hooptam 4.4

114 : °“√Õπÿ√—°…å¿“æ®‘µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

4. °“√Õ∫√¡¡—§§ÿ‡∑»°å√—°…å·À≈àß‚∫√“≥ ∂“π

»‘≈ª°√√¡∑âÕß∂‘Ëπ

§«“¡‡ªìπ¡“

ªí®®ÿ∫—π °√–· °“√µ◊Ëπµ—«‡√◊ËÕß∑âÕß∂‘Ëπ¡“·√ß

‚¥¬‡©æ“–Õ¬à“ß¬‘Ëß ∂â“À“°™ÿ¡™π„¥ ¡’·À≈àß»‘≈ª°√√¡∑’Ë¡’

§ÿ≥§à“Õ¬Ÿà¥â«¬·≈â« °Á¬‘Ëß‡æ‘Ë¡»—°¬¿“æ·°à™ÿ¡™π∑’Ëæ√âÕ¡®–

æ—≤π“„π∑‘»∑“ßµà“ßÊ ‰¥â¡“°¢÷Èπµ“¡‰ª¥â«¬ π—∫‰¥â«à“¡’

¢Õß¥’Õ¬Ÿà§Ÿà™ÿ¡™ππ—Ëπ‡Õß ¥—ß∑’Ë µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ

®—ßÀ«—¥¡À“ “√§“¡ π—Èπ ¡’·À≈àß»‘≈ª°√√¡∑âÕß∂‘Ëπ∑’Ë‡ªìπ

«—¥ ”§—≠Õ¬Ÿà 2 ·Ààß¥â«¬°—π §◊Õ «—¥‚æ∏“√“¡ ·≈–«—¥ªÉ“‡√‰√

´÷Ëß¡’Õÿ‚∫ ∂ (™“«Õ’ “π‡√’¬°«à“ ‘¡) ¡’¿“æ®‘µ√°√√¡Ω“ºπ—ß

‚∫√“≥À√◊ÕŒŸª·µâ¡ ¡’Õ“¬ÿ¡“°°«à“√âÕ¬ªï ‡¢’¬π‚¥¬™à“ßΩï¡◊Õ

∑âÕß∂‘Ëπ ∑’Ë¬—ß‡À≈◊ÕÕ¬Ÿà

°‘®°√√¡°“√Õ∫√¡¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ„Àâ·°à‡¥Á°

‡¬“«™π ·≈–ª√–™“™π¢Õßµ”∫≈¥ß∫—ßπ’È ‡ªìπ°‘®°√√¡∑’Ë

°√–µÿâπ„Àâ‡¬“«™π·≈–™ÿ¡™π ‡°‘¥ ”π÷°√—°∑âÕß∂‘Ëπ ºà“π

·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡¥—ß°≈à“« Õ’°∑—Èß ‡æ◊ËÕ “¡“√∂

π”§«“¡√Ÿâ‡°’Ë¬«°—∫∑âÕß∂‘Ëπ¡“º ¡º “π°—∫·π«§‘¥ °“√

∑àÕß‡∑’Ë¬« ·≈–°“√‡ªìπ¡—§§ÿ‡∑»°å Õ—π‰¥â·°à §«“¡√Ÿâ∑“ß

ª√–«—µ‘»“ µ√å™ÿ¡™π ª√–«—µ‘ ‘¡ «—¥ «‘∂’™’«‘µ ¿“æ‡»√…∞°‘®

—ß§¡∑—Èß„πÕ¥’µ·≈–ªí®®ÿ∫—π ‡ªìπµâπ

°“√Õ∫√¡¡—§§ÿ‡∑»°å∑âÕß∂‘Ëππ’È‡ªìπ°‘®°√√¡∑’Ë™ÿ¡™π

“¡√√∂≈ß¡◊ÕªØ‘∫—µ‘‰¥â®√‘ß ‚¥¬‡©æ“–„π∞“π–‡ªìπ‡®â“¢Õß

∫â“π ‡æ◊ËÕ„Àâ∫√‘°“√¢âÕ¡Ÿ≈∑âÕß∂‘Ëπ·°àπ—°∑àÕß‡∑’Ë¬«‰¥â ‚¥¬°“√

°√–µÿâπ„Àâ™ÿ¡™π„Àâ¡’§«“¡√Ÿâ„π‡√◊ËÕß√“«¢Õß∑âÕß∂‘Ëπ¢Õßµπ

§«∫§Ÿà‰ª°—∫°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ∑’Ë¥’‰ª¥â«¬°—ππ—Èπ

°Á¬‘Ëß‡ªìπ°“√µÕ°¬È”»—°¬¿“æ·≈–§ÿ≥§à“§«“¡‡ªìπ∑âÕß∂‘Ëπ

π‘¬¡„Àâ¡“°¢÷Èπ‰ªÕ’°‰ª¥â«¬ ‚¥¬‡©æ“–„π¬ÿ§ªí®®ÿ∫—ππ’È

∑âÕß∂‘Ëπ‰¥â√—∫º≈°√–∑∫∑“ß≈∫®“°¿“¬πÕ°¡“°¡“¬

‚¥¬‡©æ“–°√–· ∫√‘‚¿§π‘¬¡ ‡ªìπ ‘Ëß∑’Ë°√–µÿâπª≈ÿ°‡√â“

„Àâ™ÿ¡™πÀ≈ß≈◊¡·≈–¡Õß‰¡à‡ÀÁπ§ÿ≥§à“¢Õß∑âÕß∂‘Ëπ ·≈–

°àÕπ∑’Ë®–‡Àµÿ°“√≥å¥—ß°≈à“«®–¢¬“¬µ—«‰ª¡“°°«à“π’È °“√

®—¥°‘®°√√¡°“√Õ∫√¡°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ ®÷ß‡ªìπ

·π«∑“ßÀπ÷Ëß∑’Ë‡ªî¥‚Õ°“ „Àâ™ÿ¡™π‰¥âÀ—π¡“¡Õß»—°¬¿“æ

4. Local Guide Training on Historical Sites

Conservation and Hoop-Tam Conservation

Background

The workshop was focused on the children

and youth and interested group from the Dong Bang

sub-district. The purposes were to stimulate their

thinking to invoke love of their communities and able

to, harmoniously, combine local wisdom with tourism

and act as local guides who could provide information

about histories of their communities, in addition to

the Wats and Sims, ways of life, and socio-economic

conditions of the communities both in present today

and in the old time.

This Local Guide Training activity was a

substantial activity about tourism, and applying

speaking skills to share more useful information about

the history of certain aspects of the community to

offer people a better understanding. It is also the

basis of being a good local guide to others in the near

future, and a door to professional guide. The guest

speakers from the training meeting were from the

Office of Tourism Authority of Thailand, Khon Kean

province, Fine Arts Department Khon Kaen Regional

9th Office, and the Professional Guide Association.

: 115°“√Õπÿ√—°…å¿“æ®‘µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

√Ÿª∑’Ë 1 ª√–™ÿ¡·≈–™’È·®ß°‘®°√√¡√à«¡°—∫

‚√ß‡√’¬π¥ß∫—ßæ‘ —¬π«°“√πÿ √≥å

Picture 1 Meeting with the head of

Dong Bang Phisai Nawakarnnusorn School

¢Õßµπ‡Õß ¥â«¬°“√°“√‡æ‘Ë¡∑—°…–°“√æŸ¥ °“√øíß °“√

∫√√¬“¬„π‡π◊ÈÕÀ“ “√–¢Õß∑âÕß∂‘Ëπ„π·ßà¡ÿ¡µà“ßÊ ‡æ◊ËÕµÕ°¬È”

„Àâ‡°‘¥§«“¡¿“§¿Ÿ¡‘„®·°àµπ‡Õß·≈– “¡“√∂∂à“¬∑Õ¥§«“¡√Ÿâ

‰ª¬—ß∫ÿ§§≈Õ◊Ëπ„Àâ√—∫√Ÿâ·≈–‡¢â“„®‰¥â Õ—π‡ªìπæ◊Èπ∞“π°“√‡ªìπ

¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ∑’Ë¥’„πÕπ“§µµàÕ‰ª ·≈–¬—ß‡ªìπ·π«∑“ß

„Àâ‡¬“«™π‰¥â√Ÿâ®—°«‘™“™’æ°“√∑àÕß‡∑’Ë¬«Õ’°¥â«¬

¥—ßπ—Èπ °“√Õ∫√¡¡—§§ÿ‡∑»°å®÷ß‡ªìπ·π«∑“ßÀπ÷Ëß∑’Ë®–

‡ √‘¡ √â“ß§«“¡‡¢â¡·¢Áß„Àâ°—∫™ÿ¡™π·≈–‡ªìπ°“√¥÷ß‡¬“«™π

·≈–™ÿ¡™π ‰¥âÀ—πÀπâ“¡“ Ÿà§«“¡¿“§¿Ÿ¡‘„®„π§ÿ≥§à“¢Õß

√“°‡Àßâ“§«“¡¥’ß“¡¢Õß∑âÕß∂‘Ëπ‰¥â‡æ◊ËÕ°“√æ—≤π“∑’Ë¬—Ëß¬◊π

µàÕ‰ª

°“√¥”‡π‘π°“√

Thus, the Local Training Guide activity was

another way to strengthen the communities and gave

the children and youth the realization and pride of

their own rootûs and communitiesû with a virtue of

lasting indefinitely.

Procedures

√Ÿª∑’Ë 2 π—°‡√’¬π‚√ß‡√’¬π¥ß∫—ßæ‘ —¬π«°“√πÿ √≥å

·≈–™“«∫â“π ‡¢â“√—∫°“√Õ∫√¡

Picture 2 Students from the school and villagers that

joined the workshop.


√Ÿª∑’Ë 3 ºŸâ‡¢â“Õ∫√¡

Picture 3 The participants

∫∑∫“∑¢Õß¡—§§ÿ‡∑»°åµàÕ°“√∑àÕß‡∑’Ë¬«∑âÕß∂‘Ëπ

æ√–√“™∫—≠≠—µ‘ ∏ÿ√°‘®π”‡∑’Ë¬«·≈–¡—§§ÿ‡∑»°å æ.». 2551

¡’º≈∫—ß§—∫„™â‡¡◊ËÕ 7 ‡¡…“¬π 2551

ç¡—§§ÿ‡∑»°åé À¡“¬§«“¡«à“ ºŸâ„Àâ∫√‘°“√‡ªìπª°µ‘

∏ÿ√–„π°“√π”π—°∑àÕß‡∑’Ë¬«‰ª¬—ß ∂“π∑’Ëµà“ßÊ ‚¥¬„Àâ∫√‘°“√

‡°’Ë¬«°—∫§”·π–π”·≈–§«“¡√Ÿâ¥â“πµà“ßÊ ·°àπ—°∑àÕß‡∑’Ë¬«

¡“µ√“ 49 ºŸâ„¥ª√– ß§å®–‡ªìπ¡—§§ÿ‡∑»°å„Àâ¬◊Ëπ

§”¢Õ√—∫„∫Õπÿ≠“µ‡ªìπ¡—§§ÿ‡∑»°å®“°π“¬∑–‡∫’¬π °“√¢Õ

√—∫„∫Õπÿ≠“µ °“√ÕÕ°„∫Õπÿ≠“µ °“√µàÕÕ“¬ÿ„∫Õπÿ≠“µ

·≈–°“√ÕÕ°„∫·∑π „∫Õπÿ≠“µ „Àâ‡ªìπ‰ªµ“¡À≈—°‡°≥±å

·≈–«‘∏’°“√∑’Ë°”Àπ¥„π°Æ°√–∑√«ß

§«“¡„π¡“µ√“π’È¡‘„Àâ„™â∫—ß§—∫·°à‡®â“Àπâ“∑’Ë À√◊Õ

æπ—°ß“π¢Õß à«π√“™°“√À√◊ÕÀπà«¬ß“π¢Õß√—∞∑’ËªØ‘∫—µ‘Àπâ“∑’Ë

‡ªìπ§√—Èß§√“« ∑”πÕß‡¥’¬«°—∫¡—§§ÿ‡∑»°å À√◊Õπ—°‡√’¬π

π—°»÷°…“ ´÷Ëß¡’Àπ—ß ◊Õ√—∫√Õß®“° ∂“π»÷°…“

1. ∫∑∫“∑Àπâ“∑’Ë·≈–§«“¡√—∫º‘¥™Õ∫¢Õß¡—§§ÿ‡∑»°å

¡—§§ÿ‡∑»°å‡ªìπ§” ¡“ ¢Õß§”«à“ ¡§§ÿ (∑“ß) °—∫

Õÿ∑‡∑»° (ºŸâ™’Èπ”) ·ª≈µ“¡»—æ∑å«à“ ºŸâπ”∑“ß À¡“¬∂÷ß ºŸâ

∑”Àπâ“∑’Ëπ”™¡ ∂“π∑’Ëµà“ßÊ à«π Tour Leader „™â°—∫

ºŸâ∑’Ë§Õ¬Õ”π«¬§«“¡ –¥«°·°àπ—°∑àÕß‡∑’Ë¬«„π¥â“π°“√π”

