The Lacquer Pavilion in its First Reign Context

Patricia M. Young

Abstract­—The­ murals­ in­ the­ Lacquer­ Pavilion­ date­ from­ the­ Bangkok­ First­Reign,­as­shown­by­comparison­with­texts­and­images­of­that­time.

The­Lacquer­Pavilion­is­a­unique­building­with­twelve­gold­and­black­lacquer­mural­paintings.­It­was­discovered­by­François­du­Haut­de­Berenx,­an­antiques­dealer,­in­the­grounds­of­ the­ little­wat­at­Ban­Kling,­a­small­ riverside­village­some­ ten­kilometers­south­of­Ayutthaya.­According­to­villagers,­ it­had­been­brought­ to­Ban­Kling­as­ two­damaged­buildings­in­the­early­19th­century.­It­was­not­known­from­where.­

Figure­1.­The­Lacquer­Pavilion­at­Suan­Pakkad­Palace

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2 Patricia M. Young

In­1959­Prince­and­Princess­Chumbhot­of­Nagara­Svarga­acquired­the­buildings,­re-erecting­and­restoring­ them­in­ their­Suan­Pakkad­Palace­ in­Bangkok.­These­were­separate­ but­ cognate­ buildings:­ one­ had­ been­ a­ repository­ or­ library­ for­ Buddhist­manuscripts,­ the­other­was­a­ scriptorium­open­on­one­side­ for­ the­use­of­monks.­ In­Bangkok­the­library­was­placed­as­an­inner­room.­The­mural­panels­of­the­three­walls­of­the­scriptorium­were­placed­around­this­inner­room­on­all­four­sides­as­a­gallery.­Each­building­has­six­ incomplete­murals.­The­inner­room,­ the­former­ library,­has­portions­of­seven­non-matching­baseboards­which­suggests­it­would­have­been­twice­as­large.­Each­mural­has­the­distinctive­feature­of­an­upper­register­presenting­scenes­from­the­Buddha’s­ministry­and­a­lower­register­with­episodes­from­the­Ramakien.­This­process­of­discovery­and­reconstruction­is­described­by­M.C.­Subhadradis­Diskul­in­The Lacquer Pavilion at Suan Pakkad Palace­(1960).­

When­the­Lacquer­Pavilion­was­brought­to­Bangkok,­knowledgeable­writers­MR­Kukrit­Pramoj­ and­Professor­Silpa­Bhirasri­ considered­ the­ two­ sets­ of­murals­ to­ be­products­ of­ the­ late­ 17th­ century,­ created­ during­ the­ reign­ of­King­Narai­ (r.­ 1656–1688).­The­reasons­given­were­the­striking­depiction­of­three­French­cavaliers­in­17th­century­dress­in­one­mural­and­foreigners—Dutch,­Mughal­and­Persian—in­costumes­characteristic­of­the­Narai­period.­Another­element­considered­was­the­use­of­the­pointed­arch­in­the­Lacquer­Pavilion­windows.­These­motifs­became­popular­during­Phra­Narai’s­reign­but­remained­in­use­into­the­19th­century.­For­example,­John­Crawfurd,­the­British­emissary­ to­ the­Court­of­Siam­ in­1821,­commented­on­mural­paintings­ in­Wat­Phra­Chetuphon­(built­1789–1801)­that­the­Europeans­were­in­the­“grotesque­costume­of­the­

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Figure­2.­Plan­of­the­Lacquer­Pavilion

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end­of­the­seventeenth­and­beginning­of­the­eighteenth­centuries.”1­Also­considered­in­1959­was­a­Ban­Kling­tradition­that­the­buildings­had­come­from­a­palace­in­Ayutthaya,­destroyed­by­the­Burmese­in­1767.­

Not­observed­at­the­time­of­the­Lacquer­Pavilion’s­discovery­was­that­its­distinctive­windows­of­a­pointed­arch­with­a­cusp­on­either­side­are­in­the­same­style­and­proportions­as­ those­at­ the­Wang­Na­ (Palace­of­ the­Front)­built­during­ the­1780s­by­ the­Uparat­(viceroy),­younger­brother­of­King­Rama­I­(Figures­3,­4).­Also­not­realized­in­1959­was­that­for­the­first­third­of­the­19th­century­Bangkok’s­formal­name,­given­by­King­Rama­I,­was­Krungthepmahanakhonsiayutthaya.2­By­the­late­1970s­scholars­speculated­that­the­Lacquer­Pavilion­was­built­sometime­during­the­18th­or­the­early­19th­century.3

