หนังสือที่ระลึกพิธีไหว้ครูดนตรีไทย ปี 2555

Àπ—ß ◊Õ∑’Ë√–≈÷°

æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¢Õß®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—¬ æÿ∑∏»—°√“™ Úııı THE WAI KHRU CEREMONY IN THAI CLASSICAL MUSIC CHULALONGKORN UNIVERSITY

ÚÛ ‘ßÀ“§¡ Úııı ≥ ÀÕ· ¥ß¥πμ√’ Õ“§“√»‘≈ª«—≤π∏√√¡ 23 AUGUST 2012, ARTS AND CULTURE BUILDING

∫∑‰À«â§√Ÿ æ√–√“™π‘æπ∏å„π ¡‡¥Á®æ√–‡∑æ√—μπ√“™ ÿ¥“œ ¬“¡∫√¡√“™°ÿ¡“√’ ÒÙ °√√æÿ¡ª√–π¡°√ª√–≥μ ®ÕßÕ—μ∂∂âÕ¬√ÿ®‘·∂≈ß ∫Ÿ™‘μæ√–§ÿ≥Õ¡√ƒ∑‡≈‘»§’μ°“√¥ÿ√‘¬π—ππ∫摶‡≥»«√‰∑ §◊Õ«‘™™»“ μ√ ÿ∫«√ Õ’°Õߧåæ√–ªí≠® ‘¢‡√» ◊∫»‘≈ªÕ“°√§√–≈Õß π∫∫Ÿ√æ“®√‘¬¡«≈ ®ÿàß¡“ πÕß»√ÿμ»—æÒı ÿ…√‘ √Õÿ¥¡«“√ ÿ«“∑’ ª«√æ√ª√–¥“¡’ ¥ÿ√’¬å ‰∑¬

‘√æ‘ ®π ”·¥ß ·≈–√®‘μ«®’©—π∑å ∏‘ª√– ‘∑∏‘ª√– “∑ √√§å ∑Õ‡π°π“§√ ∏√‰æ ‘∞“¿√≥å ∏ ¢®—¥æ‘∫—μ‘ºÕß »ÿ¿‡»√…∞≈”¬Õß ·≈–æ√–Õߧåª√–‚§π∏√√æ §ÿ√ÿ≈â«π®–‡π◊ËÕßπ—∫ ∑ª√–°“»ª√–°Õ∫°“√¬å »—°¥‘ ∫◊ “√ ‡°√‘° «— ¥‘Ï»√’

æ‘¡æå§√—Èß·√°„π ¥πμ√’ ‰∑¬Õÿ¥¡»÷°…“ §√—Èß∑’Ë ÒÚ (æ.». ÚıÚÚ) æ‘¡æå§√—Èß∑’Ë Õß„π ¡≥’æ≈Õ¬√âÕ¬· ß (æ.». ÚıÛÙ) Àπâ“ ÚˆÛ æ‘¡æå§√—Èß∑’Ë “¡„π Àπ—ß ◊Õ‰À«â§√Ÿ¥πμ√’ ‰∑¬ ¢Õß ”π—°ß“π§≥–°√√¡°“√«—≤π∏√√¡·Ààß™“μ‘ ‡π◊ËÕß„π°“√®—¥ —¡¡π“¥πμ√’ ‰∑¬-°—¡æŸ™“ (æ.». ÚıÛ˜)

§”π” ¥πμ√’ ‰∑¬‡ªìπ¡√¥°∑“ß«—≤π∏√√¡∑’Ë¡’§ÿ≥§à“¬‘Ëß ∑—È߬—ß· ¥ß„Àâ‡ÀÁπ∂÷ß»‘≈ª–™—Èπ Ÿß∑“ߥπμ√’ «—≤π∏√√¡ ª√–‡æ≥’¢Õ߉∑¬ ∑’Ë —Ëß ¡·≈– ◊∫∑Õ¥μàÕ°—π¡“‡ªìπ√–¬–‡«≈“¬“«π“π æ‘∏’ ‰À«â§√Ÿ·≈–°“√§√Õ∫ ‡ªìπ®“√’μ·≈–«—≤π∏√√¡ª√–‡æ≥’∑’Ë ”§—≠§«∫§Ÿà ‰ª°—∫«‘∂’™’«‘μ¢Õßπ—°¥πμ√’ ‰∑¬∑ÿ°§π ¥πμ√’ ‰∑¬ ‡°‘¥¢÷Èπ„π®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—¬¡“¬“«π“π°«à“ Ù ªï ‡√‘Ë¡μ—Èß·μà™¡√¡¥πμ√’ ‰∑¢Õßπ‘ ‘μ·≈–°“√‡√’¬π°“√ Õπμ“¡À≈—° Ÿμ√®π‡°‘¥¡’»‘≈ªîπ∫—≥±‘μ∑“ߥπμ√’ „π§≥–»‘≈ª°√√¡»“ μ√å·≈– §√Ÿ∑“ߥπμ√’ „π§≥–§√ÿ»“ μ√å ªí®®ÿ∫—π¬—ß¡’«ß¥πμ√’ ‰∑¬·Ààß¡À“«‘∑¬“≈—¬ ç®ÿÓ«“∑‘μé ´÷Ëß∑”Àπâ“∑’Ë„π°“√∑”πÿ ∫”√ÿß √—°…“ æ—≤π“·≈–‡º¬·æ√à°‘®°√√¡∑“ߥπμ√’ ‰∑¬·°àª√–™“§¡·≈–ºŸâ π„®‚¥¬∑—Ë«‰ªÕ’° à«πÀπ÷Ëߥ⫷≈–®÷߇ªìπ∑’Ë¡“¢Õß°“√®—¥æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬ª√–®”ªï¢Õß¡À“«‘∑¬“≈—¬ ´÷Ë߇ªî¥‚Õ°“ „Àâπ ‘ ‘μ ∫ÿ§≈“°√ ´÷Ë߇ªìπ π— ° ¥πμ√’ ‰∑¬·≈–ºŸâ∑’Ë π„® ‡¢â“√à«¡æ‘∏’°√√¡¥—ß°≈à“«‡ªìπª√–®” ≥ ‡√◊Õπ‰∑¬®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—¡“μ—Èß·μàªï æ.». ÚıÛÒ ‡ªìπμâπ¡“ ‚¥¬„πªï æ.». Úııı π’È Õ“§“√‡√◊Õπ‰∑¬Õ¬Ÿà„π√–À«à“ß´àÕ¡·´¡ª√—∫ª√ÿß ª√–°Õ∫°—∫¡À“«‘∑¬“≈—¬‰¥â®—¥ √â“ß·≈–‡ªî¥„™âÀÕ· ¥ß¥πμ√’À≈—ß„À¡à „πÕ“§“√»‘≈ª«—≤π∏√√¡ ®÷ß ¡§«√¬‘Ëß ∑’Ë®–‰¥âª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ Õ“®“√¬å·≈–‡∑欥“∑“ߥπμ√’∑—ÈßÀ≈“¬‡æ◊ËÕ‡ªìπ ‘√‘¡ß§≈ ◊∫‰ª Õπ÷Ë ß „π°“√®— ¥ ∑”Àπ— ß ◊ Õ ∑’Ë √ –≈÷ ° æ‘ ∏’ ‰ À«â § √Ÿ „ π§√—È ß π’È ”π— ° ∫√‘ À “√ß“π»‘ ≈ ª«— ≤ π∏√√¡‡ÀÁ π «à “ Àπ—ß ◊Õ‰À«â§√Ÿ¥πμ√’ ‰∑¬ ´÷Ëß ”π—°ß“π§≥–°√√¡°“√«—≤π∏√√¡·Ààß™“쑉¥â®—¥æ‘¡æå¢÷Èπ‡π◊ËÕß„π°“√®—¥ —¡¡π“ ¥πμ√’ ‰∑¬-°—¡æŸ™“ ‡¡◊ËÕ«—π∑’Ë ˘›Ò ‘ßÀ“§¡ æ.». ÚıÛ˜ π—Èπ ¡’∫∑§«“¡∑’ˇ°’ˬ«°—∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑∑’Ë ¡∫Ÿ√≥å·≈–‡¢’¬π¢÷Èπ‚¥¬ Õ“®“√¬å¡πμ√’ μ√“‚¡∑ »‘≈ªîπ·Ààß™“μ‘ ºŸâ‡™’ˬ«™“≠¥πμ√’ ‰∑¬¢—Èπ Ÿß·≈–∑“¬“∑ Õ’°∑—È߬—߉¥â√—∫°“√·ª≈‡ªìπ¿“…“Õ—ß°ƒ…‰«â·≈â« ´÷Ëßπà“®–‡ªìπª√–‚¬™πåμàÕ°“√‡º¬·æ√à‡√◊ËÕß√“««—≤π∏√√¡∑“ß ¥πμ√’¢Õ߉∑¬ Ÿàπ“π“™“μ‘„Àâ°«â“ߢ«“߬‘Ëߢ÷Èπ ®÷߉¥â¢ÕÕπÿ≠“μ®—¥æ‘¡æå∫∑§«“¡¥—ß°≈à“«„πÀπ—ß ◊Õ∑’Ë√–≈÷° „π§√—Èßπ’È·≈–¬—߉¥â‡æ‘Ë¡‡μ‘¡∫∑§«“¡¢ÕßÕ“®“√¬å ¥√. ‘√‘™—¬™“≠ øí°®”√Ÿ≠ »‘≈ªîπ·Ààß¡À“«‘∑¬“≈—¬ ·≈–Õ“®“√¬å ∫ÿ≠™à«¬ ‚ «—μ√ ºŸâ‡™’ˬ«™“≠¥πμ√’ ‰∑¬¢Õß¡À“«‘∑¬“≈—¬‰«âÕ’°¥â«¬ ®÷ßÀ«—ß«à“Àπ—ß ◊Õ∑’Ë√–≈÷°æ‘∏’ ‰À«â§√Ÿ·≈– §√Õ∫¥πμ√’ ‰∑¬ ª√–®”ªï Úııı „π§√—Èßπ’È §ß®–‡ªìπª√–‚¬™πå·≈–‡ªìπ‡Õ° “√Õâ“ßÕ‘ß∑’Ë ”§—≠∑“ߥπμ√’ ¢Õ߉∑¬ ◊∫‰ª

”π—°∫√‘À“√ß“π»‘≈ª«—≤π∏√√¡ ®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—ÚÛ ‘ßÀ“§¡ æÿ∑∏»—°√“™ Úııı

PREFACE Thai classical music is one of our most invaluable cultural resources that show how advanced our musical arts, cultures, and traditions are. Throughout the long history, it has been accumulated and inherited from generations to generations. Pay Homage to Teacher Ceremony is a significant custom and cultural tradition for it is the walk of life of every Thai classical musician.

Thai classical music has been practiced in Chulalongkorn University for over 40 years. The Thai classical Music club and curricular courses have produced graduates in Thai Classical Music from the Faculty of Fine and Applied Arts and the Faculty of Music Education. In addition, the university has established a Thai classical music band publicly known as çChula-Wathité. This outcome has stayed true to its mission in preserving, developing, and promoting Thai classical music to societies and those interested. And this is the origin of the universityûs annual Thai Classical Music Pay Homage to Teacher Ceremony which is opened to students and staff in Thai classical music profession including those interested to participate. The ceremony has been held at Thai house, Chulalongkorn Universityûs since 1988 (2531 B.E.). For this year 2012, since the Thai house is under renovation and the university has built and opened the new concert hall at Art & Culture Building, it is the utmost proper occasion to hold the ceremony to pay homage to all the teachers and the deities of Thai Classical Music.

In addition, during the preparation of the manuscripts of the memorial book for 2012 Pay Homange to Teacher Ceremony , the Office of Arts and Culture regards that the book çThe Wai Kru Ceremony in Thai Classical Musicé, published by the Office of the National Culture Commission in occasion of Thailand-Cambodia Music Seminar , 9-10 August 1994 (B.E. 2537), contains thoroughly written articles on Wai Kru Ceremony (Pay Homage to Teacher Ceremony) by Mr. Montree Tramote, the National Artist, Thai music experts, and his heir. In this edition, English translation is provided in the book and we hope that it should be useful to distribute an information on Thai classical music further to an international audience. Therefore, the office has requested to include the articles in this memorial book as well as the articles by Dr. Sirichaicharn Fachamroon, Universityûs artist and Ajarn Boonchuai Sowat, Universityûs Thai classical music expert. It is hoped that the memorial book of the Annual Pay Homage to Teacher Ceremony 2012 would be useful and served as a significant reference for Thai classical music scholars and alike.

Office of Arts and Culture, Chulalongkorn University August 23, 2012

‰À«â§√Ÿ¥πμ√’ ‰∑THE WAI KHRU CEREMONY IN THAI CLASSICAL MUSIC §”ª√“√¿ çÀπ—ß ◊Õ‰À«â§√Ÿ¥πμ√’ ‰∑¬é ‚¥¬ Õ“®“√¬å¡πμ√’ μ√“‚¡∑ (»‘≈ªîπ·Ààß™“μ‘) Remarks çTHE WAI KHRU CEREMONY IN THAI CLASSICAL MUSICé by Montri Tramote ∫∑§«“¡‡√◊ËÕß ç‰À«â§√Ÿ¥πμ√’ ‰∑¬é ‚¥¬ Õ“®“√¬å¡πμ√’ μ√“‚¡∑ (»‘≈ªîπ·Ààß™“μ‘) Paying Homage to the Musical Teachers by Montir Tramote (National Artist in Thai Classical Music) ∫∑§«“¡‡√◊ËÕß ç°“√‡μ√’¬¡°“√‰À«â§√Ÿ¥πμ√’ ‰∑¬é ‚¥¬ Õ“®“√¬å¥πμ√’ μ√“‚¡∑ Preparing For the Wai Khru Ceremonies by Dontri Tramote ∫∑§«“¡‡√◊ËÕß ç¢—ÈπμÕπ°“√ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬é ‚¥¬ Õ“®“√¬å»‘≈ªï μ√“‚¡∑ Proceeding of the custom of paying homage to the musical teachers by Silapee Tramote ®“°Àπ—ß ◊Õ‰À«â§√Ÿ¥πμ√’ ‰∑¬ ”π—°ß“π§≥–°√√¡°“√«—≤π∏√√¡·Ààß™“μ‘ ®—¥æ‘¡æå‡π◊ËÕß„π°“√®—¥ —¡¡π“¥πμ√’ ‰∑¬-°—¡æŸ™“ ˘-Ò ‘ßÀ“§¡ ÚıÛ˜ Published on Seminar on Thai-Cambodian Classical Music 9-10 August 1994 Office of the National Culture Commission

∫∑§«“¡‡√◊ËÕß ç§«“¡‡¢â“„®„π°“√§”π—∫§√Ÿ °“√∫Ÿ™“§√Ÿ °“√‰À«â§√Ÿ °“√§√Õ∫§√Ÿ·≈–°“√√—∫¡Õ∫é ‚¥¬ Õ“®“√¬å ¥√. ‘√‘™—¬™“≠ øí°®”√Ÿ≠ (»‘≈ªîπ·Ààß®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—¬) Pay Homage to Teacher Ceremonies by Sirichaicharn Fachamroon, Ph.D. (Chulalongkorn University Artist in Thai Classical Music) ∫∑§«“¡‡√◊ËÕß ç§ÿ≥§à“¢Õߥπμ√’ ‰∑¬é ‚¥¬ Õ“®“√¬å∫ÿ≠™à«¬ ‚ «—μ√ (ºŸâ‡™’ˬ«™“≠¥πμ√’ ‰∑¬) Value of Thai Traditional Music by Boonchouy Sovat (Thai classical Music Expert, Chulalongkorn University)

§”ª√“√¿ Àπ—ß ◊Õ ç‰À«â§√Ÿ¥πμ√’ ‰∑¬é ©∫—∫π’È ª√–°Õ∫¥â«¬‡√◊ËÕß√“«§«“¡‡ªìπ¡“¢Õß°“√‰À«â§√Ÿ ¥πμ√’ ‰∑°“√‡μ√’¬¡°“√ ·≈–°“√ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬ μ“¡·∫∫¢Õß°√¡»‘≈ª“°√ ´÷Ëß¡’¢â“懮â“À√◊Õ»‘…¬å∑’Ë ‰¥â √—∫¡Õ∫®“°¢â“懮ⓠªØ‘∫μ— À‘ πâ“∑’‡Ë ªìπª√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬‡∑à“π—πÈ °“√∑’ Ë ”π—°ß“π§≥–°√√¡°“√ «—≤π∏√√¡·Ààß™“μ‘®—¥æ‘¡æåÀπ—ß ◊Õ ç‰À«â§√Ÿ¥πμ√’ ‰∑¬é ¢÷Èπ„π§√—Èßπ’È ¢â“懮ⓇÀÁπ«à“®–‡ªìπª√–‚¬™πåÕ¬à“߬‘Ëß ”À√—∫ºŸâ∑’ËμâÕß°“√»÷°…“À“§«“¡√Ÿâ À√◊Õ ”À√—∫™à«¬‡μ√’¬¡°“√®—¥æ‘∏’ ‰À«â§√Ÿ‰¥â∂Ÿ°μâÕ߬‘Ëߢ÷Èπ ·μà∑—Èßπ’Ȫ√–∏“π ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ®–μâÕ߇ªìπºŸâ∑’ˇ≈à“‡√’¬π ·≈–‰¥â√—∫¡Õ∫®“°§√ŸºŸâª√– ‘∑∏‘Ϫ√– “∑ “¬‡¥’¬«°—∫¢â“懮ⓠ·μà∂â“ ºŸâ‡ªìπª√–∏“πª√–°Õ∫æ‘∏’ ‰¥â√—∫¡Õ∫·≈–‡≈à“‡√’¬π¡“„𠓬Õ◊Ëπ °ÁÕ“®®–¡’∫“ß à«π∑’˺‘¥·º°·μ°μà“ß°—π∫â“ß ¥—ßπ—Èπ°“√®–‡μ√’¬¡°“√®—¥æ‘∏’ ‰À«â§√Ÿ∑ÿ°§√—Èß §«√®–»÷°…“°àÕπ«à“ ª√–∏“π∑’ˇ™‘≠¡“ ¡’§«“¡ª√– ߧ宖„ÀâªØ‘∫—μ‘ Õ¬à“߉√ ‡æ◊ËÕ®–‰¥â‡μ√’¬¡°“√‰¥â∂Ÿ°μâÕßμ“¡∑’˪√–∏“π∑à“ππ—ÈπμâÕß°“√

(¡πμ√’ μ√“‚¡∑) »‘≈ªîπ·Ààß™“μ‘ “¢“¥πμ√’ ‰∑¬

REMARKS The Wai Khru ceremony in Thai classical music is designed to register the history, the preparation and the proceeding of the custom of paying homage to the Thai classical music according to the tradition of the Fine Arts Department with only myself or the teacher appointed by myself as the presiding teacher of the ceremonies. I am most pleased to learn that the Office of the National Culture Commission has published this book since it will be of uses to those who wish to learn and organize the Wai Khru ceremonies in the right direction.

However, the presiding teacher of the ceremonies must be designated by the teacher in the same line as myself. If not, different teachers will vary the order in which the ceremonies are conducted. As such, in organizing the Wai Khru ceremonies, it is essential to know what the appropriate practice is according to the invited presiding teacher.

Montri Tramote National Artist in Thai Classical Music

Paying Homage to the Musical Teachers

°“√‰À«â§√Ÿ ¥πμ√’‰∑‚¥¬... ¡πμ√’ μ√“‚¡∑

by Montri Tramote

»‘≈ªîπ·Ààß™“μ‘ “¢“¥πμ√’ ‰∑¬

National Artist in Thai Classical Music

°“√‰À«â§√Ÿππ—È ‰∑¬‡√“¡—°®–ªØ‘∫μ— °‘ π— ∑ÿ°Õ¬à“ß ‰¡à«à“®–ª√–°Õ∫°‘®°√√¡°—πÕ¬à“߉Àπ §π‰∑¬‡√“ ¡—Ë π „𧫓¡°μ— ≠ êŸ ° 쇫∑’ μà Õ ∫ÿ æ æ°“√’ ‡ ªì π π‘ — ‚¥¬‡©æ“–§√Ÿ∫“Õ“®“√¬å ‰¡à«“à «‘™“„¥ ‡√“¡—°®–‡§“√æ ∫Ÿ™“√–≈÷°∂÷ߧÿ≥“πÿ§ÿ≥ ∂â“¡’ ‚Õ°“ ∑’Ë®–μÕ∫·∑π ∫ÿ≠§ÿ≥‰¥â°Á¡—°®–°√–∑”‡ ¡Õ °“√°√–∑”∑’ˇªìπ°“√ πÕßæ√–§ÿ≥π—Èπ Õ“®°√–∑”‰¥âμà“ßÊ μ“¡∞“π– ·≈–‚Õ°“ Õ“®™à«¬‡À≈◊ե⫬‡ß‘π∑Õß ™à«¬‡À≈◊Õ ∑”°“√ß“πÀ√◊ Õ ªØ‘ ∫— μ‘ À“°§√Ÿ ‰ ¥â ‘È π ™’ æ ‰ª·≈â « °Á∑”∫ÿ≠Õÿ∑‘» à«π°ÿ»≈‰ª„Àâ À√◊Õ‡™‘¥™Ÿ‡°’¬√쑧ÿ≥ „π ‘Ëß∑’˧√Ÿ‰¥â°√–∑”‰«â„Àâ·æ√àÀ≈“¬ ‡ªìπμâπ ∑’Ë°≈à“« ¡“π’ȇªìπ°μ‡«∑‘§ÿ≥∑’Ë»‘…¬å°√–∑”¥â«¬§«“¡°μ—≠êŸ „π«‘™“∑—Ë«Ê ‰ª ·μà ‚¥¬‡©æ“–«‘™“∑’ˇªìπ»‘≈ªá °“√ °√–∑”°μ‡«∑‘§ÿ≥¬—ß·ºàÕÕ°‰ª∂÷߇∑懮â“∑’Ë«‘™“π—Èπ ∂◊Õ«à“‡ªìπ§√Ÿ∫“Õ“®“√¬å·≈–‡ªìπºŸâ¡’Õÿª°“√§ÿ≥μàÕ «‘™“π—Èπ¥â«¬ ‡æ√“–©–π—Èπ»‘…¬å∑’ˇ√’¬π«‘™“»‘≈ª–®÷ß ¬—ß¡’°μ‡«∑‘§ÿ≥Õ’°Õ¬à“ßÀπ÷Ëß∑’ˇ√’¬°°—π«à“ ç‰À«â§√Ÿé æ‘∏’‰À«â§√Ÿπ’È »‘≈ª–ª√–‡¿∑Àπ÷ßË °Á¡æ’ ∏‘ °’ “√‰ªÕ¬à“ßÀπ÷ßË ·μ°μà“ß°—π‰ªμ“¡≈—°…≥–»‘≈ª«‘∑¬“°“√π—ÈπÊ ·μà „π∑’Ëπ’È®–°≈à“«‡©æ“–°“√‰À«â§√Ÿ¢Õß«‘™“¥πμ√’ ‰∑‡∑à“π—πÈ

The rite of paying homage to the teachers or wai khru ceremonies are performed to a greater or lesser degree, by all Thais as it is characteristic for them to be gratitude to their benefactors. In Thai schools, paying homage is a way in which students can show respect to their teachers and thank them for what they have learned in the past. It is also a form of insurance for what they hope to learn in the future.

The grateful action can be expressed in different forms either a financial support or work assistance in accordance with status and opportunity. Citation of the teachersû outstanding contribution and transferring of the merit earning to the late teacher are also included in the long list of paying gratitude to the teachers.

In many cases, the ceremonies are no more elaborate than the rite of paying homage to art teachers which also extents to the deities who encourage branches of art and learning. Each ceremony to teachers of certain branch of art and learning has its own mass. At this juncture, only wai khru ceremonies for the musical teachers are mentioned.

