Casting A Naga

We have been back from our one month trip to Connecticut for two weeks now and life is returning to normal for us.  "Normal" does not necessarily mean routine but rather means the type of life that we enjoy.  For Duang it means being able to practise her faith more completely and conveniently.  For me it means being able to take advantage of the many opportunities here to photograph the details of Isaan culture.

On Thursday, July 28th my 67th birthday, Duang went to the local market to buy some of her foods.  At the market, she learned of a special event that was happening later in the morning - the casting of a Naga statue at a nearby Wat.

Throughout Northeast Thailand and Lao People's Democratic Republic, concrete statues of Naga can be found at Wats often as handrails leading up to worship halls, as guardians at the gates to the grounds, or guardians at the entrance to worship halls and sometimes as part of a water or fountain feature of the Wat.  Nagas are associated with the underwater world which the nearby Mekong River is closely associated with.

Naga is a mythological deity that takes the form a a very great snake.  Nagas are found in the traditions and legends of Hinduism as well as in Buddhism.  I have written before about the amalgamation of Animist, Hindu and Buddhist beliefs and traditions here in Isaan.  The area was once Animist before Hindu and then Buddhist believers arrived.  Today in Isaan traditions and beliefs from all three remain a very strong part of not only the culture but of individual daily life.

A long time ago, during one of Buddha's many reincarnations, this time as a toad, the rain god (King of the Sky), Phaya Tan  (Taen) was angry with the people and animals. Buddha ( Phaya Khang Khok)'s, sermons were drawing people and creatures from earth and sky away from the King of the Sky.  He decided to punish them by withholding the necessary life giving and sustaining rains.  After seven years, seven months, and seven days of drought, the surviving people along with the animals got together and consulted with Buddha.  After much deliberations, they decided that Phaya Nak (Naga), the giant snake, would lead them in war against the rain god, Phaya Tan.  Phaya Tan defeated the giant snake and his troops.  After eventually overcoming Phaya Tan, Buddha rewarded  Phaya Nak (Naga) for his loyalty as well as service with the honor of being guardians.

There is also another Buddhist legend involving nagas or snakes.  Today, young men who are participating in the ritual of becoming a novice Monk, after renouncing their worldly goods, are considered to be a "naga".

When Buddha was walking around preaching and teaching his disciples, Naga The Serpent King (Phaya Nak) took on human form, asked to become a Monk, and followed Buddha around listening to the sermons.

One day the naga fell asleep and reverted back to his snake form. Buddha told him that he could not be a Monk because he was not of this world - only humans could be a Monk. The naga agreed to leave the Sanga (religious community of Monks) but requested a favor. He asked Buddha that all young men who are about to be ordained as Monks be called "nagas". Buddha agreed.

To prevent a recurrence of this incident, all young men as part of their ordination are asked if they are human. Phaya Nak, despite leaving the monkhood, continued his devotion to Buddha and is often depicted in art as the seven headed cobra shielding Buddha from the rain.

After checking out the sight, Duang returned home to see if I was interested.  Naturally I was enthused at such an opportunity.  I grabbed my camera gear and we set  off accompanied by our daughter-in-law and 22 month old grandson, Pope.

A short distance from our home along a route that included two dirt single lane paths, we ended up at the sight of the Wat.  This Wat is very rustic and primitive.  The Monk's quarters are very basic - bamboo, wood, and thatched huts.  The worship hall is a small building of similar construction.

The complex is a work in progress.  A large statue of Buddha in the "Calling The Earth to Witness" pose had been recently been set upon a newly poured concrete block to still be completely backfilled.  In this pose which defines the moment when Buddha became enlightened, Buddha is seated cross-legged with his left hand placed in his lap with the palm facing upwards, the right hand placed on his right knee with the fingers pointing down toward the Earth and the palm facing Buddha.

Upon arrival, we went to the building which serves as the worship hall.  Inside some women were busy making pahn sii kwan, decorative centerpieces used in special rituals.  Pahn are made from flowers, floral buds, and banana leaves and are a special handicraft of the ethnic Lao people of Thailand and Lao.

Pope Helping Out to Make A Pahn Sii Kwan

After a while we went outside to where the Naga was to be cast.  Sahts were placed upon the compacted moist ground for people to sit before a small shrine constructed for the day's ritual.

