Working Group Participants: Mr. Jaturong Pokharatsiri, Mr. Ha Quang Minh, Mr. Sokha Heng, Mr. Vonxayarath Vongdavone
Background
Gallery : Haribhunchai National Museum
Haribhunchai National Museum in Lamphun Province was established in 1927 by Praya Rachanakulvibulbhakdi, the Governor of Phayap. Later, the Department of Fine Arts took over the museum’s operations, and in 1974, a new building was erected for the purpose of exhibiting its archaeological and historical collections of artifacts.
The permanent exhibit of the museum includes artifacts and relics discovered in the region. In the Stone Inscription Hall on the first floor of the main building, there are 35 stone inscriptions, including 7 featuring Mon scripts. The main exhibition hall, which is located on the second floor of the building, houses collections of artifacts dating to the early (before 1000 A.D.) and late Haribhunchai period (1057-1293 A.D.) Artifacts from the early Haribhunchai period show the influence of Pala Indian art as well as the influence of Dvaravati Art of Northeastern Thailand. Artifacts dating to the late Haribhunchai period show the distinctive features of late Dvaravati period artworks, including the thick eyebrows, downward cast eyes, and slightly opened mouth. Pottery from this period is also featured in the collection. The permanent exhibit also houses a collection of Lanna (Northern Thai) artifacts, dating from 1350-1950 A.D.
Working Group Project
On the first day of fieldwork, the working group endeavored to identify the role of the museum in the community. Through an interview with the museum’s director, the team determined that the central role of the museum was to collect, display and preserve artifacts considered to be national treasures. In addition, the museum provides academic information about Hariphunchai and Lanna to tourists and schoolchildren, and provides a space for academic, cultural and art activities (including cultural subgroups, e.g. artists, ethnic communities, clubs and institutions). The main operators are the staff of the HNM (director, curator, conservator, clerical staff, museum guide, as well as the “Friends of HNM” network, scholars and researchers). Primary users are locals, tourists (both domestic and international), and students.
In terms of challenges, the working group found that the museum had limited funding and resources (particularly from the central government) for improving its facilities (i.e. storage). The museum also has too few qualified staff, and existing staff are responsible for many tasks. The museum also has a top-down decision-making process which rarely involves local stakeholders.
In the ICH inventory process on the second day of fieldwork, the working group identified several elements of ICH linked to the museum community (broadly defined as Lamphun province), including: dances, performances and music; ethnic costumes; Mon ethnic identity; legends of Queen Camadevi; ethnic life around the Mae Guang River, and the production of votive tablets and amulets. Through consultation with the museum director, the working group selected the Phra Rod votive tablets and amulets, as the director felt that this was the element of ICH most closely linked to the museum’s collection and mandate of showcasing national treasures. The working group also selected this element because amulets (Phra Rod in particular) represent the identity of Lamphun (and Hariphunchai), are related to the legends of Queen Camadevi and the Hariphunchai kingdom, and involve knowledge of production, consecration, use and practice, and the beliefs of many groups (e.g. monks, villagers, healers, collectors.)
For their research and documentation, the working group met with a range of stakeholders involved in the production, sale and use of Phra Rod votive amulets, such as monasteries and monks and villagers involved in the production (Wat Mahawan), people using and collecting amulets, monasteries involved in the ritual consecration of the amulets, local museums in monasteries housing amulets, and a local patron supporting terra cotta arts (including amulet production). The working group discovered many aspects of significance of the amulets, such as their use as protective talismans (i.e. in wars), their use as tokens or gifts for guests (funerals, opening ceremonies), and their use as symbols of the Buddha’s teachings. In terms of documentation, the group conducted interviews with key informants at various monasteries (Wat Phra Thaat, Wat Mahawan, Wat San Pa Yan Luang) and took photographs and videos of the amulet production process. They also met with a teacher and schoolchildren at Rimping School, sellers of amulets, healers (who produce and use the amulets) and an owner of a terra cotta art business who is also a patron of the terra cotta arts.
