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วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural14
บทคัดย่อ สารัตถะดนตรีพิณ: แนวทางสู่การสร้างสรรค์เพลงตับ “พิณทุกขนิโรธคามินี
ปฏปิทา”เป็นส่วนหนึง่ของวทิยานพินธ์การสร้างสรรค์ผลงานทางดรุยิางคศลิป์เรือ่งเพลงตบั
“พิณทุกขนิโรธคามินีปฏิปทา”โดยมีวัตถุประสงค์เพื่อศึกษาข้อมูลดนตรีพิณตามแนวคิดทาง
ศาสนาจากหลกัฐานประเภทต่างๆ เอกสารโบราณแห่งอารยธรรมไทยและอารยธรรมอนิเดยี
รวมถึงคัมภีร์พระไตรปิฎก ผลการวิจัยพบว่า ส่วนท่ี 1 ข้อมูลจากหลักฐานพบพิณปรากฏ
2ประเภทคือ(1)เครื่องดนตรีประเภทลิวท์แบ่งออกเป็น2แบบคือแบบเครื่องดีดคอยาว
ปรากฏลักษณะเดียวกับกระจับปี ่ และแบบเครื่องดีดคอสั้น ได้แก่ พิณห้าสาย และ
(2) เครื่องดนตรีประเภทเรโซเนเต็ด โบว์ คือพิณน�้าเต้าและพิณเปี๊ยะ ส่วนที่ 2 การศึกษา
ประเด็นเครื่องดนตรี พบว่าเครื่องดนตรีพิณ (bin) และวีณา (vina) ของอินเดียปรากฏ
5ลักษณะคือ(1)เรโซเนเต็ดโบว์ (2)โบว์ฮาร์ป(3)สติ๊คซิทเทอร์ (4)พลั๊คลิวท์และ
(5)กาตราวีณา(gatravina)(ใช้ค�าว่าวีณาแต่หมายถึงการขับร้อง)ส่วนเครื่องดนตรีตระกูล
พิณไทยนั้นพบ 2 ลักษณะคือประเภทเรโซเนเต็ด โบว์ และประเภทเครื่องดีดคอยาว
ด้านหลงัแบนส่วนที่3พณิในพระไตรปิฎกพบว่า(1)ด้านความหมายพณิมนียัแห่งหลกัธรรม
ค�าสอนโดยอปุมาจากสายและเสยีงของพณิเปรยีบดัง่ความเพยีรความพยายามความซือ่สัตย์
ความตั้งมั่น ความเสียสละ ความลุ่มหลง และพิณยังมีนัยแสดงสถานะ เช่น ผู้มีบุญบารมี
ผู้เป็นบุคคลส�าคัญสิ่งประเสริฐและธรรมเนียมปฏิบัติ(2)ด้านลักษณะทางกายภาพของพิณ
สันนิษฐานได้ว่าเป็นรูปแบบฮาร์ป ลิวท์และโบว์ ซ่ึงเป็นกลุ่มเคร่ืองดนตรีเดียวกันกับที่มีใช ้
ในยุคหลังพระเวท (3) ด้านบทบาทหน้าท่ีพบว่าพิณสามารถเป็นเครื่องท�าท�านองและ
เครื่องท�าเสียงดรอน ใช้ประกอบการขับร้อง จึงน�าไปสู่การสร้างสรรค์โดยใช้ลักษณะดนตรี
ที่ปรากฏในพระไตรปิฎกเชื่อมโยงกับดนตรีอินเดียในยุคก�าเนิดพระพุทธศาสนา
ค�าส�าคัญ: พิณ, วีณา, การสร้างสรรค์ทางดนตรี, ทุกขนิโรธคามินีปฏิปทา, การประพันธ ์
เพลงไทย,ดนตรีพุทธศาสนา
Abstract ThisarticleispartofadoctoralthesisonthecreationoftheThai
musiccompositionof“Phin-Dukkhanirodhagaminipatipada”,whichaimsto
study phinmusicfromthereligiousperspectivesfromvarioustypesofevidence,
ranging fromancientdocuments in theThai and Indiancivilizations to the
TripitikataBuddhistscripture.Theresearchfindingsaredividedintothreeparts.
First, it revealstwotypesofphin:1)alutefalling intotwodifferenttypes:
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural 15
namelythelong-neckedpluckedlutes,similarinshapetothekrachappi,and
theshort-neckedpluckedlutesuchasaphinhasai(aphinwith5strings),
2)aresonatedbowincludingthephin nam taoandthephin pia. Secondly,
thefindingswithrespecttoorganologyfromastudyofIndianlutes(thebin
and vina)revealfivedifferenttypesofthoseinstruments:(1)resonatedbow,
(2)bowedharp,(3)stickzither,(4)pluckedlute,and(5)gatra vina(theword
vinaherereferstosinging),whiletherearetwotypesofphin instrumentsfound
inThaiculture:resonatedbowandlong-neckedpluckedlutewithflat-backed
soundbox.Thirdly,aphinmentionedintheTripitakaBuddhistscriptureshows
that:(1)intermsofmeaning,aphinisconveysimplicationsofBuddhistteachings.
The strings and its sonority are used as metaphors for perseverance,
industriousness,honesty,determination,sacrificeandobsession.Aphin also
implies the status of an individual, such as a person of greatmerits and
charismaticauthority,apersonofgreatimportanceandcustomofexcellence;
(2) In terms of its physical characteristics: harp, lute, and bow types of
phin found,which correspond to the Post-Vedicmusical instruments; and
(3) Intermsofrolesandfunctions,aphincanbebothmelodicanddrone
instruments accompanying singing. These findings provide a conceptual
frameworkforthecreationofaThaimusiccomposition,whichthemusical
traitsappearing intheBuddhistTripitakaand inconnectionwiththe Indian
musicthatexistedattheonsetofBuddhismareutilized.
Keywords: phin, vina, music creation, Dukkhanirodhagaminipatipada, Thai
musiccomposition,Buddhistmusic
Introduction Thisarticle isa summaryof the researchfindings for thesecond
objective(outofthreeobjectives)ofthethesisonthecreationofaThaimusic
composition of“Phin-Dukkhanirodhagaminipatipada”. Under this research
topic,theresearchprojectisgrantedFY2018ThesisGrantforDoctoralDegree
StudentestablishedbyTheNational ResearchCouncil of Thailand (NRCT).
Additionally,alongsideanadviceandinformation,thisthesisissupportedby
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural16
TheCentreofExcellenceforThaiMusicandCultureResearch,FacultyofFine
andAppliedArts,ChulalongkornUniversity.
The thesis isacreativecompositionofphinmusicbasedon the
BuddhistdoctrineofMajjhim Patipada(theMiddlePath)whosefullnameis
“Dukkhanirodhagaminipatipada”.Thisdoctrine,whichcompriseseightpaths,
evolvedfromthediscoveryofaprocessforthecontemplationandunderstanding
ofthenaturalphilosophythatwilleventuallyleadtothecessationofsuffering.
ThesaidpathtothecessationofsufferingisassociatedwithIndra,
animportantHindugodwhoiswidelyknownandhighlyreveredbymostThais.
Indra isaprincipaldeity in Indianmythologywhohascloseconnectionto
BuddhaandBuddhism;heappearsinmanyeventsinthelifehistoryofBuddha.
BuddhistsbelievethatIndraappearedinavisiontoBuddhaduringhisself-
periodmortification,playingathree-stringedphintoremindhimofthetrue
pathtothecessationofsuffering.Thepluckingofathree-stringedphinhas
thefollowingimplications:“…Too tight a string will break upon plucking, too
loose a string will not resonate well. Only a string that is moderately, not too
tightly or too loosely stretched, will produce a perfect tune. Upon listening to
Indra’s phin music, Phra Mahasat [the Buddha] recognized the implication of
the vision and realized that “Majjhim Patibat” (the practicing of moderation)”
is the only path to enlightenment…”(SomdetKromPhraParamanuchitchinoros,
1965,117).ThisanecdoteisaperfectsynthesisofthebeliefinIndiangodsand
aBuddhistdoctrine. It representsa creative thinkingprocess thatprovides
solutiontotheexplicationoftheMiddlePathdoctrinethroughaneffective
metaphorfortheapplicationofthisBuddhistdoctrinetotheBuddhists’ways
oflifeandactionsandmostimportantythewaytoattainenlightenment.The
musicaltraitsofthephinwereaptlyemployedtoexplainoneofthemost
importantBuddhistteachings.