This­article­aims­to­place­the­origin­of­the­Lacquer­Pavilion­murals­in­the­context­of­the­First­Reign­of­the­Chakri­Dynasty­founded­by­King­Rama­I­(r.­1782–1809).­There­are­four­compelling­reasons­to­do­so.­The­first­is­the­marked­change­in­subject­matter­of­ temple­murals­from­the­Jatakas­ in­ the­Late­Ayutthaya­period­ to­ that­of­ the­ life­of­the­Buddha­during­the­First­Reign.­The­second­reason­is­the­similarity­of­focus­on­the­ministry­of­the­Buddha­in­the­Lacquer­Pavilion­murals­with­those­of­the­Buddhaisawan­Chapel­(built­mid-1790s).­The­third­reason­is­the­illustrations­in­the­Lacquer­Pavilion­murals­of­the­Buddha’s­visit­to­Lanka­and­other­scenes­from­the­Mahavamsa,­the­Sri­Lankan­epic­translated­into­Thai­by­order­of­Rama­I.­Finally,­the­scenes­in­the­lower­registers­of­episodes­from­the­Ramakien­are­those­described­in­the­version­of­the­epic­composed­by­Rama­I.­These­changes­took­place­in­the­context­of­Rama­I’s­reformation­of­the­Sangha,­and­his­emphasis­on­the­historic­Buddha’s­life­and­ministry.­Also­important­are­the­king’s­literary­interests­which­included­the­translation­of­the­Mahavamsa­and­the­recreation­of­the­Ramakien.­

1­John­Crawfurd,­Journal of an Embassy to the Courts of Siam and Cochin China,­1828;­reprinted­Oxford­University­Press,­1987,­p.­109.2­The Dynastic Chronicles Bangkok Era First Reign Chaophraya Thiphakorawang Edition, 1869,­Vol­I.­Text­translated­and­edited­by­Thadeus­and­Chadwin­Flood,­Tokyo:­The­Center­for­East­Asian­Cultural­Studies,­1975,­p.­18.­3­Jean­Boisselier,­Thai Painting,­Tokyo:­Kodansha­International,­1976,­p.­96.

Figures­3,­4.­Windows­in­the­Lacquer­Pavilion­(left)­and­the­sala daeng,­Front­Palace­(right)

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Temples­in­Central­Thailand

During­ the­Late­Ayutthaya­period­until­ the­ fall­ of­ the­ capital­ in­1767,­with­one­exception,­the­subject­matter­of­temple­murals­concerned­the­Jatakas,­primarily­those­of­the­Thotsachat,­the­last­Ten­Lives­of­the­Bodhisatta­prior­to­the­Buddha’s­final­life­with­his­Enlightenment­and­his­entrance­into­Nibbana.­Similar­to­parables,­the­Jatakas­were­moral­teachings­illustrating­the­Ten­Virtues­which­must­be­perfected­in­order­to­attain­Buddhahood,­and­representing­the­righteous­behavior­and­sacrifices­for­others­by­the­Bodhisatta­as­he­progressed­in­his­successive­rebirths.­These­were­painted­along­the­lateral­walls­of­the­temple­at­eye­level­so­that­monks­could­more­easily­explain­them.­The­appeal­of­the­Thotsachat­was­apparently­paramount­for­the­laity­who­could­perhaps­appreciate­ the­ circumstances­of­ the­ characters­ and­ relate­ to­ them.­ In­ addition­ to­ the­Jatakas,­those­scenes­illustrating­certain­major,­miraculous­experiences­in­the­Buddha’s­life­were­painted­high­on­the­front­or­rear­walls­of­the­temple.­Always­on­the­front­wall,­over­the­doors,­was­the­Mara­Vichai­(victory­over­Mara).­On­the­rear­wall­above­the­altar­might­be­illustrated­the­Great­Departure­or­the­Descent­from­Tavatimsa­Heaven,­or­the­cremation­and­distribution­of­the­relics.­The­one­exception­to­this­Late­Ayutthaya­custom­of­focusing­on­the­Jatakas­was­in­Wat­Ko­Kaeo­Suttharam,­Phetchaburi,­dating­back­to­1734,­where­the­murals­dealt­with­episodes­in­the­life­of­the­historic­Buddha.­

Murals­of­the­First­Reign

Beginning­with­the­reign­of­King­Rama­I,­there­was­a­marked­change­of­subject­matter­in­temple­murals­from­those­of­the­Late­Ayutthaya­period.­This­important­shift­was­to­illustrate­scenes­from­the­life­of­the­Buddha­instead­of­those­of­his­previous­lives.­These­new­murals­were­also­painted­along­the­lateral­walls­at­eye­level.­The­temples­for­reference­are­those­First­Reign­wat­which­still­have­their­original­murals­or­portions­thereof.­They­are­ the­ubosot­of­Wat­Dusidaram,­Wat­Ratchasitaram,­Wat­Chaiyathid­(re-touched),­ the­wihan­ of­Wat­ Chompuwek­ in­ Nonthaburi­ and­ the­ Buddhaisawan­Chapel.­Other­temples­of­the­period­have­had­their­murals­replaced­by­those­of­later­reigns.­

