สำนักราชบัณฑิตยสภา

«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë Û ©∫— ∫∑’Ë Ú ‡¡.¬.-¡‘ .¬. ÚıÙ¯ 359 Lertsiri Bovornkitti Classical Thai art portrayed scenes from the life of the Lord Buddha, Buddhist teachings, clas- sical tales such as the Ramakien (the Thai version of the Indian epic, the Ramayana) and Thai literature, which is most of all associated with royal patronage, as well as scenes of contemporary events. The essence of classical Thai art is its religious content, didactic purpose, and highly decorative designs. Like its medieval European counterpart, Thai classical art has always been in the service of the kingdom’s religious and political institutions, as well as the human values associated with them (Phillips, 1992 : 18). Classical Thai art is the description for a Thai art form that is considered the most highly sophisticated and beautiful in the Thai historical context. It served equally the Thai monarchy and Buddhism, and ultimately became important for the country’s identity. In classical Thai art, royal patronage was strong. It is considered that this period produced the richest, most genuine Thai art, in which the height of Thai aesthetic achievement and quality was reached. Classical Thai art is the most culturally familiar and widely respected --- if for some Thai, also somewhat well worn --- of all of Thailand’s artistic genres. Based in part on Sinhalese and Khmer prototypes, it has been practiced for more than a millenium on the walls and architectural elements of temples and palaces, on the surfaces of cabinets, screens, and manuscripts of both royal and village Thailand, and in individual Buddha images representing as many as nine historically different styles (Phillips, 1992 : 17). The media that were widely used in Classical Thai art include painting, sculpture, stone and wood bas-relief, stucco, lacquerware, woodcarving, nilloware and leather. Painting, now regarded as the most outstanding traditional medium in the history of Thai art, originated during the Classical Era in the form of wall paintings. “The practice of painting murals on the walls of temples reached its florescence in the murals of the early and mid-19th century”, that is the “classical” time of Thai art when the Thai style of painting began to develop from murals (Phillips, 1992 : 19). Painting in the classical Thai art style adorns the walls of temples, especially temples built during the early Rattanakosin period and exemplified by mural paintings (figure 5). In the Thai Classical Period, sculpture was, like painting, also widely practised in the tradition of showing devotion to and serving Buddhism. Buddha images have been the most enduring subjects in Thai sculpture. Buddha images have over the centuries been the single most important focus of Thai artistic energy. Thai art historians recognize as many as nine different styles of these images. The most “classical” of the schools --- in the simplicity and elegance of its imagery --- is the 13th - 15th century Sukhothai style. Because of its similarity to modern aesthetic forms, it is the most emulated of all classical Buddha figural styles (Phillips, 1992 : 19). As mentioned previously, the Sukhothai sculpture of the Buddha image is acknowledged as the classic form of Thai style (see figure 3). The sculptural style of the Rattanakosin Period reflects the prevailing aesthetics of the Thai Royal Court, with highly decorative motifs as seen in the nineteenth century Buddha Shakayamuni (figure 6). It is believed that it was carved during the reign of King Rama III (1824 - 1851). In summary, it may be observed that in the tradition of other earlier Thai art genres, classical Thai art reached its peak in aesthetic form in the early Rattanakosin Period, having served the Buddhist religion, the Thai monarchy, especially the royal court, and the kingdom’s identity, reflecting values held dearly in the life of the Thai people.