Thai art
The Thai art ( Thai : ศิลปะ ไทย ), that is the art of Thailand has many characteristics that make them easily distinguishable from the art of the Southeast Asian neighbors. For a long time it was overshadowed by the masterpieces of China , India and later Cambodia , and even in the 20th century it was only sparsely represented in the great museums of the West. It was believed there that Thai art was more of historical than artistic interest. It was only thanks to the efforts of Prince Damrong and George Coedès , as well as art historians such as AB Griswold and Jean Boisselier , that it was shown in the right light.
history
Unlike in western countries, Thai artists did not previously endeavor to create an individual work of art, but rather a copy that was as true to the original as possible of a model that has been handed down for generations. Originally, the craftsmen and architects were a profession subordinate to the military, their work - the manufacture of weapons or fortresses - roughly comparable to that of today's engineers. During the reign of King Boromatrailokanat , the "Law of Military Hierarchy" was enacted. Here, the artists and artisans in the "Department of the Ten Arts" (Thai: กรม ช่าง สิบ หมู่ - Krom Chang Sip Mu) are summarized. Originally there were probably not ten, but thirteen departments: painters, papermakers, engravers, dollmakers, modelers, plasterers, varnishers, metal bats, lathe operators, molders, carvers, sculptors and carpenters. In the seventeenth or eighteenth century at the latest, however, the arts were assigned to the civilian side of administration.
Today the "Department of the Ten Arts" is subordinate to the Fine Arts Department . As its title suggests, there are ten departments:
- Painter and Draftsman ( หมู่ ช่าง เขียน ) - paintings and drawings on walls, manuscript - illustrations
- Engravers หมู่ ช่าง สลัก - producing flat and high reliefs of materials such as sandstone , teak , paper ( paper cut ) and banana ;
- Drechsler หมู่ ช่าง กลึง - Manufacture of objects on the lathe ( turning ), also: glass mosaic
- Former หมู่ ช่าง แกะ - fruit and vegetable carvings, leather figures of shadow theater
- Modelers หมู่ ช่าง ปั้น - cast Transformer , also gold and silversmiths
- Plasterers หมู่ ช่าง ปูน - Decorating interiors, buildings and gable triangles ,
- Varnishers หมู่ ช่าง รัก - black gold lacquer painting , mother-of-pearl - inlays
- Mask and puppet maker หมู่ ช่าง หุ่น - models of beeswax, Khon masks, stick puppets and marionettes
- Metal Hämmerer หมู่ ช่าง บุ - chasing and finishing of metal objects
- Metal Foundry หมู่ ช่าง หล่อ - Bronze foundry of Buddha statues
Certain artists, such as poets, painters, dancers, architects, musicians and talented (art) craftsmen were already under the patronage of the king and the nobility in the Ayutthaya period . Princess Maha Chakri Sirindhorn continues this tradition by making the Ho-Uthet-Thaksina building ( หอ อุ เท ส ทัก สิ นา ) available on the grounds of the Grand Palace in Bangkok for the so-called "Royal Craftsmen College" ( โรงเรียน ผู้ใหญ่ พระ ตำหนัก สวน กุหลาบ , also called “University in the Palace”, วิทยาลัย ใน วัง ชาย ) to promote the preservation and transmission of the “Ten Traditional Arts”.
Influences
Many inspirations and characteristics of Thai art were taken from other Asian countries, especially from India and China , but also from the Mon , the Khmer or the Sinhalese . Traditionally, Thai art is a Buddhist art , and religious motifs have been predominant throughout most of Thai art history.
Art schools
For historical and geographical reasons, several quite different art schools have developed in Thailand. A historical classification of the individual schools is made difficult by the fact that some of them developed parallel to each other. Today one differentiates between these art styles:
- Dvaravati (around 8th-13th centuries)
- Srivijaya (around 8th-13th centuries)
- Lopburi (around 7th-14th centuries)
- Sukhothai (around 13th-15th centuries)
- Lan Na (around 13th - 20th centuries)
- Ayutthaya (around 14th-18th centuries)
- Rattanakosin (late 18th - 20th century)
The traditional arts
painting
Classical Thai painting was restricted to the decoration of temples and palaces and to manuscript illustrations. The walls of temples and palaces were decorated with paintings to emphasize the beauty of the objects they surround. In contrast to Western painting, traditional Thai painting has no perspective. All figures were depicted two-dimensionally and their size in the depiction depended on their significance for the event depicted. Motifs were primarily of a religious nature such as scenes from the life of Buddha. Tempera paints were used for painting , with pigments initially being available in five colors. The wall paintings in the temples Wat Suthat (Bangkok) or Wat Suwannaram (Thonburi) are particularly important.
