32 Modern Art in Thailand An Outline of its Development from 1932-1960 by Helen Michaelsen Indeed, for senti- since the middle of mental traditional the 19th century will reasons, to the con- be briefly outlined, trary, many people in order to illustrate a did not understand that it was long- that Art, being a term process and not living part of culture, a sudden break with cannot be static, and, traditional art in as such, an original 1932. conception, even if The first at- not quite successful tempts to change in its artistic realiza- traditional artistic tion, is far better presentations and than copies or imita- pictorial elements tions, of what has occurred in the reign been repeated for of King Mongkut (r. centuries'' 1851-68). In total they Silpa Bhirasri do not have any far- reaching effects yet. But they have laid T,he year 1932, is the basis for further often stated as the development. beginning of modern During King art in Thailand, es- Chulalongkom's reign pecially painting due (r. 1868-1910) the to the change of the non-religious art political system from sector gained more an absolute to a con- and more signifi- stitutional monarchy. cance. Due to the The previous ten- religious orientation dencies in Thai art Professor Silpa Bhirasri, by Fua Haribhitak, 1935. of traditional art in 33 Thailand, the secular art sector was greatly influenced by European artists. Consequently this development also had effects on Thai traditional painting, which in total was losing its domineering significance. Western techniques and expressions increasing- ly succeeded, both in the new secular and traditional art sector. The decreasing emphasis on Thai traditional painting and the increasing European influence in this field continued further during the reign of King Vajiravudh (r. 1910-25). In addition, King Vajiravudh tried to give "pure" traditional art new im- pulses, especially through the founding of the Arts and Crafts School (Poh- chang) in 1913. Above: Statue of King Rama I, by Corrado Feroci, 1927-30. After King Vajiravudh's reign, his successor, King Prajadhipok (r. Top left: Victory Monument, by 1925-34) cut down tremendously the Corrado Feroci and students, 1937-41. expenses for the art sector. Owing to his drastic austerity programme King Left: Part of Democracy Monument, Vajiravudh's promotion measures for by Corrado Feroci and studens, 1939. the traditional arts were mainly affected. Although King Praja- dhipok's policy led to a decrease of artistic activities, the two tendencies In 1933, the Department of Fine culum for this art school was entrusted remained unchanged: western in- Arts founded the School of Fine Arts to the Italian sculptor Corrado Feroci. fluences on the traditional painting (Rongrien Silpa). The aim of the Feroci was also appointed as the and dominance of western artists in school was to systematically teach director of the school. In 1944 he the secular art sector. young artists in the fields of painting became a Thai citizen and changed and sculpture. Their graduating artists his name to Silpa Bhirasri. The The political overthrow on June were supposed to execute the works appointment of a foreign artist for 24, 1932 shifted the political centre from the Fine Arts Department and this task illustrates the educational of power from the monarchy to the to gradually substitute the foreign emphasis laid on modern expressions state. The state, instead of the king, artists in the kingdom. The increasing and therefore on western art. gained supremacy. Hence a takeover demand by the state for monuments, of the king's patronage over the art It can be assumed that Feroci medals, statues, etc. had led the sector by the state resulted. made use of his experiences at the authorities to the conclusion that an Florence Academy of Fine Arts, where The Department of Fine Arts, institution for the education of artists he had also been a teacher. Graduates which in 1926 had come under the was needed. By these means, their from this programme assisted Feroci control of the Royal Institute, came, graduates actually contributed to in his works with the numerous com- in 1933, under the supervision of the modern statebuilding. Nevertheless, missions from the Fine Arts Depart- Ministry of Education. The new rulers the founding of this art school "only" ment. tried to improve the education system institutionalized the development with an ambitious educational pro- initiated in the reign of King Feroci's major arguments for gramme, essentially and led it to the Mongkut. bringing the training of artists in line level of the western standard. The elaboration of the curri- with modern western art were: the 34 change in society and the job per- alignment of art had shifted due to it is today, the teacher is considered spectives for artists. The study of the changes in society. Therefore reli- as the unquestionable authority traditional Thai art was also included gious