°“√‰À«â§√Ÿ¢Õߥπμ√’ ‰∑¬π—Èπ °Á¡’À≈“¬Õ¬à“ß ‡«≈“°àÕππÕπ ‡√“ «¥¡πμå ‰À«âæ√–·≈â«°Á ‰À«â§√Ÿ∫“ Õ“®“√¬å ¥â « ¬ π’Ë °Á ‡ ªì π °“√‰À«â § √Ÿ ‚ ¥¬ª°μ‘ «‘ — ‡√“‰À«â ∑ÿ ° «— π ®–‡ªì π «— π ‰Àπ°Á ‰ ¥â ·μà ∂â “ ‡ªì π °“√ ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ∑’ˇªìπæ‘∏’√’μÕß ¡’‡§√◊ËÕß —߇«1

Paying respect to the musical teachers may be performed everyday at bedtime while praying to the Triple Gems.

Yet, with offerings and the Grand Guru of classical music to call out the names of the gods and men to be worshipped at the official wai khru ceremonies, only on Thursday that the function can take place as Thursday god, Phra Pharue hassabodhi, is considered the traditional Teachers day upon which most rites are held. In any residence with a professional Pi Paat ensemble, a performance of the wai khru ceremonies can mainfest itself annually.

The amateur ensemble attached to institutions such as universities or banks may choose to perform the ceremonies as deemed appropriate. As for those who start to learn classical music, the concise wai khru rite can be organized to observe the rules and regulations and dedicate services to the deities. The annual wai khru ceremonies are customarily performed in a grand scale.

¡’§√ŸºŸâ‡ªìπÀ—«Àπâ“Õà“π‚Õß°“√μ“¡·∫∫·ºπÕ¬à“ßπ’È ®–μâÕß∑”„π«—πæƒÀ— ∫¥’‡∑à“π—Èπ ‡æ√“–∂◊Õ«à“æ√– æƒÀ— ∫¥’‡ªìπ§√Ÿ∑—Ë«∑ÿ°«‘™“ ∫â“π„¥¡’‡§√◊ËÕߪïòæ“∑¬å ¡’ºŸâ∫√√‡≈߇ªìπÀ¡Ÿà§≥– ¡—°®–ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ‡ªì π ª√–®”∑ÿ ° Ê ªï à « π§≥–∑’Ë ‡ ªì π Õ¥‘ ‡ √° ‡™à π ¡À“«‘∑¬“≈—¬ À√◊Õ∏𓧓√ À√◊Õ ∂“∫—π„¥Ê °Áμ“¡ ¡— ° ®–‡≈◊ Õ °∑”μ“¡‚Õ°“ ∑’Ë Õ”π«¬ πÕ°®“°π’È ¡—°°√–∑”æ‘∏’ ‰À«â§√Ÿ‡¡◊ËÕ®–‡√‘Ë¡‡√’¬π ‡ªìπ°“√°√–∑” Õ¬à“߬àÕ ‡æ’¬ß·μà‡§“√æ°ÆÀ√◊Õ∂«“¬μ—«‡ªìπ “πÿ»…‘ ¬å ·Àà߇∑懮⓺Ÿâ‡ªìπ§√Ÿ à«π°“√‰À«â§√Ÿª√–®”ªïπ—Èπ ‚¥¬¡“°®–∑”°—π‡ªìπæ‘∏’ „À≠à °“√‰À«â§√Ÿ¥ÿ√‘¬“ߧ¥πμ√’π’È πà“®–‡π◊ËÕß¡“ ‚¥¬™“쑉∑¬·μà ‚∫√“≥§ß®–π—∫∂◊Õ‡®â“·≈–º’°—πÕ¬Ÿà ∫â“ß·≈â« ‡¡◊ËÕ¡“‰¥â§μ‘∑“ß»“ π“æ√“À¡≥å¢Õß Õ‘π‡¥’¬æ√âÕ¡Ê °—∫°“√‡√‘Ë¡√–‡∫’¬∫·Ààß°“√¥πμ√’ ¢÷Èπ„À¡à „π·¥π ÿ«√√≥¿Ÿ¡‘π’È ®÷߉¥â∂◊Õ‡ªìπ·∫∫Õ¬à“ß ◊∫°—π¡“∑’‡¥’¬« ‰¡à¡’ªí≠À“Õ–‰√„π°“√∑’Ë®–°≈à“««à“ æ‘ ∏’ ‰À«â§√Ÿ¢Õ߇√“‡Õ“·∫∫Õ‘π‡¥’¬¡“„™â ‡æ√“–™◊ËÕ ‡∑懮â“∑ÿ°Ê Õߧåμ√ßμ“¡μ”√“·Ààß»“ π“æ√“À¡≥å ∑—Èß ‘Èπ ·μà§ß®–¥”‡π‘πμ“¡§—¡¿’√宔櫰ªÿ√“≥– π‘°“¬„¥π‘°“¬Àπ÷ßË ‡ªìπ·πà ‡æ√“–„π‚Õß°“√§”‰À«â§√Ÿ μÕπ‰À«âæ√–‡ªìπ‡®â“¡‘‰¥â ‰À«âæ√–æ√À¡ °≈à“«π“¡ ·μà æ √–Õ‘ » «√°— ∫ æ√–π“√“¬≥å · ≈–‡∑楓Õ◊Ë π Ê ‡∑à“π—πÈ

The custom and rite of paying homage to musical teachers may derive from the animistic beliefs from time immorial. Influenced by Brahmanism from India, along with the introduction of musical order in Mainland Southeast Asia.

The so-called ceremonies have been transmitted through generations.

‡π◊ËÕß®“°‰∑¬‡√“‡ªìπæÿ∑∏¡“¡°– æ‘∏’ ‰À«â§√Ÿ ®÷ß¡—°®–‡√‘Ë¡¥â«¬æ‘∏’ ߶å°àÕπ §◊Õ„π«—πæÿ∏μÕπ‡¬Áπ °Á®–¡’æ√– ߶凮√‘≠æ√–æÿ∑∏¡πμå √ÿßà ‡™â“«—πæƒÀ— ∫¥’ ∂«“¬Õ“À“√∫‘≥±∫“μ√ ‡¡◊ËÕæ√– ß¶å‡ √Á®¿—μμ°‘® ·≈â« ®÷ß®–‡√‘Ë¡æ‘∏’ ‰À«â§√Ÿ ·μàæ‘∏’ ߶åπ’È ‰¡à ‰¥âÕ¬Ÿà „π √–‡∫’¬∫«à“®–μâÕß¡’ ∫â“π„¥À√◊Õ§≥–„¥‰¡à –¥«° ®–‰¡à¡’°Á ‰¥â§◊Õ ‡√‘Ë¡¥â«¬°“√‰À«â§√Ÿ„π«—πæƒÀ— ∫¥’ ∑’‡¥’¬« ´÷Ëß®–μâÕß∑”„πμÕπ‡™â“ ∂“π∑’˪√–°Õ∫ æ‘ ∏’ ‰ À«â § √Ÿ § «√„Àâ ¡’ ∑’Ë ° «â “ ßæÕ∑’Ë »‘ … ¬“πÿ »‘ … ¬å · ≈– ºŸâ√à«¡æ‘∏’®–π—Ëß ‘Ëß∑’Ë®–μ—Èß ”À√—∫‰À«â®–μâÕß¡’∑’Ëμ—Èß

It is without arguments to have said that the wai khru ceremonies were adopted

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æ√–æÿ∑∏√Ÿª·≈–‡§√◊ËÕß∫Ÿ™“æ√âÕ¡‰«â∑“ßÀπ÷Ëß à«π Õ’ ° ∑“ßÀπ÷Ë ß ®— ¥ μ—È ß ‡§√◊Ë Õ ß¥πμ√’ ‰∑¬μà“ßÊ „À⇪ìπ √–‡∫’¬∫·≈– «¬ß“¡ ‚¥¬‰¡àμâÕß®—¥‡ªìπ«ß ·≈– ®–μâÕß¡’μ–‚æπ≈Ÿ°Àπ÷ßË μ—ßÈ Õ¬Ÿ¥à «â ¬‚¥¬μ—ßÈ Ÿß°«à“ ‘ßË Õ◊πË ‡æ√“–„π∑“ߥπμ√’ ‰∑¬∂◊Õ«à“μ–‚æπ ¡¡μ‘·∑π Õߧåæ√–ª√§π∏√√æ ·μà∂â“®–¡’Àπâ“‚¢πμ—Èߥ⫬°Á ‰¥â

from India since the names of the deities remain the same as denoted in the textbook of Brahmanism. However, this must have followed the ancient textbook of a sect of Brahmanism in which (Phra Phrom) (Brahma) has disappeared. For in the invocations to gods, only Phra Isuan (Isvara) and Phra Narai (Narayana) together with other deities, are mentioned.

Àπâ “ ‚¢π∑’Ë § «√®–μ—È ß °Á §◊ Õ Àπâ “ ƒÂ…’ æ√– ª√§π∏√√æ æ√–«‘ ÿ°√√¡ æ√–ªí≠® ’¢√ æ√–æ‘√“æ ·μà∂“â ®–‡æ‘¡Ë Àπâ“æ√–Õ‘»«√ æ√–π“√“¬≥å æ√–æ√À¡ æ√–§‡≥»√å Õ’°¥â«¬°Á¬‘Ëߥ’

As the Thais are mostly Buddhists, the wai khru ceremonies conventionally begin with the Buddhist rite. In the evening of Wednesday, monks are invited to chant prayers. The morning of Thrusday ordinarily starts with an offering of food to monks and blessings by monks before furthering to the actual wai khru ceremonies. Nevertheless, this Buddhist rite can be omitted if it is inconvenient. A place to perform the ceremonies should be large enough for all the disciples and participants to be seated.

A Buddhist altar with offerings is put on one side and on the other side is a set of musical instruments placed in an orderly manner. The tapone (bulging drum) is positioned in a higher place as it represents Phra Porakhontap (God of Drums). Khon Masks representing the gods may also be present.

à«π‡§√◊ËÕß∫Ÿ™“æ√–¬“∫«™ °Á¡’¥Õ°‰¡â ∏Ÿª ‡∑’¬π À—«À¡Ÿ ‰°à ‡ªì¥ °ÿâß ª≈“ ∫“¬»√’ª“°™“¡ ¢π¡μâ¡·¥ß μâ¡¢“« º≈‰¡âμà“ßÊ À“°«à“„πæ‘∏’π—Èπ ‰À«âæ√–æ‘√“æ¥â«¬ °Á®–μâÕß¡’‡§√◊ËÕߥ‘∫Õ’°™ÿ¥Àπ÷Ëß ‡À¡◊Õπ°—∫‡§√◊ËÕß ÿ°¥—ß∑’Ë ‰¥â°≈à“«·≈â« ‡§√◊ËÕß —߇«‡À≈à“π’È®–‡ªìπ§ŸàÀ√◊Õ‡æ‘Ë¡‡μ‘¡Õ¬à“߉√°Á ‰¥â Õ’°Õ¬à“ßÀπ÷Ëß°Á§◊Õ¢—π°”π≈ ´÷Ëß¡’¢—π≈â“ßÀπâ“ „ à¥Õ°‰¡â∏Ÿª‡∑’¬π ºâ“¢“«À√◊պⓇ™Á¥Àπâ“ ·≈– ‡ß‘π°”π≈ ´÷Ëß‚∫√“≥„™â ˆ ∫“∑ ∂â“®–¡’ªïòæ“∑¬å ∫√√‡≈߇æ≈ßÀπâ“æ“∑¬å ª√–°Õ∫¥â«¬°Á ‰¥â ·μà®– μâÕß¡’¢—π°”π≈ ‡™àπ‡¥’¬«°—π „À⺟â∫√√‡≈ߪïòæ“∑¬å §√∫∑ÿ°Ê §π∑—Èß«ß §√ŸºŸâ∑”æ‘∏’®–μâÕßπÿàߢ“«Àà¡¢“« ‡¡◊ËÕ‰¥â®ÿ¥∏Ÿª‡∑’¬π∫Ÿ™“‡ √Á®·≈â« §√Ÿ°Á®–∑”πÈ”¡πμå „π¢≥–π—È π »‘ … ¬å · ≈–ºŸâ √à « ¡æ‘ ∏’ ®ÿ ¥ ∏Ÿ ª ‡∑’ ¬ π∫Ÿ ™ “ Õ∏‘…∞“πμ“¡·μà®–ª√– ß§å ·≈⫧√ŸºŸâ∑”æ‘∏’®–‡√‘Ë¡ °≈à“«‚Õß°“√π”„À⺟â√à«¡æ‘∏’«à“μ“¡ ´÷Ë߇√‘Ë¡¥â«¬∫Ÿ™“ æ√–√—μπμ√—¬·≈–‰À«â§√Ÿ∫“Õ“®“√¬å ∫‘¥“¡“√¥“ ¢Õæ√μà“ßÊ μ“¡·∫∫·ºπ ´÷ßË ·μà≈–§√Ÿ·μà≈–Õ“®“√¬å Õ“®º‘¥·º°·μ°μà“ß°—π‰ª∫â“ß ·≈⫪ïòæ“∑¬å°Á®– ∫√√‡≈߇æ≈ßÀπâ“æ“∑¬å μ“¡∑’˧√ŸºŸâ°√–∑”æ‘∏’π—Èπ ®–‡√’¬° μàÕ®“°π—Èπ°Á°≈à“«∂«“¬‡§√◊ËÕß —߇«¬·≈â« ‡«âπ√–¬– —°§√ŸÀπ÷Ëß ®÷߉¥â°≈à“«≈“‡§√◊ËÕß —߇«μà Õ ®“°π—È π §√Ÿ ºŸâ ‡ ªì π ª√–∏“π°Á ® –ª√–æ√¡πÈ” ¡πμå ·≈–‡®‘¡‡§√◊ËÕߥπμ√’·≈–Àπâ“‚¢πμà“ßÊ ®π§√∫∂â«π

The teachers masks are those of Phra Khru Ruesi (Rishi Bharatamuni, the prime teacher of dramatic arts) Phra Porakhontap (God of Drums) Phra Vissukam (architect and builder, creator 3

of musical instruments) Phra Panjasikorn (player of the vina) Phra Phirab (Yaksha dancer). Phra Isuan (Shiva), Phra Narai (Vishnu), Phra Phrom (Brahma) and Phra Khanes (Ganesha, protector of the liberal arts) could also be included.

À≈— ß ®“°π—È π ®÷ ß ®–ª√–æ√¡πÈ” ¡πμå · ≈–‡®‘ ¡ „Àâ · °à »‘…¬å ·≈–ºŸâ√à«¡æ‘∏’ ‡ªìπÕ—π‡ √Á®°“√‰À«â§√Ÿ À≈—ß®“° æ‘∏’ ‰À«â§√Ÿ·≈â« ®÷ß®–∂÷ßæ‘∏’ ç§√Õ∫é ´÷Ëß®–∑”μ‘¥μàÕ °—π‰ª §” «à “§√Õ∫π’È ¡‘ ‰ ¥â À ¡“¬«à “ π”«— μ ∂ÿ Õ¬à “ ßÀπ÷Ë ß ¡“§√Õ∫‡À¡◊ Õ πÕ¬à “ ß‡Õ“Ω“™’ ¡ “§√Õ∫ Õ“À“√°— π ·¡≈ß«— π §√Õ∫„π∑’Ë π’È À ¡“¬∂÷ ß °“√ ª√– ‘ ∑ ∏‘Ï ª √– “∑«‘ ∑ ¬“°“√À√◊ Õ πÿ ¡— μ‘ „ Àâ ‡ √‘Ë ¡ ‡√’ ¬ π «‘™“„π™—Èππ—ÈπÊ ‰¥â «‘∏’°“√§√Õ∫¬àÕ¡·≈â«·μà°√≥’ ¢Õß»‘≈ª–π—ÈπÊ ´÷ËßÕ“®‰¡à‡À¡◊Õπ°—π à«π„π»‘≈ª¥πμ√’ ‰ ∑¬∂◊ Õ «à “ ªïòæ“∑¬å ‡ªì π À≈— ° ”§— ≠¢Õߥπμ√’ ∑—ÈßÀ≈“¬®÷ߧ√Õ∫¥â«¬‡§√◊ËÕߥπμ√’„π«ßªïòæ“∑¬å

A table of offerings dedicated to the gods and spirits who will be invited to assemble is composed of flowers, incense sticks, candles, Baisri Pak Charm (a folded banana leaf rice container, often dedicated with flowers topped with a boiled egg) and a cooked set of the following items : hog heads, duck, chicken, shrimp, fish, Khanom Tom Khao and Khanom Tom Dang (white and red kinds of dessert consisting of boiled palm sugar, coconut meat and sticky rice) and fruit. If Phra Phirab is incorporated in the long list of paying homage, an uncooked set of the above-mentioned should also be prepared. These offerings can be in pairs or more as deemed appropriate.

°“√§√Õ∫¢Õß°“√‡√’¬πªïæò “∑¬åππ—È ¡’¢π—È μÕ𠇪ìπ≈”¥—∫‰ª‡À¡◊Õπ°“√‡√’¬π«‘™“ “¡—≠‡ªìπª√–∂¡ ¡—∏¬¡ ·≈–Õÿ¥¡ Ò. ¢—È π ·√°∑’ ‡ ¥’ ¬ «π—È π ‡ªì π §√Õ∫Õ¬à “ ߬à Õ ºŸâ‡√’¬ππ”¥Õ°‰¡â∏Ÿª‡∑’¬π ·≈–‡ß‘π°”π≈¡“¡Õ∫„Àâ ·°à § √Ÿ ¥â « ¬§“√«– ·≈â « §√Ÿ °Á ®— ∫ ¡◊ Õ »‘ … ¬å ºŸâ π—È π „Àâ μ’ ¶âÕß«ß„À≠à ¢÷Èπμâπ‡æ≈ß “∏ÿ°“√ “¡§√—Èß °Á‡ªìπ Õ—π‡ √Á® ∂◊Õ«à“»‘…¬åºŸâπ—Èπ‡ªìπÕ—π‡√‘Ë¡‡√’¬πªïòæ“∑¬å μàÕ‰ª‰¥â ‚¥¬μàÕ‡æ≈ß “∏ÿ°“√μàÕ‰ª®“°ºŸâÀπ÷ËߺŸâ „¥ °Á ‰¥â®π®∫ ·≈â«°Á‡√’¬π‡æ≈ß„π™ÿ¥‚À¡‚√߇¬Áπ ´÷Ëß ¬°‡«âπ‡æ≈ßμ√–‰«â‡æ≈ßÀπ÷Ëß ·≈–‡√’¬π‡æ≈ßÕ◊ËπÊ μàÕ‰ªμ“¡·μà§√Ÿ®–‡ÀÁπ ¡§«√

Mention must also be made to Kan Kamnon, a small bowl putting together flowers, incense sticks, candles, whith cloth or handkerchief and a six baht fee, followed by an orchestra playing Na Paat melody.

The presiding teacher at wai khru ceremonies must dress in the traditional white shirt and white Panung for this special occasion. He will commence the ceremonies by lighting candles and incense sticks then preparing lustral water while the followers and

Ú. °“√§√Õ∫Õ— π ¥— ∫ ∑’Ë Õß °Á §◊ Õ ‡¡◊Ë Õ »‘ … ¬å ‡√’¬π‡æ≈ß‚À¡‚√߇¬Áπ®∫·≈â« ·≈–‡√‘Ë¡‡√’¬π‡æ≈ß μ√–‚À¡‚√ß ´÷Ë߉¥â‡«âπ‰«â‡¡◊ËÕ‡√’¬π¢—Èπ·√° ‚¥¬§√Ÿ ®—∫¡◊Õ„Àâμ’¶âÕß«ß„À≠à¢÷Èπμâπ‡æ≈ßμ√– Û §√—Èß Û. §√Õ∫Õ—π¥—∫ “¡ ‡ªìπ°“√‡√‘Ë¡‡√’¬π‡æ≈ß ‚À¡‚√ß°≈“ß«—π ´÷ßË §√Ÿ°®Á –®—∫¡◊Õ„Àâμ‡’ æ≈ß°√–∫Õß°—π Ù. Õ—π¥—∫∑’ Ë ’Ë ‡√‘¡Ë ‡√’¬π°“√∫√√‡≈ßÀπâ“æ“∑¬å ™—Èπ Ÿß „π™—Èππ’È §√Ÿ¡—°®–®—∫¡◊Õ„Àâμ’‡æ≈ß∫“∑ °ÿ≥’

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participants are also lighting their candles and incense sticks to invite the Triple Gems and deities to bestow the blessings according to their wishes. The officiating teacher leads the invocations for the blessings of the Triple Gems, teachers and parents. Different presiding teachers will vary the words. The musicians are then instructed to play Na Paat, a piece of music reserved for the most formal occasions for the purpose of worshipping the Triple Gems and to confirm deep respect to teachers. The presiding teacher later raises the food offerings for a while before removing them. Afterwards, the presiding teacher sprinkles lustral water and applies jerm (a white paste) to musical instruments and different teachersû heads. Lustral water is of course sprinkled over and a white paste is also applied to the followers and participants. With that action, the rite of wai khru is concluded to bring in the rite of Piti Krob or initiation rite.

ı. Õ—π¥—∫∑’ËÀâ“ ‡¡◊ËÕ‡√‘Ë¡‡√’¬π‡æ≈ßÕߧåæ√– æ‘√“æ ´÷Ëß∂◊Õ«à“‡ªìπ‡æ≈ß Ÿß ÿ¥ «‘∏’°“√ §√Õ∫ ‡¡◊ËÕ‰¥âª√–°Õ∫°“√æ‘∏’ ‰À«â§√Ÿ ‡ √Á®·≈â« »‘…¬åºŸâª√– ߧ宖§√Õ∫ °Áπ”¢—π°”π≈ ¡’¥Õ°‰¡â∏Ÿª‡∑’¬π ºâ“‡™Á¥Àπâ“ ·≈–‡ß‘π°”π≈ ‡¢â“‰ª À“§√Ÿ ºŸâ ∑”æ‘ ∏’ à ß ¢— π °”π≈„Àâ § √Ÿ · ≈–∂◊ Õ ‰«â °à Õ π ®π°«à“§√Ÿ®–«à“§”ª√– ‘∑∏‘Ϫ√– “∑®∫®÷ߪ≈àÕ¬¡◊Õ ·≈⫧√Ÿ®÷ß∑”æ‘∏’§√Õ∫μ“¡¢—ÈπμÕπ∑’Ë®–‡√’¬π¥—ßπ’È - ‡√’¬π‡æ≈ßμ√–‚À¡‚√ß §√Ÿ°Á®–®—∫¡◊Õ„Àâ μ’¶âÕß«ß„À≠à ¢÷Èπμâπμ’‡æ≈ßμ√–‚À¡‚√ß “¡§√—Èß - ‡√’¬π‡æ≈ß‚À¡‚√ß°≈“ß«—π §√Ÿ®–®—∫¡◊Õ„Àâ μ’¶âÕß«ß„À≠à¢÷Èπμâπ‡æ≈ß°√–∫Õß°—π “¡§√—È߇æ√“– ‡æ≈ß„π™ÿ¥‚À¡‚√ß°≈“ß«—π ∂◊Õ«à“‡æ≈ß°√–∫Õß°—𠇪ìπ‡æ≈ß ”§—≠ - ‡√’ ¬ πÀπâ “ æ“∑¬å ™—È π Ÿ ß §√Ÿ ® –®— ∫ ¡◊ Õ „Àâ μ’¶âÕß«ß„À≠à ¢÷Èπμâπ‡æ≈ß∫“∑ °ÿ≥’ “¡§√—Èß ‡æ√“– ∂◊ Õ «à “ ‡æ≈ß∫“∑ °ÿ ≥’ ‡ ªì π ‡æ≈ß ”§— ≠ „πª√–‡¿∑ Àπâ“æ“∑¬å™—Èπ Ÿß - ‡√’¬π‡æ≈ßÕߧåæ√–æ‘√“æ §√Ÿ®–®—∫¡◊Õ„Àâ μ’ ¶â Õ ß«ß„À≠à ∑”πÕ߇æ≈ßμÕπ¢÷È π μâ π Õߧå æ √– “¡§√—ßÈ

Krob means initiation of knowledge in a certain branch. The Piti Krob rite is varied in accordance with branches of art.

