Wider World by CS

For the glory of the King

April 27, 2017 01:00
By KUPLUTHAI PUNGKANON
THE NATION

Like a fluttering of angels' wings, artisans' tool clatter in preparation fot the royal cremation

SAMREUNG DANGNAEWNOI, 79, has been retired for 19 years, but the artisan whose wood-carving skills have been put to use in four previous royal cremations was proud to be called upon again as preparations began for the funeral of His Majesty the late King Bhumibol Adulyadej.

Samreung – like all of the expert craftspeople employed or specially recruited by the government’s Fine Art Department to help prepare for the cremation on October 26 – said his pride is tempered by heartbreak over the loss of the beloved monarch.

Working at a large Office of Traditional Arts facility in Salaya in Nakhon Pathom, Samreung said he will be able to “die in peace” after completing the greatest work of his life. He’s carving by hand the kab phrom 

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 sorn that will adorn the upright posts of the Phra Thinang Rachentara Yan Noi. 

This is the slender, spired pavilion that will transport the King’s ashes from the cremation site at Sanam Luang to the Grand Palace.

“I’m very proud,” Samreung says. “This will be my life’s masterpiece.” His art has previously decorated funeral accoutrements for Queen Rambhai Barni of Siam, Their Royal Highnesses Princesses Srinagarindra, Galyani Vadhana and Bejaratana Rajasuda. 

The Traditional Arts workshop in Salaya was opened to the press last week to show how the labour is progressing on the items and art to be used during the cremation rites at the site designated Phra Meru for the historic occasion. 

The shop was filled with the clatter of artisans’ tools as they fashioned ornate pieces both large and small. Others were weaving and embroidering, restoring venerable artefacts, painting and sculpting. 

The wood-carvers are building or restoring five royal chariots, including the Phra Maha Pichai Ratcharot – the Royal Great Victory Chariot that will carry the King’s urn. Glass will be among the ornamentation covering its expanses. 

The lacquer finish on the carriage known as the Ratcharot Noi is being cleaned and polished in preparation for its gilding with gold leaf. 

Supen Satraserm is in charge of restoring the venerable Phra Thinang Rachentara Yan built during the reign of King Rama I. It had never before been completely cleansed, he said, so the original craftsmanship can now finally be fully appreciated. “The work of the artisans of that time is amazing,” he said. 

“The detail is highly delicate. And we hope to restore the chariot as close to the original as possible, including the use of traditional paints that are non-chemical but durable, such as rouge and lacquer, which also ward off termites. Thankfully the old workers’ wisdom was preserved so that future generations could take care of their creations.”

An entirely new carriage, the Phra Thinang Rachentara Yan Noi, is almost 80 per cent complete, built from teakwood. 

With a spired pavilion 410 centimetres tall and 100 centimetres wide, it is styled on the Phra Thinang Rachentara Yan first 

 used for the cremation of Rama I, though it’s smaller in size, as the name indicates. The carriage has four counterbalances, but 56 men will be required to carry it.

The carvings that will decorate it are about 30 per cent complete. There are more than 20 kinds of ornaments being prepared, among them the traditional naga pak, kab phromsorn, kan tuay and krajang patiyan motifs. The last features elaborate depictions of thep phanom figures with hands pressed together in prayer. 

The Ratcharot Puen Yai – the Royal Artillery Chariot – awaits a coat of black paint and restoration of the base, which will be handled in part by the 

 Royal Thai Army Ordnance Depart- ment based in Nakhon Ratchasima. 

Artist Chanayotin Aupaluck explained that the design derives from original drawings made by Prince Narisara Nuwattiwong for the Ratch- arot Puen Yai Rang Kwean used in the funeral of Rama VI. 

“We’ve redesigned it with distinguishing traditional motifs such as the singha to decorate the base, which will hold the royal urn, as well as other motifs for the wheels. That will all be finished in a few months.

“The base of the royal artillery chariot was originally used to carry weapons during World War II, and of course the King is supreme com

 mander of the armed forces.”

The sculptors have made impressive progress, rendering 32 seated thep phanom figures with the bases already painted. Four other divine figures measure 200 centimetres in height. The Phra Phrom is fully painted, awaiting only the base. A Phra Narayana was being painted and a Phra Shiva and Phra Indra are being adorned with fine details.

Sculptures of auspicious animals will take up positions at the site facing four directions – horses and cows already painted, elephants being rendered in fibreglass, and lions in the process of final adjustments. 

Magnificent paintings for the large ornamental panels of the crematorium depict eight scenes from the lives of the Vedic deity Narayana, while smaller panels below show some of the King’s best-known engineering projects. The north-facing panel has the Khao Tao Reservoir and an irrigation installation. The south portrays means of alternative energy, the east Kleang Din and the west a wind turbine. The backs of the panels feature heavenly lotus blossoms. 

Painter Kiatisak Suwanpong said they’re working on canvas using special acrylic pigments that lend a matte effect, and use gold leaf on embroi

 dered cloth and some accessories. 

“We call this the King Rama IX style of art, which has distinctive features, such as they way the body’s muscles are depicted. When the Office of Traditional Arts did the murals for the Buddha Ratana pavilion at the Grand Palace in 1993, His Majesty paid great attention to every detail and gave the painters advice, so we came up with an artistic style that pleased His Majesty.”

Charged with painting the floral rear panels, Kiatisak said he takes great pride in the assignment. “The back of the panels are the nearest art object to His Majesty’s final destination,” he says. 

“The scenes are beautiful in pink and yellow gold. Yellow represents the nation and pink was His Majesty’s favourite colour. He was a great role model in many aspects, including as a painter, and I believe everyone should follow his example and keep learning and improving in their work.” 

The entire undertaking depends heavily on volunteers. Students are among the citizens pitching in with craft skills, and everyone seems to share in the feelings of affection for His Majesty and pride in their efforts to honour him. 

Nineteen-year-old Napaschana Rattanasrichaiyara, a student at Kanchanapisek Royal Goldsmith College, added that her parents are equally pleased she’s been given this once-in-a-lifetime opportunity.