Astudyofthemusicalandreligiousessenceofaphin, a bin or a
vinarevealedtheapparentaspectsofphinmusicthatarerepeatedlymentioned
in various religious contexts regarding themeanings, origins, evidence and
musicaltraitsofthemusicalinstrumentsinthephinfamilyduringtheBuddhist
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural 17
period.Thispart alsodiscusses the storiesof aphin that appeared in theTripitakaBuddhistscripturewhichinconnectionwiththeexistingsocial,culturalandreligiouscontextsunderlyingtheusageandelementsofphin music in eachperiod.ItalsoexaminesimplicationsoftherelationshipbetweenreligionsandculturesthatcontributetothepresenceofaphininThaimusicculture.
Research Objective Theobjectiveofthisarticleistoexaminedataonthereligiousaspectsofphinmusicfromdiversesourcesofevidence,includingancientdocumentsintheIndianandThaicivilizationsandtheTripitakaBuddhistscripture,withinthree areas: (1) essence of thephin as a musical instrument regarding its meaningsandtheoriginoftheword“phin”aswellasclassificationofphin musicalinstrumentsandevidenceoftheirexistence;(2)musicalinstrumentsinthevinafamilyinIndiancultureanda phininThaiculture;and(3)phin in theTripitikaBuddhistscripture.
Research Methods Qualitativeresearchmethodologywasemployedinthefollowingsteps: 1.Datacollectionanddocumentaryresearch.Surveysofrelevantdocuments,textbooks,academicpapers,thesesandbooksinvariouslibraries,suchasTheFacultyofArtsLibrary,themusiclibraryandtheOfficeofAcademicResourcesatChulalongkornUniversity,TheNationalLibraryofThailandandnineotherlibrariesintheUnitedKingdom,namely,(1)TheBritishLibrary,(2)TheBritishMuseum,(3)SchoolofOrientalandAfricanStudies,UniversityofLondon(SOAS),(4)UniversityofYork,(5)MusicLibrary,RoyalHolloway,UniversityofLondon,(6)DurhamUniversity,(7)UniversityofOxford,(8)TheCityUniversity,and(9)HornimanMuseum&Garden. 2.In-depthinterviewsandsemi-structuredinterviewsofauthoritiesandexpertsinthefieldstudiesofreligionandmusic. 3.Conductananalysisandsynthesisoftheresearchdatawithbringing
abouttoaframeworkforthecreationofaThaimusicalcomposition.
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural18
Research Results 1. Essence of the phin musical instruments
1.1 Meanings and origins of the word “phin”
Theword“phin”intheThaimusicculturereferstoatypeof
plucked string instrument. The instrument canbe calledbybothPali and
Sanskritterms(Yupho,1980,5).TheSanskritwordforthisinstrument,which
isgenerallyusedinBuddhistcontexts,is“vina”.Forexample,theword“vina
and vinang” appear in the Pali Tripitikata. Because of its associationwith
Buddhism,Thaishavebeenfamiliarwithandrecognizedtheword“phin”asa
typeofmusicalinstrumentthathaslongexistedinThaisocietyandculture.
InthetraditionalmusiccultureofThailand,theword“phin”
ratherthan“vina”isusedtorefertoagroupofcommonhand-heldstring
instruments.Musicscholarsandmusicianstendtoagreethatthewordphin
hasitsrootsinandisacorruptedformoftheword“vina”,whichistheword
forstringmusicalinstrumentsinIndia.The“v”consonant(/v/)intheword
“vina”wascorruptedintothe“b”consonant(/ph/)intheword“phin”,and
themeaningof“phin”isconfinedtothepluckedstringinstrumentsinstead
oftheentirerangeofstringmusicalinstrumentsinitsIndiansenseoftheword
(Pikulsri,2001,49).Theuseoftheword“phin”denotingthepluckedstring
instrumentisalsoconfirmedbyevidencefromdifferentperiods.Forexample,
various scholarsandmusiciansagreed that theword“phin” foundon the
stoneinscriptionsofKingRamkhamhaengreferstoanancientstringinstrument
withagourdresonatorlikethephin nam tao (a gourd phin)andthephin pia
(Yupho,1980,5).A“phin”asancienttypesofpluckedstringinstrumentswas
alsofoundinmuralpaintingsdepictingvariouseventsinthelifeofBuddha.
The influenceofSanskrit language inJavaandMalaysiancultureswasalso
responsible for the use of this word to refer to similar types ofmusical
instrumentsinsuchcultures.
Insummary,thewordphinintheThaimusiccultureisused
torefertothepluckedstringinstrumentonly.Itisalsothegenericwordthat
Thaipeopleuseintheirgeneralcommunication.Phin instruments are called
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural 19
by different names in different regions and vary in terms of their shapes,
characteristics,structures,andperformingtechniques.Theword“vina”inThai
societyandculturehasitsrootsinboththePaliandSanskritwordsthathave
been incorporated into Thai language following the spread of Buddhism.
ThailandhasalsoembracedotheraspectsofIndianculturesthatarehighly
valuedbyThais,suchasIndianreligiousbeliefs,customs,traditions,ritualsand
literature.Referringtothephintypeofmusicalinstrumentbythenamesof
“vina or bin”isoneofthedistinctindicatorsofthesocial,religiousandcultural
bondsthatexistbetweenthetworegions.
1.2 Classification of musical instruments
UndertheIndianmusicalinstrumentclassificationprinciples
of theNatyashastra Treatise (Text on the performing arts) and the Sangita
RatnakaraTreatise(TextonMusicandDance),“phin”belongstothestringed
instrumentcategoryof“tata”.However,aphinisclassifiedastheplucked
stringinstrumentintheThaimusicculture.Accordingtothesystemofmusical
instrumentclassificationofErichVonHornbostelandCurtSachs,suchthephin
isclassifiedasachordophone.Chordophonesaredividedintofivebasictypes
ofbows,lyres,harps,lutesandzithers(Midgley,1976,164).Astudyofreferences
to a phin inThaicultureandthevina or bin inancient Indiandocuments
revealsonlyfourmajortypes:(1)resonatedbows;(2)bowedharps;(3)plucked
luteswhicharedividedintotwosubtypesofround-backedandflat-backed
luteswithshortneckorlongneck,frettedandunfretted;and(4)stickzithers
whicharedividedintofoursubtypes:type1-luteswithhollowtubularbody
andtwogourds,frettedandunfretted;type2-unfrettedluteswithtwogourds
andwide-neckbow;type3-frettedluteswithwideneckandonegourd;and
type4-lutesoftype3butunfretted.
Classificationofphinmusicalinstrumentsinthisstudyislimited
to a phinmentionedinBuddhisminordertoexplainthecharacteristicsand
typesofmusicalinstrumentsinthephinfamilyfromdocumentaryevidence
pursuanttothemusicaldevelopmenthistoryofphin instruments in Indian
andThaimusiccultures.
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural20
1.3 Phin musical instrument evidence
Theexistenceoftheword“phin”andpluckedstringmusical
instruments inThailandwasapparent fromtheevidenceofSukhothaiand
subsequent periods. Such evidence includes ancient inscriptions, ancient
documents,oraltraditions,literatures,paintings,sculptures,etc.Dataobtained
from different scholars and documentary sources, linguistic and language
development analysis aswell as historical data of each period produced
consistentdatathatledtothefollowingconclusions:
1.3.1 Inscription evidence
The types ofmusical instruments that occupy on
inscriptionevidencewerenotclearlyspecifiedandareonlyspeculated.There
aretwodistinctgroupsofopinionsonthissubject.
Group 1Theword“phin”isbelievedtomeanboth
pluckedandbowedstringmusicalinstrumentsasdemonstratedbythephrase
“siang phat siang phin [the sounds of the phat andphin]” on the stone
inscriptionofKingRamkhamhaeng(Naksawat,1987,155),whichimpliesthat
thesoundsofthephinarethesoundsofagroupofstringedmusicalinstruments.
In the fifteenth and sixteenth Buddhist centuries,Mueang Lop Buri shrine
inscriptioncontainsthephrase“nak dit 1 khon nak si 1 khon[oneplucked
string instrumentmusician, one bowed string instrumentmusician]” (The
NationalLibrary,1986,255-256).Thislineclearlyindicatesaclassificationof
musicalinstrumentsanditispossiblethatpluckedandbowedstringinstruments
werealreadyinuseduringthatperiod).
Group 2Theword“phin” isbelievedtomeanonly
bowedstringinstruments.Itappearsinmoststoneinscriptionswrittenafter
1357(B.E.1900).Forexample,thestoneinscriptionofWatPhraYueninLumphun
provincecontainsthephrase“ti phat dang phin[tostrikethephat,tomake
asoundofthephin]”(Naksawat,1987,157).Theword“phin”alsoappears
onthestoneinscriptionofmountSumonkoot(OfficeofthePrimeMinister,
1978,115)andonthestoneinscriptionofPa Nang Kham Yia(TheNational
Library,1986,313).Forstoneinscriptionsofthefifteenth-sixteenthBuddhist
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural 21
centuryperiod,theSdok Kok Thom IIstoneinscription,whosecharacterisin
Sanskrit,containstheword“vina”,whichreferstothephinmusicalinstrument.
