The current appearance of the throne hall is that of the time of Vice-King Pinklao. The view into the hall is shielded by a Chinese screen, giving privacy and also diverting the entry to the sides. The hall itself is designed to impress and intimidate visitors with its high columns and the vast distance to be covered to reach the throne itself. All visitors had to prostrate themselves before the king and not look at him at all times. This tradition was practised until the reign of King Chulalongkorn, Rama V, who abolished it under the influence of his travels to Europe.

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Currently there are three thrones on display:

The first and lowest belonged to Pinklao and was transferred from the Bang-Pa In Palace to this hall. It was used during government meetings, but also to place offerings to the Lord Buddha in various royal ceremonies. 

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The second, the middle one, is the throne that Pinklao usually used. The hairpin seal, his symbol, is engraved on the backrest. It is a step pyramid with three main tiers, with the lowest showing the lion as a representative of the underworld and the topmost Garudas and deity figures as representatives of the heavens. Originally, this throne would have had a seven-tiered umbrella attached, suiting the position of the Uparaja and symbolising his spiritual and physical protection of his subjects. 

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The largest and most impressive throne is mounted on the back wall of the throne hall. It is called the Butsabok Kroen Throne, due to its boat-like shape and the typical Kranok Thai Kroen endings. Like the other thrones, it symbolises mythological Mount Meru, albeit in a more elaborate way. In addition, it has a canopy with curtains so the appearance and retreat of the Uparaja could be concealed. This tactic is supported by the fact that access to this throne was from an opening in the wall behind it, where stairs lead to the throne from the room behind the throne hall. The viceroy could come and go unnoticed. 

The throne still stands in the exact same place it did before the construction of the throne hall. Up until then, all audiences were held in open air, in a courtyard in front of the Moo Phra Wiman, the king's residences. When it was deemed necessary to have a stateroom for the vice-king to receive nobility and foreign dignitaries, the hall was built and the throne placed on the former porch.

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In the room behind the hall, the stairs and the door can be seen by which the Uparaja was able to come and go. On the pedestal stands another throne. It is called Phuttan Wang Na Throne and can also be used as a palanquin in a royal procession. The son of Pinklao, Phra Ong Chao Yodying Prayura Yot (Prince George Washington or Wichaichan) used it. The room also contains two thrones in Western style dating from the time of Prince Wichaichan. Due to the fact that prostration had been abolished, rank and status now needed to be emphasised by a high back, throne-like chair on an elevated platform, following European customs. The style is an interesting mix of Western design and use of fabric but Asian carvings of elephant heads on the armrests and above the head.

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The next room has royal palanquins on display which were used by the Uparajas to travel short distances between the buildings on the palace grounds or during royal processions. The symbolism of the decorations is similar to that of the thrones, with carvings of Garudas and lions. Like the royal chariots, the bottom and the poles are painted red and are thus "invisible", supporting the impression of the carried person wavering in mid-air. Palanquins were an important attribute reserved for royalty. During Ayutthaya times a palanquin law determined their use, appearance and attributes according to the rank and status of the user. The two palanquins in the middle of the room date from that time. The curved armrests are a distinctive feature. The most precious of these palanquins is the one further on the right: the decorative glass inlays are made of molten sand on a plate of lead, a process not known anymore.

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Then we enter a long antechamber where several other royal chairs are on display. They all show Western influences, copying the style of royal houses of the 19th century. One exhibit does not fall under this category: the Yang Dang drum, or rain drum, on the right hand side with its typical mating frogs, a symbol of fertility, on the drumhead. In this room, the most dominant exhibit is the four-faced Brahma pavilion at the far end. It stands on a multi-row base and has tiered roofs, a spire shaped into Brahma’s face as well as Garuda figures. During the reign of King Mongkut, it was used to enshrine the remains of the Uparajas Surasinghanat, Senanuruk and Sakphotasep, namely the Uparajas 1, 3 and 4.

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Author:

Antje Bornhöft-Lux

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Bibliography:

Based on an educational tour lead by Khun Oh 

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Photo Credits:

Tiziana Dall'Antonia-Greger

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