JPJ HARUS BERTIMBANG RASA UNTUK MEMBERI PELUANG KEPADA RAKYAT MALAYSIA UNTUK LULUS DALAM UJIAN.

Saya sebagai rakyat malaysia yang berketurunan thai memberi pandangan saya kepada JPJ supaya ada sifat bertimbang rasa untuk memberi lulus dalam ujian bertulis.Sepatutnya pihak JPJ harus mengambil hati rakyat jangan memberi satu hampa kerana mereka pun manusia biasa tidak boleh dapat menerima dalam sesuatu pelajaran.Janganlah anggap sekiranya gagal bagi gagal lagi.Bagi pandangan saya JPJ harus memberi kelonggaran untuk lulus dalam ujian bertulis tidak kiralah sama ada kereta,motorsikal,lori,bas dan lain-lain lagi.JPJ harus bertimbang rasa kepada masyarakat.Bagi saya JPJ adalah sifat hati yang kering dan tidak memberi kemanusiaan seperti contoh saya ambil 2 kali tapi gagal apa semua jawapan yang saya berikan pada soalan objektif semua jawapan yang betul dan tepat.Bagi pandangan saya JPJ tidak ada sifat yang boleh bertolak ansur makan duit orang dan terima rasuah.Sepatutnya pihak JPJ harus memberi peluang kepada calon ambil percubaan sekali lagi.Ini tidak sekiranya gagal kena bayar duit lagi sebanyak RM 30.00 untuk ambil ujian bertulis bagi GDL.Bagi pandangan saya undang-undang malaysia adalah gila.Tamak duit rakyat,kehadarah duit rakyat cukup tak guna kerajaan malaysia

EMBLEM THAILAND.

The National Emblem (National Symbol) of Thailand features the Garuda, a figure from both Buddhist and Hindu mythology. In Thailand, this figure is used as a symbol of the royal family and authority. This version of the figure is referred to as Krut Pha, meaning "garuḍa acting as the vehicle (of Vishnu)." The National Emblem is also the Emblem of the King of Thailand.
The Garuda also features in the coat of arms of Indonesia and the city of Ulan Bator (the capital of Mongolia). The coat of arms of Indonesia is different from that of Thailand in one respect, because Emblem of Thailand does not feature a heraldic shield.

Contents [hide] 1 History 2 Gallery 3 Coat of arms of Siam 1873-1910 4 Emblem of the House of Chakri 5 References 6 External links 7 See also

[edit] History

In 1873, King Chulalongkorn designed a coat of arms for use in Siam (the old name for Thailand), in the western heraldic style. Forty years later, he decided that the coat of arms was too westernized and lacked any image of the Garuda (which the kings of the Ayutthaya Kingdom had used as symbol of their power).
He then ordered his brother Prince Naris to make a new emblem in place of the coat of arms. At first, Naris had designed an emblem featuring Garuda, Naga and Vishnu inside a circle. The emblem was only used for a short while before the king suggested Naris removed the images of Vishnu and Naga.
After Chulalongkorn's reign, King Vajiravudh ordered Phra Dhevabhinimit (Thai: พระเทวาภินิมมิต (ฉาย เทียมศิลปชัย)) to create a new emblem. The new one featured Chulalongkorn's emblem, but encircled it to create an outer rim, which contained the royal ceremonial name. Upon coronation of a new king, the royal emblem is changed to correspond with the name of the new king. After the abdication of King Prajadhipok in 1935, King Ananda Mahidol succeeded to the throne, but he was never crowned, so a new emblem was not created and Chulalongkorn's emblem was used instead.
Today, an image of Garuda without the circle around it is used as the emblem of Thailand. It is printed at the top of official documents and letters. Garuda sculptures are given by king as a royal warrant to any reliable and lawful companies who made trade contract with royal household and request so.

[edit] Gallery

• 

  Seal of Siam, which featured Garuda, Naga and Lord Vishnu. It was used as a royal seal before Rama V's reign.
  
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  Seal of Siam. Drawn by Prince Naris to replace the coat of arms. It was only used for a short period.
  
• 

  Current version of Seal of Thailand. This version is used as the center part of the Thai royal seal, which is made by adding king's ceremonial name around it.
  
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  Garuda sculpture, which is given by king of Thailand as a royal warrant.
  
• 

  Emblem of Thailand as appeared in front of Royal Thai Embassy in Prague, Czech Republic.
  

[edit] Coat of arms of Siam 1873-1910

Royal coat of arms of Siam พระราชลัญจกรประจำแผ่นดินสยาม
Versions
Version as appeared on state document
Details
Armiger	Chulalongkorn the Great
Adopted	1873-1910
Crest	Great Crown of Victory and the Emblem of the Chakri Dynasty
Escutcheon	Airavata , White Elephant and two Krises
Supporters	Kojasiha and Rajasiha
Compartment	Golden Royal seat
Motto	สพฺเพสํ สงฺฆภูตานํ สามคฺคี วุฑฺฒิ สาธิกา
Orders	The Order of the Nine Gems and the Order of Chula Chom Klao
Other elements	The Royal Regalia of Thailand
Use	On all official documents and letters issued by Government of Siam in the Fifth reign.