Theinscriptiondescribesvina asoneofthearticlesthatKingUttayatitworaman
IIdonatedtothisshrine(TheNationalLibrary,1986,194).
Basedontheopinionsofbothgroups,scholarsshare
thesameopinionsthatphin or vina was used to mean a musical instrument
intheancientpluckedstring instrumentgroup,namely,thephin nam tao,
phin pia and krachappi,whichareprimarilyclassifiedasluteandresonated
bowtypesofmusicalinstruments.
1.3.2 Documentary evidence
Therearementionsofthephin inanumberofdocuments
such as in the book San Somdet (communications between two Princes),
Kotmai Tra Sam Duang(theThreeSealsLaw)andBot Phleng Yao Wai Khru
Mahori (acertainmahorirepertoire).San Somdetdiscussesthehypotheses
about thephinmusical instruments of ancient times in relation to their
characteristicswhichincludethoseofthepluckedandbowedstringinstruments.
Forexample,theword“phinphat”canbesplittomeantwoseparategroups
ofmusicalinstruments;phinlikelyreferstopluckedandbowedinstruments
while“phat”likelyreferstopercussionandwindinstruments.InKotmai Tra
Sam Duang, there are clear references to plucked string instruments, the
krachappiandthejakhae,whichevolvedfromthemusicalinstrumentsinthe
“phin” family, suggesting that thesemusical instrumentshavebeen inuse
sincethetimeofAyutthayaperiod.InPhleng Yao Wai Khru Mahori,theword
“phin”appearsinconjunctionwithwordsforothertypesofmusicalinstruments
insomeverseswhich,whentranslatedintoEnglish,read,“…cha dit si khab
rong thamnong klon[intermsoftopluck,tofiddle,andtosingverses]”or
“…so, krub, krachappi, rammana, thon, khlui, ching, chab, ranat, khong…
[Thaimusical instruments]”or“…hai pricha chancheaw nai choeng phin…
[tobeskillfulandproficientintheartofthephin]”.Itcanbeseenfromthis
listofmusicalinstrumentsthattheywerepartsofamahoriensemblewith
musicalinstrumentsinthepluckedandbowedstringaswellasthepercussion
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural22
andwind categories,whichwere performed as an accompaniment to the
singingforcourtentertainment.Thisformofmusicaltraditionwasoriginated
intheAyutthayaperiodandhascontinuedtotheRattanakosinperiod.
1.3.3 Literary evidence
Atotaloffiveliteratures,namely,Traiphum Phra Ruang,
Lilit Yuan Phai, Anirut Kham Chan, Kaki, and Kap Phra Chaisuriya, were studied.
Traiphum Phra Ruang,whichwascomposedbyKingLithaiofSukhothai in
1345,describesaprocessioninwhichIndra(theHindugod)wassurrounded
bymaleandfemaledeitieswhoweredancing,singingandplayingmusicto
entertainhim.Theprocessionwasledbyagroupofphin musicians.Thephin
referredtointhisliteraryworkisatypeofpluckedstringinstrument,possibly
thephin nam tao, phin pia or krachappi.Thereisahypothesisbasedonthe
contentsofLilit Yuan Phai,aprominentliteratureofAyutthayaperiod,that
phininstrumentswereboththepluckedandbowedstringinstrumentsplayed
inanensemblecalled“phinphat”.InthebooksofversesofAniruth Kham
Chan, Kaki, and Kab Phra Chaisuriya,whicharetheliteraryworkscomposed
betweenAyutthayaandRattanakosinperiods,therewereclearreferencesto
thetermphinasthetypeofpluckedstring instrumentandthekrachappi.
StudyofliteraryevidencefromSukhothaiandsubsequentperiodsledtoa
hypothesisthatphin ofearlyperiodsmayhavereferredtothetypesofplucked
stringinstrumentslikethephin nam tao, phin pia and krachappi.Theliteratures
oflateAyutthayaandearlyRattanakosinperiodsclearlyspecifiedthenames
ofpluckedstringinstrumentsandthekrachappibutthewordphin was still
usedtomeanamusicalinstrumentofthestringedtype.
1.3.4 Sculpture evidence
Phin instrumentsdepictedonsculpturescanbedivided
intotwotypes,short-necked/long-neckedlutesandresonatedbows.Oneof
themost distinctive examples of such sculptures is the Dvaravati stucco
sculpture of the twelfth and thirteenth Buddhist centuries, discovered at
KoobuoVillage,Ratchaburiprovince.Thissculpturedepictsagroupoffemale
musiciansholdingtwotypesofphin.Thefirsttypeistheshort-neckedlutes
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural 23
withfivestringswhilethesecondtypeisthephin nam taoorthephin pia
belongingtotheresonatedbowgroup.Thissculpture isaproof thatboth
typesofphinwereinusedatthetime.Similarevidenceofthesameperiod
foundrepresentsinformofasculptureofakinorn(amythicalcreature)playing
thephin pia,asculptureofJullapathon ChediinNakhonPathomProvince.
Anothertypeofphinofcontemporaryperiodisthatofthelong-necked,flat-
backedlutethatappearsonthesculptureofDhataratthagodthatadornsthe
Merumas(goldenfuneralpyre)ofKingRamaIX.Thisgodholdsathree-stringed
phinashispersonalmusicalinstrument.
1.3.5 Painting evidence
Mostmural painting evidence in this study indicates
musicalinstrumentsandmusicalensemblesdepictingvariouseventsinthe
lifeofBuddha,scenesofcourtentertainmentandobjectswithmagicalpower
suchasKingKanthana’sphinandmusicalinstrumentsofvariousdeities.There
are,forexample,paintingsofIndraplayingathree-stringed phinfromthetale
oftheMiddlePathorpaintingsofKingPanjasikharaplayingthephin inthe
processionofgodsandgoddesseswhocongregatedtowelcomeBuddhaon
hisreturntripfromDaodeung(inPaliDavadingsa)heaventoearth.Painting
evidencerevealsthatmostdepictionsofthephintypesofmusicalinstruments
arethoseofthelong-neckedluteofpluckedstring instruments,whichare
heldandplayedinaverticalposition,andtheresonatedbowtype.Components
ofsuchinstrumentsarebasedonthereligiousaccountsandbeliefsthatvary
fromsocietytosociety.
These pieces of evidence, whether they are the
etymologicalhypothesesabout thewords thatappearedonvarious stone
inscriptions,ancientdocumentsorliteraryworks,revealvariousaspectsofthe
phin instruments. However, the evidence seemingly points to the same
conclusionthattheword“phin”or“vina”primarilyreferstopluckedstring
instruments,possiblydenotingthephin nam tao, phin pia and krachappi.In
summary,evidenceofphinmusicinThaisocietyrevealstwoprincipaltypes
of phininstruments,lutesandbows.Thereareboththelong-necked(e.g.the
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krachappi)andshort-necked(e.g.thefive-stringedphin)typesofThailuteswhileThaibowsareclassifiedasthe“resonatedbow”type(e.g.the phin nam tao and phin pia).
