February 2012 - National Museum Volunteers

Transcription

NEWS
National Museum Volunteers
Bangkok No. 2 February 2012
The National Museum Volunteers
(NMV), under the auspices of the
Fine Arts Department, was a
recipient of the Thai National

Heritage Preservation Award in
1989, 2001, and 2004.
The
group is also a member of the
Council of the World Federation
of Friends of Museums.
The National Museum Volunteers
is an international organization
whose purpose is to serve the
National Museum Bangkok and
the public through a variety of
activities that promote Thai arts
and culture.
National Museum Bangkok
Hours of Operation:
Wednesday thru Sunday 9:00 am until 4:00 pm
Closed on Mondays, Tuesdays, Thai New
Year, and January 1st.
Entrance fee: 200 baht
NMV Library
Located at the rear of the Museum grounds,
directly behind the Palace building, the
library is open on Wednesdays and

Thursdays from 10:00 am until 3:00 pm.
The library is open to all but only NMV
members may borrow books by showing a

current NMV Membership card.
E-mail: [email protected]
The NMV Newsletter
A monthly publication of the
National Museum Volunteers and

is distributed at no charge to its
membership.
All materials are the property of
the NMV and no part of this
publication may be reproduced
without prior written permission.
Guided Tours
Tours in English, French, German and
Japanese are offered on Wednesday and
Thursday mornings at 9:30 am. Led by NMV
trained,
expat leaders they offer a general
overview of the M

useum’s collections and
insight into the history, arts, culture and

religions of the Kingdom.
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Meet at the Museum ticket office next to
Cover Photo:
the coffee shop,
Tours are offered at no charge with paid
“Lovely Lanna Ladies”
Chiang Mai
Photo by Fred P.
Museum entrance fee,
For more information, or to arrange
Printed by TR Enterprises, Bangkok
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special tours visit our website at:
http://www.museumvolunteersbkk.net
or call the NMV Guide Chairperson:
Bela Woodrow at +66 (0) 82 078 9111
Newsletter National Museum Volunteers
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February 2012
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IN THIS ISSUE
Contents
2
3
Calendar
Message from the President
7
Articles
27Excursions Policy
28
Membership Application
This issue edited by:
Devin Brougham
Fred Prager
Susanne Kerekes
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February 2012
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CALENDAR
February 1st, 3rd, 8th, 10th, 15th, 17th, 22nd, 24th and 29th
**English Guiding Workshop
Leader: Bela Woodrow
Location: NMB Auditorium and NMB Grounds
Information: www.museumvolunteersbkk.net
February 1st, 8th, 22nd and 29th
**French Guiding Workshop
Leader: Carole Boymond
Location: Boymond Residence
Information: [email protected]
February 2nd and 9th
**NMV Lecture Series 2011
Leader: Matthias Geisler
Location: NMB Auditorium
Information: www.museumvolunteersbkk.net
February 7th, 14th and 21st
French Study Group: Les Religions Orientales
Leader Janine Gray
February 6th
Study Group: Major Arts of China
Leader: John Toomey
February 5th – February 15th
Excursion to Sri Lanka
Leader: Victoria Kudriavtseva
** Complete schedules for both the English and French workshops and
the Lecture Series are available on the NMV website!!!
All event information is subject to change. Please check the NMV website at
www.museumvolunteersbkk.net for the most up to date information.
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February 2012
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MESSAGE FROM THE PRESIDENT
Dear Members,
This year January rang in both the Gregorian and the Chinese Year of the Water
Dragon, with dragon years in Chinese Astrology indicating times of change but
also bringing good fortune, happiness and new beginnings. Let us hope that this
will indeed be the case for 2012! The NMV’s New Year was kicked off with the
long awaited Lecture Series which included two sessions covering the topics of
the Thai hybrid, Thai ceremonies and observances,
contemporary politics and
floral artistry. The next two sessions will continue on February 2nd and 9th, so
please mark your calendars accordingly for these fascinating lectures.
We celebrated Children’s Day on Jan 14th along with our NMB friends on the
grounds of the National Museum. It was heartwarming to see so many young
children participating in the various activities related to the art and culture of
Thailand. Fumbling along as best we could with our limited Thai language
skills, we encouraged the children visiting our booth to enter a coloring competition or create a Ganesh mask, and despite the language barrier they clearly enjoyed themselves as much we did.
The English and German Guiding Workshops begin this month, and with the
lectures being opened to the public as well, we expect a busy month at the
Museum Auditorium and we look forward to seeing you among our audience.
February will mark another new beginning in terms of overseas excursions.
After a prolonged break in overseas study trips, the carefully planned trip to

