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The paintings of Chala Bhi Chati Tale
Keywords : Wat Bowon ฺฺฺBang Lam Phu, Wat Bowonniwet Vihara, Wat Bowon, The paintings of Chala Bhi Chati Tale
Site common name | Wat Bowonniwet Vihara |
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Site alternative name | Wat Bowon |
Type of artwork | Painting |
Sub district | Bowon Niwet |
District | Khet Phra Nakhon |
Province | Bangkok |
Region | Central |
Country | Thailand |
Geographic Coordinates Decimal degree | Lat : 13.760601 Long : 100.500057 |
Geographic Coordinates UTM | Zone : 47 P Hemisphere : N E : 662174.65 N : 1521755.04 |
Place of artwork | The bottom of the Principle inner pillars inside the Ubosot. |
History of production | The paintings was done under the Royal order of King Mongkut (Rama IV) |
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Art | There is the Inscription at the bottom of the pillars read; “The Buddhist Proverbs of the tale of ‘Chala Bhi Chati are explained as follow;” 1. Kanha Bhi Chatiya - The ones who were born black and follow black (dark), representing their harsh upbringing with low social status and poverty which makes them follow the dark side to the evil path. 2. Kanha Bhi Chatiya - The ones who were born black but follow the white (bright) path which means the merit way of life. 3. Kanha Bhi Chatiya - The ones who were born black but determined to reach nirvana, the color of their skins is meaningless. 4. Sukka Bhi Chatiya - The ones who were born white (bright) which means they were born to the high status and wealthiness but follow the dark to evil life. 5. Sukka Bhi Chatiya - The ones who were born white and follow white path. 6. Sukka Bhi Chatiya - The ones who born white and determined to reach nirvana, the color of their skins is meaningless. The paintings of the tale of ‘Chala Bhi Chati’ or six types of humans located in the lower frame of the 6 pairs of the inner principle pillars near the Principle Buddha Image in the following order; 1st pairs: The picture of Lord Buddha receive food offerings on the ivory white background. 2nd pairs: The picture of monks and priests on the white background. 3rd pairs: The picture of Upāsaka and Upāsikā (male and female attendants( wearing white attires on the yellow background. 4th pairs: The picture of the King, Royal family, Brahmins and Elites on the red background. 5th pairs: The picture of judiciaries (judges), Prison Officers, and Inmates on the green background. 6th pairs: The picture of the hunters or poachers on the indigo blue background. When compare with the verses from Tripitaka together with the composition of the paintings, it can be assumed that the paintings are classified to be the depiction of 3 groups of humans; 1. The group of people who wish to attain or will attain nirvana - The picture of Lord Buddha and disciples on the first 2 pairs. This group included those who were born and wish to attain nirvana as mentioned in the proverbs. 2. The group of people that follow the white path - The picture of Upāsaka and Upāsikā and the picture of the King, Royal family, Brahmins and Elites reflecting those who behave properly and appropriately to their social status. It should included those who were born low but wish to follow the white path to become decent. 3. The group of people who follow dark path - The picture of judiciaries (judges), Prison Officers, and Inmates and the picture of the hunters or poachers reflecting those who follow the dark path regardless of their social status. |
Key academic information | The tale of ‘Chala Bhi Chati’ or six types of humans according to the descriptions by Lord Buddha is displayed in the form of wall paintings at many places during the reign of King Mongkut. Each places would maintain the similar composition that painted the story in the lower frame of the 6 pairs of the inner principle pillars of the Ubosot or Vihara. Each pair of pillars would have different base colours with the pair located closest to the Principle Buddha Image would have the ivory white base color while the further the pillars are, the darker its color would be (from yellow, red, green, and indigo in chronological order) to reflect the idea of the lightness and brightness of human’s mind would reflect by the distance of them from Dhamma (thus the closest one to the Principle Buddha is in the white tone), This coloring style also complements the picture of monks and priests on the ivory base color and the picture of the poachers on the furthest pillars. |
Art period | Rattanakosin |
Age | 24th Buddhist Century |
Religion | Buddhism |
Sect | Theravada |
Religion and belief | Theravada Buddhism |
Legend | Suttanta Pitaka Anguttara Nikaya Panjakanipata, Chakkanipata, ChalaBhi chati Sutra |
Type of License | Attribution-NonCommercial-NoDerivs (CC BY-NC-ND) |
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Rights | Princess Maha Chakri Sirindhorn Anthropology Centre |
Date of record creation | 2016-09-15 |
Record creator | Patsaweesiri Premkulanan |
Bibliography | พัสวีสิริ เปรมกุลนันท์. “จิตรกรรมฝาผนัง: พระราชประสงค์รัชกาลที่ 4เรื่องจริยวัตรสงฆ์” (วิทยานิพนธ์ศิลปศาสตรมหาบัณฑิต สาขาประวัติศาสตร์ศิลปะ บัณฑิตวิทยาลัย มหาวิทยาลัยศิลปากร, 2552). |