‡∑’Ë¬« °“√æ—°·√¡ ·≈–°“√‡¥‘π∑“ß ªí®®ÿ∫—π§”∑—Èß Õß„™â

·∑π°—π‰¥â ‡π◊ËÕß®“°¡—§§ÿ‡∑»°å„πªí®®ÿ∫—π∑”Àπâ“∑’Ë‡ªìπ

Roles of Tour Guides in Local Attractions

Tour Guide Business Act 2008

Effective from April 7th, 2008

çTour Guideé is defined as a person who guides

and provides information about tourist attractions to

visitors and tourists.

Section 49: Being a tour guide, it is necessary

to apply for the license from the registrar. Furthermore,

applying for a tour guide license, approving a license,

extending a license and approving a temporary license

must follow and use ministry regulations. In this section, it

is not compulsory to have tour guide license when working

as a temporary tour guide for government officials and

organizations together with students who already have a

recommendation letter from educational intuitions.

1. Roles and Responsibilities of Tour Guide

The word çTour Guideé in Thai is Makkuted which

or çMakkué for short which means çwayé and çUttatesok which

is ça person who directs or leadsé. Therefore, the definition

of Makkuted is a person who guides visitors to tourism places.

On another hand, the word çTour Leaderé is used for the

person who helps visitors on tour find their way around and


ºŸâ∑’Ëπ”‡∑’Ë¬«·≈–Õ”π«¬§«“¡ –¥«°·°àπ—°∑àÕß‡∑’Ë¬« „π¥â“π

°“√æ—°·√¡ Õ“À“√ ·≈–°“√‡¥‘π∑“ß ‚¥¬∑—Ë«‰ªª√–°Õ∫¥â«¬

1.1 Õ”π«¬§«“¡ –¥«°„π°“√‡¥‘π∑“ß„Àâ·°àπ—°

∑àÕß‡∑’Ë¬«∑’ËÕ¬Ÿà„π§«“¡¥Ÿ·≈

1.2 Õ∏‘∫“¬π”™¡ ∂“π∑’Ë∑àÕß‡∑’Ë¬«µà“ßÊ „Àâ§«“¡√Ÿâ

¥â“πª√–«—µ‘»“ µ√å «—≤π∏√√¡ ª√–‡æ≥’¢Õß∑âÕß∂‘Ëπ Õ¥·∑√°

‰«â¥â«¬

1.3 ¥Ÿ·≈§«“¡ª≈Õ¥¿—¬·≈– «— ¥‘¿“æ¢Õßπ—°

∑àÕß‡∑’Ë¬«√–À«à“ß°“√‡¥‘π∑“ß

à«π ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ À√◊ÕÕ“ “ ¡—§√π”‡∑’Ë¬« §◊Õ

∫ÿ§§≈À√◊Õ‡¬“«™π„π∑âÕß∂‘Ëπ∑’Ë‰¥â√—∫Ωñ°Õ∫√¡°“√‡ªìπ

‡®â“∫â“π∑’Ë¥’ ‡æ◊ËÕ∑”ß“π àß‡ √‘¡°“√∑àÕß‡∑’Ë¬«„π∑àÕß∂‘Ëπ ´÷Ëß

®–‡ªìπºŸâ„Àâ¢âÕ¡Ÿ≈À√◊ÕµâÕπ√—∫π—°∑àÕß‡∑’Ë¬« ∂◊Õ‡ªìπµ—«·∑π

¢Õß∑âÕß∂‘Ëπ

2. °“√µâÕπ√—∫π—°∑àÕß‡∑’Ë¬«

- §◊Õ°“√∫√‘°“√π—°∑àÕß‡∑’Ë¬«„Àâ‡°‘¥§«“¡æ÷ßæÕ„®

·≈–Õ¬“°∑’Ë®–‡¥‘π∑“ß°≈—∫¡“‡∑’Ë¬«Õ’°

- §◊Õ°“√‡ªìπ‡®â“∫â“π∑’Ë¥’

- ‡ªìπ¥à“π·√°¢Õß°“√∑”°“√µ≈“¥ ‘π§â“®–‡ªìπ∑’Ë

ª√–∑—∫„®À√◊Õ‰¡à °“√µâÕπ√—∫∑’Ë¥’‡∑à“°—∫ ”‡√Á®‰ª·≈â«°«à“

§√÷Ëß

2.1 À≈—°„π°“√„Àâ°“√µâÕπ√—∫ ¡’¥—ßπ’È

°“√ √â“ß§«“¡‡ªìπ¡‘µ√

°“√„Àâ§«“¡ –¥«° ∫“¬

°“√„Àâ¢âÕ¡Ÿ≈¢à“« “√

°“√∫√‘°“√µ“¡§”√âÕß¢Õ

„Àâ§«“¡™à«¬‡À≈◊Õµ“¡§«√

2.2 °“√‡ªìπ‡®â“∫â“π∑’Ë¥’ ´÷Ëßª√–°Õ∫¥â«¬

∫ÿ§≈‘°¿“æ

§«“¡√Ÿâ

∑—°…–

∑—»π§µ‘

organize lodges and traveling. However, both words do not

have a different meaning nowadays. Tour guides. Duties

Include:

1.) Comfortably assist tourists whilst on the trip.

2.) Lead visitors and provide information to them

about tourist attractions histories, culture and local wisdom.

3.) Securely look after tourists and their welfare whilst

on the trip.

A local guide or tour leading volunteer are local

individuals or youths who have already been trained to be local

guides who can provide information about their own community

and act as if they are the representative of their local area. Although

there are other ways to support local tourism.

2. Welcoming Tourists means:

- A service which will please the tourists; and as a result,

they will probably like to revisit the local tourist attractions again;

- Being a good host;

- The first gate of the marketing strategies services will

impress tourists or not; it depends on how welcome the feel. If the

tourists were impressed by the welcoming, then half of the job is

successfully finish.

2.1 Principles of the welcoming

Building the friendship

Providing convenience

Providing information

Providing services on request

Providing assistance

2.2 Being a good host consists:

Personality

Knowledge

Skills

Attitude


√Ÿª∑’Ë 4 π“ß “«∫ÿÀ≈—π ∫ÿ≠º—π

«‘∑¬“°√®“°°“√∑àÕß‡∑’Ë¬«·Ààßª√–‡∑»‰∑¬

”π—°ß“π¢Õπ·°àπ

Picture 4 Miss Bulan Boon Phan,

a guest speaker from Thailand Tourism

Authority, Khon Kaen Office.

2.3 §«“¡ “¡“√∂„π°“√‡ªìπ¡—§§ÿ‡∑»°å ¡’ ¥—ßπ’È

§«“¡ “¡“√∂¥â“π¿“…“

§«“¡ “¡“√∂¥â“π«‘™“°“√

§«“¡ “¡“√∂¥â“π°“√π”‡∑’Ë¬«

§«“¡ “¡“√∂¥â“π°“√·°âªí≠À“

3. ª√–‚¬™πå¢Õß¡—§§ÿ‡∑»°å

1) ∑”„Àâπ—°∑àÕß‡∑’Ë¬« ∑àÕß‡∑’Ë¬«‰¥â∑—Ë«∂÷ß¡“°°«à“

‰¡à≈–‡≈¬ ‘Ëß∑’Ë ”§—≠Ê

2) ‡¢â“„®‡√◊ËÕß√“« §«“¡‡ªìπ¡“ ª√–«—µ‘»“ µ√å ‰¥â

∂Ÿ°µâÕß¡“°°«à“

3) §”π«≥√–¬–‡«≈“∑’Ë®–„™â„π°“√∑àÕß‡∑’Ë¬« ‰¥â

·πàπÕπ

4) ‰¥â√—∫§«“¡ –¥«° ∫“¬·≈–∑àÕß‡∑’Ë¬«¥â«¬§«“¡

ª≈Õ¥¿—¬¡“°°«à“

5) ‰¥â√—∫§«“¡√Ÿâ §«“¡ πÿ° π“π ·≈–§«“¡‡æ≈‘¥

‡æ≈‘π„π°“√∑àÕß‡∑’Ë¬«¡“°°«à“

6) ª√–À¬—¥ß∫ª√–¡“≥„π°“√∑àÕß‡∑’Ë¬«‰¥â¡“°°«à“

7) ‰¡àµâÕßº®≠¿—¬°—∫ªí≠À“µà“ßÊ ‡™àπ °“√ ◊ËÕ “√

∑”§«“¡‡¢â“„®

4. §«“¡√—∫º‘¥™Õ∫¢Õß¡—§§ÿ‡∑»°åµàÕπ—°∑àÕß‡∑’Ë¬«

1) π”‡¢â“ Ÿà·À≈àß∑àÕß‡∑’Ë¬«µ“¡«—π ‡«≈“ ·≈–‡ âπ∑“ß

∑’Ë°”Àπ¥‰«â„π√“¬°“√

2.3 The qualifications which tour guides should have:

Skills in languages

Skills in academia

Skills in tour leading

Skills in problem solving

3. The Use of Tour Guide

1) Ensure that tourists reaps the full benefits

of the trip.

2) Help to Understand about the history better

than any other.

3) Be able to accurately estimate traveling

time.

4) Tourists will should be more comfortable and have a

secure trip from tour guides rather than traveling on their own.

5) Tourists will gain more knowledge and

enjoyment on the trip.

6) Having tour guide is better for a trip budget.

7) Tourists donût encounter problems on their

trip such as communication difficulties.

4. The Tour Guideûs Responsibility to Tourists

1) Punctually guide to all the tourist attractions

and follow the itinerary.


√Ÿª∑’Ë 5 π“¬æß…åæ—π∏ÿå ®—π∑√å ÿ°√’

«‘∑¬“°√®“° ¡“§¡¡—§§ÿ‡∑»°åÕ“™’æ

„Àâ§«“¡√Ÿâ‡°’Ë¬«°—∫°“√‡ªìπ‰°¥å∑âÕß∂‘Ëπ·°àºŸâ

‡¢â“Õ∫√¡

Picture 5 Mr. Phongphan Chansugree,

a guest speaker from Professional Guide

Association, was giving information how

to be local tour guide to the students.