texts could not be a basis for art because of his experience and pro- in the training programme. But in anymore. fession. Therefore, Feroci's students, practice, traditional Thai art only especially those in the sculpture class, The first class of Feroci, which played a minor role at that time. exactly imitated Feroci's own style. started in 1934, had a total of 10 Feroci justified this decision with the They were "trained" to copy in a students. These students had pre- importance of tradition for Thai precise manner. In the long run, viously trained at the Arts and Crafts modern art. however, Feroci hoped the artists School. Their works, done during could find their individual style However, Feroci rejected the their education at the School of Fine through their own experiences and by mere copying of the old arts, because, Arts, were all either in a realistic or practicing with different styles. in his opinion, the artists would impressionistic style. At the new become epigones. He was also very school, Feroci's own art perception In the first place, the aim for aware of the problems that were was put into practice. As Feroci said, training Feroci's first class at the caused by the introduction of modern "They are at the beginnings of their School of Fine Arts was to assist art forms. For him the study of tradi- careers, impressionism and realism is Feroci with his government com- tional art was especially important in the first stage which all modern artists missions. Later on they were to connection with the preservation of have passed through". execute the works themselves. The the cultural heritage. Nevertheless, it In the traditional teacher- students officially completed their was beyond question for him that the student relationship in those days, as training in 1937. Their first major project was the "Victory Monument", which had been started in 1937 and finished in 1941. The Victory Monument is an obelisque pillar surrounded by statues of soldiers and civilians. It was done in an over-emphasized realistic style, symbolizing the nation's unity. The same intention, namely to represent the motive in a heroic manner, under- Palm-Sugar Harvest, by Manit Poo-Aree, 1958. lay the 'Democracy Monument', which was commissioned in 1939. The eight low reliefs of the monument are meant as a manifestation of the close connection between civilian and mili- tary life and the importance of education, economic productivity and Buddhism. The 'Democracy Monu- ment* was done, like the 'Victory Monument" in the style of heroic realism. Although Feroci was a follower of the realistic style, this over-emphasized forms did not cor- respond with his ideas. But because of his position as a civil servant he did not have much freedom to decide and had to go along with the visions Dreamer's Alley, by Misiem Portrait, by Banchob Palawongse, of his commissioners. Yipintsoi, 1949. 1954. 35 The main aim of the new rulers were to build a modern nation. The new rulers' vision of a modern state was one that was strong in military terms. And this they endeavoured to visualize in their artistic presentations, for foreign countries to see as well as for their own public. When Field- Marshal Phibun Songkham, one of the coup's leaders in 1932, became prime minister in 1938, those ten- dencies were even more stressed upon. The main outcome of the efforts of Phibun's government programme were militarism, economic nationalism, chauvinism directed against the Chinese minority in Thailand, and cultural nationalism which had major relevance to the arts. Although Phibun's programme showed strong parallels with King Chantaburi, by Payoon Ulushata, 1954. Vajiravudh's programme of national- ism, Phibun primarily based his programme on the development in Italy, Germany and Japan. He stressed overseeing the conduct of the School policy of cultural nationalism, further traditional values as well, like what of Fine Arts, he had the assignment directed the upgrading of the School King Vajiravudh had done before. to advise the government on questions of Fine Arts to university level Nevertheless, Phibun introduced pertaining to general art. (Silpakorn University), in 1943. essential elements from the western Through this step the status artists in Because of Feroci's suggestions, culture. It was inevitable for the sake society was at least formally upgraded. art competitions were included in the of progress and modernity of the During that time, only university programme of the Annual Constitu- nation. With his campaign on the students received official and private tion Fair, established in 1938. Student ideal "Thai-culture", Phibun wanted recognition. from the art school participated in to stir the people's awareness on their these competitions. Apparently, these In 1944, the League of Artists, life in the new society, which was art competitions were successful, consisting of well-known personali- being newly built up.