From 1873 to 1910 Thailand (then known as Siam) had a heraldic style coat of arms as a national emblem. The coat of arms was created during the reign of King Chulalongkorn (Rama V), who ordered his cousin His Highness Prince Pravij Jumsai to draw up a European style coat of arms in 1873.
The Coat of Arms of the Kingdom of Siam (พระราชลัญจกรประจำแผ่นดินสยาม), follows and contains almost all components and elements of the European heraldic tradition. The escutcheon or Shield, is divided into three quadrants. The first (chief) quadrant depicts a mythological three-headed white elephant, or Erawan (เอราวัณ) (in Hindu mythology called Airavata) the vehicle of the god Indra, the creature is set on a yellow field. This quadrant represents the Kingdom of Siam and the Thai heartland, the three heads of the elephant represents the northern, central and southern Siam. The lower left quadrant (dexter base) depicts a white elephant in front of a red field. This quadrant represents the Laotian suzerainty (the symbol comes for its native name "Lan Xang", land of the million elephants.). The lower lower right quadrant (sinister base) depicts two crossed krises (one with and one without a scabbard) on a pink field, this represents the Malay suzerainty to the south.
Above the shield is the symbol representing the Chakri Dynasty, a disc and a trident (chakra and trisula). The shield is then surrounded by the chain of the Ancient and Auspicious Order of the Nine Gems (representing Buddhism) with a chain and pendant from the Most Illustrious Order of Chula Chom Klao (featuring a portrait of King Chulalongkorn).
The arms contains all of the six Royal Regalia of Thailand. Firstly the shield is crowned by the Great Crown of Victory, with a rays of light emitting from the 'Phra Maha Wichian Mani'; a diamond set atop the crown. Besides the shield are two seven-tiered Royal Umbrellas. Crossed behind the shield is the Sword of Victory to the left and the Royal Staff to the right. In front of the them are the Royal Fan and Flywhisk (to the right and left, respectively). And finally on the compartment, a golden multi-layered base with a blue top, are the Royal Slippers, a pair of golden 'Indian' slippers.
The motto is written in gold on a red and green ribbon at the bottom of the arms. The motto, which is written in the Pali language in Thai script reads: "สพฺเพสํ สงฺฆภูตานํ สามคฺคี วุฑฺฒิ สาธิกา" (Romanization: "Sabbesam Sanghabhutānam Sāmaggī Vuḍḍhi Sādhiga."), translated as:"Unity brings happiness". The supporters of the arms are two mythical creatures, clad in regalia. To the left of the shield (dexter) is an elephant lion (a lion with a trunk) or a 'Kojasiha' (คชสีห์). To the right of the shield (sinister) is a king of the lions the 'Rajasiha' (ราชสีห์). The two supporters represents the two ancient departments of Kalahom (Kojasiha) and Mahatthai (Rajasiha).
The Kalahom ministry is the department of the Military and the south, while the Mahatthai ministry is department of the civil service and the north, both vital in the administration of the Kingdom. Finally the mantle of the arms is the cloak of the Order of Chula Chom Klao, tied with pink ribbons (pink being the colour of Tuesday, the day of Chulalongkorn's birth).

Emblem of the Chakri Dynasty, depicting the Chakra and Trisula.

When Vajiravudh succeeded his father as King Rama VI in 1910, he decided to replace the coat of arms with the current emblem. This was because the arms were too Westernized (at the time the King was trying to bolster Siamese Nationalism). Together with the fact that Siam by 1910 has lost the entirety of Laos to the French Empire (1893 and 1904) and the northern Malay States to the British Empire (1909).
Today the Coat of arms is still used as the cap-badge of the Royal Thai Police and is the official symbol of the Chulachomklao Royal Military Academy.

[edit] Emblem of the House of Chakri

The House of Chakri founded in 1782 by King Buddha Yodfa Chulaloke (or King Rama I) became the Royal House of Siam, and then later Thailand. King Rama I himself choose both name and the emblem for the dynasty. The Chakra which provides both name and the pictoral representation to the House of Chakri, is composed of the discus (Chakra) and the trident (Trisula), the celestial weapons of the Gods Narayana and Shiva respectively. The Siamese King is seen as a personification of the former. The coined name Chakri thus denotes the transcending force of divine strength and stability upon the physical realm.

THAI NATIONAL ANTHEM.

he national anthem of Thailand was adopted on 10 December 1939. The melody was composed by Phra Jenduriyang (Peter Feit) and the words are by Luang Saranuprapan. Phleng Chat (Thai: เพลงชาติ), literally meaning "national anthem", is a general word for national anthem. Phleng Chat Thai (Thai: เพลงชาติไทย), Thailand's national anthem, is also used to refer to this specific song.
The anthem was composed a few days after the 1932 coup in the very similar tune to the national anthem of Poland, Poland Is Not Yet Lost, and was first broadcast in July 1932. The original lyrics were by Khun Wichitmatra.
In 1934, Thai Government launched the competitions for the official national anthem, both with music and lyrics. For the music, Jangwang Tua Patayakosol composed another tune in a more traditional style called "Phleng Maha Nimit" for making the decision to the government but they still selected Phra Jenduriyang's melody because it sounded more modern. After that, in the competition for the lyrics with Phra Jenduriyang's music, the original words by Khun Wichitmatra won the first prize and still used as an official lyrics with, however, a minor edit and an additional version which wrote by Chan Khamvilai and won the second prize.^[1][2][3]
In 1939, when the name of the country was changed from Siam to Thailand, a competition was launched to create new lyrics, with those by Luang Saranuprapan winning. Prime minister Phibunsongkhram ordered the anthem to be played every day at 8.00 and 18.00, and ordering the populace to stand up to show respect for the nation. That law is still in force today.

Contents [hide] 1 Thai lyrics and transcription 2 English translation 3 See also 4 References 5 External links

[edit] Thai lyrics and transcription

Thai lyrics	Thai transcription (RTGS)
ประเทศไทยรวมเลือดเนื้อชาติเชื้อไทย	prà-thêt thai ruam lûeat-núea chât chúea thai,
เป็นประชารัฐ ไผทของไทยทุกส่วน	pen prà-cha rát, phà-thai khŏng thai thúk sùan,
อยู่ดำรงคงไว้ได้ทั้งมวล	yù dam-rong khong wái dâi tháng muan,
ด้วยไทยล้วนหมาย รักสามัคคี	dûay thai lúan măi, rák să-mák-khi,
ไทยนี้รักสงบ แต่ถึงรบไม่ขลาด	thai ní rák sà-ngòp, tàe thŭeng róp mâi-khlàt,
เอกราชจะไม่ให้ใครข่มขี่	èk-kà-rât chà mâi hâi khrai khòm khì,
สละเลือดทุกหยาดเป็นชาติพลี	sà-là lûeat thúk yàt pen chât phli,
เถลิงประเทศชาติไทยทวี มีชัย ชโย	thà-loeng prà-thêt chât thai thá-wi mi chai chá-yo.

[edit] English translation

Thai People stand up to show respect for their national anthem.

First English translation	Second English translation	Third English translation
Thailand unites flesh and blood of Thais,	Thailand unites its people with flesh and blood,	Thailand embraces in its bosom all people of Thai blood ,
Nation of the people; belonging to the Thais in every respect.	Land of Thailand belongs to the Thais.	Every inch of Thailand belongs to the Thais.
Long maintained [has been] the independence,	Long maintained its sovereignty,	It has long maintained its sovereignty,
Because the Thais seek, and love, unity.	All Thais intend to unite together.	Because the Thais have always been united.
Thais are peace-loving, But at war we're no cowards.	Thais are peace-loving, no cowards at distress.	The Thai people are peace-loving, But they are no cowards at war.
Sovereignty will not be threatened.	They shall allow no one to rob them of freedom.	Nor shall they suffer tyranny.
They will sacrifice every drop of their blood to contribute to the nation,	Sacrificing every drop of blood for the nation,	All Thais are ready to give up every drop of blood ,
Hail the nation of Thailand, long last the victory, Hurrah.	They will serve their country with pride and prestige, full of victory. Chai Yo (Cheers).	For the nation's safety, freedom and progress.