2. A study of “phin” musical instruments 2.1 Musical instruments in the vina family in Indian culture InstudyingmusicalinstrumentsinthevinafamilyinIndianculture,themajorityofresearchersfrequentlylimitedthescopeofthisstudytovinaasthepluckedstringinstrumentsonly.Thetimeperiodsunderthisstudyweredividedintothreemajorperiods:period1–ancienttoVedicperiods,period2–Post-Vedicperiod,andperiod3–Medievalperiod.Detailsofthestudyresultsareasfollows: Period 1 Ancient to Vedic periods Characteristics of vina music and musical instruments in the ancient to the Vedic periods The data on Indianmusic appears primarily in the Vedas.“Vina”areconsideredtheprincipalIndianmusicalinstrumentsofgreatantiquityand consists of both the plucked and bowed string instruments.Most ofevidencesuggestthatthevinaofthisperiodwereharp-likemusicalinstruments(Deva,1974,6).Otherscholars, includingChalermsakPikulsri,B.ChaintanyaDeva,S.KrishnaswamyandSwarnLata,remarkedonthevinamusicalinstrumentsoftheVedicperiodfromthreegroupsofdata:(1)varioussourcesofevidence,(2) relationship with other contemporaneous cultures, and (3) musicaldevelopmentoftheperiod.Itcanbeconcludedthatthereisevidenceof15typesofvinaduringthisperiod:(1)bana veena,(2)kara kari,(3)kanda veena/kand veena,(4)apakhatila,(5)gotha,(6)sattatantri veena or maha veena and katyayani vina/maha veena,(7)vana,(8)alabu veena,(9)vakra veena, (10)kapisirsha/kapisheerash veena,(11)chala veena,(12)pichoda/ pichhora, (13)talluck veena,(14)gatra veenaand(15)yazh(whichappearedinTamilliterature).Allofthesevinainstrumentssharedthesamecharacteristics.Fromthis list, thecharacteristicsand typesofvina inperiod1,ancient toVedic
periods,canbesummarizedasfollows:
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Table 1: Summaryofthecharacteristicsandtypesofvina instruments
ofperiod1(AncienttoVedicperiods)
Period 2 Post-Vedic period
Characteristics of vina music and musical instruments in the
Post-Vedic period
Post-Vedicperiod isessential to thestudyof Indianmusic
historyandevolutionasit isregardedasthegoldenageofIndianartsand
knowledgeunderthegenerouspatronageofIndianmonarchs.Pluckedstring
instrumentswereconsideredtheprincipaltypeofmusicalinstrumentofthis
period. It can be concluded from the Natyashastra Treatise (Text on the
performingarts)thattherearesixspecificnamesreferringtovina instruments
ofthisperiod:(1)thevipanchi vina,(2)thecitra vina,(3)thekacchapi,(4)the
ghosaka,(5)thesaptatantri vinaand(6)theparivadini.Theseinstrumentscan
bedividedintotwotypesregardingtheirdistinctshapes,bowedharpsand
lutes.Asummaryofthemusicalinstrumentsofthisperiodispresentedinthe
table below.
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Table 2:Summaryofthecharacteristicsandtypesofvina instruments
ofperiod2(Post-Vedicperiod)
Period 3 Medieval period
Characteristics of vina music and musical instruments in the
medieval period
IndianmusicoftheMedievalperiodwasinfluencedbythe
encroaching Islamic culture at the timewhenHinduwas thepredominant
cultureundertheruleofEmperorAkbaroftheMoguldynastywhoprovided
continuingpatronagetoIndiamusic(Pikulsri,2001,36-37).Underthesecultural
influences,IndiaunderwentaprocessofculturalassimilationbetweenHindu
andIslamiccultures.Suchassimilationbecameapparentinthemusiccultures
ofNorthernIndiaor“Hindustanimusic”andSouthernIndiaor“Carnaticmusic”.
Themusicculturesofbothregionswerenoticeablydifferentasthefretted
stickztithertypesofpluckedstringinstrumentsbecomingpredominantinthe
Northwhilethelong-neckedlutesorunfrettedpluckedluteswerepredominant
intheSouth(Wade,2001,307).Long-neckedpluckedluteswereinfluenced
bythepluckedlutesofCentralandWesternAsia(Miner,2000,344).However,
with Islamic culture came Persian and Arabicmusic cultureswhich, after
subsequentassimilation,hadsignificantimpactsonthedevelopmentofboth
thetraditionalandfolkmusicofIndia.Thisisevidentfromtheformsofavina
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ofthemedievalperiodasthebowedharptypesofvina werelargelyreplaced
bythelutetypesofvina.
Musicalinstrumentsofthisperiodweremostlycitedinthe
SangitaRatnakaraTreatise(TextonMusicandDance)writtenbySarngdevaof
theeleventh-thirteenthBuddhistcenturies,whichspecifiedtenpluckedstring
instruments:ada tantri, nakula, tri-tantri, chitra, vipanchi, mattakokila, alipini,
kinnari, pinaki and nishant-vina.TheSangitraParijataTreatiseoftheseventeenth
Buddhistcenturymentionssevenmusicalinstruments:rudra-vina, bhama vina,
taumbura, swaramandala, pinaki, kinnari and ravanakara (Bandyopadyaya,
ascited inWrazen,1986,36).Fourmusical instruments,whosenameshad
beenknownsincethePost-Vedicperiod,thatremainedinexistenceuntilthe
fifteenthBuddhistcenturyare:(1)the tritantri,(2)thechitra,(3)thevipanchi
and(4)theswaramandala.Contemporaneoustotheseinstrumentswerethe
followingfourmusicalinstrumentsinthefolkmusiccategory:(1)theektara,
(2)the gopiyantra,(3)thegottuvadyam,and(4)thekinneri.Theyareconsidered
thebasicformsofinstrumentsintheearlydevelopmentofotherIndianmusical
instruments.
Vinainstrumentsthatexistedduringthemedievalperiodcan
bedividedintotwogroups.Group1regardingastickzither(bothfrettedand
unfretted)typeconsistsof(1)thebin or rudra vina,(2)thekinneriand(3)the
gottavadyam.Group2regardingapluckedlutetypecanbedividedintotwo
types:type1-long-neckedpluckedlutes,includingthesitar,thetambura,
thesurbahar,thesarasvati vina,theektaraandthegopiyantra;type2-short-
neckedpluckedlutes,consistingoftherababandthesarod.Asummaryof
musicalinstrumentsofthisperiodispresentedinthetablebelow.
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Table 3:Summaryofthecharacteristicsandtypesofvina instruments
ofperiod3(Medievalperiod)
2.2 Musical instruments in the “phin” family in Thai culture
MusicalinstrumentsinthephinfamilyinThailandareapparent
inthreemainregions.Aphinisknownasthekrachappiintheancientcourt
musicincenterregion,asthephin pia, phin nam tao and suenginthefolk
musicoftheNorthernregion,andasthesungorphinandthephin krasae
mui3 (in Thai-Khmer culture) in the Northeastern region. Thesemusical
instrumentscanbeplayedbypluckingwithfingersandwithaplectrumand
existintwovarieties:group1belongstoaresonatedbowconsistingofthe
phin nam tao or phin krasae mui, and phin pia.Group2belongstoalong-
neckedpluckedluteconsistingofthekrachappi,thesueng, and phin.Among
3Theword“phin krasae mui”or“khsae muoy” inKhmerlanguage(Narom,2005,111). Itcanbecalledbymanynames,suchasphin krasae diew/phin sai diew,whichare thecorruptedtermsof“sadiu”(Kunst,1949,25).Themeaningofthiswordis‘monotone’ phinorone-string(Wiwatthanapathapi,1995,21).Thisphinisapparenttobeindentical inshapetothephin nam taooftheSouth-easthern(Isan)folkcultureofThailand.
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bothgroupsofmusicalinstruments,thekracchapiistheonlyinstrumentthat
isstillused intraditionalThaimusicalensembles,appearing inthemahori
khruang si(fourpieces)andmahori khruang hok(sixpieces)musicalensembles.
Asummaryofmusicalinstrumentsinthe“phin”familyofThailandispresented
inthetablebelow.
Table 4:Summaryoftheclassificationofmusicalinstrumentsinthephin
familyofThailand
Apart from identifying the connection between different
familiesofmusicalinstruments,thepresentstudyofmusicalinstrumentsin
thevinafamilyofIndiaandinthephinofThailandcanalsoexplaintheflows
ofsocialandculturalexchangesviamusicandmusicalinstrumentsbetween
thetwocountriesthatresultedintherolesofmusicintheirwaysoflife.Such
exchanges and assimilations are theoutcomesof the religiousbeliefs and
developmentthatspreadfromIndiatoSoutheastAsia.Theseareevidentfrom
theuseofsimilarnamesforsimilarmusicalinstrumentsinbothregions,such
asthePaliandSanskrittermsofphin and vina.Thesearethelanguagesthat
theLordBuddhausedinthedisseminationofBuddhismandthelanguages
forthewrittenrecordsofBuddhistteachings,providingthefundamentalroots
forvariouslanguagesinSoutheastAsiaoveralongperiodoftime.
Byimplication,asatypeofmusicalinstumentthewordphin
indiverseforms,bin or been and vina (or veena),althoughrepresentingvarious
formsoftheirorthography,theyseeminglydenotetheidenticalmeaning.In
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Indianculture,thewordbinorbeenisprevalentinNorthernIndiaculturesor
inHindustanimusicwhilethewordvina (or veena)isprevalentinSouthern
India cultures. Such languagedifferences are the results of the competing
religious influences between the long-establishedHinduism and themore
recentIslamindifferentpartsofIndia.InThaimusicculture,theword“phin”
is theprincipalandgenericwordusedto refer toa typeofpluckedstring
musicalinstrument.ThePaliword“vina”isalsofoundexclusivelyinPalitexts
orwrittenrecords,suchasinthePaliversionoftheTripitakaBuddhistscripture.