2) Õ∏‘∫“¬„Àâ∑√“∫∂÷ß¿Ÿ¡‘ª√–‡∑» ™ÿ¡™π À√◊Õ

∫â“π‡¡◊Õß∑’Ë‡¥‘π∑“ßºà“π‰ª

3) ‡¡◊Ë Õ°àÕπ‡¢â “∂÷ ß·À≈à ß∑àÕß ‡∑’Ë ¬« ‡≈Á°πâÕ¬

¡—§§ÿ‡∑»°å‡ªìπºŸâ·®âß„Àâ·¢°∑√“∫‡æ◊ËÕ°“√‡µ√’¬¡µ—« Õ∏‘∫“¬

∂÷ß°Æ√–‡∫’¬∫µà“ßÊ ∑’Ëæ÷ßªØ‘∫—µ‘·≈– ‘Ëß∑’Ë§«√≈–‡«âπ

4) ‡¡◊ËÕ‡¢â“∂÷ß¿“¬„π∫√‘‡«≥·≈â« ¡—§§ÿ‡∑»°å®–‡ªìπºŸâ

Õ∏‘∫“¬‡√◊ËÕß√“« ª√–«—µ‘ ∂“π∑’Ë ·π–π”∑—«√åæ‘‡»…πÕ°√“¬°“√

∑’Ë¡’§ÿ≥§à“πà“√Ÿâπà“™¡¢Õß∑âÕß∂‘ËπÀ“°‡«≈“Õ”π«¬

5) À“°‚Õ°“ Õ”π«¬ ¡—§§ÿ‡∑»°å§«√‡ªìπºŸâª√– “π

—¡æ—π∏å„Àâπ—°∑àÕß‡∑’Ë¬«·≈–ºŸâ§π„π∑âÕß∂‘Ëπ

6) ¡—§§ÿ‡∑»°å‡ªìπºŸâ§Õ¬¥Ÿ·≈„Àâπ—°∑àÕß‡∑’Ë¬«¢Õßµπ

√–¡—¥√–«—ß√–∫∫π‘‡«»°“√∑àÕß‡∑’Ë¬«

7) ¡—§§ÿ‡∑»°å‡ªìπºŸâ∫Õ°„Àâ·¢°√Ÿâµ—«‡ ¡Õ µ“¡

®—ßÀ«–‡«≈“∑’Ë‡À¡“–§«√

8) ¡—§§ÿ‡∑»°å¬àÕ¡‡ªìπºŸâ ”‡Àπ’¬°∂÷ßÕÿª √√§ªí≠À“

∑—ÈßÕ—πµ√“¬∑’ËÕ“®‡°‘¥¢÷Èπ‰¥â„π¢≥–‡¥‘π∑“ßÀ√◊ÕÕ¬Ÿà„π∑’Ëæ—°

9) °àÕπÕÕ°∑”∑—«√å„π«—πµàÕ‰ª ¡—§§ÿ‡∑»°å§«√

Õ∏‘∫“¬„Àâ·¢°√Ÿâ«à“æ√ÿàßπ’È‡√“®–‰ª‰Àπ

10) „π∫“ß§√“«§«√ª≈àÕ¬„Àâ‡ªìπÕ‘ √– ‡æ◊ËÕ„Àâ∑”

Õ–‰√‰¥â‡Õß∫â“ßµ“¡ ¡§«√

11) ¡—§§ÿ‡∑»°å‡ªìπ∑’Ëæ÷Ëßæ“ ”À√—∫∑ÿ°§π„π§≥–

‚¥¬‡∑à“‡∑’¬¡°—π

12) °“√‡¥‘π∑“ß∑àÕß‡∑’Ë¬«√à«¡°—π‡ªìπÀ¡Ÿà§≥–µâÕß

√â“ß§«“¡§ÿâπ‡§¬

13) ¡—§§ÿ‡∑»°å‡ªìπºŸâπ”„Àâ‡°‘¥π—π∑π“°“√¢Õß

À¡Ÿà§≥–

2) Explain the geographies and bypass communities

of other tourists

3) Before entering tourist attractions, tour guides alert

tourists to be prepared and also explains the rules and regulations

that they have to follow.

4) After entering tourist attractions, tour guides give

information about the history and also introduce other valuable local

tourist places which is not in the itinerary if time is available.

5) If time is available, tour guides should be the oneûs

who connect tourists and local people.

6) Tour guide informs tourists to take care of tourist

attractionsû ecology.

7) Tour guides always remind tourists about everything

around them whist the trip.

8) Tour guides understand about al l kinds of

problems during the trip or at the accommodation venue.

9) Before leaving to the next destination, the tour guide

will inform tourists about what will happen the next day.

10) Sometimes giving free time to tourists is a good idea

for them to do anything that they may want .

11) Tourists can equally reply on guided tour.

12) Traveling as a group, the tour guide must build

familiarity among the tourists.

13) Tour guide is a recreation leader whist the trip.


5. ®√√¬“∫√√≥¡—§§ÿ‡∑»°å

5.1 §«“¡À¡“¬

é®√√¬“∫√√≥é À¡“¬∂÷ß À≈—°§«“¡ª√–æƒµ‘Õ—π

‡À¡“– ¡ · ¥ß∂÷ß§ÿ≥∏√√¡ ·≈–®√‘¬∏√√¡„π°“√ª√–°Õ∫

Õ“™’æ∑’Ë°≈ÿà¡∫ÿ§§≈·µà≈– “¢“«‘™“™’æª√–¡«≈¢÷Èπ‰«â‡ªìπÀ≈—°

ªØ‘∫—µ‘‡æ◊ËÕ„Àâ ¡“™‘°„π “¢“«‘™“™’æπ—ÈπÊ ¬÷¥∂◊ÕªØ‘∫—µ‘ ‡æ◊ËÕ

√—°…“™◊ËÕ‡ ’¬ß·≈– àß‡ √‘¡‡°’¬√µ‘§ÿ≥¢Õß “¢“«‘™“™’æ¢Õßµπ

ç®√√¬“∫√√≥é ª√–¡«≈§«“¡ª√–æƒµ‘∑’ËºŸâª√–°Õ∫

°“√ß“π·µà≈–Õ¬à“ß°”Àπ¥¢÷Èπ ‡æ◊ËÕ√—°…“·≈– àß‡ √‘¡

‡°’¬√µ‘§ÿ≥ ™◊ËÕ‡ ’¬ß ·≈–∞“π–¢Õß ¡“™‘° Õ“®‡¢’¬π‡ªìπ

≈“¬≈—°…≥åÕ—°…√À√◊Õ‰¡à°Á‰¥â

5.2 À≈—°®√√¬“∫√√≥

1) ‡∑‘¥∑Ÿπ™“µ‘ »“ π“ æ√–¡À“°…—µ√‘¬å ¥â«¬§«“¡

∫√‘ ÿ∑∏‘Ï„®

2) ‡≈◊ËÕ¡„ „π°“√ª°§√Õß√–∫Õ∫ª√–™“∏‘ª‰µ¬

3) ¬÷¥¡—Ëπ„π»“ π“∑’Ëµππ—∫∂◊Õ ‰¡à≈∫À≈Ÿà ¥ŸÀ¡‘Ëπ

»“ π“Õ◊Ëπ

4) ¡’§«“¡√—∫º‘¥™Õ∫·≈–µ—Èß„®ªØ‘∫—µ‘Àπâ“∑’Ë¢Õßµπ

µ“¡∑’Ë‰¥â√—∫¡Õ∫À¡“¬ ¥â«¬§«“¡‡ ’¬ ≈–·≈–Õÿ∑‘»‡«≈“

¢Õßµπ ‚¥¬§”π÷ß∂÷ßº≈ª√–‚¬™πå¢Õßπ—°∑àÕß‡∑’Ë¬«‡ªìπ

”§—≠ ®–≈–∑‘ÈßÀ√◊Õ∑Õ¥∑‘ÈßÀπâ“∑’Ë°“√ß“π¡‘‰¥â

5) √—°…“™◊ËÕ‡ ’¬ß¢Õßµπ ‚¥¬°“√ªØ‘∫—µ‘Àπâ“∑’Ë¥â«¬

§«“¡ ◊ËÕ —µ¬å ÿ®√‘µ ·≈–‰¡à· «ßÀ“ª√–‚¬™πå‚¥¬¡‘™Õ∫À√◊Õ

ªØ‘∫—µ‘µπÕ—π‡ªìπ°“√ΩÉ“ΩóπµàÕ»’≈∏√√¡Õ—π¥’À√◊Õ‡ªìπ°“√

‡ ◊ËÕ¡‡ ’¬µàÕ»—°¥‘Ï»√’·≈–‡°’¬√µ‘§ÿ≥¢Õß«‘™“™’æ¡—§§ÿ‡∑»°å

6) æ÷ß¡’∑—»π§µ‘∑’Ë¥’ æ—≤π“µπ‡Õß„Àâ¡’§ÿ≥¿“æ

§ÿ≥«ÿ≤‘ §ÿ≥∏√√¡ ·≈–∑—°…–„π°“√ªØ‘∫—µ‘ß“π„π«‘™“™’æ

¡—§§ÿ‡∑»°å

7) æ÷ß‡ªìπ·∫∫Õ¬à“ß„π°“√Õπÿ√—°…å∑√—æ¬“°√

°“√∑àÕß‡∑’Ë¬«„Àâ¬—Ëß¬◊π ∑—Èß∑“ß∏√√¡™“µ‘ ‘Ëß·«¥≈âÕ¡ ·≈–

»‘≈ª«—≤π∏√√¡

8) ∂◊ÕªØ‘∫—µ‘µ“¡§” —Ëß °Æ√–‡∫’¬∫ ·∫∫·ºπ

¢π∫∏√√¡‡π’¬¡ª√–‡æ≥’Õ—π¥’ß“¡¢Õß ∂“π∑’Ë∑àÕß‡∑’Ë¬«

∑ÿ°·Ààß µ≈Õ¥®π°“√ªØ‘∫—µ‘µπµ“¡°ÆÀ¡“¬ ·≈–√–‡∫’¬∫

¢Õß∑“ß√“™°“√

5. Ethics of a Professional Tourist Guide

5.1 Definition

çEthicsé means the principle of proper behavior

which shows the virtue and morality in making a

living by their codes of conduct for members of

each occupation group to follow in order to keep and

support the reputation of their organizations.

çEthicsé is the behavior code which is determined

by workers of each occupation in order to keep and

support prestige, reputation and status of members

which are written or unwritten.

5.2 Principles of Ethics

1) Sincerely admire the nation, religion and

monarchy.

2) Believe in democracy.

3) Adhere to oneûs own religion and never

disdain any other religion.

4) Be responsible and intent to carry out the

assigned duty with the sacrifice and time devotion

along with considering the touristsû benefits which are

a priority which cannot be ignored.

5) Keep the tour guideûs reputation by

faithfully carrying out the duty and never being

self-seeking or behaving to discredit the prestige of

the tour guide.

6) Be optimistic and self-develop to be

qualified, competent, moralize and skillful in working

as tour guide.

7) Be a role model in ecotourism and cultural

tourism resources and conservation.

8) Follow rules and regulations in every tourist

attractions and the law.


