Lacquer Pavilion, situated on the edge of the lawn at the far end to
the south of the Palace.
building was originally in Ayudhya and is believed to have been built
by a member of the royal family around the mid-17th century. Later the
building was dismantled and rebuilt at Wat Ban Kling, which is on the
bank of the Chao Phraya between Ayudhya and Bang Pa-in. There were actually
two buildings: a library for keeping scriptures, consisting of a room
with a veranda around it, and a lacquer pavilion, made of wood with
wall panels on three sides painted in gold on black lacquer. The
two structures had deteriorated to such an extent that the villagers
pulled them down and used the material to make one building. As the
paintings in gold on black lacquer were barely visible, the wall panels
that were put together did not tell the story in the right sequence.
At the beginning of 1959, Prince Chumbhot and his wife heard that a
small, almost deserted temple had a very old house that was greatly
in need of repair. Despite its dilapidated condition, traces of some
beauty could still be seen. The prince then proposed to rescue it by
bringing it down to Suan Pakkad Palace. He built a hall for chanting
and a landing pavilion for the temple in exchange for the old building.
A substantial sum was spent on restoring the old structure, together
with the paintings in gold on black lacquer. The new pavilion was the
prince's present to his wife on her fiftieth birthday, on March 8, 1959.
100 villagers from Ban Kling were invited to visit the pavilion in its
At the time, the carving on the outdoor wall panels was greatly damaged
and was barely visible as it had been exposed to the sun and rain for
inner panels were in fairly good condition. The design of the windows
showed Western influence. The paintings in the upper part depict the
life of the Buddha and those of the lower part are scenes from the Ramakian; it is Ayudhya work from the reign of King Narai.
Certain parts were so damaged that it was impossible to figure out what
they were; only some lines of the original figures covered with gold
leaf were slightly raised and became pronounced when gold leaf was applied
to the wood. Then it was possible to tell what the painting was. Sometimes,
however, it was not known until the lines were traced with black ink.
rebuilding the pavilion, Prince Chumbhot and his wife intended to restore
it to its original form. The paintings had not been completely restored
on all the panels by the time the pavilion had to be finished for Princess
Pantip's fiftieth birthday celebration. The construction had to be based
on estimating the length and width of the wooden panels to give the
pavilion its original shape. The pictures do not, therefore, follow
the proper sequence of the Buddha's life, though this does not lessen
the importance or beauty of the painting.