These­ First­ Reign­ temples­ each­ had­ different­ combinations­ of­ scenes­ from­ the­Buddha’s­ life.­Mural­ illustrations­ varied­ from­ temple­ to­ temple.­Most­ scenes­ were­from­ the­his­ life­prior­ to­his­ministry­as­ teacher­of­ the­Dhamma.­Those­ illustrations­might­ be­miraculous­ events­ in­ Prince­ Siddattha’s­ early­ years,­ then­ his­ renunciation­of­his­privileged­ life,­ followed­by­his­Great­Departure­for­ the­ascetic­ life.­The­ latter­was­represented­by­Gotama’s­six­years­of­deprivation­and­self-mortification,­then­his­appreciation­ of­ the­Middle­Way.­After­ his­ Enlightenment,­ the­ Buddha­ spent­ seven­weeks­of­contemplation­meditating­on­the­Dhamma­he­had­discovered.­After­these,­the­murals­might­illustrate­only­three­or­four­experiences­during­the­Buddha’s­ministry­of­forty-five­years­as­teacher­of­the­truths­he­had­come­to­understand.­Illustrated­might­be­one­of­his­conversions­such­as­that­of­the­Jatilas­or­fire­worshippers,­or­miracles­such­as­teaching­his­mother­and­other­deities­in­Tavatimsa­Heaven.­Always­illustrated­would­be­his­Parinibbana.­The­Mara­Vichai­continued­to­be­placed­on­the­upper­portion­of­the­

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front­wall­facing­the­altar­and­presiding­image­(except­in­the­Buddhaisawan­Chapel­and­Wat­Chaiyathid,­where­it­is­on­the­lateral­wall).­The­wall­behind­the­altar­was­illustrated­with­ the­Traiphum­ (Three­Worlds­of­Heaven,­Earth,­Hell).­This­might­have­been­ in­reference­to­the­compilation­of­these­scriptures­as­ordered­by­Rama­I.

The­Lacquer­Pavilion­and­the­Buddhaisawan­Chapel

Among­ the­ First­ Reign­ temple­ murals,­ the­ striking­ departure­ representing­ the­particular­emphasis­of­King­Rama­I­are­those­of­the­Buddhaisawan­Chapel.­This­was­built­by­the­Uparat,­with­construction­beginning­in­1795.­Of­its­thirty-two­bays­(following­the­Muang­Boran­Publications­designation),­four­bays­deal­with­the­Buddha’s­youth,­and­four­with­his­ascetic­life­and­awakening.­The­twenty-four­remaining­bays­are­concerned­with­the­forty-five­years­of­his­ministry.­It­is­within­the­context­of­the­Buddha’s­ministry­that­the­illustrations­in­the­upper­registers­of­the­Lacquer­Pavilion­murals­are­presented.­Fifteen­of­the­episodes­from­the­Buddha’s­experience­illustrated­in­the­Buddhaisawan­Chapel­are­also­found­in­the­Lacquer­Pavilion.­As­mentioned­previously,­since­the­original­library­was­twice­as­large,­we­cannot­know­all­the­scenes­which­were­presented.­We­can­assume­the­series­started­with­the­Mara­Vichai­in­Panel­11­because­the­lower­register’s­Ramakien­illustrates­foreign­princes­traveling­to­the­Great­Bow-Lifting­Contest­for­the­hand­of­Sita­(Figure­5).­This­is­the­beginning­of­the­story­of­Rama.­

Figure­5.­­Foreign­princes­traveling;­Lacquer­Pavilion­panel­11

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Figures­6,­7.­Mara­Vichai;­above,­Lacquer­Pavilion­panel­11;­below,­Buddhaisawan­Chapel­bay­7.­­Mara,­the­Tempter­of­the­World­of­the­Senses,­challenges­the­Buddha-to-be­as­to­why­he­should­become­Enlightened.­The­Bodhisatta­calls­on­the­Earth­to­be­witness­to­his­righteousness.­He­has­poured­water­on­the­earth­for­every­good­deed­in­his­547­previous­lives.­Thorani,­goddess­of­the­Earth,­rises­up­to­wring­these­waters­out­of­her­hair.­They­wash­away­Mara’s­army.

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In­considering­the­affinities­between­the­Lacquer­Pavilion­murals­and­those­of­the­Buddhaisawan­Chapel,­ it­ is­ important­ to­note­ that­ in­both­buildings,­ the­ illustrations­of­ the­Mara­Vichai­ show­ the­Buddha­ sitting­ in­dhyani mudra­ rather­ than­ the­ usual­bhumisparsa mudra (Buddhaisawan­Chapel­Bay­7,­Lacquer­Pavilion­Panel­11;­Figures­6,­7).­With­the­exception­of­Wat­Chaiyathid,­these­are­the­only­two­buildings­that­present­the­Buddha­ in­ this­position.­Further­experiences­ illustrated­ in­both­buildings­are­ the­Buddha’s­conversions­of­the­Jatilas,­or­fire-worshippers­(Figurs­8,­9),­and­Sakka­offering­a­stone­(Figures­10,­11).­Among­the­Lacquer­Pavilion­murals­is­the­Buddha­preaching­at­Sankassa­(Figures­12,­13).­This­episode­follows­the­Descent­from­Tavatimsa­Heaven,­which­is­illustrated­in­the­Chapel.­In­the­Lacquer­Pavilion­Panel­13,­however,­the­creatures­of­the­Three­Worlds—Heaven,­Earth­and­Hell—look­from­the­mural­to­the­left,­to­the­Buddha’s­descent,­the­Hell­figures­with­arms­outstretched­in­supplication­(Figures­14,­15).­The­Descent­from­Tavatimsa­is­one­of­the­missing­panels­in­the­Lacquer­Pavilion.­Two­episodes,­Sariputta’s­Nibbana­(Figures­16,­17)­and­the­Story­of­Alavaka­(Figures­18,­19),­are­illustrated­beside­each­other­in­both­sets­of­murals—in­the­Pavilion­Panel­12­and­Bay­24­of­the­Chapel.­