In summary, therearefivevarietiesofbin or vina musical
instrumentsinIndia:(1)resonatedbows(unfretted),(2)bowedharps,(3)stick
zithers(bothfrettedandunfretted),(4)pluckedlutes(long-neckedandshort-
neckedwithround-backedsoundbox)and(5)gatra vina (thewordvina is
usedhereinthesenseofsinging).Themusicalinstrumentsinthephinfamily
ofThailandarefoundintwovarieties:resonatedbowsandpluckedluteswith
longneckandflat-backedsoundbox.
3. Phin in the Tripitika scripture
Adiscoveryofthephin-relatedaccountsthatappearin45Volumes
ofthePaliTripitaka–consistingoftheVinaya Pitaka,theSuttanta Pitaka or
Sutra,andtheAbhidhamma Pitaka–ofSiaminThaiscriptandtheThaiTripitaka
ofMahachulalongkornrajavidyalayaUniversity.Fourphin-related accounts in
theVinaya Pitakaandfourtythreephin-relatedaccountsintheSuttanta Pitaka
havebeenfound.Insummary,thesephin-relatedaccountswerestudiedwithin
threeaspectsasfollows:
3.1 Meaning
Themeaningsoftheword“phin”appearingintheTripitaka
canbelikelycategorisedintotwodistinctaspects:directmeaningswithmusical
implications and implicitmeaningswith religious implications of Buddhist
teachingsanddoctrines.Initsdirectmeanings,phinisusedwiththemusical
connotationthatthewordiswidelyknownandunderstoodasreferringtoa
typeofmusicalinstrumentswhosesoundisproducedbythepluckingofstrings.
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It refers toamusical instrumentwithvariouscomponentsof trough,bow,
string, peg, and so on. It is themusical instrument performed for the
entertainment,relaxation,recreation,welcomingandcongratulatingofgods,
kings, and commoners alike. It can also be used as a gesture of respect,
worshippingormelodiousofferingtoBuddha.Initsimplicitmeanings,theword
phin isused,for itsmusicaltraits,asametaphortoexplain(ortosimplify)
sophisticatedabstractBuddhistdoctrinesandteachings tobetangibleand
simplyunderstandable.Themetaphorcanexplicateabstractconceptswith
concreteexamplesforbetterunderstandingbytheaudience.Buddhafrequently
usedmetaphorswith concreteexamplesof realeventsor incidents inhis
teachings.Theuseofthestringsandsoundsofthephinasametaphorcan
besummarizedasfollows:
Metaphor 1Usingdistinctstatesoftensioninphin strings as
ametaphor forperseverancebycomparingthetight, loose,andmoderate
tensionofthestringstotheMiddlePathdoctrine.
Metaphor 2 Usingthestraightnessofphinstringsasametaphor
forhonestyandintegrity.
Metaphor 3Usingtheperfectpitchesagainstdiscordofphin
stringsasametaphorforstrongdeterminationtoadheretosexualabstinence.
Metaphor 4Analogybetweenthestretchingofahumanbody
andthestretchingofphin strings on phinbodyisusedforametaphor,which
sacrificeandabilityofproblemsolvingisconsideredapropertythatleaders
should possess in order to bring happiness to the people under any
circumstances.Thismetaphorappears inthetaleof themonkeykingwho
stretchedhisbodyacrossarivertoallowhisfollowersasafecrossing.
Metaphor 5Usingthestretchingorstraighteningofaphin
stringasametaphorforgreatindustrious.
Metaphor 6Usingthesoundsofthephinasametaphorfor
infatuationandobsession.Musicalsoundisconsideredforbiddenbecausethey
couldarousetheemotionalstatesofChanta(pleasure)andRakha(passion).
TheLordBuddhacomplimentedPanjasikhaonhismusicwhichisconsidered
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themost beautiful songwhose lyrics refer toBuddha, Dharma (Buddha’s
teachings),Sangha(monks)andtheArahants(onewhohasattainedNirvana).
Apartfromthemetaphorsprovidedbythestringsandsounds
ofthephin,otherimplicitmeaningsofphinareasfollows:
Phin as an indicator of great merits and powers. Thephin
isusedtoindicateBuddha’sgreatmeritsandpowersthataresogreatthat
theycancausemusicalinstrumentstoproducemusicalsoundsontheirown
intheabsenceofmusicians.
Phin as an indicator of a person’s important status.The
phinisusedtorepresentgreatwealth,prosperity,fertility,statusandnobility
ofimportantpersonslikeaking.
Phin as an indicator of sublimity or items of sublimed
quality. Thephinisusedtosignifysublimityoritemsofsublimedquality,such
assaints,godsandgoddessesinheavenlyabodesorhumanbeingswhohad
accumulatedvastamountofmeritsintheirlifetimeandresideinheavenly
abodesafterdeath.
Phin as an indicator of the observation of customary
practices. Thephinisusedtoindicatetheobservationofcustomarypractices
thatstudentsshouldhavefortheirteachers.Studentsmustrespectandhonor
theirteachersandshouldnotbehaveoffensivelyorcompeteagainstthem.
ThismeaningofthephinappearsinthetaleofKhuttilajarnandhisstudent,
Musila,whocompetewithoneanother.
3.2 Phin characteristics
Theexacttypesofphin or vinainstrumentshadneverbeen
clearlyspecifiedintheTripitakaaccounts.However,itcanbepostulatedfrom
the contexts of these accounts that they belonged to a variety ofphin
instrumentsthatincludesharp-shaped,gourd-shaped,andlute-shaped,which
thetypesofphinarefoundinthePost-Vedicperiod.Twoconclusionscanbe
reachedonthisissueasfollows:
Conclusion 1 Phin varieties
The Tripitaka accounts that mention a variety of phin
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instrumentsmayhaveusedtheword“phin”(atranslatedformofThai)or,
alternatively,“vina”(anoriginalformofPalisystem)todenotealltypesof
musicalinstruments,excepttheleatherinstruments(Pikulsri,1997,270)orto
meana varietyofphin instruments. Post-Vedicmusical instruments in the
TripitakaaccountsarementionedinVolume28andVolume32oftheTripitaka.
InVolume28oftheTripitika,theSuttanta Pitaka in Volume 20 - Kuthathaka
Nikaya Jataka, Mahosatha Jatakapart2,therearestatements,whentranslated
intoEnglish, like:“Kho Prachachon Thang Lai Chong Dit Phin Thuk Chanit
[letallpeoplepluckalltypesofphininstruments]”(Ku.Cha.(Thai)28/777-
779/303-304)or“ahanyantu sapphavina”inPali(Ku.Cha(Pali)28/685/244),
andphrasesfromtheWessandorn Jatakalike,“dit phin [pluckingthephin]”
“dit jakhe[pluckingthejakhe]”or“sappa vina”and“kotha”inPali(Ku.Cha.
(Pali)28/1239.5-1239.7/443-444).InVolume32oftheTripitaka,theSuttanta
Pitaka inVolume24 -Kuthathaka Nikaya Upathanapart1, in thesection
where there is a reference toBuddhaasapersonof greatperfectionand
sublimedpowers,thereisaphrasethatreads:“...phin took chanit jong banleng...
[alltypesofphinshallplay]”(Ku.OrPor.(Thai)32/43/7)or“vina sappa”in
Pali(Ku.OrPor.(Pali)32/1/42/5).Theseaccountsusedthewords“phin”inthe
samesenseastheThaiphrase“phin thang lai[allkindsofphininstruments]”
or“sappa vina”and“kotha”.Therefore,itcanbepostulatedthatmentions
ofphin instruments in the Tripitaka refer tomore than one type ofphin
instruments,possiblyharps,bowsandlutesofthePost-Vedicperiod.
Conclusion 2 Harp type
Thishypothesiscomesfromthementionsofthephin in many
documentsthatclearlyindicatethattheywere,basedonthedescriptionsof
theirshapes,thenumberofstrings,andharptype.Suchaccountsappeared
inVolume18,Volume26andVolume28oftheTripitaka.InVolume18ofthe
Tripitaka,theSuttanta Pitaka in Volume 10 - Sangyutta Nikaya Sarayatana
Wakka,isanaccountwhich,whentranslatedintoEnglish,reads:“as for phin,
there are many factors involved. For a phin that had been well crafted by a
craftsman to produce perfect melodies, it has to rely upon its many components,
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namely, the trough, leather, bow, pegs, strings, plectrum and suitable human
effort for a particular phin”(Sang.Sara(Thai)18/246/260-261).InVolume26
oftheTripitaka,theSuttanta Pitaka in Volume 18 - Kuthathaka Nikaya Wimana-
Petawatthu Theratheri KathaisthetaleofKhuttatilla Wimanaandhisstudent
inwhichKhuttilajarntalkedabouthis7-stringedphinmusicinstructiontothe
studentinthewordsthatcanbetranslatedintoEnglishasfollows:“behold
god Kosi, it is I who taught my student, Musila, to play the most melodious
and delightful tunes of the 7-stringed phin”(Ku.Peta.(Thai)26/327-326/53).