Monks Preparing Cement to Cast a Naga

I then became aware that I would have the honor of pouring the first three buckets of cement for the statue.  Was the honor because it was my birthday?  Apparently not - the Monk did not know that it was my birthday until the next day.  Was it because I was a foreigner, a falang?  Yes!  The land was once a horse farm frequented by foreigners and the husband of the landowner was a foreigner.  Giving me the honor was considered good Karma for the place apparently.

Pope Places Some Coins In The Naga Form

After I had poured three buckets of cement - symbolic of the three gems of Buddhism - one for Buddha, one for the teachings of Buddha, and the last one for the Sangha (Buddhist religious community), people and Monks took their turn pouring cement into the metal formwork for the Naga.  Pope did not participate in pouring cement but did place some coins into the wet cement.  When columns are set for Wat buildings and statues are cast coins are placed in the concrete for good luck.

Coins were not the only objects placed inside of the Naga.  After the lower portion of the Naga had been poured, the top sections of the formwork were attached.  Just before the formwork was closed up with the last panel, the Abbott placed a special object inside of the void to be filled with cement.  An intricate handcrafted Naga made from woven banana leaves and some type of organic fibers was unfurled and placed into the still wet cement of the lower base.  The Naga might not have a heart but it would have a spirit and perhaps a soul.

Setting the Last Formwork Panel

With the final panel installed, the pouring of  cement recommenced and was quickly completed.

With the last bucket of cement poured, we said good bye to everyone and left the Wat with the Abbott making final adjustments to the formwork for the Naga's tongue.

We returned to our home satisfied and pleased; Duang satisfied and pleased at participating in as well as pleased with the merit that she earned for this special event.  I was satisfied and pleased at having the opportunity to experience as well as documenting a unique cultural ritual.

Bpoo Naa

Young Man Joking With Bpoo Naa In His Mouth

Back in May of this year, I got the inspiration for a long term project.  During the Bun Bang Fei Festival in the sub district, Tambon Nongwa, we had witnessed several Muay Thai boxing matches - most of them involving children younger than 15 years old.

The career of a Muay Thai boxer is typically over before they are 30 years old.  However their career starts early - sometimes before they are even five years old.  The song, "The Boxer" from the 1960's rattled around in my brain after watching the matches, especially the ones involving very young boys.

"I am just a poor boy  Though my story's seldom told ..."  The lyrics motivated me to embark upon a long term project photographing and writing blogs about the life and development of young Muay Thai boxers - hopefully focusing on one boy.

I asked Duang to call the people associated with the matches at Tambon Nongwa and determine if I could visit where the boxers train and perhaps meet a young boxer.  She obtained the phone number, called but nothing has materialized ... yet.

Recently, entirely by chance, Duang became friendly with a friend of a friend - a woman whose son and grandson are Muay Thai boxers here in Udon Thani.  Duang remembered my wish to start the long term project and spoke to the woman about it.  The woman was very supportive of the idea.

Four days ago we made arrangements to meet with her and go to some Muay Thai matches at the Udon Thani Fair.  On Saturday morning got a call from the woman inviting us to meet up with her family on their land where they had a pond.  The family had drained the pond and were harvesting fish out of the mud.  We ended up meeting with them at 2:00 PM rather than 4:00 PM.

The Party Next to the Pond

Duang ended up driving which was great - we got lost many times - three phone calls and finally her son, the boxer, found us on the wrong side of the airport to lead us the correct way.  I can deal and handle getting lost when Duang is driving much better than when I am driving and following her directions.

The family had finished hauling the fish out of the pond - a very small pond more like a large puddle, but had pulled some good fish out of the mud.  They were cooking two of the fish over small charcoal fires.  A grand picnic had been going on for a while.  We were immediately welcomed, offered food and beer.  We gave the beer that we had bought for our visit.

Digging for Bpoo Naa

I took some photos of the various activities.  For some reason two of the men decided to catch some crabs.

No, they were not planning to drive 8 hours down to the ocean.  They were going to capture some crabs hiding underground in the dried up rice paddy where we were.

My first introduction to rice paddy crabs was almost exactly six years ago outside of Kumphawapi while visiting our infant grandson, Peelawat.

http://hale-worldphotography.blogspot.com/2009/01/give-us-our-daily.html

I had seen very small crabs getting crushed in large mortars as part of the preparation of the ubiquitous Lao Loum culinary specialty - "Puak Puak" also know as Som Tom - green papaya salad.  I had assumed that they were salt water crabs until my chance encounter with the old lady harvesting them in Juanuary 2009.