As for the Thai classical music, Pi Paat (woodwind and percussion instruments) are considered fundamental to all music.

As such, all musical instruments (oboe, gong, xylophone, drum and cymbol) are used in the Piti Krob rite.

‡¡◊ËÕ‰¥â®—∫¡◊Õμ’¶âÕß«ß„À≠ࢗÈπ„¥·≈â« °Á®– μà Õ ‡æ≈ß„π¢—È π π—È π °— ∫ ºŸâ „ ¥°Á ‰ ¥â ‰ª®π®∫‡æ≈ß ·≈– “¡“√∂®–‰ªªØ‘∫—쑇§√◊ËÕߥπμ√’Õ¬à“ßÕ◊Ëπ‰¥â∑—Ë«Ê ‰ª ‰¡à«à“®–‡ªìπ√–π“¥ ªïò μ–‚æπ °≈Õß ‰¥â∑—Èßπ—Èπ ·μà ºŸâ‡√’¬πμ–‚æπ §√Ÿ®–®—∫¡◊Õ„Àâμ’μ–‚æπ ·∑π¶âÕß°Á ‰¥â à«π°“√§√Õ∫‡§√◊ËÕߥπμ√’Õ¬à“ßÕ◊Ë𠇙àπ ’´Õ ¥’¥®–‡¢â ‡ªÉ“ªïò ‡ªÉ“¢≈ÿଠ‡À≈à“π’È μ≈Õ¥®π °“√¢—∫√âÕߥ⫬ ´÷Ëß¡‘‰¥â∫√√‡≈߇æ≈ßÀπâ“æ“∑¬å μà“ßÊ ‡À¡◊Õπªïòæ“∑¬å ‘Ëß„¥∑’ËæÕ®–®—∫¡◊Õ‰¥â ‡™àπ ´Õ ®–‡¢â §√ŸÕ“®®—∫¡◊Õ„Àâ ’ À√◊Õ¥’¥°Á ‰¥â ·μà „ ™â ‡æ≈ߪ√–‡¿∑∑’ˇ§√◊ËÕߥπμ√’π—Èπ„™â∫√√‡≈ß À√◊Õ®–

The rite of initiation for learning Pi Paat can be categorized in primary, secondary and higher stages.

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1. The first stage is a concise ceremony for asking permission to enter the musical world. The presiding teacher receives the offerings composed of candles, incense sticks and a six baht fee from a pupil and hold his hands guiding him to play Gong Wong Yai (big circle of gong) the first stanza of one tune thrice of Satukarn song, master tunes to pay homage to the Triple Gems and to express deep respect to teachers. This marks the initial step of learning Pi Paat.

The pupil may practice the rest of the song with somebody else. In addition, the pupil is to learn songs in Home Rong Yen series except for Tra song. He is also allowed to learn other songs as recommended by the teacher.

„™â ©‘Ë ß §√Õ∫∑’Ë »’ √ …–¢Õß»‘ … ¬å ºŸâ π—È π °Á ‰¥â °“√„™â©‘Ëß §√Õ∫∑’Ë »’ √ …–π’È „™â ‰ ¥â · °à ° “√§√Õ∫‡√’ ¬ π¥πμ√’ ∑ÿ°Õ¬à“ß∑’Ë ‰¡à –¥«°„π°“√®—∫¡◊Õ Õπ÷Ë ß °“√§√Õ∫∑’Ë ® –‡√’ ¬ πªïò æ “∑¬å ‡ æ≈ß Õߧå æ √–æ‘ √ “æπ—È π ¬— ß ¡’ · ∫∫·ºπª√–‡æ≥’ ∫— ≠ ≠— μ‘ ‰«âÕ’°Õ¬à“ßÀπ÷Ëß §◊Õ ºŸâ∑’Ë®–‡√’¬π‡æ≈ßÕߧåæ√–æ‘√“æ ®–μâÕß¡’Õ“¬ÿ‰¡àμË”°«à“ Û ªï À√◊Õ‰¥âÕÿª ¡∫∑ ‡ªìπæ√–¿‘°…ÿ ߶å·≈â« À√◊Õ¡‘©–π—Èπ®–μâÕ߉¥â√—∫ æ√–∫√¡√“™“πÿ≠“μ®“°æ√–∫“∑ ¡‡¥Á®æ√–‡®â“Õ¬ŸÀà «— ®÷ß®–√—∫°“√§√Õ∫„Àâ‡√’¬π‰¥â

ª√–‚¬™πå¢Õß°“√‰À«â§√Ÿ °“√∑’Ë ‰ ¥â ª √–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ μ “¡ª√–‡æ≥’ ∑’Ë∂Ÿ°μâÕ߬àÕ¡∫—߇°‘¥ª√–‚¬™πå ‰¥âÀ≈“¬ª√–°“√§◊Õ Ò. ‰¥â√—°…“ª√–‡æ≥’Õ—π‡ªìπ«—≤π∏√√¡Õ—π¥’ ¢Õ߉∑¬‰«â„Àâ¬◊π¬ßμàÕ‰ª Ú. ‰¥â · ¥ßÕÕ°´÷Ë ß §«“¡°μ— ≠ êŸ ° 쇫∑’ Õ—π‡ªìπ‡§√◊ËÕßÀ¡“¬¢Õß§π¥’‡ªìπ·∫∫Õ¬à“ß à߇ √‘¡ „Àâ»…‘ ¬å√πÿà μàÕÊ ‰ª √Ÿ â °÷ °μ—≠êŸ°μ‡«∑’μÕà §√Ÿ∫“Õ“®“√¬å

2. The second stage takes place after finishing the Hom Rong Yen series. The pupil is now beginning to learn how to play Tra Home Rong song which was omitted in the first stage. The teacher holds the pupilûs hands to play Gong Wong Yai the first stanza of one tune thrice of Tra song.

Û. ‡ªìπ°“√∫”√ÿߢ«—≠¢ÕߺŸâ∑’Ë ‰¥â√à«¡„π°“√ æ‘ ∏’ ‰À«â§√Ÿ·≈–§√Õ∫ ‡æ√“–«à“‰¥â°√–∑”æ‘∏’μà“ßÊ §√∫∂â«πμ“¡·∫∫·ºπ·≈â« ‡«≈“∑’Ë®–ªØ‘∫—μ‘°Á®–¡’ ®‘μ„®¡—Ëπ§ß·≈–¡’¢«—≠¥’ Ù. ‡ªì π °“√‡ √‘ ¡ §«“¡ “¡— § §’ √ –À«à “ ß ¥ÿ√‘¬“ߧ»‘≈ªîπ¥â«¬°—π ‡æ√“–„π°“√ª√–°Õ∫æ‘∏’ ‰À«â § √Ÿ π—È π ∫√√¥“π— ° ¥πμ√’ ∑—È ß À≈“¬ ·¡â ® –Õ¬Ÿà §π≈–§≥–°Á ¡— ° ®–¡“√à « ¡„πæ‘ ∏’ ‰ À«â § √Ÿ ¥â « ¬°— 𠉥âæ∫ª– —ß √√§å°—π‡ªìπÕ—π¥’ ‡ªìπ°“√‡™◊ËÕ¡§«“¡ “¡—§§’„πÀ¡Ÿà¥ÿ√‘¬“ߧ»‘≈ªîπ¥â«¬°—π„Àâ·πàπ·øÑπ

3. The third stage begins with Home Rong Klang one song. Again, the teacher holds the pupilûs hands to play Krabong Gun song.

4. The next stage is to play higher Na Paat. The teacher generally holds the pupilûs hands to play the Baht Sakuni song.

5. The final stage is the highest stage while learning the supreme song of all-Phra Phirabûs song.

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The pupil will customarily resume the rest of the songs with somebody else.

The above-mentioned practice can be applied to other musical instruments as ranad (xylophone) Pi (oboe) Tapone and Klong (drums) As for the Piti Krob rite of other kinds of instruments i.e. Saw (fiddle), Jakay (zither) and Klui (flute) including singing, actually not for Na Paat playing, the teacher can also hold the hands of the pupil to play the special tune of that type of instrument. Otherwise, cymbols may be placed on the head of the pupil to symbolize the initiation rite.

As a rule, the Piti Krob rite for those who learn Phra Phirabรปs song must be at least 30 years old or have already been ordained or granted. His Majesty the Kingรปs royal permission to play.

Advantages of paying homage to the musical teachers 1) Preservation of good old tradition of Thai culture.

2) An opportunity for the pupils to pay respect and gratitude to their teachers which represents an examplary expression of being grateful to the teachers.

3) An act of boosting a morale of the pupils to play well their music.

4) Strengthening warmth, companionship and a sense of togetherness as well as compassion.

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Preparing For the Wai Khru Ceremonies

°“√‡μ√’¬¡°“√ ‰À«â§√Ÿ¥πμ√’‰∑‚¥¬... ¥πμ√’ μ√“‚¡∑

by Dontri Tramote

°“√‰À«â§√Ÿ¥πμ√’ ‰∑¬Õ¬à“ß¡’æ‘∏’√’μÕß®–μâÕß ∑”°—π„π«—πæƒÀ— ∫¥’ ‡æ√“–∂◊Õ°—π«à“æ√–æƒÀ— ∫¥’ ‡ªì π §√Ÿ ¢ Õß∑ÿ ° Ê “¢“ ·μà ¥â « ¬§«“¡∑’Ë § π‰∑π—∫∂◊Õ»“ π“æÿ∑∏‡ªìπ à«π¡“° °“√ª√–°Õ∫æ‘∏’„¥Ê °Á¡—°®–√«¡æ‘∏’ ߶凢ⓥ⫬ °“√‰À«â§√Ÿ¥πμ√’ ‰∑°Á ‡ ™à π °— π ®÷ ß ¡’ æ‘ ∏’ ß¶å ¥â « ¬°“√π‘ ¡ πμå æ √– ß¶å ¡“‡®√‘≠æ√–æÿ∑∏¡πμå „ πμÕπ‡¬Á π «— π æÿ ∏ °à Õ πÀπâ “ «—πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ·≈–„πμÕπ‡™â“«—πæƒÀ— ∫¥’ ∑’Ë ® –ª√–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ °Á ® –¡’ ° “√∑”∫ÿ ≠ μ— ° ∫“μ√ ·≈–∂«“¬¿—μμ“À“√‡™â“ ‡¡◊ËÕ‡ √Á®¿—μμ°‘®·≈â«®÷ß®– ‡√‘Ë¡ª√–°Õ∫æ‘∏’ ‰À«â§√ŸμàÕ‰ª

The wai khru ceremonies take place on Thursday as it is traditionally the Teachers day. Most ceremonies of the Buddhist Thais almost always include the Buddhist rite.

On the eve of the ceremonial day, monks are invited to chant prayers. The ceremonial Thursday starts with the making merit by offering food to monks, followed by the wai khru ceremonies.

Section 1 Buddhist Rite In organizing the Wai khru ceremonies with the Buddhist rite, a layman to invite the monks must be identified so that the invitation usually of nine (9) monks can be done as early as possible. Of course, when the ceremonial day is drawing close, this invitation needs to be confirmed.

À¡«¥∑’Ë Ò æ‘∏’ ß¶å ‡¡◊Ë Õ ®–¡’ ° “√‰À«â § √Ÿ · ≈–¡’ æ‘ ∏’ ß¶å °Á μâ Õ ß ®—¥À“∫ÿ§§≈∑’Ë®–‰ªπ‘¡πμåæ√–·μà‡π‘ËπÊ ‡æ◊ËÕ∑à“π ®–‰¥â ‰¡àμ‘¥¿“√°‘®√—∫π‘¡πμå 𗥫—𠇫≈“ ∑’Ë®–π‘¡πμå „Àâ‡√’¬∫√âÕ¬ °“√π‘¡πμåæ√– à«π¡“°®–π‘¡πμå¡“ ˘ √Ÿª ‡¡◊ËÕ„°≈â«—π∑’Ë®–ª√–°Õ∫æ‘∏’°Á§«√®–‰ª∑∫∑«π °—∫∑à“πÕ’°§√—ÈßÀπ÷Ëß

The ceremonial place should be large enough for all the celebrants to be seated.

The Buddhist altar should be set up with offerings on the right hard side of the monksû seat. A protective thread for preventing evil influences should be stretched around the ceremonial place, started from the monks hands and ended at the Buddha image.

¥â“π ∂“π∑’Ë ”À√—∫ª√–°Õ∫æ‘∏’ §«√®–¡’ ∫√‘‡«≥°«â“ߢ«“ßæÕ∑’Ë®–„À⺟⇢â“√à«¡æ‘∏’ ‰¥âπ—ËßæÕ ®—¥μ—Èß‚μä–À¡Ÿà∫Ÿ™“æ√âÕ¡‡§√◊ËÕß∫Ÿ™“ μ—Èßæ√–æÿ∑∏√Ÿª ·≈–Õ“ πå ߶å∑’Ë®–‡®√‘≠æ√–æÿ∑∏¡πμå ‰«â¥â“πÀπ÷Ëß ‚μä–À¡Ÿà∫Ÿ™“∑’Ëμ—Èßæ√–æÿ∑∏√Ÿª§«√®–Õ¬Ÿà¥â“π¢«“¡◊Õ ¢Õßæ√– ß¶å «π¥â“¬ “¬ ‘≠®π宓°æ√– ߶凫’¬π √Õ∫∫√‘‡«≥∑’Ë®–ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ°≈—∫¡“®∫≈ß∑’Ë æ√–æÿ∑∏√Ÿª π”°≈ÿà¡ “¬ ‘≠®πå∑’ˇÀ≈◊Õ„ àæ“π‰«â

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The rest of the thread is put on the tray with pedestral placed in front of the first monk. A bowl, also placed werky, contains water and a candle for the make of lustral water. A bundel of thatch-grass or star-gooseberry is there to sprinkle lustral water. A set of offerings, composed of flowers, incense sticks, candles and Buddhist necessary things or money as deemed appropriate, is presented to the monks either on Wednesday evening or Thursday morning after the chanting.

μ√ßÕ“ πå ߶åÕߧå·√°‡æ◊ÕË ®–„™â‡«≈“‡®√‘≠æ√–æÿ∑∏¡πμå Àπâ“Õ“ πå ߶åÕߧå·√°μ—Èß∫“μ√πÈ”¡πμå´÷Ëß ∫√√®ÿ πÈ” ”À√— ∫ ∑”πÈ” ¡πμå æ √â Õ ¡‡∑’ ¬ π∑”πÈ” ¡πμå ¡’ °”À≠â “ §“À√◊ Õ °‘Ë ß ¡–¬¡¡— ¥ ‡ªì π °”‰«â ”À√— ∫ æ√¡πÈ”¡πμå ‡§√◊ËÕß∂«“¬æ√–‡®√‘≠æ√–æÿ∑∏¡πμå ´÷Ëß®– ∂«“¬„πμÕπ‡¬Áπ«—πæÿ∏∑’Ëæ√–¡“‡®√‘≠æ√–æÿ∑∏¡πμå °Á ‰¥â À√◊Õ®–∂«“¬„πμÕπ‡™â“«—πæƒÀ— ∫¥’À≈—ß®“° ‡ √Á®¿—μμ°‘®·≈â«°Á ‰¥â ‡§√◊ËÕß∂«“¬æ√–ª√–°Õ∫¥â«¥Õ°‰¡â ∏Ÿ ª -‡∑’ ¬ π ªí ® ®— ¬ À√◊ Õ ®–¡’ ‘Ë ß ¢ÕßÕ◊Ë π Ê √à«¡Õ’°°Á ‰¥â μ“¡·μà»√—∑∏“¢ÕߺŸâ∂«“¬

‚μä–À¡Ÿ∫à ™Ÿ “ “¬ ‘≠®πå·≈–∫“μ√πÈ”¡πμå Õ“ πå ߶å ∑’Ëπ—ËߺŸâ√à«¡æ‘∏’

Ò. Ú. Û. Ù.

1.

2.

3.

4.

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Buddhist altar Protective thread and lustral water bowl Monksû seat Seat of the celebrants

Section 2 Ceremonial Place

À¡«¥∑’Ë Ú ∂“π∑’˪√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ¥πμ√’ ‰∑¬

The place of the wai khru ceremonies for the Thai musical teachers should be large enough for all followers and celebrants to be comfortably seated as it takes quite a long time to perform the ceremonies.

∂“π∑’˪√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬ §«√®– ¡’∫√‘‡«≥°«â“ߢ«“ß¡“°Ê „ÀâæÕ∑’Ë∫√√¥“»‘…¬“πÿ»‘…¬å·≈–ºŸâ∑’Ë®–¡“√à«¡æ‘∏’ ‰¥âπ—ËßæÕ ∫“¬ ‡π◊ËÕß®“° æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬„™â‡«≈“„π°“√ª√–°Õ∫æ‘∏’π“π æÕ ¡§«√

The teachersû masks must be placed in group on the elevated platform descending in order of the higher and lower invited gods. The teachersû masks on the platform should complete all the whole list as indicated in the invocations namely Phra Isuan, Phra Narai, Phra Phrom, Phra Vissukam, Phra Panjasikorn, Phra Porakhontap, Phra Khru Ruesi, Phra Kanes and Phra Phirab. If not, at least, the teachersû masks should be composed of Phra Vissukam, Phra Panjasikorn, Phra Porakhontap, Phra Khru Ruesi and Phra Phirab.

°“√®—¥ ∂“π∑’Ë ”À√—∫μ—Èß»’√…–§√ŸμâÕß®—¥¬° ·∑àπ Ÿß ∑”≈¥À≈—Ëπ„Àâ∂Ÿ°μâÕß √–¥—∫™—Èπ Ÿß-μË”¢Õß »’√…–‡∑懮â“∑’ˇ√“®–Õ—≠‡™‘≠¡“μ—Èß ·≈–μ—Èß„À⇪ìπ À¡«¥À¡Ÿà »’ √ …–‡∑懮⠓ ∑’Ë ® –‡™‘ ≠ ¡“μ—È ß „π°“√ ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ §«√®–¡’§√∫∂â«πμ“¡∑’Ë¡’Õ¬Ÿà„𠧔Õà“π‚Õß°“√‰À«â§√Ÿ‡ªìπÕ¬à“ßπâÕ¬ ”À√—∫°“√ ‰À«â§√Ÿ¥πμ√’ ‰∑¬¡’°“√‡™‘≠¡“μ—Èß ‰¥â·°à æ√–Õ‘»«√ æ√–π“√“¬≥å æ√–æ√À¡ æ√–«‘ ÿ ° √√¡ æ√– ªí≠® ’¢√ æ√–ª√§π∏√√æ æ√–§√ŸƒÂ…’ æ√–§‡≥»√å æ√–æ‘ √ “æ ·μà ∂â “ À“°¡’ ‰ ¡à § √∫¥— ß °≈à “ «¡“·≈â « Õ¬à“ßπâÕ¬∑’Ë ÿ¥°Á®–μâÕß¡’ æ√–«‘ ÿ°√√¡ æ√–ªí≠® ’ ¢√ æ√–ª√§π∏√√æ æ√–§√ŸƒÂ…’ ·≈–æ‘√“æ

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æ√–Õ‘»«√ ‡∑懮⓺Ÿ â √â“ß‚≈° ¡’°“¬ ’¢“« ¡’Àπâ“ Ò Àπâ“ Ù ¡◊Õ ¡ß°ÿÆπÈ”‡μâ“À√◊Õ¡ß°ÿÆ∑√߇∑√‘¥ πÈ”‡μâ“°“∫ ¡’æ√–Õÿ¡“¿§«¥’‡ªìπÕ—§√¡‡À ’ ·≈–æ√–¡‡À»«√’ ‡ªì π ¡‡À ’ Õ ß§å ∑’Ë Ú ¡’ ‡ ∑«‚Õ√ Ú Õß§å §◊ Õ æ√–¢—π∑°ÿ¡“√ ·≈–æ√–§‡≥»√å ·μà„π‡√◊ÕË ß√“¡‡°’¬√μ‘Ï æ√–√“™π‘æπ∏å√—™°“≈∑’Ë Ò «à“¡’æ√–‚Õ√ Û æ√–Õß§å §◊Õ æ√–¢—π∑°ÿ¡“√ æ√–摇π ·≈–æ√–æ‘π“¬

PHRA ISUAN The devine creator of the world, Phra Isuan maintains a white body with one face and four arms, wearing the bottle gourd short crown. Phra Umawadee is his first wife and Phra Mahaesavari is his second wife. Phra Kanda Kumara and Phra Ganesha are his sons. However, according to the Ramakien written by King Rama I, Phra Isuan has three (3) sons : Phra Kanda Kumara, Phra Pines and Phra Pinai.

æ√–Õ‘»«√ PHRA ISUAN

æ√–π“√“¬≥å ‡ªìπ‡∑懮⓺Ÿ√â °— …“§«“¡¥’ °“¬ ’¥Õ°μ–·∫° (™¡æŸÕ¡¡à«ß) ¡’Àπâ“ Ò Àπâ“ Ù ¡◊Õ ¬Õ¥¡ß°ÿÆ™—æ√–≈—°…¡’‡∑æ’ ‡∑懮⓷Ààß≈“¿ ·≈–§«“¡¥’‡ªìπ æ√–‡¡À ’

PHRA NARAI Phra Narai, the God of godness, possess a pinky violet body, with one face and four arms, wearing the victory crown.

Phra Lakshami bewi, Godness of fortune is his wife. æ√–π“√“¬≥å‹ PHRA NARAI

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æ√–æ√À¡ ‡ªìπ‡∑懮⓷Ààßæ√À¡«‘À“√ ¡’ ¢’ “« ¡’ Ù Àπâ“ ¯ ¡◊Õ Àπâ“ Ú ™—Èπ ¡ß°ÿÆ™—¬À√◊Õ¡ß°ÿƇ∑√‘¥πÈ”‡μâ“ °≈¡ æ√–¡‡À ’∑√ßæ√–π“¡ ÿ√— «¥’ ºŸâ‡ªìπ‡∑懮ⓠ·Ààß°“√»÷°…“

PHRA PHROM The God of the four principles of virtuous existence (kindness, compassion, love and pleasure in all beings, impartiality), Phra Phrom has a white body with four (4) two-levelled faces and eight (8) arms, wearing the victory crown or the bottle gourd short crown. His wife is Surasawati, Goddess of education.