AnothermentionofaphinwasfoundinthetaleofMaharatha Wimana(the
Great WimanaCarriage)inwhichaverylargemagicalcarriageappearedtoa
cowherdsmanwhohadbeenaccumulating greatmerits. Thecarriage can
producebeautifulsoundssimilartothesoundsmadebyawell-craftedphin
withperfecttroughandbow.Astatementfromthistale,whentranslatedinto
English,reads:“my supreme god, the sounds made by the carriage, elephants,
horses and the accompanying music on both sides of the garden amuse you
in the same way that the beautiful phin music made by a perfectly assembled
trough and bow”(Ku.Peta.(Thai)26/1033/128).AnotheraccountfromVolume
28of theTripitaka, theSuttanta Pitaka in Volume 20 -Kuthathaka Nikaya
Jataka part2,thetaleofMahajanaka Jataka,aboutBuddha’scommenton
thepracticeofhisWiriya Barami inthewordswhich,whentranslated into
English,read:“when will I be able to straighten my mind in the same way
that a phin musician can straighten all seven strings of his phin to produce
the most delightful and captivating sound? When will my intention be realized?”
(Ku.Cha.(Thai)28/238/219).Alloftheaboveaccountsgivecleardescriptions
ofthephin.Besidethenumberofitsstrings,thearchedharp-shapedwasalso
indicated. These descriptions are consistent with the opinion indicated
byChalermsakPikulsrithataphinofthisperiodbelongstotheharp-shaped
type.Healsoexplainedthatthesixcomponentsofsuchphin,whichare,tona
(soundbox), jumma (leather), tantha (bow-shapedwood),upavina (tip of
a phinwhichcanbedecorated),tanti(string),andkona(plectrum)(Pikulsri,
1997,274-275).
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3.3 Roles and functions of phin
Theabovementionedconclusionsabouttheshapeofaphin
canleadtotheidentificationofitsrolesandfunctions.Aphin can be used as
amelodicanddroneinstrumenttoaccompanysinging.Hypothesesonthe
rolesandfunctionsofaphinareasfollows:
A hypothesis that phin is used to accompany the
singing
ThishypothesisisbasedontwoaccountsfromtheTripitaka.
ThefirstonewasfromVolume5oftheTripitaka,theVinaya Pitaka in Volume
5-Mahawakkapart2, thetaleofKosampika Khanthaka Thikhawuwatthu
relating to Thikhawukumara. Thikhawukumarawaspracticinghismusicwhile
residinginanelephanthousenearapalaceinthecityofBanareswhenKing
Prommathatkasirajorderedhimtocometothepalaceandlaterappointed
him his trusted page. This tale identified the use of phin music as an
accompanimenttosinginginthewordswhich,whentranslatedintoEnglish,
read:“one early morning, after waking up Thikhawukumara started singing
beautifully to the accompanying tunes of a phin near the elephant house.
King Prommathatkasiraj, who woke up at that moment and heard the distant
singing and phin music from the direction of the elephant house, asked
courtiers, ‘Who woke up so early to sing and play phin music in the direction
of the elephant house? The courtiers answered, “It was the young student of
Hatthajarn who woke up early to sing and play the phin at the elephant
compound”(Wi.Mor.(Thai)5/461/348-349).
ThesecondaccountwasfromVolume10oftheTripitaka,the
Suttanta Pitaka in Volume 2 - Thikha Nikaya Mahawakka, the tale of
Sakkapanyahasutra,relatingthetaleofThaoSakka’sproblems.Thao Sakka
(Indra)ordereddeitiesfromtheDaoduengheaventoseekanaudiencewith
BuddhaandorderedPanjasikha,aGandharvas(low-rankingdeity),toplaya
yellow phininthecolorofamatoomfruit(abael)whilerecitinganincantation
atthemeeting.Theincantation,whichwasaserenadesangbyPanjasikha,
containedstatementsaboutBuddha,Buddha’steachings,theSangha, Arahants
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(enlightenedmonks)andKama(carnaldesire).Buddhapraisedtheserenade
foritsbeautifulmelodiesandthephininstrumentforitsroleandfunctionin
keepingthemelodytothesamepitchesasthesingingvoice inthewords
which,whentranslatedintoEnglish,read:“…Panjasikha, the sounds of your
phin strings are harmonious with your singing voices and vice versa. The sounds
of your phin strings are not unequal to your singing voices and vice versa…”
(Tee.Mor.(Thai)10/349/277).
A hypothesis that phin is a melodic instrument
ThishypothesisisbasedonsixaccountsfromfourVolumes
oftheTripitaka-Volume4,Volume22,Volume26,andVolume27,whose
contextstobetakenintoconsiderationareasfollows:
TheaccountfromVolume4oftheTripitaka,theVinaya Pitaka
inVolume4-Mahawakkapart1,thetaleofSakulabutrawhich,whentranslated
intoEnglish,reads:“that night Yasakulabutra woke up before the others and
saw some of his attendants asleep. Some female attendants had a phin lying
near their armpits, some had a taphon(aspecifickindofdrum)next to their
necks while others had a Pong Mang(anotherkindofdrum)on top of their
breasts”(Wi.Mor.(Thai)4/25/31).
TheaccountfromVolume22oftheTripitaka,theSuttanta
PitakainVolume14-Ungkhuttara Nikaya Panyajaka-Chakkanibat,thetale
ofHathisariputtasutra, relates the storyofPhra Jittahatthisaributrawhich,
whentranslatedintoEnglish,reads:“having been muted by the sounds of the
elephants, horses, chariots, foot soldiers and the resounding dins of drums,
the bandor [small drums], the conch shell, and the phin”(Ang.Panjaka.(Thai)
22/60/558).
Threephin-relatedaccountswerefoundinVolume26ofthe
Tripitaka, namely, the tales of Khuttatilla Wimana, Pesawati Wimana and
Kanthaka Wimana.IntheSuttanta PitakainVolume18–Kuthathaka Nikaya
Wimana-Petawatthu Theratheri Katha, thetaleofKhuttatilla Wimana, are
thestatementwhich,whentranslatedintoEnglish,reads:“behold Thao Kosi,
I had taught the art of the 7-stringed phin, which has the most melodious and
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delightful sounds, to my student, Musila. He, however, intends to have a
contest of phin music against me on stage. May you give me support on this
matter”(Ku.Peta.(Thai)26/327-328/53).Thewordsthatappearinthetaleof
Pesawati Wimana,whentranslatedintoEnglish,read:“your heavenly dwell
(wimana) is full of ambient music of the big phins, drums, the cymbals, and
the small bells. It is as prosperous and thriving as the city of Indra”(Ku.Peta.
(Thai) 26/649/72). The account from the tale ofKanthaka Wimana, when
translatedintoEnglish,reads:“You rejoice in dancing, singing, music and being
delighted by the sounds of drums, the conch shell, the taphon, the phin, and
the bandor[asmalldrum]”(Ku.Peta.(Thai)26/1180/148).
Volume27oftheTripitaka,theSuttanta Pitaka in Volume 19
–Kuthathaka Nikaya JatakapartI,thetaleof Khutthatila Jataka,containsthe
sameaccountastheoneinVolume26oftheTripitaka,theSuttanta Pitaka
in Volume 18 - Kuthathaka Nikaya Wimana-Petawatthu Theratheri Katha, the
tale of Khuttatilla Wimana.
Theabovementioneddatarevealsthatthephinhadbeen
usedinconjunctionwithotherrhythmicinstrumentslikedrums,thecymbal,
thebandor,thebell,etc.Itis,therefore,possiblethatthephin,inthiscontext,
can be used as the principalmelodic instrument. Narratives on thephin
instructionthatKhuttilajarngavetohisstudent,Musila,andtheirphin contest
ledtoahypothesisthatphinwasmorelikelytobeamelodicratherthanjust
adroneinstrument.Inaddition,opinionsontherolesandfunctionsofphin
instrumentsasindicatedintheTripitakasuggestthatphincouldbeusedboth
asanaccompanimenttosingingandasamelodicinstrument.Thishypothesis
isconsistentwiththeopinionofChalermsakPikulsri(Pikulsri,1997,271-272)
whoasserted that thereare two typesofphin instruments–one thenon-
melodic instruments,orcalledadrone,toaccompanythesingingandthe
otherthemelodicinstruments.Heclearlystatedthatthetypeofphinwhich
canbeusedasamelodicinstrumentisaharptype.Therefore,the7-stringed
phinmentionedinthetaleofKhuttatila Jataka ispresumablyaharptype
functioningasamelodicinstrument.
