Between 11th and 13th December 2000, at the full moon of thewinter solstice, the people of Ban Oup Mong gathered for thefestive demolition of the old image hall at their vat, to bereplaced with a new vihaan; seen to be a merit-making activitythat would much enhance the beauty and prestige of the temple compound.

The un-reinforced masonry building, which dated to the1920s, was cracked in several places, some of the woodworkwas termite-damaged, and the roof structure and tiles hadbeen rapidly deteriorating. But the interior, which was com-pletely covered with wonderful naïve murals illustrating thePhralak-Phralam (the Lao Ramayana) —rendered during onlythirteen days in 1938 by the talented but inexperienced drafts-man-monk, Thit Panh, with the help or hindrance of sevenboy novices— was still altogether intact.

While Ramayana illustrations and sculptures from the Indian,Khmer, and Thai, as well as the Lao traditions are everywherecommon in vat décor here, the old Oup Mong vihaan was oneof those rare structures totally given over to the many storiescomprising the beloved epic.

Fortunately, the illustrations, the specific manuscripts beingillustrated, the architecture, the structural details, and theprocess of demolition were all systematically archived in digi-tal format. How can this imagery be used towards a more pro-active approach to conserving the Lao cultural patrimony andtowards bridging the obvious divide between a sophisticatedpreservationist sensibility, and the perceptions and prioritiesof the local community?

The lost Ramayana paintings of Vientiane

The combined armies of Houliman, Phralak-Phralam, and Sankheepmarching to Lanka to rescue Nang Sida from Hapkhanasouane.

produced with the assistance of the

Main altar, former vihaan,Vat Oup Mong, Vientiane

Between 11th and 13th December 2000, at the full moon of the winter solstice, the people of Ban Oup Mong gathered for the festive demolition of the old image hall at their vat, to be replaced with a new vihaan; seen to be a merit-making activity that would much enhance the beauty and prestige of the temple compound.

The un-reinforced masonry building, which dated to the 1920s, was cracked in several places, some of the woodwork was termite-damaged, and the roof structure and tiles had been rapidly deteriorating.

But the interior, which was completely covered with wonderful naïve murals illustrating the Phralak-Phralam (the Lao Ramayana) —rendered during only thirteen days in 1938 by the talented but inexperienced draftsman-monk, Thit Panh, with the help or hindrance

of seven boy novices— was still altogether intact.

While Ramayana illustrations and sculptures from the Indian, Khmer, and Thai, as well as the Lao traditions are everywhere common in vat décor here, the old Oup Mong vihaan was one of those rare structures totally given over to the many stories comprising the beloved epic.

Fortunately, the illustrations, the specific manuscripts being illustrated, the architecture, the structural details, and the process of demolition were all systematically archived in digital format.

How can this imagery be used towards a more proactive approach to conserving the Lao cultural patrimony and towards bridging the obvious divide between a sophisticated preservationist sensibility, and the perceptions and priorities of the local community?

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The Lost Ramayana Paintings of Vientiane

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