æ√–æ√À¡ PHRA PHROM

æ√–«‘ ÿ°√√¡ æ√–«‘ ÿ°√√¡π’È ‡√’¬°°—πμà“ßÊ ‡™àπ æ√– «‘»«°√√¡ ∫â“ß æ√–«‘…≥ÿ°√√¡ ∫â“ß æ√–æ‘…≥ÿ°√√¡ ∫â“ß À√◊Õæ√–‡æ™√©≈Ÿ°√√¡ ∫â“ß ·μàπ—Ëπ‰¡à‡ªìπ ‘ßË ”§—≠¥â«¬‡√“¡’®μ‘ ¡ÿßà ∑’®Ë –‰À«â‡∑懮⓷Ààߥÿ√¬‘ “ß§å ‡∑à“π—Èπ ‡∑懮â“Õߧåπ’È¡’°“¬ ’‡¢’¬« Ò Àπâ“ Ú ¡◊Õ À— « ‚≈â π π‘ ¬ ¡‡¢’ ¬ π‡ªì π ≈“¬¥Õ°‰¡â ∑ Õß μ“¡ §”Õ∏‘∫“¬¢Õß Õ“®“√¬å¡πμ√’ μ√“‚¡∑ ‰¥â∫√√¬“‰«â„πÀπ—ß ◊Õ¥ÿ√¬‘ ‡∑æ«à“ ‡ªìπ𓬙à“ß„À≠à¢Õ߇∑«¥“ ‡ªìπ‡®â“·Ààß™à“ß∑ÿ°ª√–‡¿∑‰¡à«à“®–‡ªìπ ‡¢’¬π ªíôπ À≈àÕ °àÕ √â“ß ”À√—∫„π¥â“π°“√¥πμ√’‡§¬¡’𑬓‡≈à “ ◊ ∫ °— π ¡“«à “ „π§√—È ß °√–‚πâ π ‡¡◊ Õ ß¡πÿ … ¬å ∑—È ß ‡¥Á°·≈–ºŸâ „À≠à®–√âÕß®–‡≈àπÕ–‰√°Á ‰¡à¡’√–‡∫’¬∫ ¡’ ∂âÕ¬§”À¬“∫‚≈πª√“»®“°®—ßÀ«–®–‚§π ‡ÀμÿÕ—ππ’È √â Õ π¢÷È π ‰ª∂÷ß æ√–Õ‘π ∑√å μâÕß¡’‡∑«‚Õß°“√ —Ë ß „Àâ æ√–«‘ ÿ°√√¡≈ß¡“®—¥°“√ ‡¡◊ËÕæ√–«‘ ÿ°√√¡‰¥â√—∫ ‡∑«‚Õß°“√·≈â « ®÷ ß ·ª≈ß°“¬‡ªì π §π™√“≈ß¡“

æ√–«‘ ÿ°√√¡ PHRA VISSUKAM

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PHRA VISSUKAM Phra Vissukam can be called Phra Vissavakam, Phra Visnukam, Phra Pitsnukam or Phra Petcharachalukam. However, the names are less important than the faith dedicated to the musical god. A bald god painted with golden flower pattern, Phra Vissukarm has a green body with one face and two (2) arms. In the Book of Musical Gods written by Maestro Montri Tramote, Phra Vissukam is the master engineer of all the divine beings. He is a great creator of all skilful works such as sketching, moulding, casting and culturing. In the dramatic text book, after Rishi Bharatamuni had received Brahmaûs orders to set going the theatricals, he requested Vissukam to create three sizes of theatres - a rectangle large size, a square medium size and a triangle small size.

Legend has it that human beings both children and adult in those days used vulgar language in singing and playing while behaving eccentrically. With the heavenly command given by God Indra. Vissukam disguised himself as an old man instructing the children and the adults to learn how to sing and play in an orderly manner.

After his return to heaven, human beings hold on to the pattern created by Vissukam as basis to all.

In addition, he creates the right kind of musical instruments producing melodious sounds as mentioned in the invacation çTaan Prasidh Sap Sarné. All the musical artists honour him as another musical god.

—Ëß Õπ‡¥Á°Ê ·≈–™“«‡¡◊Õß„Àâ√Ÿâ®—°√âÕß √Ÿâ®—°‡≈àπ„Àâ ‡ªìπ√–‡∫’¬∫ πÕ°®“°π’Ȭ—ߥ≈∫—π¥“≈„À⇧√◊ËÕߥπμ√’ ¡’≈—°…≥–∂Ÿ°μâÕß ·≈–∫—߇°‘¥‡ ’¬ßÕ—π‰æ‡√“–¥â«μ√ß°—∫§”Õà“π‚Õß°“√∑’Ë«à“ ç∑à“πª√– ‘∑∏‘Ï “ª √√§å ‡§√◊ËÕ߇≈àπ ‘Ëß “√æ—π„π·À≈àßÀ≈â“é ¥ÿ√‘¬“§å»‘≈ªîπ ®÷߬°¬àÕßæ√–«‘ ÿ°√√¡«à“ ‡ªìπ‡∑懮⓷Ààߥπμ√’ Õ’°ÕߧåÀπ÷Ëß

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æ√–ªí≠® ’¢√ ‡∑懮â“Õߧåπ’ȇ¥‘¡‡ªìπ¡πÿ…¬å ‡ªìπ‡¥Á°‡≈’Ȭ߂§ ‰«âº¡ ı ·À¬¡ ‡ªìπºŸâ∑’Ë¡’ „®‡≈◊ËÕ¡„ »√—∑∏“„π∑“ß °ÿ » ≈ √â “ ß ‘Ë ß ∑’Ë ‡ªì π “∏“√≥ª√–‚¬™πå À ≈“¬Õ¬à “ß ‡¡◊ËÕ쓬‰ª®÷߉ª‡°‘¥‡ªìπ‡∑æ∫ÿμ√„π™—Èπ®“μÿ¡À“√“™ ¡’™◊ËÕ«à“ çªí≠® ‘¢§π∏—ææ‡∑æ∫ÿμ√é ¡’¡ß°ÿÆ ı ¬Õ¥ ¡’√à“ß°“¬‡ªìπ ’∑Õß ¡’°ÿ≥±≈ ¡’ Ò‹ Àπâ“ Ù ¡◊Õ ∑√ßÕ“¿√≥å · ≈â « ‰ª¥â « ¬π‘ ≈ √— μ πå ∑√ß¿Ÿ … “ ’ · ¥ß ¡’§«“¡ “¡“√∂„π‡™‘ß¥’¥æ‘≥·≈–¢—∫≈”𔇪ìπ‡≈‘» ®π‡ªì π ∑’Ë ‚ ª√¥ª√“π¢Õßæ√– ¡≥‚§¥¡æÿ ∑ ∏‡®â “ ∂÷ß°—∫∑√ßÕπÿ≠“μ„Àâ‡ΩÑ“‰¥â∑ÿ°‡«≈“ ‡ªìπ‡∑懮⓷Ààß «‘™“°“√¥πμ√’ æ√–ªí≠® ’¢√ PHRA PANJASIKORN

PHRA PANJASIKORN Panjasikorn was formerly a cow boy wearing five tufts over his lead. With benevolent heart, he created several places for public services such as public halls, ponds, roads and vehicles etc. After his soul left the human world at his early ages, he was born as a god named Panchasikakhontap in the fourth level of heaven. Topped with a five-tier crown, he owns a golden body, wearing earrings, rings and bracelets.

Wearing a red garment, his decorations are all blue sepphire. He can excellently play the vina and sing with melodious sounds.

The favourite of the Lord Buddha who grants him

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æ√–ª√§π∏√√æ æ√–ª√§π∏√√æ ‡ªìπ¬Õ¥¢Õ߇∑æ§π∏√√æå √à “ ß°“¬¡’ ¢ π«π‡ªì π ∑— ° …‘ ≥ “«√√μ ¡ß°ÿ Æ ™Æ“ ¬Õ¥ƒÂ…’ À√◊ Õ ¬Õ¥°–쓪“ ’ ‡ ¢’ ¬ «„∫·§ ‡ªì π ‡∑懮⓷Ààß«‘™“°“√¥πμ√’

PHRA PORAKHONTAP Another musical god, Phra Porakhontap is the top of all the heavenly musicians. His body is covered with rolled hair turning to the right, wearing a pointed crown. æ√–ª√§π∏√√æ PHRA PARAKHONTAP

æ√–ƒÂ…’ æ√–ƒÂ…’∑—ÈßÀ¡¥¡’ Ûı μπ ¡’™◊ËÕμà“ßÊ °—π æ√–ƒÂ…’∑π’Ë ”¡“μ—ßÈ ”À√—∫∫Ÿ™“„πæ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¡’™◊ËÕ«à“ çæ√–¿√μƒÂ…’ç (Õà“π æ√–-æ–-√¥-√◊Õ- ’) ºŸâ ´÷Ë ß ‰¥â √— ∫ ‡∑«‚Õß°“√®“°æ√–æ√À¡ºŸâ √â “ ß‚≈° „Àâπ”»‘≈ª°“√√”∑à“√”»‘«π“Æ√“™¡“∫—߇°‘¥„π‡¡◊Õß ¡πÿ…¬å ∂◊Õ‰¥â«à“‡ªìπ‡∑æ·Ààß»‘≈ª–¥â«¬

PHRA KHRU RUESI There are altogether thirty-five ascetics with different names. Also a musical god, the ascetic in the wai khru ceremonies is Phra Pharot Ruesi, also has been ordered

by Phra Phrom, the creator of the world to introduce dramatics in the realm of human beings.

æ√–ƒÂ…’ PHRA KHRU RUESI

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æ√–§‡≥»√å ‡ªìπ‡∑懮⓷Ààß»‘≈ª– ¡’°“¬ ’·¥ß —¡ƒ∑∏‘Ï ¡’ÀπⓇªìπ™â“ß ¡’ Ù‹ ¡◊Õ ¡ß°ÿÆ∑√߇∑√‘¥πÈ”‡μâ“°≈¡ ‡ªìπ‡∑«‚Õ√ ¢Õßæ√–Õ‘»«√°—∫æ√–Õÿ¡“

PHRA KANES (GANESHA) The God of Art, Phra Kanesha has a rust body with and elephant head and four (4) arms, wearing a bottle gourd short crown. He is the son of Phra Isuan and Phra Uma. æ√–§‡≥»√å PHRA KANES (GANESHA)

æ√–æ‘√“æ ‡ªìπÕ Ÿ√‡∑æ∫ÿμ√ °“¬ ’¡à«ß·°à ¡’ Ò Àπâ“ Ú ¡◊Õ À—«‚≈âπ (æ‘√“懥‘πªÉ“) ¡’°“¬‡ªìπ«ß∑—°¢‘≥“«—Æ æ√–æ‘√“æ∑√߇§√◊ËÕß ∑√ß¡ß°ÿƬե‡¥‘πÀπ

PHRA PHIRAB A bald demon god, he has a violet body, covered with rolled hair turning to the right. He wears decorations and a crown.

æ√–æ‘√“æ PHRA PHIRAB

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º—ß°“√μ—Èß»’√…– Plan of Setting up the Teachersû Masks

æ√–π“√“¬≥å æ√–Õ‘»«√ æ√–æ√À¡ æ√–ªí≠® ’¢√ æ√–«‘ ÿ°√√¡ æ√–ª√§π∏√√æ æ√–§√ŸƒÂ…’ æ√–§‡≥»√å æ√–æ‘√“æ

Ò. Ú. Û. Ù. ı. ˆ. ˜. ¯. ˘.

1.

2.

3.

4.

5.

6.

7.

8.

9.

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Phra Narai Phra Isuan Phra Phrom Phra Panjasikorn Phra Vissukam Phra Porakhontap Phra Khru Ruesi Phra Kanes Phra Phirab

≈—°…≥–°“√μ—Èß»’√…– Ú ·∫∫ Two styles of the setting up of the Teachersû Masks

æ√–§√ŸƒÂ…’ æ√–ª√§π∏√√æ æ√–«‘ ÿ°√√¡ æ√–ªí≠® ’¢√ æ√–æ‘√“æ

Ò. Ú. Û. Ù. ı.

1.

2.

3.

4.

5.

‡∫◊ÈÕßμË”≈ß¡“®“°°“√μ—Èß»’√…–§√Ÿ §«√®– ‡ªìπ√Ÿª¿“æ§√Ÿ∫“Õ“®“√¬åºŸâ≈à«ß≈—∫‰ª·≈â«·≈–‡§√◊ËÕß ¥πμ√’μà“ßÊ ∑’Ë¡’Õ¬Ÿà „À⥟ «¬ß“¡·μà ‰¡àμâÕ߇ªìπ«ß Õ¬à “ ß∑’Ë „™â∫√√‡≈ß °“√μ—È߇§√◊ËÕߧ«√‡«âπ™àÕß∑“ß ”À√—∫„Àâª√–∏“πª√–°Õ∫æ‘∏’‡¥‘π‰¥â ‡¡◊ËÕ‡«≈“‡®‘¡ ·ªÑß°√–·®– æ◊ÈπμË”≈ß¡“®“°‡§√◊ËÕߥπμ√’‡≈Á°πâÕ¬ ®—¥‡ªìπ ∫√‘‡«≥°«â“ßæÕ„Àâμ—È߇§√◊ËÕß —߇«¬‰¥â§√∫∂â«π ·≈– μàÕ≈ß¡“‡ªìπ∑’Ëπ—Ëߪ√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ

Phra Khru Ruesi Phra Porakhontap Phra Vissukam Phra Panjasikorn Phra Phirab

Photo of the setting up of the teachersû heads, a set of offerings and the presiding teacher. Two styles of the setting up of the Teachersû heads.

Below the teachersû heads, the portraits of the late teachers and musical instruments should be placed harmoniously. It is not necessary that the musical instruments be set in the order of a real ensemble. A passage among the instruments should be available for a jerm (a white pasto) application.

A little bit lower than the musical instruments, a set of offerings is placed. Lowest of all is the seat of the presiding teacher.

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º—ß°“√μ—Èß»’√…– ‡§√◊ËÕß —߇«¬ ·≈–∑’Ëπ—Ëߪ√–∏“πª√–°Õ∫æ‘∏’ Plan of the setting up of the teachersû masks, a set of offerings and the seat of the presiding teacher

»’√…–§√Ÿ Ò. μ–‚æπ Ú. √Ÿª§√Ÿ·≈–‡§√◊ËÕߥπμ√’ Û. ‡§√◊ËÕß —߇«¬ ÿ° ‡§√◊ËÕß∫Ÿ™“ª√–∏“𠇧√◊ËÕß —߇«¬¥‘∫ ∑’Ëπ—Ëߪ√–∏“π

1. Teachersû masks 2. Tapone 3. Portaits of the teachers and musical instruments 4. Cooked offerings 5. Offering of the presiding teacher 6. Uncooked offerings 7. Seat of the presiding teacher

Ù. ı. ˆ. ˜.

æ◊È π ∑ÿ ° Ê √–¥— ∫ ªŸ ¥ “¥¥â « ¬ºâ “ ¢“«≈â « π ¥â “ π¢«“¢Õß°“√μ—È ß ·∑à π ∫Ÿ ™ “ μ—È ß ‚μä – À¡Ÿà ∫Ÿ ™ “ æ√–æÿ∑∏√Ÿª Ò À¡Ÿà

The platform at all levels is covered with white cloth. On the right hand side of the platform, a Buddhist altar is placed.

®“°æ√–æÿ∑∏√Ÿª«π “¬ ‘≠®πå ‰ ª¬— ß »’ √ …– §√Ÿ·≈–‡§√◊ËÕߥπμ√’¥â«¬ πÕ°®“°°“√®—¥«“ß»’√…– ·≈–‡§√◊Ë Õ ß¥πμ√’ · ≈â « §«√®–¡’ · ®°— π ¥Õ°‰¡â ª√–¥—∫‰«â‡æ◊ËÕ‡ªìπ°“√∫Ÿ™“·≈–„À⥟ «¬ß“¡¥â«¬

From the Buddha image, a protective thread is stretched to the teachersû masks and the musical instruments. Vases of flowers are to decorate the altar for paying homage and for the sake of beauty.

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º—ß· ¥ß‡§√◊ËÕß∫Ÿ™“¢Õߪ√–∏“π Plan of Offering

‡∑’¬π™—‡∑’¬π∑Õß ‡∑’¬π‡ß‘π ¢—π°”π≈

Ò. Ú. Û. Ù.

1. Victory drum 2. Golden drum 3. Silver drum 4. Bowl of flowers, incense sticks, candles white cloth and a six baht fee 5. Vase of flowers 6. Incense sticks pot 7. Lustral water bowl 8. Pillow 9. Cooked offerings 10. Uncooked offerings

·®°—π¥Õ°‰¡â ı. °√–∂“ß∏Ÿª ˆ. ∫“μ√πÈ”¡πμå ˜. À¡Õπ°√“∫ ¯. ‡§√◊ËÕß —߇«¬ ÿ° ˘. ‡§√◊ËÕß —߇«¬¥‘∫ Ò.

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º—ß∫√‘‡«≥ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑Plan of the ceremonial place

»’√…–§√Ÿ Ò. μ–‚æπ Ú. √Ÿª§√Ÿ·≈–‡§√◊ËÕߥπμ√’ Û. ‡§√◊ËÕß —߇«¬ ÿ° ‡§√◊ËÕß∫Ÿ™“ª√–∏“𠇧√◊ËÕß —߇«¬¥‘∫ ∑’Ëπ—Ëߪ√–∏“π ‚μä–À¡Ÿà∫Ÿ™“ æ√–æÿ∑∏√Ÿª «ßªïòæ“∑¬å∫√√‡≈ß„πæ‘∏’ ‰À«â§√Ÿ ∂“π∑’Ë ”À√—∫ª√–∏“π¢Õßß“π ºŸ√â «à ¡æ‘∏·’ ≈–ºŸ√â ∫— ‡™‘≠

1. Teachersû masks 2. Tapone 3. Portraits of the late teachers and musical instruments 4. Cooked offerings 5. Offerings of the presiding teacher 6. Uncooked offerings 7. Seat of the presiding teacher 8. Buddhist altar 9. Pi Paat ensemble 10. Area of he M.C. and guests 11. Celebrants

Ù. ı. ˆ. ˜. ¯. ˘. Ò. ÒÒ.

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À¡«¥∑’Ë Û Õÿª°√≥å

Section 3 Paraphernalia

Õÿª°√≥åμà“ßÊ ∑’Ë®–μâÕ߇μ√’¬¡®—¥À“‡æ◊ËÕ„™â „π°“√ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬ ª√–°Õ∫¥â«¬

The paying homage paraphernalia must be supplied in the wai Khru ceremonies as follows :

Ò. æ√–æÿ∑∏√Ÿª

1. Buddha image 2. Teachersû heads 3. Portraits of the late teacher 4. a Buddhist altar 5. elevated platform 6. musical instruments 7. offerings 8. lustral water bowl 9. Materials for the making of lustral water : wax candle weighted 1 baht, silver leaf, golden leaf, silver and golden leaf, bale fruit leaf, kaffir fruit and thatch grass (for lustral water sprinkling)

Ú. »’√…–§√Ÿ Û. ¿“æ§√Ÿ Ù. ‚μä–À¡Ÿà∫Ÿ™“æ√–æÿ∑∏√Ÿª ı. ·∑àπ∫Ÿ™“ ˆ. ‡§√◊ËÕߥπμ√’ ˜. ‡§√◊ËÕß —߇«¯. ∫“μ√πÈ”¡πμå ˘. ‡§√◊ËÕß∑”πÈ”¡πμå ª√–°Õ∫¥â«¬ ‡∑’¬π ¢’Ⱥ÷Èß·∑â∑”πÈ”¡πμåÀπ—° Ò ∫“∑ „∫‡ß‘π „∫∑Õß „∫𓧠„∫¡–μŸ¡ ≈Ÿ°¡–°√Ÿ¥ À≠ⓧ“ ( ”À√—∫æ√¡ πÈ”¡πμå)

10. jar of a white pasto composed of perfumed powder, scented water, mixed scented water with the enough amount for all the celebrants

Ò. ‚∂·ªÑ ß °√–·®– ª√–°Õ∫¥â « ¬ ·ªÑ ß °√–·®– πÈ”Õ∫‰∑¬ πÈ”Õ∫ª√ÿß („ÀâæÕ°—∫ºŸâ‡¢â“æ‘∏’)

11. white cloth to cover the elevates platform, one-meter piece of white cloth for the seat of the presiding teacher, one-meter piece for bearing Tapone and two-meter piece for putting around tapone (both at the elevated platform and at the Pi Paat ensemble), seven-metre piece for the presiding teacher to wear

ÒÒ. ºâ“¢“« ”À√—∫ªŸ·∑àπ∫Ÿ™“ ªŸπ—Ëß ( ”À√—∫ ª√–∏“π) Ò ‡¡μ√ ªŸ°√“∫ ( ”À√—∫ª√–∏“π) Ò ‡¡μ√ ªŸ√Õßμ–‚æπ Ò ‡¡μ√ √—¥Õ°μ–‚æπ Ú‹ ‡¡μ√ Ú‹ º◊π (∑’Ëμ—Èß∫π·∑àπ∫Ÿ™“·≈–∑’˫ߪïòæ“∑¬å) ”À√—∫ª√–∏“π πÿàß ˜ ‡¡μ√ (À√◊Õ„À⬓«æÕ ”À√—∫ª√–∏“ππÿàß ·≈–Àà¡)

12. musical instruments to be played to support the ceremonies

ÒÚ. ‡§√◊ÕË ß¥πμ√’ ”À√—∫„™â∫√√‡≈ߪ√–°Õ∫æ‘∏’ ÒÛ. ∫“μ√πÈ”¡πμå

13. lustral water bowl 14. candle holders for victory candle, magnifying candle and golden candle

ÒÙ. ‡™‘߇∑’¬π™—¬ ‡™‘߇∑’¬π‡ß‘𠇙‘߇∑’¬π∑Õß Òı. °√–∂“ß∏Ÿª

15. incense sticks pot

Òˆ. À¡Õπ°√“∫

16. pillow to rest the grasping hands and the forehead while kneeling

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Ò˜. æ«ß¡“≈—¬§≈âÕß»’√…–§√Ÿ ·≈–‡§√◊ËÕß ¥πμ√’

17. garlands on the teachersû heads and musical instruments

Ò¯. ¢— π °”π≈ ”À√— ∫ ª√–∏“πª√–°Õ∫æ‘ ∏’ ª√–°Õ∫¥â«¬¢—π≈â“ßÀπâ“ (‡ âπºà“»Ÿπ¬å°≈“߉¡àμË”°«à“ ˆ π‘È«) ºâ“‡™Á¥Àπâ“ ’¢“« ¥Õ°‰¡â ∏Ÿª‡∑’¬π ‡ß‘π°”π≈

18. six-inch diametor bowl of white handkerchief flowers, incense sticks, candles and a fee for the presiding teacher

Ò˘. ¢—π„ à¢â“«μÕ°¥Õ°‰¡â

19. bowl of poped rice and flowers

Ú. ¥â“¬ “¬ ‘≠®πå

20. protective thread 21. six-diameter bowls of white handkerchief, flowers, incense sticks, candles and a fee ; as many as the number of the musicians

ÚÒ. ¢—π°”π≈ ‡∑à“®”π«ππ—°¥πμ√’ ÚÚ.‡∑’¬π™—¬ Àπ—° ˘ ∫“∑ ‡∑’¬π‡ß‘π Àπ—° ˆ ∫“∑ ‡∑’¬π∑Õß Àπ—° ˆ ∫“∑ ÚÛ. ºâ“Àπâ“‚¢π ‡∑à“°—∫®”π«π‡§√◊ËÕߥπμ√’ ∑’Ëπ”‡¢â“æ‘∏’ ‰À«â§√Ÿ

22. victory candle weighted nine (9) baht, silver candle weighted six (6) baht, golden candle weighted six (6) baht

À¡«¥∑’Ë Ù ∫ÿ§≈“°√

23. pieces of cloth for the teachersû heads as many as the number of the ceremonial musical instruments

∫ÿ § ≈“°√∑’Ë ® –μâ Õ ß‡™‘ ≠ „π°“√ª√–°Õ∫æ‘ ∏’ ‰À«â§√Ÿ∑ÿ°§√—Èß §◊Õ Ò. ª√–∏“π¢Õßß“π §◊ÕºŸâ‡ªìπºŸâ„À≠à„π°“√ ®—¥ß“π

Section 4 Guests

Ú. ª√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ §◊ÕºŸâ∑’Ë®– Õà “ π‚Õß°“√ ª√–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ μâ Õ ß‡ªì π ºŸâ ∑’Ë ¡’ §«“¡√Ÿâ§«“¡ “¡“√∂®–ª√–°Õ∫æ‘∏’ ‰¥â∂Ÿ°μâÕß ·≈– ‡ªìπºŸ∑â ‡’Ë §“√æ‡≈◊ÕË ¡„ »√—∑∏“¢Õß∫√√¥“»‘…¬“πÿ»…‘ ¬å ·≈–ºŸâ„À≠à‡¢â“√à«¡æ‘∏’

Guests in the wai khru ceremonies are as follows ; 1. the master of ceremonies 2. the presiding teacher with many years of apprenticeship in the world of music, considered to have led an exemplary life which entitles him to be held in great respect.