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Conclusion and Discussion Theresearchresults found implicitdatathatcanbedivided into
three parts: phin from themusical perspectives, phin from the religious
perspectives,andphinfromthephilosophicalperspectives.
Part 1 Phin from the musical perspectives
Phin or vinainstrumentsthatexistedattheonsetofBuddhismand
duringtheperiodsinwhichitflourishedinIndiawere:thePost-Vedicharp,lute
andbowtypesofpluckedstringinstruments.Aharpexistinginthatperiod
generallyappearedasastringinstrumentwiththelargestnumberofstrings
whencomparedtootherstringinstrumentsofthesameperiod.Harpsarealso
ancientmusicalinstrumentsthathaveexistedinIndiasincetheAncientperiod.
Indianmonarchs,suchasthoseoftheKuptadynasty,hadhighregardforharp.
Bowstringinstrumentsareanothertypeofmusicalinstrumentsthathadalso
existedinIndiasincetheancientperiod.Theyareidenticalinshapetothe
instrumentsinthephin nam tao and phin pia,andareoftendepictedinbas
reliefsculpturesofIndiaandSoutheastAsia.Thisgroupofmusicalinstruments
generallyappears inHinduculture inwhichthebeliefs inGodsanddeities
prevail.Anothertypeofphinisthatofthepluckedstringlutes,whoseexistence
inthePost-Vedicperiodhasbeenconfirmedbyvariousevidence,andbybas
reliefsculptures invarioussitesthat indicated itsconnectiontoBuddhism.
Therearealsoseveraldocumentswithsimilarmentionsofthephininstruments,
forexample,thereisatypeofmusicalinstrumentcalled“kacchapi”thathas
theshapeofashort-neckedlutewithroundbackandthreeorfivestrings.It
wasdepictedintheKoobuostuccosculpturesasaninstrumentcalled“phin
ha sai(a5-stringedphin)”.
Furthermore, a hypothesis about the type ofmusic that existed
duringtheperiodsinwhichBuddhismflourishedcanleadtothediscoveryof
thelinkbetweenPost-Vedic phininstrumentsinIndiaand phin instruments
thatappearinThaiculture.Thedataonthecharacteristicsofphin music and
musicalinstrumentsinIndianandThaiculturesbringstolightthetimelineand
tracesofthearrivalofvariousmusicculturesthatcametoThailandviasocial,
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religiousandeconomiccontacts.Suchmusicculturesarethefinalproducts
ofthesocial,religiousandeconomicinteractionsbetweenIndiaandSoutheast
Asia that has begun since the seventh-eighth Buddhist Centuries. These
interactionsbroughtwiththemthebeliefsystems,thefaithsinBrahminism
andHinduGods, Buddhist doctrines and the Islamic cultureof Persia that
reachedSoutheastAsiaviaIndianculture.Thesearethereasonsforthesimilarity
thatexistsbetweenmusical instrumentsof theharp,bowand lute types.
Examinationofthelinksbetweenmusicalinstrumentsinthephinfamilyof
ThailandandofIndiarevealedmanyconsistenciesandconnectionsbetween
thetwomusiccultures.
Thefourmajortypesofphinor lute instruments in Indianmusic
cultureare:(1)harp,(2)bow,(3)luteand(4)stickzitherwhileonlytwomajor
typesexist inThaiculture: (1)bowsand (2) lutes.Suchdifferencescanbe
explainedbythefactthatabowinThailandhadreligiouslinkwithIndiamusic
cultureoftheAncientperiodtotheVedicperiodswhilealuteislinkedtothe
musiccultureofPost-Vedicperiod.However,thelinksbetweenThaiandIndian
lutesinthePost-Vedicperioddifferonlyintheshapeoftheinstruments.Thai
lutesofthisperiodwerelong-neckedluteswhileIndianluteswereshort-necked
lutes. The connections between the instruments of the two countries are
showninthetablebelow:
Table 5:Comparisonoftheconnectionbetweenmusicalinstrumentsinthe
IndiaandtheThaiphinfamilies
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Therefore,itcanbepostulatedthattheThailong-neckedplucked
lutemayberelatedtotheIndianvinaofthemedievalperiod,whichwasthe
timewhenIndiahadassimilatedIslamic,PersianandArabianculturesintoits
musicculture.Long-neckedpluckedluteappearedingreatnumberfromthat
timeonwardandhadbecomethepredominantformofIndianvinaofthe
medievalperiod.AlthoughtheThailong-neckedpluckedlute,thekrachappi,
isapparentlysimilarinshapeaswellastypetotheIndianlong-neckedplucked
lutesoftheMedievalPeriod,thisThaiphinnaming“kachappi”accordingto
lutetypesofthePost-Vedicerahasbeenstillusedpresent-day.
Tosumup,theresultsrepresentingthesimilaritieswithrespectof
nomenclatures,shapes,andtypesinmusicalinstrumentsofSoutheastAsian
communitiespresent-day indicate the traceofparticipation in culture and
religionamongthecultures,whichIndiancultureisstronglylikelyregarded
an origin.
Part 2 Phin from the religious perspectives
InBuddhism,thephinandtheconceptoftheMiddlePathareused
asametaphorforachievingofthecessationofsufferingthroughperseverance.
Thephin is compared to the gateway to success thatwill allowBuddhist
practitionersaclearer insight into theBuddhistdoctrineofMagga8or the
eightfoldpathtothecessationofsuffering.Accordingtothetaleaboutthe
visionofthe3-stringedphinoftheMiddlePath,phincanintroduceustothe
understandingoftheactualstateofthings,generateideasthatevolveintothe
necessaryknowledgeandunderstandingthatwilleventuallyputoneonthe
MiddlePath.Indra,theGodwhoappearedintheroleofthe3-stringedphin
musicianinthistale,customarilyassumedtheroleofapatronofBuddhism
and leaderofallgodsanddeities inheavens.Sinceheappeared inmany
eventsinthelifeofBuddha,hisconnectionwithBuddhawaswidelyrecognized
andrememberedbymostpeople.Therefore,aphinthatappearinBuddhist
accountsusuallyhavecomponentsthatcanconveymeanings,expressideas
andindicateone’srolesandstatusesaswellastheoccasionsforandtheuse
ofphinmusic.DescriptionsofphininstrumentsintheTripitakamadeitpossible
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topostulatethatthreemajortypesofphininstrumentsexistedattheonset
ofBuddhism,namely,harps,lutes,andresonatedbows.Thiscanbepostulated
despiteanabsenceofclear identificationof thenamesandtypesofsuch
instruments.
Part 3 Phin from the philosophical perspectives
ThephilosophicalimplicationsofphinfortheBuddhistdoctrineof
theMiddlePathcanbedividedintothreeconcepts:(1)aphin fromtheBuddhist
philosophyperspectivesof,(2)aphinfromtheBrahminandHinduphilosophy
perspectives of, and (3) aphin from themusical philosophy perspectives.
Detailsoftheseperspectivesareasfollows:
Concept 1 Phin from the Buddhist philosophy perspectives
Thephin-relatedaccountsintheTripitakauseaphin to indicate
theenhancingofwisdomandasametaphorfortheperseverance,industriousness,
knowledge,ideasandunderstandingsoftheactionsthatwillputapersonon
thepathtothecessationofsuffering.Fromthereligiousphilosophyperspectives,
suchaphinsymbolizesthedevelopmentofwisdom.InthetaleoftheMiddle
Path,thefocusisevidentlyonthethreeattributesandqualificationsofthe
stringsofaphinratherthanonthenumberofthestrings.Forthisreason,thus,
itseemstobetrueforaphintobeusedwithouttheconditionofspecific
instrumentaltypesorthenumberofstringsitcontains.Thisfactisdemonstrated
intheexplanationsofvarietiesofthetensionofthestring:tootightastring
willresultdistraction,toolooseastringwillresultlaziness,andastringthat
isnottootightortooloosewillresultasuitablelevelofmoderation.The
soundsofphinmusicarealsotakenasimplyingthebeautyorgoodnessthat
lureoneintokilesa(desire).A phincanbeaninstrumentfortheattainment
ofwisdomandabetterunderstandingofBuddhistteachings.Itisthroughsuch
paththatBuddhagainedwisdomfortheunderstandingofthehighestlevel
of Buddhist philosophy, Sammasambodhiyarn (enlightenment). This is
theultimatewisdomthatonlyBuddhaandallArahants(enlightenedmonks)
hadattained.