[edit]

HISTORY LOY KRATHONG.

Fireworks and large rafts on the Chao Phraya River, Loi Krathong Festival of Light, Bangkok, November 2004

Loi Krathong takes place on the evening of the full moon of the 12th month in the traditional Thai lunar calendar. In the western calendar this usually falls in November.
"Loi" means "to float" and a "krathong" is traditionally made from a section of banana tree trunk. Modern krathongs are more often made of bread or styrofoam. A bread krathong will disintegrate in a few a days and be eaten by fish and other animals. The traditional banana stalk krathongs are also biodegradable, but styrofoam krathongs are frowned on, since they are polluting and may take years to disappear. Regardless of the composition, a krathong will be decorated with elaborately-folded banana leaves, flowers, candles and incense sticks. A low value coin is sometimes included as an offering to the river spirits.
During the night of the full moon, Thais will float their krathong on a river, canal or a pond lake. The festival is believed to originate in an ancient practice of paying respect to the spirit of the waters. Today it is simply a time to have fun.
Governmental offices, corporations and other organizations usually create big decorated rafts. There are also local and officially organised raft competitions, regarding its beauty and craftsmanship. In addition, there are also fireworks and beauty contests during the celebration of the festival.
The origins of Loi Krathong are stated to be in Sukhothai, but recently scholars have argued that it is in fact an invention from the Bangkok period.^[1] According to the writings of H.M. King Rama IV in 1863, the originally Brahmanical festival was adapted by Buddhists in Thailand as a ceremony to honour the original Buddha, Siddhartha Guatama. Apart from venerating the Buddha with light (the candle on the raft), the act of floating away the candle raft is symbolic of letting go of all one's grudges, anger and defilements, so that one can start life afresh on a better foot. People will also cut their fingernails and hair and add them to the raft as a symbol of letting go of the bad parts of oneself. Many Thai believe that floating a raft will bring good luck, and they do it to honor and thank the Goddess of Water, Phra Mae Khongkha (Thai: พระแม่คงคา).
The beauty contests that accompany the festival are known as "Nopphamat Queen Contests". According to legend, Nang Nopphamat (Thai: นางนพมาศ; alternatively spelled as "Noppamas" or "Nopamas") was a consort of the Sukothai king Loethai (14th century) and she had been the first to float a decorated raft. However, this is a new story which was invented during the first part of the 19th century. There is no evidence that a Nang Nopphamat ever existed. Instead it is a matter of fact that a woman of this name was instead the leading character of a novel released during the end of the reign of King Rama III – around 1850. Her character was written as guidance for all women who wished to become civil servants.
Kelantan in Malaysia also celebrates the same celebration, especially in the Tumpat area. The ministry in charge of tourism in Malaysia recognises it as an attraction for tourists. Many people visit the celebration each year.

[edit] Yi Peng

Thousands of Khom Fai in Mae Cho, Chiang Mai

Loi Krathong coincides with the Lanna (northern Thai) festival known as "Yi Peng" (Thai: ยี่เป็ง). Due to a difference between the old Lanna calendar and the Thai calendar, Yi Peng is held on a full moon of the 2nd month of the Lanna calendar ("Yi" meaning "2nd" and "Peng" meaning "month" in the Lanna language). A multitude of Lanna-style sky lanterns (khom loi (Thai: โคมลอย), literally: "floating lanterns") are launched into the air where they resemble large flocks of giant fluorescent jellyfish gracefully floating by through the sky. The festival is meant as a time for tham bun (Thai: ทำบุญ), to make merit. People usually make khom loi from a thin fabric, such as rice paper, to which a candle or fuel cell is attached. When the fuel cell is lit, the resulting hot air which is trapped inside the lantern creates enough lift for the khom loi to float up in to the sky. In addition, people will also decorate their houses, gardens and temples with khom fai (Thai: โคมไฟ): intricately shaped paper lanterns which take on different forms. Khom thue (Thai: โคมถือ) are lanterns which are carried around hanging from a stick, khom khwaen (Thai: โคมแขวน) are the hanging lanterns, and khom pariwat (Thai: โคมปริวรรต) which are placed at temples and which revolve due to the heat of the candle inside. The most elaborate Yi Peng celebrations can be seen in Chiang Mai,^[2] the ancient capital of the former Lanna kingdom, where now both Loi Krathong and Yi Peng are celebrated at the same time resulting in lights floating on the waters, lights hanging from trees/buildings or standing on walls, and lights floating by in the sky. The tradition of Yi Peng was also adopted by certain parts of Laos during the 16th century.

[edit] Gallery

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  Loi Krathong 2007 at Lumpini Park in Bangkok
  
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  Loi Krathong 2007 at Lumpini Park in Bangkok
  
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  Loi Krathong 2007 at Lumpini Park in Bangkok
  
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  Letting a Khom Fai float in to the air at the Yi Peng festival in Mae Cho, Chiang Mai
  

PARTI DEMOKRAT THAILAND ABHISIT.

Saya sebagai rakyat malaysia yang berketurunan thai malaysia berdoa semoga abhisit menang dalam pilihan raya yang akan datang.Saya sebagai rakyat thai menyokong abhisit perdana menteri thailand.

KERAJAAN MALAYSIA MENZALIMI RAKYAT SERTA TINDAS RAKYAT.

Saya sebagai rakyat malaysia yang berketurunan thai memberi satu mukadimah saya kepada kerajaan malaysia tidak mempunyai sikap terhadap rakyat malaysia.Jika hendak ikutkan di dalam kitab AL-Quran telah sebut bahawasanya hadis tersebut telah menerangkan akan datang suatu masanya nanti para pemimpin selalu membuat dusta penipu peraturan atau menyuruh rakyatnya mentaati peraturan tapi mereka sendiri sering melakukan kesalahan.Bahkan para pemimpin melanggar peraturan tersebut.Mereka juga melakukan perkara-perkara yang tidak di setujui oleh rakyatnya.Bagi pandangan saya penerangan di atas adalah benar seperti contoh kerajaan hari ini terlampau menzalimi rakyat seperti contoh barang naik harga yang melambung tinggi,pemimpin menipu rakyat,makan duit rakyat dan sebagainya.Saya tidak menuduh sesiapa pun.Bagi saya apa yang hadis sebutkan tadi memang benar seperti contoh kemahuan kuat untuk mencapai kedudukan politik kemudian terjadinya  kediktatoran di kalangan rakyat untuk berusaha dengan cara apa pun dalam mencapai apa yang diinginkan dengan cara memakai wang,pujuk dan janji-janji kata yang manis kepada rakyat.Jadilah pemimpin diktator dalam pemerintahan yang cukup menzalimi kepada rakyatnya.Apabila menang dalam sesuatu parti suara rakyat tidak di hiraukan lagi.Apa yang rakyat cakap tak di layan selain  dari pada itu tidak mengambil peduli.Bagi pandangan saya apa yang hadis sebut adalah benar dan tepat sekali.Bagi saya apa yang cerita ini adalah benar sekali.

