Colors of Myth: The Ramakien Murals at Wat Phra Kaew

Of the many murals at Wat Phra Kaew (the Temple of the Emerald Buddha), my favorite is perhaps that of Hanuman sleeping.  It’s a fascinating work of narrative painting, bringing together traditional Thai iconography and extraordinary artistry. In the painting, the giant monkey god – Hanuman – lies hunched over, lulled to sleep by the melodies of a dark figure dancing in the moonlight.  His spiraling muscles bulge underneath his princely jewelry while all around him lie an army of tiny figures, who (like Hanuman) snooze away, blissfully unaware of the mischief afoot. Though over ten meters long, this intricate work is but one of 178 murals which span the entire perimeter wall of Wat Phra Kaew.  Collectively, the murals tell the story of the Ramakien – an ancient epic recounting the travails of Phra Rama, who embarks on a dangerous journey to recover his lost bride, Nang Sida, from the demon king Thotsakan.  The murals are a universe unto themselves – a glimpse at how the ancient Thai court saw the world.  To sit with these paintings is to enter a world of magic, filled with mythical creatures, heroes, and demons – all engaged in a cosmic drama millennia old.    

First Encounters

As with many who visit the Temple of the Emerald Buddha, I first encountered the Ramakien murals while attempting to flee the endless crowds jostling for space around the temple’s main chapels and halls.  Walking past the Ordination Hall (which houses the Emerald Buddha) and around the tour groups, I eventually reached the covered walkways that run around the perimeter of Wat Phra Kaew and which house the Ramakien murals.  Ducking into the walkway, I took a seat on the cool marble steps, right in front of one of the paintings.  Though I had glimpsed the murals on my way in, it was only while resting on the steps that I really noticed the artistry evident in them.  

To my untrained eye, the murals appeared almost entirely alien.  I could appreciate the gracefully stylized figures, most of which were dressed in elaborate Thai garments, but what they were engaged in was entirely a mystery to me.  Adding to the mystery were the mythical creatures inhabiting the paintings – all of which seemed to have been pulled from the deepest recesses of the human imagination.  All of this was set against dreamy ochre landscapes punctuated with gold leaf and luxurious palaces.  This was a sophisticated work of art, I quickly realized – as unique as it was monumental, and one about which I knew next to nothing.    

With the murals stretching around two kilometers, I was only able to enjoy the smallest snippet before taking off for the day.  Still, it was enough to spark my curiosity.  I started to read more about the murals and soon found myself descending down a deep well of Indian lore, Hindu and Buddhist theology, the history of the Chakri kings, Thai folklore and painting techniques, and much more besides.  

Eventually, I made another trip just to enjoy the murals, but only after learning as much as I could about the world from which they first emerged. 

From the Ramayana to the Ramakien  

This journey began with a deep dive into the subject of the murals.

The story of the Ramakien is principally derived from the Ramayana, an ancient Indian epic composed sometime between 700 and 400 BC.  The Ramayana tells the story of Rama, one of the ten avatars of the Hindu god Vishnu.  The story centers around Rama’s efforts to recover his wife, Sita, who was kidnapped by the lascivious Ravana, the demon king of Lanka (modern day Sri Lanka).  To rescue Sita, Rama undertakes an epic journey, culminating in a great war between Rama and his allies and the vast demon armies commanded by Ravana.  On this journey, Rama is aided by the mythical Hanuman, a deity who is part monkey part man.  The son of the wind god Vayu, Hanuman processes extraordinary abilities, able to jump 100 miles and grow to enormous sizes.

Naturally, Rama triumphs over Ravana, rescuing Sita and returning to his home Ayodhya, where he assumes the throne as King.  The narrative is fairly linear – with Rama’s victory almost a foregone conclusion from the very beginning.  Nevertheless, as Rama and his companions adventure through India, the narrative reveals to us much about the cosmic order of the universe and, through Rama’s example, teaches us how we might live our lives in harmony with it.

This story, as with so many other elements of Indian culture, deeply influenced Southeast Asia.  The Thai were especially enamored with the Ramayana – so much so that they named their capital, Ayutthaya, after Rama’s mythical capital, Ayodhya.  It was in Ayutthaya that the Thai version of the Ramayana – the Ramakien – is thought to have first emerged.  

Importantly, the Ramakien is not just a faithful translation of the Ramayana.  It transposes the central story into a Thai cultural-historical context, placing it in a world more familiar to Thai courtiers and scholars. Rama, for instance, takes on the Thai prefix of “Phra,” denoting a figure of royal or religious importance.  Ravana is given an entirely new Thai name – Thotsakan.  And Hanuman, already a key figure in the Ramayana, takes on a still larger role, almost eclipsing Rama himself.  Perhaps the greatest adjustment, however, was to regard Rama as a previous incarnation of Buddha, thereby making it more agreeable to Thai Buddhist sensibilities.  This essentially made the story into a Jataka tale – the immensely popular stories of the past lives of the Buddha often depicted in Thai temples.

The Chakri and the Ramakien

With the fall of Ayutthaya to the Burmese in 1767, the Ramakien was almost lost.  The court poets who had studied it were taken back to Burma as prisoners and any written versions of the Ramakien were burned.  This loss, however, was short lived.  The first king of the new Chakri Dynasty – Rama I – had a new version of the Ramakien composed to celebrate the establishment of his new capital, Bangkok.  Though it’s impossible to say for sure, it is likely Rama I’s version closely aligned with older versions lost with the destruction of Ayutthaya.

