Kheun-Thao-Thang-Si Ritual:

From Semiology to Buddhists belief in Thailand

Dr.Khomsi Saenchit
College of Interdisciplinary Studies
Thammasat University Lampang Campus

Sumeru Mountain-The Sacred Mountain

Mount Meru in Thai is called Sumeru which means the Great and Sacred
Mountain. It is considered to be the center of all the physical, metaphysical
and spiritual universes. It is also the abode of Lord Brahma and the Devas.
Puranic legends describe the Sumeru Mountain and it is mentioned
innumerable times in Hindu lore. Legends had it that Sumeru and the wind god
Vayu were good friends. However, the sage Narada approached Vayu and
incited him to humble the Mountain. Vayu blew with full force for one full
year, but Garuda shielded Sumeru Mountain with his wings. After a year,
Garuda took respite for some time. Thus the peak of the Mountain was broken
and it fell into the sea and became the island of Lanka.
According to Hindu concept, Sumeru Mountain is the center of the earth
or the universe. Hindu legend described that Shiva created water with his
sweat, constructing the earth using his scurf. He wished to construct an
enormous mountain to be the center of the earth. So he pulled out his hairpin
and stabbed it on the center of the earth and it became the Sumeru Mountain.
Later, his necklaces became the seven ranges of mountains surrounding the
Sumeru Mountain. They were called Satta-bhoribhan-giri, where the Devas
lived.
The Matsya Purana and the Bhagavatra Purana along with some other
Hindu texts consistently give the exorbitant dimension of 84,000 Yojanas to
Sumeru Mountain which translates into 672,000 miles or 1.082 million
kilometers.
1

According to Thai Buddhist concept, Sumeru is the center of a mandalaliked complex of oceans and mountains. The square base of Sumeru is
surrounded by a square moat-liked ocean, which is surrounded by a ring wall
of mountains, which is in turn surrounded by a sea; each diminishing in width
and height from the one closer to Sumeru. Top of Sumeru constitutes the
Tavatimsa Heaven and beneath Sumeru mountain is the land of the Asuras. It
is enclosed by a mountain range with three peaks which supports the base of
Mount Sumeru called the Trikuta range. There are seven surrounding
mountain-walls call Satta-bhoribhan-giri. Inner Universe has the mountain
called Himalaya which is a long range of mountain. Every universe has Sun,
Moon, Heaven, Asura-Dvipa, Hell and Maha-Dvipa, such as Jambudvipa,
Utarakurudvipa, Pubhavidheha and Amaragodhayan. In the four directions of
universe there are four oceans; Pita-sakara, yellow water, in the north; Bhalikasakara, shiny water, in the west; Khera-sakara, white water, in the east; and,
Nila-sakara, green water, in the south.
Sumeru Mountain has six terraced ledges called Chakamavacara Bhumi.
The first terrace constitutes the "heaven" of the Four Great Kings and is
divided into four parts, facing north, south, east and west. Each section is
governed by one of the Four Heavenly Kings, who faces outward toward the
quarter of the world that he supervises. This heaven call Ca-tu-Maha-ra-ji-ka.
That is the place of the Four Heavenly Kings, namely Thao Kuwen, Thao
Virunhok, Thao Thatarot and Thao Virupak. Down the slopes of Sumeru resided
the followers of the Four Heavenly Kings, namely nagas, yaksas, gandharvas,
and kumbhandas. Beneath Sumeru, in the seas around it, is the abode of the
Asuras who are at war with the Tavatimsa gods.
40,000 Yojanas is also the height at which the Sun and Moon circle
Sumeru in a clockwise direction. This rotation explains the alteration of day
and night; when the Sun is north of Sumeru, the shadow of the mountain is
cast over the continent of Jambudvpa, and it is night there; at the same time it
is noon in the opposing northern continent of Utarakuru, dawn in the eastern
continent of Pubhavidheha, and dusk in the western continent
ofAmaragodhayan. Half a day later, when the Sun has moved to the south, it is
noon in Jambudvipa, dusk in Pubhavidheha, dawn in Amaragodhayan, and
midnight in Utarakuru.
2