My research on these crabs did not completely confirm my observations regarding the crabs.  I checked with my wife to verify my observations about the crabs.  What you are about to read is different from some web articles but it is the truth as confirmed by a local person - someone born and raised in Isaan - someone who has eaten her share of bpoo naa over the years.

The crabs are called "bpoo naa".  Their scientific name is "paratelphusa hydrodromus".  Bpoo naa is a freshwater crab that is actually a nuisance for the rice farmers.  In the planting season, our rainy season. starting typically in June the crabs feed at night upon the tender seedlings - cutting them off at mud level and chopping them into small pieces that the crabs haul back to their hole to have their meals.

I have seen Isaan farmers time to time spraying a liquid from small back mounted tanks over the surface of the water in paddies where rice seed is germinating.  The chemical is to destroy the rice paddy crabs.  In older times, the crabs were removed from the paddies by attracting them into submerged earthen pots or jars baited with smelly fish, cooked coconut, or shrimp paste.  The crabs attracted by the smell of the bait would go into the submerged jar but because they are not great swimmers and are unable to walk up the steep walls of the hard container, they would be trapped.  The farmers would then empty the traps of crabs each morning - just in time for breakfast or to have some fresh pauk pauk in the afternoon.

During the rainy season, as you walk along the rice paddy bunds, the narrow low mounds of compacted earth that surrounds the paddy to contain the water for growing the rice. you will encounter many dirt cones.  The dirt cones are about 4 to 5 inches high  and about 2.5 inches in diameter at the base. It appears that the cones are constructed of many small balls of mud.  These cones are constructed by the crabs as they dig into the moist ground to construct their homes. The burrows are approximately 18 inches deep at this time.

As the growing season advances, the crabs cut through the outer layers of the rice stalk to get at the tender insides for a meal every night.  As the growing season continues the ground becomes progressively drier. Later in the season, the cones become less prevalent on the bunds and appear more often inside the actual paddy where water remains.

By the time of the rice harvest in November, the crab burrows have become deeper and deeper.  The crabs dig deeper to keep moist and prepare for the stifling hot days in January, March, April, and May before the rains reappear in May or June.  The rice paddy crabs hibernate in their burrows from approximately January to May.  People consider the crabs to be most flavorful during their January hibernation.



Quickly Excavating A Suspected Crab Burrow

Last Saturday, there were no longer any dirt cones to be found on the floor of the rice paddy.  Since we have not had substantial rain since the end of September, the cones have turned to dust and scattered by feeding livestock, the activities of harvesting the rice crop, and the action of wind.  However if you look carefully you can find the entrances of the crab burrows ... as well as snake holes.  Fortunately there are many more crabs around here than snakes but you still have to be careful.

Scratching Around For Bpoo Naa

Because it is getting close to hibernation for the crabs, their burrows are now about 36 inches deep.  When the crab hunters have gotten close to 36 inches (one meter) below the dry paddy surface, the men reach down into the hole, scratching around and feeling for a crab.

If the hunter did not find a crab, he carefully looked into hole for some sign and would commence once again to dig deeper with his hoe type tool.  After a short while, he or his helper, would stoop down on the ground and shove their arm down the hole to repeat the process.  After two or three tries, the hunters, they would pull a 2" to 2.5"crab out of the hole.

Bpoo Naa Fresh From the Burrow

The harvested crabs were placed in a bucket and brought back to the other people of the group.  Bpoo Naa have to be eaten before they die.  I read that shortly after they die, they smell very bad.  Smell bad?  I have yet to find a Lao Loum person that was put off from eating something because of the smell - after all they use 6 month to 12 month old fermented fish to season their food like we use ketchup in America.

There have been many times that I was in the process of throwing some meat into the garbage because of its smell, when Duang would stop me and ask what I was doing.  I would tell her that it was bad and did not smell good.  She would smell it and tell me that it was Ok, Good - good for Isaan.  She would end up taking it to Thasang Village  for her family to eat.

Even in my days as the Steward of my fraternity back in college, I was quick to discard any food that had a hint of not smelling exactly right.  I take pride in knowing that in my three years there was not a single case of food poisoning.  Old habits are hard to break, I guess.

I asked Duang about having to eat the crab while it was alive or very shortly after it died.  She said yes because some people eat it when it is too old and they throw up and have diarrhea.  All good reasons to not it after it dies if you ask me.

