Technique : Gold Weaving
Making Process (in detail) :

1. Gold Melting :  In the crucible, melt pure gold. the gold is easy to mold due to its high flexibility. The process still necessitates the use of traditional instruments such as Goldsmith Bench, anvils, hammers, scissors, blower stick etc.
2. Gold Forming : Remove gold off a mold and have it forged. Use the largest anvil with a rectangular cross sectional area. Forging requires the use of the largest iron hammer. Using an unequal weight while forging will result in an uneven surface of the gold. Forging can be done using both sides of a hammer.
3. A Gold lenght measuring : The method begins with the wire drawing of gold wires of varied sizes. Draw the gold wires through the largest hole first, then the smaller ones. The gold wires should next be heated to soften. After that, thoroughly rub the gold wires with wax.Continue wire drawing through a steel drawplate by inserting the pointed end of a large plate into a hole until you get the desired size of gold wires. To achieve the desired length, measure the size of the gold wires. Gold wires 14 times longer than the desired size would be required for the Si Sao patterned necklace and 32 times longer for the Hok Sao patterned necklace. Gold wires are required at 58 times the length of the Pad Sao patterned necklace.
4. Making a hoop or hoop for necklace weaving : Once the gold wires are the right size, coil them along an iron axis. Cut it into round hoops and blow each one to fuse it together. Thread each hoop and interlace to create Si Sao, Hok Sao, or Pad Sao designs.
5. Necklace variations : All three types of necklaces alter depending on the first layout. A Si Sao patterned necklace is produced by squeezing the middle of a hoop to make it into two hoops, then starting the pattern at four hoops each. A Hok Sao patterned necklace is made when a pattern for six hoops is formed. A Pad Sao patterned necklace has a pattern for 8 hoops apiece. The flexibility of weaving a necklace at each hoop is an advantage. If any component of the necklace breaks, it can be repaired just where the problem is.
6. Fire regulate : A goldsmith must be able to regulate a fire, which is considered an artisan technique that requires practice time. If a fire is not correctly regulated, soldering flux will not move, resulting in each portion of the gold becoming disconnected. In the event of a major fire, however, the gold will be melted.
7. Boiling and dyeing : After obtaining gold ornaments, have them boiled and dyed to eliminate any borax that could have been left around the edges or corners during the process of creating gold ornaments. In terms of gold dyeing, this technique is used to brighten the gold for a more gleaming appearance.

Ancient gold ornaments include a Si Sao patterned necklace, a Hok Sao patterned necklace, and a Pad Sao patterned necklace. The names are taken from the number of hoops used in weaving a whole necklace piece. It can be categorized into three sizes: small, medium, and large. A little necklace is of the Si Sao pattern, a medium necklace is of the Hok Sao pattern, and a large necklace is of the Pad Sao pattern.

Since the period of The King Rama V, there has been evidence of Phetchaburi gold ornaments being discovered. Goldsmiths had a basic understanding of an artist or brass producing at the time. Previously, most Phetchaburi goldsmiths would only pass on knowledge and talent within their own family. due to gold ornaments are valuable and the production process requires practice time, patience, and meticulousness, goldsmiths must have good eyesight and focus. Due to their high exquisiteness, Phetchaburi gold ornaments are highly valued.

Reference :

1. Interview of Ms. Siriluck Srithongkam, Master Artisan of Thailand, 2021 (12 December 2021)
2. Phetchaburi gold crafts: From Past to Present, Assoc. Prof. Wattana Jutawipat 1992, 92.
3. Yatinan Yanhan. 2017. Ancient Wisdom of Gold Jewelry: Panthong Goldsmith of Chonburi Province, M.A. Thesis, Arts and Cultural Administration, Burapha University.