Astadikpalas-Lokapalas
Vedic deities
The earliest known texts about the Gods and goddesses of India are the
Vedas. The oldest of them, the Rig-veda, comprises over 1,000 hymns, each
addresses a deity. Many of these early Vedic gods and goddesses relate to
specific aspects of the universe or the elements. Among the most prominent
are Agni, god of fire, Surya, god of the sun, Vayu, god of the wind, Prithvi,
goddess of the earth, and Indra, chief of all the Vedic gods, who has a highly
complex and powerful personality.
Lokapala, the guardian of the world, has different uses depending on
whether it is found in a Hindu or Buddhist context.
In Hinduism, Lokapalas refer to the Guardians of the Directions
associated with the four cardinal directions.
In Buddhism, Lokapalas refer to the Four Heavenly Kings, and to other
protector spirits, whereas the Guardians of the Directions are referred to as
the 'Dikpalas'. In the Buddhist faith, the Four Heavenly Kings are four guardian
gods, each of whom watches over one cardinal direction of the world.
The Guardians of the Directions are the deities who rule the specific
directions of space according to Hinduism and Vajrayana Buddhism, especially
Kalacakra. As a group of eight deities, they are called Astadikpalas, literally
meaning guardians of eight directions. They are often augmented with two
extra deities for the ten directions (the two extra directions being zenith and
nadir), when they are known as the Dasa-dikpalas.
For example; Indra1 is the most prominent of all Vedic gods and occupies
the most important position of the guardian of the Eastern quarter. Airavatta
is the elephant of Indra. It is white and has four tusks. Indra has a thunderbolt
in his hand and has as his cognizance the third eyes placed horizontally on his
forehead.
1

Banerjea, Jitendra Nath, The Development of Hindu Iconography, India: University of Calcutta, 1956,

p.522-524.

Visnudharmottara gives an elaborate description of the four-armed

Sakra in which are not only mentioned his third eyes and the four armed,
consort Saci seated on his lap.
Amsumadbhedagama describes the image of Indra in more or less
identical terms. The god has two-armed, his hands carrying either sakti and
Ankusa or vajra and ankusa. He has usually two eyes.
Stone relief in the Paharpur basement illustrates a few of the Dikpalas
and one of them shows two-armed Indra standing, facing east, before his
mount holding an object (a citrus) in his left hand, his right hand being in the
Varada pose. He has a jeweled Kiritamukuta on his head with the halo behind
it and the horizontally placed third eye on the forehead.
The Chidambaram Temple: the four armed figure of Indra seating
astride on the back of his elephant has its front hands in the Varada and
Abhaya poses, the back ones carrying the Ankusa and Vajra.
Kubera2: the lord of the Northern Quarter
Amsumadbhedagama describes the god as two-armed. The hand is
being in the Varada and Abhaya poses (a club also beingshown in the left hand)
having a sheep for his mount attended by his consort and the two Nidhis,
Sankha and Padma.
Suprabheda lays stress on the terrific features of the two-armed god
holding a club in one of his hand.
Silparatna characterizes him as friend of Hara (Siva), riding a chariot
drawn by men, holding a mace in one of his hands, as pot-bellied and long
armed, accompanied by Astanidhis and Guhyakas on all sides.
Rupamandana describes in the first line of one couplet that the god is
four-armed, the hands holding a club, a nidhi, a citrus and a water-vessel; the
last line of this verse is corrupt, for in it he is described both as gajarudhah
(Elephant-rider) and naravahanah (riding on a man)
2

Ibid., p.528-529.

Visnudharmottara: description of this Dikpala has already been

commented on earlier, and it has been shown how it partly reminds us of the
Pancika and Hariti reliefs of Gandhara, and a few other traits like the two fangs
in his mouth, his bearded face, Riddhi (the goddess of prosperity) seated on his
left lap, etc. are added.