One of my new buddies had a great time clowning around and posing for me with a crab.

At 4:00 PM as originally scheduled we set off for the start of the Muay Thai project.

Casting the Wat's New Buddha Statue - Day #3 But Not the End

People Retrieving Bronze Casting Splatter

Duang and I returned to Wat Ban Maet at 7:50 A.M. for the 8:00 A.M. scheduled start of the activities related to the new bronze Buddha statue for the sala.  We had asked about the time, confirmed the time, verified and re-verified the start time with the casting crew the previous afternoon upon completion of pouring the bronze.

I anticipated witnessing and photographing the removal of the plaster casting mold, rigging of the statue into place, and polishing of the statue.

As we pulled into the parking area at the Wat, Duang's often spoken words echoed in my head ... "Thailand not same Amireeka".  Although it was not quite 8:00 A.M., the large off-white plaster mold was no longer standing in the center of the casting area.  The plaster cast was located next to the larger beige cast that was bound for Loei, 4 hours to the west.

Some of the local people were scavenging small pieces of bronze splatter from the previous afternoon's casting operation.  No doubt these objects would be incorporated into home shrines or worn in conjunction with amulets to take advantage of their mystical powers.

Local People Removing the Casting Mold From Statue Arm

As the casting crew occupied themselves with breaking camp and loading up their flatbed truck for the next casting site in Loei, another group of local people removed the hard plaster casting mold from the two hands of the statue.  Typically statues are cast in sections because of complexity and delicacy of certain parts.

Cast Bronze Hand Still Wrapped In Mold Reinforcing Steel

Duang checked with the casting crew and determined that they along with the new statue were travelling to Loei for four days to cast the bigger statue.  They then would take a full day to drive back to their factory in Chonburi.

In Chonburi, the molds would be removed from around the statues, the statues would then be ground to remove imperfections and remove any remnants of the casting process, arms and other delicate features would be attached, and the statues highly polished along with a final coating applied.  In about two weeks the completed statues would be delivered and installed at their respective Wats.  I am fairly certain that there will be a special ritual for setting the statue inside of the sala - which we may or may not be able to witness - not for the lack of trying but more likely the miscommunication of timing.

Clarity in communicating time is complicated by the differences in telling time in Thai and telling time in English.  In English time is typically broken into two 12 hour clocks with the time being differentiated by A.M. and P.M. example: 5:00 A.M (morning) and 5:00 P.M. (afternoon, night). Military time, one 24 hour clock, eliminates the need to differentiate between A.M. and P.M. or day and night example: 0500 and 1700.

In Thai, there are 4 clocks of 6 hours each for a day. The first clock of the day is from 12 midnight to 5:00 A.M. These hours are named:  Tiang keun (midnight), dtee neung, dtee song, dtee saam, dtee see, and dtee haa - except for midnight, "dtee" followed by the Thai name for the numbers 1,2,3,4, or 5 - OK, a little different but manageable in my opinion.

6:00 morning - is Hok Mohng (6 o'clock) or Hok Mohng Cao (6 o,clock morning) - Still manageable ...for me.

However the time from 7 to 11 A.M. is where the confusion starts.  The second clock of the day in Thai kicks in at 7:00 - jet mohng chao (7 o'clock morning) OR neung mohng chao (one o'clock in the morning), 8:00 under the Thia method can be referred to as song mohng chao (two o'clock in the morning)

Often Duang has told me that we needed to go somewhere or do something at see mohng cao "4 o'clock in the morning" rather than the western terminology of 10:00 A.M. - talk about some confusion!

The potential for confusion includes the hours 7:00 P.M. to 11:00 P.M. with the Thai time being 7:00 P.M. - tum neung or neung tum (one o'clock), 8:00 P.M. - song tum (two o'clock) - Yes, Duang has caused me some adrenalin rushes telling me things using this Thai method for telling time!

Other people were busy dismantling the offering table used for the previous day's ritual.  As we were leaving, one of the women came over and gave us two of the watermelons that had been offered to the spirits.  After getting permission, Duang removed two of the scallop shell wind chimes that had hung at the entry to the casting area.  The wind chimes now hang outside of our home.  "Good for us, good for house"  Good for Duang - she hung them so that they do not work - I can't stand the sound of wind chimes!

