{"id":866,"date":"2021-05-18T22:39:01","date_gmt":"2021-05-18T15:39:01","guid":{"rendered":"https:\/\/thailandfoundation.or.th\/?post_type=culture_heritage&p=866"},"modified":"2025-05-15T18:36:57","modified_gmt":"2025-05-15T11:36:57","slug":"pannasa-jataka-the-allegorical-buddhist-tales-of-thailand","status":"publish","type":"post","link":"https:\/\/thailandfoundation.or.th\/th\/pannasa-jataka-the-allegorical-buddhist-tales-of-thailand\/","title":{"rendered":"Pa\u00f1\u00f1\u0101sa J\u0101taka: The Allegorical Buddhist Tales of Thailand"},"content":{"rendered":"

\"\"<\/p>\n

Manorah Buchayant (Manorah’s Sacrifice) Dance depicting a scene from the Sudhana Jataka<\/p>\n

 <\/p>\n

The Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em><\/a> is a renowned series of Buddhist allegorical tales, which are well-known in Thailand, Laos, Myanmar, and Cambodia. They were composed outside the central collection of scriptures in Theravada Buddhism<\/a>, in which the J\u0101taka<\/em> tales<\/a> are known as those that form the Pali Canon<\/a>. The Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>, which we talk about in this article, are tales that are derived from the original J\u0101taka<\/em> and distinct from the latter. The term pa\u00f1\u00f1\u0101sa<\/em> means \u201cfifty,\u201d and alludes to the fact that were originally fifty tales in the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>.<\/span><\/p>\n

 <\/p>\n

The J\u0101taka <\/em>tales are believed to have been originally used by the Buddha<\/a> himself to spread his didactic messages to an audience. Unlike what would be a more rigid and dry approach, narratives, lyrical verses, and a conscious elaboration of various concepts and terms, allowed the Buddha a captivating way to entertain and grow his audience, while also exemplifying the moral lessons of his stories through the trajectories of the characters\u2019 lives.<\/span><\/p>\n

 <\/p>\n

In the Pali-Canon J\u0101taka<\/em>, there are a total of 547 stories of the Buddha\u2019s former life while he was a bodhisattva (although a common misconception is that there are 550 stories), a being attempting to achieve Enlightenment by cultivating ten essential virtues, or p\u0101ram\u012b<\/em><\/a>. In each tale, the protagonist bodhisattva represents an incarnation of the being that would ultimately become the Buddha. In a typical J\u0101taka <\/em>tale, the bodhisattva protagonist would be situated in a scene of the story\u2019s present, while recalling details from his past lives. By connecting the two time frames, the Buddha unveiled patterns about the world and human behavior, as well as showed how villains and heroes evolved in their reincarnations.<\/span><\/p>\n

 <\/p>\n

However, in the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>, the cultivation of p\u0101ram\u012b <\/em>is not necessarily the focus. One may say that the focus in the case of the Pa\u00f1\u00f1\u0101sa J\u0101taka <\/em>can be less on morals, and more on entertainment and plot.<\/span><\/p>\n

 <\/p>\n

\u00a0For instance, in the way Samutthakhot, <\/em>one of the earliest Pa\u00f1\u00f1\u0101sa<\/em> J\u0101taka<\/em> tales, is told, the focus seems to be less on moral lessons, and more on adventure. The story begins with Samutthakhot, a prince, hearing rumors about the beauty of a woman, Vintumadee. He travels to the city where she lives and displays his musical skills on a harp to impress her father and seek his approval. Successful, Samutthakhot is offered Vintumadee as his wife. As the couple make merit together after their wedding, they encounter Vidyadhara<\/a>, a supernatural being with magical powers, who is also badly injured. Samutthakhot aids Vidyadhara, who thanks him with a magical flying sword. Samutthakhot flies with Vintumadee through the legendary forest of Himavanta (or the Himalayas<\/a>) before the magical sword is stolen. The pair struggle to navigate out of the forest, but they ultimately reach a boat. While sailing, the boat breaks down due to rough weather. The two lovers are separated in the process. The ruler of the heavens, Sakka (or Sakra<\/a>), orders the goddess Manimekhala<\/a>, Guardian of the Seas, to rescue the lovers, who are, in the end, reunited. (In another life, Samutthakhot would be reborn as the Buddha, while Vintumadee would be reborn as Princess Yasodhara<\/a>, who was the wife of the Buddha when he was still Prince Siddhartha<\/a>.)<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