Thai Buddhism: Ca-tu-Loka-pala (The Four Heavenly Kings)

Ca-tu-Loka-pala or The Four Heavenly Kings are the most important
Devas that are often refered to in many rituals of Northern Thai Buddhist
belief. They are Thao Kuwen , Thao Virunhok, Thao Thatarot and Thao Virupak.
They are living at Ca-tu-Maha-ra-ji-ka-bhumi.
It was described in Traibhumikatha3that High above the land on which
we dwell, as far as 326,000,000 wa or measured in Yojanas, at a height of
46,000 Yojanas, there lies the celestial domain of Ca-tu-Maha-ra-ji-ka-bhumi,
resting atop Mount Yugandhara. To the East and West of, and to the South and
North of, the majestic Mount Sineru, are four celestial cities. Speaking now of
the Four Guardians, King Dhataratharaja (Thao Thatarot), is the lord of the
devyatas (Deva) of the eastern region, east from Mount Sineru to the eastern
wall of the universe. As for the western region extending to the universe wall
to the west, Virupakkharaja (Thao Virupak) rules over the majestic garudas
and the nakas inhabited in and around there. The lord of the Yaksha demons of
the kind known as Kumbhanda and of the devyatas in the region south of
Mount Sineru to the universe wall, is named King Virulhakaraja (Thao
Virunhok). To the North, from Mount Sineru to the north wall of the universe,
is the region ruled over by Vairasaravana Maharaja(Thao Kuwen), the lord of
all the yakshas and of the devyatas in the north.4

Traibhumikatha or The Story of the Three Planes of Existence was written by King Lithai, the fifth of
the kings of the PhraRuang Dynasty of Sukhothai, The capital city of Thailand seven hundred years ago.

The Thai National Team, Anthology of ASEAN literature: Volume 1a. Traibhumikatha: The story of

the three planes of existence by King Lithai,(Bangkok: Amarin Printing Group, 1985), 297.

Thao Thatarot is one of the four Heavenly Kings who are the guardians
of the heaven; Ca-tu-Maha-ra-ji-ka. He is the king of Gandharvas and the
guardian in the East of Sumeru Moutain. Thao Thatarot has a son whose name
is Indra and a daughter named Siri
The Atanatiyasutara describes that the king of Gandharvas has 90 sons.
He is great and more powerful than any human in the world. The Sutara
named Vid-ta-thu-po-sa-tha describes that his age is 500 divine years, equal to
18,000 years of human being.
Thao Virunhok appears as the second of the four Heavenly Kings. He is
the king of Kumbhandas and the guardian in the South of Sumeru Moutain. He
has 90 sons; each one is powerful, great, and terrifying. His age is 500 divine
years, equal to 18,000 years of human being.
Thao Virupak is the third Heavenly Kings. He is the king of Nagas and the
guardian of the west of SumeruMoutain. In Suthammadhevasabha, he always
sits looking Eastward. He has 90 sons; each one is powerful, great and
terrifying. His age is 500 divine years, equal to 18,000 years of human being.
Thao Kuwen or Vessavana or Vaisravana is the king of Yaksas and the
guardian of the North of Sumeru Moutain. The capital of his territory faces
north. He has 90 sons; each one is powerful, great and terrifying. His age is 500
divine years. Vessavana has the followers of 1,000,000,000. His mount is a
yellow horse or divine charriot that is 12 Yojanas long and decorated with
precious stones. Vessavana is not a permanent position. When Vessavana is
gone, Indra will promote a new Vessavana on and on. His consort is Phunjati
who is faithful for Buddha. He has 4 daughters naming Ladda, Pavara,
Ajchimati and Satta, and his nephew is Punnaka.
Duties of Ca-tu-Loka-pala: they serve Sakra, the lord of the Devas of
Tavastimsa Heaven. On the 8th and the 14th day of each lunar month, Ca-tuLoka-pala either send out messengers or go themselves to see how virtue and
morality are faring in the world of men. Then they report upon the state of
affairs to the assembly of the Tavastimsa devas. On the orders of Sakra, Chatu-Loka-pala and their followers stand guard to protect Tavastimsa from
another attack by the Asuras, who once threatened to destroy the kingdom of
6