Hand Painted Gable of the New Sala

Casting the Wat's New Buddha Statue - Day #2

Workmen Pour Molten Bronze Into Mold for Buddha Statue

Sunday, 1 February, was the big day for casting the Buddha statue for Wat Ban Maet.

Our day at the Wat started at 9:15 A.M. - our timing was to coincide with the start of the daily Ta Bart ritual.  There was a very large crowd at the Wat.  The new sala was filled with chi pohm, the women who were participating in the two night religious retreat, and laypeople - many of them children.  Children receive religious training and instruction at a very early age.  With lighting candles and burning incense being central to worship ritual, most children are very willing students.

Worshipping with Yai (Grandmother) and Teddy

Outside of the new sala and the old sala, many people were occupied setting up food and beverages on bamboo tables.  The food and beverages on the tables were not intended for the Monks.  The food was for the people who had arrived to witness the casting of the statue of Buddha.

Everyday people bring food to offer to the Monks.  The Monks take a little bit from the various platters, plates, and bowls - placing their selections inside of their Monk's bowl.  The food that they have selected must be totally consumed during their one meal of the day.  Their meal must also be consumed by 12:00 Noon.  Food that has not been selected by the Monks, is placed on the woven reed mats, sahts, that had been placed on the floor of the sala.  The laypeople then have a community meal.  This is the way it is all across Thailand - anyone and everyone is invited as well as welcomed to eat the food that the Monks do not accept.  Years ago, Duang and her children survived by eating this way.

On special celebrations, the casting of a statue being one, there is another tradition involving food and drinks.  Since the special celebrations last longer than the typical two hour daily Tak Bart ritual, people donate food and drinks for the people.

Some people, often families, donate 1.5 liter bottles of soft drinks - colas, Fanta Strawberry, Fanta Orange, Fanta "Amoung" (a banana, pineapple, coconut, orange concoction). The soda is then distributed to everyone in small plastic cups filled with either crushed ice or ice cubes from large plastic coolers placed on the ground.

Young Girl Enjoying Her Soft Drink

Other people supply small prepackaged drinking water or prepackaged soft drinks (fruit juices and kool aid)  The various booths and stalls are manned by family members of all ages.  Children at an early age learn to help and participate in good works.

Other stalls offer curries, noodle dishes, rice dishes, ice-cream, and donuts.

The ice cream booth was quite interesting - as always.  You have three choices for your ice cream - a cone, a bowl, or ... small hot dog bun.  Hot dog bun?  Yup - here in Isaan you can get three small scoops of ice cream served open faced on bread.

The ice cream arrives in large, heavily insulated metal cylinders.  Flavors are typically coconut, strawberry, jackfruit, and corn. Corn?  Here in Thailand corn is used just as much for a dessert as for a vegetable entre.   Other popular flavors are mango, pineapple and taro. I opted for a single scoop cone of Jackfruit ... twice!

People earn merit by offering free food and drinks to the people at these events.  However there is a hierarchical order in earning merit.  You earn merit for offering food to people at Wats but not as much as offering food to the Monks during Tak Bart - either at a Wat or alongside the road as the Monks walk by.

The previous day, before we left for the day. we confirmed that the statue would be poured at 1:00 P.M.  Our plan was to arrive at the Wat for Tak Bart, stay for the casting of the statue , and return home around 2:30 P.M.

Casting Crew Accommodations

The casting of the Buddha statue was performed by a company from Chonburi - roughly 8 hours from Udonthani.  The ten person crew, 9 men and 1 woman, arrived at Wat Ban Maet with the mold to be cast as well as a much larger mold for another statue to be cast in Loei - 4 hours west of Udonthani.

The crew arrives at a location three days before the scheduled casting day.  The first day is spent offloading the firewood to fuel the temporary furnaces required for the casting operation.  Besides the firewood, there are also many bags of charcoal to fuel the furnaces.  The firewood is burned in a large furnace that surrounds the statue mold.  Charcoal is burned to create the much higher temperature necessary to melt the bronze ingots for the casting.

The crew also offloads their bags of refractory cement, metal stands, piping to be used as furnace and mold supports, as well as their crucibles and pouring tools.

While part of the crew works at offloading the statue mold, setting it upside down and constructing the natural draft furnace around it, other members of the crew construct the bamboo/macramé panels that form the ritual area for the casting process.

