สำนักราชบัณฑิตยสภา

«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë Û ©∫— ∫∑’Ë Ú ‡¡.¬.-¡‘ .¬. ÚıÙ¯ 361 Lertsiri Bovornkitti “modified to make them even more ‘classical’, such as when they are painted gold, the colour of Buddhism, or red, the colour of heaven and of those who reside there” (Phillips, 1992 : 21). For example, elements from both the classical and Thai folk art traditions are often seen combined in a single work such as a wood carving on a large panel used in wall decorations (figure 8). Symbolic elements of animal figures and filigree designs that come primarily from Thai classical art traditions surrounded a Buddhist symbol, the Thammachak or the Wheel of Dhamma (teaching) from the classical art tradition. Thus, it could be said that Thai folk art is indirectly associated with Buddhist traditions, and that it is closer to everyday Thai life than classical Thai art, which serves mainly the royal court. In addition, Thai folk art styles have been used mainly to beautify and honour material objects of value, typically as a way of highlighting the status of the object’s owner. Thus, it must be distinguished from “classical art” on the ground of its non-Buddhist sources and uses. Even though folk art is signific- antly distinguishable from classical art, most Thais now recognise the two Thai art traditions as a single, unified art form known as ç traditional Thai art é . Figure 8 A wood carving with the Thammachak symbol reflects the existence of both classical and Thai folk art. In summary, it appears that Buddhism is indeed the most histor- ically important inspiration for Thai art, and that this is supported by evidence of the emergence of early Thai art, reflecting Buddhist ele- ments in the thirteenth century. Indigenous Thai art consists of “classical Thai art” and “Thai folk art”, which together have contributed to a fully developed form of indigen- ous art; this is the origin of “tradi- tional Thai art”. It is elements of traditional Thai Art that are seen as integrated into the artworks of contemporary Thai art, especially “neo-traditional Thai art”, in the works of Thawan Duchanee, Ang- karn Kalayanapongse, Chalermchai Kositpipat, Panya Vijinthanasarn, Thepsakdi Thongnopkoon, and Alongkorn Lawwattana. References and Further Reading 1. Boisselier J. Thai painting. Tokyo, New York, and San Francisco : Kodansha; 1976. 2. Boisselier J. The wisdom of Buddha. London : Thames and Hudson, Ltd.; 1993. 3. Brown R. Narrative as icon : The Jataka stories in ancient Indian and Southeast Asian architecture. In : Schober J, editor. Sacred biography in the Buddhist traditions of South and Southeast Asia. Honolulu : University of Hawaii Press; 1997. p.64-109. 4. Phillips HP. Modern Thai literature : with an ethnographic interpretation. Honolulu : University of Hawaii Press; 1987. 5. Phillips HP. The integrative art of modern Thailand. Berkeley : Univer- sity of California at Berkeley; 1992.