the devas. They are also vowed to protect the Buddha, the Dharma, and the
Buddha's followers from danger.
Ca-tu-Loka-pala and The Buddhas life
Ca-tu-Loka-pala are recounted three times in the scene of Buddhas life.
The first scene, when Sirimahamaya (Mother of Buddha) was pregnant.
Ca-tu-Loka-pala were the guardians of four directions in her chamber,
protecting her from danger.5
The second scene, when The Buddha was born. Ca-tu-Loka-pala came to
celebrate and help Brahma hold the little Buddha6.
The last scene, when The Buddha is going to be enlightened. Brahma,
Indra, and Ca-tu-Loka-pala come together to offer marvelous food on
significant days including the Enlightenment day and the Parinirvana Day7.
Atanatiya-sutara describes that a long time ago, when the Buddha
stayed at Khi-ja-kutin Rajagriha, Ca-tu-Loka-pala and their followers came to
meet the Buddha. Kubera told him that among all followers of them, some had
faiths in Buddha but a few had not. When the Buddha's followers go to
meditation in the wild jungle, there was no guardian. To protect them, they
must pray the Atanatiya-sutara which protects them from any danger. If Yaksa
attacked, they would be defeated. So, the Buddha told this story to the
Buddha's followers later.

Poramanuchitchonoros, Somdespramahasamanajao,
(Bangkok: Sahadhamiga, 1994), 50-51.

6
7

Ibid., 55.
Ibid., 138-139.

Krompraya,

Padhamasambhodhikadha.

Key for identifying the Four Heavenly Kings

Thai
Pali
Sanskrit
Directions
Meaning

Consort
Symbols

Color

Followers

Thao Kuwen
Vessavana
Vaisravana
North
He who hears
everythingor
who is knowing.
Bhunjati
Umbrella
Mongoose
Stupa
Yellow

Yaksas

Thao Virunhok
Virulhaka
Virudhaka
South
He
who
enlarges
Patron
of
growth

Thao Thatarot
Dhrtarattha
Dhrtarastra
East
He
who
maintains the
state. Watcher
of the Lord

Sword

Pipa

Red
Blue or green
(Nepal belief)
Kumbhandas

Thao Virupak
Virupakkha
Virupaksa
West
He who sees
all

Serpent
Pagoda
Pearl
Green
White
White (Nepal Red
(Nepal
belief)
belief)
Gandharvas
Nagas

Northern Thai Buddhist concept added the chief of the Four Heavenly
Kings; Indra. The important Goddess in Thai Buddhist belief is Pra-Mae-Thorra-nee (Bhumi Devi).
Indra or Sakka (In Pali) is the name of Hindu and Buddhist god. He is the
king of God and the protector of Heaven and Earth and the most prominent of
all The Vedic gods. Later, with the rise of Tri-Murti, his role diminished in later
Hinduism.
Rig-Veda describes that Indra is the ruler of the heaven, who performs
Day and Night and flows of the oceans. Early Rig-Veda mentions that Indra is
the chief of god, God of wind and war, and loves to drink Soma. Some of
scripture told about Indra is guarding of Earth and fighting with Asura whose
name is Vrita.
Bhagavatra-kita has an important hymn that explains the importance of
Indra.
Indras palace is over the summit of Sumeru Mountain. This palace
named the Vaijayanta Prasada, is in the heart of Tavatimsa, the city of the

