This manuscript from Thailand dates from the late 18th century
and is a fine example of how Buddhist scriptures were illustrated
in folding book form. Given to the India Office in 1825, this is
perhaps the earliest acquired Thai manuscript in a British collection.
A note at the end of the manuscript states that it was “Presented
by Ltt Coll Clifford by the hands of W Wigram Esqe, 9th Dec 1825”.
Lt. Col. Miller Clifford served in the British Army during a long
career beginning in the West Indies in 1794. In 1824 he was with
the 89th Regiment of Foot in the first Burma war, which was where
he must have acquired this fine Thai manuscript. Wigram was a director
of the East India Company; he doubtless carried the manuscript to
England on Clifford’s behalf.
What are the Ten Birth Tales of the Buddha about?
In Thai painting tradition, the Buddha was widely represented
by scenes of the events of his life, and of his 547 previous lives,
which are described in the Jtaka tales of the Pali Canon in a mixture
of prose and verse. Scenes of the Buddha’s previous lives
are prevalent in Thai illustrated manuscripts, especially his last
ten existences before he was born as Gautama Buddha. Curiously,
the illustrations rarely accompany the relevant scriptures that
recount the birth tales. They are shown with extracts from the Abhidhamma
section of Buddhist scripture, which treats psychological and philosophical
subjects.
The Ten Birth Tales of the Buddha are known as Thotsachat
in Thailand. The very last of them is far the most important. It
is known as the Great Birth Tale (Mahachat), or else by
its proper name, the Vessantara Jataka, after the name
of its hero, Prince Vessantara. Its narrative embodies the greatest
of all Buddhist virtues, that of giving. The retelling of the Great
Birth tale is regarded as an act of Buddhist merit, and its recitation
by monks is the occasion for a great celebration that lasts a full
day and night.
What exactly is in this book?
The text of this book contains extracts from the Abhidhamma scriptures.
The overall title Mahabuddhaguna (Great Qualities of the Buddha)
is given to the text, which is written in Cambodian (Khmer) Mul
script, but in Pali language. Cambodian Mul script was often used
for the production of Buddhist folding books in Central Thailand.
30 paired illustrations make this book a rare treasure of Thai manuscript
painting.
The first 20 paired paintings illustrate the ten birth tales, including
the Bhuridatta birth tale where the Buddha to be is reborn as a
great serpent (or naga) who exemplifies the virtue of forbearance.
Scenes from the Candakumara birth tale show a ceremony that is plotted
by evil Brahmins to sacrifice the Buddha to be, but god Indra descends
from heaven and destroys the ceremony and the evil Brahmins. Additional
scenes follow, depicting the gods Indra and Brahma, angels, and
benevolent demons. The last pair of scenes depicts monks and laymen
engaged in drinking tea, eating sweets and play. The paintings are
simply composed, but the artist’s command of line and form,
composition and colour, are all exemplary. The pale coloured backgrounds
are typical of the late Ayutthaya and early Thonburi periods (late
18th century).
How was this book made, and what for?
The paper of this book is made from the bark of the Khoi
tree (Streblus asper, or Trophis aspera). The
bark was stripped from the tree, soaked in water and then beaten
with wooden mallets until the bark separated into fibres. The fibres
were dried on a flat surface until they gained the consistency of
cardboard. After trimming the edges to 60 cm in length, the paper
was folded accordion-like to form a book of 9 cm width. The paper
is of a dull cream-buff, and the writing was done with black China
ink and a bamboo pen.
Traditional Thai manuscript painters had only a limited range of
colours made from available natural materials. Red and yellow ochre,
as well as white were obtained from local minerals. Black was produced
from lampblack, carbon or crushed charcoal. Greens and blues were
mostly produced from vegetable matter (for example Indigofera),
only by the 18th century was malachite imported from China to produce
a bright green colour. Also gold was used lavishly. Natural pigments
were mixed with the sap of a tree to improve adhesion to the paper.
The production of illustrated folding books ranks as one of Thailand’s
greatest cultural achievements. They were produced for different
purposes in Buddhist monasteries and at the royal and local courts,
as well. First of all, such books served as teaching material and
handbooks for Buddhist monks and novices. Classical Buddhist literature,
prayers (Sutras) and moral teachings were also read to the lay people
during religious ceremonies. The production of folding books –
and even sponsoring their production - was regarded as a great act
of merit making. Therefore, folding books quite often are a kind
of “Festschrift” in honour of a deceased person.
How can I find out more about Thai folding books?
If you would like to know more about Thai folding books, or Thai
manuscripts in general, two useful sources are the research works
of late Dr Henry Ginsburg, the former Curator of Thai Collections
at the British Library.
Ginsburg, Henry: Thai art and culture. Historic manuscripts
from Western Collections. London : British Library, 2000. (ISBN
0 7123 4620 1)
Ginsburg, Henry: Thai manuscript painting. London : British
Library, 1989. (ISBN 0 7123 0162 3)
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