The grandeur of the craft

T he Subanahongsa Royal Barge, famous for its beauty, is a work of art of very high order, but it takes a craftsman to truly appreciate what makes the vessel so lovely. Lieutenant Tavee Nilvongsa has worked with the boat for more than 30 years, caring for the spectacular ornamentation that embellishes this unique vessel. ‘‘I’m the son of a craftsman,’’ he said proudly. ‘‘My father built boats, built houses, and constructed pavilions for temples.

He tried to teach me these things, but as I child I wasn’t interested. It was only when I entered the Small Craft Division that craftsmanship of this kind began to intrigue me. ‘‘Being with the boats and seeing each one made me think of the wisdom of the craftsmen who made them. ‘‘There are three old vessels in the building where the royal barges are kept that I think must have been built during the reign of King Rama I.

They’re called ruea muang (purple boats) and were used for scouting. ‘‘In the old days, when the King was going to travel by water, soldiers would go out and check the route first to ensure that it was safe. ‘‘The boats they went in were propelled by eight oarsmen and very fast. They were carved from an entire tree. In those times they chose exactly the size tree they needed and didn’t waste any of it. They were respectful of trees, and before they cut one down they would apologise and explain why they needed it, while making a gesture of obeisance. ‘‘This was because they recognised trees as living things. ‘‘So every boat that is made from a tree is thought of as having life.

It’s just that its life has changed, from being a tree to being a boat. Crews believe in mae yaa nang ruea, a spirit that guides the vessel. If the boat is a large royal barge, like the one in which the King is seated, that protective presence is divine because before the boat is made from the tree many sacred ceremonies are performed. ‘‘The beauty of the Subanahongsa barge comes from its ornamentation. One of the most important features is the elaborate garland that hangs from the mouth of the hongsa that forms the figurehead. It starts off with a crystal sphere, made from a ball of polished wood covered with small mirrors, something like the mirror-balls that they hang up in bars. ‘‘Hanging under that is the phuang kaew, a chandelier-like cluster of mirrors cut at angles. And below that are a series of three evenly-spaced, small crystal spheres, and then an ornament made from yak fur.

‘‘The fur of the yak is used because of its special qualities. It glistens in the light, and won’t mat or collapse if it gets wet. When it’s dry it fluffs up beautifully, and the ornament keeps its shape under all conditions. ‘‘It is also important that it is the fur of an animal considered high and noble.’’ If the Subanahongsa lacked any of these elements it was incomplete, because they were all interrelated. ‘‘Since the prow of the Subanahongsa turns upward about 10 degrees, the hanging ornament enhances the bow. ‘‘There is also a garland hanging around the neck of the hongsa, and this contributes to the feeling of perfectly proportioned balance. If the procession is part of a ceremony that makes use of fresh flowers, the garland will include auspicious blooms like the false globe, amsranth, roses, and jasmine.

If it is a non-floral ceremony, artificial flowers are used. ‘‘The ornamented prow of the Subanahongsa is magnificent. The more you look at it, the more beautiful it gets. The figurehead itself is very old. It comes from the first boat of the name, built during the reign of King Rama II. That vessel deteriorated beyond repair during the sixth reign, so a new hull was built for the figurehead, together with the royal barge Anantanagaraj. ‘‘It is my duty to train the oarsmen, who traditionally came from the Small Craft Division. They came from seaside provinces like Rayong, Chon Buri, Samut Prakan, Phetchaburi and Samut Songkhram because they could swim and knew the water.

‘‘Later, navy policy brought men from Isan. ‘‘During this procession, I will be sitting in the King’s barge giving signals. I’ll sit in front holding an ornate pom-pom called a phuu haang nok yuung, used to signal the oarsmen. ‘‘When I get a signal from the lieutenant, I in turn use the pom-pom to signal the oarsmen how they should row and what rhythm they should use.’’

Beliefs that launched the boats

A close look of the seven-headed naga of Anantanagaraj, top; a fleet of attendant barges, above, proceeds down the Chao Phrya River; the Krabi Ran Ron Rap, right, on the bow of an escort barge by the same name; the head of Krut Hern Het.

Suthon Suphisit Artistic and cultural activities in Thailand are based on underlying principles: the relationship between the individual and society, between man and nature, between human beings and their personal beliefs. These concepts are believed to be the motivating forces that energise culture and are epitomised in the ornate grandeur and ceremony of the Royal Barge Procession. A variety of vessels are involved and they are classified by type and importance.

There are guard barges, barges used in warfare and barges to increase the size and splendour of the ceremony. Then there are the animal-headed vessels ornamented to suggest garudas or monkeys, and which also add scale to a procession. More elaborate still are the reserve royal barges, special vessels used for kathin presentations by HM the King. Finally, there is the barge used by the King himself. This is the most important and the most elaborately ornamented.

Barge processions have been a part of Thai tradition since the Ayutthaya period. Usually they were held during events like the Royal Kathin Ceremony at Wat Phutthathaisawan in Saraburi, when the King paid homage to the Buddha’s footprint, or when a new monarch was crowned. It is a common misconception that the royal barges were also used in warfare. Boats did have a role in battle, but were not of primary importance, as the front-line conflict was always on land. All these aspects derive from the relationship between individuals and society, with the canals, streams, and rivers defining the nature of the activities involved. Other aspects have roots in both Buddhist and Brahmin traditions.

It is believed the monarch is an incarnation of a celestial being of the highest order, the identity of the being in question depending on the prevailing circumstances. If, for example, the monarch has the status of a provider, he is seen as a manifestation of Brahma. If his status is that of a preserver of peace and contentment, he is considered to be an incarnation of Vishnu. For this reason, things that are used by the King have multiple meanings.

For example, Subanahongsa, the royal throne barge which has been used since the Ayutthaya period, is ornamented with the image of the mythical hongsa, or hamsa in Pali, a winged beast which provided transport for Brahma, and of Brahma himself, a deity who assisted the Lord Buddha. The barge Anantanagaraj is named after the throne, also known as piyanaga, used by Vishnu under the sea. These beliefs are all associated with the Sanskrit epic the Ramayana, or Ramakien in its Thai form. In it, Rama is portrayed as the god Vishnu born on earth in human form. Since the Thai Kings of the present dynasty are all considered to be incarnations of Rama and are called by that name, aspects of the Ramayana.