Sri Lanka scheduled for February 5th, will hopefully mark the first of many to
follow. We look forward to reading the various study accounts presented by
participants at the sites in the upcoming issues of the newsletter.
I am happy to announce that for the past two months back copies (Jan 2010
through to Jan 2011) of NMV newsletter in PDF format are available on the NMV
website in the newsletter section. For those of you who no longer wish to receive
a hard copy you may inform our newsletter team who will provide you with the
URL and notify you when the latest copy is available online. We view the printing
of fewer hardcopies as our modest contribution to saving the environment.
Although online PDF copies only begin in January 2010, all hard copies since the
NMV’s inception are available at the library. You may also want to visit the Library
section of our website for an index of articles printed in the NMV News over the
years – it is a good source for research and is available to all members.
The next two months are set to be a very busy time at the NMV with many interesting lectures to choose from, so do look over the list of lectures both from
the Lecture Series and the Guiding Workshop which appear in full on the NMV
website.
With sincere best wishes for a happy 2012!
Ines Ehrlich
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February 2012
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Guiding Workshop 2012
Explore Thai art, history, and culture at the National Museum
Bangkok with the NMV
Wednesdays & Fridays, 01 February – 04 April, 9:00-12:00
(some sessions may be on a Thursday instead of Wednesday)
Venue: National Museum Bangkok, Na Phrathat Road, Phra Nakorn,
between Thammasat University and National Theatre, opposite Sanam Luang
Date
Topic Speaker
NMB Visits Guides
Part 1: Background knowledge
Wed 1/2/2012
Introduction to the guiding Workshop 2012 & NMB
Bela Woodrow
Introductory tour of the
Museum and NMV Library
Bela Woodrow
Fri 3/2/2012
General Thai History
From Pre-history to Ayutthaya Period
John Toomey
History Gallery & Ban
Chiang Room
Wilfried Giesler & Bela
Wed 8/2/2012
Introduction to Hinduism Fred Prager
Explore Hinduism at the NMB
Fri 10/2/2012
Life of the Buddha as shown in the murals of the Buddhaisawan Chapel and Evolution of Buddha images
Margot Weinmann
Buddhaisawan Chapel
Margot Weinmann
Wed 15/2/2012
Introduction to Buddhism
Denise Tomecko
Buddhist Imagery at the NMB
Else Geraets
Fri 17/2/2012
Introduction to Indian Art and its influence in Thai Art
Beverly Frankel
Relevant galleries at the NMB
Wed 22/2/2012
Dvaravati and Srivijaya periods
Tracy Dean & Carol Stephens
Tracy & Carol
Fri 24/2/2012
The Khmers and Lopburi Art
Martine Mauffrey & Janine Gray
Martine & Janine
Sukhothai and Lanna periods
Ayutthaya and Rattanakosin periods
NMB closed (Maka Bucha Day)
Closed
Wed 29/2/2012
Fri 2/3/2012
Wed 7/3/2012
Thu 8/3/2012
History of Chakri Dynasty
(replacement for Alan Needleman
Maka Bucha Day)
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Red House, Salas, Palace
(Throne Hall, Transportation
Room, Gold treasures and War room), Funeral Chariots
Alan & Jiraporn Usanokornkul
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February 2012
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Guiding Workshop 2012
Fri
9/3/2012
(Continued)
The Ramakien and
Introduction to the Minor Arts Stephanie Strasser & Minor Arts Study Group (TBC)
Minor Arts Relay at the
Palace
Minor Arts Study Group (TBC)
Part 2: Practical Guiding
Wed 14/3/2012 or Follow a regular tour with the public
Thu 15/3/2012 *
Fri
16/3/2012
How to prepare for Guiding?
Do’s and Don’ts of Guiding
Louise Truslow, Bo Mazur, Bela Woodrow
Thu 22/3/2012 *
Observation of guides and
public
Role play/acting ice breaker
Louise, Bo, Bela
public
Fri 23/3/2012
Small groups self-guiding
Monitoring by experienced guides
Thu 29/3/2012 *
public
Fri 30/3/2012
Small groups self-guiding
Monitoring by experienced
guides
Wed 04/04/2012
Guides Guide Guides (GGG)**
Pot-Luck Buffet Lunch
* Participants will be divided into 2 groups, each one attending a regular tour either Wed or Thu.
** If necessary, an extra session of GGG will be scheduled on Thu 05/04/2012
Note: Dates, venues, and lessons, may change due to unforeseen circumstances Cost: THB 2,000; NMV members only
Lectures:
Members who have followed previous Workshops may attend any lectures free
of charge.
Other members: 100 THB donation per lecture
Non-members: 200 THB donation per lecture
Pre-booking is advisable.
Please note that, due to space limitations, the NMB visits following each lecture
are opened for members enrolled in the 2012 Guiding Workshop only.
Contact: Bela Woodrow, [email protected]
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February 2012
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5
NMV Classified
NEWSPAPER OF THE YEAR
WIN A
HOLIDAY
FOR TWO!
Price: 70p
SEE PAGES
27-28
To a
Museum
Near You!!
NMV Lecture Series
19 January-9 February
NMV Guiding workshop
1 February-4 April
Further information is
available at our website
Written by: NMV Editorial Team
Interested in Going Places?
NMV Excursions
is for you!
Are there places you’d like to
explore? Do you have excursion
ideas you’d like to bring to life?
The NMV Excursions team is
looking for people to help develop ideas and to organize and
escort NMV excursions.
The NMV monthly excursions
are an essential part of the
NMV study program, so if you
like to be active, to explore the
city or country you are living
in, or neighbouring countries, to
meet interesting people and to
organize events, we’d love to
hear from you.
This is a great way to get involved with the NMV
For more details, please contact
Aviva Biran, Vice President
[email protected]
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www.
Museumvolunteersbkk.net
NMV SECRETARY
P. R. Coordinator
The NMV is looking for a
consistent performer with
good organizational skills to
take over the position of
NMV Secretary.
We are still looking for a good
communicator to manage the
NMV’s publicity campaigns
and maintain the image of the
NMV through the local media.
The major
include:
responsibilities
• Recording and distributing
minutes of all Steering
Committee meetings,
• Keeping the membership
informed of current and
upcoming events,
• Collecting and distributing
monthly reports from and
to the NMV Steering
Committee members
Interested persons may
contact
Claudia van der Heyden
[email protected]
.
At Homes Coordinator
Good organizer to arrange intimate gatherings of interested
individuals to hear speakers
talk about history, art or culture or their personal collections. Good people to people
skills are essential.
To apply or request further information please send an email
to:
Information@
museumvolunteersbkk.net
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February 2012
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ARTICLES
KALI – Mother Goddess and Divine Mother
Text and Photos by Else Geraets
A year ago I went to Kolkata to experience the Durga Puja festival and I was
interested in seeing the Kali Puja as well, but I had to wait one year to get it
all scheduled properly. Although Durga Puja and Kali Puja have many things in
common, they are totally different festivals. Durga is seen as the daughter who
comes home with her children for her yearly visit and she brings happiness to
all, while Kali is the goddess the people fear and the people don’t want to
have her around for too long. While Durga Puja takes a whole week, Kali gets
only two days in Kolkata but in Shantipur, a little town further north the celebrations only last 24 hours. They start at mid-nigh ly after Diwali and by the end
of the day, again at mid-night, it is all over and done. But for both goddesses
the end comes at the ghats where they are immerged in the river or in a different body of water.
Immersion at Calcutta ghats
Kali the ferocious form of Parvati, is associated with dark rites and demon
worship; she is worshipped in Bengal during the first night of the new moon in
the month of Kartik. It is the appropriate time to worship Kali as the night is
dark and the new moon is hardly visible.
She is said to be the goddess of dacoits but ‘Ma Kali’ is the goddess of the
common man and that explains probably the huge numbers of Kali images that
are produced every year at Kumartuli.
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Kumartuli workshops
To understand and enjoy these festivals a visit to Kumartuli has to be included
and it is fascinating to see the urge of the craftsmen who feel the pressure to
get the images ready on time. The narrow streets are packed with people, finished and unfinished images are standing outside, people are working or buying
an image and suddenly there is the shouting to make space for a Kali to be
carried to the main street. These images are heavy and the workers have to
run to enable them to carry and balance the load on their heads and to make
sure Kali will reach the truck that brings her home safely and unharmed.
Preparing the image
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But with only two days to go there
are still many images totally unfinished and that gives us a good view
how they are made. They only use
natural materials to make sure that
the river will not suffer too much
when all the images will be immerged. Each image, large or small
will be standing on a wooden plank
and the most important part is the
creation of the body made from
bamboo and straw, all tied together
with jute strands. A thick coating of
blackish clay mixed with rice husk is
smeared over the dummy and it is
left to dry in the sun. A second layer
is applied of sand and clay and the
surface will be made smooth with a
wet cloth. The figure will be whitewashed with a layer of chalk and
once this layer is dry the actual
painting of the image will start.
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Kali is not seen as a sophisticated
goddess but rather as a tribal one
and she is represented with lots of
long hair, a black or dark blue face
and a naked body The attributes she
holds in her four hands stem from
the fearful and ferocious form she
assumed during one of her battles
with the evil forces. It is typical for
Kali images to be shown standing on
the body of her husband, Shiva, who tried to stop her in her killing spree. As
soon as she realized what she was doing, she stuck out her tongue and
stopped the rampage.
Worshipping of Kali starts at midnight and the priests will worship her non-stop
until the sun rises around 04.30. In the afternoon the images, placed on bamboo rods and carried on the shoulders of the worshippers, will go in individual