HISTORY CLASSICAL MUSIC THAILAND.

The music of Thailand reflects its geographic position at the intersection of China and India, and reflects trade routes that have historically included Persia, Africa, Greece and Rome. Thai musical instruments are varied and reflect ancient influence from far afield - including the klong thap and khim (Persian origin), the jakhe (Indian origin), the klong jin (Chinese origin), and the klong kaek (Indonesian origin).
Though Thailand was never colonized by colonial powers, pop music and other forms of modern Asian, European and American music have become extremely influential. The two most popular styles of traditional Thai music are luk thung and mor lam; the latter in particular has close affinities with the Music of Laos.
Aside from the Thai, ethnic minorities such as the Lao, Lawa, Hmong, Akha, Khmer, Lisu, Karen and Lahu peoples have retained traditional musical forms.

Contents [hide] 1 Classical music 2 Piphat 3 Khruang Sai 4 Mahori 5 Traditional or folk 5.1 Luk thung 5.2 Mor Lam 5.3 Kantrum 6 Pop and rock 6.1 Phleng pheua chiwit 6.2 String 7 Indie 8 See also 9 References 10 External links

[edit] Classical music

Siamese theater group which performed in Berlin, Germany in 1900.

	"Kham Hom" ("Sweet Words") Wax cylinder recording of "Kham Hom", or "Sweet Words", performed by the theater group above.
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	"Sansoen Phra Barami" ("Royal Anthem") Wax cylinder recording of "Sansoen Phra Barami", the Thai Royal Anthem, performed by the theater group above.
Problems listening to this file? See media help.

	Thai classical music scale The seven-note scale of Thai classical music played on the ranat ek
Problems listening to this file? See media help.

Thai classical music is synonymous with those stylized court ensembles and repertoires that emerged in its present form within the royal centers of Central Thailand some 800 years ago. These ensembles, while being deeply influenced by Khmer and even older practices and repertoires from India, are today uniquely Thai expressions. While the three primary classical ensembles, the Piphat, Khruang Sai and Mahori differ in significant ways, they all share a basic instrumentation and theoretical approach. Each employ the small ching hand cymbals and the krap wooden sticks to mark the primary beat reference. Several kinds of small drums (klong) are employed in these ensembles to outline the basic rhythmic structure (natab) that is punctuated at the end by the striking of a suspended gong (mong). Seen in its most basic formulation, the classical Thai orchestras are very similar to the Cambodian (Khmer) pinpeat and mahori ensembles, and structurally similar to other orchestras found within the widespread Southeast Asian gong-chime musical culture, such as the large gamelan of Bali and Java, which most likely have their common roots in the diffusion of Vietnamese Dong-Son bronze drums beginning in the first century ACE.
Traditional Thai classical repertoire is anonymous, handed down through an oral tradition of performance in which the names of composers (if, indeed, pieces were historically created by single authors) are not known. However, since the beginning of the modern Bangkok period, composers' names have been known and, since around the turn of the century, many major composers have recorded their works in notation. Musicians, however, imagine these compositions and notations as generic forms which are realized in full in idiosyncratic variations and improvisations in the context of performance. While the composer Luang Pradit Phairau (1881–1954) used localized forms of cipher (number) notation, other composers such as Montri Tramote (1908–1995) used standard western staff notation. Several members of the Thai royal family have been deeply involved in composition, including King Prajatipok (Rama VII, 1883–1941) and King Bhumibol Adulyadej (1927–), whose compositions have been more often for jazz bands than classical Thai ensembles.
Classical Thai music is polyphonic and follows similar conventions to American Folk and Dixieland Music. Each instrument improvises within accepted idioms around basic lines of harmony or melody called paths. Rhythmically and metrically Thai music is steady in tempo, regular in pulse, divisive, in simple duple meter, without swing, with little syncopation (p. 3, 39), and with the emphasis on the final beat of a measure or group of pulses and phrase (p. 41), as opposed to the first as in European-influenced music. The Thai scale includes seven tempered notes, instead of a mixture of tones and semitones.

[edit] Piphat

Main article: Piphat

The most common and iconic Thai classical music that symbolizes the dancing of the Thailand's legendary dragons, a midsized orchestra including two xylophones (ranat), an oboe (pi), barrel drums (klong) and two circular sets of tuned horizontal gong-chimes (khong wong lek and khong wong yai). Piphat can be performed in either a loud outdoor style using hard mallets or in an indoor style using padded hammers. There are several types of piphat ensembles ranging in size and orchestration, each kind typically being associated with specific ceremonial purposes. The highly decorated piphat ensemble that features the ornately carved and painted semicircular vertical gong-chime is traditionally associated with the funeral and cremation ceremonies of the Mon ethnic group. Different versions of the piphat ensemble are employed to accompany specific forms of traditional Thai drama such as the large shadow puppet theater (nang yai) and the khon dance drama.

[edit] Khruang Sai

Main article: Khruang Sai

The Khruang Sai orchestra combines some of the percussion and wind instruments of the piphat with an expanded string section including the saw duang (a high-pitched two-string bowed lute), the lower pitched saw u (bowed lute) and the three-string jakhe (a plucked zither). In addition to these instruments are the khlui (vertical fipple flute) in several sizes and ranges, a goblet drum (taphon) and, occasionally, a small hammered Chinese dulcimer (khim). The khruang sai ensemble is primarily used for instrumental indoor performances and for accompanying the Thai hoon grabok (stick-puppet theater), a genre deeply influenced by Chinese puppetry styles. Accordingly, the addition of Chinese-sounding string instruments in the khruang sai ensemble is imagined, by the Thai, to be a reference to the probable Chinese origins of this theater form.

