The effect of Rāmāyaṇa of India (addressed as 'RY' from now on) on the cultures and arts of the adjacent Southeast Asia is extensive. RY has become one of the most beloved literary works through repeating literary and cultural devel... The effect of Rāmāyaṇa of India (addressed as 'RY' from now on) on the cultures and arts of the adjacent Southeast Asia is extensive. RY has become one of the most beloved literary works through repeating literary and cultural developments based on the transformation into the versions of respective countries. RAMAKIEN of Thailand is one of those versions. Ever since RAMAKIEN was introduced in Thailand, it became the leading literary work after gradually being revised in the form of a fable or a Jataka along with other works that were orally transmitted. The name 'the Ayutthaya Dynasty' originates from Ayodhyā of RY. Since the story of RY was deeply related to the history of Thailand, the names of the prominent kings and characters are the same or similar to the names of the characters in RAMAKIEN and the names were even used as the names of regions. In Thailand, RAMAKIEN offers the materials for all sorts of concerts such as masque (Khon), shadow play (Nang Yai), and puppet play. The episodes of RAMAKIEN are widely distributed along with the relevant supernatural elements and RAMAKIEN is always used as a central material in the relievos and mural paintings of temples. In addition, a variety of gods, Asura, half animal and half human creatures, animals, and so on appear in RAMAKIEN. Most of them originate from the Indian mythology and their origin goes all the way back up to Ṛg-Veda like RY - the script of RAMAKIEN. Thus, according to the history, the gods or mythical elements of RV undergo transformation and appear in RY and they reappear in the RAMAKIEN of Thailand after another transformation. Since RAMAKIEN is the Thai version of RY, the introductory part of Chapter 2 begins with a sort of the birth myth of a nation that Anomatan descended on earth and became the first king of the Ayutthaya Dynasty. According to this myth, Anomatan - the son of Viṣṇu - was personified as the progenitor of the dynasty. This also clarifies that the Ayutthaya Dynasty is the heavenly descendants of Viṣṇu - the son of the sun. The introductory part of Chapter 2 of RAMAKIEN grants legitimacy toward the Devarāja idea which claims that the Ayutthaya Dynasty originated from Avatāra of Viṣṇu and the kings of the dynasty is able to have the equal status and authority as the god. The following are RAMAKIEN's unique mythical intentions and ideas discovered while considering some parts of RAMAKIEN through the Sanskrit translation of RAMAKIEN. First, it describes the birth of Anomatan, who has been set as the progenitor of the Thai Ayutthaya Dynasty, in comparison with the birth of Brahmā described in the mythology of Hinduism. In other words, the Brahmā god is born in a lotus from a stalk which has come up from the belly button of Viṣṇu in the mythology of Hinduism whereas Anomatan is found as an infant inside a bud of a lotus in RAMAKIEN. Second, with regard to the first point, a sacred royal authority is trying to be established by connecting the birth of the first king to Viṣṇu. Śiva foretells Viṣṇu that the king will become the king of the kings in the three worlds. Furthermore, Śiva orders Indra to establish the royal palace of Anomatan. This is to claim that the Thai royal family and kingdom have been established under the revelation and protection of a great god. Third, the setting is to have Viṣṇu find Śiva. In particular, the setting that Śiva entrusts others or gives revelations proves that he was regarded as the god who played more important roles than Viṣṇu in Thailand. Here, Śiva plays a leading role of taking charge of the activities of gods by assuming the role of Brāhmaṇa of gods. Through the previously mentioned peculiarities of RAMAKIEN, this study identified the fact that the religions and cultures of India had significant effects on forming their independent culture through mixing with the Thai cultures. As already discussed in the main parts of this study, the effects are the same not only in Thailand but also in other major countries of Southeast Asia. The limit of this study is that it was conducted based on only some parts of RAMAKIEN. However, it is still meaningful in thesense that considerations were done by the text(ŚKM) translated into Sanskrit. Even though it is a partial study, the Thai cultural sentiment can be understood by understanding cultural accommodations and summary of transformations through one literary work. The insufficient parts will be supplemented by further in-depth researches and the Sanskrit study of RAMAKIEN will be completed by studying the remaining parts of RAMAKIEN. ，韩语论文网站，韩语毕业论文 |