processions to the ghats for the immersion. Surrounded by crowds of mainly
young men Kali is enjoying her final moment of glory.
The main images of Shantipur are huge and black and it is interesting to note that
these black images are not given some sweets in their mouth before the start of
the procession, a custom that is done with the Durga Puja. The people hope that
by giving some sweets the goddess will speak only good of the family she visited
and that this might bring them good luck. Obviously, there is no bargaining with the
Black Kali. The black image of Kali is related to Tantric cults as well as there is
one image that shows many human heads at her feet. This blood-thirsty and evil
eradicating Kali is called the Dakat Kali. No blessings can be expected from her.
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February 2012
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Black Kali
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Blue Kali
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But there are also blue images in Shantipur and these images do have some
sweets in their mouth, reason is that the blue images are seen as more benevolent and she has one hand giving a blessing. She is called Shyama Kali.
The people were waiting in the narrow streets for one of the main images. It was
a huge one, carried by many men and surrounded by a large crowd that ran forward shouting with excitement. It was a bit scary as there was hardly any space
left to stand while the men, in the spur of the moment, were blind with passion.
We watched many processions on their way to the immersion ghats and it was
impressive to see the involvement of the people who carried her and surrounded her all the way to her final place of rest. Once at the ghats Kali was giving
back her jewelry, the earrings in the shape of dead heads, the head she holds
in her hand, bracelets and necklaces are all kept for next year when she visits
them again. Now there is no goddess anymore and to my initial shock she
goes into the pond and without any hesitation they really push her down immediately. It is over and really out.
There was one thing I wanted to see before going back to Kolkata that was the
procession of the most important image of Shantipur. When we reached the site
there were already many people waiting and there was one torch burning. In
the past all images were accompanied at night by many torches but the authorities had forbidden the practice due to the high risk of accidents. Of course the
people are afraid that without the burning torches Kali will be unhappy and
somehow this change of routine might incur the wrath of the goddess. A symbolic torch is allowed and we watched with awe how the image was slowly
moved out of her temple, while the battle drums were drumming themselves
and the crowd to ecstasy. It was a spectacular end of the Shantipur Kali Puja.
The Procession to the ghats
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Emotional Immersion
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February 2012
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The day after was the immersion in Kolkata and we went in the afternoon to
the ghats. It was still quiet although the images came down in a continuous
row. We had just arrived when a family came down the ghats with their image
and their farewell to Kali was very emotional. The women seemed to beg her to
stop giving them so much bad luck, their faces were tense and some of them
were crying. They hugged the image that had some sweets in her mouth. The
head of the family consoled some of the women and finally he went to Kali
praying to her and then he told her to go. His body language was clear he simple said, please go, go! We saw many immersions but none had so much emotional tension as this one.
There were no processions in Kolkata as most images arrive by truck and the
family is not allowed to bring their Kali to the river. Specially trained men bring
the images to the river. Here the images are submerged the moment they
reach the river while a little further down the images are collected to make sure
the river will not suffocate with all the debris.
Again a fascinating experience and a festival that can only take place in India,
a country where religion is still the main food for much of the population.
ELSE GERAETS
November 2011
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February 2012
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LAKULISHA:
THE ICONOGRAPHY OF A TANTRIC HINDU SAINT
AND “LOPBURI” BUDDHAS
Text by John J. Toomey
When guiding we are used to introducing our visitors to images of the Buddha
in the monastic robes of a Theravada monk, but sometimes we come across a
bare-chested image of a “Lopburi” or a late Khmer style Buddha and wonder
what kind of iconography this could be. Hopefully, the research here below will
help to clarify some of the connections to Tantric Buddhist iconography in our
museum and how it may have developed from Hindu precedents transferred to
the Khmer (and Champa) Kingdom, using as our model the most interesting
image of the Hindu saint Lakulisha, the 28th incarnation of Shiva.
Fig. 2 Jyotiralingam (naturally occurring,
not man-made, lingam) of Lakulisha, 20C,
Brahmeshwar Temple,
photo courtesy
of http://yog2brahm.blogspot.com
showing the saint in front
of a Shiva lingam
Fig. 1 Buddha Sheltered by Naga,
Baphuon style, 13C, Lopburi Room
of National Museum Bangkok
photo Fred Prager
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In medieval India, sometime during the 2nd to the 5th century CE, there lived
and taught a most intriguing and dynamic Hindu ascetic. He also founded a
new monastic order who refer to him as Lakulisha, the 28th and final incarnation of Shiva. His likeness is sometimes placed in front of Shiva lingas, as in
Fig. 2. In response to the monastic systems of Buddhist and Jain monks, his
so-called “Pashupatas” were the earliest truly organized Shaivist order of siddhas (ascetics). “Pashupati” is another name for Shiva (Bharati 230) and
means “Lord of the Animals”, inferring that Man is the highest of the animals by
virtue of his powers of reason. The Pashupata siddhas (also called yogins or
yoginsiddhas) followed five levels of practice (sadhana), numbering one more
than all the other siddha sects, set out in the 2nd-3rd century Pashupata Sutra
(Davidson 183-4):
First Level—Adapting the practice and appearance of a usual Shaivite monk
and living in Shaivite temples according to their rules.
Second Level—Quitting the appearance of a Shaivite monk and acting in such
a way as to prompt ridicule, behaving insanely so as to be deprecated. This is
the specifically Pashupata level, calculated to relieve the siddha of previous
negative karma which will pass into the critic. This constitutes a condemnation
of the higher castes’ tendency to abuse the lower castes.
Third Level—Cultivating victory (jayavastha) over the senses by dwelling in
caves and repeating mantras.
Fourth Level—Separating oneself from the root of worldly defilement by dwelling
in cemeteries while recollecting Rudra (an older form of Shiva).
Fifth Level—Dwelling in Rudra, enjoying his grace, ending suffering.
Lakulisha’s Pashupata order became popular and widespread under the patronage of the rich and powerful and there are well over one hundred sites in India
where his image or inscriptions related to him are found (see list in Davidson
341-3). Indeed, it is often considered standard to find his image in the niche of
a temple. One is found even in the Maladevi Jain temple in Gyaraspar of Madhya Pradesh (Davidson 186).
The Pashupata order introduced drama into temple liturgy and they were noted
for their skills in vocal music and dance. Much of the Puranas, the medieval
mythologies of the Hindu gods on which we still rely for our stories of the Hindu
deities today, is due to the great literary efforts of the Pashupatas. They are
considered to be the most important and best organized of the Shaivite ascetic
lineages.
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February 2012
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But Lakulisha vehemently detested Buddhism as a threat to the caste system
and Hinduism’s suppression of women, both of which he favored. As such, he
and his monks actively campaigned against Buddhism, and the celibate
Pashupata order challenged Buddhist attempts to proselytize non-Indian peo
ples. They made influential inroads into the court of Bhavavarman II by the 7th
century and they appear in Sanskrit epigraphs as an important form of Shaivism
for the following two hundred years in Cambodia (Davidson 186).
The images of this tantric Hindu saint present a rather regular iconography.
Often close to Buddhist in appearance, it is sometimes quite peculiar and very
much worth studying in relation to contemporary Buddhist and Jain sculpture
and later Buddhist sculpture. He is depicted as seated in either half- or full-lotus
position on a lotus, or a double lotus, or a double inverted lotus, with a halo
and attendants. There is usually a disciple of his among the attendants, which
may include flying celestials, ganas (goblins) and ghandarvas (celestial musicians or entertainers).
In a 7th century image at the Parashurameshvara Temple at Bhubaneshwar in
Orissa, both hands hold a sword which rests upright at an angle against his left
chest, with the pommel on the left heel, as both hands simultaneously make the
mudra of “Turning the Wheel of the Law” (see fig. 8 in Davidson 185). The
face of this rather rough statue is much abraded, but the earlobes are clearly
elongated, as in the case with the Buddha, and the hair flows down in dreadlocks onto both shoulders like a bodhisattva’s. This Lakulisha sits in half-lotus.
Fig. 3 Lakulisha, 10C, Central
Museum of Indore
photo John Toomey
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Fig. 4 Lakulisha, 7C, Central
Museum of Indore
photo John Toomey
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February 2012
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In the Central Museum of Indore (figs, 3 and 4), both images of Lakulisha come
from Mandsaur, sit in full-lotus and are much more artistically sophisticated; but
astounding to the viewer is that both sport erect penises! This, of course, represents the life force of Shiva’s lingam. The Bhopal Museum even has a Lakulisha with a double penis! Lakulisha’s image, in standing position holding a club
(Lakulisha translates as “Lord with a club”) and Shiva’s trishul, was often placed
in front of Shiva’s linga in many temples during the 6th to 8th centuries and
during India’s medieval period, emphasizing his role as the 28th incarnation of

