Traditional Thai painting could distinctively
and particularly reflect the existence of Thai culture. It has
been inherited for generations as well as for centuries. However,
there is little evidence of transforming on the aspect of both
content and presentation.
The reason why traditional painting
masters in the past paid little attention to develop the way
of artistic presentation in their art works to carry more individualistic
identity was from the basic way of thinking in those years. The
artists devote their art works to royal and religious institutes.
So the art works in the past were the mater of paying tribute
to those patronizing the artists, not the matter of individualistic
expression like today.
The process of changing started when
the Imperialism force by the Western countries evaded the region.
Even though the Siam Kingdom did not lose sovereignty, it faced
not much different fate from other neighbouring countries. Finally,
the kingdom had to open for Western civilization, adopting once
strange culture to be part of daily life, and inseparable part
of life like today.
Such floods of Western civilization
in almost every inch of Thai society more or less shake and changed
way of thinking of Thai people.
Such phenomenon decreased the significance
of both royal and religious institutes as key supporters to traditional
Thai paintings. Later came the emergence of the role of private
and business sectors.
Meanwhile, high-class people of Thai
society tended to more appreciate Western style art, importing
European painters to produce modern art works to serve increasing
demand.
The traditional Thai painting society,
which was static in terms of developing for centuries, gradually
became less popular and disregarded by modern generations.
While traditional spirit from the old
days became faded away, Thai art buffs tremendously focused their
interest on Western style art. Many modern fine art style paraded
to dominate Thai art scene, such as Realism, Romanticism and
Impressionism.
However, on the little corner, some
young artists still pursue following the footsteps of traditional
painters, keeping one of national heritage not to disappear.
One of early evidence on modernizing
traditional Thai painting was groups of works by Krua In Kong,
leading painter during the period of King Rama III. This senior
novice-cum-painter applied western painting techniques to be
mingled with traditional presentation.
Krua In Kong's works escape the conventional
techniques of producing lining-accented drawing composed of many
refined visual patterns. His mural paintings were full of perspective
and chiaroscuro elements, resulting more realistic visualization.
However, Unfortunately, no painting
artist could carry such innovative artistic creation similar
to Krua In Kong for decades. It was not until Prof Corado Feroci,
having changed his name to be Silpa Bhirasri later, came to concretely
lay the base of modern art academy in Thailand. He involved the
founding of Praneet Silapakam art school in 1934, which was transformed
to be Silpakorn University later in 1945.
The university played crucial role
on paving the way of modernized Thai painting, as more than half
of contemporary artists on modified Thai painting are from the
institute, such as Chalermchai Kositpipat and Panya Vijinthanasarn.
Both pioneer graduates on Thai Art
degree influenced a lot to the next generations; as a result,
there is a stream to create modernized Thai paintings actively.
Moreover, there are new content to
be presented in modern Thai paintings, such as social and psychological
theme, breaking the tradition of catching only stories from Jataka
tales and the life of the Lord Buddha.
Early sets of Chalermchai's paintings,
made not long after his graduation from Silpakorn University,
amazed local art buffs for the possibility to feature traditional
style of Thai paintings with modern touch presentation.
With superficial or general viewing,
Chalermchai's works made between 1976 to 1979 are not much different
from typical conventional Thai paintings in the old days. he
keeps conventional techniques of linings, high-angle point of
view presentation, slanting lines and two-dimensional-accented
visualization.
But, with more profound viewing, his
works carry many modern techniques, such as high-contrast, coloring,
shading, and the use of unorthodox color scheme.
For the aspect of content, Chalermchai's
subjects does not feature typical figures like mythological angel
and giants in exquisite costume. Moreover, he does not explore
much 'kanok' (Thai decorative) patterns.
Chalermchai's paintings are not like
those of Panya Vijinthanasarn. Panya (1956 - ) not only modifies
'kanok' patterns, but also modifies mythological figures, especially
on his works made between 1979 to 1984.
Moreover, Panya's works carry content
not on typical subjects like stories from the Buddhism literature
or Ramayana literature. He prefers to imply current social issues
in his paintings, such as the issues on violence, abuse and struggling
from social bound.
With such presentation, Panya could
create a new boundary of Thai Art, by combining many techniques
of various Western art schools with convention of Thai art.
Such innovative combinations are such
as surrealistic background and landscape visualization, space
exploration, realistic coloring, and creative composition.
Artistic innovation of both Chalermchai
and Panya set major footprint for the following generations of
Thai style artsits. But nobody else could create works without
influences from the two pioneers.
It is not until Prasong Luemaung, a
forth year student who walked out from Silpakorn University,
came into limelight. He has his own signature without influence
of both Chalermchai and Panya. Prasong's works broaden perspective
of creating modern Thai art.
It could not be said that Prasong's
paintings contain authentic touch of traditional Thai art. Forms
and figures in his paintings do not indicate elements of traditional
look. No beautiful mythological figures, no ornamental costume,
and no elaborated palace appear in Prasong's paintings. Moreover,
he does not touch any subjects from the Lord Buddha's life and
Buddhism philosophy in his works.
Prasong enjoys depicting the scene
of folk layman with simple way of life along peaceful rural villages.
Reflecting his own character, Prasong's
paintings are full of gentle but charismatic touch. Although
his canvas works seem to contain excessive ornaments, Prasong
places scattering figures harmoniously with arranged composition.
This Northern artist properly intermingles
ethnic visual elements from various Asian cultures with some
Western art forms.
Prasong's cross-culture gimmick inspires
and paves way to youngers generations how to create alternative
Thai art.
The evolution of modernized Thai art
is involved by not only Chalermchai, Panya and Prasong. Many
names from earlier period should get credit as well. They are
Khien Yimsiri, Angkarn Kalayanapongsa, Chalood Nimsamer, Thawan
Dachanee, Chuang Moolpinit and Chakrabhand Posayakrit. All contributed
much on opening the scope of modern Thai art to be out of traditional
bound.
Khien molds distinguished characteristics
of Western art with convention of traditional Thai art in his
sculptures. Chalood minimizes ornamental elements of Thai art
in his prints and paintings. 'Kanok' patterns are greatly modified
by two masters; Angkarn on his crayon sketching and Chuang on
his still-life drawings of natural creatures and plants.
Thawan interprets stories from Buddhism
philosophy to reflect human psychology. His drawings are full
of grotesque figures of mythological creatures with surrealistic
look. Liveliness, brightness and gentle exist in Chakrabhand's
modern Thai paintings.
All can successfully escape the labyrinthine
presentation of traditional style of Thai art to feature more
individualistic and innovative, suitable for contemporary society.
At this moment, it can be cited that the modernizing of Thai
art has been established, and will be more progressed if new
generations are still active and determined like the mentioned
senior names.