Natural Draft Wood Fired Furnace Drying Out Statue Mold

The mold for the statue was fabricated at the company's facility in Chonburi.  The mold is associated with the lost wax, also referred to as the investment, cast process.  I wrote about the process on a much small scale regarding a visit to a Wat near Khon Kaen,

http://hale-worldphotography.blogspot.com/2014/10/forest-foundry-not-to-be-confused-with.html

Since the statue to be cast is much larger and will contain 500 KG (1,100 pounds) of molten bronze, the mold is much more substantial than the molds used in Khon Kaen.  A great deal of reinforcement steel, chicken wire, was incorporated into the Wat Ban Maet to handle hoop stresses and evenly distribute heat throughout the plaster mold.

The mold arrived at the Wat as a three layer sandwich - a wax/clay core with a thick plaster coating on each side.  The wax/clay core melts out of the mold creating a void into which the molten bronze will flow and fill.

After setting the mold and building a furnace around it, the workers heated the mold for 2 days.  Heating the mold serves several purposes - it hardens as well as cures the plaster, it removes any moisture from the mold (water and molten metal is an explosive combination due to rapid creation of steam), it removes the internal wax/clay core, and heats the mold to ensure that the molten metal does not "freeze" when poured into the mold during the pouring process.

As is typical for traveling workers in Southeast Asia, the casting crew did not stay in hotels or guest houses.  They stayed in small tents and under an awning that they had brought with them - camping out on location of their work.

Duang and I, on Sunday, stayed at the Wat until roughly 10:30 A.M. when it became obvious that the casting would not happen at 1:00 P.M.  We asked around and verified with the casting crew supervisor that the casting would actually be at 5:00 P.M.  We returned home to relax and take advantage of the more convenient restroom facilities of our home.  I spent a couple hours working on photos when an inner voice, perhaps a spirit, told me that we should return to the Wat immediately.  I told my wife to get ready.  She reminded me that it was too early for the casting at 5:00 P.M. I told her about my premonition and attributed it to Buddha - end of any further discussion from her!

We arrived back at the Wat at 3:45 P.M. to find the place a beehive of activity.  Dignitaries had arrived and were seated in their places of honor in front of the new sala.

Luang Por Pohm Likit and Dignitaries In Front of New Sala

The two forced draft charcoal fuelled furnaces for melting the bronze ingots were blazing away sending thick clouds of smoke into the late afternoon sky.  The oxygen required to raise the charcoal fire to the necessary temperature to melt the bronze was supplied by forcing air into the bottom of the fire by electrical blowers located at the side of each furnace.

Forced Draft Furnaces Ablaze - Melting Bronze Ingots

Tending to the Bronze Furnace

Small Molds for Statue Parts

The large temporary furnace around the statue mold had been dismantled  and replaced by metal pedestals at four corners to the mold.  Although the furnace was gone the remaining coals on the ground surrounding the mold were still giving off quite a bit of heat.

Heating Up the Tools for Casting Bronze

Many spectators were situated just inside the casting area along the east side.

Witnesses to a Casting

This was another family affair with the audience being people of all ages, in some cases four generations of a family.  Just before the actual start of the casting process, a sai sin, white cotton string, was unrolled and held by each of the witnesses.  The sai sin connects people, alive and dead, with the Monks and statues during many rituals of Theravada Buddhism.  The string, a sacred thread, brings good luck and good fortune to people while connecting the people to the spirit world.  On Sunday, the sai sin connected all the people - the lay people, the young, the old, the Monks, the dignitaries with the mold for the statue.

The casting process began with four Monks ascending and sitting in the lotus position on the large elevated rattan thrones laced in each corner of the casting area.  A small portion of the statue - the flame usnisa which is placed on top of the statue's head  to signify Buddha's enlightenment was cast with the assistance of the ranking dignitaries.  I assume that the small casting was the flame usnisa based upon the shape of the mold.  Of course my analysis is presupposed upon the notion that you can judge or at least determine a casting by its mold unlike not judging a book by its cover. The casting proceeded with the rhythmic and somewhat hypnotic chanting of the Monks filling the air.  Their voices disappearing into the late afternoon sky along with the disappearing pillars of grey and white smoke plumes of the casting process.

Casting the Flame Usnisa

The casting of the main part of the statue proceed rapidly and continuously after the formalities of the flame usnisa.  Time and the cooling effects of open air are the enemies of making high quality castings.  Bronze melts at 1,700F and is poured into the hot mold to ensure that it remains free flowing throughout the mold and to prevent is from freezing.

