Thai Contemporary Art

ormally temples are the places that contain art pieces — from many different craftsmen like wood carvers, painters, sculptors and architects. The Thais have dedicated an immense amount of their time towards making these Buddhist places extraordinary. That is why so much antique art can be found in the abundant temples of Thailand. But when we refer to Thai contemporary art, we are usually talking about works that are somehow in-trend, up-to-date and often times outside of the temples. Unfortunately, putting these terms, Thai art and contemporary art, together leads to a misinterpretation. It hints in the wrong direction. That it is simply Western art that has some Thai characteristics – as if the traditional style was only a percentage of its elements. Perhaps a painting that uses red color and gold leaf, as part of an otherwise impressionist style canvas (or the depiction of angels with lai thai¹), may lead people to believe that these works are lagging behind in trends that have already come and gone. But these are works by contemporary artists who come from a quite different background than those who were trained in the realistic modes inherited by the West from the Renaissance. Those unfamiliar with the common forms of Thai traditional art will surely miss a lot of the meaning in, and the spirit of, these new contemporary works.

  Preecha Thaothong, Light on the Wall, 1980

      The vast history of an Indian mythological narrative and a unique symbolic heritage² collided with the modern world and all of its political and industrial forces. Whether making a canvas look like a cracked mural painting on an old temple wall or even using a much different technique to capture the essence of a Kinnaree³ as an abstract expression in traditional colors, these two works may very well contain the same spirit. While some contemporary Thai works seem to copy ideas of form from the abstract expressionists,⁴ there is still a unique spirit of identity. When interpreting works from art history we must always ask ourselves, “What were the values of the people in that society at that time? And what was their environment like?” So it is with contemporary art.

The Movement’s Evolution

      Traditional Thai art is normally considered to be the decorations in and around the palaces, temples or pagodas where so much of the pearl inlay, porcelain mosaic, or stucco ornamentation is found. Considering the historical sites at Ayutthaya, Sukhothai and Srisatchanali, Thai art has traditionally never been very far from the holy places of the past. Traditional Thai painting that started on the temple walls, hangings, manuscripts and cabinets had a specific purpose, such as a decorative fresco or as illustration for the Buddhist scriptures. The treatment of characters was very delicate in style and metaphorical in representation. Paintings contained specific areas of gilt gold leaf to emphasize the accessories on the costumes of angels and the depictions of the Royal family. The stories of the Buddha, which formulaically surround the inside walls of temples, used plain colors. Different episodes in the same canon would be placed in the same frame just in a different area. And there was no rendering of volume, per se, just a wonderful use of line to portray the space and idealistic integrity of the characters such as Prince Siddhattha.⁵ In one place on the wall, he makes his decision to leave his luxurious life to seek enlightenment in the forest. Then immediately in the same area, he is traveling on a horse with his dedicated servant. Still, close by, is another scene where he cuts off his long hair that symbolizes his birthright. The story unfolds like this until the last scene.

One of Cru In Khong's unique paintings

      Several decades later, Corrado Feroci by royal invitation, came over from Florence, Italy in the early 1930s.⁶ Invited by King Rama VI and the Thai government, he was initially commissioned to sculpt an important monument.⁷ Just as soon as he arrived, he fell under a particular magic spell owned by the Thais. He fell in love with the culture and its people -- not just the canals and houses of Bangkok but the temples and ruins of Ayutthaya, Sukhothai, Srisatchanali and Lopburi as well. The Thais are renown for being easy-going and hospitable, but they also have deep roots in the traditions of music, dance and art too. He found their inherent sensitivity towards the arts, and their collective sense of freedom, a wonderful place to be. He dedicated the rest of his life, teaching Western traditions to his students and colleagues while at the same time documenting the Eastern arts and its specific Thai morphology. Adding alien modes of expression and linking them to the Thai ones; anatomy, color theory, western schools of thought and art philosophy began to have a lot more influence on the production of art works in Thailand. This extra knowledge combined with the strong foundation of traditional artistic skills made students excel and enjoy themselves a whole lot more.

In 1943⁸ he founded and taught at an art school called Silpakorn University⁹ with the already famous architect Praprohmpichit. He carried some of the first fine art pieces to be shown outside of Thailand to Europe.¹⁰ He donated a Banglila¹¹ Sukhotahi Buddha image for the Western world to study. He helped convince the then military controlled government of Thailand to interest itself in the national heritage of its own country. He started a national art contest that is now in its 50th year. His first generation students have almost all retired from working or passed away. Their art pieces are the current generations study. Exceptional among them are Fuera-hari Pitak, Tawan Dutchanee, and two younger artists Chalermchai Khositpipat, and Wichok Mookdamanee.

      Silpa Bhirasri’s (Corrado Feroci’s) philosophy and way of teaching have been the heart of Silpakorn University’s philosophy for three generations. There is no lack of his portraits or statues around the campus either. Thailand has many qualified art teachers thanks mainly to his merit. When he died in 1962, out of respect for his ability and kindness, his first generation of students dedicated their careers to continuing the traditions he started. All have admitted to being very lucky to have had such a good teacher with such exceptional skills, who is referred to as the father of Thai contemporary art.