Shiva. Almost all of Lakulisha’s statues are ithyphallic (having erections). He is
sometimes shown naked carrying prayer beads and a human skull cap for a
bowl. For ithyphallic images of Lakulisha, including some from the British Museum, please see http://www.google.co.th/search?q=lakulish&hl=th&biw=1024&bih
=595&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=R567Tp-aKZCrrAeIpJXVBg&sqi=2&ved=0CFoQsAQ.
In the Indore Museum, the 10th century Lakulisha (Fig. 3) has a hairdo of rows
of curls recalling those of the Buddha, and heavy earrings, necklaces and armbands similar to those in later Khmer and Champa sculptures. From above,
two angels descend with a crown to set on his head which is backed with a
very well-defined halo of lotus and fish-roe (or pearl) motifs. The other image
(Fig. 4), from the 7th century, has a high chignon similar to that of a bodhisattva’s jatamukuta, Shiva’s third eye in his forehead and Brahminical cord over his
left shoulder and chest. Pendulous earrings extend the earlobes and three
lines are at the neck as the Buddha would have. He wears three strands of
pearls at the throat with a cabochon or pendant.
So much similarity with Buddhist iconography, including that of later Khmer,
along with the fact that these statues all have bare upper torsos, brings to mind
the Adorned Buddha Protected Under Naga’s Hood in the “Lopburi” Collection of
the NMB. Many scholars, including Peter Sharrock (Sharrock, 2010, Berlin)
also refer to such iconography as one of the three special iconographies that
define the uniqueness of Khmer tantrism and they name it “The Buddha Enthroned on the Coiled Naga”. Janine Gray has so well discussed this sculpture
in the April and November, 2011, issues of this newsletter. She notes that the
lines of the robe over the left shoulder had been etched in at a later date and
tells us of Ajarn Smitthi’s reminder of the lag between Angkor and Lopburi, both
important points to note and keep in mind.
One might wonder why the Buddha had been represented with a bare upper torso. A very good reason could be the lag, perhaps even in Angkor itself, between
the order for Buddhist statuary, and the education in the new tantric Buddhist iconography of the sculptors, who were used to carving bare-chested Hindu deities.
In a significant note on the NMB’s file card for this piece, Hiram Woodward is
quoted as saying in 1971 that the parts were put together as though the artist did
not have a knowledge of anatomical parts (the same could be said of the
Bhubaneshwar piece mentioned by Davidson above). This adds strength to the

