Cultural Selection: Persian and Arab Musical Influences in Thai Courtly Life
Set of Traditional Thai musical instruments © PraisaengWe invite you to read our weekly Cultural Selection articles, which adhere to preselected themes. Knowledge and appreciation of these subjects help to preserve, disseminate, and promote elements of our common heritage of the Silk Roads.
Southeast Asia, also known as the Indochinese Peninsula along the maritime Silk Roads, has historically been a region notable for its flourishing cultural activity and diversity of thought. Due to active trade relations, commerce, and religious exchanges, Thai royal courts, as well as the entire region, and its indigenous populations, were considerably transformed. The continuous influx of those originating from the Indian sub-continent and Arab regions were significant catalysts of change. Due to the transnational fluidity of culture, skill, and technology, this region developed enduring artistic relationships with other important international cultural centers and trade routes. Thus, the free-flow and exchange of music had positive effects on the Fine Arts industry, borrowing and adapting culture, music, and musical instruments from other countries. This often resulted in the creation of completely new musical instruments. These Instruments were primarily borrowed from neighboring regions, such as Java and Malaysia, as well as from Persian and Arab regions.
By the ninth century, the Southeast Asian region had increased levels of cultural diversity. The arts, language, religion, and music were borrowed, recontextualized, and transformed by the Thai royal courts. Art was often the expression of religious faith, and incorporated traditional song and music. Music has always held a central role in religion and religious customs, often used during royal ceremonies, for festivals, and during cremation. Songs and musical instruments in Thailand were often exchanged, and later adapted to societal customs by local craftsmen. Moreover, during the Ayutthaya Period (1351-1767), Persians began to settle within the region, and sometimes occupied official positions at court. Four notable Persian artists, including Nai Weraku, Nai Khrupa, Nai Pramanandri, and Nai Erakabi were recognized for their rank and service. Thai royalty subsequently adopted certain elements of Persian culture, including social functions, language, customs, clothing, and music.
The flow of cultural exchanges not only had a significant effect on music, but on the shape of musical instruments. This ultimately added to the melodious interpretation of regional songs. In fact, many Thai songs have “Khaek” names, whose etymology and subsequent linguistic transformation, refer to foreigners, as well as to Muslims of the Indian sub-continent, Persian, and Arab regions. Following intricate rhythmic patterns and complex phraseology, these songs were essential to Thai music, and were the standard by which music evolved. Throughout the history of Thai music, mural paintings have provided invaluable documentary evidence. These artistic murals offer detailed historical evidence, and serve as truthful representations of reality. Thai muralists often painted scenes of everyday life, and those recounted from oral history that were passed down through generations. Artists effectively utilized this artistic medium to highlight religion, music, and courtly life, especially involving “Mahori” music ensembles, comprised completely of women. Thus, these murals serve as reliable narrative sources, which record societal evolution through depictions of Thai daily life and cultural traditions.
Conversely, Muslim murals reveal that their instruments were very similar to those of Thailand, such as the “Saw Sam Sai”, a three-stringed bowed lute, the “Ramana, and the “Thap” drum (known as “Nathap” in Thai). Use of the “Thap” spread throughout Southeast Asia, and its shape was eventually altered in Thailand in order to effectively showcase the skill of musicians. Moreover, the “Saw Sam Sai”, well-known in musical ensembles, is considered the “King of Instruments”. Created by skilled craftsmen, these instruments were often considered works of art throughout the world, and cherished as such. They were sometimes elaborately decorated with mother-of-pearl inlay, ivory, and lustrous black lacquer covered in delicate gold-leaf designs, thus attesting to their cultural significance in Thai courtly life. Their historical importance to the Thai people holds true even in contemporary society.
See also:
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The Enduring Legacy of Ajanta Paintings
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The Development of Artistic Textiles
Medieval Alchemy and Chemistry in Central Asia
Persian and Arab Musical Influences in Thai Courtly Life
The Art of Manuscript Bookmaking along the Silk Roads
Regional Variations in Coinage and the Monetary System
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The Evolution of Sericulture along the Silk Roads
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The Diversity of Cultural Influences in Kushan Art
Imitation and Inspiration: The Transformation of Porcelain along the Silk Roads
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