Several­Buddhaisawan­Chapel­bays­appear­modeled­on­ scenes­ illustrated­ in­ the­Lacquer­Pavilion.­For­example,­the­composition­of­the­Buddha’s­last­meal­on­the­right­side­of­Bay­29­in­the­Buddhaisawan­Chapel­is­very­similar­to­that­on­the­right­side­of­Panel­4­in­the­Lacquer­Pavilion­gallery­(Figures­20,­21).­The­bay­and­the­panel­are­both­vertical­compositions­with­the­Buddha­preaching­to­monks­at­the­top.­Below­them­are­simple­wooden­buildings­of­ the­ same­ style­ as­ in­ the­Lacquer­Pavilion.­The­Buddha­is­eating­his­last­meal­on­a­veranda,­and­female­musicians­are­playing­nearby.­In­the­Chapel­mural­the­paint­in­the­bottom­section­has­flaked­off,­so­what­presumably­showed­

Figures­8,­9.­The­Conversion­of­the­Jatilas;­left,­Lacquer­Pavilion­panel­2;­right,­Buddhaisawan­Chapel­bay­12.­The­Buddha­converts­the­fire-worshipping­Kassapa­and­his­disciples.­They­adopt­monks­robes­to­lead­the­homeless­life­and­listen­to­the­Buddha’s­teaching.

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cooks­preparing­food­is­no­longer­there.­In­the­upper­part­of­Bay­30­is­illustrated­the­Buddha’s­Parinibbana­in­Kusinara­as­he­lies­under­two­sal­trees­in­Malla­with­Subhadda­the­last­convert­seeking­entry­(Figures­22,­23).­This­illustration­reflects­that­in­Panel­1­of­the­Lacquer­Pavilion.­

Almost­ a­ copy­ of­ the­ Lacquer­ Pavilion’s­ Panel­ 8­ is­ that­ of­ the­ Buddhaisawan­Chapel’s­ Bay­ 31­ where­Ananda­ is­ announcing­ to­ the­ King­ of­Malla­ the­ Buddha’s­imminent­Parinibbana­(Figures­24,­25).­Royalty­and­townspeople­are­invited­to­say­their­farewells­to­the­Teacher.­The­composition­and­architecture­of­Bay­31­is­similar­to­that­of­Panel­8­and­at­the­bottom­almost­a­copy.­In­Bay­32,­the­last­of­those­in­Buddhaisawan­

Figures­10,­11.­Sakka­Offering­a­Stone.­Walking­one­day,­the­Buddha­notices­the­corpse­of­a­dead­slave­woman.­He­removes­her­winding­sheet,­wondering­how­he­might­wash­ it.­Understanding­ this,­Sakka­(Indra)­descends­ from­Tavatimsa­Heaven­ to­dig­a­pond­ for­washing­ the­ cloth.­He­ carries­ a­ slab­ on­which­ to­ stretch­ it,­ creates­ stones­ with­ which­ to­scrub­it­and­a­tree­on­which­to­hang­it.

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Figures­12,­13.­The­Buddha­Preaches­at­Sankassa;­above,­Lacquer­Pavilion­panel­13;­below,­Buddhaisawan­Chapel­bay­22.­After­descending­from­Tavatimsa­Heaven,­where­he­has­preached­to­his­mother,­the­Buddha­preaches­at­Sankassa.­Above­left,­deities­draw­near­to­listen.­Above­right,­villagers­arrive.­To­left­and­right,­the­monks,­townspeople,­and­courtiers­of­Sankassa­gather­to­bring­him­gifts­and­listen­to­his­teaching.

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Figures­ 14,­ 15.­ Beings­ in­ Hell;­above,­ Lacquer­ Pavilion­ panel­ 13;­below,­ Buddhaisawan­ Chapel­ bay­22.­As­he­descends­from­Tavatimsa­Heaven,­ the­ Buddha­ is­ observed­by­ beings­ in­ Heaven,­ Earth,­ and­Hell.­The­Hell­figures­are­carefully­individualized,­vivid­and­evocative­in­their­agony.

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Figures­ 16,­ 17.­ Sariputta’s­nibbana;­ above,­ Lacquer­Pavilion­ panel­ 12,­ below­Buddhaisawan­Chapel­bay­24.­At­his­mother’s­country­home,­Sariputta’­ lies­dying,­ attended­by­monks­ and­deities.­On­ the­left­are­family­members,­along­with­small­children­playing­on­the­steps.­Outside­the­house­on­the­ right,­ the­ monk’s­ mother­stands­ talking­ with­ other­monks.