[edit] Mahori

Main article: Mahori

The third major Thai classical ensemble is the Mahori, traditionally played by women in the courts of both Central Thailand and Cambodia. Historically the ensemble included smaller instruments more appropriate, it was thought, to the build of female performers. Today the ensemble employs regular sized instruments—a combination of instruments from both the Khruang Sai and Piphat ensembles but excluding the loud and rather shrill oboe pi. The ensemble, which is performed in three sizes—small, medium and large—includes the three-string saw sam sai fiddle, a delicate-sounding, middle-range bowed lute with silk strings. Within the context of the Mahori ensemble, the so sam sai accompanies the vocalist, which plays a more prominent role in this ensemble than in any other classical Thai orchestra.
While Thai classical music was somewhat discouraged as being unmodern and backward looking during Thailand's aggressively nationalistic modernization policies of mid-20th century, the classical arts have benefited recently from increased governmental sponsorship and funding as well as popular interest as expressed in such films as Homrong: The Overture (2003), a popular fictionalized biography of a famous traditional xylophone (ranat ek) performer.

[edit] Traditional or folk

Main articles: Music of Cambodia and Traditional Thai musical instruments

[edit] Luk thung

Main article: Luk thung

Luk thung, or Thai country music, developed in the mid-20th century to reflect daily trials and tribulations of rural Thais. Pongsri Woranut and Suraphol Sombatcharoen were the genre's first big stars, incorporating influences from, Asia. Many of the most popular artists have come from the central city of Suphanburi, including megastar Pumpuang Duangjan, who pioneered electronic luk thung. The late 90's saw a commercial resurgence of Luk Thung, and the modern electrified, pop-influenced version of the genre remains the country's most popular music form.

[edit] Mor Lam

Main article: Mor lam

Mor lam is the dominant folk music of Thailand's north-eastern Isan region, which has a mainly Lao population. It has much in common with luk thung, such as its focus on the life of the rural poor. It is characterized by rapid-fire, rhythmic vocals and a funk feel to the percussion. The lead singer, also called a mor lam, is most often accompanied by the khaen, also known as khene.
There are about fifteen regional variations of mor lam, plus modern versions such as mor lam sing. Some conservatives have criticized these as the commercialization of traditional cultures.

See also: Music of Laos

[edit] Kantrum

The people of Isan are also known for kantrum, which is much less famous than mor lam. Kantrum is played by Khmer living near the border with Cambodia. It is a swift and very traditional dance music. In its purest form, cho-kantrum, singers, percussion and tro (a type of fiddle) dominate the sound. A more modern form using electric instrumentation arose in the mid-1980s. Later in the decade, Darkie became the genre's biggest star, and he crossed into mainstream markets in the later 1990s.

• Examples of traditional instruments
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  A music teacher in Mae On, near Chiang Mai, playing a sueng.
  
• 

  A group of musicians playing traditional Ranat.
  
• 

  A Khong wong lek being played.
  
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  Small Thon-rammana hand-drum.
  
• 

  Khene player in a sarong and pakama.
  

[edit] Pop and rock

See also: Thai rock

By the 1930s, however, Western classical music, showtunes, jazz and tango were popular. Soon, jazz grew to dominate Thai popular music, and Khru Eua Sunthornsanan soon set up the first Thai jazz band. The music he soon helped to invent along with influential band Suntharaporn was called pleng Thai sakorn, which incorporated Thai melodies with Western classical music. This music continued to evolve into luk grung, a romantic music that was popular with the upper-class. King Bhumibol is an accomplished jazz musician and composer.

[edit] Phleng pheua chiwit

Main article: Phleng phuea chiwit

By the 1960s, Western rock was popular and Thai artists began imitating bands like Cliff Richard & the Shadows; this music was called wong shadow, and it soon evolved into a form of Thai pop called string. Among the groups that emerged from this period was The Impossibles. The '70s also saw Rewat Buddhinan beginning to use the Thai language in rock music as well as the rise of protest songs called phleng pheua chiwit (songs for life).
The earliest phleng pheua chiwit band was called Caravan, and they were at the forefront of a movement for democracy. In 1976, police and right wing activists attacked students at Thammasat University; Caravan, along with other bands and activists, fled for the rural hills. There, Caravan continued playing music for local farmers, and wrote songs that would appear on their later albums.
In the 1980s, phleng pheua chiwit re-entered the mainstream with a grant of amnesty to dissidents. Bands like Carabao became best-sellers and incorporated sternly nationalistic elements in their lyrics. By the 1990s, phleng pheua chiwit had largely fallen from the top of the Thai charts, though artists like Pongsit Kamphee continued to command a large audience.

[edit] String

Main article: String (Thai pop)

String pop took over mainstream listeners in Thailand in the 90s, and bubblegum pop stars like Christina Aguilar, Bird Thongchai McIntyre and Asanee-Wasan became best-sellers. Simultaneously, Britpop influenced alternative rock artists like Modern Dog, Loso, Crub and Proud became popular in late 1990s. In 2006, famous Thai rock bands include Clash, Big Ass, Bodyslam and Silly Fools. The late 90's saw pop overshadowed by the remarkable commercial resurgence of Luk Thung, but modern Luk Thung has also adopted some elements from the pop acts.

[edit]

BURMESE -SIAMESE WAR(1548-1549).

he Burmese–Siamese War (1548–1549) (Burmese: ယိုးဒယား-မြန်မာစစ် (၁၅၄၈-၁၅၄၉); Thai: สงครามพม่า-สยาม พ.ศ. 2091 or Tabinshwehti's war (สงครามพระเจ้าตะเบ็งชเวตี้)) was the first war fought between the Toungoo Dynasty of Burma and the Ayutthaya Kingdom of Siam, and the first of the Burmese–Siamese wars that would continue until the middle of the 19th century. The war is notable for the introduction of early modern warfare to the region. It is also notable in Thai history for the death in battle of Siamese Queen Suriyothai on her war elephant; the conflict is often referred to in Thailand as the War that Led to the Loss of Queen Suriyothai (สงครามคราวเสียสมเด็จพระสุริโยไท).
The casus belli have been stated as a Burmese attempt to expand their territory eastwards after a political crisis in Ayutthaya^[1] as well as an attempt to stop Siamese incursions into the upper Tenasserim coast.^[2][3] The war began when a Burmese invasion force led by King Tabinshwehti and his deputy Bayinnaung invaded Siam through the Three Pagodas Pass. The Burmese forces penetrated up to the capital city of Ayutthaya but could not take the heavily fortified city. One month into the siege, Siamese counterattacks broke the siege, and drove back the invasion force. But the Burmese negotiated a safe retreat in exchange for the return of two important Siamese nobles (the heir apparent Prince Ramesuan, and Prince Thammaracha of Phitsanulok) whom they had captured.
The successful defense preserved Siamese independence for 15 years. Still, the war was not decisive. The next Burmese invasion in 1563 would force a Siamese surrender in 1564, and make Ayutthaya a vassal state of Burma for the first time. A Siamese revolt in 1568 would provoke a subsequent invasion, which resulted in the first-ever military capture of the capital in 1569, cementing Burmese rule for 15 years.

