BRINGING BACK THE FORGOTTEN PALACE
In an exclusive inter view, Khun Sirikitiya Jensen talks to us about a collaborative project to promote public awareness and fur ther studies of the lesser known old Front Palace
While the Grand Palace is world famous for its palatial architecture, the old Front Palace, or Wang Na, of ancient viceroys is hidden in obscurity although its beauty is second to none. Today it is just known simply as the National Museum Bangkok, rather than a palace with deep historical and artistic significance.
Perhaps not anymore: “The Architectural Ensemble Of Wang Na Exhibition”, initiated and managed by Khun Sirikitiya Jensen, a Fine Arts Department official and the youngest daughter of Princess Ubolratana, hopes to shine a bright light on the Front Palace.
The exhibition is presented from now until June 27 on the 4th floor at the Bangkok Art and Culture Centre (BACC), hosted by the Fine Arts Department in co-operation with the Foundation of Mrigadayavan Palace. The exhibition is based on “The Study Of The Front Palace (Wang Na): A Digital Revitalisation Of The Palace’s Past”, a project led by the department’s Office of Architecture.
The exhibition begins with the presentation of the architectural ensemble of the Front Palace during the reigns of King Rama IV and King Rama V. Numerous documents on and about the site during the time have been discovered and shown here. Some highlights include old photos of various architectural units; vintage maps and journals, (especially Tamnan Wang
Na written by Prince Damrong Rajanubhab and translated as the Chronicle Of The Front Palace); a copy of a rare photo of the missing elevated pavilion; and the former plan of the Front Palace and the 3D model of the missing structures digitally constructed by the Office of Architecture.
The exhibition focuses on the process of interpretation and representation of the historical knowledge of Wang Na through contemporary apparatuses and platforms, delivering the recollection of the past to the present day. It equally seeks to preserve the old memories of the site and transmit its heritage to the h contemporaries. i
Founded in 1782, the same year as the Grand Palace, the Front Palace was one of the very first structures of the Rattanakosin Period. It consisted of what is now Thammasat University, the National Museum Bangkok, the National Theatre, the Bunditpatanasilpa Institute and the northern part of Sanam Luang.
It was the residence of Bangkok’s five viceroys and one second king during the first four reigns of the Chakri Dynasty. Its founder and first owner was King Rama I’s younger brother, Krom Phra Ratchawangbovorn Maha Surasinghanat. The last resident was Krom Phra Ratchawangbovorn Vichaichan, the eldest son of the Fourth Reign’s second monarch King Pinklao (it was before King Rama V introduced the position of crown prince to replace the viceroy, or
uparat, in 1886.)
The palace was divided into three zones: the outer zone for soldiers and guards; the middle zone housing the hall of Buddha statues, the Siwamokphiman and Phutthaisawan throne halls, and Moo Phra Vimarn; lastly, the inner zone is where the viceroy lived.
Several more mansions were built during the reign of King Pinklao. Among them were Kotchakam Prawet Pavilion, Mangalapisek, Ekalongkot and Issaresrajanusorn throne halls. The first one was built in front of Phutthaisawan Throne Hall in honour of King Pinklao as a monarch, before being left to decay after his death. Only the Issaresrajanusorn Throne Hall, which was King Pinklao’s European-style living quarters, stands to this day. Also standing are Wat Bovornsatharnsuthavart, behind the palace and now the compound of Bunditpatanasilpa Institute. Within walking distance are two wellknown temples, Wat Mahathat and Wat Chana Songkhram, which were constructed in the same style on the orders of the viceroys.
Below is project manager Khun Sirikitiya’s exclusive interview on “The Architectural Ensemble Of Wang Na Exhibition”:
What inspired you to organise this exhibition?
I wanted something that would create more than just feelings. [Curator Chitti Kasemkitvatana] is the person to answer this question perfectly. He was able to take the concept that I had in mind and put it forward in a more creative sense.
Why the Front Palace? Why not the Grand Palace?
I am interested in what other people are not quite interested in. I like to explore missing things. I believe it is [good to understand the big picture of ] history. If we do not understand the relations of the Front Palace, we do not understand those of the Grand Palace either.
Is this partly because people know the Grand Palace rather than the Front Palace?
Maybe because the importance of the Front Palace has diminished. There are several other factors. I visited the Front Palace, discussed the issue and wanted people to see it. For example, many people do not know that there was phlubphla soong (an elevated pavilion) at Sanam Luang in front of the Front Palace. It was similar to that outside the Grand Palace opposite the Defence Ministry.
Which part of the Front Palace do you find most magnificent?
Phutthaisawan Throne Hall.
Did you become interested in the Front Palace before or after starting your work at the Fine Arts Department’s Office of Architecture?
I did before that. It’s a complicated [history] and finally I began working on this. I am interested in connecting people with information, and I am interested in documentation and interpretation. In August, we will do a mini-site as part of the exhibition by incorporating old photos, plans and books, because I want everyone to have access to these things and feel that history is not something remote. Actually, history and daily life can go together.
This exhibition inspires viewers to study further, unlike most exhibitions in Thailand, which focus on force-feeding information.
I believe there should be various perspectives for people to explore. I want people to create
a ‘hi ‘history of f their h i own’ ’ and d conduct d f further h studies. I am a person who is not interested in things that we can learn by rote.
What is behind the collaboration between the Fine Arts Department and the Foundation of Mrigadayavan Palace in organising the exhibition?
I like Mrigadayavan Palace because when I walked in, it’s not like the place is trying to push information down your throat. It integrates what’s around you, from nature, history and a lot of things together in a way that you can absorb while you don’t feel like absorbing straightly. It is like a living museum. The concept is to integrate life so that people don’t feel so static with history.
Do you expect Wang Na to be the same, to become a living museum?
Not necessarily the same. But I am hoping there will be more activities to create more interrelations with students and people so people can go on site and feel it’s something not so far away. There will be more activities, more education. I feel that it is something they can learn more about.
Does the project intend to encourage a new generation to admire the Front Palace?
In general, I am trying to focus on creating connections between the people to continue heritage, so a lot of things focus on people of a younger age.
Do you expect similar projects in the future?
I don’t believe a project really ends at any one time. I think that we should continue.
It is good to understand the big picture of history. If we do not understand the relations of the Front Palace, we do not understand those of the Grand Palace