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Figures­18,­19.­The­Alavaka;­above,­Lacquer­Pavilion­panel­12;­below­Buddhaisawan­Chapel­bay­24.­After­the­King­of­Alavi­was­caught­by­a­demon,­Alavaka,­he­promises­to­send­one­person­every­day­for­the­demon­to­eat.­When­only­the­king’s­son­is­left­and­is­being­sent­out­(top­left),­the­Buddha­converts­the­demon­just­in­time­to­save­the­boy..

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Figures­20,­21.­The­Last­Meal;­above,­Lacquer­Pavilion­panel­4;­left,­Buddhaisawan­Chapel­bay­29.­Cunda,­a­goldsmith,­­prepares­a­feast­to­honor­the­Buddha­and­his­monks.­People­are­preparing­food;­deities­are­ adding­ special­ ingredients;­ and­ musicians­ are­ playing.­ Cunda­has­ordered­a­special­dish­of­minced­pork.­The­Buddha­realizes­it­is­tainted­but­eats­it­out­of­courtesy,­and­becomes­fatally­ill.

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Figures­ 22,­ 23.­ The­Twin­ Sal­Grove;­ above,­Lacquer­ Pavilion­ panel­1;­below,­Buddhaisawan­Chapel­ bay­ 30.­ In­ the­Twin­ Sal­ Tree­ Grove­of­ the­Princes­ of­Malla,­the­Buddha­ lies­waiting­through­ the­ watches­ of­the­ night­ for­ his­ move­into­ his­ Parinibbana.­The­ grieving­monks­ are­painted­ with­ individual­faces.­ Below,­ courtiers­and­ townspeople­ come­to­say­their­farewells.

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Figures­24,­25.­The­Last­Hours­in­Kusinara;­left,­Lacquer­Pavilion­panel­8;­right,­Buddhaisawan­Chapel­bay­31.­at­ the­top,­grieving­Ananda­sits­with­a­mournful­gesture­telling­the­Princes­of­Malla­that­the­Buddha­has­said­that­they­and­the­townspeople­should­come­bid­him­farewell.­The­message­goes­down­through­the­court­with­its­two­classes­of­courtiers,­through­the­palace­gates­to­the­town,­then­out­beyond­the­town­wall­to­the­peasants­seated­outside.

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Figures­ 26,­ 27.­ Retreat­ at­ Parileyyaka­ Forest;­above,­Lacquer­Pavilion­panel­9;­below,­image­in­ the­ North­ Viharn­ of­Wat­ Phra­ Chetuphon.­When­monks­ in­Kosambi­quarrel,­ the­Buddha­retreats­ to­ the­ Parileyyaka­ forest,­ where­ an­elephant­brings­him­water­and­a­monkey­offers­him­honey.

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Chapel,­ there­are­several­scenes­which­are­similar­to­those­illustrated­in­the­Lacquer­Pavilion­murals­but­are­not­direct­copies.­These­Buddhaisawan­Chapel­mural­scenes­­appear­to­be­copies­of­the­scenes­in­the­Lacquer­Pavilion,­indicating­they­were­painted­later.

A­further­connection­of­the­Lacquer­Pavilion­with­the­First­Reign­is­in­Wat­Phra­Chetuphon.­This­was­the­major­monastery­built­by­King­Rama­I.­The­First­Reign­murals­have­long­since­been­obliterated.­However,­among­the­bronze­images­created­by­order­of­Rama­I­is­the­large­image­in­the­North­Viharn­of­the­Buddha­during­his­retreat­in­the­Parileyyaka­Forest.­The­Buddha­sits­in­a­Western­position.­He­is­attended­by­the­elephant­bringing­him­water­and­the­monkey­offering­honey.­This­scene­is­replicated­in­Panel­9­in­the­Inner­Room­of­the­Lacquer­Pavilion­(Figures­26,­27).

Restoration­and­reform

The­change­ in­ the­subject­matter­of­ temple­murals­ from­ the­Jatakas­of­ the­Late­Ayutthaya­period­to­scenes­of­the­Buddha’s­life­in­the­murals­of­the­First­Reign­was­the­result­of­King­Rama­I’s­restoration­and­reform­involving­the­Sangha,­the­monkhood,­and­ the­ laity­of­Thai­ society.­The­destruction­of­Ayutthaya­by­ the­Burmese­ in­1767­brought­ about­ the­ disintegration­ of­ society.­ The­ population­ was­ dispersed­ into­ the­countryside­or­taken­into­Burma­by­the­invading­military.­After­the­Burmese­had­looted­monasteries,­and­destroyed­temples,­images­and­texts,­the­Sangha­was­dispersed­and­ineffective­with­its­monks­impoverished­and­demoralized.­Many­monks­had­to­provide­for­their­own­living­since­they­could­not­count­on­the­laity.­Adherence­to­the­Vinaya­depended­on­sufficient­alms­from­lay­people.­The­population­had­nowhere­to­turn­for­its­ religious­needs.­When­called­ to­ the­ throne­ in­1782­after­Taksin’s­ ineffective­rule,­Rama­I­re-established­the­Sangha,­reforming­its­traditional­disciplines,­reasserting­the­position­of­the­monks­within­it­and­their­distinction­from­the­laity.­Within­his­first­year,­he­decreed­seven­new­laws­for­the­Sangha.­He­restored­political­order,­re-established­traditional­practices­of­government­for­the­laity,­setting­out­new­rules­as­he­had­done­those­of­the­clergy,­and­thus­reformed­the­social­order.­Within­his­first­month­as­king,­Rama­I­ordered­the­re-compilation­of­the­Tipitaka­(Three­Baskets):­the­Vinaya Pitaka with­rules­for­the­order­of­the­Sangha;­the­Suttanta Pitaka with­the­words­of­the­Buddha’s­teachings;­and­the­Abhidhamma­of­higher­teachings.­