Û. ºâŸ ∫ √√‡≈߇æ≈ßÀπâ “ æ“∑¬å ª √–°Õ∫æ‘ ∏’ ‰À«â§√Ÿ §◊ÕºŸâ∑’Ë ‰¥â‡§¬√Ë”‡√’¬π‡æ≈ßÀπâ“æ“∑¬å®π¡’ §«“¡√Ÿâ § «“¡ “¡“√∂„π°“√∫√√‡≈߇æ≈ß ´÷Ë ß ª√–∏“πª√–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ ® –‡√’ ¬ °„Àâ ∫ √√‡≈ß„π ‡«≈“‰À«â§√Ÿ‰¥â∂Ÿ°μâÕß

3. the experienced musicians to play ritual tunes

Ù. ºŸâ¡’§«“¡»√—∑∏“ ·≈–»‘≈ªîππ—°¥πμ√’ ‡æ◊ÕË ‡¢â“√à«¡æ‘∏’

4. those who have faith in music and musical artist to join in the ceremonies

24

À¡«¥∑’Ë ı ‡§√◊ËÕß —߇«¬·≈–‡§√◊ËÕß∫Ÿ™“

Section 5 Offerings

‡§√◊ÕË ß —߇«¬„π°“√∫Ÿ™“§√Ÿ μâÕß®—¥„Àâ§√∫∂â«π ∂Ÿ ° μâ Õ ßμ“¡·∫∫·ºπ∑’Ë ‚ ∫√“≥°“≈‰¥â °”Àπ¥‰«â ª√–°Õ∫¥â«¬

Offerings to pay homage to the teachers must be prepared according to the ancient tradition as follows :

Ò. À—«À¡Ÿ

¥‘∫- ÿ°

Ú. ‡ªì¥

¥‘∫- ÿ°

Û. ‰°à

¥‘∫- ÿ°

Ù. ·ªÖ–´–

¥‘∫- ÿ°

ı. °ÿßâ

¥‘∫- ÿ°

ˆ. ªŸ

¥‘∫- ÿ°

1.

2.

3.

4.

5..

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

hogs heads : uncooked/cooked duck : uncooked/cooked chicken : uncooked/cooked steamed fish : uncooked/cooked shrimp : uncooked/cooked crab : uncooked/cooked sauce Baisri Pak Charm banana coconut meat Khanom Tom Dang (dessert) Khanom Tom Khao (dessert) Khanom Kan Low (dessert) Khanom Hoo Chang (dessert) Cigarettes, betel nut and betel vine liquor water Khanom Chan (dessert) Khanom Tuay Fu (dessert) Nine (9) kinds of fruit (those with inauspicious sounding names such as mongkut, lamut, pootsa are not allowed) 21) durian 22) jack fruit

˜. πÈ”®‘È¡ ¯. ∫“¬»√’ª“°™“¡ ˘. °≈⫬πÈ” Ò. ¡–æ√â“«ÕàÕπ ÒÒ. ¢π¡μâ¡·¥ß ÒÚ. ¢π¡μâ¡¢“« ÒÛ. ¢π¡§—πÀ≈“« ÒÙ. ¢π¡ÀŸ™â“ß Òı. ∫ÿÀ√’Ë À¡“° æ≈Ÿ Òˆ. ‡À≈â“‚√ß Ò˜. πÈ” Ò¯. ¢π¡™—Èπ Ò˘. ¢π¡∂⫬øŸ Ú. º≈‰¡â ˘ Õ¬à“ß (¡—ߧÿ¥ ≈–¡ÿ¥ æÿ∑√“ ¡–‰ø Àâ“¡„™â) ÚÒ. ∑ÿ‡√’¬π ÚÚ.¢πÿπ

25

Section 6 Preparation for the Piti Krob recepient

À¡«¥∑’Ë ˆ °“√‡μ√’¬¡μ—«ºŸâ√—∫°“√§√Õ∫ ‡¡◊ËÕ»‘…¬“πÿ»‘…¬å·Ààß°“√¥πμ√’ ‰∑¬ ¡’§«“¡ ª√– ߧ宖¢Õ√—∫°“√§√Õ∫‡æ◊ÕË ‡√‘¡Ë °“√‡√’¬π«‘™“¥πμ√’ À√◊Õ°“√μàÕ‡æ≈ßÀπâ“æ“∑¬å°Áμ“¡ ‘Ëß∑’Ë®–μâÕ߇μ√’¬¡ æ√âÕ¡‡¡◊ËÕ‡¢â“‰ª¢Õ√—∫°“√§√Õ∫μàÕª√–∏“πª√–°Õ∫ æ‘∏’ ‰À«â§√Ÿ °Á§◊Õ

The pupils who wish to apply for the Piti Krob rite in order to start the learning of Thai music or resume the Na Paat song need to be equipped with the following items:

Ò. ¢—π≈â“ßÀπâ“¢π“¥‡ âπºà“»Ÿπ¬å°≈“ß ˆ π‘«È

1. four-inch diameter wash bowl

Ú. ºâ“‡™Á¥Àπâ“ ’¢“«

2. white handkerchief

Û. ¥Õ°‰¡â ∏Ÿª-‡∑’¬π 3. flowers, incense sticks and candles

Ù. ‡ß‘π°”π≈ ‚¥¬π”√“¬°“√∑’Ë Ú-Û ·≈– Ù „ à ‰«â„π¢—π≈â“ßÀπâ“

4. a fee (the 2, 3, 4 items are put in the wash bowl)

26

Proceeding of the custom of paying homage to the musical teachers

¢—ÈπμÕπ°“√ª√–°Õ∫ æ‘∏’‰À«â§√Ÿ¥πμ√’‰∑¬

‚¥¬... »‘≈ªï μ√“‚¡∑

By Silapee Tramote

ª√–‡æ≥’°“√‰À«â§√Ÿ ‡ªìπª√–‡æ≥’∑’ˬ÷¥∂◊Õ ªØ‘∫—μ‘°—π¡“·μà ‚∫√“≥ „π —ߧ¡¢Õߥÿ√‘¬“ߧ»‘≈ªîπ ·≈–§’μ»‘≈ªîπ Õ¬à“ßπâÕ¬®–μâÕß®—¥æ‘∏’À√◊Õ‰¥â‡¢â“ √à « ¡„πæ‘ ∏’ ‰À«â§√Ÿªï≈– Ò §√—Èß ∂◊Õ‡ªìπ°“√· ¥ß §«“¡°μ—≠êÿμ“ √–≈÷°∂÷ß«‘™“∑’Ë∫Ÿ√æ§≥“®“√¬å ‰ ¥â ª√– ‘∑∏‘Ϫ√– “∑„Àâ π—∫‡ªìπ°“√À“§«“¡‡ªìπ ‘√‘ ¡ß§≈¡“ Ÿàμπ¥â«¬æ‘∏’°“√π’È

In the Thai classical music circle, the custom of paying homage to the teachers is the traditional yearly ceremony to pay respect and to express gratitude to the teachers. Only certain senior teachers, those who have many years apprenticeship in the world of Thai classical music, and most of all, have received special permission from their own teachers, will qualify to conduct the rite. He will dress in the traditional white shirt and white panung for this special occasion.

„π∑“ߪؑ∫—μ‘ °Á®”μâÕßÀ“∫ÿ§§≈ºŸâ®–‡ªìπºŸâπ” „π°“√ª√–°Õ∫æ‘ ∏’ ·≈–®–μâ Õ߇ªìπ ºŸâ ∑’Ë ¡’ §ÿ≥ «ÿ ≤‘ «— ¬ «ÿ ≤‘ ¡’ § «“¡√Ÿâ § «“¡ “¡“√∂∑“ߥπμ√’ ·≈– ª√–°“√ ”§— ≠ §◊ Õ μâ Õ ß‰¥â ºà “ π°“√‡¢â “ æ‘ ∏’ √— ∫ ¡Õ∫ ®“°§√Ÿ Õ “®“√¬å ¢ ÕߺŸâ π—È π Õ’ ° ¢—È π Àπ÷Ë ß ®÷ ß ®–‡ªì π ºŸâ ¡§«√‰¥â ‡ ªì π ºŸâ ª √–°Õ∫æ‘ ∏’ À √◊ Õ ‡ªì π ª√–∏“π„π °“√ª√–°Õ∫æ‘ ∏’ ∫Ÿ ™ “§√Ÿ ‰ ¥â Õ ¬à “ ß∂Ÿ ° μâ Õ ß „π°“√ ª√–°Õ∫æ‘∏’°Á®–μâÕßπÿàߢ“«Àà¡¢“«μ“¡ª√–‡æ≥’∑’Ë ∂◊ժؑ∫—μ‘°—π¡“

After the preparation of ceremonial paraphernalia and offerings according to the traditional paying homage to the musical teachers, proceeding is as follows :

À≈—ß®“°¡’°“√®—¥‡μ√’¬¡ ‘ËߢÕ߇§√◊ËÕß„™âμ—Èß ‡§√◊Ë Õ ß — ß ‡«¬∫Ÿ ™ “§√∫∂â « π∫√‘ ∫Ÿ √ ≥å μ “¡·∫∫©∫— ∫ °“√ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ‡√’¬∫√âÕ¬¥’·≈â« ®÷߇√‘Ë¡‡¢â“ Ÿà °“√ª√–°Õ∫æ‘∏’°“√‰À«â§√Ÿ‚¥¬≈”¥—∫¢—ÈπμÕπ ¥—ßπ’È

The master of ceremonies, presented himself before the Buddhist altar, commences the ceremonies by lighting candles and incense sticks to invoke the blessings of the Triple Gems.

ª√–∏“π∑’Ë ®— ¥ „Àâ ¡’ ß “πª√–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ ®–‡ªìπºŸ®â ¥ÿ ∏Ÿª‡∑’¬π∫Ÿ™“æ√–√—μπμ√—¬∑’·Ë ∑àπª√–¥‘…∞“π æ√–æÿ∑∏√Ÿª ‡¡◊ËÕ®ÿ¥‡ √Á®·≈â«®–¡’ºŸâ√—∫‡∑’¬π™π«π ®“°ª√–∏“πß“π ¡“„Àâª√–∏“π„π°“√ª√–°Õ∫æ‘∏’

The presiding teacher, having received the lighting candle from the master of ceremonies, lights the victory candle, the golden candle and the silver candle, including 27

incense sticks to invoke the blessings of the musical gods and the deities who encourage branches of art and music.

ª√–∏“π„π°“√ª√–°Õ∫æ‘ ∏’ ®ÿ ¥ ‡∑’ ¬ π™— ‡∑’¬π∑Õß ‡∑’¬π‡ß‘π μ“¡≈”¥—∫ ·≈–®ÿ¥∏Ÿª∫Ÿ™“ Õߧå¥ÿ√‘¬‡∑æ ·≈–‡∑懮⓷Ààß°“√¥πμ√’·≈–»‘≈ª ∑—Ë«Ê ‰ª

Afterward, while making lustral water and preparing to raise the food offering, the teacher asks his assistant to hand out the lighting candle to the celebrants to ensure that the blessings are extended to everybody. The celebrants, after invoking the blessings of the Triple Gems and the late teachers return flowers, candles and incense sticks to the assistant presiding teacher who places them on the location of musical instruments. Only incense sticks are inserted into all of the food offerings.

À≈— ß ®“°®ÿ ¥ ∏Ÿ ª ‡∑’ ¬ π°≈à “ «∫Ÿ ™ “‡∑æ·Àà ß »‘≈ª–‡ √Á®·≈â« √—∫‡∑’¬π™π«π®“°ºŸ™â «à ¬´÷ßË ¬—ß¡‘‰¥â¥∫— π”¡“®ÿ¥‡∑’¬π∑’Ë¢—ππÈ”¡πμå ·≈–¡Õ∫‡∑’¬π™π«ππ—Èπ 𔉪„À⺟⇢â“√à«¡„πæ‘∏’®ÿ¥∫Ÿ™“·≈–¢Õæ√¢Õ§«“¡ ”‡√Á ® ®“°‡∑æ‚¥¬∑—Ë « °— π √–À«à “ ß∑’Ë ∫ √√¥“ºŸâ ∑’Ë ‡¢â“√à«¡„πæ‘∏’®ÿ¥∏Ÿª‡∑’¬π∫Ÿ™“π—Èπ ª√–∏“π„π°“√ ª√–°Õ∫æ‘ ∏’ °Á ® –°≈à “ «∫∑§“∂“∑”πÈ” ¡πμå ‰ª æ√âÕ¡Ê °—π ‡¡◊ËÕ∫√√¥“ºŸâ‡¢â“√à«¡„πæ‘∏’®ÿ¥∏Ÿª‡∑’¬π °≈à“«Õ∏‘…∞“π∫Ÿ™“§√Ÿ‡ √Á®·≈â« ºŸ™â «à ¬„π°“√ª√–°Õ∫ æ‘ ∏’ π”¥Õ°‰¡â ∏Ÿ ª ‡∑’ ¬ π¡“«“ß∫π∑’Ë μ—È ß ‡§√◊Ë Õ ß¥πμ√’ μà “ ßÊ ∑’Ë μ—È ∫Ÿ ™ “§√Ÿ π”∏Ÿ ª ¡“ªí ° ∫π‡§√◊Ë Õ ß — ß ‡«∑ÿ°‡§√◊ËÕß ‡§√◊ËÕß≈– Ò ¥Õ° ®π§√∫∂â«π

The officiating teacher leads the invocations which include the following order :

ª√–∏“πºŸâª√–°Õ∫æ‘∏’ ®–‡√‘Ë¡°≈à“«‚Õß°“√ ∫Ÿ™“§√Ÿπ”„Àâ∫√√¥“ºŸ√â «à ¡„πæ‘∏°’ ≈à“«μ“¡ μ“¡μ”√“ ∑’Ë ‰¥â√—∫¡Õ∫®“°§√ŸÕ“®“√¬å¡“‚¥¬≈”¥—∫¥—ßπ’È

With the opening prayers to pay homage to the Triple Gems upon the assembly, the teacher instructs the musicians to play the Na Paat Satukarn song, determined specially at this time to be Satukarn klong.

‡√‘¡Ë ¥â«¬∫∑°≈à“«π”∫Ÿ™“æ√– Û ®∫ ‡¡◊ÕË °≈à“« ®∫·≈â« «ßªïòæ“∑¬å∑’Ë¡’ ‰«â‡æ◊ËÕ∫√√‡≈߇æ≈ßÀπâ“æ“∑¬å ª√–®”·μà≈–∫∑À≈—ß®“°°≈à“«π”®∫ ”À√—∫∫∑ ∫Ÿ™“æ√–π’È °”Àπ¥„Àâ∫√√‡≈߇æ≈ß “∏ÿ°“√°≈Õß ‡¡◊Ë Õ ∫√√‡≈ß®∫‡æ≈ß·≈â « ª√–∏“π°≈à “ « ™ÿ¡πÿ¡‡∑«¥“‡©æ“–μπ‡Õß ¡‘μâÕß„Àâ°≈à“«μ“¡∑’Ë ¢÷Èπ¥â«¬ ç —§‡§°√√¡ ®√Ÿ‡ª œ≈œé ‡¡◊ËÕ°≈à“«®∫·≈â« ¥πμ√’®–∫√√‡≈߇æ≈ßμ√– —ππ‘∫“∑ μàÕ‰ªª√–∏“π®–°≈à“«π”∂«“¬¥Õ°‰¡â ∏Ÿª ‡∑’¬π Û ®∫ ¥πμ√’∫√√‡≈߇æ≈ßæ√À¡≥凢â“

The teacher then proceeds to invite the presence of deities responsible for various aspects of art beginning with çSakekarm Jarupae etcé, followed by Tra Sannibat song.

∫∑μàÕ‰ª ª√–∏“π°≈à“«π”¢Õæ√æ√–√—μπμ√—·≈–∫ÿ æ æ°“√’ ´÷Ë ß §«“¡„π∫∑∑’Ë ‡ ªì π ‚Õß°“√π’È °≈à“«∂÷ߧÿ≥æ√–æÿ∑∏ æ√–∏√√¡ æ√– ß¶å §ÿ≥∫‘¥√ ¡“√¥“ §ÿ≥¢Õßæ√–√“™“ §ÿ≥æ√–Õÿªí™¨“¬å‹ §ÿ≥§√Ÿ

Next, the teacher recites three time the words of offering flowers, incense sticks and candles, followed by Brahma Khao song.

The words of worshipping the Triple Gems 28

‡ªìπμâπ ¢Õ„Àâæâπ®“°‡§√“–Àå ‚ »°‚√§¿— ¬ ∑—È ß ª«ß ∫∑π’È°≈à“«π”‡æ’¬ß§√—È߇¥’¬« ¥πμ√’∫√√‡≈߇æ≈ß ‚À¡‚√ß (™ÿ¥‡æ≈ß‚À¡‚√߇¬Áπ)

and confirming deep respect to parents and teachers are recited only once before playing the Home Rong Yen song.

‡¡◊Ë Õ ∫√√‡≈ß®∫™ÿ ¥ ‚À¡‚√ß·≈â « ª√–∏“π °≈à“«π”‰À«âæ√– ·≈–‡∑懮ⓠ§«“¡„π∫∑‚Õß°“√ °≈à“«∫Ÿ™“æ√–™‘π»√’ ∫Ÿ™“æ√–Õ‘»«√ æ√–π“√“¬≥å ·≈–‡∑æμà“ßÊ ‡æ◊ËÕ¢Õ„Àâ¡’·μ৫“¡√ࡇ¬Áπ‡ªìπ ÿ¢ ∑—Ë«Àπâ“°—π ‡¡◊ËÕºŸâ‡¢â“√à«¡æ‘∏’°≈à“«μ“¡®∫ “¡§√—Èß ¥πμ√’∫√√‡≈߇æ≈ßμ√–π“√“¬≥å∫√√∑¡ ‘π∏ÿå ‡æ≈ß ∫“∑ °ÿ≥’ ‡æ≈ß‚§¡‡«’¬π Û ‡æ≈ßμ‘¥μàÕ°—π

The teacher leads the invocations of the blessings of Phra Chinasri, Phra Isuan, Phra Narai and other deities. The celebrants repeat the invocations three times before the consecutive playing of Tra Narai Bantom Sindu, Sakuni Bat and Kom Wien songs.

∫∑∑’˪√–∏“π®–°≈à“«π”∫Ÿ™“ ‡ªìπ∫∑‰À«â ‡∑懮⠓ ·Àà ß ¥πμ√’ À¡“¬∂÷ ß Õß§å ¥ÿ √‘ ¬ ‡∑æ§◊ Õ æ√–«‘ ÿ°√√¡ æ√–ªí≠® ’¢√ ·≈–æ√–ª√§π∏√√æ °≈à “ «∫Ÿ ™ “∫∑π’È Û §√—È ß ¥πμ√’ ® –∫√√‡≈߇æ≈ß μ√–æ√–ª√§π∏√√æ ·≈–‡æ≈߇ ¡Õ‡∂√

Then the teacher leads the invocations of the musical gods : Phra Vissukam, Phra Panjasikorn, Phra Porakhontap.

The invocations are repeated three times, followed by Tra Prakhontap and Samer Thane songs.

∫∑μàÕ‰ª ª√–∏“π°≈à“«π”∫∑‡™‘≠‡∑欥“ „Àâ ¡ “ ∂‘ μ ¬å ¬— ß ª√‘ ¡ ≥±≈æ‘ ∏’ °”®— ¥ ‡ π’ ¬ ¥®— ≠ ‰√ ∑ÿ°¢å ‚»° ‚√§¿—¬μ≈Õ¥®πÕÿªí∑«—πμ√“¬ „Àâ ≈“‰ª ‘Èπ ‡¡◊ËÕ®∫∫∑ Û §√—Èß·≈â« ¥πμ√’∫√√‡≈߇æ≈ß μ√–‡™‘≠

The teacher invites, next, all gods to attend the ceremonies to expel all evils.

After the three-time repetition of the invocations, Tra Chern song is played.

Finally, all the celebrants recite three times the prayer of çNamoé and the teacher leads the invocations of Phra Phirab.

The song of Ong Phra Phirab is played.

μà Õ ‰ª‡ªì π ∫∑‚Õß°“√‡™‘ ≠ Õߧå æ √–æ‘ √ “æ °àÕπ∑’˪√–∏“π®–°≈à“«π”‚Õß°“√‡™‘≠ ∑ÿ°§πμâÕß μ—Èßπ‚¡ Û‹ ®∫ ‡¡◊ËÕª√–∏“π°≈à“«π”®∫ Û §√—Èß ¥πμ√’∫√√‡≈߇æ≈ßÕߧåæ√–æ‘√“æ‡μÁ¡Õߧå

The order of raising the food offerings begins with the pouring of liquor into the glass (the bottle must be open), followed by the lighting of cigarettes ; the preparation of sauce for hogs heads, duck, chicken, fish, crab, shrimp ; and the peeling of some fruit. The teacher recites thrice the prayer of Namo and leads the words of food offerings for three times. Nang Kin and Sen Lau songs are played.

°“√°≈à “ «π”‚Õß°“√∫Ÿ ™ “§√Ÿ À ¡¥¢—È π μÕπ „π°“√°≈à“«∫Ÿ™“‡æ’¬ßπ’È μàÕ‰ªπ’ȇªìπ¢—ÈπμÕπ∑’Ë®– ‡μ√’ ¬ ¡∂«“¬‡§√◊Ë Õ ß — ß ‡«¬ ‡√‘Ë ¡ ¥â « ¬°“√√‘ π ‡À≈â “ „ à·°â« (‡ªî¥¢«¥‰«â) ®ÿ¥∫ÿÀ√’Ë∂«“¬ ‡Õ“πÈ”®‘È¡∑“ ‡§√◊ËÕß —߇«¬®”æ«°À—«À¡Ÿ ‡ªì¥ ‰°à °ÿâß ªŸ ª≈“ ∑ÿ°™‘Èπ ªÕ°‡ª≈◊Õ°º≈‰¡â∑ÿ°™π‘¥ (‰¡àμâÕß∑ÿ°º≈) ‡¡◊Ë Õ ®— ¥ ∑”∑’Ë ° ≈à “ «¡“π’È ‡ √Á ® ‘È π ·≈â « ª√–∏“π„Àâ ∑ÿ°§πμ—Èßπ‚¡ Û ®∫ ·≈–°≈à“«π”∫∑«à“¥â«¬°“√ ∂«“¬‡§√◊ËÕß —߇«¬∫∑≈– Û ®∫ ‡ √Á® ‘Èπ ¥πμ√’ ∫√√‡≈߇æ≈ßπ—Ëß°‘π·≈–‡æ≈߇´àπ‡À≈â“ 29

Then comes a short interval before the teacher requesting all the celebrants to recite the prayer of Namo for three times.

The teacher himself leads a few words thrice to remove the offerings. The song of Brahma Ok and Samer Khao Thi are played to send the deities off the their heavenly abodes.