argument that the employment of possibly lesser skilled artisans in the province
of Lopburi shows that there was an acute need to produce an unfamiliar icono
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February 2012
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Fig. 5 Buddha Sheltered by Naga’s
Hood, Angkor Wat style, 12C,
Lopburi Room of National
Museum Bangkok
photo Fred Prager
Fig. 6 Lakulisha with Shiva’s trishul
and rosary, with vermillion,
photo courtesy of Denise Tomecko,
from her book “Shiva”
graphy, due to a sudden change in the state cult from Hinduism to Buddhism at
the time of Jayavarman VII. Since sculptors were already accustomed to making
Hindu images with bare upper torsos, and if they had not yet learned the full
iconography of Buddhist imagery, it would have been only natural for them to

carve the Buddha in the same mode as Lakulisha seated in lotus position. This
is especially likely given the presence of Lakulisha’s monks in Cambodia and
their prestige at court from the 7th to 9th century (Sanderson 435). In 8th century
China, Lakulisha had already even been portrayed with snail curls and ushnisha,
making the mudra of “turning the wheel of the Law” (Davidson 86)
More solid proof would be the finding of Lakulisha’s actual image in Cambodia. Perhaps his images are there but either have not yet been found or have been
mis-identified as other deities. However, if his monks had been as vitriolic
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February 2012
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against Buddhism as he himself was, it would not be any wonder if the new
Buddhist monarch had endeavored to erase any trace of him. Such research is
best left for the archaeologists and younger scholars to tackle.
But our quest for the answer to the bare-chested iconography of the Khmer
Buddha statues cannot end here, because in Cambodia, too, the Buddha’s
upper torso was often bare. There already had existed pre-Angkor images of

the Buddha in monastic robes, having the right shoulder bared or even both
shoulders covered in the Dvaravati manner (see many examples of both styles
in Cort and Zefferys). But in the 12th century, the chests were becoming bared.
The Khmers, whether in Lopburi or Angkor, were not waiting for the proper
iconography to get to them from India. They already had the Indian tantric iconography as well as their own original styles at the court in Angkor. However,
their worship was not so much of the historical Buddha in Theravada monastic
robes, as it was of the eternal cosmic Buddha in glory. This was the Buddha
of the tantric Vajrayana form of Buddhism whom they modeled on their own
bare-chested chakravatins, crowned and heavily bejeweled.
Taking as an example a standing crowned Buddha on an inner lintel at Phimai,
Louise Allison Cort (54) concludes that this symbol of the victory of the
Transcendental Buddha over death is representative of an as yet not fully

understood variant of Mahayana Buddhism with strong tantric elements. This

became the state religion in the last decades of the 12th century and by 1181
Jayavarman VII’s chief Buddha was the Buddha protected by Naga (Cort 54).
In this iconography the Buddha is crowned, bejeweled and enthroned on the
coiled Naga because of the belief that full enlightenment did not occur under
the bodhi tree. Rather it was achieved in heaven in a coronation by cosmic
Buddhas (Cort 66). The medicine jar held by the Buddha becomes part of the
iconography because the Supreme Buddha takes on the role of the Medicine
Buddha Bhaisajyaguru and is identified with Jayavarman VII. He often appears
in a triad with Lokeshvara (Khmer for Avalokiteshvara, Bodhisattva of Compassion), commemorating Jayavarman VII’s father, and Prajnaparamita (consort of
Avalokiteshvara, goddess of Understanding, and Mother of all Buddhas),
commemorating his mother, because Compassion and Understanding generate

Buddhahood (Cort 66).
Thus the naked upper torsos are explained by the identification of the deva-raja
god-king with the Buddha enthroned in majesty and glory. We also must take
into account the influence of the naked upper torsos of the prevalent Hindu
sculptures and the tantric influence of Lakulisha’s disciples at the Khmer court
before the time of Jayavarman VII. We also see such half-naked and adorned
and crowned buddhas in some late Ayutthaya and Rattanakosin images in
semi- or full regalia.
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February 2012
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In the tantric Khmer Vajrayana Buddhism of Jayavarman VII, the Buddha
Enthroned on the Coiled Naga was worshipped as supreme and as the mon
arch’s personal Buddha. Along with him were the other two important manifestations of the Buddha, namely Vajrasattva, holding thunderbolts (male power)
and a bell (female energy) and the many-headed and many-armed, dancing
Hevajra surrounded in a mandala of dancing dakinis (female adepts). It may
have been Hevajra that the king took to be his own personal yidam, “a… visualized representation of one’s own enlightened energy, on which to focus and
then to actualize” (explanation courtesy of Denise Tomecko). All three Buddhas
are naked to the waist as were the Khmer monarchs. The perfect example of
the enshrinement of these three still exists today at the sanctuary at Phimai.
Jayavarman VII’s Buddhism fell when he died. Lopburi eventually fell under
Thai Theravada control. It should not be surprising that a pious Theravada
community, placing great importance on commemoration of the story of the
historical Buddha and the Naga, would want to “give” him proper monastic

robes and to “convert” the NMB’s Adorned Buddha Protected Under Naga’s
Hood for Theravada worship. This transformation may have occurred rather
soon after the fall of the Khmer, or at least the etching may have been performed without the benefit of an Indian model for the shawl, which is portrayed
much like a Thai or Lao shoulder cloth. Whatever the date of the later “pious
disfigurement”, it was performed with good intentions by a community that did
not understand that this Buddha was already bedecked in glory.
SOURCES
Bharati, Agehananda. 1965. The Tantric Tradition. London: Rider and Co.
Cort, Louise Allison. 2010. Gods of Angkor: Bronzes from the National Museum
of Cambodia. Chiang Mai: Silkworm Books.
Davidson, Ronald M. 2002. Indian Esoteric Buddhism: A Social History of the
Tantric Movement. Columbia University Press.
Fouce, Paula and Denise Tomecko. 1990. Shiva. Bangkok: White Orchid Press.
National Museum Bangkok. File card for item LB 82, “Crowned Buddha on Naga”.
Sanderson, Alexis. The Saiva Religion Among the Khmers, Part I. EEFEO.
Sharrock, Peter. “Multi-directional Flows of Buddhist Art in Southeast Asia”.
Oral presentation given at Conference of European Association of South East
Asian Archaeologists, Sept 29-Oct 1, 2010, Berlin. Abstract available at http://
euraseaa.userpage.fu-berlin.de/panels/sharrock.pdf.
Tomecko, Denise. Nov. 12, 2011. Private correspondence regarding yidam.
Wikipedia. Lakulish available at http://en.wikipedia.org/wiki/Lakulish.
November 9, 2011.
Accessed
Zefferys, Marlene L. 2001. Heaven and Empire: Khmer Bronzes from the 9th to
the 15th Centuries. Bangkok: White Lotus Press.
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February 2012
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Le Royaume du Lan Na
1ère partie : “Clés pour une approche de l’histoire du Lan Na”
Lan Na est un terme
qui recouvre une réalité
à la fois culturelle et
historique.
Culturelle,
parce que le Lan Na a
développé un style architectural et artistique
propre et possède sa
propre langue, écriture
et littérature; historique,
parce que le Lan Na a
existé en tant qu’Etat indépendant, avant d’être
absorbé
par
le
Royaume du Siam au XIXe siècle.
Chiang Mai, Wat Phra Singh, viharn
Deux hypothèses, ne différant que par les tonalités, sont apparues très tôt pour
expliquer le nom Lan Na : Làn Nã, ou Pays du million de rizières et Lãn Nã,
ou Pays recouvert de rizières. La coexistence de ces deux versions s’explique
par le fait que les tonalités n’apparaissent,
dans l’écriture tham du Lan Na qu’au XVIe
siècle. Finalement, les etymologues se
sont mis d’accord sur la version Làn Nã,
ou Pays du million de rizières.
Le plus ancien document en siamois
mentionnant le nom “Lan Na” est une in
scription sur pierre de Chiang Khong sur le
Mékong, datant de 1554. Toutefois, on sait
que le nom est plus ancien puisqu’il apparaît déjà sur une carte européenne de
Giovanni Leardo, cartographe vénitien

