Custom of Cutting the Topknot, Thailand [Photographs]

The custom described in the text by Phya Anuman Rajadhon is presented as it was traditionally practiced in Central Siam. The head of an infant was shaven as part of the khwan ceremony celebrating its survival and welcoming into the family. Some of the hair over the soft part of the infant's skull was left to grow into a topknot, to be cut in another ceremony when the child came of age. The author associates the custom with Indian cultural influence in the distant past, and documents its relationship to Buddhist practice. The second text and the photographs from the author's family collection documents the continuation of the practice among modern, urban families, but also shows its modification in modern times. The author reports that it has become much less common among contemporary families, amounting to a tiny percentage of the children in the author’s primary school. In addition, the topknot was cut at a much earlier stage in the child’s life, at the age of about 6-7 years, assuming that some of the children still wore it in the primary school.

The text describing the custom is from the 1968 book by Phya Anuman Rajadhon (1888-1969) Essays on Thai Folklore. The author is a prolific and well regarded literary figure and university professor. Although he did not receive formal academic training in anthropology, his writings have constituted a major source for anthropologists and others on customs from Siam, the traditional name for Thailand. The second text and photographs are from the baby photo album on a website by Thailand’s most prominent teenage blogger, Panrit "Gor" Daoruang (1986- ), who began an online diary at the age of twelve, and chronicled his own life and aspects of Thai culture and contemporary life. The site also teaches both English and Thai language through stories, quizzes, and audio files. The site attracted the attention of the Office of the National Culture Commission for its value in promoting Thailand’s image to a worldwide audience.

Text: Phya Anuman Rajadhon, Essays on Thai Folklore, 3rd ed. (Thai Inter-Religious Commission for Development, Sathirakoses Nagapradipa Foundation,1988), 281–83. Text and Photographs: Panrit "Gor" Daoruang, “Top Knot Cutting,” Thailand Life, http://www.thailandlife.com/my-thai-childhood/top-knot-cutting.html (accessed November 24, 2009). Annotated by Susan Douglass.

Fire Hair Shaving and Khwan Ceremony, Thailand [Still Image]

The text and photographs above describe a traditional Thai birth ritual that celebrates the child's reaching the milestone of one month old, at which time its survival seems more assured than at birth, and it becomes a full-fledged member of the family. Before the infant is one month old, according to tradition, it may have belonged merely to spirits. At this time, a Buddhist monk cuts the infant's hair. "Fire hair" refers to the hair with which the child was born and that grows until the end of its mother's postpartum period of lying in, or lying near the fire as Phya Anuman described the custom. The photograph shows the monk cutting or shaving the hair. The hair is placed on a small raft made of banana leaf and set afloat. The second part of the ceremony involves tying unspun cotton threads around the child's wrists and ankles.

This ceremony of the "khwan," the soul or life spirit, is a prominent object of ritual, and the text describing the custom is from Phya Anuman Rajadhon's (1888-1969) Customs Connected with Birth and the Rearing of Children (1948). The author is a prolific and well regarded literary figure and university professor. Although he did not receive formal academic training in anthropology, his writings have constituted a major source for anthropologists and others on customs from Siam, the traditional name for Thailand. The photographs are from the baby photo album on a website by Thailand's most prominent teenage blogger, Panrit "Gor" Daoruang, who began an online diary at the age of twelve, and chronicled his own life and aspects of Thai culture and contemporary life, and teaching both English and Thai language through stories, quizzes and audio files. The site attracted the attention of the Office of the National Culture Commission for its value in promoting Thailand's image to a worldwide audience.

Photographs: Panrit "Gor" Daoruang at Thailand Life, http://www.thailandlife.com/my-thai-childhood/index.php (accessed November 1, 2009). Text: Phya Anuman Rajadhon, Customs Connected with Birth and the Rearing of Children in Anuman Rajadhon, Life and Ritual in Old Siam; Three Studies of Thai Life and Customs, trans. William J. Gedney (New Haven: HRAF Press, 1961), 171–5. Annotated by Susan Douglass.

