สำนักราชบัณฑิตยสภา

«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë Û ©∫— ∫∑’Ë Û °.§.-°.¬. ÚıÙ¯ 735 Lertsiri Bovornkitti Thus, spirituality in art com- prises mysterious transcendental experiences imbued in the conscious mind, and reflects the artists’ instinc- tual awareness present during the process of creation. The making of art in this way refers mainly to the spiritual expres- sions of the artist and the meanings of the subject matter, rather than to techniques, skills or aesthetic quali- ties of the work. This spirituality is about the relationship between an artist’s conscious/unconscious en- gagement with the spiritual dimen- sions of expression. In this interpretation, artworks are able to convey the essence of the spiritual world - the underlying meta- physical truth which extends well beyond individual, ego - based per- ceptions - concerning the mystery and the sacred nature of life. In the past several decades, there was much speculation of a Western revival of the spiritual and the sacred in art. “Spirituality” had been a significant concept in histori- cal Western artistic expression. Cur- rently, its unique quality has once again become more identifiable among contemporary artistic prac- tices. Kuspit (1996) described this tendency: “spirituality is an espe- cially unique quality today... Spiritu- ality legitimizes the abstract work’s worldly success”. Evidence that artists have been re-exploring the concept of spiritu- ality in art can be seen in the West since early in the twentieth century. (Concerning the Spiritual in Art, Wasily Kandinsky, 1912) For example, the idea of “spir- ituality in art” emerged in the work of Wasily Kandinsky, a precursor of abstract art. Kandinsky developed many theories regarding abstraction and its relationship to spiritualism in his book, Concerning the Spiritual in Art, published in 1912. His abstract paintings depict obvious spiritual qualities, such as the series of Improvision and Composition (1911-1913), (Figure 1). In the aftermath of World War Two, the concept of spirituality be- came less popular and unfashionable in the context of the onslaught of post-modernism. By the end of the twentieth century, “the spiritual in art” had re-emerged as “spirituality” and an international response to the global ideas of consumerism and materialism. Such trends are also identifiable in contemporary Thai art practice. The significance of the concept of “spirituality in art” has associate themes explored by many Thai artists in the past. The level of un- derstanding of “spirituality in art” by historical Thai artists is immeasur- able. Though it is now a strong ele- ment in contemporary Thai art, we must look at spiritual aspects of the contemporary to understand its con- text. Although spirituality in art has not been articulated in terms of current art theory nor has it been taught in visual art programmes in Thailand. Panya Vijinthanasarn (1998) suggested that the idea of spirituality in art and the significance of such concepts should be developed and theorised within the discourse of art theory. Figure 1 Study for Composition No.2 (1911-1913)