(1448), avec la graphie Llana, et sur un
globe de Martin von Behaim, cartographe
de Nürnberg (1492), avec la graphie Lanna.
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Chiang Mai, moinillons
February 2012
.
Dans les grandes lignes, la frontière du
Lan Na, au moment de sa plus grande extension (vers la moitié du XVe s.), allaient
au Sud, jusqu’à Tak et à la frontière de
.
19
Sukhothaï, à l’Est, au fleuve Mékong, à l’Ouest, au fleuve Salawin, au Nord à
Chiang Rung (aujourd’hui Jinghong/Yunnan). De nos jours, on s’accorde à dire
que le Lan Na est formé des huit provinces du Nord de la Thaïlande : Chiang
Mai, Chiang Rai, Lamphun, Lampang, Phayao, Phrae, Nan et Mae Hong Son.
La topograhie
Du point de vue géographique, le Lan Na est une région de chaînes montagneuses orientées Nord-Sud, traversée par des cours d’eau et leurs vallées,
sans débouché direct sur la mer. C’est cette configuration qui a favorisé très tôt
l’apparition de cités-Etats indépendantes, réunies à la fin du XIIIe s. au sein
d’un Royaume.
La topographie rendait les communications difficiles et, de ce fait, chaque cité-Etat
développait des caractéristiques culturelles propres. C’est aussi cette fragmentation
géographique qui a longtemps freiné la formation d’un pouvoir centralisé.
Parmi les cités-Etats on distingue, d’une part Chiang Rai (vallée du Kok),
Phayao (vallée de l’Ing), Hariphunchai=Lamphun (vallée du Haut-Ping), Khelong
=Lampang (vallée du Haut-Wang), Phrae (vallée du Haut-Yom) et Nan (vallée
du Haut-Nan).
D’autre part, tout au long de l’histoire du Lan Na, certaines autres subdivisions
géographiques ont joué un rôle important : la ligne de partage des eaux, séparant les affluents du Mékong de ceux du Chao Phraya, a notamment opposé
Chiang Rai/Chiang Saen au Nord, à Chiang Mai au Sud. Sans compter que
Mae Hong Son est située dans la vallée du Rai, affluent du Salawin. Ce sont
les chaînes de montagnes qui ont assuré à Phayao et Nan, à l’Est, une relative
autonomie au sein du Lan Na.
Chiang Mai, Wat Chedi Luang, stupa
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February 2012
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L’économie
Comme dans la plupart des sociétés asiatiques, le riz constitue la nourriture de
base de la population : il s’agit de la variété dite riz gluant (khao nueng = riz à
cuire à la vapeur). La préparation, l’irrigation et l’exploitation des rizières
appartenait aux cultivateurs, alors que leur taxation et administration générale

