The
development of Thai art during the reign of King Rama IX
has been rapid and significant. This change can be traced
to the reign of King Rama IV - when Thailand opened the
door to Western modernism, but truly modern Thai art began
during the reign of the present monarch.
Since
His Majesty the King acceded to the throne in 1946, modern
art in Thailand has blossomed, and this development has
built on the earlier efforts of government departments and
groups of artists. Poh Chang School of Art which had been
established in 1913 laid a firm foundation for the development
of modern Thai art. Since its establishment this institution
has produced a great number of quality graduates, and continues
to do so. These graduates have entered into various art
related careers and, whether working in the area of fine
or applied arts, these people continually contribute to
the growing appreciation of art throughout Thai society.
Jitr Buabusaya, a gifted painter, is regarded as a key figure
in the creation and outline of the school's modern art curriculum.
Several
monument projects of the Phibun Songkhram Government (1938-1944)
led to an elevation in 1943 of the status of a small art school
which had been under the jurisdiction of the Department of
Fine Arts. This small school became Silpakorn University.
Silpa Bhirasri, an Italian sculptor, was appointed as the
University's first dean and was responsible for the formulation
of its courses. He has played a crucial role in producing
many artists who have made significant contributions to the
history of Thai art.
During
this decade an important movement was initiated by a group
of artists - known as the League of Artists - who were seeking
to free themselves from conventional modes of expression.
Although the group was short-lived, 1944-1947, their strong
commitment reflected the growth of free spirit in the modernizing
society.
The
establishment in 1944 by Silpa Bhirasri of the annual "National
Exhibition of Art" is regarded as central to the evolution
of art in this decade. The event set new standards which continued
through the following decades. This competition seemed to
be the only venue at the time for young artists to show their
works publicly. Works exhibited demonstrated a narrow range
of stylistic differences which would develop and become more
diverse during the following years. There were realistic works
by Chamras Khietkong, Piman Moolpramook, Sweang Songmangmee
and Silpa Bhirasri. Simultaneously, there were works which
revealed strong influences drawn from the West - Impressionism,
Post-Impressionism, Expressionism and Cubism. Among them were
paintings by Jitr Buabusaya, Fua Haripitak, Misiem Yipintsoi,
Tawee Nandakhwang and Sawasdi Tantisuk. There was also a movement
where artists turned to indigenous artistic sources and worked
to fuse these with modern modes of expression. This is evident
in the sculptures of Khien Yimsiri and Chit Rienpracha and
paintings by Prasong Patamanuj.
Artists
of the first decade liberated themselves from the restraint
of the traditional framework. Although some of them pursued
the conveying of Thai Buddhist philosophy and mentality, they
searched for new ways of expressing and celebrating their
individuality. Therefore, in viewing this first decade we
witness human portraits, animals, landscapes both in paintings
and sculptures as opposed to the lives of Buddha and other
related stories. |