Origins and Influences of Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> Tales in Thailand<\/strong><\/span><\/p>\n

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\"\"<\/p>\n

Mural depicting a scene from Samuttakhot (cr. reurnthai )<\/a><\/span><\/p>\n

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Prince Damrong Rajanubhab<\/a>, the half-brother of King Chulalongkorn (Rama V, who reigned from 1851 to 1868) had hypothesized that the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> was composed by monks of Chiang Mai<\/a> between the years 1457 and 1657; however, this is unlikely to be correct. As some scholars have pointed out, the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> tales were already well-known by the Sukhothai<\/a> Era (1238-1438). The monks of Chiang Mai, they elaborate, were unlikely to have been responsible for the tales, as the founding of Chiang Mai was not until 1296.<\/span><\/p>\n

 <\/p>\n

In today\u2019s collection of Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>, there are 61 tales \u2013 a total which does not conform to the name Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>, in which \u201cpa\u00f1\u00f1\u0101sa<\/em>\u201d means fifty. It is likely that the \u201cextra eleven\u201d were made and added after a first set of fifty had been concluded. Unfortunately, because the tales were originally and for a long time transferred only orally, it is difficult to trace a precise evolution.<\/span><\/p>\n

 <\/p>\n

\u00a0The Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> has been translated into Pali<\/a> to bridge its link to the Pali Canon. However, constantly viewed as derivations, secondary, it has never been upheld through the same, elevated status as the original J\u0101taka Tales<\/em>. The Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> nevertheless remains widely popular in Thailand, where it has also affected literature, the visual arts, and even television series.<\/span><\/p>\n

 <\/p>\n

Verses of the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> are often compiled in Thailand\u2019s renowned Roi Krong<\/em> poetry collection. Scenes from the tales also feature regularly on temple wall paintings and carvings. On television, a genre known as \u201cjakrawong<\/em>\u201d \u2013 fictionalized stories about royalty, often involving flashy, magical powers \u2013 remains popular despite decades of existence. Echoes of the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> storyline abound in the jakrawong<\/em>: a male protagonist, often a prince who is forced to leave home, encounters obstacles and ultimately his bride (or brides). And yet, unlike in the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>, characters such as righteousness and morality are replaced with weapons and brute force. There is also typically more drama in the jakrawong<\/em>, to always heighten suspense, as television shows often aim to do.<\/span><\/p>\n

 <\/p>\n

\"\"<\/p>\n

Jakrawong drama (cr. daradaily<\/a>)<\/span><\/p>\n

 <\/p>\n

The modernization of the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> has helped maintain its popularity until this day, despite it being, sometimes, a long departure from the Pali Canon\u2019s J\u0101taka<\/em>. Originating in Thailand and given a distinct flavor in modern culture, it wouldn\u2019t be an exaggeration to consider the Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em> one of Thailand\u2019s intangible cultural heritage or one of its national treasures. Below is a list of tales of the sixty-one Pa\u00f1\u00f1\u0101sa J\u0101taka<\/em>:<\/span><\/p>\n

