Somdet Phra Maha Samanachao Krom Phra Pawaret Wariyalongkorn

Source: http://th.wikipedia.org

(Left) The Maha Samanuttama Phisek medal design 1 or Rian Bart Nammon

Source: Chatchawan Woowanich. Coins produced in the reign of King Rama V, Bangkok

(Right) The Maha Samanuttama Phisek medal design 2 or Rian Mue

Source: www.banpra-lakroy.๙๙wat.com

It is one of the two models that were created as a memento for the royal Maha Samanuttama Phisek ceremony held in 110 Rattanakosin Era (1891). Thus, the medals were named after the ceremony— Maha Samanuttama Phisek Medals. They are also commonly called ‘palm medals’ or ‘Hatha Mudra medal’ due to the images on the medals. The medals were given as a gift for royal family members, high-ranking court officials, monks, and civil servants who were involved in the ceremony. Moreover, they were given as a prize for the winners and a token for the judges in the alter-setting table competition held during the celebration of a new clerical rank of Prince Pawaret Wariyalongkorn at Wat Bowonniwet Vihara too. This was the first time a medal were created in the event relating to Thai Sangha.

The Maha Samanuttama Phisek medal design 2 are similar to Chinese coins. They were made of bronze metal, oval-shaped, 44 mm in width and 55 mm in length. There is a hole in the centre of the medal, which is a distinct character of Chinese coins. Such style might have been done to permit their being strung on cords so that they could be carried in large numbers. The earliest evidence of this kind was coins from Qin Dynasty dating back to 2nd-3rd Buddhist Century. Additionally, some palm medals were found to have a metal hoop attached to the top and the bottom so that the medal can be connected with a tuft using a string, then hung from a stick which is placed in a vase as a part of Chinese-styled altar table set. This particular feature of the medal could be an indication that Chinese-style altar table setting was in fashion back then. It can be said that the creation of medals according to Chinese art during King Rama V’s period was a result of the Chinese influence over Thai courtly customs which had been present since early Rattanakosin period. Moreover, other types of medals created during King Rama V’s reign might have also been under such Chinese influence as they resembled Chinese medals. For example, the medals in circulation then were called ‘Satang Ru’ which means a medal with a hole.

A palm medal haning from a stick which is placed in a vase

Source: Rungsilp Printing

A circulation coin during the reign of King Rama V

Source: The Bureau of Grand National Treasure under the Treasury Department

The obverse of a palm medal

Source: The Bureau of Grand National Treasure under the Treasury Department

The reverse of a palm medal

Source: The Bureau of Grand National Treasure under the Treasury Department

On the reverse of the medals, there are Thai letters designed in Chinese style across the medal in four directions. They can be read ‘Maha Samanuttama’ from top to bottom, and ‘Phisek 110 Rattanakosin Era’ from left to right. Like on the obverse, there is a decorative band along the rim of the medal.

The meanings of the images and symbols on the palm medal

The obverse of the medal carries several images. Over the square hole in the centre, there is an image of a five-tiered umbrella with a double-layered fringe decorated with two tufts on both sides of the umbrellas. The shaft of the umbrella is visible in the centre. There are nine images of palms performing different mudra gestures , and forming a circle. They are icons of the Lord Buddha or Bodhisattvas as can be seen in Chinese art. Scholars have different assumptions and interpretations regarding the images of the palms, which can be summarised as follows:

Firstly, the images might have referred to calculations in astrology, or to convey a meaning that rhymes with the name of the Prince Supreme Patriarch, i.e. ‘Ruek’ which means ‘an auspicious moment’. The prince biography also shows that he was well-versed in the occults and astrology, and regularly gave King Rama V consultations in this regard.

Secondly, the images might have been a symbol of auspicious incantation, or nine auspices according to Buddhist belief, namely luck, prestige, power, glory, longevity, status, blissfulness, might, and wealth.

Thirdly, the images might have been a Buddhist riddle, representing the teaching of the Noble Eightfold Path. According to Chao Khun Phra Siwisutdilok of Wat Prayoon Wongsawat (Reng who has graduated in highest level in Buddhist theology), each image of palm can be interpreted as follows:

On the left side of the medal are images of a right palm. Below is the interpretation of each image from top to bottom.

1. Showing the middle finger means keeping the mean, or keeping a proper position. This is called ‘Samma Ditthi’ or right view.

2. Showing the little finger represents proper verbal usage. It is called ‘Samma Vaca’ or right speech.

3. Showing the ring finger represents correct professions. It is called ‘Samma Ajiva’ or right livelihood.

4. Little finger touching the thumb represents a good state of awareness, namely being aware of the past, the present, and the future. This is called ‘Samma Sati’ or right mindfulness.

On the right side of the medal are images of a left palm. Below is the interpretation of each image from top to bottom.

1. Showing the middle finger and the ring finger means commencing, with both good and bad intentions. This is called ‘Samma Sankappa’ or right intention.

2. Showing the ring finger means doing work properly. This is called ‘Samma Kammanta’ or right action.

3. Showing the index finger and the thumb represents work efforts. This is called ‘Samma Wayama’ or right effort.

4. Showing the middle finger and the ring finger means concentration which necessitates determination and good health. This is called ‘Samma Samadhi’ or right concentration.

The fully open left palm at the bottom of the medal means a complete state of being a person; the sum of the Noble Eightfold Path which concerns both the worldly and otherworldly realm. All the images on the medal were meant to be a Buddhist riddle that suggests this very doctrine of the Eight Noble Paths.

Fourthly, the images might have meant to convey different teachings in Buddhism. This interpretation is possible because the Supreme Patriarch was well-verse in Pali and Buddhist doctrine. The images of nine palms performing different gestures might have been riddles which remain unsolved.

Finally, from the perspective of art, the images of palms performing different gestures might have been the mudra gestures commonly found on Buddha figures created in Chinese style, according to Chinese Mahayana Buddhism. They often carry a deep religious message. For this reason, these medals are also called ‘Rian Hatha Mudra’ or ‘Mudra medals’. The resemblance between the image of different palm gestures and the mudras in Chinese art suggests a Chinese influence. The features of the medals which are similar to ancient Chinese coins also indicate the same influence.

The designs on the reverse of the medal include several embossments of Thai words created especially to look like chinese characters. They appear across the medal in four directions. From top to bottom, it reads ‘Maha Samanuttama’; from left to right it reads ‘110 Rattanakosin Era Phisek’. The medals were made of bronze, measured 44 mm in width, 55 mm in length. They were created in 1891 (110 Rattanakosin Era).

In conclusion, Maha Samanuttama Phisek medals were the first medals that were created on the occasion related to the Supreme Patriarch or a Buddhist monk. They were a token for this important ceremony to celebrate the elevation of the rank of a royal family member. Containing religious riddles, they carry deep and complex meanings, which might have had a personal meaning to the person they were intended to memorialise. The purpose of the medals was to be given to royals, officials, and monks who held high ranks. They are especially important and invaluable because they memorialised the important event of the time and the persons involved. Moreover, the designs and the use of the medals, i.e. for altar table setting, clearly indicate the cultural influence China had over Thai court during King Rama V’s period. Apart from having similar physical features to Chinese coins, the images and writings on the medals were also created to imitate Chinese character. In this vain, Mahanuttama Phisek medals or Rian Mue are a good example that medals can indeed reflect important events, culture and the beliefs of the past which will certainly be of benefit to future generations.