In celebration of the Fine Arts Department's (FAD) 109th anniversary and Thai Heritage Conservation Day back in April, the National Museum presents a new exhibition titled: "Reflection On The Thai Arts Through San Somdet, The Correspondence Between HRH Prince Narisara Nuvadtivongs And HRH Prince Damrong Rajanubhab."
On view until Nov 19, this exhibition is a reinterpretation of timeworn letters written by Prince Naris and Prince Damrong between 1914 and 1943 and have significant cultural significance. Visitors can also admire a showcase of rare artefacts, artworks, photographs, diagrams and multimedia presentations relevant to what the two princes discovered and documented.
"Prince Damrong and Prince Naris were the sons of King Rama IV, so they were really close. They wrote a lot of letters to discuss different topics regarding history, archaeology, culture, natural science, literature, art, music and more. At that time, the two princes seemed like modern scholars who brought the East to meet West. However, due to the political situation, Prince Damrong later moved to Penang while Prince Naris remained in Thailand but they still kept a correspondence," said Nitaya Kanokmongkol, the director of the National Museum.
In Siwamokkhaphiman Hall, the exhibition is designed to resemble a historical book with six chapters to illustrate how the FAD has followed in the footprints of Prince Damrong and Prince Naris, who were honoured as the World Outstanding Personality and Person of International Importance by Unesco.
The first chapter, "The Origin Of San Somdet", takes bookworms back to the days when the heirs gave all the documents to the FAD with content first beginning to appear in the public domain in the Silpakorn Journal in 1947. Later, the Teacher's Council of Thailand reprinted them in the form of the book series, titled "San Somdet". Now, the FAD has transformed them into digital books to educate young generations.
San Somdet is considered to be a historical record that has contributed significant knowledge, especially national heritage conservation and development which is the responsibility of the FAD. Some of the areas it touches upon include archaeology, museum, history, liberal arts, literature, fine arts and performing arts.
An illustrated manuscript of Thai dance created during the reign of King Rama I. Photos: Apichit Jinakul
"During the reign of King Rama VII, their documents become significant reference books for the Fine Arts Department. The two princes initiated many ideas and works of heritage conservation in Thailand," Nitaya said.
"Without pictures and illustrations, their letters seem like academic articles, so we've used artefacts, photographs or media presentations to visualise what they're talking about. This can help visitors understand easier."
The first section is complete with a wood writing desk, which Prince Damrong used between 1889 and 1915 while working at the Ministry of Interior in the Grand Palace. Equipped with his personal stationery, this desk was moved to the Varadis Palace after his retirement.
The next chapter is titled: "The Two Princes And Museum Affairs In Thailand." During the reign of King Rama VII, the national museum was transferred to the Royal Society of Thailand of which Prince Damrong served as the president and Prince Naris -- who was also in charge of the Fine Arts Department -- as the vice-president.
Influenced by Western culture, the two princes were keen to develop an exhibition by collecting objects they found during their journeys and bringing them back to the National Museum. Meanwhile, they also learned to analyse objects following scientific approaches.
With the enlightening motto captured in the letters, visitors can find an antique mother-of-pearl-decorated manuscript cabinet with beautiful panels depicting Vishnu riding Garuda and Indra riding Airavata elephant. Prince Naris presumed this cabinet was made from the door panels of Wat Borom Phuttharam, according to an inscription on its surface which said it was made in 1752. During the reign of King Rama V, the cabinet was relocated to Bangkok and stored at the Supplementary Library (Ho Phra Monthien Tham) in the Grand Palace before being moved to the museum in 2013.
A writing desk used by Prince Damrong while working at the Ministry of Interior. Photo credit
Also on display is a venerable Srivijaya-style votive tablet created in the ninth century. Prince Damrong believed that some votive tablets were made with clay and human ashes, similar to some objects in Tibet which were tempered by some relics from the cremated bodies of senior Buddhist monks. To prove his idea, a piece of votive tablet was investigated using the element composition method.
"We have a specialist team using scientific methods to investigate artefacts. We want to show modern innovation in the present-day by connecting assumptions of the two princes in the past," Nitaya said.
The exhibition continues with the chapter of "The Two Princes And Performing Arts In Thailand". Prince Damrong and Prince Naris adapted Western music notes to develop classic Thai songs as well as printing technology to maintain traditional Thai dancing.