Awaiting the Word to Commence Pouring the Statue

The casting crew manned their work stations - four men at the top pouring platform level, four at the intermediate level, and two people to carry the crucibles from the furnaces to the staging area and from the staging area to the intermediate level.

Under the Thai Buddhist Flag (Dhamakra Flag) and Sai Sins, Workers Top Off the Bronze Pour

After the main pour had been topped off, the dignitaries walked clockwise around the mold tossing offerings of flower petals on the mold.  After the dignitaries had completed their circumambulation, Luang Por Pohm Likit with the assistance from one of the casting crew sprinkled the mold with water  - akin to blessing the mold with holy water but more like transferring the merit of the proceeding ritual with the statue.

After completing the blessing of the cast statue, Luang Por Pohm Likit blessed (transferred merit) the crowd by sprinkling water upon them with a reed brush made specifically for that purpose.  As typically happens, I got a heavy dose of water and three taps to the head - much to the delight of the crowd.  I suspect that this is a sort of Buddhist evangelizing or proselytizing ... they do not try to persuade people to become Buddhists leaving it to individual choice - "up to you" but I suspect a little extra water and three taps (the Buddhist three gems - Buddha, the teaching of Buddha, and the Sanga (Buddhist religious community) are offered as encouragement.

Blessing the Crowd

The ritual was now completed.  I looked at my watch and noted that it was 5:02 P.M.!  It was very fortunately that I had listened to my or whosever voice that I was hearing back at our home.  Well as Duang reminds me "Thailand not same, Amireeka"

As we left the Wat, I stopped by the worker's accommodation and had some fun with the supervisor who I had gotten to know.  I looked at him and pointed at my watch and then at the completed cast statue.  I told him in Thai that I did not understand.  I told him it was 100% at 5:00 P.M. not 0% like he told me.  He instantly knew that I was joking with him.  I told him that I was happy that Buddha told me to go to the Wat at 3:45 P.M. not 5:00 P.M.!

I then had Duang ask him when the plaster mold would be removed from the casting and the statue placed in the sala.  He told us it would be 8:00 A. M. the next morning.  I asked twice to confirm that it was 8:00 A.M. the next morning and not 8:00 P.M. that night or the next night.  I reminded him about his telling me 5:00 P.M. for today's casting when it actually ended up being 4:00 P.M. - "Thailand not same Amireeka".  We all enjoyed a good laugh, said goodbye , and promised to return the next day at 8:00 A.M.

Casting the Wat's New Buddha Statue - Day #1



One of the many signs directing visitors to Wat Ban Maet

The casting of the Buddha statue for the new sala at Wat Ban Maet was a two day event, Saturday 31 January and Sunday 1 February.

We arrived at the Wat around 9:30 A.M., our typical time for the daily merit making ritual of offering food to Luang Por Pohm Likit and the samanen who also stays at the Wat.

I had not been out to the Wat for about three weeks and was surprised at all the work that had been accomplished during that time.  Two large plots of land off to the side of the new sala had been cleared and leveled for use as parking lots.  Even at the relatively early hour of 9:30 A.M., the lots were fairly well filled with vehicles.

In front of the sala, there was a large area cordoned off with panels constructed from freshly cut bamboo, strings, and pakamas.  Archways that provided access to this impound area were located on the narrow dirt road that runs past the Wat and another archway was opposite the first leading directly to the sala.  The archways were created from tall bamboo poles and very intricate weaving of colored string to create three dimensional shapes.  Offerings of banana stalks, coconuts, turban squashes were placed on the sides of the arches.  Thai flags and the Dharmakra flag (the Thai Buddhist flag) flew from the vertical supports of each panel.  Scallop shell wind chimes were attached to the corner supports.  I am certain that these items were related to ancient Animist beliefs as well as rituals.

I was intrigued by the handcrafted panels that surrounded the casting area.  They reminded me of a combination of large scale macramé and large scale "dream catchers" favored by hippies and new age people back in the USA.  I asked Duang about them.  She said that the crew who were going to cast the Buddha statue had made them and set them up.  She added that some of the people at the Wat had helped to make them.

Security Fence?

Panel with an Origami rosette made from a Pakama

A Design Utilizing Different Diameter Yarns

Tonight, in preparing to write this blog entry, I asked Duang for more detail about these fabric sculptures, dream catchers, macramé or whatever they are.  Duang told me that they were "Sirimohnkhun". 