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Concept 2 Phin from the Brahmin and Hindu philosophical
perspectives
From the Brahmin and Hindu philosophy perspectives, the
implicationsofphinarebasedontheBrahminandHinduideologiesthatoften
appear in associationwith the Buddhist principles. The reasons for such
associationare, firstly,because they share thebeliefs indifferent typesof
deities,gods,goddesses,angelsandGandharvas (low-rankingdeities).Apart
frombeingreveredandworshippedfortheirinfluentialandsignificantinfluences
overhumanlives,thesedivinebeingsarerelatedtothebeliefsinthesupernatural
powersand,therefore,canbeusedtoreinforcecertainBuddhistteachings
andlegends.Thestrongbeliefs inHindumythologymakepeopleconsider
anything that is related toGods or divinebeing as having thequalities of
excellence,holiness,mysticismandmiraculouspowers.Secondly,thecaste
systeminBrahminismandHinduismprovidesclearperspectiveonthehierarchies
ofhumanbeingsandhasextensiveinfluencesoverthemusicculturesofIndia.
Forexample,itisthedutiesofslavesanddependentstoplaymusicfortheir
kingswhoareregardedasdivinekings.Therefore,anythingoranypersonthat
isrelatedtokingsorpersonsinequivalentlyhighstatusarebelievedtobe
imbuedwithsimilarlygreatmeritsandpowers.Forthisreason,suchobjector
personmustbecarefullyselectedanddealtwithbecauseofitsexaltedand
specialstatus. Phinmusicsymbolizesthegreathonorandspecialstatusof
peopleofhighcaste.
AphinmentionedinthetaleswithrespecttotheMiddlePath,
therefore,reflectthereligiousphilosophiesofBrahminismandHinduismthat
arecloselyrelatedtothereligiousbeliefsandfaithsthatarewellunderstood
byBuddhists.Thisreligiousphilosophyisclearlydemonstratedinthedepictions
ofIndraplayinga3-stringedphinthatoftenappearinmuralpaintingsinthe
contextofaTripitakaaccountofBuddhatalkingaboutsocialhierarchieswith
anemphasison the statusofdeities. InBrahminismandHinduism,aphin
symbolizes the instrument thatmanuses to communicatewithGods and
divinebeings.ItisthemusicalinstrumentoftheGodsandthesymbolofa
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specificGandharvaswhoplaysthatinstrument.InfluencedbyBrahminismand
Hinduism,itisnormaltofindphininstrumentsinfusedwithbeliefsinmysticism,
miraclesandthesupernatural.
Concept 3 Phin from the musical philosophy perspectives
ThemusicaltraitsofaphinintheTripitakaaccountsrefertothe
common traits ofphinmusic as being delightful,melodious,mesmerizing,
enchanting,poised,equalized,moderateandproper.Thekeyimplicationof
theseTripitakaaccountsisthatmusicplayssignificantrolesingivingmeanings
tovariousobjects.Forexample,thesoundsofphin music are considered divine
forthefactthattheyarecreatedbyadivinemusicalinstrument.Apartfrom
beingamusicalinstrumentoftheGods,aphinisalsoregardedtheinstrument
foramusicalofferingtoBuddhaandprominentpersons.Therefore,thesounds
ofmusic andmusical instruments signify something special, something
miraculous and extraordinary. Phinmusic,therefore,signifiesobjectsofhigh
values,uniquebeautyandpurity. It isanaestheticmediumof subtleand
profoundmessagesthatarecrucialtohumanphysicalandspiritualwell-being.
Fromthemusicalphilosophyperspectives,phinsignifyobjectsof
highvaluesandspecialbenefits.WhenusedinBuddhistcontexts,thesounds
ofphinmusicareusedasameanstoenhanceone'swisdom,asymbolof
purity,truthandserenity.WhenusedinBrahminorHinducontexts,phin music
isbelievedtobeamediumforthecommunicationbetweenhumanbeings
andGodsorsupernaturalbeings.Itisused,forexample,intheperformingof
ritualmusic or as symbolic representation of various Gods.Phin music is
generallyperformedasagestureofreverence,faithsanddevotion.Whenused
inmusicalphilosophycontexts,phinmusicisoftenusedtodisplaythebeauty,
melodiousness,anddelightfulnessofthemusicalsounds.
Conceptual framework for a creative composition
Asaprocessofbringingvarious ideas intoa frameworkofmusic
composition,thisstudyembracesmethodandtechniquesfromthepreceding
works:suchasthework,entitledPlengRuangPuja Nakon Nan,isbasedupon
วารสารอารยธรรมศึกษา โขง-สาละวินMekong-Salween Civilization Studies Joural44
thesacredPujadrummingofNanprovince(Komkhum,Pornprasit,2015,52);
The Music of Rice in Amphawa(Thatsanabanjong,Phoasavadi,2017,492).These
works,creatinganewpiece,botharebaseduponthetechniqueinThaimusic
principleofemployingpillartones(siang lak or luk tok)derivedfromoriginal
melodiesbelongingtofieldworkdata.Althoughtheseworksbotharedealt
with musical style of piphat mai khaeng ensemble, its methods and
compositionaltechniquesrevealingareusefulinthisresearch.
Findingsfromthestudyof phin instrumentsinthephinfamilyand
phin-relatedaccountsintheTripitakawereusedtodeveloptheconceptual
framework and direction for the creative composition of “Phin-
Dukkhanirodhagaminipatipada”.Theconceptualframeworkwasderivedfrom
threegroupsofdata:(1)religion,(2)philosophyand(3)music.Themusical
dataobtainedfromthisstudyfocusedmainlyonphinmusicthatexistedduring
theBuddhistperiodinIndiaandtheMiddlePathphilosophy.Theconceptual
frameworkofthisresearchisillustratedinthechartbelow.
Chart 1Conceptualframeworkforcreatingthemusiccomposition
Themusiccompositionisdividedintosevenelements:(1)meaning,
(2)objectives,(3)status,(4)melody,(5)playingtechnique,(6)musicalinstrument
and(7)musicalensemble.Themusiccompositionwaspresentedinthreeparts
asfollows:
Part 1 Overture
TheoverturecontainsthreesymbolicelementsofBuddha,deities
andhumanbeings.Therelationshipsbetweenthesethreeelementsisexpressed
via phinmusic in connection to themusicalmeaning and goals of this
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composition,whichare,topresentamusicalofferingtoBuddha,tocreatea
serenadesandbyaGod(Indra),andtoentertainhumanbeings.
Part 2 Song of the Buddhist teaching
Inthissection,songoftheBuddhistteachingoftheDukkhanirodhagamini
patipadadoctrineorthepathtothecessationofsufferingwasselectedto
developthekeyconceptual frameworkforthecomposition.Themelodies
werecreatedfromthephilosophicalimplicationsofthestringsandthesounds
ofphin,basedonthemetaphorsthatBuddhausedforthetwooppositesides
ofphinmusic.FromtheLokiya (worldly) side,phin strings were used as a
metaphorforthetwoextremes(tightnessandlooseness)ofhuman’saction.
FromtheLokuttara (transcendental)side,phinmusicwasusedtoconveythe
conceptofmoderationinhuman’sactioninordertofindtherightpathtothe
cessationofsuffering.Aphinwasusedinthemeaningofameanstoenhance
one’swisdomandasametaphorforperseverance,industriousness,knowledge,
ideaandunderstandingofmoderationinaction.
Themelodiesofthispartlinkedsuchmetaphorstothetheoriesof
musical sounds, performing techniques,musical instruments andmusical
ensemble,basedontheconceptualframeworkofphinmusicfromtheBuddhist
perspectives.Thispartconsistsofthreesectionsasfollows:
Section1Buddhistteachingonthefirstpathof“tightness”
Section2Buddhistteachingonthethirdpathof“looseness”
Section3Buddhistteachingonthesecondpathof“moderation”
(Dukkha nirodhagaminipatipada or Magga8-thenobleeightfoldpath)
Part 3 Song of the path to the cessation of suffering or “Vimutti”
Thefinalpartofthecompositionisapresentationofthesongof
thepathtothecessationofsuffering,whichisasummaryoftheimplications
ofphinoftheMiddlePathwiththeimplicitmeaningsofbrightness,serenity
andcessationofsuffering.
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Recommendations This researchon phinmusic from the Buddhist perspectives has
openedupnewoutlooksandnewfrontiersonthestudyoftherelationship
betweenmusicandBuddhism,whichcancontributetoamorecompleted
bodyofknowledgeonbothaspects.Thegreatnumberofvery interesting
referencestomusicintheTripitakascripturecanprovidebetterunderstandings
ofthereligious,socialandculturalaspectsofThaisociety.Aphin inthevarious
cases representing as amusic culture also reflectmany of the cultural
foundationsthatSouthAsianandSoutheastAsiancountriessharewithone
another.Nevertheless,theexplanationsandinterpretationsofthesephenomena
fromthemusicalperspectivesremainquitelimited,studiesonothermusical
aspectsofBuddhismshouldbecarriedouttoprovidemorecomprehensive
databaseandguidelinesforfutureresearchesintheThaimusic.
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