Rama­I­was­interested­in­ the­monkhood­returning­to­ the­basic­practices­of­early­Buddhism,­to­live­as­monks­had­done­in­the­time­of­the­Buddha.­He­wanted­to­foster­understanding­of­Buddhist­principles­among­laymen.­What­more­effective­way­to­reach­people,­ many­ of­ whom­were­ illiterate,­ than­ through­mural­ paintings­ in­ the­ ubosot,­wihan­or­other­temple­buildings.­The­murals­were­used­by­monks­to­explain­the­life­of­the­historic­Buddha,­his­experiences­in­reaching­Enlightenment,­and­his­dedication­thereafter­ to­ teaching­ the­Dhamma.­Consequently,­ among­ the­ detailed­ depictions­ of­scenes­from­the­ life­of­ the­great­ religious­ leader,­ those­of­ the­historic­Buddha­ in­his­last­life­would­have­been­of­paramount­importance.­It­is­understandable­if­the­changes­in­mural­paintings­were­of­major­concern­to­the­abbots­and­royal­sponsors­of­the­new­temples­being­built­during­and­after­the­foundation­of­Bangkok.­

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Figures­28,­29.­Yakkha­swim­in­confusion­when­the­Buddha­arrives­in­Lanka;­above,­Lacquer­Pavilion­panel­3;­below,­Buddhaisawan­Chapel­bay­12.­When­the­Buddha­arrives­in­Lanka,­the­yakkha­are­terrified.­The­Buddha­causes­the­island­of­Giridipa­to­float­by­Lanka­The­yakkha­swim­to­the­island­which­then­floats­away.

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19The Lacquer Pavilion in its First Reign Context

The Mahavamsa

In­addition­to­Rama­I’s­efforts­to­reconstitute­the­monkhood­and­society,­as­well­ as­his­military­ responsibilities,­there­ were­ further­ directions­ taken­by­ the­ king.­ Since­ a­ couple­ of­ these­other­ developments­ are­ reflected­ in­the­ Lacquer­ Pavilion­ murals,­ it­ is­appropriate­to­discuss­them­here.

Important­ in­ considering­ the­period­ of­ the­ Lacquer­ Pavilion’s­murals­is­the­Buddha’s­legendary­visit­to­Lanka­in­Panel­3­and­Buddhaisawan­Chapel­Bay­ 12.­The­ subject­ appears­in­no­other­Thai­mural­painting.­The­episodes­are­from­the­Sri­Lankan­epic­Mahavamsa­ which­ Rama­ I­ ordered­to­ be­ translated­ from­Pali­ into­Thai.­The­purpose­of­ the­Buddha’s­visit­ is­to­rid­Lanka­of­the­yakkha­(aboriginal­people)­ because­ their­ settlement­was­in­ the­place­where­the­Dhamma­would­ later­ be­ glorified.­ In­ both­ the­Buddhaisawan­Chapel­Bay­12­and­the­Lacquer­Pavilion­Panel­3­the­Buddha­floats­through­the­air­in­a­storm,­then­settles­on­his­mat­on­the­ground.­The­terrified­ yakkha­ swim­ to­ a­ nearby­island­which­ the­Buddha­has­ caused­to­ float­ by­ Lanka­ (Figures­ 28,­ 29).­Unique­ to­ the­Pavilion­murals­ is­ the­scene­of­Vijaya,­a­prince­from­Bengal,­coming­ to­ invade­ Lanka­ in­ the­ 4th­century­BCE.­He­is­shown­conversing­with­the­yakkha­king­and­the­yakkhini­Kuveni­(Figure­30).­

Also­described­in­the­Sri­Lankan­epic­and­in­the­Pavilion­Panel­6­is­the­Buddha’s­stay­at­Lake­Anottata­prior­to­his­visit­ to­Lanka­ (Figure­31).­To­have­ this­ sequence­ illustrated­ in­ the­

Figure­30.­Prince­Vijaya­of­Bengal­with­the­yakkha­king­and­the­yakkhini­Kuveni­in­Lanka;­Lacquer­Pavilion­panel­3.

Figure­31.­The­Buddha­stays­at­Lake­Anottata;­Lacquer­Pavilion­panel­6.