‡¡◊Ë Õ ®∫‡æ≈ßπ—Ë ß °‘ π ·≈–‡æ≈߇´à π ‡À≈â “ ·≈â « √Շ撬ß√–¬–Àπ÷ßË ª√–∏“π®–°≈à“«π”≈“‡§√◊ÕË ß —߇«‚¥¬„Àâ ∑ÿ ° §πμ—È ß π‚¡ Û ®∫ ·≈â « ª√–∏“π°≈à “ « π”≈“‡§√◊Ë Õ ß — ß ‡«¬ Û ®∫ ¥πμ√’ ∫ √√‡≈߇æ≈ß æ√“À¡≥å Õ Õ° ·≈–‡æ≈߇ ¡Õ‡¢â “ ∑’Ë ‡ªì π °“√ Õ—≠‡™‘≠‡∑æ∑—Èߪ«ß°≈—∫¬—߇∑« ∂“π μàÕ‰ªπ’Ȫ√–∏“π®–‡ªìπºŸâª√–°Õ∫æ‘∏’¥â«¬°“√ —°°“√–∫Ÿ™“‡∑æ·≈–∫Ÿ√æ§≥“®“√¬å∑“ߥÿ√‘¬“ߧ »‘≈ªá·≈–§’μ»‘≈ªá ¥â«¬°“√°≈à“«∫Ÿ™“„π∫∑§“∂“ ‚ª√¬¢â “ «μÕ°¥Õ°‰¡â ¥πμ√’ ® –∫√√‡≈߇æ≈ß ‚ª√¬¢â“«μÕ° ª√–∏“π®–‚ª√¬¢â“«μÕ°¥Õ°‰¡â ‰ª∑’Ë ‡»’¬√‡∑æ ‡§√◊ËÕß∫√√‡≈ß·≈–‡§√◊ËÕß —߇«¬∑’Ëμ—È߉«â ‡¡◊Ë Õ ‡ √Á ® °“√‚ª√¬¢â “ «μÕ°¥Õ°‰¡â ª√–∏“π®– ª√–æ√¡πÈ”¡πμå —°°“√–∫Ÿ™“‡»’¬√‡∑æ ¢—ÈπμÕππ’È ¥πμ√’ ® –∫√√‡≈߇æ≈ß¡À“™— ¬ ª√–∏“π‡®‘ ¡ ·ªÑ ß °√–·®–∑’ˇ»’¬√‡∑æ®π§√∫ ‡®‘¡∑’Ëμ–‚æπ∑’Ëμ—Èß∫Ÿ™“ ®“°π—Èπ®–‡®‘¡‡§√◊ËÕߥπμ√’∑’Ëμ—Èß∫Ÿ™“‰«â

The presiding teacher recites incantations to pay homage to the deities and senior teachers in classical music.

The Pi Paat ensemble plays Proy Khao Tog song while the teacher scatters poped rice and flowers over the teachersû masks, the musical instruments and the offerings.

Lustral water is sprinkled to the teachersû masks to represent the act of paying homage.

The song of Mahachai is being heard while the presiding teacher applies a white paste (jerm) to the Tapone and all musical instruments.

À≈—ß®“°ª√–°Õ∫æ‘∏’‡®‘¡‡§√◊ËÕßμ—Èß∫Ÿ™“·≈â« æ‘∏’°“√μàÕ‰ª§◊Õæ‘∏’‡®‘¡Àπâ“·≈–æ‘∏’§√Õ∫§√Ÿ¥πμ√’ ‡æ◊ËÕ‡√’¬π√Ÿâ‡§√◊ËÕߥπμ√’·≈–»÷°…“‡æ≈ßÀπâ“æ“∑¬å μ“¡≈”¥—∫¢Õ߇æ≈ß

The next orders are Piti Jerm Na (application of a whole paste to the pupilûs forehead) and Piti Krob (initiation rite) to experience the musical instruments and a series of Na Paat songs.

ºŸâ∑’ˇ¢â“√à«¡„πæ‘∏’π—Èπ ®–·∫à߇ªìπ Ú ®”æ«° §◊Õæ«°∑’˺à“π°“√§√Õ∫¡“·≈â« ‡æ’¬ß·μà‡¢â“√à«¡ æ‘ ∏’ ‰À«â§√Ÿ‡∑à“π—Èπ °—∫Õ’°®”æ«°§◊ÕºŸâ∑’˪√– ߧ宖 ‡¢â“æ‘∏§’ √Õ∫ ºŸâ‡¢â“√à«¡æ‘∏’Õ¬à“߇¥’¬« ‰¡àμâÕß¡’Õÿª°√≥å ”À√—∫‡¢â“æ‘∏’§√Õ∫ (¢—π‡§√◊ËÕß°”π≈) ®–‡¢â“√—∫ °“√ª√–æ√¡πÈ”¡πμå ‡®‘¡Àπâ“ ·≈–√—∫¥Õ°‰¡â∑—¥ÀŸ („∫‡ß‘π „∫∑Õß „∫𓧠À≠â“·æ√°) ‡¡◊ËÕÀ¡¥æ‘∏’ π’È·≈â« °Á®–‡ªìπæ‘∏’§√Õ∫ æ‘∏’§√Õ∫®–·μ°μà“ß°—π μ“¡§«“¡ª√– ß§å ¢ ÕߺŸâ ‡ ¢â “ æ‘ ∏’ § √Õ∫ ®–‡√’ ¬ 𠇧√◊ËÕߥπμ√’ ·≈–‡æ≈ßÀπâ“æ“∑¬å√–¥—∫‰Àπ

The participants are categorized into two groups i.e. those real Krob recipients who join only the paying homage to the musical teachers ceremonies and those who apply to receive the Piti Krob rite.

It is not necessary for those who only participate in the wai khru ceremonies to prepare Piti Krob items (a bowl of flowers, 30

incense sticks and a six baht token contribution). They merely receive lustral water and a while paste being applied to their forehead and flowers (silver leaf, golden leaf, silver and gold leaf and Bermuda grass) to be placed behind one ear. The next period is dedicated to those who submit themselves to the Rite of Piti Krob. This rite varies according to the instruments that the pupils wish to learn.

°“√‡¢â“√—∫°“√§√Õ∫ ≈”¥—∫·√° ®–‡ªìπæ«° ºŸâ∑’ˇ√’¬π‡§√◊ËÕß “¬ ·≈–§’μ»‘≈ªá ‡√‘Ë¡¥â«¬°“√‡¢â“√—∫ °“√ª√–æ√¡πÈ”¡πμå ‡®‘¡Àπâ“ ·≈–√—∫¥Õ°‰¡â∑—¥ÀŸ ®“°π’È ºŸâ ‡ ¢â “ √— ∫ °“√§√Õ∫°Á ® –¡Õ∫¢— π °”π≈·°à ª√–∏“π∑’˪√–°Õ∫æ‘∏’ ‡¡◊ËÕ√—∫¢—π°”π≈ ª√–∏“π ®–°≈à “ «‚Õß°“√¥â « ¬μπ‡Õ߇ªì 𠧫“¡À¡“¬∑’Ë «à “ ®–¢Õ√—∫‰«â‡ªìπ»‘…¬å∑“ߥÿ√‘¬“ߧ»‘≈ªá·≈–§’μ»‘≈ªá μ—È ß ·μà ∫— ¥ π’È ®ß¡’ · μà § «“¡ ÿ ¢ §«“¡‡®√‘ ≠ μà Õ ‰ª ‡¡◊ËÕ®∫∫∑·≈–√—∫¢—π°”π≈®“°»‘…¬å ‰ª·≈â« °Á®–„™â ©‘Ëß«“ß∫π»’√…–ºŸâ√—∫ æ√âÕ¡∑—Èß°≈à“«§“∂“°”°—∫‡ªì𠧫“¡À¡“¬„Àâ ¡’ § «“¡‡®√‘ ≠ „π∑“ߥÿ √‘ ¬ “ߧ»‘ ≈ ªá ·≈–§’μ»‘≈ªá „Àâ¡’§«“¡∑√ß®”·¡à𬔠¡’ 쑪í≠≠“ ‡©≈’¬«©≈“¥ ¡’§«“¡ “¡“√∂°â“«Àπâ“μàÕ‰ª ‡ªìπ Õ— π ‡ √Á ® æ‘ ∏’ ° “√§√Õ∫ ”À√— ∫ ºŸâ ∑’Ë ‡ √’ ¬ π‡§√◊Ë Õ ß “·≈–§’μ»‘≈ªá

The first session of Piti Krob is dedicated to the string instruments.

The presiding teacher sprinkles lustral water over the pupils and applies jerm (a white paste) to their foreheads and place flowers behind one ear of the pupils.

Each of them offers a small bowl of flowers, incense sticks and six Baht token contribution to the teacher who says a few words of acceptance and gives blessings, while placing a pair of cymbols on the head of each pupil.

μà Õ ‰ª‡ªì π ºŸâ ∑’Ë ‡ √’ ¬ πªïò æ “∑¬å ¢—È π μÕπμ“¡ æ‘∏’°“√§√Õ∫ ¢—Èπμâπ ‡¢â“√—∫°“√ª√–æ√¡πÈ”¡πμå ‡®‘¡Àπâ“ √—∫¥Õ°‰¡â∑—¥ÀŸ ¡Õ∫¢—π°”π≈·°àª√–∏“π ºŸâ∑”æ‘∏’ (‡À¡◊Õπæ«°·√°) ®“°π’È®–·¬°«‘∏’°“√ §√Õ∫ÕÕ°‰ª¥—ßπ’È ºâŸ ∑’Ë ‡ √’ ¬ πªïò æ “∑¬å ®”æ«°∑”∑”πÕß ®– ‡¢â“‰ªπ—Ëß„π«ß¶âÕß ºâŸ∑’ˇ√’¬πªïòæ“∑¬å ®”æ«°ª√–°Õ∫®—ßÀ«– ®–π—Ëß∑’Ëμ–‚æπ

The next session is devoted to the pupils for Pi Paat ensemble. The presiding teacher again sprinkles lustral water over the pupils and applies jerm to their forehead. Flowers are placed behind one ear of the pupils. The pupils are divided into two sections of the ensemble.

ª√–∏“π„πæ‘∏’®–®—∫¡◊ÕºŸâ‡ªìπ»‘…¬å „Àâμ’¶âÕß μ’μ–‚æπ «√√§·√°¢Õ߇æ≈ßπ—ÈπÊ Û §√—Èß

≈”¥—∫°“√‡¢â“√—∫°“√§√Õ∫§√Ÿ (ªïæò “∑¬å) ¢—Èπ∑’Ë Ò ‡æ≈ß “∏ÿ°“√ ª√–∏“π∂◊Õ‰¡âμ’¶âÕß æπ¡¡◊Õ∫π»’√…–ºŸâ√—∫°≈à“«§“∂“‡ªì𧫓¡À¡“¬«à“ ¢â“懮ⓢծ—∫¡◊Õ„Àâ‡√‘Ë¡μ’‡æ≈ß “∏ÿ°“√ ‡¡◊ËÕΩñ°À—¥ ¥ÿ√‘¬“ߧ»‘≈ªá ◊∫‰ª ®ß¡’§«“¡∑√ß®” ·¡à𬔠¡’ μ‘ ªí≠≠“‡©≈’¬«©≈“¥ ¡’§«“¡ “¡“√∂¬‘ËßÊ ¢÷Èπ‰ª ‡ √Á®·≈â«®—∫¡◊Õ„À⻑…¬åμ’‡æ≈ß “∏ÿ°“√«√√§¢÷Èπμâπ Û §√—Èß ‡ªìπÕ—π‡ √Á®æ‘∏’

Those who wish to learn tunes will sit in the Gong and those who wish to play percussion instruments will sit at the Tapone.

The presiding teacher will hold hands of the pupils to play the Gong and the 31

Tapone with the first stanza of the songs three times.

¢—Èπ∑’Ë Ú ®—∫¡◊Õ„Àâ‡√’¬π‡æ≈ßμ√–‚À¡‚√ß „™â§“∂“«‘∏’ªØ‘∫—쑇™àπ‡¥’¬«°—∫‡æ≈ß “∏ÿ°“√

The order of the Piti Krob rite for Pi Paat is as follows :

¢—Èπ∑’Ë Û ®—∫¡◊Õ„Àâ‡√’¬π‡æ≈ß‚À¡‚√ß°≈“ß«—π ª√–∏“π®—∫¡◊Õ»‘…¬å„Àâμ’‡æ≈ß°√–∫Õß°—π

1. Satukarn song The presiding teacher, holding the gong stick while grasping his hands together on the pupilûs head, recites incantations meaning that with the pupilûs hands in the teacherûs hands to play Satukarn song, the pupils have better memory and musical ability forever and ever. The teacher then holds the pupilûs hands to play the first stanza of Satukarn song three time. Thus ends the ceremony.

¢—Èπ∑’Ë Ù ®—∫¡◊Õ„Àâ‡√’¬π‡æ≈ßÀπâ“æ“∑¬å™π—È Ÿß ª√–∏“π®—∫¡◊Õ»‘…¬å„Àâμ’‡æ≈ß∫“∑ °ÿ≥’ ¢—Èπ∑’Ë ı ‡æ≈ßμ√–Õߧåæ√–æ‘√“æ ‡ªìπ¢—πÈ Ÿß ÿ¥ „π°√≥’ æ‘ ‡ »…∑’Ë ºŸâ ‡ ¢â “ √— ∫ °“√§√Õ∫®–μâ Õ ß∫√√‡≈ß ‡¡◊ËÕ∂÷ß«“√–Õ—π ¡§«√ À¡“¬∂÷ß °. ºà “ π°“√»÷ ° …“‡æ≈ß¡“§√∫∑—È ß Ù ¢—È π ¥—ß°≈à“«¡“·≈â« ¢. §«√‡ªìπºŸâ∑’Ë¡’«—¬«ÿ≤‘ Ÿß §◊ÕÕ“¬ÿ Û ªï ¢÷Èπ‰ª

2. Tra Home Rong Song The incantations and practices are as mentioned in the first stage.

§. ‰¥â ºà “ π°“√Õÿ ª ¡∫∑¡“·≈â « Õ¬à “ ßπâ Õ Àπ÷Ëßæ√√…“ ß. ‰¥â√∫— æ√–∫√¡√“™“πÿ≠“μ („π°√≥’懑 »…)

3. Hom Rong Klang One Sone The presiding teacher holds hands of the pupil to play Krabong Kan song.

ªí®®ÿ∫—ππ’È ®–°”Àπ¥„Àâ‡æ’¬ß Û‹ ¢âÕ·√° °Á∂◊Õ«à“‡ªìπºŸâ∑’Ë¡’«—¬«ÿ≤‘ ·≈–§ÿ≥«ÿ≤‘ ‡À¡“– ¡°—∫ °“√‡√’¬π‡æ≈ß à«π¢âÕ ÿ¥∑⓬¡—°®–‰¡à¡’ ‚Õ°“ ‡¢â“ ¢Õ√—∫æ√–√“™∑“π‰¥â®÷߇ÀÁπ§«√¬°‡«âπ

4. Higher Na Paat Song The presiding teacher holds hands of the pupil to play Bat Sakuni Song.

À¡“¬‡Àμÿ ª√–∏“π®–‡ª≈’¬Ë π§”Õ∏‘…∞“πμ“¡‡æ≈ß π—ÈπÊ à«π«‘∏’°“√‡À¡◊Õπ°—π∑ÿ°¢—ÈπμÕπ

5. Tra Ong Phra Phirab Song This is the supreme stage for the pupils who submit themselves to the Piti Krob rite. They must play this song at the following qualifications : a) Having succeeded in the four stages as mentioned above b) Being 30 years of age c) Having been ordined at least three months

ÿ¥∑⓬‡¡◊ËÕ‡ √Á®¢—ÈπμÕπ°“√§√Õ∫·°à»‘…¬å ∑ÿ°§π·≈â« ª√–∏“π®–°≈à“«∫Ÿ™“§√Ÿ ¢Õ¬ÿμ‘°“√ ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ¢Õ ¡“‚∑…„π ‘Ëߺ‘¥æ≈“¥·≈– ¢Õ§«“¡‡ªìπ ‘√‘¡ß§≈ ®ß¡’¡“ Ÿà ∂“π∑’Ë Ÿà ∂“∫—π ∑’Ë®—¥æ‘∏’°√√¡π’È Ÿà»‘…¬“πÿ»‘…¬å·≈–ºŸâ‡¢â“√à«¡„πæ‘∏’π’È ‚¥¬∑—Ë«°—π ¥πμ√’∫√√‡≈߇æ≈߇™‘¥ ·≈–‡æ≈ß°√“«√” ®∫æ‘∏’ ‰À«â§√Ÿ¥πμ√’ ‰∑¬Õ¬à“ß¡’æ‘∏’√’μÕß

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d) Having a royal permission form His Majesty the King. (a special case)

æ‘ ∏’ ° “√‰À«â § √Ÿ ® –‡ªì π ª√–‡æ≥’ ∑’Ë π— ° ¥πμ√’ À√◊Õ¥ÿ√‘¬“ߧ»‘≈ªîπ §’μ»‘≈ªîπ ®–√à«¡°—πª√–°Õ∫ ‡ªìπª√–®”∑ÿ°ªïμ“¡‚Õ°“ ®–Õ”π«¬ ®÷ß¡’Õ¬Ÿà∑—Ë«‰ª ·μà≈–·Ààß∑’Ë®—¥æ‘∏’°√√¡°Á®–¡’º‘¥‡æ’Ȭπ·μ°μà“ß°—𠉪∫â“ß ´÷Ëß®–‡ªìπ∑—Èß∂âÕ¬§”„π‚Õß°“√∑’˪√–∏“π ºŸâª√–°Õ∫æ‘∏’°≈à“«π” ·≈–¢—ÈπμÕπ«‘∏’°“√ª√–°Õ∫ æ‘∏’°Á¡’·μ°μà“ß°—π‰ª ∑—Èßπ’È°Á ÿ¥·μàª√–∏“πºŸâª√–°Õ∫ æ‘ ∏’ ‰ ¥â √— ∫ °“√¡Õ∫„Àâ ‡ ªì π ºŸâ ª √–°Õ∫æ‘ ∏’ ® “°§√Ÿ Õ“®“√¬å∑“à π„¥ °Á ¡§«√‡ªìπÕ¬à“߬‘ßË ∑’®Ë –¬÷¥∂◊ժؑ∫μ— ‘ μ“¡·π«∑“ß∑’Ë § √Ÿ Õ “®“√¬å ¡ Õ∫„Àâ Õ ¬à “ ߇§√à ß §√— ¥ ®÷ß®–‡√’¬°«à“ 燮√‘≠√Õ¬μ“¡§√Ÿé

At least only the first three qualifications are accepted. The last item should be exempted as it rarely occurs.

N.B. The presiding teacher may change incantations and words of wishes according to the songs while the proceeding remains the same.

Finally, when all the ceremonials are complete, the presiding teacher cites the words of paying homage to the teachers, asks to end the ceremonies and apologizes if there occurs any mistakes.

The presiding teacher then further asks for auspiciousness to reside in the institution that the ceremonies take place and to be with the pupils and all the participants.

”À√— ∫ ºŸâ ‡ ¢’ ¬ ππ—È π ‰¥â √— ∫ °“√¡Õ∫„Àâ ‡ ªì π ºŸâª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ∑—Èß«‘∏’°“√·≈–§”°≈à“«‚Õß°“√ ∫Ÿ™“§√Ÿ ®“° Õ“®“√¬å¡πμ√’ μ√“‚¡∑ ‡¡◊ÕË «—πæƒÀ— ∫¥’ ∑’Ë Ú˘ μÿ≈“§¡ æ.». ÚıÒÙ ‚¥¬‡©æ“–‚Õß°“√ ∫Ÿ™“§√Ÿ∑’ˇªìπμ”√“¢Õߧÿ≥æàÕπ—Èπ ∑à“π‰¥â®“°μ”√“ ¢Õßæ√–¬“ª√– “π¥ÿ√¬‘ »—æ∑å (·ª≈° ª√– “π»—æ∑å) ·≈–¢Õߧ√ŸÀ≈«ßª√–¥‘…∞å ‰æ‡√“– (»√ »‘≈ª∫√√‡≈ß) ∑—Èß Õß∑à“ππ’È π”¡“‡√’¬∫‡√’¬ß¢÷Èπ„À¡à „™â „π°“√ ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ¥ÿ√‘¬“ß§å ‰∑¬¡“‚¥¬μ≈Õ¥ ·≈– ºŸâ ‡ ¢’ ¬ π°Á ∂◊ Õ ªØ‘ ∫— μ‘ ‚ ¥¬‡§√à ß §√— ¥ μ“¡∑’Ë ‰ ¥â √— ∫ ¡Õ∫ μ≈Õ¥‰ª

At this moment, Cherd and Krao Raam Songs are played to officiality conclude the cerenmonies.

Generally, and organization where Thai music is played and anyone possessing or playing a Thai musical instrument will have to perform the wai khru ceremonies every year to pay respect to both human teachers and deities. Different presiding teachers will vary the order in which they will invoke the gods and the spirits of past teachers. Yet, the pupils of a certain presiding teacher shall follow the order of the supplication programme that they have been instructed so that they can be called 33

çTracing the teacher to be prosperousÊ The author of this article was granted permission to perform wai khru ceremonies from Maestro Montri Tramote, the revered father of the author, on Thursday 29th October 1971. The invocation to pay homage to the teachers as edited by Maestro Montri Tramote follow the edition of Phya Prasarn Duriyasap (Plaek Prasarnsap) and Luang Praditpairoh (Sorn Silapabanleng). They are devoutly observed by the author all through the end.

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¿“§ºπ«°

Appendix

°“√®—¥∫“¬»√’ª“°™“¡

Preparation of Bai Sri Pak Charm

¿“¬„π°√«¬„∫μÕßπ”¢â “ «ª“°À¡â Õ ∫√√®ÿ „Àâ‡μÁ¡ π”®—¥«“߇√’¬ß„π™“¡∫“¬»√’ ¥—ß¿“æ

First, In each folded banana leaf rice containers, fill cooked rice from the top of the pot. Next, place the container in an orderly manner on the plate as shown in the photo.

‡¡◊Ë Õ ‡√’ ¬ ߇ √Á ® ·≈â « π”·μß°«“ Ò º≈ ºà“μ“¡¬“«‡ªìπ Û à«π‡∑à“Ê °—π «“ß‰«â√–À«à“ß ™à Õ ß∫“¬»√’ ™à Õ ß≈– Ò ™‘È π °≈â « ¬ÀÕ¡ Ò‹ º≈ ºà“μ“¡¬“«·∫à߇ªìπ Û à«π‡∑à“Ê °—π «“ß‡À¡◊Õπ ·μß°«“ À¡“° æ≈Ÿ ∫ÿÀ√’Ë Õ¬à“ß≈– Ò ™‘Èπ «“ß≈ß „π™“¡∫“¬»√’¥â«¬ ‰¢à¬Õ¥∫“¬»√’μâÕߪհ„À⇰≈’È¬ß ‰¡à¢√ÿ¢√–

«‘∏’∑”¢π¡μâ¡·¥ß ·ªÑߢ⓫‡À𒬫º ¡·ªÑߢ⓫®â“«π‘¥ÀπàÕ𫥄À⇢⓰—πªíôπ‡ªìπ·ºàπ°≈¡Ê ¢π“¥‡À√’¬≠∫“∑ μâ ¡ „Àâ ÿ ° ·≈â « 𔉪§≈ÿ ° °— ∫ ¡–æ√â “ «¢Ÿ ¥ °«π°— ∫ πÈ”μ“≈ªïö∫æÕ‡ªìπ¬“ß¡–μŸ¡

A cocumber is cut into three (3) pieces of the same size and each one is put in the space among each of the Bai Sri. And so is the banana. A piece of betel nuts, a piece of betel vine and a piece of cigarettes are also placed on the plate topped with a fine boiled egg.

¢π¡μâ¡¢“« „™â·ªÑßÕ¬à“߇¥’¬«°—∫¢π¡μâ¡·¥ß π”¡“ªíô𠇪ìπ·ºàπ°≈¡ ‡ âπºà“»Ÿπ¬å°≈“ߪ√–¡“≥ Ú π‘È« μ—¥πÈ”μ“≈ªïö∫°âÕπ‡≈Á°Ê æÕ§”„ àμ√ß°≈“ß Àÿâ¡·ªÑß „Àâ¡‘¥™‘¥ 𔉪μâ¡„Àâ ÿ°§≈ÿ°°—∫¡–æ√â“«¢Ÿ¥

Preparation of Khanom Tom Dang First, Glutionous rice flour mixed with a little bit of rice flour is messaged and moulded in a round shape as big as a one-baht coin.