était le fait des autorités locales ou centrales.
La question de la propriété des rizières reste controversée : théoriquement, le
roi possédait toutes les terres, mais il n’est pas exclu que des particuliers ou
des monastères ayent pu être propriétaires ou usufruitiers de leurs champs.
En termes de propriété et d’usufruit on distinguait les rizières royales, exploitées
directement par le roi et sa famille, des rizières du mueang, rattachées aux
fonctionnaires royaux qui en tiraient leurs revenus, et des rizières ordinaires, exploitées par des particuliers ou des monastères. Ces terrains individuels étaient
comptés à l’aide du classificateur rai; au Siam, à une époque inconnue, ce
terme commença à se généraliser comme mesure de surface de la terre, encore utilisée de nos jours.
.
Chiang Saen, mur d’enceinte
February 2012
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Mae Sarong, marché
21
En termes de culture, on
distinguait les rizières irrigables (na), se présen
tant généralement par
groupes de plusieurs terrains contigus, séparés
par une petite digue
(khan na), des rizières
d’altitude
ou
rizières
sèches (rai), propres aux
régions
montagneuses,
souvent gagnées sur brûlis. Ces dernières dépendaient de la pluie et
Chiang Mai, Doi Suthep
étaient également utilisées pour produire du coton, des piments, des légumes et des fruits.
Les dimensions d’une rizière étaient indiquées par la quantité de graines nécessaire pour l’ensemencer. L’unité de mesure du riz en grains était une mesure
de capacité, le panier, ou de poids, le muen (11 kg).
Toutes les rizières étaient grevées d’une taxe; seules les rizières nouvellement
défrichées en étaient exemptées pendant quelque temps. Les taxes étaient
dues annuellement et calculées en bia, une unité monétaire représentée par un
petit coquillage marin originaire des Maldives.
L’organisation sociale
La société se répartissait en classes, empruntées, semble-t-il, aux Khmers; elle
s’ordonnait de façon pyramidale. Au sommet, le roi et la cour à qui appartenait
le pouvoir suprême; puis la noblesse de cour (chao) ou de robe (khunnang),
dont la tâche consistait à enregistrer les sujets libres et à les m
ettre au travail.
Puis les seigneurs (nai) ou fonctionnaires royaux qui représentaient le roi dans
les mueang périphériques. Les moines possédaient une autorité spirituelle, mais
étaient étroitement liés au pouvoir. Les sujets libres (phrai ou lek), étaient organisés par groupes ou divisions attribués à l’autorité civile ou militaire. On distinguait les phrai som, directement soumis à un seigneur, et les phrai luang,
soumis au roi; les phrai suai, eux, avaient réussi à se libérer de la corvée ou
de l’impôt contre le versement d’un tribut. Enfin, les esclaves (that), étaient
classés, selon la cause de leur esclavage, en esclaves pour dettes et descendants d’esclaves (khon ngoen) et esclaves volontaires (khon yin dii). Les esclaves pour dettes constituaient la majorité; ils pouvaient racheter leur liberté en
rembourant leur dette. Les esclaves volontaires, eux, étaient ceux qui s’étaient
délibérément voués à une tâche particulière (p. ex. s’occuper de l’entretien
d’une image du Bouddha dans un monastère).
22
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February 2012
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Les origines
Les Taï Yuan constituent l’ethnie dominante au Lan Na. Rappelons que
l’expression “Taï” désigne un groupe de locuteurs d’une même famille linguistique, alors que “Thaï” désigne les citoyens de l’actuelle Thaïlande.
Les Yuan possèdent leurs propres langues et écriture, différentes du siamois.
Ethniquement, les Taï Yuan s’apparentent aux Taï Khuen et Taï Yai de Chiang
Tung (actuellement au Myanmar), aux Taï Lue de Chiang Rung et aux Taï Nueng de Dali (actuellement au Yunnan/Chine).
La démographie
En Asie du Sud-Est, le pouvoir n’était pas basé uniquement sur le contrôle et
l’administration d’un territoire, mais d’abord sur le contrôle et la disponibilité de
main-d’oeuvre. Jusqu’au début du XXe s., de vastes zones continentale de cette région, Lan Na y compris, souffraient en effet d’une constante faiblesse démographique.
Par exemple, le recensement siamois de 1910/11 a donné 8,2 millions
d’habitants, une estimation pour 1800 ne dépassant pas 2 à 3 millions.
De ce fait, les guerres étaient menées dans le but de s’assurer le contrôle
d’un maximum de populations, déportées et contraintes de repeupler le territoire du vainqueur. Celui-ci déportait volontiers les artisans, dont le savoir-faire
augmentait ainsi son prestige.
Au Lan Na comme au Siam, les prisonniers de guerre étaient considérés
comme des phrai luang ou sujets libres soumis au roi.
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February 2012
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Doi Langka, col entre Chiang Rai et Chiang Mai
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23
L’organisation socio-politique
Le mueang est le mode d’organisation de l’Etat et de la société chez les Taï : il
s’agit à la fois d’une entité administrative et d’un système de relations sociales
et rituelles, s’organisant autour de la culture du riz. Le Royaume du Lan Na
était formé de quelques grands mueang entourés de mueang plus petits; ils
étaient fédérés entre eux et avec la capitale, de sorte à créer un réseau relationnel très complexe. Un grand mueang se subdivisait en un certain nombre
de mueang plus petits, qui n’étaient que la reproduction fidèle des structures du
mueang supérieur.
Vu sous l’angle territorial, le mueang représente un centre administratif urbain et
ses territoires ruraux environnants. Il possède des zones frontière (crêtes montagneuses, lignes de partage des eaux), mais pas de limites clairement définies.
Vu sous l’angle politique, le mueang comprend la population vivant dans cet espace sous l’autorité d’un souverain : c’est la présence de l’autorité qui fait d’un
lieu habité un mueang.
Vu sous l’angle socio-cosmologique, enfin, le mueang est le lieu où s’organise
un système de relations sociales et rituelles.
On a comparé le mueang au mandala, issu de la philosophie hindoue et signifiant cercle, sphère, environnement et communauté.
Chiang Rai, entrée du jardin et musée Rai Mae Fa Luang
24
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February 2012
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Les montagnes et l’espace sacré
Dans le Nord de la Thaïlande, l’opposition nature/culture n’est pas si accentuée
que dans le reste du pays. La nature y prend, en effet, une part déterminante
dans la vision du monde que partagent ses habitants, au même titre que la culture civile incarnée par le mueang.
Montagnes, forêts et grottes représentent d’importants points de repère dans le
symbolisme et la cosmologie bouddhiques. Elles sont le lieu de résidence de divinités et esprits autochtones, brahmaniques et bouddhiques et offrent, avec
leur nature sauvage, un refuge aux ermites, ascètes et chamanes, tout en attirant une foule de pèlerins visitant les nombreux temples et monastères qu’elles
abritent et leurs “moines de la forêt”.
Les croniques sur feuilles de palmier (tamnan) transcrivent les légendes orales
dont les origines remontent à l’époque pré-taï et qui ont pour protagonistes
montagnes et figures légendaires, ascètes et êtres surnaturels, dieux et démons. Le Bouddha occupe une position prédominante dans ces chroniques :
elles décrivent son voyage légendaire au Lan Na, dans l’intention de consacrer
cette région à lui-même, au travers d’un héritage de signes (reliques, empreintes de pieds, etc.). Le Bouddha rencontre les autochtones, notamment Lawa
et Môn, et les persuade de se convertir au bouddhisme. Le Bouddha visite entre autres la montagne Dong Ang Salung Chiang Dao, qui devient part là, l’axe
à partir duquel le “souverain universel équitable” (chakravartin, dhammaraja) se
bat contre les plaies du monde, telles que guerres, souffrance, malfaisance, immoralité et injustice.
Cette visite est un événement qui donne au monde son sens et son ordre, et
les signes que le Bouddha y laisse sont les preuves de sa présence constante.
La montagne, ses légendes et les croyances qui y sont rattachées, contribuent
encore aujourd’hui à renforcer l’identité du Nord au travers des pèlerinages et
du patronage des élites.
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February 2012
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25
Newsletter Index – January – December, 2011
Issue
“2011”
Page
Article
Author
January
8
January
21 Recent Happenings
The World’s Only Lacquer Museum
John Toomey
January
24 Thai Heritage
In Search of Kathina
Mikki Kanatoko
February
9
500 Years: Europeans in Siam Europeans at the Court of Siam
Janine Gray
500 Years: Europeans in Siam 500 Years: Europeans in Siam – Introduction
February
Artisanship and Aesthetic of Japan and Thailand
John Toomey
February
27 Cross Currents
Collections in the Boston Museum of Fine Arts
John Toomey
March
5
March
20 Thai Heritage
500 Years: Europeans in Siam Christianity and Christian Missionaries in Siam
Bun Phra Wet Scrolls Festival
Dr. Olga Sonntag
Maria-Beatriz Woodrow
March
25 Behind the Scenes
Behind the Scenes:Printing the Symposium Catalouge
Fred Prager
April
9
April,
15 Feature
500 Years: Europeans in Siam The Myth of Lake Chiamay Unravelled
Buddha Protected by Naga
Janine Gray
Dawn Rooney
April
20 Thai Heritage
The Royal Ploughing Ceremony
Jiraporn Usanakornkul
May
5
500 Years: Europeans in Siam Artists and Architects during the Reigns of Kings Rama V and VI Heather Chappell
May
13 Feature
The Water-Moon Avalokitesvara
John Toomey
May
16 At The Museum
An Old Friend, a New Look! The Red House
Fred Prager
May
18 Out and About
A Visit to the Portugese Emabssy and Churches in Bangkok
Catherine Porter
May
25 Guides Guide Guides
Garuda Seizing Naga
Benedicte Van der Wielen
John Toomey
June
WFFM Vice President Visits NMV
June
A Visit to Prince Naris’ House
Fred Prager
June
19 Book Review Auf Elefantenrücken durch Siam-Europäische Reiseberichte
Cosimo Nocera
Shalindri Ranawana
June
Table Screens in the Mother of Pearl Inlay Room of the NMB
Jul.-Aug.
Reunion of NMV Japanese Guiding Group in Tokyo
Fumiko Boughey
Jul.-Aug.
Sirindhorn Day at Baan Plainern
Else Geraets
Jul.-Aug.
Visit to Former NMV Guides in Shanghai
Jul.-Aug.
20 Asian Art
Chinese Bronzes: A Case of Less Being More
Antonio Strano
Jul.-Aug.
23 Book Review Les voyageurs et leurs rècits
Cosimo Nocera
Jul.-Aug.
Too Big a Footprint to Fill-Buddha Making a Footprint
Mikki Kanatoko
September 10 Recent Happenings
Project Day with Blind Children at the NMB
Bo Mazur
Book Launch-Jews in Thailand by Ruth Gerson
John Toomey
NMV Supports Japanese Charity Tea for Tsunami Victims
John Toomey
September 24 National Museum Exhibition
Ganesha: Lord of Fine Arts
John Toomey
September 33 Out and About
Viharna Sien – Pattaya’s Pride
Carol Stephens
October
Bonjour Bangkok
7
Recent Happenings
October
8
Recent Happenings
Living in Bangkok
October
9
Transitions
Visit to Pay Respect at the Urn of HRH Princess Bejaratana
Mom Bongkojpriya Yugala
October
13 Study Group
European Architecture in Thailand during the Fifth Reign
Ines Ehrlich
October
18 Study Group
Shophouses
Jimmy Sanchez
October
23 Out and About
Ancient and Cheerful Companions in the Mountains Bhutan
John Toomey
November 10 Articles
King Rama V and the Pharoh – The Egyptian Connection
Antonio Strano
November 16 Articles
Architectural “Diamonds” of Petchaburi
John Toomey
November 23 National Museum Exhibition
Artworks of Royal Artisans – Issaravinitchai Hall
Fred Prager
December 5
Out and About
Flood Relief
Ines Ehrlich
December 7
Monthly Lecture
Recap: Eco Dharma
December 9
Transitions
In Memorium – Michael Gerson, Rosie Gerovnik
Fred Prager
December 10 Study Group
Western Influences in Royal Residences and Palaces
Ines Ehrlich
December 15 Articles
Buddha Protected by Naga
Janine Gray
December
A Trio of Winning Wats
Carol Stephens
26
Excursion
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February 2012
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EXCURSIONS POLICY
Participating in NMV excursions is a benefit of being a member. An NMV
member may be accompanied by a non-member if they are family or a house
guest (maximum of 2), space permitting.*
.
.
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.
.
.
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Bookings
Always make reservations by email to the organiser listed in the announcement.
Please provide your name, mobile number plus membership status of you
and guest(s).*
You are not registered until your request has been received by email and
an acknowledgement has been sent to you in writing.
Reservations are on a first-come, first-served basis.
By making a booking, you are committing to pay in full for your place.
If full payment is requested prior to an excursion and has not been
received, the organisers retain the right to pass your place to another

