Cosmology and the Traditional Thai Design of the Royal Throne of Rattanakosin Royal Hall

Abstract:

The Royal Throne inside Amarinthara Winictchai Throne Hall built during the early Rattanakosin Period (1782-present day) in Thailand is considered as the utmost essential furniture of the Royal Hall. Due to the fact that it is used for special state occasions as well as royal ceremonies, the Royal Throne was designed and constructed with an exquisite traditional Thai architectural design based on the concept of kingship and cosmology. According to this particular concept, the Royal Throne symbolizes Mount Meru, which is believed to be the center of the universe based on the perception of Thai culture in the past, on top of which Indra, the lord of all gods and goddesses, is residing. Hence, it is believed that whenever the King sits on the Royal Throne he ideally represents Indra whose throne is at the center of the universe. It is a way of expressing the greatness of the Kings power as Deva Raja or the Lord of Universe. The designing of the Royal Throne inside Amarinthara Winictchai Throne Hall is considered to be an important sample of furniture of the Grand Palace that entirely conveys the notion of cosmology and kingship. Since then, this design concept based on kingship and cosmology and even some of the design elements that signify such concept have been included as part of the design of other Throne Halls (Phra Raja Atsana) until today in order to preserve the iconology of kingship originated from the ancient royal Thai tradition which reflects the unique identity of Thai nation.

• Periodical: Applied Mechanics and Materials (Volumes 409-410)
• Pages: 442-453
• DOI: https://doi.org/10.4028/www.scientific.net/AMM.409-410.442
• Online since: September 2013
• Authors: Somchai Seviset, Jian Qun Lin
• Keywords: Cosmology, Rattanakosin Royal Hall, Royal Throne, Traditional Thai Design

References

[1] Robert Heine-Geldern, The concept of state and Kingship in Southeast Asia, 1956, translated by Nidhi Eawsriwong, Sociology, Bangkok: Chulalongkorn University, (1982), p.24.

[2] Suphaphan Na Bang Chang, Tradition: Beliefs and Practice from Sukothai until mid Ayutthaya Period, Bangkok: Chulalongkorn Printing Press, (1992), p.36.

[3] P.V. Kane, History of Dharmastra III, Poona: Bhandarkar Orient Research Institute, (1973), p.66.

[4] Napaporn Laosinwattana, The Coronation, Royal Ceremony, Concept and Meanings, and Symbols of Deva Raja, Bangkok: Museum Press, (2006), p.9.

[5] Phasook Indrawooth, Dvaravati: A critical study based on archeological evidence, Bangkok: Aksornsamai, (1999), p.157.

[6] Nuttapat Juntawit, The Coronation Ceremony, Bangkok: Fine Arts Department, (1987), p.174.

[7] Damrong Rajanubhab, The Housing of Siamwong Monks in Sri Lanka, Bangkok: Fine Arts Department, (1988), p.127.

[8] Pinyo Suwankiri, Lai Thai, Bangkok: Faculty of Architecture Chulalongkorn University, (1999), p.53.

[9] Fredrick W. Bunce, A Dictionary of Buddhist and Hindu Iconology, New Delhi: D. K. printworld (p) Ltd., (1997), p.337.

[10] The Bureau of the Royal Household, Grand Palace, Bangkok: Thai Wattanpanich, (2004), p.33.

[11] Joti Kalyanamitra, A Dictionary of Architectural and Relevant Sculptural Terms, Bangkok: Dan Suthakarn Printing, (2005), p.73.

[12] Nimlek, Somjai, Thai architecture: roof structure and ornaments, Bangkok: Amarin Printing and Publishing, (1996), p.31.

[13] Pishnu Supanimit, The mystery of Himmapan new edition, 2nd edition, Bangkok: Amarin, (2008), p.58.

[14] Payudh Payutto, Develop Thai Society by the Knowledge and Understanding of Tri Phum, Bangkok: Thammasapa Printing House, (2010), pp.50-52.

[15] The Royal Institute, Thai Dictionary: The Royal Institute Edition BC. 1999, Bangkok: Nanmeebooks Publications, (2003), pp.2-3.

[16] Surasak Jaroenwong, Rattanakosin Furnitures, Bangkok: Rungruangrat Printing co, (1983), p.23.

[17] The Royal Institute, Thai Dictionary: The Royal Institute Edition BC. 1999, Bangkok: Nanmeebooks Publications, (2003), pp.1-2.

[18] King Vajiravudh, Gods and Other Fascinations, Bangkok: Sripanya, (2013), p.54.