thirty- three Devas and is 10,000 Yojana wide. He lives without sadness, pain
or fear, and he loves flirting with Apsara. Sometimes he is of brash and
amorous character. In Rig Veda, Indra the solar god is sometimes described as
golden-bodied with golden jaw, nails, hair, and beard. Indra was described in
the Rig Veda as dying his hair a yellow color from yellow Soma juice.
Indra and The Buddhas life
Indra is recounted in the scene of Buddhas life when the Buddha was
making merit by practice of austerities. After practicing the ascetic practices
which led the Buddha nearly to death, all that resulted was sickness, weakness
and no closer attainment of awakening. Indra saw the Buddha suffered from
practicing this. So he came to play Indian lute which has three strings. When he
played tight string, it is torn, but when he plays loose string, a sound is very
fabulous. After The Buddha hearing that, he thought that his ascetic practices
are not true. The Middle way is the best way to enlightenment.9
Pra-Mae-Thor-ra-ni: another name for her is Prithvi (in Sanskrit) or
Bhumi Devi. In Hindu Iconography, Bhumi Devi or Bhu never appears alone in
sculptures. When she appears in company of Vishnu, the latter is always
accompanied either by Sri or by Lakshmi. She is the personification of the
Earth, and to another its Mother, being Prithivi Tattwa, the essence of the
element earth. Prithvi is also called Dhra, Dharti, Dhrithri, meaning that which
holds everything.
When she is shown to have two hands, she carries in one a lotus, is
shown seated or standing and wears a Karanda Mukuta. When she is shown
with four hands, she holds in them a bowl of jewels, a bowl of corn, a bowl of
medicine and a lotus10.

The Thai National Team, Anthology of ASEAN literature: Volume 1a. Traibhumikatha: The story of
the three planes of existence by King Lithai,(Bangkok: Amarin Printing Group, 1985), 375.

PoramaNuchitchonoros, Somdespramahasamanajao,
(Bangkok: Sahadhamiga, 1994), 134-135.

10

Krompraya,

Padhamasambhodhikadha.

Gupte, R.S.,Iconograhpy of the Hindus, Buddhists and Jains,(Bombay: Taraporevala sons & CO.

Private LTD., 1980), 56.

As Prithvi Mata "Mother Earth" she contrasts with Dyaus Pita "father
sky". In the Rig-veda, Earth and Sky are frequently addressed in the dual,
probably indicating the idea of two complementary half-shells. She is the wife
of Dyaus Pita. She is the mother of Indra and Agni. According to a tradition,
when Indra killed Dyaus Pita, she applauded and married him. She is associated
with the cow. Prithu, an incarnation of Vishnu, milked her in the cow's form to
get food from her.
Pra-Mae-Thor-ra-ni and The Buddhas life
Thai Buddhist literature describes that one day Mara claimed Buddhas
merit. So the Buddha extended his hand to touch the earth, calling Pra-MaeThor-ra-nito bear witness to the merit of his past life, then she squeezed her
hair for the amount of water to fight with Mara protecting the Buddha from
Mara army.
Padhamasambhodhikadha explains in detail about the important scene
before the Buddha achieved enlightenment. Suddenly, Mara appears and
attesting to Gautama Buddha's worthiness to attain enlightenment. So, the
Buddha requests Pra-Mae-Thor-ra-ni to be a witness for his virtue. Suddenly
the amount of water flooding the Mara army all died.11
The character of Pra-Mae-Thor-ra-ni is the goddess with weighty body,
in some belief she is slim. She is sitting by her knee and squeezing her long hair
in the left (some in the right). Her dress is not exactly typed. Its by the
imagination of artists.

11

PoramaNuchitchonoros,

Somdespramahasamanajao,

(Bangkok: Sahadhamiga, 1994), 169-171.

10

Krompraya,

Padhamasambhodhikadha.