person.
Often an excursion announcement will give a booking deadline. If full, the
trip may close and be finalised before this date.
Until the excursion organiser is actually in receipt of your payment, you
are not considered to have paid.
The NMV reserves the right to cancel an excursion if enough members
do not sign up.
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Cancellations
Your payment indicates your intention to travel. If you cancel, there will
not be a refund.
If you cannot attend an excursion, please notify the organiser immediately.
If you cancel your booking, unpaid fees are considered a debt owed to
the NMV. We regret that no further bookings can be made until this debt
is cleared.
WAIVER OF LIABILITY
The NMV will not provide personal insurance for excursion participants.
The Museum Group’s Excursions are an activity of the National Museum
Volunteers, which is a non-profit organization and is not a professional travel
service. It cannot be held responsible for any injury, loss, or damage that may
occur during any excursion, although the Museum Group’s Excursions will
make reasonable efforts to provide for the safety of participants.
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February 2012
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27
MEMBERSHIP APPLICATION
MEMBERSHIP APPLICATION FORM
Please complete all details on this form and mail to the address below with
a crossed cheque of 1200 Baht for residents in Thailand (1800 Baht for
couple) or 2000 Baht or US $70 (for cheques drawn on a US bank) for an
overseas subscription, made payable to National Museum Volunteers.
Complete this form in CAPITAL LETTERS ONLY and mail to:
Membership Chairperson
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Membership card
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Welcome pack
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Database
February 2012
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NMV STEERING COMMITTEE
Patron:
MR Chakrarot Chitrabongs
President:
Vice-president:
Vice-president:
Secretary: Treasurer: Guide Chair: Ines Ehrlich *
Aviva Biran *
Biliana Vassileva *
Claudia van der Heyden *
Sabine Lefeuvre *
Bela Woodrow *
Tour leaders:
English:
Alan Needleman
French:
Carole Boymond
Jean-Pierre Joly
Cosimo Nocera
German:
Barbara Frank
Gaby Andersson
Japanese:
Kumi Ishii
Naomi Nomoto
At Homes:
Vacant
Accessibility:
Kerstin Droge
Shalindri Ranawana
Library:
Francoise Vincent
Barb MacNeill
Lecture series:
Matthias Geisler
Membership:
Susanne Goessing
Maureen Duffus
Monthly program:
Susanne Kerekes
Biliana Vassileva *
NMV Newsletter:
Devin Brougham *
Fred Prager
Susanne Kerekes
Product Manager:
Fred Prager
Publicity:Vacant
Excursions:
Aviva Biran
Victoria Kudriavtseva
Study Groups:
Martine Mauffrey
Hospitality:
Eva Wauschkun
Webmaster:
Bo Mazur *
Contact us:
President: [email protected]
Newsletter Editor: [email protected]
Webmaster: [email protected]
* Denotes Executive Committee members
.
February 2012
.
.
www.museumvolunteersbkk.net
P.O. Box 1305 Nana Post Office
Bangkok 10112
Thailand
กลุ่มอาสาสมัครพิพิธภัณฑ์สถานแห่งชาติ
ตู้ ป.ณ. 1305 นานา
กรุงเทพฯ 10112
The National Museum Bangkok is located on
ถนนหน้าพระธาตุ
Naphrathat Road (
)
between the National Theatre and Thammasat University,
across from the Sanam Luang