver can be found as an element of lead, zinc, copper or sterling silver. Silver is also the best conductor. It resists to alkaline and acid. Silver is amazing metal which can be moulded into 3 dimensional objects through various methods, either by tapping, spreading, carving, bending etc. Looking at silver in this way is a part of cultural process which renders us Thai people artistic and unique jewellery, household utensils and artworks.
The Second Knowledge: The Origin of Spirit
Jewellery, household utensils or artworks have been forms of inner mind expression before verbal language. Thai people have been carving silver for more than 10,000 years. Silver tradition has been retained in the form of symbols. These symbols were related to objects which tell the story of faith. We found that the jewellery, household utensils and artworks have embraced cultural context, value and spiritual images. They also show “public” aiming at uniting Thai community.
An example of the above mentioned aim can be seen from historical society before the time of Buddhism. Necklace, bracelet and coins made from shell, bones or silver were found in both men and women graves. Anthropologists point out the reason jewellery was always buried with the dead is because death might be a form of life continuity. Similar to Buddhist belief, people in the old days believed that spirits will be reborn. They would then take with them to the next life the jewellery and household utensils. (Fine Arts Department, 1992, P. 37, 42) Another example is the strong faith of Buddhists towards the Triple Gem; Buddha, Dharma and Sangha. The Buddhists express their faith through Buddhist art.
The size of silver forming Buddha images is no more than 6 inches. Buddha images of 4 or 5 inches height are normally found in temples through northern part of Thailand. In the old days, people in the north believed that “If you determine to enter monkshood but fail to do so, building Buddha image would receive the same merits as going under monkshood.” Daughters of decent families always followed the belief because women are not allowed to enter monkshood. Sons with disabilities also did their contribution this way. (Nangnoi, 1991, P. 50) In war time, men carried with them jewellery as talisman. They believed that the jewellery would prevent them from danger and protect them. We may conclude that the origin of spirit leads to creation of objects to serve individual needs. They act as medium in fulfilling one’s spirit.
The Third Knowledge: The Origin of Craftsmanship
Silver can be created through various processes, from basic to complicated process. The process of creating jewellery, household utensils or artworks has many steps. All the steps lead to beautiful artistic images. But, only important processes will be explained here.
There are 3 main procedures in order to create any product from silver: forging, forming and decorating.
1. Forging is putting silver beads or coins into a mould. Melt it with heat and pour into a forming mould.
2. Forming This can be done in many ways, for example, carving, hammering, tapping, lining or ironing into sheet. After the pieces of silver will be soldered by “blowing,” using borax and soldering flux, or other methods such as weaving, sheathing.
3. Decorating Similar to forming, decorating can be done in various ways. Embossing, carving, using abrasive paper etc. can be used to decorate surface. Other materials used in decorating silverware are amniotic fluid, niello, gem or enamel.
Craftsmen, artists or designers should always study the above procedures in order to develop their skills. Knowing only principles would not lead to beautiful work of art. Therefore, we need to practice and maintain these skills given to us by our ancestors. Apart from that, we shall adjust and adapt these procedures to our modernised society on the basis of the old principles.
Conclusion: Integration of the Three Origins Leads to Sustainability
Nowadays, our society and culture are lead by economic direction. Money is the indicator of good condition of living. Using silver to create delicate and sophisticate jewellery, household utensils or artworks has become time wasting process, old-fashioned and contradict to economic growth. Lots of craftsmen and artists thus abandon this job and stop passing on the knowledge. Damage caused by this may not be seen today. But, if we continue neglecting, we may eventually lose our cultural uniqueness and become another prey of cultural colonialism.
This research article is determined to distribute cultural knowledge to readers, especially those directly related to the issue. We wish to urge them to, once again, preserve this aesthetic inheritance and sophisticate craftsmanship. Thai people would then be able to maintain our national identity according true Buddhist culture.