9) ª√–æƒµ‘µπ¥â«¬§«“¡ ÿ¿“æ √Ÿâ√—° “¡—§§’µàÕºŸâ

√à«¡«‘™“™’æÕÿµ “À°√√¡°“√∑àÕß‡∑’Ë¬«

6. °“√∑àÕß‡∑’Ë¬«‡™‘ß«—≤π∏√√¡

°“√∑àÕß‡∑’Ë¬«‡™‘ß«—≤π∏√√¡ §◊Õ °“√∑àÕß‡∑’Ë¬«‡æ◊ËÕ™¡

‘Ëß∑’Ë· ¥ß§«“¡‡ªìπ«—≤π∏√√¡ ‡™àπ ª√“ “∑ æ√–√“™«—ß

«—¥ ‚∫√“≥ ∂“π ‚∫√“≥«—µ∂ÿ ª√–‡æ≥’ «‘∂’°“√¥”‡π‘π™’«‘µ

»‘≈ª–∑ÿ°·¢πß ·≈– ‘Ëßµà“ßÊ ∑’Ë· ¥ß∂÷ß§«“¡‡®√‘≠√ÿàß‡√◊Õß∑’Ë

¡’°“√æ—≤π“„Àâ‡À¡“– ¡°—∫ ¿“æ·«¥≈âÕ¡ °“√¥”‡π‘π™’«‘µ

¢Õß∫ÿ§§≈„π·µà≈–¬ÿ§ ¡—¬ ºŸâ∑àÕß‡∑’Ë¬«®–‰¥â√—∫∑√“∫ª√–«—µ‘

§«“¡‡ªìπ¡“ §«“¡‡™◊ËÕ ¡ÿ¡¡Õß§«“¡§‘¥ §«“¡»√—∑∏“ §«“¡

π‘¬¡¢Õß∫ÿ§§≈„πÕ¥’µ∑’Ë∂à“¬∑Õ¥¡“∂÷ß§π√ÿàπªí®®ÿ∫—πºà“π

‘Ëß‡À≈à“π’È (√Ÿª∑’Ë 6)

9) Be polite and cooperate with others who

work in the tourism industry.

6. Cultural tourism

Cultural tourism is about observing unique

cultures such as castles, palaces, temples, historic sites,

antiques, traditions, way of life, and all kinds of arts

and everything that shows the civilization which is

developed to go along with peopleûs way of life in

different times. Tourists learn about the background,

believe, attitude, faith and appreciations which are

carry down from one generation to another. (Picture 6)

√Ÿª∑’Ë 6 √Ÿª·∫∫°“√∑àÕß‡∑’Ë¬«‡™‘ß«—≤π∏√√¡

Picture 6 Cultural Tourism

√Ÿª·∫∫°“√∑àÕß‡∑’Ë¬«

‡™‘ß«—≤π∏√√¡

Cultural Tourism

¥â“πÕß§å°√∑âÕß∂‘Ëπ·≈–æÀÿ¿“§’

®—¥°“√∑àÕß‡∑’Ë¬«„πæ◊Èπ∑’ËLocal organizationand multilaterallocal tourism

¥â“π°“√®—¥°“√¡’¡√¥°∑“ß«—≤π∏√√¡

∑’Ë¬—Ëß¬◊πManagement in

sustainable culturalheritage

¥â“πæ◊Èπ∑’Ë∑√—æ¬“°√∑’Ë‡°’Ë¬«¢âÕß°—∫«—≤π∏√√¡·≈–¿Ÿ¡‘ªí≠≠“∑âÕß∂‘ËπLocal wisdom andcultural resources

¥â“π°‘®°√√¡√Ÿª·∫∫·≈–°‘®°√√¡‡ªìπ«—≤π∏√√¡

·≈– ‘Ëß·«¥≈âÕ¡»÷°…“Activities: formats and

cultural activities includingenvironment studies


7. √Ÿª·∫∫°“√∑àÕß‡∑’Ë¬«‡™‘ß«—≤π∏√√¡

1) π—°∑àÕß‡∑’Ë¬«‡™‘ß«—≤π∏√√¡·≈–ª√–‡æ≥’

°≈ÿà¡∫ÿ§§≈∑’Ë¡’§«“¡ π„® Õ¬“°¥Ÿ Õ¬“°‡ÀÁπ

ß“πª√–‡æ≥’ æ‘∏’°√√¡ §«“¡‡™◊ËÕ §«“¡»√—∑∏“„π«—≤π∏√√¡

µà“ßÊ ™◊Ëπ™¡µàÕ»‘≈ªÀ—µ∂°√√¡·≈– ÿπ∑√’¬¿“æ„π∑âÕß∂‘Ëπ

¡’§«“¡√—∫º‘¥™Õ∫ ·≈–®‘µ ”π÷°µàÕ°“√√—°…“¡√¥°∑“ß

«—≤π∏√√¡ ·≈– ‘Ëß·«¥≈âÕ¡

2) °“√∑àÕß‡∑’Ë¬«™¡ß“π«—≤π∏√√¡·≈–ª√–‡æ≥’

°“√‡¥‘π∑“ß∑àÕß‡∑’Ë¬«‡æ◊ËÕ™¡ß“πª√–‡æ≥’µà“ßÊ

™“«∫â“π„π∑âÕß∂‘Ëππ—ÈπÊ ®—¥¢÷Èπ ‰¥â√—∫§«“¡‡æ≈‘¥‡æ≈‘π µ◊Ëπµ“

µ◊Ëπ„®„π ÿπ∑√’¬¿“æ ‡æ◊ËÕ»÷°…“§«“¡‡™◊ËÕ °“√¬Õ¡√—∫π—∫∂◊Õ

°“√‡§“√æ æ‘∏’°√√¡µà“ßÊ ·≈–‰¥â√—∫§«“¡√Ÿâ ¡’§«“¡‡¢â“„®

µàÕ ¿“æ —ß§¡·≈–«—≤π∏√√¡∑âÕß∂‘Ëπ ¡’ª√– ∫°“√≥å„À¡àÊ

‡æ‘Ë¡¢÷Èπ∫πæ◊Èπ∞“π¢Õß°“√®—¥°“√Õ¬à“ß¡’§«“¡√—∫º‘¥™Õ∫

·≈–¡’®‘µ ”π÷°µàÕ°“√√—°…“ ¿“æ·«¥≈âÕ¡ ·≈–¡√¥°∑“ß

«—≤π∏√√¡ ‚¥¬ª√–™“§¡„π∑âÕß∂‘Ëπ¡’ à«π√à«¡µàÕ°“√®—¥

°“√∑àÕß‡∑’Ë¬«∑’Ë¬—Ëß¬◊π

8. ‡°≥±å°”Àπ¥·À≈àß∑àÕß‡∑’Ë¬« ‡æ◊ËÕ°“√®—¥°“√∑’Ë¬—Ëß¬◊π

1) ‡ªìπ·À≈àß∑’Ë¡’‡Õ°≈—°…≥å·≈–Õ—µ≈—°…≥å∑âÕß∂‘Ëπ

¥—Èß‡¥‘¡ ¡’§«“¡ –Õ“¥ √à¡√◊Ëπ

2) ¡’°“√§«“¡æ√âÕ¡„π°“√®—¥°“√ ‘ËßÕ”π«¬§«“¡

–¥«° (®Õ¥√∂) ·≈–∫ÿ§≈“°√æ√âÕ¡∫√‘°“√

3) ¡’Õ”π«¬§«“¡ –¥«°‡∫◊ÈÕßµâπ ¿“¬„π¡’\‡§“πå‡µÕ√å

∫√‘°“√¢à“« “√ ¡ÿ¡π‘∑√√»°“√ ÀâÕß ÿ¢“ –Õ“¥ ¡ÿ¡®”Àπà“¬

Õ“À“√·≈–‡§√◊ËÕß¥◊Ë¡ ¡ÿ¡®”Àπà“¬¢Õß∑’Ë√–≈÷° √«¡∑—Èß¡’√–∫∫

∫√‘°“√§πæ‘°“√¥â«¬

4) ¡’°“√®—¥∑”‡ âπ∑“ß»÷°…“·À≈àß∑àÕß‡∑’Ë¬«

(«—≤π∏√√¡ ·≈–∏√√¡™“µ‘) Õ¬à“ßπâÕ¬ 1 ‡ âπ∑“ß

5) ¡’ªÑ“¬ ◊ËÕ§«“¡À¡“¬∫π‡ âπ∑“ß»÷°…“‡ªìπ√–¬–Ê

6) ¡’·ºπ∑’Ë·≈–§Ÿà¡◊Õπ”‡∑’Ë¬« ª√–°Õ∫ªÑ“¬ ◊ËÕ

§«“¡À¡“¬

7) ¡’°“√°”Àπ¥¢’¥§«“¡ “¡“√∂„π°“√√Õß√—∫¢Õß

æ◊Èπ∑’Ë

7. Cultural Tourism Patterns

1) Cultural and traditional tourists

A group of people are willing to see traditions,

rituals, and faith in culture, appreciation in handicrafts

and local aesthetics. These people are also responsible

and have a good sense in protecting cultural and

environmental heritages.

2. Culture and traditional tourism

Culture and traditional tourism which is

organized by local people brings a pleasure and appreciation

to tourists to learn about the belief, acceptation and respect,

all kinds of rituals. Furthermore, the tourists understand

local the society conditionûs and culture to gain new

experiences that involve the responsibility and good sense

in protecting cultural and environmental heritages that the

local people will be part of the sustainable and cultural

heritage management

8. Criteria in Assigning Tourist Attractions to Sustainable Management

1) A tourist attraction should be a local and

unique identity which is clean and shady.

2) Must also be well prepared in the facilities such as parking

lots and provide adequate amount of service to the service staff.

3) Provide basic services in the Tourist

Center such as providing information, exhibition,

toilets, food and drink, souvenirs and handicap area

services.

4) Provide a study tour in cultural and natural

tourism in one direction

5) Provide meaningful signs in tourism directions.

6) Provide maps and manuals which mention

about the meaningful signs.

7) Indicate the ability of the tourist services

in the area.


8) ¡’¡—§§ÿ‡∑»°å À√◊Õ«‘∑¬“°√ À√◊Õπ—° ◊ËÕ§«“¡À¡“¬

∑âÕß∂‘Ëπ

9) ¡’°“√∫√‘À“√®—¥°“√æ◊Èπ∑’Ë√à«¡°—∫ª√–™“™π„π

∑âÕß∂‘Ëπ·≈–æÀÿ¿“§’

10) ¡’π‚¬∫“¬·≈–·ºπß“πµàÕ°“√æ—≤π“·≈– àß‡ √‘¡

°“√∑àÕß‡∑’Ë¬«

11) ¡’·ºπæ—≤π“∫ÿ§≈“°√·≈–°“√∫√‘°“√ Ÿà√–¥—∫

¡“µ√∞“π “°≈

12) À“°¡’∑’Ëæ—°·√¡®–µâÕß‡ªìπ∑’Ëæ—°·√¡∑’Ë√—°…“

¿“æ·«¥≈âÕ¡·≈–«—≤π∏√√¡∑âÕß∂‘Ëπ

13) ¡’·ºπß“π°“√ª√–‡¡‘πº≈°“√ªØ‘∫—µ‘ß“π °“√

∫√‘°“√ ·≈–‡°Á∫ ∂‘µ‘

9. ¢âÕ¡Ÿ≈∑’Ë ”§—≠ ”À√—∫°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

9.1 °“√∫√√¬“¬‡Õ°≈—°…≥å¢Õß ‘¡¿“§Õ’ “π

≈—°…≥–µ—«Õ“§“√¢Õß ‘¡¿“§Õ’ “π∑’Ë ”§—≠ ¡’

≈—°…≥–∑’Ëπ—°«‘™“°“√ ‡√’¬°«à“ ·Õ«¢—π ‡ªìπ‡Õ«∑’Ë§Õ¥¡“°Ê

À¡“¬∂÷ß à«π∑’Ë‡ªìπ∞“π πÕ°®“°µ—«·Õ«¢—π·≈â« ‘Ëß∑’Ë®–

· ¥ß∂÷ß§«“¡‡ªìπ ‘¡Õ’ “π §◊Õ ¡’æ≠“π“§ ´÷Ëßæ≠“π“§

∑’Ëæ∫„π‚∫ ∂åÕ’ “π®–¡’≈—°…≥–∑’Ë·µ°µà“ß®“°‚∫ ∂å¢Õß

¿“§°≈“ß §◊Õ ¡’≈—°…≥–¢Õß»‘≈ª–æ◊Èπ∫â“πÕ¬Ÿà¡“° ‡¡◊ËÕ¥Ÿ

·≈â«®÷ß‰¡àπà“°≈—« ¡’§«“¡‡√’¬∫ßà“¬ ‰¡àª√–¥—∫µ°·µàßµ—«√Ÿª

¡“°¡“¬π—° ·≈â«°Á √â“ßßà“¬Ê ‚¥¬„™âªíôπªŸπ„ÀâπŸπ¢÷Èπ¡“·≈â«

∑“ ’≈ß‰ª‡≈¬ ”À√—∫æ≠“π“§¿“§°≈“ßπ—Èπ®–¡’≈—°…≥–

„À≠à‚µ ¡’‡§√◊ËÕßª√–¥—∫µ°·µàß¡“°°«à“

8) Provide local tour guides, guess speakers, and

interpreters.