Kuwera Relief Panel at Candi Mendut, Java [Bas-Relief]

The carved stone relief is from the interior of Candi Mendut, a Buddhist temple in Central Java. Mendut was built during the early Shailendra dynasty in about 824 CE. It may have been built on the site of a Hindu temple from a previous century. The rectangular, stone temple is 26.4 meters (86.6 feet) tall and is constructed on a 2 meter (6.5 feet) platform. The surrounding wall is covered with reliefs that relate stories from Buddhist teachings along with lush carvings of plants, fruits, and flowers. This relief is one of a pair showing the goddess Hariti and her husband Kuwera (or Kubera in Sanskrit).

The relief panel on the north wall opposite Hariti depicts her consort or husband, a figure by the name of Kuwera, or the yaksha Avataka, also sometimes called Panchika. Kuwera is a god of wealth and well-being, and is a guardian of children. According to legend, Kuwera is king of the yakshas, the god of wealth who was transformed by an encounter with the Buddha into an important defender of Buddhism. Kuwera is depicted sitting on a bench surrounded by children playing and helping each other climb fruit trees. Kuwera wears an ornate headdress surrounded by flying parrots, and his right leg is extended over the edge of the bench, under which sit pots filled with jewels or other riches. Versions of such depictions of Kuwera and Hariti are found in many Buddhist temples. In Hindu, Jain, and Buddhist mythology, figures called yakshas are derived from nature spirits who may be benign or monstrous.

Shrine antechamber, northeast wall , Kuwera relief panel, 8th - 9th century Indonesia, Central Java, Mendut, Sailendra dynasty ; Photograph: Patrick Young, Set 49, Java II: Central Javanese Monuments, ARTstor Collection, Image Gallery ID Number 4916, Photo: © Asian Art Archives, University of Michigan. Annotated by Susan Douglass.

Hariti Relief Panel at Candi Mendut, Java [Bas-Relief]

The carved stone relief is from the interior of Candi Mendut, a Buddhist temple in Central Java. Mendut was built during the early Shailendra dynasty in about 824 CE. It may have been built on the site of a Hindu temple from a previous century. The rectangular, stone temple is 26.4 meters (86.6 feet) tall and is constructed on a 2 meter (6.5 feet) platform. The surrounding wall is covered with reliefs that relate stories from Buddhist teachings along with lush carvings of plants, fruits, and flowers. This relief is one of a pair showing the goddess Hariti and her husband Kuwera.

Hariti, depicted in the south panel, is a symbol of good fortune and fertility, but this was not always so. The narrative of Hariti represents the dangers of childhood mortality. In a story with several versions, Hariti was a, ogress, or demoness who had many children, but who hunted and ate human children. One day, the Buddha hid her children and as she searched frantically to recover them, she saw the evil of her ways. She repented and became a guardian to children and a symbol of fertility and good fortune.

The relief panel, shown in many Buddhist temples, depicts Hariti sitting on a bench with a child on her lap and another climbing onto her shoulder. Children play all around her, helping each other climb fruit trees and enjoying games. Under the bench is a bowl of mangoes, a symbol of fertility. Parrots fly above her head. Hariti’s cult as a special guardian of children and women in childbirth traveled widely, expressing the ever-present threat of death especially to children. Hariti is known in Central Asia and in China, and possibly even Japan, where she is similar to the protective boddhisattva Kannon.

Shrine antechamber, northeast wall, Hariti relief panel, 8th - 9th century Indonesia, Central Java, Mendut, Sailendra dynasty; Photograph: Paul Berry, Set 49, Java II: Central Javanese Monuments, ARTstor Collection, Image Gallery ID Number 4913 Photo: © Asian Art Archives, University of Michigan.

The Huntington Archive of Buddhist and Related Art

2008-09-08

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