Key to the identification of Indra and Pra-Mae-Thor-ra-ni

Thai
Pali
Directions
Meaning

Consort
Symbols

Mount
Color

Indra
Sakka
Zenith
The Rain god
The King of gods
Saci
Two arms; Thunderbolt

Airavata (Elephant)
Green

Pra-Mae-Thor-ra-ni
Bhumi Devi
Nadir
Goddess Mother Earth
One of the two forms of
Lakshmi (Sri Devi)
Wife of Varaha
Four
arms;
holds
a
pomegranate, water vessel,
a bowl containing healing
herbs, containing vegetables.
Two arms; right: blue lotus
(Komud),
left:
Abhaya
Mudra.
Four Elephant

Kheun-Thao-Thang-Si Ritual
Kheun-Thao-Thang-Si is the auspicious ritual that begins by observing
Ca-tu-Loka-pala, represented by Thao Kuwen, Thao Virunhok, Thao Thatarot
and Thao Virupak. In this ritual, there are not only these four Devas but added
to them, Indra and Pra-Mae-Thor-ra-ni. Thai Buddhist concept adapts these six
divinities from Hindu deities. Indra, the Chief of the Four Heavenly Kings (Catu-Loka-pala) and the God of Kings, protects not only Heaven but also Earth.
Pra-Mae-Thor-ra-ni, the important Goddess in Thai Buddhist belief, is the
Mother Earth Goddess, witnessing Buddhas virtue while fighting off the
demon Mara.
Kheun-Thao-Thang-Si Ritual begins by receiving Ca-tu-Loka-pala. On the
15 day of each lunar month, the Four Heavenly Kings either send out
messengers or go themselves to see how virtue and morality are faring in the
world of men. Then they report upon the state of affairs to the assembly of the
Tavatimsa devas. In this ritual, there are not only these four Devas but added
to them, Indra and Pra-Mae-Thor-ra-ni.
th

In Northern Thailand, this auspicious ritual must be performed before

beginning any of the following important occasions: making merit, going into
11

the priesthood, worshiping of the citys pillar etc. People from Northern
Thailand believe that it will entail good things and avail no danger to believers.
Therefore we do Kheun-Thao-Thang-Si Ritual before any rituals. If we want to
do any rituals in the morning, we must do the Kheun-Thao-Thang-Si ritual the
day before. If we want to do any rituals at noon or in the afternoon, we
practice Kheun-Thao-Thang-Si ritual in the morning of that day.
The proceeding of this ritual begins by asking Thao Thatarot the
guardian in the East of Sumeru Moutain, Thao Virunhok the guardian in the
South of Sumeru Moutain, Thao Virupak guardian in the west of Sumeru
Moutain, Thao Kuwen the guardian in the North of Sumeru Moutain, Indra
and Pra-Mae-Thor-ra-ni to protect this place and aid people, animals and
agricultures, as well as to promote peoples wellbeing.
The offering of this ritual is put in Kra-dhong (banana leaf vessel), made
by banana leaf in square shape around 10*10 inches and 4 inches tall. It is
called Sa-taung in Northern Thai language. A Sa-tuang contains rice, food, Thai
soup, banana, sugar cane, betel leaf, betel, preserved tea leaf, flower, candle
and joss stick. Each thing has four pieces. There are six Sa-tuangs. At each
corner of Sa-tuang there is a small flag; the color is green, red, black, yellow or
white. (This may be based on the skin color of each Deva; see table on page 9)
The ritual post is made of a banana tree trunk which is about 1 meter
high. Two bamboo sticks are tied together like a cross and put up on the
banana trunk post. Another banana tree trunk is cut into four pieces, about 10
inches in diameter, and each piece is placed on each end the bamboo sticks.
They will provide bases for Sa-tuang. Sa-tuang of four directions are offierings
for Ca-tu-Loka-pala. Offerings at the top of the banana tree trunk and on the
ground are for Indra and Pra-Mae-Thor-ra-ni.12

12

Encyclopedia of Northern Thailand: part 6,(Bangkok: Encyclopedia of Thai culture, The Siam

commercial Bank, 1999), 2787-2790.

12

Kuwen

Indra
Virupak

Thatarot

Virunhok

N
Pra-mae-thor-ra-nee

Chart of Kheun-Thao-Thang-Si ritual

This ritual has many invocations which invite Ca-tu-Loka-pala to protect

believers. The Kheun-Thao-Thang-Si ritual refers to Sumeru Mountain. It
reproduces Sumeru Mountain based on the beliefs of the Northern Thai
people. So, it indicates that people are closed to Heaven.