Contents [hide] 1 Background 1.1 Rise of Tabinshwehti 1.2 Battle at the border 1.3 Crisis in Ayutthaya 2 Invasion 3 Death of the queen 4 Attack on Ayutthaya 5 Retreat 6 Legacy 7 Media 8 See also 9 Notes 10 References

[edit] Background

[edit] Rise of Tabinshwehti

The Shwemawdaw Paya in Pegu (modern day Bago, Myanmar), the city became Tabinshwehti's new capital.

In 1486, the Governor of the Burmese city of Taungoo rebelled against his overlord at Ava, and crowned himself King Minkyinyo, establishing the Taungoo Dynasty and a new kingdom.^[4] His rebellion resulted in turmoil and conflict between rival factions within the Kingdom of Ava, which had been the dominant state in central Burma since 1364. The Saopha lords of the Shan States in the north saw an opportunity to invade, capturing Ava and annexing its territories in 1527.^[5] Dissatisfied with Shan rule, many of the Burmese nobility and commoners migrated with their families to Taungoo, thus turning it into a yet more powerful state.^[6][7]
In 1531, Minkyinyo died and his son Tabinshwehti succeeded him as King of Taungoo. In 1535, Tabinshwehti attacked the prosperous but declining southern Mon Kingdom of Hanthawaddy (commonly referred to as Pegu).^[7] By 1538, the majority of Mon territories, including the city of Pegu, were under Tabinshwehti's control.^[8] In 1539, he made Pegu his capital, and thenceforward was styled King of Pegu (or Hanthawaddy). The great Burmese towns of Prome and Martaban soon fell to his forces.^[9]
During these wars, Tabinshwehti's most able commander was a childhood friend, a son of his wet nurse. After marrying the King's sister Princess Thakhingyi, the general was given the name of Bayinnaung Kyawhtin Nawrahta (ဘုရင့်နောင်ကျော်ထင်နော်ရထာ) or Bayinnaung, which means 'Royal Brother-in-law'. Later, he was also made heir apparent and Crown Prince.^[7][9] Significantly for the Siamese, for the first time Burma and Siam shared a common border.

[edit] Battle at the border

In 1538, Tabinshwehti captured the Mon town of Gyaing (in Burmese—Chiang Kran in Thai), a Siamese tributary state on the border between Siam and Burma.^[10] Ayutthaya's King Chairacha (in full, Chairachathirat) mobilized his forces and moved towards Chiang Kran in November. Ayutthaya at that time had about 130 Portuguese mercenary-traders, and Chairacha retained 120 of these men to aid his campaign.^[11]
After the successful recapture of the town, the Siamese king, clearly impressed, praised the Portuguese for his victory. He rewarded them with a land grant, south of the city of Ayutthaya and east of Khlong Takhian canal at Ban Din, to erect St. Dominic's Church, the first permanent place of Christian worship in the kingdom.^[12] They also received permission to built their homes and factories near the new church.^[11] Prince Damrong Rajanubhab in his history, Our Wars With The Burmese (1917), called this battle "the first in which the Siamese and Burmese came to cross swords during the time when Ayutthaya was the capital of Siam".^[13]

[edit] Crisis in Ayutthaya

Ruins of the Royal Palace of Ayutthaya, in the Ayutthaya Historical Park, Phra Nakhon Si Ayutthaya Province. The stupas of the royal chapel (Wat Phra Si Sanphet) is in the background.

King Chairacha of Ayutthaya was a scion of the Suphannaphum Dynasty, which took control of Siam from the Uthong Dynasty in 1409. He came to the throne in 1533 after usurping the crown of his five-year-old nephew, Phra Ratsadathirat, who had reigned for only four months.^[14] The boy's father was King Borommarachathirat IV, Chairacha's half-brother. The child-king was subsequently executed by his uncle.^[15] King Chairacha died in 1546 after reigning for thirteen years, leaving the throne to his eleven-year-old-son, Prince Kaeofa, who was crowned King Yot Fa.^[16]
As the new king had not come of age, the role of regent was assumed by his mother, Chairacha's chief consort (sometimes referred to as queen) Si Sudachan (ศรีสุดาจันทร์, also spelled Sri Sudachan), who was a descendant of the Uthong royal house. Chairacha's half-brother and Uparaja, Prince Thianracha, was another contender for the regency. To avoid court intrigues and conflict with Si Sudachan, Prince Thianracha retreated to a monastery as a monk.^[16] It was said that even before the previous King's death, Si Sudachan was having an adulterous relationship with a paramour styled Khun Chinnarat, who was keeper of the Royal chapel or cloister (หอพระเทพบิดร, Ho Phra Thep Bidon) within the Royal Palace of Ayutthaya. Fernão Mendes Pinto, a contemporary Portuguese explorer, recorded a rumour alleging that Si Sudachan had poisoned her husband in order to take control of the throne, and perhaps to restore the fallen House of Uthong to power. In support of these allegations, she had many prominent officials executed, including the aged and high-ranking Phraya Maha Sena, and replaced them with her favourites.^[17] It was also recorded that she was heavily pregnant and soon gave birth to a daughter; unable to conceal this secret, in 1548 she mounted a coup, removed her son and put her paramour on the throne. He was crowned on 11 November 1548 as King (or Khun) Worawongsathirat.^[17] It was said that the young King Yot Fa was either executed or poisoned by his mother.^[18]
Worawongsathirat's reign was short. Within 42 days several nobles and government officials of Ayutthaya plotted to remove him from the throne. The conspirators were led by Khun Phiren Thorathep, a descendant on his father's side to the kings of Sukhothai and a relation on his mother's side to King Chairacha.^[18] The usurper was lured from the safety of the palace into the jungle with a promise of capturing a large elephant. As the usurper king, Si Sudachan and their infant daughter proceeded by royal barge, Khun Phiren Thorathep and his conspirators sprang an ambush, killing all three.^[19][20] Prince Thianracha was immediately invited to leave the Sangha and assume the throne as King Maha Chakkraphat.^[21] One of his first acts was to appoint Khun Phiren Thorathep as King of Sukhothai (but as a vassal to himself) with a capital at the great fortified town of Phitsanulok. The king then bestowed upon him the title Maha Thammaracha (a title used by the last four kings of Sukhothai), along with the hand of his daughter Princess Sawatdirat in marriage.^[13][1]

[edit] Invasion

Map of western central Thailand, depicting the towns captured by King Tabinshwehti's army. The plan of the city of Ayutthaya is shown with all the surrounding canals depicted.