9) Co-operate with the local people and multilateral

groups to manage the tourism area.

10) Provide policies and plans in developing and

supporting tourism.

11) Provide personnel development plan and

administration to be the international standard.

12) Provide a camping area which emphasizes

protecting environment and culture

13) Provide evaluation, service and statistics

schedule plans

9. Important Information for Training a Local Guide

9.1 The identity description of Sims in Isan

The important description of the Sims in Isan

that academics call çAo Khané Isan word for çnarrow waisté

is Simûs base. In addition to another that indicates Isan Sims

are the King of Nagas. The one that is found in Isan temples

is different from the one in Central Thai temples because of

its local style and does not look scary. There does not

have many decorations. The building pattern is a very

simple- mold figure by using cement, and then applying it

with color. In contrast, the great Naga in Central Thai is a

lot bigger and has many more decorations.

√Ÿª∑’Ë 7 π“¬°‘µµ‘æß…å π‡≈Á° ®“° ”π—°»‘≈ª“°√∑’Ë 9∫√√¬“¬°“√„Àâ¢âÕ¡Ÿ≈∑“ßª√–«—µ‘»“ µ√å ·À≈àß‚∫√“≥ ∂“π∑’Ë®”‡ªìπ ”À√—∫°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ ·°àºŸâ‡¢â“Õ∫√¡

Picture 7 Mr. Kittipong Sonlek from Fine ArtsDepartment Khon Kaen Regional 9th Officeguest speaker, lectured about the importanthistory of sites for local tour guides to theparticipants.


√Ÿª∑’Ë 8 «‘∑¬“°√æ“≈ß¿“§ π“¡ ∫√√¬“¬°“√„Àâ§«“¡√Ÿâ

‡°’Ë¬«°—∫·À≈àß‚∫√“≥ ∂“π·≈–¿“æ®‘µ√°√√¡

Ω“ºπ—ß«—¥‚æ∏“√“¡ ·°àºŸâ‡¢â“Õ∫√¡

Picture 8 The guest speaker on this field trip was

giving information about the historical sites

and describing the mural painting son the

Simûs wall at Wat Pho Tharam.

√Ÿª∑’Ë 9 √Ÿªæ≠“π“§Õ’ “π¢Õß ‘¡«—¥‚æ∏“√“¡

Picture 9 The Great Naga on Simûs wall at Wat Pho

Tharam

9.2 ¿“æ«‘∂’™’«‘µ¢Õß™ÿ¡™π

°“√«“¥√Ÿª®‘µ√°√√¡Ω“ºπ—ßÀ√◊ÕŒŸª·µâ¡ ®–

–∑âÕπ≈—°…≥–¢Õß™ÿ¡™πÕ’ “π ´÷Ëß‡ªìπ™ÿ¡™π¢π“¥‡≈Á°

¡’«‘∂’™’«‘µ§«“¡‡ªìπÕ¬ŸàÕ¬à“ß‡√’¬∫ßà“¬ Õ¬Ÿà„π∑âÕß‰√à∑âÕßπ“

‡ªìπ à«π„À≠à ∂◊Õ«à“‡ªìπ —ß§¡‡°…µ√°√√¡ ¥—ßΩ“ºπ—ß ‘¡

«—¥‚æ∏“√“¡ ´÷Ëß«“¥‚¥¬™à“ßæ◊Èπ∫â“π °“√«“¥¢Õß™à“ß‰∑¬„π

¡—¬°àÕππ—Èπ®–‡√’¬°«à“ ß“π√Ÿª·∫∫®‘µ√°√√¡‰∑¬ª√–‡æ≥’

¡’≈—°…≥–‡¥àπ§◊Õ®–‡ªìπ¿“æ 3 ¡‘µ‘ ®–¡’·§à 2 ¡‘µ‘ ‡∑à“π—Èπ

‚¥¬ª√–«—µ‘·≈â« °≈à“««à“‡¡◊ËÕ°àÕππ’È ∫â“π¥ß∫—ß¢÷ÈπÕ¬Ÿà°—∫

Õ”‡¿Õæ¬—§¿Ÿ¡‘æ‘ —¬ ´÷Ëß¢÷Èπ°—∫‡¡◊Õß ÿ«√√≥¿Ÿ¡‘Õ’°∑’Àπ÷Ëß

¡’™à“ß∑’Ë‡¢’¬π¿“æŒŸª·µâ¡ ™◊ËÕ«à“ ™à“ß ‘ßÀå ‡ªìπ§π‡¥’¬«°—∫

∑’Ë‡¢’¬πŒŸª·µâ¡∑’Ë«—¥ªÉ“‡√‰√¥â«¬‡™àπ°—π «—¥∑—Èß 2 ·Ààßπ’È ®÷ß¡’

¿“æ®‘µ√°√√¡Ω“ºπ—ß„π≈—°…≥–∑’Ë§≈â“¬§≈÷ß°—π¡“° °≈à“«

§◊Õ ¡’ŒŸª·µâ¡∑’Ë‡¢’¬π‡ªìπ‡√◊ËÕß√“«‡°’Ë¬«°—∫æÿ∑∏ª√–«—µ‘ æ√–

‡« —π¥√™“¥° π‘∑“πæ◊Èπ∫â“π ‡™àπ ‘π‰´ æ√–¡“≈—¬ à«π

ŒŸª·µâ¡∑’Ë«—¥ªÉ“‡√‰√ ¡’‡√◊ËÕß√“¡‡°’¬√µ‘Ï ·≈–√Ÿªæ√–≈—°æ√–≈“¡

´÷Ëß·µ°µà“ß®“° ‘¡«—¥‚æ∏“√“¡

9.2 Way of life Paintings

Hoop-Tam (Mural Paintings) reflects the Isan social

characteristics: a small community, and a simple life which showed

mostly features in rice fields. Therefore, Agriculture is Isan way of life

which was shown on Simûs wall at Wat Pho Tharamûs paintings by local

artisans. The painting of the early Thai artisans was called Thai cultural

paintings. The outstanding characteristic of these paintings was the

dimensions; there are 3 dimensions in the paintings but it only showed

two dimensions. According to history, there was a painter, Singha, who

lived in Ban Dong Bang sub-district which Phayak Khaphumphisai

district, Suwannaphum district, Roi-Et province. He was the person who

painted Hoop-Tam on simûs wall at Wat Pa-Rerai. As the result, the

paintings in both temples were very similar: and both paintings were

about biography of the Great Buddha, Vessantara Jataka tales, and folk

tales such as Sin-Zai, Phra Malai. However, there were some differences

in the paintings on Simûs wall at Wat Pa-Rerai and Wat Pho Tharam:

the Ramayana tales and the Phra Lak and Phra Rama pictures.


√Ÿª∑’Ë 11 √Ÿªæ√–≈—° æ√–≈“¡ ¢Õß‚∫ ∂å«—¥ªÉ“‡√‰√

Picture 11 Mural Paintings of Phra Lak and Phra Rama

on Simûs wall at Wat Pa-Rerai.

√Ÿª∑’Ë 10 √Ÿª«‘∂’™’«‘µ™ÿ¡™πÕ’ “π ´÷Ëßª√“°ØÕ¬Ÿà∑’ËΩ“ºπ—ß

‚∫ ∂å

Picture 10 Way of life in Isan community as shown on

the Simûs walls.

9.3 °“√·µàß°“¬

°“√·µàß°“¬„π ¡—¬π—Èπ ®–‡ÀÁπ¿“æµ”√«®∂◊Õªóπ

·≈â« «¡√Õß‡∑â“∫Ÿäµ∑’Ë ”§—≠§◊Õ¡’‡ ◊ÈÕ„ à°—π·≈â« ·µà ¡—¬°àÕπ

π—Èπ ºŸâ™“¬¡—°®–‰¡à «¡‡ ◊ÈÕ à«π√ŸªºŸâÀ≠‘ß ¡—¬π—Èπ ∂â“À“°¬—ß

‰¡à·µàßß“π°Á®–¡’‡æ’¬ßºâ“§“¥Õ°ªî¥π¡‰«â‡∑à“π—Èπ à«πºŸâÀ≠‘ß

∑’Ë·µàßß“π·≈â«°Á®–‡ªî¥Õ°‰¡à„ àºâ“„¥Ê ·µà‡¡◊ËÕ¡’°“√√—∫‡Õ“

«—≤π∏√√¡∑’Ë¡“®“°µ–«—πµ° ‚¥¬¢ÿππ“ß∑’Ë àß¡“ª°§√Õß

À—«‡¡◊Õßµà“ßÊ „π¿“§Õ’ “ππ—Èπ ¡“®“°°√ÿß‡∑æœ ´÷Ëß§π

°√ÿß‡∑æœ „π ¡—¬π—Èπ‰¥â¡’‚Õ°“ ‡¢â“‚√ß‡√’¬π·≈â« ‚¥¬‡©æ“–

≈Ÿ°¢ÿππ“ß∑—ÈßÀ≈“¬ °Á‰ª‡√’¬πÀπ—ß ◊Õ æÕΩ√—Ëß∑’Ë¡“ ÕπÀπ—ß ◊Õ

‡ÀÁπ§π‰∑¬‰¡à «¡‡ ◊ÈÕ °Á‡≈¬æ¬“¬“¡„Àâ «¡„ à‡ ◊ÈÕ ∂◊Õ«à“

‡ªìπ‡√◊ËÕß¥’ ·≈–¡’¡“√¬“∑ ∑’Ë‰¡à‡ª≈◊Õ¬‡π◊ÈÕÀπ—ß¡—ß “„π∑’Ë

“∏“√≥– ®÷ß°≈“¬¡“‡ªìπ°“√√—∫‡Õ“«—≤π∏√√¡ °“√·µàß°“¬

®“°µ–«—πµ° ·≈â«‡¢â“¡“ Ÿà™ÿ¡™πºà“π¢ÿππ“ß∑’Ë¡“√—∫√“™°“√

9.3 Clothing Dress

The dress in those days, had policemen

armed and wearing boots; with a importance on wearing

tops. In earlier time, men, however, would not wear

tops and unmarried women would wear only a piece

of cloth which covers only their breasts. Married women

would remain topless. Later on the western culture

had influence on the Thai culture; furthermore, the

governors who ruled major cities in Isan were sent

from Bangkok, most of the Bangkok people were

educated especially noblemenûs children. They were

educated by western teachers who taught their Thai

students the politeness by dressing up and wearing a

top in public. As a result, those governors brought


µ“¡À—«‡¡◊Õßµà“ßÊ ¢Õß¿“§Õ’ “π √«¡‰ª∂÷ß§π∑’ËÕ¬Ÿà„π∑âÕß∂‘Ëπ

¥â«¬ ∫â“ß°Á‡ÀÁπ‰¥â®“°°“√«“¥¿“æµ“¡ºπ—ß‚∫ ∂å¢Õß«—¥

µà“ßÊ „πÕ’ “π ∑’Ë¬—ßÀ≈ß‡À≈◊ÕÕ¬Ÿà

western culture with them to Isan which can be seen

from some paintings on the templesû walls.