Tavatimsa-Indra

Ca-tu-ma-ha-ra-jika The four Heavenly Kings

Model of Sumeru Mountain

13

Semiology in Kheun-Thao-Thang-Si Ritual

This paper uses Semiology concepts to describe the meaning of signs,
concepts and ideas behind this Ritual. Every sign is composed of the Signifier
and the Signified, and, in order to understand this ritual, we must see through
the sign to understand it. Concepts and ideas are a representation of Signifier,
which leads us to understand the Signified; both helps us understand the
meaning behind the Kheun-Thao-Thang-Si ritual.
Semiology is defined as the study of signs and sign systems. All signs
carry with them a set of connotations: they will remind the viewer of certain
feelings, beliefs or ideas that are attached to the signifier.
Sign is important in Semiology. Sign is a signal that links something to us.
The nature of sign is as follows:
First, every sign represents or is consisted of something, for example,
meaning, concept, and idea.
Second, every sign is composed of Signifier and Signified. Signifier is any
form of anything that represents meaning such as alphabet, picture, sound etc.
Signified is a concept that represents meaning, concept and idea.
From concept of Semiology, Kheun-Thao-Thang-Si ritual is representing
Signifier that leads us to understand meaning concept or idea that
representing of Signified behind proceeding of this ritual.
If we use Semiology to explain the meaning behind details of offerings in
the ritual, we can explain that sign reminds viewers of certain meaning, feeling,
belief concept or idea that is attached to the signifier.

14

Table of concept analyzed based on Semiology

Sign/message

Signifier

Signified
Meaning/ Concept/Idea

Kheun-ThaoThang-Si
Ritual

Offering

Devotion

The pillar (Banana tree)

Sumeru Mountain

Sa-tuang in four direction

Worship for the Four Heavenly

Kings

Sa-tuang in the North

Devoted to Thao Kuwen

Sa-tuang in the South

Devoted to Thao Virunhok

Sa-tuang in the East

Devoted to Thao Thatarot

Sa-tuang in the West

Devoted to Thao Virupak

Sa-tuang at the Top

Sa-tuang on the ground
The hymns

Devoted to Indra
Devoted to Pra-Mae-Thor-ra-ni
Wording for inviting the Four
Heavenly Kings protecting them

From this table above describes that Kheun-Thao-Thang-Si Ritual is

composed of many signs or messages. We can explain the meaning behind the
ritual by using Semiology.
The offering in Kheun-Thao-Thang-Si Ritual means devotion to Ca-tuLoka-Pala. The pillar of this ritual means Sumeru Mountain. Sa-tuang in four
directions means worship for the Four Heavenly Kings. Sa-tuang in the North is
devoted to Thao Kuwen. Sa-tuang in the South is devoted to Thao Virunhok.
Sa-tuang in the East is devoted to Thao Thatarot. Sa-tuang in the West is
devoted to Thao Virupak. Sa-tuang at the Top is devoted to Indra. Sa-tuang on
the ground is devoted to Pra-Mae-Thor-ra-ni. The invocations that are prayed
during the ritual are to invite those divinities to get their offering so that they
will protect and bless worshippers.
The meaning behind the ritual is to bring worshippers closed to God and
Heaven. Because Buddhists can not go to Heaven alive, they make the Heaven
15

come to Earth by making Kheun-Thao-Thang-Si Ritual, which is related in their

ways of lives.

In conclusion
This paper attempts to understand the Sacred Sumeru Mountain
through the importance of Kheun-Thao-Thang-Si Ritual, which has its role in
the faith and the worship practices of Northern Thai Buddhists, influenced by
Indian civilization. It describes the relationship of the peoples of India and
South East Asia, in this case, primarily Thailand.

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(1999).

Bangkok: