1969-73 (building construction)
1975 (original mural painting)
While Vo Tu Tinh’s English and French abridged translations conclude at some length recounting events within and nearby to Rama’s palace, following his victory over Ravan in Lanka, there is no equivalent illustration at VOM, archival and replicant, for this close-of-the-saga, architecturally-unique panel of the Vat Keng murals.
The nomenclature (place names and proper names), and the visual subject matter differ very considerably here from the analogous panel(s) at Vat Oub Mong (of which the 1938 Thit Panh murals, can be seen as inspirational –if not prototypical).
We can barely overstate the difficulty entailed in adequately translating the mural captions at Vat Keng, even for educated native Lao speakers. Here, addressing the Pink Palace panel is an informal note from a correspondent who grew up in Baan Oub Mong, and who from his earliest childhood, was exposed to (and adored!) the illustrated Phralak-Phralam: “I am sorry I born at Ban Nakham but temple is Vat Oub moung. Anyway at the bottom it said not so clear: Phalak-phalam with their monkey troops Mar-ni-chan Pha-lath-sar-koum-phon-sae-nar returns to the palace. The second phrase can be last name (Pha-lath-sar-koum-phon-sae-nar), or can be phrase (bring the services man back) to the palace. The last two words not quite sure, it looks like Tod-fai... or tar-rod-pai means (forever). Mar-ni-chan Pha-lath-sar-koum-phon-sae-nar returns to the Tod-fai palace or if the last two words have another character could be Mar-ni-chan Pha-lath-sar-koum-phon-sae-nar returns to the palace forever. Or this can be translate to also be Mar-ni-chan takes services men back to the palace forever.”
Panel 34, Vat Keng, Vang Vieng
complete temple interior murals of Phralak-Phralam, the Lao Ramayana.