ลงรักปิดทอง/Long Rak Pit Thong

ลงรักปิดทอง/Long Rak Pit Thong, or ‘lacquering and gilding’, is both a Thai conservation technique and an act of worship and a way of making merit within the Buddhist belief (Khumsaeng and Rinsri 2024). There is evidence of lacquering and gilding Buddha images and temple decoration dating back to the Ayutthaya period (1351–1767) (Thanakrit 2024).

Lacquering and gilding in Thai history served three main purposes: firstly, it was used in Buddhist art to decorate images of Buddha as well as other sacred objects. Lacquer and gilding were also applied to cover up visible joints/seams in the casting process of Buddha statues, where various pieces had to be joined together (Siam Renaissance, n.d.). Secondly, it was used to add a layer of protection to materials like wood. The sap used to make the lacquer comes from the Rak Luang tree (Latin name: Gluta usitata). The sap helps preserve the wood while also acting as a primer for the gold application (Sompong 2002). And finally, it served a ritual purpose as a way of making merit and marking something as sacred and worthy of veneration (ขุนปลัดเสฏฐวุฒิ พระแท้ เพื่อแผ่นดิน 2025).

Different things that can be gilded include: 

Buddha images, pagodas, spires, chedis/stupas, and decorative elements on columns, paintings or wooden carvings. 

There are four main styles of lacquering and gilding in Thailand (Petachburi Dee Jung 2020): 

1. Solid gold-leafing work (งานลงรักปิดทองทึบ/ngan long rak pit thong thueb): Gold leaf is applied to objects made from fired clay, plaster, wood or metal to create a completely smooth and gilded surface, as can be seen with principal Buddha images in temples. 
2. Vermilion-groove gold-leafing work (งานลงรักปิดทองล่องชาด/ngan long rak pit thong long chad): Gold leaf is applied to form decorative elements on furnishings or architectural elements, typically made of wood. In this technique, a groove is cut to outline the gilded pattern, with a vermilion pigment applied to it. 
3. Mirror-inlay groove gold-leafing work (งานลงรักปิดทองร่องกระจก/long rak pit thong rong krachok): As with the solid gold-leaf work, lacquer and gold are applied to cover the surface; however, thin sheets of coloured glass are cut into small squares and placed in between the patterns. 
4. Stencil-pattern gold-leafing work (งานลงรักปิดทองลายฉลุ/long rak pit thong lai chalu): Lacquer and gold leaf are applied to form different patterns with the aid of a stencil. This is often seen in decorative architectural elements, for example, on rafters or the walls of ordination halls.
   

When gilding for conservation—to repair previously gilded surfaces—the technique involves a traditional method of applying dry gold leaf, using real gold. The surface is cleaned, and any cracks are repaired before the gold is applied, with a thin layer of sealant added on top afterwards to prevent further peeling (The Rich Construction, n.d.).

Many temples also offer patrons an opportunity to gild statues as a way of merit-making. In these instances, lacquer is usually not applied beforehand. People believe that applying gold leaf to different parts of the Buddha statue will lead to different fortunes. For example, applying it to the abdomen will bring wealth and prosperity (Kapook, n.d.).