Techniques : Tanning, perforating, and painting the leathers
Making process (in detail :
The cow, buffalo or the animal leathers believed to have magic power are used as the main material in making Nang Yai – the grand shadow play puppet, as they are translucent and that suitable for shadow play on the screen. The making process is as follow:

1. Leather selection :
   Traditional way of animal hide preparation: Select tiger or bear hides to make the holy character puppet “Hermit” and write talisman pattern upon its surface. Tiger hide is preferably lighter and thinner than cow and buffalo hides. The tiger hide preparing is different from others’, however, nowadays the tiger hide is prohibited to use in the puppet making as it is illegally against the Wildlife Preservation and Protection Act B.E. 2562. So, the artificial hide is used instead.
   Regarding cow and buffalo hide preparing in the traditional way, lime water, salt and alum, are mixed in the huge traditional jar to tan the hide for 1 week. Its taste is acrid, sour and salty. The formula was varied according to individual craftsmen’s expertise. When the hide is softened, the next process is hair and cuticle removal, cleaning and drying the hide on the frame under the mild sunlight.  (hide drying under the strong sunlight was not recommended) for about 3 days. Then aerate the hide for another 1-3 months depending on weather and humidity until the hide become ‘Nang Kweaw’ – the translucent yellow leather. And remove the leather into a desired shape with a knife.
   Current way of animal hide preparation: To reduce the leather preparation for the puppet making, the industrial-made cow leather, namely ‘Nang Kao Tak hang’, from tanning factories in Samut prakan province is currently used as the main material. The proper leather for puppet making should be 1.5 millimeter thick. The cow hide is tanned in vinegar, or the grounded anchor leaves and galangal mixed with water. The next process is hair and fat removal, soaking in water and tanning the hide in the huge traditional jar for 3 hours. Then clean and aerate the hide.
2. Pattern drawing :
   Previously, to create each Nang Yai pattern, the artisans tie its pattern with “Lek Jan” – a stylus, a steel with sharp tip used to sketch the lines on the leather. The line sketched can be erased with water when the sketch adjusting is required.  However, currently to sketch the puppet pattern prefers making the patterns on a wax paper then putting on the frame for perforating process per the sketched lines. Weera Meemuean’s patterns are not the new design but from the verbal narration by his mater - Khae Payakin, the Puppet maker master from Ban Na Wat Phra main, Ayutthaya province. The patterns are drawn by the painters in Phetchaburi. Then maximize it to fit the size of the hides. Then, attach the pattern on the entire hide to proceed with perforation.
3. Pattern perforating :
   Pattern perforating starts with the large pattern as its main element to outline a pattern. Then perforate the leather according to the pattern on the paper by 1 inch size nail-framing the leather on Luk Yee wood board. Later, perforate in each detailed area with various 25 sizes of chisels such as fingernail chisels, face chisels and hollow punch (Toodtoo or Mook). The 17 patterns in various forms of circle, oval, square, triangle, flower, and bodhi leaf, are created to make the traditional Thai pattern on the puppet costume such as Krajang pattern, Prajam Yam pattern and Kab pattern.
4. Coloring :
   Coloring is done according to the perforated pattern. The puppets for performing in the auspicious ceremonies are colored in ‘Benjarong shade’: green, red, yellow, blue, and black.
   Traditional way of coloring : Previously, the natural color is preferably used as the color weight was more efficiently controlled.
   - ‘Tang Chae’ green color :  It is made of ‘Shin si’ or rust of copper with lemon juice, used for coloring Nang Yai puppets. The other way, brass, copper and bronze are soaked in water mixed with hydrochloric acid for at least 1 year. Its chemical reaction results in green rust on the metal. Then scrape off the rust and sift with “ore”, and rinse with water to wash off the hydrochloric acid. Finally, mix with ‘makwit’ rubber or Indian acacia rubber in the last process.
   - Red color : It is made of red sap or red latex sapwood boiled and mixed with alum
   - Gold color: It is made of gold leaf
   - Black color : It is made of rak and mook from dried banana leaf charcoal
   Current way of coloring: Nowadays ‘Shin si’ and natural colors are hard to find and the color easily faded. So, it has been switched to ink for refilling fountain pens (PILOT Super color ink) because the color lasts longer yet color weight is less controlled. As the result, monotone coloring is basically used in Nang Yai puppet coloring.
5. The rod :
   The last process of Nang Yai puppet making is to attached a pair of rods to the leather so that they can be used for the dance, namely ‘Mai Tab Nang’ or ‘Mai Kab Nang’. Either blanched wood, Laocha-on wood or dried spiny bamboo are fumigated.  Then string a large needle with many large threads and slowly use the needle to tie the thread periodically, in order to attach the rod to the hides.