At the beginning of the 19th century, people began to import color pigments from China, later chemical pigments were used. The paintings became more colorful now. At the same time, Western concepts such as shadow and perspective found their way into Thai painting.
Important painters of the traditional technique are Fua Hariphitak ( เฟื้อ หริ พิทักษ์ ), Chalerm Nakiraks ( เฉลิม นาคี รักษ์ ) or Sanit Ditthaphan ( สนิท ดิ ษ ฐ พันธุ์ ), who have also been recognized as national artists ( ศิลปิน แห่ง ชาติ ). Contemporary painters in Thailand are Chakrabhand Posayakrit ( จักร พันธุ์ โป ษ ยก ฤต ) or Thawan Duchanee ( ถวัลย์ ดัชนี ).
Sculptures
In the past, Thai sculptors had almost exclusively limited themselves to the production of Buddha statues. Some of these were huge, such as the seated Buddha at Wat Si Chum in the Sukhothai Historical Park , which measures 11 m from knee to knee; others were the size of a thumb so that they could be worn around the neck as amulets . Around 1933, Professor Silpa Bhirasri , of Italian descent, gave Thai sculpture a fresh impetus when he founded the School of Fine Arts, which later became part of the Fine Arts Department . Silpa Bhirasri created great sculptures of several Thai kings as well as a standing Buddha statue about 16 m high in Phutthamonthon Park. Numerous modern artists find permanent exhibition space in the parks in Bangkok, such as Nonthivathn Chandhanaphalin ( นนทิ วรรธ น์ จัน ท นะ ผะ ลิ น ).
literature
Early Thai literature was very much shaped by Indian culture. It was primarily of a religious or mythological nature and was written in verse until the middle of the 19th century. Until then, the members of the aristocracy were the only ones who dealt with literature. So part Chaofa Thammathibet , son of King Borommakot , the most important poets in the history of Thailand; his rowing songs and nirats are still standard reading in Thai schools today.
The most important work of traditional Thai literature is the epic Ramakian . This epic is based on the Indian national epic Ramayana and was expanded at the end of the 18th century by King Phra Phutthayotfa Chulalok (Rama I) . It is the most important historical source on the customs of the court of premodern Thailand. King Phra Phuttaloetla (Rama II.) Created two classic dramas based on Ramakian episodes and the Inao , a popularly transmitted story. The works of Sunthon Phu, however, use a language that is similar to that of the common people.
At the beginning of the 20th century, the verse form was largely discarded and replaced by prose. Many great writers and authors brought out numerous well-known books in the 1950s. Some of the most famous representatives of modern Thai literature include Phya Anuman Rajadhon , Dokmaisod , Malai Choopinit , Mai Muang Doem , Chot Praephan , Kulap Saipradit (also known by his pseudonym Siburapha ), the Prime Minister Kukrit Pramoj , Krisna Asokesin , Seni Saowaphong , Suwanee Sukhont , Suwat Woradilok , Kampoon Boonthavi , Angkarn Kalayanapong and Pira Sudham .
theatre
Traditional Thai theater is fundamentally different from western theater. It consists of the recitation of a text by a narrator, usually accompanied by music, while pantomimes or dancing are performed on the stage. The actors sometimes perform spoken chants. The material for the pieces mostly comes from the Thai epic Ramakian or other fairytale or fantastic legends.
There are two main currents of the traditional form of theater, Lakhon : Lakhon Nok is the old Thai folk theater, while Lakhon Nai was only performed in the royal palace. The actors, who usually wear magnificent costumes and masks, present their characters with complicated facial expressions and dance figures that have to be trained for a long time. It is peculiar that the ideal of softness and suppleness in dance is achieved by overstretching the limbs against the joints. Also typical is the appearance of a joker, who mostly makes rough jokes to amuse the audience.
The traditional Thai mask game Khon is significantly older than Lakhon and was probably adopted by the Khmer or other Indianized peoples. Here, too, Ramakian is represented and was performed exclusively by men in the Ayutthaya period .
