Step into Siam's past through historic glass plate photos

The National Archives of Thailand, in collaboration with the Sirivadhanabhakdi Foundation and Thai Beverage Public Company Limited, held a press conference at the Issaravinitchai Throne Hall, National Museum, Bangkok on Wednesday (May 14) to announce the third edition of the “Glass Plate Negatives: Circles of Centres” exhibition, featuring historical photographs from the Vajirayana Library Collection. 

The exhibition is curated by Thanpuying Sirikitiya Jensen, who also serves as Director of the third edition of the “Glass Plate Negatives: Circles of Centres” exhibition, 2025.

The project aims to preserve fragile glass plate negatives by digitising them, minimising physical handling while enabling public access to valuable historical content.

Following UNESCO's 2017 recognition of the Vajirayana Library glass plate collection as part of the Memory of the World Register, due to its cultural significance, uniqueness, authenticity, and comprehensive preservation, Thailand takes pride in showcasing this priceless heritage to the public.

This global recognition inspired a series of exhibitions celebrating this legacy. The first show received overwhelming public interest at the National Gallery, followed by a second exhibition, held in 2020 at the Bangkok Art and Culture Centre (BACC).

Now in its third instalment, the exhibition features a curated selection from Boxes 53–78 of the original collection. Thanpuying Sirikitiya emphasises turning archived knowledge into shared historical narratives, making these rare images more widely accessible.

Phanombut Chantarachot, Director-General of the Fine Arts Department, noted:

"This exhibition presents rare royal portraits of King Chulalongkorn (Rama V) taken during his journeys over a century ago. For a monarch to journey to remote and rugged parts of the kingdom was no easy task. Yet, every step he took brought hope and well-being to his people. Each photograph featured in this exhibition is imbued with that royal compassion, stretching from the north to the south, east to west, even to distant lands abroad.

I truly believe that some of these images helped safeguard our nation’s sovereignty. One striking example is the portrait of King Chulalongkorn with Tsar Nicholas II of Russia. It speaks volumes about Thailand’s dignity and international stature—a reminder that our nation has long been a civilised, independent country, not one to be trampled upon.

Indeed, this is where the phrase ‘a picture is worth a thousand words’ finds its deepest meaning.”

Nitikorn Kraivichien, representing the Sirivadhanabhakdi Foundation and ThaiBev, added:

“Photography is something deeply familiar to all of us today. But if we trace its roots back, long before the digital age, photographic images first arrived in Thailand during the late reign of King Rama III in the early Rattanakosin period. Unfortunately, there is no concrete evidence confirming the existence of photographs from that era.

What we do know for certain is that by the reign of King Rama IV, photography had taken hold. His Majesty valued this innovation greatly—it was considered groundbreaking technology for Thailand at the time.

Counting from the passing of King Mongkut (Rama IV) in 1868 until now, it has been 157 years. That means some of the photographs preserved by the National Archives are over 150 to 160 years old—an extraordinary span of time.

Having worked closely with the National Archives, I’ve witnessed their commitment to preserving and protecting these historical treasures. As the physical condition of these photographs naturally deteriorates with time, the challenge lies in how we can ensure they endure—and continue to be passed down to future generations. Fortunately, modern technology offers a solution.

Through digitisation, we can protect the fragile originals from physical handling. From what I understand, the Archives have already scanned and converted more than 40,000 images into digital files.

However, one major challenge remains: identifying and cataloguing each photograph. This requires expert review and cross-referencing. The current goal is to authenticate and classify around 1,000 images per year. At that rate, it could take another 40 years to complete the process. It is a responsibility we must pass on to the next generation, as caretakers of this invaluable legacy.”

Sirikitiya, curator and project director, spoke about the unique artistry behind this historical photographic method:

“Glass plate negatives are the result of the wet collodion process—a technique that directly impacts the final image. Each photo reflects not only the subject, but also the skill, care, and artistry of the photographer. It's a powerful fusion of science, creativity, and art.”

She continued by sharing her personal connection to photography:

“I’ve always been drawn to capturing fleeting moments—how light hits a person, an object, a place. There’s something magnetic about a photograph that pulls you in. It makes you reflect on the presence of life within the frame. When I look at glass plate negatives, it's as though time stirs again. The people, the moments—they come back to life. These images are timeless, suspended in an eternal now.”

Regarding her inspiration for the third instalment of the exhibition, Sirikitiya revealed:

“The concept was inspired by Camera Lucida, a novel by Roland Barthes, given to me by a friend many years ago. In it, Barthes writes about grief, about losing his mother, and his search for her in photographs. It’s also about the emotional pull of images—how they speak to artists, photographers, and anyone who loves art. He discusses not just technique or perspective, but something deeper: why we’re drawn into an image.”

“This shaped how I approached the exhibition. I wanted to shift the way we view photographic heritage—not just with our eyes, but with an openness to what's beneath the surface. What makes an image resonate? What gives it life beyond time?”

She also reflected candidly on the selection process:

“We started with a collection of over 1,000 images, gradually narrowing it down. About 300 were printed and laid out across the palace floor. Honestly, it unsettled everyone in the palace. We weren’t thinking in terms of timelines or historical value. As artists, we followed instinct. We didn’t set out to define a ‘concept.’ We simply gave the work time to reveal itself.”

From an initial pool of over 1,000 historical photographs, only 84 carefully selected images will be showcased in this special exhibition.

“It may surprise people that we narrowed it down to just 84 images, but every photo in the original selection held significance. We chose key anchor images and built the exhibition atmosphere around them to help visitors fully grasp the story being told.”

The featured photographs were taken during the reign of King Chulalongkorn, a transformative period in Siamese history. This era marked the height of colonial tensions—France asserting influence in the east, while Britain expanded westward toward the Malay archipelago.

“It was a tense and critical time,” she explained. “King Rama V explored every possible path to preserve Siam’s sovereignty. These years also saw the restructuring of the traditional administrative system into the foundation of the modern nation-state.”

The images span royal journeys across the kingdom, including visits to Kanchanaburi, Ratchaburi, and a southern tour from Prachuap Khiri Khan to Songkhla, Pattani, Terengganu, Kelantan, and even Indonesia. Many of the photographs display striking visual techniques—early uses of lighting effects, image manipulation, and even three-dimensional compositions that hint at proto-Photoshop experimentation.

“These photos don’t just document history,” she added. “They draw viewers in—technically fascinating, emotionally powerful, and rich in narrative.”

Circles of Centres: A Special Exhibition
Dates: May 22 – July 27, 2025
Closed Mondays
Time: 10am – 8pm
Venue: Main Exhibition Hall, 9th Floor
Bangkok Art and Culture Centre (BACC)

For more information, visit: www.nat.go.th
Or call: 0 2281 1599 ext. 228