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20 Patricia M. Young

Lacquer­Pavilion­indicates­it­was­most­certainly­created­in­the­First­Reign.­Rama­I­had­the­Mahavamsa­translated­into­Thai­from­the­Pali­because­for­generations­

before­it­was­known­only­to­monks.­A­consideration­as­to­why­this­was­important­might­have­been­that­there­were­certain­parallels­between­his­career­and­that­of­King­Duttha­Gamani­(161–137­BCE).­This­king­was­able­to­drive­the­Tamils­(Damila)­out­of­Lanka­in­order­to­unify­the­island­as­one­kingdom­for­the­first­time­in­history.­His­goal­was­to­re-establish­the­religion­of­the­Buddha.­The­parallels­could­have­been­Rama­I­unifying­his­ kingdom,­ restoring­ Buddhism,­ and­ re-establishing­ the­ Sangha.­The­Mahavamsa­describes­in­some­detail­Duttha­Gamani’s­building­of­the­Mahathupa­(great­stupa)­at­Anuradhapura,­ the­ Lankan­ capital.­ The­ Chronicle­ of­ the­ First­ Reign­ also­ describes­similar­constructions­of­Rama­I­with­related­purposes.­They­were­two­warrior­kings.­

The­Ramakien

In­the­Lacquer­Pavilion,­in­addition­to­scenes­from­the­ministry­of­the­Buddha­in­the­paintings­of­the­upper­registers,­the­other­distinctive­element­is­the­subject­matter­of­the­Ramakien­in­the­lower­registers.­This­is­distinctive­because­the­episodes­are­from­the­version­composed­by­Rama­ I­ in­1797.4­Performances­of­ the­Ramakien­had­ long­taken­place­in­the­khon,­the­nang yai and­the­nang talung­formats.­The­gold­and­black­lacquer­illustrations­in­the­Lacquer­Pavilion­were­obviously­derived­from­the­figures­and­landscape­details­illustrated­in­the­nang yai.­

If­there­were­written­texts­of­the­Ramakien,­they­did­not­survive­the­destruction­of­Ayutthaya.­The­distinctive­aspect­of­the­version­written­by­Rama­I­was­the­introduction­of­ the­ adventures­ in­ Lanka­ of­ Rama’s­ younger­ brothers,­ Phrot­ and­ Satarut.­ This­additional­tale­composed­in­the­First­Reign­involves­the­dethronement­of­Phiphek,­ruler­of­Lanka,­established­by­Rama­after­the­overthrow­of­Thotsakan­(Ravana).­In­his­teens,­Phainasuriwong,­son­of­the­latter,­learns­of­his­father’s­defeat­and­thinks­he­should­be­ruler­of­Lanka,­not­his­uncle­Phiphek.­With­the­help­of­fellow­yakkha,­Phainasuriwong­does­gain­ the­ throne.­Rama­ sends­Phrot­ and­Satarut­ to­ remove­Phainasuriwong­and­reinstate­ Phiphek­ in­what­might­ be­ called­ the­ second­war­ for­ Lanka,­ a­ First­ Reign­invention.­

This­added­section­in­the­First­Reign­version­of­the­Ramakien­is­depicted­only­in­the­Lacquer­Pavilion­and­the­cloisters­of­the­Emerald­Buddha­temple­in­the­Grand­Palace­built­by­Rama­I­(Figures­32-39).­Of­the­178­episodes­illustrated­in­the­murals­in­these­cloisters,­twenty-four­are­devoted­to­the­adventures­of­Phrot­and­Satarut.­These­murals­were­repainted­in­subsequent­reigns­but­the­scenes­are­original­from­the­First­Reign.­Examples­of­Ramakien­figures­of­this­period­are­on­pediments­and­window­frames­in­the­Wang­Na­and­in­the­supplemental­library­in­the­Emerald­Buddha­temple­grounds,­also­built­by­the­Uparat.­The­First­Reign­Ramakien­screen­in­the­Buddhaisawan­Chapel­has­some­figures­and­landscape­details­that­are­close­to­those­in­the­lower­registers­of­the­Lacquer­Pavilion.­

4­Ray­Olsson, The Ramakien, A Prose Translation of the Thai Ramayana,­Introduction,­Bangkok:­Praepittaya­Company,­1968.

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Figures­34,­35.­Nilaphat­Gathers­the­Cure­for­the­Mekkaphat­Spear:­left,­Lacquer­Pavilion­panel­9;­right,­Emerald­Buddha­temple,­panel­141.­Nilaphat­gathers­the­medicinal­dung­from­Usuppharat,­the­vehicle­of­Shiva),­as­part­of­the­cure­to­extract­the­Mekkaphat­Spear­that­has­struck­Satarut.

Figures­36,­37.­Satarut­and­the­Hera­Arrow:­left,­Lacquer­Pavilion­panel­10;­right,­Emerald­Buddha­temple,­panel­144.­Satarut­is­being­rescued­from­the­Hera­Arrow­of­Banlaichak,­second­son­of­Chakkrawat,­ruler­of­Maliwan,­with­Hanuman­having­transformed­to­be­an­eagle­to­attack­the­Hera­serpent­and­the­other­soldiers­attacking­the­troops­placed­by­Banlaichak­to­guard­Satarut­from­being­rescued.­

Figures­32,­33.­Satarut­and­the­Mekkaphat­Spear:­left,­Lacquer­Pavilion­panel­9;­right,­Emerald­Buddha­temple,­panel­141.­Phrot­laments­over­Satarut­who­has­been­struck­by­the­Mekkaphat­Spear­of­Suriyaphop,­the­eldest­son­of­Chakkrawat,­ruler­of­Maliwan.