Many times there are issues in learning and understanding some of the things that I observe here.  The first issue is Thai as well as Lao our tonal languages - for many words there are five different ways to say them and hear them. Each of the five ways of saying the word has completely different and highly unrelated meanings.  For 65 years my world has been basically a monotonic world with only an inflection at the end of a sentence if asking a question. On a good day, a VERY GOOD day I may be able to hear three of the five ways to say a Thai word.

There are often more than one way to spell Thai words, even if you correctly hear them first.  Many tourists as well as resident expats have been confused reading road maps and street signs in Thailand due to different or unique English  translations.

Another issue is Duang not being a native English speaker and she is not able to write English just as can not read or write Thai.  This does not present any major difficulties in our daily life but is an issue when trying to learn and understand cultural differences.

I tried through Google to learn more about "Sirimohnkhun", "Sirimonkun", "Silimongkhun" or was it "Silimonkun"? to no avail.

According to Duang "Sirimohnkhun" are good for lor paht - same same lor paht, lor paht #1 Buddha in Thailand, good luck for people, good for everything"  Now you know as much as I do.

There were many women at the Wat on Saturday.  They were participating in a two night religious retreat.  Duang participated in three of them during the past Vassa, Buddhist Rain Retreat.  During the religious retreat the women listen to religious sermons and readings by the Monks.  The women also do a great deal of chanting day and night.  The woman are supposed to stay awake the entire period but many end up falling asleep in their little tents that are meant for resting and meditating.

The women, known as "chi pohm" during the retreat, followed the Monks for the Tak Bart ritual.  Lay people, family and friends offered them food for their one meal of the day.

A Chi Pohm Accepts A Food Offering

After eating their meal, the chi pohm returned to the old sala to chant and participate in rituals lead by the Monks.  Other women, dressed in white for the serious nature of the day, busied themselves preparing for the next day's activities.

Women Making Centerpieces for the Next Day's Rituals

Hand Made Baii Sii Kuwan - banana leaves and jasmine buds

Off to the side in the cordoned off area, there was a pavilion where tables and chairs had been set up.  Men sat at the table selling gold for casting the statue.  There were ingots of various weights on sale for 200, 300, 500, and 1,000 baht ($30.00 USD).  People paid for the metal and their name and the amount of their donation was recorded in a ledger - just as is done for weddings, funerals, monk ordinations, tambon roy wan (death anniversary) and special fund raising events at the Wats.

I went up to the tables to check out the gold.  I lifted up the ingots and was fairly certain that they were not gold.  The ingots were not as heavy as lead ingots of roughly the same size that I was familiar with.  I am also familiar with gold ingots fresh out of the smelter from my construction engineering career.  I then banged a couple of the ingots together and created a high pitched ping sound rather than the expected low bass thud of gold.  I was now convinced that the metal was not gold but more likely some type of copper alloy.  It then occurred to me that the casting metal was actually bronze - 90% copper and 10% tin with will create a "gold color" statue for a great deal less money.

Next to the metal desk, there was a tree which had many thin rectangles of gold and silver dangling in the breeze.  The thin metal disks, copper and tin, were embossed with writing and symbols.  People paid a small amount for each piece.  They removed the piece of their choice and used one of three available 16d nails to write their name, and birth date, number- month- year, on the metal.  Some people were not able to write, so a local man who is a policeman took the information from their national ID card and wrote it for them

Once a piece was completed, it was returned to the tree.  The next day, the completed pieces would be melted with the ingots to bring good luck and fortune to the donor.

Completed Metal Offerings

In the center of the casting area, a temporary furnace was blazing.  The mold for the Buddha statue had been placed upside down with the furnace built around it.  A large wood fueled fire was maintained in the furnace to cure the mold and drive out all moisture prior to casting the next day.

Temporary Furnace Blazing Away

Statue Mold Inside of Furnace

Off to the side of the furnace there were two smaller furnaces set up with crucibles inside of them for melting the ... bronze ingots.  These furnaces would be fuelled by lump charcoal with forced draft created by electrical fans.

Crucibles with some Metal Offerings

Crucibles Loaded For Melting the Next Day

We returned to our home at 5:30 P.M. to rest, sleep and prepare to return the next morning for the big pour and ceremony.