In terms of cultural rights issues, the working group found that each monastery had its own protocol for the production of amulets that should be respected. Anyone can produce moulds and amulets; however, amulets must be consecrated inside the monasteries in order to be regarded as “authentic.” The group also found that monasteries own the rights to their original Buddha images, and that those seeking to produce amulets that are copies of the original would have to first ask permission. The group was told that generally, permission is given to those who have “good intentions” (i.e. selling amulets to raise funds for schools or merit-making events rather than for purely commercial reasons).
Another sensitive aspect of the Phra Rod amulet has to do with the monetary value of the originals. There was concern that the display of authentic, ancient amulets would put monasteries and museums at risk of theft. Moreover, a related concern had to do with the meaning of the amulets. Whereas monasteries produce the amulets to be a reminder of the Buddha’s teachings and Buddhist practice, in reality, many people are interested in the amulets’ magical properties and monetary value.
Project Outputs
(Museum Plan and Recommendations for Safeguarding ICH)
In terms of outputs and recommendations, the working group observed that there was some information already available about the amulets in the museum (brochures about the Phra Rod); however, this information was very basic and did not provide information about the many meanings, “living” practices and beliefs surrounding the amulets. It was recommended that the museum could incorporate many of the groups’ findings and materials (i.e. photographs and data on the living aspects of amulet production) into a museum exhibit called “The Power of Phra Rod: Icon, Art and Magic,” which would highlight the diverse, living meanings and practices surrounding the amulets. The exhibit could document the relationship between amulets and the local legends of Queen Camadevi, and how these narratives and practices are tied to the contemporary identity of Lamphun today.
Such an exhibit could contribute to safeguarding the intangible aspects of the Phra Rod amulets, inasmuch as it would convey that the amulets are not just historical artifacts but rather are part of a larger, holistic system of meaning, belief, production and consecration.
With regards to educational and outreach activities to support the transmission of ICH, the team recommended that a number of hands-on, educational activities could be linked to the proposed exhibit on “The Power of Phra Rod.” For example, young schoolchildren could be involved in the clay pressing of Hariphunchai motifs at the Pho Liang Daeng ceramic factory. Art classes could several sessions on Hariphunchai arts and motifs, include a sculpting and carving workshop (either at the HNM or on-site at one of several monasteries producing ceramic crafts). Adults could be involved in the pressing of real amulets at Wat Phra Yuen, as part of the HNM’s tram tour of Lamphun. The team also suggested that the amulet exhibit could be linked to actual events of amulet production at a local monastery, and that a site visit (i.e. during the consecration process) could be linked to the museum exhibit.
With regards to promotion via local media, the working group recommended that a range of local media networks could be involved in the promotion of the exhibit, including: the local HNM’s friends network (via email, word of mouth); the network of the museum’s information board (local, national and regional); newspapers, local radio, and local cable TV. Other informal networks include: local schools and monasteries; regional universities; the Department of Fine Arts network; government offices of tourist promotion; Buddhism and cultural affairs; NGOS and INGOS (ICOMOS, UNESCO); and cultural institutions (i.e. SAC).
With regards to community involvement in the proposed plan, the working group recommended that abbots and monks of monasteries continue to serve as “instructors” and presenters for the exhibition at the HNM and trips/activities arranged at monasteries. It was also suggested that the terracotta factory of Pho Liang Daeng be invited to become a patron for supporting a terracotta workshop for local schoolchildren, and that the Friends of the HNM network serve as volunteers during the preparation, implementation and follow-up of the exhibit.
In sum, the working group concluded that the HNM has numerous strengths, including: academic knowledge and capacity regarding the region’s art and art history; space for activities, a good location at the city center; a good network with various types of communities (government agencies, monasteries, schools, patrons and private enterprises). However, the museum could expand the scope of its exhibits and do more to safeguard intangible cultural heritage by extending its collection into the research and documentation process, such as of the making of amulets in contemporary Lamphun (both production and consecration), especially of those who are trying to maintain these practices following established traditions. Furthermore, the museum could highlight “living” aspects of the amulets (and other collections) by including video and audio records, as well as an archive (library or internet archive), possibly with the cooperation of other research institutions. Finally, the HNM could develop more linkages to the community by fostering a network through activities (both formal and informal) at and more on-site activities where terracotta arts and amulets are produced.
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