When the literary, performative, iconic, and cultic aspects of the Ramakien tradition are all taken fully into account, it is necessary to conclude that this rendition of the Rama story—at least since its reformulation in the late eighteenth century—tilts more toward Buddhism than Hinduism. In fact, I would go still further and claim that the Ramakien crystallizations generated by King Rama I and his successors represent a third classical type of Buddhist-oriented Rama story that should be considered alongside the first type presented in the Dasaratha Jataka and the second type represented by the Phra Lak/Phra Lam tradition.
To be sure, the Ramakien versions of the Rama story do not exhibit the full-fledged Buddhist structure characteristic of earlier Buddhist tellings. Nowhere is the story attributed to the Buddha or presented as an account of events associated with one of his previous lives, nor does it occur in the kind of cosmogonic context that Buddhists traditionally affirm. However, it is a tradition which self-consciously sets the Rama story in explicitly Buddhist contexts, thereby giving it an explicitly Buddhist significance. In the literary and performative strand of the tradition, the Buddhist significance remains relatively muted and largely audience-dependent. In the iconic and cultic strand, the vision of Rama as a royal hero who embodies Buddhist values is vividly portrayed for all to see. Coexisting and subtly interacting, these two strands of the Ramakien tradition have, over the past two centuries, maintained the story of Rama as an integral, Buddhist-oriented component in Thai religion, culture, and politics.