¢π¡§—πÀ≈“« „™â·ªÑ߇À¡◊Õπ°—∫¢π¡μâ¡·¥ßμâ¡¢“« ªíô𠇪ìπ·∑àß°≈¡Ê ¬“« ª√–¡“≥ Û-Ù π‘È« μâ¡„Àâ ÿ° §≈ÿ°°—∫¡–æ√â“«¢Ÿ¥ ‚√¬¥â«¬πÈ”μ“≈∑√“¬§≈ÿ°ß“§—Ë«

Next, Boil the rolling paste ball and mix with stirring grated cocunut meat and palm sugar.

¢π¡ÀŸ™â“ß „™â·ªÑ߇™àπ‡¥’¬«°—∫¢π¡§—πÀ≈“« ªíôπ‡ªìπ ·ºà π °≈¡·∫πÊ ¢π“¥‡ â π ºà “ »Ÿ π ¬å ° ≈“ß Û π‘È « 35

Preparation of Khanom Tom Khao

μâ¡„Àâ ÿ°§≈ÿ°°—∫¡–æ√â“«¢Ÿ¥ ‚√¬¥â«¬πÈ”μ“≈∑√“§ÿ°ß“§—«Ë

First, use the same flour as Khanom Tom Dang and mould it in a round shape with two (2) - inch diameter. Put the palm sugar in the middle of the moulded flour.

Then, boil the moulded flour until it is well-done. Finally mix it with grated coconut milk.

πÈ”®‘È¡À—«À¡Ÿ º ¡πÈ”æ√‘°‡º“ πÈ”μ“≈ªïö∫ πÈ”¡–π“«

πÈ”®‘¡È ‡ªì¥-‰°à º ¡´’Õ‘È«¢“« ´’Õ‘È«¥” πÈ” â¡ “¬™Ÿ ‚√¬¥â«æ√‘°™’ÈøÑ“À—Ëπ

Preparation of Khanom Kan Lao

πÈ”®‘È¡·ªÖ–´–

‚¢≈°æ√‘ ° ™’È øÑ “ ·¥ß °√–‡∑’ ¬ ¡ „Àâ ‡ ¢â “ °— π ‡μ‘¡πÈ”ª≈“·≈–πÈ”¡–π“«

First, use the same flour as Khanom Tom Khao and mould it into cylinder with the length of 3-4 inches. Then, boil the mouded flour and mix it with grated coconut meat, scalterd over by white sugar and roasted sesame

°“√‡μ√’¬¡·ªÑß°√–·®–

Preparation of Khanom Hoo Chang

·ªÑß°√–·®– πÈ”Õ∫‰∑¬ πÈ”Õ∫ª√ÿß º ¡≈ß „π‚∂°√–·®–§π„À⇢⓰—π

First, use the same flour as Khanom Kan Lao and mould it into the round and flat shape with three-inch diameter. Then, boil it and mix it with grated coconut meat, scaltered over by white sugar and roasted sesame.

‚¢≈°æ√‘°™’ÈøÑ“·¥ß ‡°≈◊Õ °√–‡∑’¬¡ ·≈– ∂—Ë«≈‘ ßμ—¥„À⇢⓰—π ≈–≈“¬¥â«¬πÈ” â¡ “¬™Ÿ ™‘¡√

πÈ”®‘¡È °ÿßâ -ªŸ

°“√‡μ√’¬¡‡§√◊ËÕß∑”πÈ”¡πμå π”„∫¡–μŸ¡ „∫‡ß‘π „∫∑Õß „π𓧠Ωí° â¡ªÉÕ·≈–≈Ÿ°¡–°√Ÿ¥ ºà“´’°μ“¡¬“«‡ªìπ Û à«π‡∑à“Ê °—π „ à„π¢—ππÈ”¡πμå‹ ‡∑’¬π¢’Ⱥ÷Èß·∑âÀπ—° Ò ∫“∑ Ò ‡≈à¡

Preparation of Hogs Head Sauce

„∫‰¡â¡ß§≈∑—¥ÀŸ

Mix roasted chilli sauce with plam sugar and lime juice.

π”„∫‡ß‘π „∫∑Õß „∫𓧠„∫¡–μŸ¡ ¡“¡â«π ®’∫‡À¡◊Õπ°“√®’∫æ≈Ÿ‚¥¬„™âÀ≠â“·æ√°‡ªìπ„ â„π

Preparation of Duck/Chicken Sauce

§«“¡À¡“¬¢Õßπ‘È«¡◊Õ „πª√–‡∑»Õ‘π‡¥’π‘È«¡◊Õ∑ÿ°Ê π‘È«¡’§«“¡À¡“¬·μ°μà“ß°—π „π°“√„™â §◊Õ

Mix white soy bean sauce, black soy bean sauce with vinegar and scatter sliced goat pepper over it.

Ò. À— « ·¡à ¡◊ Õ ‡ªìππ‘È«∑’Ë¥’∑’Ë ÿ¥ ¥—߇™àπ°“√ ·μà ß °“¬¢ÕßÕ‘ 𠇥’ ¬ ‡®â “ “«®–‰¥â √— ∫ °“√‡®‘ ¡ Àπâ “ ¥â«¬π‘È«À—«·¡à¡◊Õ ‡ªìπμâπ ‡√’¬°π‘È«π’È«à“ ªí∑¡—ß 36

Preparation of Sauce for Steamed Fish

Ú. π‘È«™’È „™â™’È ”À√—∫‡«≈“‚°√∏ ‡√’¬°π‘È«π’È«à“ «‘‚√∏π—ß

Pound red goat pepper, salt garlic and peanuts and mix it with vinegar.

Û. π‘È«°≈“ß ‡ªìππ‘È«¡’§«“¡À¡“¬‡ªìπ°≈“ßÊ ‰¡à· ¥ß§ÿ≥·≈–‚∑…Õ¬à“ß„¥

Preparation of Shrimp/Crab Sauce

Ù. π‘È«π“ß ‡ªìππ‘È«∑’Ë¡’§«“¡À¡“¬„𧫓¡¥’ ·≈–§«“¡ «¬ ¥ß¥ß“¡ ‡√’¬°π‘È«π’È«à“ °—≈¬“≥

Pound red goat pepper, garlic. Add fish sauce and lime juice.

ı. π‘È«°âÕ¬ ‡ªìππ‘È«∑’Ë¡’§ÿ≥πâÕ¬∑’Ë ÿ¥ ‡ª√’¬∫ ‡ ¡◊Õπ‡¥Á° ‡√’¬°π‘È«π’È«à“ ªí®©‘¡

Preparation of a White Paste Stir powder, scented water, mixed scented water in the pot.

°“√‡®‘ ¡ Àπâ “ „πæ‘∏’ ‰ À«â § √Ÿ ¥ πμ√’ ‰∑¬¢Õß Õ“®“√¬å¡πμ√’ ∑à“π®÷߇≈◊Õ° √√π‘È«∑’Ë¡’§«“¡À¡“„π°“√„Àâ §ÿ ≥ ¥â “ 𧫓¡¥’ § «“¡ß“¡ §◊ Õ π‘È « π“ß ·μàπ‘È«π“߇ªìππ‘È«∑’Ë¡’°”≈—ßπâÕ¬ ∑à“π®÷߇≈◊Õ°π‘È« À— « ·¡à ¡◊ Õ ´÷Ë ß ‡ªì π π‘È « ∑’Ë „Àâ§ÿ≥Õ¬à“ߥ’‡≈‘»‡¢â“ª√–°∫ °— ∫ π‘È « π“ß·μ–·ªÑ ß ”À√— ∫ ‡®‘ ¡ Àπâ “ ·°à ∫ √√¥“ »‘…¬“πÿ»‘…¬å ´÷Ëß∑”„Àâ¡’§«“¡À¡“¬‡¡◊ËÕ√«¡°—π·≈â« §◊Õ¡’§«“¡¥’ß“¡Õ¬à“߬ե¬‘Ëß

Preparation of Lustral Water Bring bale fruit leaf, silver leaf, golden leaf, gold and silver leaf, Som poi vegetable, a kaoffir cut in three (3) pieces in the same size into the bowl with a wax candle of one-baht weight.

°“√·μàß°“¬ ª√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ ¥πμ√’ ‰∑¬ ∑ÿ°§√—ÈßμâÕßπÿàߢ“«Àà¡¢“« °“√πÿàߢ“« Àà¡¢“«·∫∫∑’Ë „™âπ’ȇ√’¬°™◊ËÕ«à“ çæ—π∂π”é μà“ß°—∫ °“√·μàß°“¬¢Õߪ√–∏“πª√–°Õ∫æ‘∏’‰À«â§√Ÿ‚¢π≈–§√ ´÷Ë߇√’¬°°“√πÿàßÀà¡«à“ ·∫∫∫à“«¢ÿπ

Rolled Leaf and Gress put behind the ear Bring silver leaf, golden leaf, gold and silver leaf and bale fruit leaf to be rolled with Bermuda grass as filling.

‡§√◊Ë Õ ß — ß ‡«¬ ‡§√◊ËÕß —߇«¬μà“ßÊ „πæ‘∏’ ‰À«â§√Ÿ ‡¡◊ËÕ≈“‡§√◊ËÕß·≈â«„Àâμ—¥·∫à߇§√◊ËÕß —߇«∑ÿ°™π‘¥Õ¬à“ß≈–π‘¥≈–ÀπàÕ¬ ∑—Èߥ‘∫·≈– ÿ° „ à°√–∑ß Ù °√–∑ß π”‰ª«“߉«â μ “¡¡ÿ ¡ ∑—È ß ’Ë ¢ Õß ∂“π∑’Ë æ√âÕ¡°≈à“«§”‡™‘≠„ÀâºμŸâ ¥‘ μ“¡§√Ÿ∑’Ë ‰¡à “¡“√∂‡¢â“¡“ „π∫√‘‡«≥æ‘∏’ ‰¥â μ≈Õ¥®πæ“Àπ–·≈–∫√√¥“ —¡¿‡« ’ ∑—ßÈ À≈“¬‰¥â°π‘ ¥â«¬

Miscelleneous The meaning of fingers In India, every finger has its own meaning as follows : 1) Thumb is the best finger of all.

In the Indian wedding ceremonies, the bride is annointed with a thumb to her forehead. It may be called Pata niew.

à « π‡§√◊Ë Õ ß — ß ‡«¬∑—È ß À¡¥π—È π ‡ªì π ‘ ∑ ∏‘ ¢ Õß ºŸâ‡ªìπª√–∏“πª√–°Õ∫æ‘∏’·μà‡æ’¬ßºŸâ‡¥’¬« ∂â“∫√√¥“ »‘…¬“πÿ»‘…¬åª√– ߧ宖‰¥â√—∫§«“¡‡ªìπ¡ß§≈°Á°≈à“« ¢Õ®“°ª√–∏“π‰¥â

37

§ÿ≥ ¡∫—μ‘¢ÕߺŸâ‡ªìπª√–∏“πª√–°Õ∫ æ‘∏’ ‰À«â§√Ÿ

2) Pointed finger is used when he is angry. It may be called Virot niew.

Ò. ºŸâ ∑’Ë ® –‡ªì π ª√–∏“πª√–°Õ∫æ‘ ∏’ ‰ À«â § √Ÿ μâÕ߇ªìπºŸâ∑’Ë ‰¥â»÷°…“‡≈à“‡√’¬π ·≈–‰¥â√—∫¡Õ∫®“°§√Ÿ ºŸâ„À≠à ·≈–‰¥â√—∫Õπÿ≠“μ„À⇪ìπºŸâª√–°Õ∫æ‘∏’ ‰¥â

3) Forefinger is neither good or bad 4) Pring finger is a finger of goodness and beauty. It may be called Kalayana.

Ú. ¡’Õ“¬ÿ‰¡àμË”°«à“ Û ªï∫√‘∫Ÿ√≥å À√◊Õ∂â“ ‰¡à∂÷ß°ÁμâÕ߉¥â∑”°“√Õÿª ¡∫∑·≈â«

5) Small finger is compared to a child it may be called Pajchim.

Û. ‡ªìπºŸâ¡’§«“¡√Ÿâ§«“¡ “¡“√∂¥â“π¥πμ√’ “¡“√∂∫√√‡≈߇æ≈ßÀπâ “ æ“∑¬å ™—È π Ÿ ß ‰¥â ∂Ÿ ° μâ Õ ß §√∫∂â«π

Application of a white paste to the forehead In the wai khru ceremonies conducted

by Maestro Montri Tramote, a finger of goodness and beauty is chosen, along with the thumb because only a ring finger does not offer enough force to anoint the pupil.

Ù. ‡ªìπºŸâ∑’Ë¡’∫ÿ§≈‘°‡ªìπ∑’ˇ§“√æ ı. μâÕ߇ªìπºŸâ√—°…“»’≈ ı

§ÿ ≥ ¡∫— μ‘ ¢ ÕߺŸâ ∫ √√‡≈ßÀπâ “ æ“∑¬å ª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ

Dress

Ò. ‡ªìπºŸ∑â ’Ë ‰¥â»°÷ …“‡≈à“‡√’¬π‡æ≈ßÕ¬à“ß∂Ÿ°μâÕß ∑ÿ°Ê ‡æ≈ß μ“¡∑’˪√–∏“π®–‡√’¬°„Àâ∫√√‡≈ß

The presiding teacher of the Thai music is dressed in the traditioned white shirt and white panung called çPandanamé.

This is variable from the presiding teacher of dramatics whose dress is called çBaeb Bow Khuné

Ú. ‡ªì π ºŸâ ¡’ Õ “¬ÿ ‰ ¡à μË” °«à “ Û ªï ∫ √‘ ∫Ÿ √ ≥å À√◊Õ‰¥â∑”°“√Õÿª ¡∫∑·≈â« Û. “¡“√∂∫√√‡≈߇æ≈ßÀπâ “ æ“∑¬å ™—È π Ÿ ß ‰¥â∂°Ÿ μâÕߧ√∫∂â«π

§ÿ ≥ ¡ ∫— μ‘ ¢ Õ ß ºŸâ ∑’Ë ® – √— ∫ ¡ Õ ∫ ‡ ªì π ª√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ·≈–μàÕÀπâ“ æ“∑¬åÕߧåæ√–æ‘√“æ

A Set of Offerings Some of every dish of offerings both cooked and uncooked, after being removed, is cut off and put into four (4) banana leaf cups. They are placed at the four (4) directions of the site. Spirits who follow the teachers and cannot enter the ceremonial place are invited to banquet.

Ò. Õ“¬ÿ ‰ ¡à μË” °«à “ Û ªï ∫ √‘ ∫Ÿ √ ≥å ‰¥â ∑” °“√Õÿª ¡∫∑·≈â« Ú. ¡’§«“¡√Ÿ§â «“¡ “¡“√∂¥â“π¥πμ√’ “¡“√∂ ∫√√‡≈߇æ≈ßÀπâ“æ“∑¬å™—Èπ Ÿß‰¥â§√∫∂â«π Û. ¡’ ∫ÿ § ≈‘ ° ·≈–§«“¡ª√–æƒμ‘ ª Ø‘ ∫— μ‘ ‡ ªì π ∑’‡Ë §“√æ

The rest of the offerings belongs to the presiding teacher. Those who wish to

Ù. √—°…“»’≈ ı 38

°“√ªØ‘ ∫— μ‘ μ π°à Õ π‡¢â “ √— ∫ ¡Õ∫‡ªì π ª√–∏“πª√–°Õ∫æ‘∏’ ‰À«â§√Ÿ·≈–μàÕÀπâ“ æ“∑¬åÕߧåæ√–æ‘√“æ

receive the offerings for auspiciousness may ask for it.

Ò. „π«— π æÿ ∏ °à Õ π‡¢â “ Ÿà æ‘ ∏’ ‰ À«â § √Ÿ · μà ß °“™ÿ¥¢“« ‡¢â“√—∫»’≈ ı ·≈–øíßæ√– «¥¡πμ凬Áπ

1. a Grand Guru to perform the wai khru ceremonies

Ú. ·μà ß °“¬™ÿ ¥ ¢“«‡¢â “ Õ¬Ÿà „ πæ‘ ∏’ ‰ À«â § √Ÿ ‚¥¬μ≈Õ¥ ®π‡ √Á® ‘Èπ°“√√—∫¡Õ∫

2. Being at least 30 years of age, or else having been ordained.

Qualifications of the presiding teacher

3. Being well-versed in music and able to play completely higher Na Paat.

4. Possessing a revered personality 5. Holding on to the five Buddhist precepts

Qualifications of the musicians to accompany the ceremonies 1. Having fully experienced all sorts of songs as accommanded by the presiding teacher 2. Being at least 30 years of age or else having been ordained 3. Able to play the full higher Na Paat

Qualifications of the presiding teacher in front of Phra Phirabûs Na Paat 1. Being at least 30 years of age and having already been ordained 2. Having experienced the full higher Na Paat 3. Possessing a revered personality 4. Holding on to five (5) Buddhist precepts 39

How to behave before prisiding over the Wai Khru ceremonies and being in front of Phra Phirab 1. On Wednesday before entering the wai khru ceremonies, accept the five Buddhist precepts while wearing a white suit and listen to the monksû chanting 2. Wear white suit all through the whole ceremonies

Àπ—ß ◊ÕÕâ“ßÕ‘ß

Reference Books

ª√–æ—π∏å ÿ§π∏™“μ‘, π“√“¬≥å ‘∫ª“ß ·≈– æß»å„π‡√◊ÕË ß√“¡‡°’¬√μ‘Ï æ√–®—π∑√å : æ√–π§√, ÚıÒÒ.

Praparn Sukontachart. Ten incarnations of Vishnu and lineage in Ramayana Phra Chandra, Bangkok, 1968.

¡πμ√’ μ√“‚¡∑, ¥ÿ√‘¬‡∑æ ∑’Ë√–≈÷°„πß“π æ√–√“™∑“π‡æ≈‘ ß »æÀ¡◊Ë π «“±‘ μ ÿ √ »‘ ≈ ªá („ ¥ÿ√‘¬ª√–°ƒμ) ‚√ßæ‘¡æå¡‘μ√‰∑¬ : æ√–π§√, Úı˘.

Montri Tramote. Musical Gods, in Memory of Muen Vatit Surasilapa (Sai Duriyaprakrit), Mitra Thai Printing Press, Bangkok, 1966.

¢Õ∫§ÿ≥ À¡àÕ¡√“™«ß»å®—°√√∂ ®‘μ√æß»å °√ÿ≥“„À⧔ª√÷°…“„π°“√®—¥æ‘¡æå∫∑§«“¡ Õ∏‘∫¥’°√¡ à߇ √‘¡«—≤π∏√√¡ „π°“√Õπÿ≠“μ„Àâ®—¥æ‘¡æå∫∑§«“¡®“°Àπ—ß ◊Õ ‰À«â§√Ÿ¥πμ√’ ‰∑¢Õß ”π—°ß“π§≥–°√√¡°“√«—≤π∏√√¡·Ààß™“μ‘ (æ.». ÚıÛ˜) 40

§«“¡‡¢â“„®„π°“√ Pay Homage to §”π—∫§√Ÿ °“√∫Ÿ™“§√Ÿ Teacher Ceremonies °“√‰À«â§√Ÿ °“√§√Õ∫§√Ÿ ·≈–°“√√—∫¡Õ∫ ‚¥¬... ¥√. ‘√‘™—¬™“≠ øí°®”√Ÿ≠*

by Sirichaicharn Fachamroon, Ph.D.*

®“°ª√– ∫°“√≥å „ π°“√‡√’ ¬ π °“√ Õπ ¥πμ√’ ‰∑¬ °√–º¡§‘¥«à“¡’∫“ß ‘Ëß∫“ßÕ¬à“ß∑’Ë®”‡ªìπ μâÕß √â“ߧ«“¡‡¢â“„®„Àâ°—∫ºŸâ‡√’¬π ºŸâª°§√Õß ·≈– §√Ÿ Õ“®“√¬å ‚¥¬®–°≈à“«∂÷ßæ‘∏’°√√¡∑’ˇ°’ˬ«¢âÕß°—∫ °“√‡√’¬π°“√ Õπ¥πμ√’ ‰∑¬ ¥—ßπ’È Ò. °“√§”π— ∫ §√Ÿ ‡ªì π ‡ ¡◊ Õ πª√–‡æ≥’ ∑’Ë∂◊ժؑ∫—μ‘°—π¡“μ—Èß·μà‚∫√“≥√–À«à“ß»‘…¬å „À¡à∑’Ë®– ¡“¡Õ∫μ—«‡ªìπ»‘…¬å¢Õߧ√Ÿ °. §√Ÿ ¢. ´÷ËߺŸâ‡√’¬π®– μâÕ߇μ√’¬¡‡§√◊ÕË ß°”π≈ ´÷ßË ª√–°Õ∫¥â«¬ ¢—π≈â“ßÀπâ“ ’¢“« (‰¡àμâÕß„À≠à¡“°®–°≈“¬‡ªìπ¢—πÕ“∫πÈ” À√◊Õ ‰¡à‡≈Á°¡“°®–°≈“¬‡ªìπ®Õ° ”À√—∫¥◊¡Ë πÈ”) ºâ“‡™Á¥Àπâ“ ’¢“« Ò º◊π ¥Õ°‰¡â ∏Ÿª‡∑’¬π ‡ß‘π°”π—≈ ˆ ∫“∑ π”¡“¡Õ∫„Àâ§√Ÿ ‡æ◊ËÕ¢Õ„Àâ§√Ÿ√—∫‡ªìπ»‘…¬å·≈–§√Ÿ ®–Õ«¬™—¬„Àâæ√ Ú. °“√∫Ÿ™“§√Ÿ æ‘∏’°√√¡π’È∑”‰¥âÀ≈“¬°√≥’ ·≈â«·μ৫“¡‡À¡“– ¡ ·≈–§«“¡μâÕß°“√¢ÕߺŸâ∑’Ë μ—ßÈ „®®–∑”‡æ◊ÕË ‡ªìπ ‘√¡‘ ߧ≈ μ—«Õ¬à“߇™àπ ∂“π»÷°…“ À√◊Õ§≥–ºŸâ Õπ®–∑”æ‘∏’π’È ‡æ◊ËÕ„À⻑…¬å‡°‘¥»√—∑∏“ ¡’§«“¡ªîμ‘∑’Ë®–‰¥â√—∫°“√‡√’¬π°“√ Õπ À√◊Õ™¡√¡œ ¡“§¡ ∫â“π¢Õß»‘≈ªîπœ ®–∑”‡ªìπª√–‡æ≥’ªØ‘∫—μ‘ ‡ªìπª√–®”ªï°Á ‰¥â ‚¥¬®–μ—È߇§√◊ËÕß∫Ÿ™“ °√–¬“∫«™**

Through my experience in learning and teaching Thai classical music, I believe there is something that is vital and it should be explained clearly to students, parents, and teachers as follows; 1) Kamnub Khru Ceremony. This is a tradition passed down from ancient times.

The students must prepare presents consisting of a white washing bowl (not so big as bath bowl and not so small as drinking tumbler), a white handkership, flowers, candle and joss stick, and 6 Thai Baht, to offer to the teacher and ask the teacher to take them in as his/her students. Then the teacher will bless the students success and prosperity.

2) Bucha Khru Ceremony. This ceremony can be conducted in many scenarios as appropriate and depending on the intention of the organizer for example, educational institute, a music club, an

* ¥√. ‘ √‘ ™— ¬ ™“≠ øí ° ®”√Ÿ ≠ : »‘ ≈ ªî π ·Àà ß ®ÿ à “≈ß°√≥å ¡À“«‘∑¬“≈—** À¡“¬∂÷ß ‡§√◊ËÕß°‘π∑’Ë ‰¡à‡®◊ե⫬¢Õß ¥§“«

* Sirichaicharn Fachamroon, Ph.D. : an artist at Chulalongkorn University

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—߇«¬ ( à«π„À≠à®–μ—ßÈ ‡©æ“–‡§√◊ÕË ß ÿ°) ª√–°Õ∫¥â«À—«À¡Ÿ ∫“¬»√’ ‡ªì¥ ‰°à ª≈“ œ≈œ ‡§√◊ËÕߢÕßÀ«“π ¡–æ√â“«ÕàÕπ °≈⫬πÈ”«â“ À¡“°æ≈Ÿ ∫ÿÀ√’Ë º≈‰¡â ·≈– Õ◊ËπÊ ‚¥¬®–¡’§√ŸºŸâ∑”æ‘∏’°≈à“«π”°àÕπ·≈⫺Ÿâ√à«¡æ‘∏’ °≈à“«μ“¡ ∑—Èßπ’È°Á‡æ◊ËÕ§«“¡‡ªìπ ‘√‘¡ß§≈‡™àπ‡¥’¬«°—π

education association, an individual artist.

