TY  - JOUR
T1  - Creating Cross-Cultural Meanings from a Common Identity of
Hakka Shrines in Bangkok
AU - Imsuksom, Vichai AU - Krutasaen, Watanapun AU - Chaipratoom, Jarun 
JO  - Journal of Engineering and Applied Sciences
VL  - 14
IS  - 16
SP  - 5647
EP  - 5656
PY  - 2019
DA  - 2001/08/19
SN  - 1816-949x
DO  - jeasci.2019.5647.5656
UR  - https://makhillpublications.co/view-article.php?doi=jeasci.2019.5647.5656
KW  - creating the
meaning of cross culture
KW  -Collective identity
KW  -social and cultural changes
KW  -hybrid culture
KW  -Chinese Hakka shrine
KW  -Minnan architecture
AB  - This research aims to study of Hakka shrines in Bangkok, it’s origins, their commonalities and the
cross-cultural influences upon them. Area of study were Hakka shrines in Bangkok and the methods of research
used were quantitative and qualitative such as field surveys, interviews and focus groups. It was found that
the origin of Hakka shrines in Bangkok dates back to the beginning of the Rattanakosin era. They were
sponsored, funded and built by the many Chinese Clan Associations in Chinese communities all over Bangkok.
The Hakka shrines hold great moral and cultural values and provide a bond between all Chinese, Thai-Chinese
and Thais. Many Hakka shrines today are ruined and abandoned due to lack of care and conservation. Only
Hon Mong Kung shrine, Sam Nai Keng shrine and Sam Sua Kok Uang shrine, either in closed community areas
or are in private hands are still in original conditions. There are many commonalities amongst the Hakka shrines
in Bangkok such as architectural style, the decorations, the worshipped Gods and the system of shrine officers.
The old beliefs of the five life elements of Earth, water, air, fire and metal can be found in the roofing structures
and layout plans of not just the Hakka shrines but also Chaozhou and Hokkien shrines. The arts and design
used inside and outside of the shrine are patterns of all things propitious, according to Chinese beliefs.
Furthermore, art works such as sculptures, wood engravings and paintings demonstrated an intermixing of
Chinese Ke Chaozan and Minnan architecture. The researcher had also found a combination of patterns from
Chinese beliefs and Western patterns from Muslim and Persian cultures. This kinds of cross-cultural influences
can be found in all the architectural and design elements of the shrines such as the roofing style, the entrance
gates and the tympanum. Cross-cultural integration takes time and involves negotiations and eventual
acceptance. However, the abstract that keeps the shrine’s identity unchanged from the past is perhaps the God
of the shrine himself.
ER  -