Nang Yai is deemed a royal theater that has formerly existed. It is used in both auspicious and unfortunate ceremonies. It can be said that it is an ancient performance before the Khon play took place in the royal court. The Nang Yai shadow play is performed using puppets behind the cloth backdrop through the light, creating different shadows from different perforating and coloring of each puppet. Most of the puppeteers are men. They have to raise and move along with the dubbing and the rhythm from the instruments. The dubbing is similar to the one in Khon, but the accent is not as aggressive. A music band that is normally played in Nang Yai is Piphat Krueng Ha or Piphat Krueng Koo.

According to the record in the chronicle of Ayutthaya in the reign of King Ramathibodi II or King U-Thong, the story “Ramayana” was mainly performed in Nang Yai show because it represented the praise for God. In Thai tradition, Kings were considered to be an avatar of Vishnu. Nang Yai was accordingly both entertainment and ritual. In the reign of King Narai the Great, it also performed under the story called “Samut Kot Khamchan” to celebrate the King’s 25-year birthday anniversary. But after the end of the reign, it was no longer performed. Later, during the state of war in Ayutthaya, numerous royal artisans’ leathers were presumed to be damaged by fires.

Later in the reign of King Taksin the Great, Nang Yai was revived through the performance “Nang Chong Ratha”, a medium-sized performance of Nang Yai between Chong Ratha (A tall tower for decorating fireworks used in royal ceremonies since ancient times. It had a square shape. The roof was in the shape of a palanquin with caps on 4 sides and Rahu faces on all 4 directions.) to celebrate the Buddha Maha Manee Ratana statue being brought from Vientiane.

In the Rattanakosin period, the reign of King Rama II was deemed the all kinds of Literature and Art Golden Age. And that the beautiful Nang Yai show was born called “Nang Yai Choot Phra Nakhon Wai” – Nang Yai set of Phra Nakhon Wai. And when there was more overseas trading at Siam, the popularity of stage plays from the West had influenced the social attention while the traditional Nang Yai show was less popular. “Nang Yai Choot Phra Nakhon Wai” was then stored in Silpakorn Theater during the reign of King Rama VII

Later, the fire broke out at the theater of the Fine Arts Department in Thailand on November 9, 1960, causing the Nang Yai in the Royal Palace to be burnt, damaged and lost. The Fine Arts Department then conserved, repaired and kept it as a national heritage and it has been exhibited at the National Museum, Bangkok until now. Weera Meemuean deliberately intended to remake the Nang Yai puppets from the remaining photographs of them in order to preserve and pass down Nang Yai to the future generations. He projected to make up to 600 puppets according to the number of Nang Yai puppets in a performance and hopes to establish a Nang Yai Museum to be a source of learning and researching this invaluable art work of Thailand.

Reference :

• Anek Navikmun. 2003. Nang Talung - Nang Yai. Bangkok: Pimkham
• Komsan Suthon. 2014. Nang Yai, Department of Cultural Promotion.
• Phra Nakhon Si Ayutthaya Rajabhat University Institute of Ayutthaya Studies. 2020. Thai Wisdom: Nang Yai in Ayutthaya Culture. Phra Nakhon Si Ayutthaya: Institute of Ayutthaya Studies Phra Nakhon Si Ayutthaya Rajabhat University
• Wat Ratchapradit Sathitmahasimaram 2015. “Ratha.” Referring to Facebook Status. 30 March. 2023 April 19 accessed. https://www.facebook.com/Watrajapradit.
• Weera Meemuean, Interview by We View Go Co., Ltd. 2023. Knowledge of Nang Yai Creation Wisdom (14 March).
• International Center for the Promotion of Arts and Crafts (Public Organization). P.O.P. Art and handicraft type Nang Yai – Perforated leather.
• International Center for the Promotion of Arts and Crafts (Public Organization). 2009. “Nang Yai: Veera Meemuean.” In Khru Sin khong pandin 1, 73-84.
• Government agencies / Interesting facts / Balcony and frescoes on the Ramayana story Temple of the Emerald Buddha In the Grand Palace, Room 60-125. December 28, 2022. Mural painting, Room 109-110. April 24, 2023 accessed. https://www.royaloffice.th/2022/12/28/ Murals, room 60-125/

Compiled by:

• We will Go Co., Ltd.
• Knowledge Promotion and Dissemination Department Office, Handicraft Value Promotion Institute, Promotion of Thai Arts and Crafts (Public Organization)

Date of last data recording: 19 April 2023