"Prince Damrong created music notes for several Thai musical instruments like the drum and xylophone to standardise Thai performing arts. He also had some dancers perform patterns of classical dance and ordered veteran painters to capture all postures in making Thai dancing manuals," Nitaya said.
In this zone, visitors can learn about the development of classic Thai performing arts through an old Thai music book and a copy of an illustrated manuscript of Thai dance, whose original owner was Princess Suda Sawan. It depicts 66 dancing postures on black paper, which Prince Damrong believed was a religious tradition, which spread from India.
However, the main room is devoted to the chapter "The Two Princes And Their Work In History And Archaeology". Prince Damrong conducted research on the pre-historical period and shared his experience in observing Professor Callenfels' excavation in Penang. This document became the primary archaeological manual in Thailand.
"Regarding an archaeological chronology system, Prince Damrong mentioned that the primary criteria had to be based on the development of making different equipment and could be divided into the Stone Ages, Bronze Age and Iron Age. In Thailand, we've learned from cremations and kiln technology," Nitaya said.
Dvaravati inscription was found at Wat Phra Ngam in Nakhon Pathom. Photo credit
"As the Interior Minister, Prince Damrong travelled around the country to reform authority and enhance the landscape, which is why he discovered numerous artefacts and learned about history. For example, Nakhon Pathom was considered as an ancient town where Prince Damrong discovered the Dvaravati inscription and Buddha images during the construction of a rail line."
Nitaya recounted that two princes also visited the provinces in the Malay Peninsula and assumed that Indian sea merchants brought religious beliefs to the Srivijaya Kingdom. The north of Thailand was considered as the main source of Celadon ware after Phraya Nakhon Pharam discovered kiln sites in Wiang Kalong district, Chiang Mai.
This room is also lined with the 3,500 to 5,000-year-old human skeletons from Ban Kao archaeological site in Kanchanaburi, a prehistoric iron-smelting furnace from Mae Lan archaeological site in Lamphun, a Dvaravati-style Buddha head crafted in the eighth century and found at Phra Ngam Temple in Nakhon Pathom and the hoary stone statue of Vishnu made in the seventh century from the Khao Phra Nue archaeological site in Phangnga.
The next zone is titled: "The Two Princes And Their Work In Inscription And Literature", which displays the King Ramkhamhaeng sandstone inscription, which was made in the 14th century to take visitors back to the origin of the Thai alphabet and the development of Thai tone marks.
"Prince Damrong was in charge of the Royal Vajirayana Library, home to a wide range of inscriptions. He worked with international specialists to learn about the development of the Thai language, based on King Ramkhamhaeng's inscription and the Jindamanee textbook from the Ayutthaya period," Nitaya said.
Alongside is a gold plate inscription, discovered at Wat Mahathat in Sukhothai and mentioned in San Somdet. It is important evidence as it shows the merit of Phra Maha Thera Chulamanee, who built the vihara and Phra Attharassa statue in the Sukhothai period as well as the oldest Pali dhamma script.
The last chapter: "The Two Princes And Arts", shows how they played a significant role in Thailand's fine art scene. Visitors can admire masterpieces from Prince Naris such as a miniature of the royal crematorium for His Majesty King Vajiravudh and the gold hamsa ceremonial fan with elaborate swan-inspired silk embroidery.
"This exhibition is a treasure trove of knowledge for young generations to learn how our country developed. On display, there is a document regarding political transition that led us to modern Thailand. We want to encourage people to take notes and not stop asking questions and looking for answer rationally," Nitaya said.
"Reflection On The Thai Arts Through San Somdet, The Correspondence Between HRH Prince Narisara Nuvadtivongs And HRH Prince Damrong Rajanubhab" runs until Nov 19 at Siwamokkhaphiman Hall in the National Museum Bangkok. It's open from 9am to 4pm, Wednesday to Sunday. Admission is 30 baht for Thais and 200 baht for foreigners. For more information, call 02-224-1333.
Prince Naris presumed that this mother-of-pearl adorned cabinet was made from the door panels of Wat Borom Phuttharam in the Ayutthaya period.
A knobbed earthenware was found at Sua Cave archaeological site in Ranong.