Today, Rama I’s Ramakien is a cornerstone of Thai traditional culture.  Not only is it regarded as a literary masterpiece, it also forms the basis for Thailand’s famed Khon dramas and Nang shadow puppet shows.  

It has also greatly influenced concepts of the monarchy itself.  Every culture that reveres the Ramayana understands Rama to be the epitome of the righteous ruler. In the story, Rama fully submits himself to dharma, embodying it in his every action, even when it costs him dearly. In so doing, his kingdom and its populace prosper.  During the Ayutthaya period, rulers strove to embody these virtues, often taking name “Rama” as part of their official style.  Thailand’s reigning Chakri dynasty continues this tradition, with the current King (the 10th of the Chakri dynasty) known as “Rama X.”  

Perhaps it is no surprise then that Rama I – in building the Temple of the Emerald Buddha (the most important religious site in his new capital) – commissioned the Ramakien murals.  These paintings further reinforce the connection between the monarchy and kingly virtue, a theme which runs through all of Wat Phra Kaew’s most important monuments.   

Thai Mural Painting Techniques

Moving away from the story and symbolism of the Ramakien, let’s now explore the murals themselves.  As suggested by the scale, Thai artisans had sophisticated methods for painting murals.  

The process began with full scale cartoons drawn on Khoi paper or palm leaf.  Figures were drawn first, followed by animals, then landscape and architecture.  From this, small holes were cut into the paper tracing the outlines of the key elements of the composition.  This was placed against the wall to be painted and then beaten with chalk.  When the paper was removed, the chalk outlines remained.

Using these outlines as a guide, painting commenced.  Thai painters used a variety of innovative bindings for their pigments, including tree sap and glues derived from animal parts. These were slow drying compounds and could be used for days after the initial preparation.  To add additional flare, thin gold leaf was employed across murals, often adorning the key figures.  These were attached using sap from fig trees and traced in black or red, making the gold leaf appear more radiant.

Exploring the Style of the Ramakien Murals

Stylistically, there are two particularly notable features of the Ramakien murals.  The first is the gracefully stylized figures.  The wavy and flowing forms used to depict Rama, Hanuman, and other key characters are a uniquely Thai aesthetic.  The fluidity of the figures, elegant and refined, reflect a highly sophisticated artistry on par with anything produced in the West during this period.

The second element is the color palate.  Few cultures revel in color to the same degree as the Thai. This is apparent even in contexts outside of art. One manner in which it manifests is the color the Thai people ascribe to each day of the week.  Across villages and even in modern offices, many strive to incorporate the daily color into their dress.  So, for instance, on Monday, a woman might wear a yellow blouse and men yellow ties.  On Tuesday it’s pink, Wednesday it’s green, and so on.

What kind of painting does such a culture produce?  The Ramakien murals offer an answer.  From deep navy blue, to muted terracotta, to radiant emerald green, the colors are striking.  The only other art that comes close to matching it is that of the Venetian masters, who similarly reveled in color.  Perhaps it’s a trait of trading cultures to admire the beauty of this aspect of the natural world.

Aside from the fluidity of its forms and deep color composition, I would be remiss without underscoring another key element – the Ramakien’s vignettes. These vignettes (akin to what’s known as genre painting in the West), offer glimpses into the contemporary life of the painters.  They allowed the artist an opportunity for expression outside the traditional religious and historical iconography.  In the Ramakien murals, we see a father and son offering prayers at a spirit house, a boy sticks out his tongue at a guard, and a demon soldier purchases a snack from a street vendor before running off to a battle.  These add depth to the paintings, making them relatable to ordinary viewers who could now see the mythical events of the Ramakien depicted in their own streets and villages.

Millenia and Murals

A trip to the Temple of the Emerald Buddha can be overwhelming.  From the elaborate stupas, to the dramatic sculptures, and gleaming halls (not to mention the Emerald Buddha statue itself), one’s senses are overwhelmed.  But if you’re not in a hurry and the weather is tolerable, take a moment to explore the murals.  The story begins at the north gate and proceeds clockwise around the entire perimeter of the temple.  Here, away from the crowds, one has an opportunity to commune directly with the old Thai masters and partake in a cultural tradition with roots stretching back almost three millennia.

Sources/Further Reading

1. For an interesting dive into the Ramayana as depicted in Indian folio art, see the following blog posts from the British Library, here.
2. Chang Puak Magazine has a short and informative article on Thai Mural paintings informed by the wonderful Lanna Folklife Museum. Available here.
3. Lipi Ghosh, 2017, India-Thailand Cultural Interactions: Glimpses from the Past to Present, Springer Publishing, pp. 156-158
4. Ampai Tiranasar, 2002, Thai Traditional Art and Art Education, available here: http://pioneer.netserv.chula.ac.th/~tampai1/doc/tira_02.htm
5. Suksri, Naengnoi; Chakrabongse, Narisa; Limpabandhu, Thanit (2013); The Grand Palace and Old Bangkok; River Books
6. Kossak, Steven, and Edith W. Watts; 2001; The Art of South and Southeast Asia: A Resource for Educators; New York: Metropolitan Museum of Art.
7. Behrendt, Kurt A; How to Read Buddhist Art; Metropolitan museum of art, 2019.
8. HOW IT’S MADE – Mural Paintings, Chang Puak Magazine