Tabinshwehti soon heard about the political crisis and subsequent unrest in Ayutthaya. Intent on expanding his territories eastwards and adding Siam as a vassal, he seized the opportunity to act.^[1] During the ten years that had elapsed since the battle at Gyaing, Tabinshwehti had completed his conquest of the Mon territories. He enlarged his battle-hardened army greatly, with new feudal conscripts and many Portuguese mercenaries. He also had Mon territories directly adjacent to Siam at his disposal, as a base from which to mount an effective invasion to capture Ayutthaya.^[21] According to Burmese chronicles, at the end of 1548 a small Siamese force attacked Tavoy, however they were easily repelled. Tabinshwehti demanded reparations for this incursion, when the Siamese refused—the war between the Siam and the Burma resumed.^[3] Tabinshwehti soon took personal command and gathered his forces at Martaban.^[2]
The invasion force would have been equipped with the conventional weapons of the day: swords, bow and arrows and spears.^[22] The more elite members would also carry matchlocks or muskets.^[23] These early modern weapons having been introduced to the two kingdoms by the Portuguese sometime earlier. Also, Diogo Soares de Mello, a Portuguese commanding a force of five captains and 180 professional mercenaries, was in Tabinshwehti's service. On top of this, the king also had a corps of Portuguese guards, numbering 400, whose morions and arquebuses were inlaid with gold. For the king they provided personal protection as well as expertise on artillery.^[24]
In January 1549, Tabinshwehti with his army began their invasion of Siam.^[1] Tabinshwehti invaded through a southern route, from Martaban along the Ataran river, over high ground toward the Three Pagodas Pass, and onto Siamese territory. The army then marched along the Khwae Noi River to the town of Sai Yok, then overland towards the Khwae Yai River; from there the army travelled by boat toward the town of Kanchanaburi.^[25] Tabinshwehti travelled in great state with a massive retinue of elephants and servants. Many of these elephants carried jingals and bronze cannon; these were kept close to the king. Royal elephants were rafted across rivers, while the ordinary war elephants marched upstream to a ford. The Burmese king was accompanied by his crown prince Bayinnaung, Bayinnaung's thirteen-year-old son Nanda, and many richly attired lords. Hundreds of workmen marched ahead of the king's retinue, to pitch a richly decorated wooden camp, painted and gilded for the King's use, only to pack it up and pitch it at a new location every day.^[24]

[edit] Death of the queen

Painting by Prince Narisara Nuvadtivongs, depicting Queen Suriyothai (center) on her elephant putting herself between King Maha Chakkraphat (right) and the Viceroy of Prome (left).

The invasion initially met little resistance, as the Burmese force was too large for the small guard posts around the border.^[21] Upon hearing of the Burmese invasion, Maha Chakkraphat mobilized his kingdom, then gathered his forces at Suphanburi, a town just west of Ayutthaya.^[26] When Tabinshwehti and his army arrived at the walled town of Kanchanaburi, they found it completely deserted.^[27] The King of Burma then continued his march eastward, capturing the villages of Ban Thuan, Kaphan Tru and Chorakhe Sam Phan.^[27] Tabinshwehti divided his army into three columns, the first commanded by Bayinnaung, the second by the Viceroy of Prome and the third by Yong, the Governor of Bassein.^[28] The Burmese continued their advance and captured the ancient town of Uthong as well as the villages of Don Rakhang and Nong Sarai and closing in on Suphanburi. When the Burmese attacked the town, Siamese defenders could not withstand the onslaught and retreated towards Ayutthaya. Tabinshwehti ordered his army southeast along two canals, and crossed the Chao Phraya river near Phong Phaeng. From here he encamped his army directly north of the Siamese capital of Ayutthaya on a field called the Lumpli plain.^[27]
On 3 February 1549, Maha Chakkraphat decided to leave the capital with his forces, to engage Tabinshwehti and test the Burmese strength. On this occasion, he mounted his chief war elephant. Accompanying him were his Chief Queen, Sri Suriyothai, and one of their young daughters, Princess Boromdhilok, the two riding together on a smaller war elephant. Both royal ladies were dressed in male military attire (helmet and armour), with the queen wearing the uniform of an Uparaja. Also accompanying their father on elephant mounts were two sons, the Uparaja and heir apparent, Prince Ramesuan, and his brother Prince Mahin.^[29][27]
The Siamese army under Maha Chakkraphat soon met the advance column commanded by the Viceroy of Prome, and the two armies engaged in battle. The commanders of the two forces engaged in single elephant-combat, as was the custom of the time.^[30] But Maha Chakkraphat's elephant panicked and gave flight, charging away from the enemy; the Viceroy swiftly give chase. Fearing for the life her husband, Queen Sri Suriyothai charged ahead to put her elephant between the King and the Viceroy, thereby blocking his pursuit.^[29][31] The Viceroy then engaged the Queen in single combat, fatally cleaving her from shoulder to heart with his spear, also wounding her daughter—both mother and child met their deaths on the back of the same elephant.^[1][31][32] It was said that the Viceroy did not know he was fighting a woman until his blow struck—as she fell dying her helmet came off, exposing her long hair.
Prince Ramesuan and Prince Mahin then urged their elephants forward to fight the Viceroy, drove him and his remaining forces from the field, then carried the bodies of their mother and sister back to Ayutthaya. The Siamese king meanwhile rallied his army, and retreated in good order back towards the capital.^[29][31]