√Ÿª∑’Ë 12 √ŸªºŸâ™“¬™“«∫â“π∑—Ë«‰ª∑’Ë‰¡à‰¥â «¡‡ ◊ÈÕ

«¡„ à‡æ’¬ßºâ“πÿàß‡∑à“π—Èπ

Picture 12 Hoop-Tam of the topless villagers wearing

only pants.

√Ÿª∑’Ë 13 √Ÿª¢â“√“™°“√µ”√«®∑À“√∑’Ë «¡‡§√◊ËÕß·∫∫

Picture 13 Hoop-Tam of policemen and military

in uniform.

9.4 ≈—°…≥–°“√«“¥¿“æ¢Õß™à“ß

1) §«“¡ ”§—≠¢Õß∫ÿ§§≈„π¿“æ

∂â“À“°‡ªìπ¿“æ∑’Ë¡’¢π“¥„À≠à π—ËπÀ¡“¬∂÷ß

™à“ß«“¥‰¥â„Àâ§«“¡ ”§—≠°—∫∫ÿ§§≈¿“æπ—ÈπÊ ≈—°…≥–°“√

«“¥¿“æ®–«“¥‡µÁ¡ºπ—ß·≈–¡’À≈“¬‡√◊ËÕßÀ≈“¬µÕπÕ¬Ÿà„π

ºπ—ß‡¥’¬«°—π „™â°“√·∫àß√ŸªÕÕ°‡ªìπµÕπÊ ‚¥¬„™â‡ âπ∫“ßÊ

À√◊Õ„™âµ—«Õ“§“√ À√◊Õ„™âµâπ‰¡â À√◊Õ„™â°âÕπÀ‘π §—Ëπ√–À«à“ß

µÕπµà“ßÊ ‡™àπ °“√·∫àß√Ÿª‚¥¬°“√„™âµÕπ∫πµÕπ≈à“ß¢Õß

ºπ—ß µÕπ≈à“ß¡ÿ¡¢«“®–‡ªìπ¿“æ∫√√¬“¬ ¿“æ∫â“π‡√◊Õπ

µÕπ∑’Ë™Ÿ™°‰ª√—∫π“ßÕ¡‘µµ¥“ µ√ß°≈“ßÊ °Á®–‡ªìπµÕπ∑’Ë

™Ÿ™°ÕÕ°‡¥‘πªÉ“ µÕπ∫π ÿ¥‡ªìπ‡√◊ËÕßæ√–‡« —π¥√ µÕπ

9.4. Painting Style of the painters

1) The Importance of the People in the Pictures

The size of the paintings can tell how important the

people in the pictures were. If the painters created pictures on a large

wall, it would be considered that people in the pictures would be very

important. The painters would also paint on a large wall with many

episodes. Each episode was separated by a small line, buildings, trees

and rocks. A good example of this is when the episode was separated by

painting in different parts of the wall: upper and lower part. The painters

painted the surrounding area of a house which showed the episode of

Chuchok picking up Nang Amitada on the right lower corner. In the


æ√–°—≥À“æ√–™“≈’ÕÕ°‡¥‘πªÉ“ ‡æ√“–°“√·∫àß¿“æ¢Õß ™à“ß

‰∑¬¡’ª√–‡æ≥’„™âµâπ‰¡â °âÕπÀ‘π ·≈–‡ âπ‡≈Á°Ê ‡ªìπ ‡ âπ·∫àß

¥—ß√Ÿª∑’Ë 14

middle of the wall, the painters painted the episode of Chuchok walking

into the bush followed by the episode of Phra Kunha and Phra Chalee

were in the bush which was painted on the top half of the wall. Each

story was divided by rocks and small lines as shown in picture 14.

√Ÿª∑’Ë 14 °“√®—¥·∫àßµÕπ¢Õß‡√◊ËÕß‚¥¬„™â‡ âπ∫“ßÊ §—Ëπ¥â“π≈à“ß¡ÿ¡¢«“‡ªìπ∫â“π‡√◊ÕπµÕπ™Ÿ™°‰ª√—∫π“ßÕ¡‘µµ¥“ µÕπ°≈“ß¿“æ‡ªìπµÕπ™Ÿ™°ÕÕ°‡¥‘πªÉ“ ¥â“π∫π ÿ¥‡ªìπæ√–‡« —π¥√

Picture 14 Separating each episode by using small lines;Chuchok picking up Nang Amitada espisodeon the right corner of lower part; in themiddle Chuchok walked in the bush; andthe top part is Vessantara Jataka tales.

¥—ßπ—Èπ ‡¡◊ËÕ¥Ÿ¿“æµâÕß¥Ÿ∑—Èßºπ—ß«à“‡√◊ËÕß‰ÀπÕ¬Ÿà∑’Ë¡ÿ¡„¥

¢Õßºπ—ß Õ¬à“ß√Ÿª∑’Ë 14 π—Èπ ºŸâ«“¥‰¥â«“¥‡√◊ËÕß√“«„π‡Àµÿ°“√≥å

6 µÕπ ´÷ËßÕ¬Ÿà∫πºπ—ß¥â“π‡¥’¬«°—π ‚¥¬·∫àß‡ªìπ‡√◊ËÕß‡°’Ë¬«

°—∫µÕπ„¥µÕπÀπ÷Ëß¥â«¬‡ âπ¥—ß°≈à“«¢â“ßµâπ à«π∑’ËÕ¬Ÿà¥â“π

´â“¬¡◊Õ¥â“π∫π ‡ªìπ‡√◊ËÕß¢Õßæ√–¡“≈—¬‰ª‚ª√¥ —µ«å„π

«√√§å·≈–„ππ√°·∫àß à«π∫π‡ªìπ «√√§å à«π≈à“ß‡ªìππ√°

‚¥¬¥Ÿ®“°°“√®—¥Õß§åª√–°Õ∫¿“æ„Àâ¿“æ∫π‡ªìπ°≈ÿà¡Àπ÷Ëß

¥â“π≈à“ß‡ªìπ°≈ÿà¡Àπ÷Ëß ∂â“‡ªìπ‡√◊ËÕß√“«µ√ß°≈“ß°Á®–‡ªìπÕ’°

°≈ÿà¡Àπ÷Ëß

¿“æ®‘µ√°√√¡‰∑¬¡’§«“¡·µ°µà“ß®“°¿“æ®‘µ√°√√¡

µ–«—πµ° ´÷Ëß¡’°“√‡¢’¬π‡ªìπ™àÕßÊ‡ªìπ∑’Ë —ß‡°µ‰¥â‚¥¬ßà“¬

‡æ√“–©–π—Èπ ŒŸª·µâ¡®÷ß¡’ 2 ¡‘µ‘ §◊Õ¡’¥â“π°«â“ß°—∫¥â“π¬“«

‡∑à“π—Èπ ¿“æ∑’Ë‡¢’¬π à«π„À≠à®–À—π¢â“ß „Àâ§«“¡ ”§—≠°—∫

¢π“¥ ¿“æ∫ÿ§§≈∑’Ë¡’¢π“¥„À≠à À¡“¬§«“¡«à“ ¡’§«“¡ ”§—≠

¡“° °«à“¿“æ∫ÿ§§≈∑’Ë¡’¢π“¥‡≈Á°≈ß¡“

2) ¿“æ„π ‘¡

°“√‡¢’¬π¿“æ¥â“π„π¢Õß ‘¡ ®–‡¢’¬πµ—Èß·µà

¢Õ∫∫π¢Õßºπ—ß‰≈à≈ß¡“®π∂÷ß¢Õ∫∫π¢ÕßÀπâ“µà“ß ‚¥¬∑’Ë

™à“ß‡¢’¬π‰¡à‡¢’¬π≈ß¡“∂÷ß¥â“π≈à“ß ‡æ√“–‡«≈“¡’§π¡“„™â

∂“π∑’Ë®–∑”„Àâ√Ÿª¿“æ‡°‘¥°“√™”√ÿ¥‡ ’¬À“¬‰¥âßà“¬

’∑’Ë„™â„π°“√«“¥¿“æ®–‡ªìπ ’ΩÿÉπ ‡«≈“„™â

Therefore, every part of the wall is important so as to under-

stand the story. In picture 14, painters drew six episodes on one large

wall which was divided by small lines that were mentioned in the

beginning. On the left, it was a story about Pra Malai saving mankind

from sim in both heaven and hell. Painters created the heaven part on

top of the wall followed by the hell below. The detail of the picture was

clearly shown so that painters separated the story by using different

parts of the painting area: top part group, middle part group and

the bottom part. Notice from picturesû location, Thai painting style,

therefore, was different from western because the Thai painting was

simply divided into boxes. As a result, Hoop-Tam paintings had only 2

dimensions: they only had the width and length. Therefore, most of

Hoop-Tam paintings could be seen from side profiles which showed

the importance of size. Large figures exaggerate the level of the

importance; smaller figures were a indication of having less importance.

2) Pictures on Simûs wall

The art inside the Sim, painters began from the

edge of the wall until the edge of the window. Painters would not

paint in the lower part because the paintings would get damaged

when someone came, touched and used the Sim.

Powder color was used in painting. When


µâÕßπ”¡“º ¡πÈ”°—∫°“«Àπ—ß —µ«å ÷Ëß‡§’Ë¬«®π°«à“®–‰¥â ¬“ß

‡Àπ’¬«Ê ®–∑”„Àâ‰¥â‰¢¡—π∑’Ë‡À¡“– ¡ ¡’§«“¡‡Àπ’¬«·≈–¡’

§ÿ≥ ¡∫—µ‘¬÷¥µ‘¥∑ππ“π°àÕπ∑’Ë®–º ¡°—∫ ’ΩÿÉπ ™à«ß∑’Ë¬—ß

‡ªï¬°Õ¬Ÿà®÷ßπ”‰ª·µâ¡ŒŸª ’ΩÿÉπ°—∫¬“ß‡Àπ’¬«®–º ¡º “π

°—π¥’·≈–®–´÷¡‡¢â“‰ª„π‡π◊ÈÕªŸπ‰¥â‚¥¬ßà“¬

9.5 ¿“æ∑’Ë ”§—≠¢Õß ‘¡«—¥‚æ∏“√“¡

1) ¿“æ√“ÀŸÕ¡®—π∑√å √“ÀŸ §◊Õ ¬—°…åµπÀπ÷Ëß

∑’Ë¡’§«“¡‡ªìπÕ¡µ–§◊Õ¶à“Õ¬à“ß‰√°Á‰¡àµ“¬ ‚¥¬µ“¡µ”π“π

‰¥â°≈à“««à“ ¡—¬Àπ÷Ëß‰¥â¡’‡∑«¥“Õ¬“°‡ªìπÕ¡µ– ‡∑«¥“Õß§å

π’È‰¥â‰ª™—°™«πæ«°¬—°…å„Àâ¡“™à«¬°«ππÈ”Õ¡ƒµ ‡æ√“–πÈ”

Õ¡ƒµπ—Èπ À“°„§√°‘π‡¢â“‰ª®–‡ªìπÕ¡µ– «‘∏’°“√°«ππÈ”