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Conclusion

The­ four­primary­ reasons­ for­considering­ the­creation­of­ the­Lacquer­Pavilion’s­murals­as­a­product­of­the­First­Reign­of­the­Chakri­Dynasty­have­been­presented.­To­recapitulate:­ the­ subject­matter­ illustrating­ episodes­ from­ the­Buddha’s­ historic­ life,­rather­than­his­previous­lives­as­a­Bodhisatta­in­the­Jatakas,­is­characteristic­of­temple­murals­created­during­the­reign­of­Rama­I.­The­ministry­of­the­Buddha­is­the­subject­of­ the­Lacquer­Pavilion’s­mural­ illustrations­ in­ the­upper­registers­of­ the­ inner­room­and­the­gallery.­Most­significant­are­the­affinities­in­subject­matter­and­similarities­of­iconography­between­ the­Lacquer­Pavilion’s­murals­ and­ those­ in­ the­Buddhaisawan­Chapel.­ Of­ unusual­ importance­ are­ episodes­ from­ the­ Mahavamsa­ of­ apparent­significance­to­Rama­I,­and­the­adventures­of­Phrot­and­Satarut­in­the­Ramakien.­

Figures­40,­41.­Monks­bathing;­left,­Lacquer­Pavilion­panel­10;­right,­Buddhaisawan­Chapel­bay­32.

Figures­38,­39.­Phali­and­Thoraphi:­left,­Lacquer­Pavilion­panel­11;­right,­Buddhaisawan­Chapel,­bay­7.­Phali,­the­ruler­of­the­monkeys,­fights­the­bull,­Thoraphi,­as­part­of­the­scene­of­Mara­Vichai,­when­Mara’s­army­is­being­washed­away­by­the­flood­from­Phra­Thorani­(see­Figures­6,­7­above).­­

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23The Lacquer Pavilion in its First Reign Context

Acknowledgements

My­ great­ appreciation­ for­ the­ late­ MC­ Subhadradis­ Diskul’s­ continuous­encouragement­over­the­years.­My­thanks­go­to­HE­Sarala­Fernando,­former­Sri­Lankan­ambassador­to­Thailand­for­identifying­the­figures­in­Panel­3­of­the­Lacquer­Pavilion;­Acharn­ Niyada­ Lausunthorn­ for­ explaining­ the­ crucial­ distinction­ of­ the­Ramakien­composed­by­Rama­I­and­identifying­the­figures­in­the­lower­registers­of­the­Lacquer­Pavilion;­and­Dr.­Laura­Kaufman­for­her­helpful­editing.­Continuing­appreciation­also­to­Mr­Michael­Wright­for­his­many­years­of­guidance­and­regular­collaboration.­

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Editorial note

This­article­was­originally­published­in­JSS­92­(2004),­but­without­illustrations.­At­a­memorial­event­for­Patricia­M.­Young,­held­at­the­Siam­Society­on­August­18,­2016,­the­idea­was­floated­of­republishing­the­article­fully­illustrated­as­a­tribute­to­its­author­in­her­centennial­year.

The­text­here­has­been­lightly­edited.­The­date­of­King­Rama­I’s­Ramakien­has­been­adjusted­from­1785­to­1797,­and­the­number­of­scenes­on­the­Phrot-Satarut­story­in­the­Emerald­Buddha­temple­from­twenty-eight­to­twenty-four.­

No­ other­ changes­ of­ fact­ or­ opinion­ have­ been­ made.­As­ the­ author­ recorded­elsewhere,­the­two­buildings­(library­and­scriptorium)­had­already­been­amalgamated­in­Ban­Kling­before­the­discovery­and­move­to­Bangkok.­Scholars­today­believe­there­were­more­murals­on­the­Buddha’s­life­in­Late­Ayutthaya;­that­some­Ramakien texts­have­survived­from­the­Ayutthaya­era;­and­that­ the­extent­ to­which­later­restorations­altered­the­original­murals­in­the­Emerald­Buddha­temple­is­unknown.­

The­picture­captions­were­adapted­from­a­lecture­by­Patricia­Young.This­revision­has­been­prepared­by­Kit­Young,­Chris­Baker,­and­Frederick­B.­Goss.­

The­photographs­of­the­Pavilion­were­taken­by­Pairin­Kankeaw,­and­those­of­the­Emerald­Buddha­Temple­by­Vittorio­Roveda.­The­photographs­of­the­Buddhaisawan­Chapel­are­from­the­Lek-Praphai­Viriyahphant­Data­Center­(Viriyah­Business­Co.­Ltd.),­publishers­of­Muang Boran.­Special­thanks­to­Sran­Tongpan.

Thanks­to­MR­Sukhumbhand­Paribatra­for­permission­to­photograph­the­Lacquer­Pavilion­for­this­article,­and­thanks­to­the­staff­of­the­Pavilion­for­their­assistance.

Journal of the Siam Society, Vol. 107, Pt. 1, 2019