The court shadow theater nang yai was introduced into Thai culture in the mid-15th century. Here, large panels made of dried animal skin, which depict several figures or scenes, are held up by actors in front of a translucent canvas that is lit from behind. Here, too, a text is recited and accompanied by an orchestra. In the past, nang yai could only be performed at the royal court and is now extremely rare. In southern Thailand, another form of shadow theater called nang talung is used as popular entertainment. The name is composed of nang , "skin", and talung , shortened from the province of origin Phattalung . The figures are much smaller and - as is common practice - are held behind the canvas with holding rods.
These cultural forms, which were once deeply rooted in Thai society, have now largely been supplanted by television, traditional forms of theater - as with the Lakhon - are tailored to the needs of the modern city population, traditional performances are only occasionally held in order to preserve culture. The “Chalermkrung Royal Theater” in Bangkok's Phra Nakhon district plays a pioneering role here: Opened in 1933 as the first cinema with air conditioning in Thailand, traditional khon dramas have been staged here since its renovation in 1992.
music
The history of the music of Thailand cannot be exactly reconstructed. It combines influences of Chinese and Indian music as well as that of the Khmer and Mon . King Ramkhamhaeng's stone inscription already reports that there was a lot of music playing all over Sukhothai . Music was also extremely popular with the population in Ayutthaya in the 15th century. Classical Thai music sounds unusual to the Western ear, as the octave is divided into seven equally large steps. The melodies are also structured in terms of motifs, which makes many passages appear repetitive. There never was a notation in Thailand , the musical tradition was passed on through listening and imitation.
The most important form of orchestra in Thailand was the pi phat , which was intended for the accompaniment of stage pieces and in its basic form consists of a woodwind instrument ( pi nai ), a xylophone , two gong sets and a taphone drum. The music of the Pi Phat is best known in the West. Another important form of orchestra is the Khrueang Sai , consisting of a woodwind instrument, string instruments ( so duang , so u , chakhe ), tambourines and cymbals. The Mahori corresponds to the Cambodian Mohori , it typically accompanied singing and had the same line-up as the Khrueang Sai plus xylophone, metallophone and gong kettle.
After 1932, Thai music was increasingly played with Western instruments. Music influenced by the West has largely supplanted classical Thai music to this day. Commercial Thai, Asian and Western pop music is ubiquitous, while traditional music is cherished and preserved as a cultural heritage. Princess Maha Chakri Sirindhorn is engaged here, while the reigning king is a jazz musician.
In the northeast region, the cultural heritage of the Lao population lives on in the typical Mor-Lam music.
The decorative arts
Nielloware
It is almost unknown in the West that there is a centuries-old tradition in Thailand of decorating objects with niello . The first written mention was made in the Family Law, which was written in the reign of King Boromatrailokanat (ruled 1448–1488). Niello items also played a major role at King Narai's court . The main production facilities in the Ayutthaya period were - besides Ayutthaya itself - the cities of Ubon Ratchathani and Chanthaburi , as well as Nakhon Si Thammarat in southern Thailand. Nakhon Si Thammarat is now the center of Thai niello production.
Lacquer work
The art of lacquer work probably came to Thailand via China and Burma. In the past centuries, however, typically Thai techniques and designs could develop.
In the initial state, the workpiece consists of a finely woven mesh made of bamboo or a piece of wood that has been shaped into the desired shape by carving or a lathe. First, a layer of the ashes of burnt rice husks or fine clay is applied. The lacquer is then applied layer by layer. This is the latex of a tree from the anacardiac family (Melanorrhoea usitata) , the so-called rak yai ( รัก ใหญ่ ). It should not be confused with the shellac produced by parasitic insects on certain trees in India and Southeast Asia.
Mother of pearl inlay art
The art of mother-of-pearl inlay also has a long tradition in Thailand. Even during the Dvaravati period, different colored pieces of mother-of-pearl mosaic were used for decoration. Other works of art known today are the large double doors that are now in the Ho Phra Monthian Tham (Dhamma library) in Wat Phra Kaeo . They were commissioned by King Borommakot "on the 13th day of the waxing moon in the 10th month of the year 2299" (1757 AD) . Many other doors and shutters in other buildings of Wat Phra Kaeo were made during the reign of King Phra Phutthayotfa Chulalok ( Rama I ) .
pottery
Modern looking pottery was found near the village of Ban Chiang . They were dated to around 2500 BC. Dated. Thai pottery had another high point in the 13th century, when the ruler Sukothais brought 300 potters into the country from China. As a result, the products were exported to all of Southeast Asia. Today there are numerous regionally different styles of pottery in Thailand.
Silverware
The center of Thai silversmithing is in northern Thailand, with Chiang Mai being the most famous city. Silversmiths not only decorated swords and boxes and boxes of all sizes, they also make jewelry and everyday objects, such as drinking vessels.