[edit] Attack on Ayutthaya

King Tabinshwehti readied his army for a siege of the Siamese capital at the beginning of March. Tabinshwehti made his camp north of the city, with his headquarters at Klum Dong, and had his commanders encamp in strategic places surrounding the city walls, Bayinnaung at Phaniat, the Viceroy at Ban Mai Makham, and the Governor of Bassein at the plain of Prachet.^[31] The Burmese would not, however, take the Siamese capital so easily.^[33]
Ayutthaya sat on an island surrounded by three rivers—the Lopburi River to the north, the Chao Phraya River to the west and south, and the Pa Sak River to the east, forming a formidable natural moat. The Chao Phraya basin where Ayutthaya is situated was low and prone to flooding—especially intense during the rainy season when torrential waters flowed in great quantity from the north along the Lopburi River. This flood would begin approximately in July and end somewhere between October and November, giving Tabinshwehti only five months to capture Ayutthaya—otherwise his camp grounds and supply routes would be flooded. There was also the possibility that the flood could trap his forces.^[26] The low, swampy area around the city was laced with numerous canals thronging with gun boats armed with cannon to repulse any attempt at an attack on the city.^[26] Also, the Burmese had only small cannon that they had brought with them, while the Siamese had large cannon mounted along the city walls.^[26][32] The Burmese had the city surrounded, but without the ability to cross the rivers or breach the city walls with cannonfire, were left to camp around it instead, while the interconnected waterways to the north and south made it fairly easy to resupply the defenders in the city. Fifty Portuguese mercenaries, who had elected Galeote Pereira as their captain, defended the weakest part of the city wall for Maha Chakkraphat. Unable to take the city conventionally, Tabinshwehti offered bribes to these defenders. The Portuguese reacted with derision, and refused. When a Siamese commander heard of this, he swung open the gates of the city and dared the Burmese King to bring the money—a dare that was ignored.^[32]
Maha Chakkraphat, being unable to repel the Burmese, sent a message to his son-in-law Maha Thammaracha at Phitsanulok, ordering his vassal to come to his aid by bringing an army southwards towards Ayutthaya and if possible to engage the enemy in battle. Thammaracha quickly mobilized his forces and with the help of the Governor of Sawankhalok, marched southward with a large army to attack the Burmese rear. Upon hearing of this and on the advice of Bayinnaung; Tabinshwehti decided to withdraw, abandoning the mission altogether.^[32] His decision was compounded by news from Burma that the Mons, who had never been entirely subjugated by the Taungoo dynasty, rebelled in the absence of the king.^[29] Other factors included the scarcity of supplies and sickness in his army, which was not prepared for a long siege.^[33] Only one month into the siege (around April), Tabinshwehti withdrew his forces towards the border.^[28][32][34]

[edit] Retreat

The view from Tak Province (Thailand) towards the hills of Shan State (Myanmar). Not far from the Mae Lamao pass where the Burmese retreat route lay.

Tabinshwehti wanted to retreat back through the Three Pagodas Pass, along the same route he has taken for the invasion. This proved difficult as food and supplies in the land were scarce, so he went north by the way of the Mae Lamao pass (in modern day Mae Sot, Tak). As they withdrew, the Burmese tried to plunder the ancient and wealthy town of Kamphaeng Phet, but the town was too well fortified. With the help of more Portuguese mercenaries, the Governor repelled the Burmese with flaming projectiles that forced the Burmese to cease using their cannons and protect them with coverings of damp hides.^[32]
Maha Chakkraphat saw the Burmese army's retreat as an opportunity take advantage of their weakness, so he ordered Princes Ramesuan and Thammaracha to follow and harass the enemy out of Siamese territory.^[33] For three days, the Siamese chased Tabinshwehti and his forces, inflicting great losses upon them.^[28][34] Once the forces of Ramesuan and Thammaracha closed in, Tabinshwehti elected to stand ground and ambush them near Kamphaeng Phet, dividing his forces on both sides of the road. The Siamese in their eagerness fell into the trap.^[35] The Burmese captured both Prince Ramesuan and Maha Thammaracha as prisoners of war.^[28][32][36]
The capture of his heir and his son-in-law forced Maha Chakkraphat to negotiate with Tabinshwehti. The Siamese at once sent emissaries bearing gifts, offering a peaceful retreat in return for the two princes.^[36][37] In exchange Maha Chakkraphat was forced to hand over to Tabinshwehti two prized male war elephants called Sri Mongkol (ศรีมงคล) and Mongkol Thawip (มงคลทวีป).^[35] Once the elephants were handed over, the Burmese army retreated in peace. In addition to the two princes, Tabinshwehti also released many other prisoners he had captured during the campaign.^[36][37] All in all, the campaign from beginning to end lasted five months.^[28]

[edit] Legacy

The restored Phra Chedi Sri Suriyothai at Wat Suan Luang Sop Sawan, Phra Nakhon Si Ayutthaya Province.

The war of 1548 was the first Burmese invasion into Siamese territory, the first of many that would last well into the early 19th century. It was also the first time the city of Ayutthaya was actually attacked by a foreign enemy.^[35] Burmese chronicles recorded that Tabinshwehti, after his return to Pegu, took to drink and abandoned his royal duties,^[28][37] leaving the running of the government to Bayinnaung who acted as Regent.^[36] In 1550 when Bayinnaung had left the capital to fight a Mon rebellion in the south, Tabinshwehti was murdered and the throne of Pegu usurped,^[38] leading to a full blown rebellion that took Bayinnaung five years to quell, ending with the capture of Ava in 1555.^[39]
The body of Queen Sri Suriyothai was placed at Suan Luang, the Royal Garden. Maha Chakkraphat ordered a grand cremation, and built a temple with a large stupa to house her remains. The temple, which still exists, is known as Wat Suan Luang Sop Sawan (วัดสวนหลวงสบสวรรค์) and the stupa is called Chedi Phra Sri Suriyothai (เจดีย์พระศรีสุริโยทัย).^[31] The temple and the stupa had been restored and rebuilt several times.

Queen Suriyothai Memorial, Phra Nakhon Si Ayutthaya Province.

Despite her stature among the Thais for her heroism, the historicity of her story and her existence has been the subject of debate. This is based on the fact that the queen is not mentioned in either the recorded or popular history of Myanmar.^[40] All the facts pertaining to her life were taken from fragments of the Siamese royal chronicle the Annals of Ayutthaya and a account by Domingos Seixas (a Portuguese explorer).^[41]
The war led to the strengthening of Ayutthaya's defences, such as stronger walls and forts. A census of all able-bodied men was taken, as well as a massive hunt for wild elephants for use in future wars. The size of the navy was also increased.^[42][43]
The Siamese success at repelling the Burmese would not be repeated. This first ever invasion gave the Burmese an important experience on fighting with Siamese. The next invasion would be conducted by Bayinnaung, a man accustomed to fighting against Siamese soldiers and familiar with marching through Siamese terrain.^[44] The unrest in Burma delayed that next invasion for fifteen years, until the War of 1563 or the War of the White Elephants.^[35]

[edit] Media

The war beginning with the death of Chairacha was dramatized in the 2001 Thai historical drama The Legend of Suriyothai, directed by Mom Chao Chatrichalerm Yukol.^[45] The film portrays the events leading up to the war and the battles including the death of Queen Sri Suriyothai. The film cost an estimated 350 million baht, and is the highest budget Thai film to date. The film was released in the United States in 2003.
The succession crisis Ayutthaya is portrayed in the 2005 English language Thai film The King Maker. However, the film ends prior to the Bur