Travel Like the Wind – Suchart Choolee
The morning sunlight gently bathes an old wooden house nestled within the grounds of Wat Rakhang Kositaram. As if a veil of time is slowly lifting, the image of an ancient teakwood residence emerges—said to be none other than the “Chan Palace”, once the residence of Phra Rajwarin, a royal courtier closely serving King Taksin the Great of the Thonburi Kingdom. Later, when Phra Rajwarin was appointed Head of the Outer Police Department, this very house became his official residence.
Flat garlands of fresh flowers intricately strung hanging from the windows catch the eye, while birdsong mingles in the air like echoes from a distant past. The story of the place is told through its wall murals, intricately carved wooden panels, and various Buddhist artifacts—each piece said to date back to the reign of King Rama I, the founder of the Rattanakosin era. It was he who ordered the original Chan Palace to be dismantled and relocated to Wat Bang Wa Yai (later renamed Wat Rakhang Kositaram), repurposing it into a Tripitaka Pavilion to enshrine the sacred Buddhist scriptures.
Architecturally, this Tripitaka Pavilion is unlike any other. It comprises three elevated twin teakwood houses aligned east–west, standing above a lotus pond. The surrounding water reflects traditional beliefs about preserving sacred scriptures by protecting them from termites and decay. The structure is adorned with gilded Kanok wood carvings, colored glass mosaics, and intricate lacquered gold-leaf motifs on its windows and doors. These exquisite details represent the finest craftsmanship from early Rattanakosin, clearly influenced by the refined aesthetic of the Ayutthaya period.
Inside, the wall murals are no less remarkable. They are attributed to Phra Ajarn Nak, a master painter from Ayutthaya whose life extended into the early Rattanakosin era. His works depict scenes from the Thai epic Ramakien—such as the battle with Kumbhakan, the scene where Sugreev uproots the Banyan tree, and Indrajit’s final battle. These murals reflect a transitional moment in Thai artistry: richer colors, varied techniques, and the emerging use of Western perspective to portray depth and landscape. Though some portions have faded with time, their charm and spiritual energy still draw visitors into moments of quiet contemplation4.
What sets this Tripitaka Pavilion apart from all others is not just its beauty, but the history it embodies. Once the residence of a loyal royal servant during the Thonburi Kingdom, it later became a palace of the monarch who founded Bangkok, and eventually transformed into a sanctified library of Buddhist teachings. Its transformation is a powerful metaphor for Thailand’s values—where devotion to religion seamlessly intertwines with reverence for cultural heritage5.
Though centuries have passed, the Chan Palace—now this Tripitaka Pavilion—still stands tall beneath the shade of its namesake sandalwood trees, a living monument to history. It continues to preserve the legacy of artistry, architecture, and spiritual purpose, making it one of the most treasured cultural heritage sites in Thailand.
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Thongjue Kiatthong, Chalerm Suntornnon, & Samatcha Apisitsuksanti. (2015). Thonburi Arts Encyclopedia for Youth (e-Book Edition). Bangkok: Dhonburi Rajabhat University. ↩
Patch Bansuanthonburi. (2017). Following in the Footsteps of King Taksin the Great. Bangkok: P-Print (2012). ↩
HRH Prince Narisara Nuwattiwong. Quoted in: Thongjue Kiatthong et al., Thonburi Arts Encyclopedia, 2015. ↩
Professor Fueang Hariphitak. Copying the Wall Paintings at Wat Rakhang’s Tripitaka Pavilion. Cited in: Thongjue Kiatthong et al., 2015. ↩
Based on historical records and oral accounts regarding the dismantling of the original Chan Palace and its conversion into a Tripitaka Pavilion during the reign of King Rama I, including the restoration efforts led by Prince Chim (later King Rama II). ↩
Credit : จดหมายเหตุกรุงศรี (Jod Mai Hed Krungsri)
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