Weaving art
The weaving , especially the silk industry is deeply rooted in the culture of the inhabitants of northeastern Thailand. It experienced a temporary decline after cheaper silk was imported from China and Japan. Today specialties such as mudmee silk or brocade are made with woven gold and silver threads, which require great skill, fetch high prices and are used by buyers for special occasions. Silk embroidery has a long tradition with some of the so-called hill tribes , especially the Yao and Hmong .
literature
- Alexander B. Griswold: Towards A History Of Sukhothai Art . The Fine Arts Department, Bangkok 1967.
- Jean Boisselier: Painting in Thailand . Verlag W. Kohlhammer, Stuttgart 1976, ISBN 3-17-002521-X .
- Steve Van Beek: The Arts Of Thailand . Thames & Hudson, London 1991, ISBN 0-500-23620-8 .
- Carol Stratton: Buddhist Sculpture of Northern Thailand . Silkworm Books, Chiang Mai 2004, ISBN 1-932476-09-1 .
Individual evidence
- ^ Achille Clarac: Thailand, art and travel guide with regional studies . Verlag W.Kohlhammer, Stuttgart 1979, ISBN 3-17-004689-6
- ^ HG Quaritch Wales: Ancient Siamese Government and Administration . London 1934, Reprint by Paragon Book, New York 1965 (without ISBN)
- ^ Krom, กรม - Ministry, Department; Chang, ช่าง - craftsman, mechanic, expert, artist; Sip, สิบ - ten; Origin: Sippa ( Pali , in Thai script: สิปปะ ) art, shortened to Sip - ten over time; Mu, หมู่ - classifier : department, group.
- ^ The National Identity Office, Office of the Prime Minister (Ed.): Thailand in the 90s. Amarin Printing and Publishing, Bangkok 1995, chapter “From Classical to Popular Arts”, online version at SunSite ( Memento of the original from February 26, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ side of Thaiways magazine about the "Royal College Craftsmen" (in English)
- ^ Jean Boisselier et al .: Handbook of Form and Style: Asia . Fourier Verlag GmbH, Wiesbaden 1988, ISBN 3-925037-21-7
- ^ The National Identity Office, Office of the Prime Minister (Ed.): Thailand in the 90s . Amarin Printing and Publishing, Bangkok 1995 (without ISBN), “Painting” chapter, online version at SunSite ( Memento of the original from July 7, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Assumption University Thai Arts: Literature ( Memento of the original dated February 5, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Visited on November 25, 2009.
- ^ Wenk, K .: Die Literatur, in: Hohnholz, Jürgen (ed.): Thailand - Geography - History - Culture - Religion - State - Society - Politics - Economy, Tübingen 1980, pp. 160–187
- ↑ Assumption University Thai Arts: Drama ( Memento of the original from May 25, 2009 in the Internet Archive ) Info: The archive link was automatically inserted and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Visited on November 25, 2009.
- ↑ Rosenberg, K .: Theater, in: Hohnholz, Jürgen (Ed.): Thailand - Geography - History - Culture - Religion - State - Society - Politics - Economy, Tübingen 1980, pp. 210–220
- ^ Wenk, K .: The classical music, in: Hohnholz, Jürgen (Hrsg.): Thailand - Geography - History - Culture - Religion - State - Society - Politics - Economy, Tübingen 1980, pp. 220-240
- ↑ Did Niello originate in Thailand? (in English)
- ↑ Klaus Wenk : Mother of Pearl Art. The Art of Mother-of-pearl in Thailand . Iñigo von Oppersdorf publishing house, Zurich 1980, ISBN 3-85834-017-0
- ^ The National Identity Office, Office of the Prime Minister (Ed.): Thailand in the 90s . Amarin Printing and Publishing, Bangkok 1995 (without ISBN), chapter “Pottery”, online version at SunSite ( memento of the original from September 29, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ The National Identity Office, Office of the Prime Minister (Ed.): Thailand in the 90s . Amarin Printing and Publishing, Bangkok 1995 (without ISBN), chapter "Silverware", online version at SunSite ( Memento of the original from December 14, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ The National Identity Office, Office of the Prime Minister (Ed.): Thailand in the 90s . Amarin Printing and Publishing, Bangkok 1995 (without ISBN), chapter “Weaving: From Thai silk to Homespun Hilltribe Cloths”, online version at SunSite ( Memento of the original from December 14, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