Õ¡ƒµ µâÕß‡Õ“æ≠“π“§¡“‡ªìπ‡™◊Õ° ‡Õ“‡¢“æ√– ÿ‡¡√ÿ‡ªìπ

·°π°≈“ß (‡À¡◊Õπ°“√ªíòπ∂—ß‰Õ»°√’¡) ·≈â«À¡ÿπ‰ª À¡ÿπ

¡“ ‡∑«¥“Õß§åπ’È¡’§«“¡©≈“¥°Á‡≈¬„Àâæ«°¬—°…å‰ª®—∫¥â“π

À—«æ≠“π“§ à«π‡∑«¥“°Á®—∫ à«πÀ“ß¢Õßæ≠“π“§ ‡¡◊ËÕ

æ≠“π“§∂Ÿ°¥÷ß‰ª ¥÷ß¡“À≈“¬√Õ∫ ®πµâÕß§“¬æ‘…ÕÕ°¡“

‡√◊ËÕ¬Ê à«π¬—°…å∑’ËÕ¬Ÿà¥â“πÀ—«æ≠“π“§°Á‚¥πæ‘… æ≠“π“§

ª«¥· ∫ª«¥√âÕπ‰ªµ“¡Ê °—π à«π‡∑«¥“°Á‰¡à‡ªìπ‰√

‡æ√“–¥÷ß à«πÀ“ß¢Õßæ≠“π“§ À≈—ß®“°π—Èπ æÕ‰¥âπÈ”

Õ¡ƒµ·≈â« æ«°¬—°…å à«π¡“°°ÁÀ¡¥·√ß‰ª°àÕπ·≈â«

‡π◊ËÕß®“°æ‘…∑’Ë‰¥â√—∫¢≥–°«ππÈ”Õ¡ƒµπ—Ëπ‡Õß ·µà∫“ßµπ

¬—ß¡’·√ßÕ¬Ÿà ®÷ß‡°‘¥°“√·¬àßπÈ”Õ¡ƒµ°—π √–À«à“ß‡∑«¥“°—∫

¬—°…å ‡∑«¥“·¬àßπÈ”Õ¡ƒµ¡“®πÀ¡¥ ·µà¡’¬—°…åµπÀπ÷Ëß

©≈“¥ ®÷ß‰¥â·ª≈ß°“¬‡ªìπ‡∑«¥“¡“√à«¡°‘ππÈ”Õ¡ƒµ¥â«¬ ¡’

‡∑«¥“Õß§åÀπ÷Ëß√Ÿâ∑—π ‡∑«¥“Õß§åπ—Èπ®÷ß‰ª∫Õ°æ√–π“√“¬≥å

·≈â«æ√–π“√“¬≥å°Á‡≈¬¢«â“ß®—°√‰ªµ—¥¬—°…åµππ—Èπ¢“¥ÕÕ°

‡ªìπ 2 ∑àÕπ ·µà¬—°…åµππ—Èπ‰¥â°‘ππÈ”Õ¡ƒµ‰ª·≈â«§√÷ËßÀπ÷Ëß

µ√ß à«πÀ—«°Á‡≈¬‡ªìπÕ¡µ– ®÷ß∑”„Àâ¬—°…åµππ—Èπ‰¡àµ“¬

¬—°…åµππ—Èπ¡’§«“¡‡®Á∫·§âπ‡∑«¥“Õß§å∑’Ë‰ª∫Õ°æ√–π“√“¬≥å

‡ªìπÕ¬à“ß¡“°∑’Ë∑”„ÀâµâÕß‡ªìπ‡™àππ’È ‡∑«¥“Õß§åπ—Èπ°Á§◊Õ

æ√–®—π∑√å π—Ëπ‡Õß æÕ¬—°…åµππ—Èπ‡ÀÁπæ√–®—π∑√å°Á®–®—∫

æ√–®—π∑√å°‘πµ≈Õ¥‡«≈“ ·µà§«“¡∑’Ë√“ÀŸ‡À≈◊Õ™’«‘µÕ¬Ÿà‡æ’¬ß

§√÷Ëß‡¥’¬« æÕ°‘πæ√–®—π∑√å‡¢â“‰ª‰¥â æ√–®—π∑√å°ÁÀ≈ÿ¥ÕÕ°

¡“‰¥â‡À¡◊Õπ‡¥‘¡∑ÿ°§√—Èß ®÷ß‡ªìπ∑’Ë¡“¢Õß®—π∑√ÿª√“§“¥â«¬

‡Àµÿ©–π—Èπ·≈

it needed to be used, the color must be mixed with

water and grease boiled to be liquid and then mixed

well until it became thick then it was applied to the

paintings. As a result, it will make the paintings last a

long time.

9.5 Important Pictures on Simûs wall at Wat Pho-Taram

1) Picture of Rahu Om Chan (Rahu eating the

moon); the story began with one of deities wanting to be

immortal, so he invited demons and other deities to work

together to obtain Amarit, the elixir of life; so whoever drank

the elixir, would become immortal. The elixir of life was

difficult to obtain; therefore, Amarit was made by churning

the Sea that used the great Naga as a rope and Mount

Mandara as a pivot. This deity was very intelligent; as he

would let demons hold the head of the Naga as he himself

held the tail. During the churning of the Sea, the Naga was

in agony and spat venom and fire. The demons were in pain

because of holding Nagasû head. However, the deities were

fine because they were holding Nagaûs tail. After obtaining

Amarit, demons were exhausted because of the pain but

some of them were still able to snatch the elixir back from

the deities. Finally, the deities could take all the elixir from

the demons. Later one of the intelligent demons transformed

himself into a deity in order to drink some of the elixir. One

of the deities, however, saw through this trick, so he

reported it. The great Narai. then threw his crystal chakra

disk at the demon, severing the demonûs body in half.

However as the demon had drunk some of the elixir, he did

not perish. The demon was furious with Pra Chan-the

moon- the deity who reported him to the great Narai. Every

time that he met Pra Chan, the moon, he would always try

to eat the moon, because of having only half of his body, the

moon could always escape from the demon. This, according

to ancient folk belief, was the mythological cause of the

lunar eclipses.


√Ÿª∑’Ë 15 √Ÿª√“ÀŸÕ¡®—π∑√å

Picture 15 Rahu Om Chan was trying eating the moon.

2) ‡√◊ËÕßæ√–¡“≈—¬ ¿“æ¥â“π≈à“ß®–‡ªìπ ¿“æ

¢Õß∫â“π‡¡◊Õß¢Õßæ√–¡“≈—¬‰ª‡∑»π“ ´÷Ëß°Á§◊Õ ¿“æ∫â“π

¥ß∫—ß„π ¡—¬°àÕππ—Èπ‡Õß ‡æ√“–«à“§π∑’Ë‡¢’¬π‰¡à‰¥âÕ¬Ÿà„π ‡¡◊Õß

„ππ‘∑“π ®–‡¢’¬π¿“æÕÕ°¡“‚¥¬‡ÀÁπ∫â“π‡¡◊Õß∑’Ë Õ¬Ÿà√Õ∫Ê

π—Ëπ§◊Õ™ÿ¡™π∫â“π¥ß∫—ß„πÕ¥’µ

2) Story of Phra Malai showed on top of wall, and

the picture below showed surrounding the town that Phra Malai

visited for preaching. Shown in this picture 16, was Ban Dong-Bang

because the painters would paint from what they saw around them;

therefore, the picture was Ban Dong Bang in the past.

√Ÿª∑’Ë 16 ¥â“π∫π‡ªìπ‡√◊ËÕß√“«¢Õßæ√–¡“≈—¬ ¥â“π≈à“ß

‡ªìπ ¿“æ∫â“π‡√◊Õπ¢Õß∫â“π¥ß∫—ß„πÕ¥’µ

Picture16 The top part showed the story of Phra Malai,

and below the surroundings of Ban Dong-

Bang in the past.

à«π¥â“π≈à“ß®–‡ªìπµ≈“¥¢“¬ºâ“¢“¬‡ ◊ÈÕ

(‡ ◊ÈÕ·∫∫π’È‡√’¬°«à“‡ ◊ÈÕ§Õ®’π) —ππ‘…∞“π«à“ ‡ªìπµ≈“¥

Õ”‡¿Õæ¬—§¶¿Ÿ¡‘æ‘ —¬„π ¡—¬π—Èπ (®–‡ÀÁπ«à“¡’∫â“π·µ°µà“ß

°—π 2 ·∫∫¥â«¬°—π) ·≈–¡’√ŸªºŸâ™“¬∂—°º¡‡ªï¬π—Èπ‡ªìπ§π

‡™◊ÈÕ “¬®’π à«πºŸâ™“¬∑’Ë‰¡à¡’º¡‡ªï¬‡ªìπ§π‰∑¬

Beneath was a market that sells clothes-mandarin

collar which was assumed that it was a market in Phayak khaphum

Phisai District in the old time. In a picture 17, there were

2 the different types of men with a plait were Chinese; others

without the plait were Thai.


√Ÿª∑’Ë 17 µ≈“¥§â“¢“¬ √ŸªºŸâÀ≠‘ßÀ“∫µ–°√â“ πÿàß‚®ß°√–‡∫π

(´÷Ëß‰¥â√—∫Õ‘∑∏‘æ≈®“°«—≤π∏√√¡‡¢¡√)

Picture 17 A market that showed a Hoop-Tam of

women carrying baskets and wearing

loincloth influenced from Khmer.

√Ÿª∑’Ë 18 §π®’π∂—°º¡‡ªï¬

Picture 18 Chinese men with a plait

√Ÿª∑’Ë 19 §π‰∑¬

Picture 19 Thai clothes style.

3) ‡√◊ËÕß¡À“™“µ‘ §”«à“ ¡À“™“µ‘ ·ª≈«à“ ™“µ‘∑’Ë

¬‘Ëß„À≠à ‡ªìπ™“µ‘∑’Ëæ√–‚æ∏‘ —µ«å‡ «¬æ√–™“µ‘‡ªìπæ√–‡« —π¥√

÷Ëß‡ªìπæ√–™“µ‘ ÿ¥∑â“¬°àÕπ∑’Ë®–ª√– Ÿµ‘‡ªìπ‡®â“™“¬ ‘∑∏—µ∂–

„πæ√–™“µ‘∑’Ë‡ªìπæ√–‡« —π¥√ æ√–‚æ∏‘ —µ«å‰¥â∫”‡æÁ≠ ∑»

∫“√¡’ §√∫∑—Èß 10 ª√–°“√ ‚¥¬‡©æ“–Õ¬à“ß¬‘Ëß ∑“π∫“√¡’

÷Ëß‰¥â∫√‘®“§∫ÿµ√∑“π §◊Õ‰¥â∫√‘®“§æ√–™“≈’ æ√–°—≥À“ ·≈–

æ√–π“ß¡—∑√’ ¡À“™“µ‘π’È‡√’¬°Õ’°Õ¬à“ßÀπ÷Ëß«à“¡À“‡« —π¥√

™“¥° ¡’∑—ÈßÀ¡¥ 13 °—≥±å ∑’Ë‚¥¥‡¥àπ„π¿“æ ‡™àπ

3) The story of Gautama Buddha as Vessantara

was the Buddhaûs last great incarnation before he was

reborn as Prince Siddhartha. In his life as Bodhisattva

Vessantara, he performed ten charities and sacrificed his

life with his own children, Phra Kanha and Phra Chalee,

and his beloved wife, Nang Maddhi The Great Birth of

Buddha was called the Vessantara Jataka which contained

13 parts as shown in the some pictures:


3.1 °—≥±å™Ÿ™° ¡’‡√◊ËÕß‡≈à“«à“ ¡’æ√“À¡≥å™Ÿ™°

´÷Ëß¡’Õ“™’æ‡ªìπ¢Õ∑“π «—πÀπ÷Ëß‡¢“‰¥âπ”‡ß‘π∑’Ë‰¥â®“°°“√

¢Õ∑“π‰ªΩ“°‰«â°—∫‡æ◊ËÕπ ·≈â«ÕÕ°‡¥‘π∑“ßµàÕ‰ª ‡æ◊ËÕπ

‡ÀÁπ«à“™Ÿ™°À“¬‰ªπ“π°Á‰¥âπ”‡ß‘ππ—Èπ‰ª„™â®à“¬®πÀ¡¥ æÕ

™Ÿ™°°≈—∫¡“∑«ß‡ß‘π§◊π ‡æ◊ËÕπ°Á‰¡à¡’‡ß‘π§◊π„Àâ ‡æ◊ËÕπ®÷ß¬°

π“ßÕ¡‘µµ¥“ºŸâ‡ªìπ∫ÿµ√ “«„Àâ‡ªìπ¿√√¬“¢Õß™Ÿ™° à«π

π“ßÕ¡‘µµ¥“‡¡◊ËÕ‰ªÕ¬Ÿà°—∫™Ÿ™°°Áµ—Èß„®ª√ππ‘∫—µ‘™Ÿ™°‡ªìπ

Õ¬à“ß¥’ æ√“À¡≥å§πÀπ÷Ëß„πÀ¡Ÿà∫â“π‰¥â —ß‡°µ ·≈–‰¥â

‡ª√’¬∫‡∑’¬∫°—∫¿√√¬“¢Õßµπ‡Õß «à“ª√ππ‘∫—µ‘ “¡’‰¡à¥’

‡À¡◊Õππ“ßÕ¡‘µµ¥“®÷ßµ”Àπ‘·≈–∑”√â“¬¿√√¬“µπ‡Õß

æ«°¿√√¬“æ√“À¡≥å∑—ÈßÀ≈“¬·§âπ„®®÷ß‰ª¥à“«à“π“ßÕ¡‘µµ¥“

∑’Ë∫â“π™Ÿ™° π“ßÕ¡‘µµ¥“‡ ’¬„®®÷ß¢Õ√âÕß„Àâ™Ÿ™°‡¥‘π∑“ß‰ª

∑Ÿ≈¢Õæ√–™“≈’·≈–æ√–°—≥À“®“°æ√–‡« —π¥√¡“‡ªìπ∑“

„Àâπ“ß‰¥â„™â Õ¬ ‡¡◊ËÕ™Ÿ™°‰¥âøíß¥—ßπ—Èπ ®÷ßÕÕ°‡¥‘π∑“ß‰ª

µ“¡§”¢Õ√âÕß¢Õßπ“ßÕ¡‘µµ¥“ ®π‰ª∂÷ß‡¢µªÉ“∑’Ëæ√“π‡®µ∫ÿµ√

¥Ÿ·≈‡ΩÑ“ªÉ“„Àâæ√–‡« —π¥√‰¥â∫”‡æÁ≠‡æ’¬√ ¡‘„Àâ„§√√∫°«π

·µà·≈â«™Ÿ™°°ÁÕâ“ß«à“µπ‡Õß‡ªìπ∑Ÿµ‰¥âπ”æ√–√“™ “ åπ¢Õß

æ√–‡®â“°√ÿß —≠™—¬ ‡æ◊ËÕ∑Ÿ≈‡™‘≠æ√–‡« —π¥√°≈—∫§◊ππ§√

·≈â«æ√“π‡®µ∫ÿµ√°ÁÀ≈ß‡™◊ËÕ ª≈àÕ¬„Àâ™Ÿ™°‡¢â“‰ª„πªÉ“æ∫

æ√–‡« —π¥√

3.2 °—≥±å°ÿ¡“√ ‡¡◊ËÕ™Ÿ™°‡¥‘π∑“ß¡“∂÷ß √–

„°≈â°—∫Õ“»√¡¢Õßæ√–‡« —π¥√µÕπæ≈∫§Ë” ·µà°Á¬—ß

‰¡à‰ªæ∫æ√–‡« —π¥√∑—π∑’ ‰¥â√Õ®π°√–∑—Ëß√ÿàß‡™â“ ‡æ◊ËÕ√Õ

„Àâæ√–π“ß¡—∑√’‡¢â“ªÉ“‡æ◊ËÕÀ“º≈‰¡â ®“°π—Èπ™Ÿ™°®÷ß‡¢â“‰ª∑Ÿ≈¢Õ

Õß°ÿ¡“√®“°æ√–‡« —π¥√ æ√–‡« —π¥√°Áæ√–√“™∑“π

Õß°ÿ¡“√„Àâ·°à™Ÿ™° æ√âÕ¡∑—Èß°”Àπ¥§à“µ—« Õß°ÿ¡“√‰«â„Àâ

™Ÿ™°√Ÿâ¥â«¬ ÷Ëß§π∑’Ë “¡“√∂‰∂àµ—« Õß°ÿ¡“√‰¥â¡’‡æ’¬ßæ√–‡®â“

°√ÿß —≠™—¬‡∑à“π—Èπ ‡¡◊ËÕ™Ÿ™°‰¥â Õß°ÿ¡“√·≈â« æ√âÕ¡®–

ÕÕ°‡¥‘π°≈—∫∫â“π ·µà°≈—∫‡¶’Ë¬πµ’ Õß°ÿ¡“√‡ ’¬°àÕπ ∑”„Àâ

æ√–‡« —π¥√∑√ß°√‘È« ·µà‡æ√“–«à“‰¥â„Àâ∑“π Õß°ÿ¡“√·°à

™Ÿ™°‰ª·≈â« æ√–Õß§å°Áµ—¥Õ“≈—¬‰¥â ·≈â«∑√ßª≈àÕ¬„Àâ™Ÿ™°

æ“ Õß°ÿ¡“√®“°‰ª

3.1 Chuchok Part; A tale of Chuchok

lived a poor Brahmin, was a beggar. A day he asked

his friend to keep his money from begging then left for

a long trip. The Brahmin took a while to get his money

back from his friend. As a result, the Brahminûs friend

spent all of his money and had to give his daughter,

Nang Amittada . Chuchok. After Nang Amittada be-

came the Brahmin, she cared so well for her old and

ugly husband which other Brahmins became jealous

of and compared their wives to her. Brahminsû wives

were really mad and often reviled her because of the

abuse from their husbands. She insisted that Chuchok

asked Vessantara for his two children to serve her.

The poor Brahmin then set out to find Vessantara.

While passing through the forest where Cetabutra

(huntsman) took care, he was not let anyone in. By

saying that Chuchok had been sent by King Sanjaya

to bring Vessantara back, Chuchok was able to trick

the hunter, into letting him pass. Finally, the Brahmin

reluctantly directed to Vessantaraûs hermitage.

3.2 Children Part; when Chuchok arrived to a pond

near Vessantaraûs hermitage, it was dusk. However, the Brahmin

had not met Vessantara yet, he waited until Maddhi had got into

the forest to find some fruit the next morning before he approached

the hermitage to ask for Vessantara and his two children. The

Bodhisattva agreed to give away his two beloved children and set

the price of the two children so high that only his father, King

Sanjaya, would be able to afford to pay Chuchok in order to get the

children back. Then the Brahmin bound the childrenûs hands with a

jungle creeper, whipping them on their way. Tears streamed from

Vessantaraûs eyes, and he went into his hut weeping. When he

realized that the cause of his grief was his affection for his children,

he set his mind on nonattachment and soon regained the calm of an

ascetic.


3.3 °—≥±å¡—∑√’ ‡¡◊ËÕæ√–π“ß¡—∑√’°≈—∫®“°À“

º≈‰¡â®“°ªÉ“¡“∂÷ßÕ“»√¡¢Õßæ√–‡« —π¥√ æ√–π“ß¡—∑√’ ‰¡à

‡ÀÁπ Õß°ÿ¡“√®÷ßÕÕ°µ“¡À“·µàÀ“Õ¬à“ß‰√°Á‰¡àæ∫ æ√–π“ß

®÷ß§√Ë”§√«≠¥â«¬§«“¡∑ÿ°¢å‚»°®π ≈∫‰ª ‡¡◊ËÕøóôπ¢÷Èπ¡“

æ√–‡« —π¥√°Áµ√— «à“ ‰¥âæ√–√“™∑“π Õß°ÿ¡“√·°à™Ÿ™°

‰ª·≈â« ·¡â«à“æ√–π“ß®–‡ ’¬æ√–∑—¬ª“π„¥ æ√–π“ß¡—∑√’°Á‰¥â

√à«¡Õπÿ‚¡∑π“‰ªæ√âÕ¡°—∫æ√–‡« —π¥√„π°“√„Àâªî¬∫ÿµ√

∑“ππ—Èπ¥â«¬

3.3 Maddhi Part; when Maddhi returned late in the

evening and did not find her children around, she asked Vessantara of

their whereabouts. But Vessantara kept silent. She then repeated the

same question several times, yet Vessantara did not utter a single word.

So, she again went into the forest and looked for the children the whole

night. Next morning, when she returned, she fainted. Vessentara then

helped her regain consciousness. That was the time he advised her of

the whereabouts of the children and narrated the story. By then Maddhi

had mustered up enough courage to endure the trauma. Surprisingly,

she praised Vessantaraûs great act of conduct and charity

√Ÿª∑’Ë 20 π“¬∫ÿ≠≈’ æ≈§”¡“° «‘∑¬“°√∑âÕß∂‘Ëπ

‰¥â∫√√¬“¬‡√◊ËÕß√“«æ√–‡« —π¥√™“¥°

·°àºŸâ‡¢â“Õ∫√¡

Picture 20 Mr.Boonlee Pholkhammak, a local guest

speaker, told the story of The Vessantara

Jataka tothe participants.

√Ÿª∑’Ë 21 ºŸâ‡¢â“Õ∫√¡ øíß∫√√¬“¬°“√„Àâ§«“¡√Ÿâ®“°

«‘∑¬“°√‡æ◊ËÕπ”‰ª„™â„π°“√‡ªìπ¡—§§ÿ‡∑»°å

∑âÕß∂‘ËπµàÕ‰ª

Picture 21 Participants paid attention to listen to a guest

speaker about knowledge and information

of working local guides.


10. °“√Ωñ°ªØ‘∫—µ‘°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

√Ÿª∑’Ë 22 ∑’¡¡—§§ÿ‡∑»°å ®“° ¡“§¡¡—§§ÿ‡∑»°åÕ“™’æ

¡“™à«¬Ωñ°ªØ‘∫—µ‘°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

„Àâ°—∫‡¬“«™π

Picture 22 A team of the Professional Guide

Association joined the workshop to

help with the training.

√Ÿª∑’Ë 23 °“√Ωñ°‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

Picture 23 Local Guide Training workshop in field work.

√Ÿª∑’Ë 24 ·¬°°≈ÿà¡Ωñ°°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

Picture 24 Dividing into groups for training.


√Ÿª∑’Ë 25 ·∫àß°≈ÿà¡Ωñ°ªØ‘∫—µ‘°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

¿“¬„π ‘¡ ‚¥¬∑’¡«‘∑¬“°√¡—§§ÿ‡∑»°åÕ“™’æ

Picture 25 The participants divided into groups for

local guide training workshop. Inside the

Sim, the guest speaker from the Professional

Guide Association was training them.

√Ÿª∑’Ë 26 ‡¬“«™π§π‡°àß Ωñ°°“√‡ªìπ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

Picture 26 One of the smart child in the training.

√Ÿª∑’Ë 27 √—∫¡Õ∫„∫ª√–°“»ºà“π°“√Õ∫√¡¡—§§ÿ‡∑»°å

∑âÕß∂‘Ëπ ®“°π“¬∑√ß√—µπå ∏π¡“≈“æß»å

ºŸâÕ”π«¬°“√ ‚√ß‡√’¬π¥ß∫—ßæ‘ —¬π«°“√πÿ √≥å

Picture 27 Receiving the Local Tour Guide Training

Certificate from Mr. Songrat Thanamalaphong

the Dircetor of Dong Bang Phisai Nawakarnnusorn

School.

√Ÿª∑’Ë 28 ºŸâ‡¢â“Õ∫√¡„π‚§√ß°“√¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ

√—°…å·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡

Picture 28 The participants of the local guide training

workshop took a group photo.

hooptam 4.4

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