The teachers may hold the ceremony to raise faith among the students and encourage them to learn. A ceremony is held as yearly tradition. The organizer must prepare the oblation, Kra-ya-buach** (Usually only well-cooked), including pig heads, rice offering, ducks, chicken, fish, desserts, young coconut, banana, betel nut and betel leaves, cigarette, fruit, etc. The teacher will be the master of the ceremony and lead the participants in ceremonial pledge for luck.

3) Wai Khru Ceremony. This ceremony is considered a grand ceremony that musicians hold every year for several purposes as stated in many books concerning the ceremony. However the event is aimed at inheriting Thai culture, fostering harmony, expressing gratitude toward teachers, as well as exhibiting the uniqueness of Thai Traditional music as part of national security.

Û. °“√‰À«â § √Ÿ ¥ πμ√’ ´÷Ë ß ∂◊ Õ ‡ªì π æ‘ ∏’ „ À≠à π— ° ¥πμ√’ √à « ¡°— π ®— ¥ ¢÷È π ª√–®”∑ÿ ° ªï ‡æ√“–¡’ «— μ ∂ÿ ª √– ߧå À ≈“¬ª√–°“√ ¥— ß ‰¥â ¡’ ° “√°≈à “ «‰«â „πÀπⓇ°’ˬ«°—∫æ‘∏’π’ÈÀ≈“¬‡≈à¡ À≈“°À≈“¬√Ÿª·∫∫ ·μà ‘Ë ß ∑’Ë ® –‡°‘ ¥ °Á ‡ æ◊Ë Õ ◊ ∫ “π¡√¥°«— ≤ π∏√√¡‰∑‡ √‘¡ √â“ߧ«“¡ “¡—§§’ · ¥ß§«“¡°μ—≠êŸ°μ‡«∑’ μà Õ §«“¡¡’ æ √–§ÿ ≥ √«¡∑—È ß · ¥ß‡Õ°≈— ° …≥å ¢ Õß ¥πμ√’ ‰∑¬ ´÷Ë߇ªìπ à«πÀπ÷ËߢÕߧ«“¡¡—Ëπ§ß¢Õß™“μ‘ Ù. °“√§√Õ∫ À¡“¬∂÷ß æ‘∏’°√√¡∑’ËμàÕ‡π◊ËÕß ®“°°“√‰À«â§√Ÿ¥πμ√’ª√–°Õ∫ ∑—Èßπ’ȇæ◊ËÕ‡ªìπ°“√ ª√– ‘∑∏‘Ϫ√– “∑ ·≈–ª√–°“»„Àâ “πÿ»‘…¬å∑’Ë¡“√à«¡ æ‘∏’∑√“∫ ºŸâ∑’Ë ‰¥â√—∫°“√§√Õ∫®“°§√Ÿπ’È ‰¥â√Ë”‡√’¬π ∂÷ß√–¥—∫∑’Ë®–‡≈◊ËÕπ¢—Èπ„Àâ ‰¥â√—∫§«“¡√Ÿâ‡æ‘Ë¡ À√◊Õ‡æ◊ËÕ √— ∫ °“√∂à “ ¬∑Õ¥‡æ≈ßÀπâ “ æ“∑¬å „ π√–¥— ∫ ∑’Ë Ÿ ß ¢÷È π (‰¡à¢Õ°≈à“«√“¬≈–‡Õ’¬¥ ≥ ∑’Ëπ’È) ¡’Ωï¡◊Õ ¡’§«“¡ “¡“√∂∑’Ë®–μàÕ‡æ≈߇¥’ˬ« À√◊Õ‡æ≈ß„π√–¥—∫™—Èπ Ÿß ‰¡à«à“‡ªìπ¥â“πªïòæ“∑¬å ‡§√◊ËÕß “¬·≈–§’μ»‘≈ªá

4) Krob Ceremony. This is a ceremony sequenced after the yearly wai khru Ceremony. The event is aimed to expressively announce that the students attending in the ceremony and receiving the head covering from the teacher have achieved certain level of education and are ready to raise to the next level or receive the higher level of overture teaching (of which the details are excluded here). They have already possessed

„πªí®®ÿ∫π— ¡’§«“¡‡¢â“„®§≈“¥‡§≈◊ÕË π°—π‰ª«à“ À“°‰ª√à«¡æ‘∏’ ‰À«â§√Ÿ§√—Èߧ√“«„¥ ®”‡ªìπμâÕߧ√Õ∫ ∑ÿ°§√—Èß ´÷Ë߇ªì𧫓¡‡¢â“„®∑’Ë ‰¡à∂Ÿ°μâÕß ‡æ√“–ºŸâ∑’Ë ‰ª√à « ¡·≈–‰¥â √— ∫ πÈ” ¡πμå ‡®‘ ¡ Àπâ “ °Á ∂◊ Õ «à “ ‡ªì π ¡ß§≈·≈â« πÕ°®“°π—Èπ¬—ß¡’°“√‡√’¬°¢“π∑’Ëπ‘¬¡ ·μà ‰¡àμ√ߧ«“¡À¡“¬°Á§◊Õ ç§√Õ∫§√Ÿé ‰¡à∑√“∫«à“ „§√μ—ßÈ »—æ∑åπ’È ‡æ√“–°“√ªØ‘∫μ— ®‘ √‘߇ªìπ°“√μ√ß°—π¢â“¡ §√Ÿ‡ªìπºŸâ§√Õ∫„Àⷰ໑…¬åæ√âÕ¡∑—Èߪ√– ‘∑∏‘Ϫ√– “∑ „ÀâÕ’°¥â«ı. °“√√—∫¡Õ∫ À¡“¬∂÷ß »‘…¬å§π„¥∑’¡Ë §’ «“¡√Ÿâ §«“¡ “¡“√∂∂÷ß√—∫∑’Ë®–‰ª ÕπºŸâÕ◊Ëπ‰¥â·≈â« §√Ÿ®– ∑”°“√¡Õ∫·≈–ª√– ‘∑∏‘ (Õà“π«à“ ª√– ‘∑-∏‘) ¿“…“ ∫“≈’ ·≈–¿“…“‰∑¬§◊ÕÕπÿ≠“μ„À⻑…¬å ‰ ª‡ªì π §√Ÿ

** food that does not contain meat or fish or smelly ingredient

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skills and expertise to take on the continuation of Solo music or Advanced Music either in pipat, kreungsai, and vocal repertiore.

Nowadays, there is a misconception that head covering ritual must be performed at every wai khru ceremony. This is a misunderstanding because attending the ceremony and receiving holy water, and blessing by receiving marks on the forehead is sufficiently auspicious in itself. In addition the ceremony has been wrongly referred to as çKrob-krué (çCovering the Teacheré), of which the origin is unknown. The name gives away the opposite meaning of the actual ceremony in which the students are the ones receiving the covering and blessing from the teachers.

5) Rabmob Ceremony This is the ceremony for students who have mastered the arts to the level that they can teach others.

The teachers would grant and endow (Pra-sit-thi in Pali and Thai language) permission to become teachers and qualified to teach others. In the old days, teachers would grant permission to some students whom they perceived as qualified and righteous to become teachers only.

Nowadays, the curriculum and regulations of special program institution make it compulsary that teachers grant the teaching permission to all the students who manage to graduate (given that many of which may fail to be qualified for several reasons as in terms of knowledge, ability, capability, skills, especially in terms of behavior and ethics.)

ºŸâ ÕπºŸâ Õ◊Ë π μà Õ ‰ª‰¥â ·μà °à Õ π®–¡Õ∫„Àâ · °à »‘ … ¬å ‡ªì π °“√‡©æ“–∫“ߧπ∑’Ë ∑à “ π‡ÀÁ π «à “ ¡§«√·≈–¡’ §«“¡‡À¡“– ¡®–‡ªìπ§√ŸμàÕ‰ª‰¥â‡∑à“π—Èπ ·μàªí®®ÿ∫—π À≈— ° Ÿ μ √·≈–√–‡∫’ ¬ ∫¢Õß ∂“π»÷ ° …“‡©æ“–∑“ß °”Àπ¥„Àâ§√ŸμâÕß¡Õ∫§«“¡‡ªìπ§√Ÿ„Àâ°—∫»‘…¬å∑ÿ°§π ∑’Ë ”‡√Á ® °“√»÷ ° …“ (∑’Ë ∫ “ß§π¬— ß ‰¡à ¡§«√¥â « ‡Àμÿº≈À≈“¬ª√–°“√ ∑—Èߧ«“¡√Ÿâ §«“¡ “¡“√∂ ‚¥¬‡©æ“–§«“¡ª√–æƒμ‘ ·≈–®√√¬“∫√√≥)

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Vlaue of Thai Traditional Music

§ÿ≥§à“¢Õߥπμ√’‰∑‚¥¬... ∫ÿ≠™à«¬ ‚ «—μ√*

by Boonchouy Sovat*

„πªí®®ÿ∫—π§π∑—Ë«‰ª„À⧫“¡ π„®μàÕ √√æ ‘Ëß ∑’Ë¡’§«“¡®”‡ªìπ‡√àߥà«π„π°“√æ—≤π“ —ß§¡¡“‡ªìπ Õ—π¥—∫·√°Ê ß“π»‘≈ª–®÷ߥŸ‡À¡◊Õπ¡’§«“¡ ”§—≠ ‰¡à¡“°π—° Õ—π∑’Ë®√‘ßß“π»‘≈ª–‡ªìπß“π∑’ˇ √‘¡ √â“ß „Àâ ∑ √— æ ¬“°√¡πÿ … ¬å „ π — ß §¡Õÿ ¥ ¡¥â « ¬§ÿ ≥ §à “ ∑“ß §ÿ≥∏√√¡ ·¡â®–¡’ß“π∑“ߥâ“π®√‘¬∏√√¡‡ √‘¡ √â“ß Õ¬Ÿà ‚¥¬μ√ß·≈â«°Áμ“¡ ·μà¥â«¬§«“¡‡ªìπ¡πÿ…¬å∑’ˬ—ß ‰¡àæâ𧫓¡‚≈¿ ‚°√∏ À≈ß ¬àÕ¡®–¥”‡π‘π‰ª Ÿà§«“¡ ¡’ §ÿ ≥ ∏√√¡‰¡à ‰ ¥â ßà “ ¬π— ° À“°ºŸâ ∑’Ë μâ Õ ß°“√æ— ≤ π“ §ÿ≥§à“∑“ߥâ“π®‘μ„® Õ“√¡≥å·≈–§«“¡√Ÿâ ÷°¢Õß ¡πÿ…¬å®–À—π¡“¡Õß∂÷ߪ√–‚¬™πå „π°“√„™â»‘≈ª–‡ªì𠇧√◊ËÕß¡◊Õ„π°“√°≈àÕ¡‡°≈“®‘μ„®∑√—欓°√¡πÿ…¬å ‡ ’¬™—πÈ Àπ÷ßË °àÕπ ‡æ◊ÕË ∑”„À⺧Ÿâ π‚¥¬∑—«Ë ‰ª —¡º— ‰¥âß“à ·≈– –¥«° ·≈â«®÷ßπ”‡¢â“ Ÿ°à “√¬°®‘μ„®„Àâ∫√‘ ∑ÿ ∏‘¢Ï π÷È μ“¡°√–∫«π°“√·≈–¢—ÈπμÕπ∑“ß»“ π“ ·μà°Áπà“®– ‰¥â æ‘ ® “√≥“‡≈◊ Õ °º≈ß“π∑’Ë ¡’ § «“¡ Õ¥§≈â Õ ß·≈– ‡À¡“– ¡°—∫∫ÿ§§≈„π·μà≈–°≈ÿࡥ⫬®÷ß®–∑”„À⇰‘¥ ª√–‚¬™πåÕ¬à“ß·∑â®√‘ß ‡æ√“–º≈ß“π∑“ߥâ“π»‘≈ª– ¡’Õ¬ŸàÀ≈“¬√–¥—∫π—∫μ—Èß·μà™π‘¥∑’Ë°àÕ„À⇰‘¥º≈„π∑“ß ≈¥√–¥—∫®‘μ„®≈ß ®π°√–∑—Ë߬°√–¥—∫®‘μ„®„À⠟ߢ÷Èπ

Nowadays, people give priority to things that are necessary in social development. Therefore art seems to be of lesser priority in the process while in essence art makes people in society fulfilled with moral values. Though there are works that directly deal with ethics, for human beings who are still under greed, anger, and obsession, it is not so easy to proceed toward virtue. Those who seek development of inner values, emotions and feelings will turn to the use of art as a tool in primarily training peopleûs mind for further inner elevation as in religious procedures. However the art should be applied to each target group as there are many levels of art ranging from one that lowers the thought to one that elevates peopleûs mind.

Most of Thai traditional musics or almost all are the works that teachers from the ancient times planned and constructed the structure for the benefits of society in order to elevate peopleûs mind. Such works can be generelly seen in society.

ß“π∑“ߥâ“π¥πμ√’ ‰∑¬ à«π„À≠à À√◊Õ·∑∫ ®–∑—ÈßÀ¡¥≈â«π·μà‡ªìπº≈ß“π∑’Ë‚∫√“≥“®“√¬å ‰¥â«“ß √Ÿª·∫∫·≈–‚§√ß √â“߇Փ‰«â ”À√—∫„À⇰‘¥ª√–‚¬™πå μàÕ —ߧ¡„πÕ—π∑’®Ë –¬°√–¥—∫®‘μ„®¢ÕߺŸ â ¡— º— „Àâ ߟ ¢÷πÈ μ“¡≈”¥—∫ ´÷Ëß≈—°…≥–¥—ß°≈à“«‰¥âª√“°ØÕ¬Ÿà„π —ߧ¡ ∑—Ë«‰ª

Apart from elevating peopleûs mind, Thai traditional music is a great tool in fostering harmony and promoting teamwork.

Thai ancestors had long been aware of the

ß“π¢Õߥπμ√’ ‰ ∑¬πÕ°®“°®–¡ÿà ß ‡æ◊Ë Õ ¬° √–¥—∫®‘μ„®·≈â« ¬—ß “¡“√∂„™â‡§√◊ËÕß¡◊Õ„π°“√‡ √‘¡ √â“ߧ«“¡ “¡—§§’ ·≈– à߇ √‘¡≈—°…≥–°“√∑”ß“π °≈ÿà¡¢Õß∫ÿ§§≈‰¥âÕ¬à“ߥ’‡¬’ˬ¡ π—∫‰¥â«à“∫√√æ∫ÿ√ÿ…

* Boonchouy Sovat: Thai Traditional Music Expert, Chulalongkorn University 44

significance of harmony and cooperation that are great elements of promoting social development. One of the most tangible evidences is found in a process of performance practices in a Thai orchestra either in a large ensemble or a small one.

And with further investigation, it can be seen that Thai traditional music takes complicated procedures to gather Thai traditional musicians to work in a team and every single procedure gives values to lives and living in unison. It is a tool to eliminate the unseemly aspects in mind. This can be experienced and naturally absorbed by listeners, general audience and especially the musicians themselves.

Among the variety of Thai traditional music procedures that affect directly to the quality of Thai peopleûs lives and mind, there is one to be particularly mentioned as a fundamental tool that maintains the complete original form and hence become beneficial to Thai people, that is çArtistûs Ethicsé.

Artistsû ethics is not a new issue for Thai traditional music. Generations of Generations of teachers have had set up the code of ethics that have been long practiced over time yet has not been recorded literally until 1983 (2526 B.E.) when an under graduate program in Thai Music was established. at Chulalongkorn University.

The steering committee of the Faculty of Fine and Applied Arts, Chulalongkorn University , gathered the principles regarding the artistûs ethics and literally recorded for permanent reference in the profession to practice as a benefit for the society. The subject matters are as follows;

‰¥âμ√–Àπ—°∂÷ߧ«“¡ ”§—≠ °“√Õ¬Ÿà√à«¡°—π‡ªìπ°≈ÿà¡ ‡æ◊ËÕ√à«¡¡◊Õ°—π∑”ß“π √â“ߧ«“¡√ÿà߇√◊Õß·°à —ߧ¡ ¡“™â“π“π ‘ËßÀπ÷Ëß∑’˪√“°Ø„Àâ‡ÀÁπ‡ªìπÀ≈—°∞“π ®πªí®®ÿ∫—π§◊Õ °√–∫«π°“√„π°“√∫√√‡≈߫ߢÕß π—°¥πμ√’‡ªìπ°≈ÿà¡Ê ‡≈Á°∫â“ß„À≠à∫â“ßμ“¡§«“¡ ‡À¡“– ¡¢Õß‚Õ°“ ·≈–À“°æ‘®“√≥“»÷°…“Õ¬à“ß æ‘π‘®æ‘‡§√“–Àå®–æ∫«à“ º≈ß“π∑“ߥπμ√’ ‰∑¬μâÕß¡’ °√–∫«π°“√À≈“¬¢—È π μÕπ°«à “ ®–‰¥â π— ° ¥πμ√’ ¡ “ ∑”ß“π√à«¡°—π‡ªìπ°≈ÿà¡ ·μà≈–¢—ÈπμÕπ≈â«π·μà „ Àâ §ÿ≥§à“μàÕ™’«‘μ μàÕ°“√Õ¬Ÿà√à«¡°—𠇪ìπ‡§√◊ËÕß¡◊Õ„π°“√ ¢®—¥§«“¡‰¡àπà“√—°·Ààß®‘μ„®‰¥âπ“π—ª°“√ ´÷ËߺŸâ∑’Ë ‰¥â —¡º— ‚¥¬‡©æ“–π—°¥πμ√’‡Õß®–‡ªìπºŸâ ‰¥â√—∫·≈– ´÷¡´“∫‰ª‡Õßμ“¡≈”¥—∫·≈–¬—ß√«¡∂÷ߺŸâøíß·≈–ºŸâ∑’Ë ‡°’ˬ«¢âÕßÕ’°¥â«„π∫√√¥“§«“¡À≈“°À≈“¬¢Õß°√–∫«π°“√ ∑“ߥπμ√’ ‰ ∑¬∑’Ë ¡’ μà Õ §ÿ ≥ ¿“æ™’ «‘ μ ·≈–®‘ μ „®¢Õß §π‰∑¬‚¥¬μ√ß °√–∫«π°“√Àπ÷Ëß∑’Ë „§√à®–°≈à“«∂÷ß ‡ªìπ°“√‡©æ“–„π∑’Ëπ’ȧ◊Õ ‡§√◊ËÕß¡◊Õ∑’ˇªìπ∞“π∑”„Àâ ß“π»‘ ≈ ª–¢Õߥπμ√’ ‰ ∑¬¬— ß §ß√Ÿ ª ≈— ° …≥–„Àâ ‡ ªì π ª√–‚¬™πåμàÕ§π‰∑¬Õ¬Ÿà ‰¥âÕ¬à“ß ¡∫Ÿ√≥å§◊Õ À≈—°∑’Ë »‘ ≈ ª–¥πμ√’ ‰∑¬„™â‡§√◊ËÕß¡◊Õ¬÷¥∂◊Õ À≈—°∑’Ë ”§—≠ À≈—°Àπ÷Ë߉¥â·°à ç®√√¬“∫√√≥¢Õß»‘≈ªîπé ‡√◊ËÕߢÕß®√√¬“∫√√≥»‘≈ªîπ¡‘„™à‡√◊ËÕß„À¡à ”À√— ∫ — ß §¡¢Õߥπμ√’ ‚ ∫√“≥“®“√¬å ‰ ¥â √à « ¡°— π °”Àπ¥®ÿ ¥ ¬◊ π ¢÷È π ‡ªì π ®√√¬“∫√√≥„π∑“ߪؑ ∫— μ‘ ◊∫∑Õ¥°—ππ“π·≈â« ‡æ’¬ß·μà ‘Ë߇À≈à“π’È ¡‘‰¥â∫—π∑÷° ‰«â‡ªìπ≈“¬≈—°…≥åÕ—°…√ ‡æ‘Ëß®–‰¥âæ‘®“√≥“√«∫√«¡ ‰«â‡ªìπ≈“¬≈—°…≥åÕ—°…√‡¡◊ËÕªï æ.». ÚıÚˆ „π‚Õ°“ ∑’Ë ∂“∫—π·Ààß«‘™“™’æ¢Õߥπμ√’ ‰∑¬‰¥â ∂“ªπ“¢÷Èπ ≥ ®ÿ à “≈ß°√≥å ¡ À“«‘ ∑ ¬“≈— ¬ °≈ÿà ¡ ºŸâ ¥”‡π‘ π ß“π §≥–»‘≈ª°√√¡»“ μ√å ®ÿÓ≈ß°√≥å¡À“«‘∑¬“≈—®÷߉¥â‡ÀÁπ ¡§«√√«∫√«¡‡°’¬Ë «°—∫®√√¬“∫√√≥»‘≈ªîπ ∫— π ∑÷ ° ¢÷È π ‰«â „À⇪ìπ°“√∂“«√ ‡æ◊ËÕ∑’Ë∫ÿ§≈“°√¢Õß «‘ ™ “™’ æ π’È ® –‰¥â æ÷ ß ¬÷ ¥ ∂◊ Õ ªØ‘ ∫— μ‘ „ Àâ °à Õ ‡°‘ ¥ ª√–‚¬™πå μàÕ —ߧ¡∑—Ë«‰ª ·≈– “¬«‘™“¢Õߥπμ√’ ‰∑¬‚¥¬μ√ß ¥—ߪ√“°Ø “√–μàÕ‰ªπ’È 45

The Artistsû Ethics

®√√¬“∫√√≥¢Õß»‘≈ªîπ

1. To live an honorable life in moralities.

2. To abide from abusing music for other benefits than aesthetic values.

3. To share the knowledge in profession with colleagues and human fellows.

4. To preserve the art and sustain its to perpetual development with purity.

5. To offer art criticism on the ground of creativity These are code of art ethics which are free from harm to society and essentially bring about benefits to society and Thai nation.

Ò. ¥”√ß™’«‘μ„Àâ¡’‡°’¬√μ‘ ·≈–¡’§ÿ≥∏√√¡ Ú. ‰¡à„™â»‘≈ª–‡ªìπ¡√√§‰ª Ÿàº≈Õ◊Ëπ„¥∑’Ë ‰¡à„™à §ÿ≥§à“∑“ß ÿπ∑√’¬– Û. ‡Õ◊È Õ §«“¡√Ÿâ „π«‘™“™’æμàÕ‡æ◊ËÕπ√à«¡ß“π ·≈–‡æ◊ËÕπ¡πÿ…¬å Ù. ∑–πÿ ∫”√ÿ ß »‘ ≈ ª–„Àâ «— ≤ π“∂“«√·≈– ∫√‘ ÿ∑∏‘Ï ™—Ë«π‘√—π¥√å ı. «‘ æ “°…å º ≈ß“π»‘ ≈ ª–¥â « ¬À≈— ° ¢Õß §«“¡§‘¥ √â“ß √√§å ®√√¬“∫√√≥¢Õß»‘≈ªîππ’È π—∫‰¥â«à“‡ªìπ ‘Ëß∑’Ë ‰√â´Ë÷ߧ«“¡‡ªìπ‚∑…μàÕ —ߧ¡ ·≈–®–‡ªìπ ‘Ëßπ”¡“ ´÷Ëߪ√–‚¬™πå ÿ¢¢Õß —ߧ¡·≈–ª√–‡∑»™“μ‘¢Õ߉∑‚¥¬·∑âÕ’°∑“ßÀπ÷Ëß

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