The ‘Weaponry: Art And Science For Wars’ exhibition is shown in the Buraphaphimuk Hall according to an old royal tradition to keep weaponry in a room, northeast of the royal bedroom. The weapons are displayed according to types of usage and hierarchy and divided into two major sections — Royal Weaponry and Weapons of Commoners — for warfare and as paraphernalia. Must-sees include a sacred armour jacket with the Hanuman motif for warriors dating to 1815; and three royal drums from the shrine of Chao Phor Hor Klong dating to 1782: yam phra surisri, a buffalo rawhide drum, to mark sunrise and sunset, akkipinart, a cow rawhide drum for fire alarms, and phikartpairee, a bear and tiger rawhide drum inscribed with Pali-language magical spells, to sound in the event of war as invaders were approaching the city.
Stepping into four of all the 14 galleries in the National Museum Bangkok, visitors will now be enjoyably surprised and greeted by the modern-style lighting and display of exquisite Thai musical instruments, khon masks, puppets, weaponry, metal art and fabrics dating back to the Ayutthaya and Rattanakosin periods.
After about three years of room-by-room renovation, the four galleries recently reopened with modern exhibitions and better conservation techniques, such as proper lighting, temperature and humidity control. They are the “Textile”, “Metal Art”, “Royal Performing Arts And Music” and “Weaponry: Art And Science For Wars” galleries. The 10 other dimly-lit and old galleries are being renovated or waiting for refurbishment.
“I am satisfied with the warm welcome from the public. Presentation is done through storytelling at the Textile Gallery. The Metal Gallery highlights useful information and sophisticated metal art from the Rattanakosin Period. Apart from artistic beauty, we try to provide knowledge in specific fields. Besides seeing beautiful old objects, visitors will be able to see complete sets of musical instruments for different Thai classical bands. The Weaponry Gallery also has traditional warfare books and a model of old-style army marching,” Fine Arts Department director-general Anandha Chuchoti said.
The ‘Weaponry: Art And Science For Wars’ exhibition is shown in the Buraphaphimuk Hall according to an old royal tradition to keep weaponry in a room, northeast of the royal bedroom. The weapons are displayed according to types of usage and hierarchy and divided into two major sections — Royal Weaponry and Weapons of Commoners — for warfare and as paraphernalia. Must-sees include a sacred armour jacket with the Hanuman motif for warriors dating to 1815; and three royal drums from the shrine of Chao Phor Hor Klong dating to 1782: yam phra surisri, a buffalo rawhide drum, to mark sunrise and sunset, akkipinart, a cow rawhide drum for fire alarms, and phikartpairee, a bear and tiger rawhide drum inscribed with Pali-language magical spells, to sound in the event of war as invaders were approaching the city.
Thaksinaphimuk Hall is now filled with many Thai classical musical instruments and art pieces for telling stories of royal performing arts. Meanwhile, Patchimaphimuk Hall which houses the “Metal Art” exhibition is full of glittering metal art ranging from gilded art, lacquerware and more. Uttraphimuk Hall, which houses the Textile Gallery, is full of old royal textiles and attires, while Buraphaphimuk Hall is home to the “Weaponry: Art And Science For Wars” exhibition.
The museum renovation project is the pioneer of the Ministry of Culture’s “living museum” policy. It initially involved the restoration of Sivamokhaphiman Throne Hall of the former Front Palace. The throne hall, which has long served as the museum’s Thai History Exhibition, reopened with a new design, tasteful lighting, concise bilingual descriptions and exquisite ancient artefacts displayed in a wider space to highlight their unique beauty.
The National Museum Bangkok attracts more than 1,000 visitors each day in general, and drew over 4,000 visitors a day during the New Year holidays.
Apart from the four new galleries, visitors should not miss the opportunity to visit the new section of the permanent exhibition on King Pinklao, who was the Fourth Reign’s second king, on the ground floor of the king’s former royal mansion Issaresrajanusorn Throne Hall.
The Fine Arts Department has come up with a policy to develop all national museums into lifetime learning centres for people of all ages and educational levels because these museums are sources of ancient artefacts and art pieces, which are part of the national heritage.
Since 2015, the department has been in the process of creating and digitalising complete lists of ancient artefacts and art pieces in its collection. The National Museum Bangkok consists of many former throne halls and royal mansions, and after the work at the Sivamokhaphiman Throne Hall, the other halls have been undergoing facelifts. The aim is to turn the National Museum Bangkok, which had fallen into neglect and largely ignored, into a leading museum in the Asean region.
Wang Na, or the former Front Palace of viceroys (uparat), is within walking distance of the Grand Palace and Sanam Luang.
Wang Na was commissioned by King Rama I’s younger brother, Krom Phra Ratchawangbovorn Mahasurasinghanart, in 1782, the same year as the Grand Palace, in the Ayutthaya art style. Facing East with the Chao Phraya River at the back, it was located in front of the Grand Palace, north of Wat Mahathat. Its boundaries range from Phra Chan Road to Tha Chang pier. It was the residence of Bangkok’s five viceroys and one second king during the first four reigns.
The Front Palace initially boasted Siwamokhaphiman, Phutthaisawan and Moo Phra Vimarn. Sivamokhaphiman Throne Hall, which first had no wall, served as the meeting hall for the uparat and officials. Phutthaisawan Throne Hall is important for enshrining Phra Phuttha Sihing, a sacred Buddha statue, and hosting auspicious royal ceremonies, while Moo Phra Vimarn is a cluster of the viceroys’ living quarters.
After King Rama V (King Chulalongkorn) introduced the position of crown prince to replace the position of uparat, Sivamokhaphiman Throne Hall was abandoned in 1885, and was turned into a Royal Museum in 1887 during Rama V’s reign. In the reign of King Rama VII, the king allowed the use of the entire Front Palace as the Vajirayan Library and the National Museum Bangkok.
Visiting the Front Palace is an opportunity for people to cherish the stunning Ayutthaya-style architecture and art while learning about Thai history. It may take more than one day for history buffs to explore the entire palace, which holds artistic and historical value and also serves as home for the National Museum Bangkok.
Entering the Thaksinaphimuk Hall and looking at the left side, visitors see the display of musical instruments for the Piphart Khruang Yai band, the display of 32 khon masks of khon masters, deities and the most important characters from the epic Ramakien and the display of musical instruments for a Thai classical string band. At both ends of the hall nang yai shadow puppets are displayed. On the right side of the hall are glass cabinets displaying the moulds of khon masks and hoon luang and hoon wang na puppets. Interestingly, the khon masks are placed according to the characters’ royal or aristocratic rankings. Among the masterpieces on view are the khon mask of the monkey warrior Hanuman, created and decorated with mother-of-pearl during the reign of King Rama II, the mask of the monkey Chomphuphan while disguising himself as a bear, and Thai- and Chinese-style hoon wang na puppets.
Stepping into Patchimaphimuk Hall with the ‘Metal Art’ exhibition, visitors will first see a collection of weaponry and metal tools owned by Chao Phraya Bodindecha (Singh Singhaseni), chancellor and an army leader during the reign of King Rama III. Other metal tools and art pieces on view range from royal paraphernalia, jewellery, accessories to kitchenware and farming tools. Highlights are Chao Phraya Bodindecha’s gilded sword representing the monarch and authorising the holder to punish anyone with no need to seek royal permission first; and a metal model of the pond for the tonsure ceremony for Crown Prince Maha Vajirunhis, the eldest son of King Rama V.
The Royal Fabrics Exhibition in the Textile Gallery is classified into three categories — royal attires, clothes for aristocrats and clothes for palace ladies. Highlights include King Rama IV’s European-style jacket adorned with foliage and oak nut motifs and a gold bead-decorated gown of Prince Asadangdechawut, a son of King Rama V. The beautiful jacket of King Rama IV is shown along with an old photo of the king. It was made of wool from Europe and embroidered with gold threads in the images of flowers in the 19th century. It was later donated to the museum.
Another masterpiece is a cotton chintz (pha chong kraben), donated by Queen Indrasaksachi, wife of King Rama VI, in June 1927. It was mordant dyed, resist dyed, block printed and hand-painted in India in the late 18th century. Its design consists of full-bodied thepanom and another Thai motif. Another highlight is a brocade textile pha yok yiarabab donated by MR Pantip Paribatra, wife of Prince Chumbhotbongs Paribatra. This silk fabric with flower motifs in a diagonal grid was woven with a continuous supplementary weft of gold threads in India in the 19th century. Pha yok yiarabab is a fine quality of brocade worn by kings, high-ranking royal family members and courtiers to royal ceremonies. They served as shawls, blouses, jackets and pha chong kraben (also called pha na nang).
The new section of the permanent exhibition on King Pinklao at Issaresrajanusorn Throne Hall focuses the king’s life, royal vehicles and animals, his acumen and admiration of Western contributions as well as archaeological finds from the excavations at the Front Palace. King Pinklao excelled in the English language, naval and artillery affairs, music, steamship building and several other fields of sciences from the West. Among highlights are the life-size model of the king’s horse, paintings of the king’s elephant, models of steamship and vessels built by the king, and stone signs of the Front Palace’s four old royal mansions — Ekalongkot, Mahannopphiman, Chollasathan Thippaya-art, and Prapaskhongkha. Pichaya Svasti
Also on view are beautiful brocade robes (pha yok), brocade textiles (pha yok yiarabab), pha sabai (pleated silk used by palace ladies as chest and shoulder shawls), pha krong thong (gold woven clothes used to decorate pha sabai), block printed cotton (pha pim lai), Ikat (pha som pak, mud mee or pha poom) and silk brocades (pha yok mai). Among the oldest fabrics given by royals to the museum — block printed cotton (pha pim lai) and royal hand-painted fabrics (pha khian lai yang) — cannot be found elsewhere. Apart from its core exhibition, the textile gallery also displays machines, tools and ingredients for weaving, dyeing, pleating and scented fabrics with fresh flowers as well as video presentation.