 <\/p>\n

1) Samutthakhot J\u0101taka, 2) Sunton J\u0101taka, 3) Suntanu J\u0101taka, 4) Rattanapachot J\u0101taka, 5) Sirivibunkiti J\u0101taka, 6) Vibhunracha J\u0101taka, 7) Sirijutarnid J\u0101taka, 8) Chantarat J\u0101taka, 9) Supamatit J\u0101taka, 10) Siritorn J\u0101taka, 11) Tulokbanti J\u0101taka, 12) Atit J\u0101taka, 13) Tukammanik J\u0101taka, 14) Mahasurasen J\u0101taka, 15) Suwankuman J\u0101taka, 16) Kanokwan J\u0101taka, 17) Viriyabunti J\u0101taka, 18) Dharmasontok J\u0101taka, 19) Suntasana J\u0101taka, 20) Wattangkuleeracha J\u0101taka, 21) Borangabin J\u0101taka, 22) Dharmikabuntiracha J\u0101taka, 23) Jarktarn J\u0101taka, 24) Dharmaracha J\u0101taka, 25) Norache J\u0101taka, 26) Suroop J\u0101taka, 27) Mahapatum J\u0101taka, 28) Pantakarn Jatarka, 29) Pahakawee J\u0101taka, 30) Setthabuntid J\u0101taka, 31) Bhuppa J\u0101taka, 32) Parasiracha J\u0101taka, 33) Phramahakhosaracha J\u0101taka, 34) Taewarukum J\u0101taka, 35) Solapacha J\u0101taka, 36) Sitisarn J\u0101taka, 37) Noracheekathin J\u0101taka, 38) Atitaewaracha J\u0101taka, 39) Pajittikuman J\u0101taka, 40) Sapasinti J\u0101taka, 41) Sangkapatti J\u0101taka, 42) Chantasen J\u0101taka, 43) Suwankachap J\u0101taka, 44) Siriso J\u0101taka, 45) Vorasacha J\u0101taka, 46) Arintha J\u0101taka, 47) Rotasen J\u0101taka, 48) Suvarnasirisa J\u0101taka, 49) Wanawa J\u0101taka, 50) Pakul J\u0101taka, 51) Sonanta J\u0101taka, 52) Seenaart J\u0101taka, 53) Suvarnasung J\u0101taka, 54) Surapa J\u0101taka, 55) Suvarnakachapacha J\u0101taka, 56) Taewanta J\u0101taka, 57) Subin J\u0101taka, 58) Suvarnawong J\u0101taka, 59) Voranutd J\u0101taka, 60) Sirisa J\u0101taka, 61) Chantakart J\u0101taka.<\/span><\/p>\n

\u00a0<\/strong><\/span><\/p>\n

\u00a0<\/strong><\/span><\/p>\n

Reference<\/span><\/strong><\/span><\/p>\n

Lausunthorn, PhD., (Royal Scholar), Niyada, Prof., \u201cPa\u00f1\u00f1\u0101sa J\u0101taka<\/em> [\u0e1b\u0e31\u0e0d\u0e0d\u0e32\u0e2a\u0e0a\u0e32\u0e14\u0e01].\u201d Watthanatham Journal: Department of Cultural Promotion, yr.\u00a054, no. 1, January \u2013 March.\u00a02015, pp.\u00a034\u00a0\u2013\u00a041.\u00a0Retrieved April\u00a01,\u00a02021.\u00a0Link:\u00a0http:\/\/magazine.culture.go.th\/2015\/1\/mobile\/index.html#p=37<\/a> \u00a0<\/span><\/p>\n

 <\/p>\n

\u00a0<\/strong><\/span><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Little Red Riding Hood? Cinderella?: Here in Thailand, we have “Twelve Sisters” and “The Conch Prince”. Read more about the Pa\u00f1\u00f1\u0101sa J\u0101taka a classic collection of tales from Southeast Asia.<\/p>","protected":false},"author":1,"featured_media":914,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[140,22,8],"tags":[278],"class_list":["post-866","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-article-literature-folklore","category-culture-and-heritage","category-literature-folklore","tag-articles"],"acf":[],"yoast_head":"\nPa\u00f1\u00f1\u0101sa J\u0101taka: The Allegorical Buddhist Tales of Thailand - Thailand Foundation<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thailandfoundation.or.th\/th\/pannasa-jataka-the-allegorical-buddhist-tales-of-thailand\/\" \/>\n<meta property=\"og:locale\" content=\"th_TH\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pa\u00f1\u00f1\u0101sa J\u0101taka: The Allegorical Buddhist Tales of Thailand - Thailand Foundation\" \/>\n<meta property=\"og:description\" content=\"Little Red Riding Hood? 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Cinderella?: Here in Thailand, we have \"Twelve Sisters\" and \"The Conch Prince\". 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