The Analysis of Oblique Guideline of Thai Traditional Painting in Early Rattanakosin Era

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ジャロンキットカジョン　ポッサナン/ 京都工芸繊維大学大学院

;Charoenkijkajorn Possanunt / Kyoto Institute of Technology

Keywords: タイらしさ / 絵画構造 / 斜めガイドライン

Abstract

In addition, the figures in traditional Thai paintings are depicted using diagonal guidelines, and a conceptual diagonal composition is drawn throughout the painting.The paintings' costumes, buildings, and ornaments are painted based on oblique composition. By drawing this on every part of the painting, the conceptual oblique line appears in every detail. The relationship between each figure also forms conceptual diagonal guidelines throughout the painting. This study analyzes the structure of traditional Thai painting by focusing on the oblique guidelines of temple murals painted during the early Rattanakosin period.

Background and Objective

The scope of the study is the Thai Mural painting, which appears on the window bay of the temple in the Rattanakosin Era (A.D. 1782~1851). The style has been revived and flourished in this era along with the newly established kingdom. It has more custom; later on, the style was referred to by many scholars as the classic Thai style.

Nowadays, paintings and illustrations are not only in temple and throne halls but are used to decorate various places and as a communication tool via many media; there is also a considerable range of concepts, stories, and techniques. Visible elements in Thai traditional painting, such as color, shapes, and patterns, are widely used by creators to create artworks that can represent Thainess. This research aims to study oblique structure in Thai traditional painting as an invisible element that could represent the atmosphere of Thainess. It focuses on two questions, in what manner the oblique guideline is used in terms of narration? And what effect it causes in terms of function and aesthetics.

Research Method

The research method started by reviewing literature about narration modes in historical paintings and the art history of Thailand, then analyzed the distinctive ways in which the oblique guidelines are used to present to the audiences according to two aspects, function and aesthetics.

The paintings from five temples are inspected. These temples are renowned temples built from the late Ayutthaya to the early Rattanakosin era, all patronized by kings, so the artisan who created them are called "ช่างหลวง" or "royal artisan" who inherit the style that can represent the traditional style of Thailand.

The panel that this research focuses on is the window bay panel, as it is the part that interacts with the worshiper the most and is rich in illustrations. In most temples, these panels present the life of Prince Siddhartha, who is known thenceforward as Buddha. The second popular theme was Buddha's 550 prior lives (jatakas).

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Outcome

代替文

The Oblique Guideline of Thai Traditional Painting can be analyzed as follows. 1. Narrative Mode Eighty-seven panels from 5 temples have been analyzed and divided by narration mode. This study categorized the narrative mode based on Vidya Dehejia’s Modes of Visual Narration in Early Buddhist Art. The research found that all window bay panels are created via various modes of narration (Vidya Dehejia’s: Narrative Networks). Scenes are interlaced altogether via a system of oblique guidelines, which is a tool to divide part of the story into scenes for the audience to understand.

2. Composition In most of the panels, the narration does not follow chronological order. The artisan placed each scene next to the other. The critical scene occupied a more extensive area than the less important ones. This effect the sequence narration. For example, from [fig 1], the story of Vessantara Jataka, which the artisan generally breaks down into 13 scenes, has a complex narration. The story starts from the left side of the panel, then move upwards and downwards; from scene 6, which is in the middle, the viewer’s eye has to jump across to the far most right, then take another loop to the left. The last scene ended up right next to the beginning. The viewer’s eyes track along the oblique guideline. There is no next written, even though it seems impossible for the viewer with no prior knowledge to understand this story. Yet we might see that this story is composed of many episodes. And what makes it clear is the oblique structure.

3. Oblique guidelines pattern From the sample group, the oblique guide can be divided into three patterns as below. The vertical-horizontal grid was rarely found.

3.1 Standard criss-cross pattern This method can be divided into two to more than ten episodes. The artisan indirectly separates each scene by line but uses the trees or architecture walls to create borders so the audience can see the picture smoothly. Sometimes these natural elements can be shared with other scenes or episodes.

3.2 Sintao line The Sintao line is used in the specific case of showing the realm of god. This line creates a solid visual against other parts of the story. It is handy to use, but it can not be used with commoners. Since the wall paintings are about Buddha, gods, and kings, it is common to see this line everywhere as part of Thai paintings.

3.3 Pyramid In some panels, the artisan places the impact structure of a giant triangle in the middle. Even this structure is quite different from those above. The other part of the story is drawn according to oblique lines so we can still see the harmony with other panels.

Consideration

From the above output, this research discusses the effect that the oblique guideline causes in terms of function and aesthetics. 4.1 Narrative Mode In terms of narrative function, this structure also allows artisans to design the narrative in a more flexible manner while the audience can still enjoy the story. Most Thai people in the past were close with temples, mural painting can be considered mass media that reach big audience. The stories appear there to represent those in the canon that is always preached by the monk. So it can be assumed that most audiences had known more or less the part of the story. All scenes that are arranged discontinuously are interlaced with oblique guidelines. More than telling a story, this structure also stimulates the viewer into telling himself the story by connecting the scenes that are cut by oblique lines, like playing jigsaw. In this way, the audience is obliged to become a more or less active participant; the viewer is compelled to be the storyteller too

4.2 Composition To fit many episodes in one panel, the Thai artisan preferred to use an oblique structure rather than a vertical-horizontal grid structure. The oblique serves the function of narrating many episodes on the same panel. In terms of aesthetics, this fit with the idealistic representation of Thai traditional painting. From [fig 1], 13 episodes of Vessantara Jataka scenes are composed harmoniously under the oblique structure. The artist intended to group the scenes according to the geometrical relationship. The palace scenes are grouped on the left, the town in the middle, and the wood on the right. This manner affects the narration sequence but allows artisans to create a more dynamic and diverse composition that a vertical-horizontal grid structure or perspective could not offer. The elements and composition under this guide tend to be oblique. For example, the character's posture is slant, the arrangement of trees in an oblique structure, or the architecture shows depth in an oblique dimension. The conceptual oblique also portrays the Thainess, such as respect (bending down the body) and the social hierarchy (top-bottom).

4.3 Oblique guidelines pattern From the three patterns this research categorized, it can be seen that most bay-window panels are structured on asymmetry balance guidelines. The artisan can create a diversity of compositions by using a crisscrossed pattern. The Sintao or zig-zag line prominently cuts the scenes from one another, yet it is always composed with an oblique line. The pyramid structure is the least found on window bay panels but is always the typical structure of the panels on the front and back of the Buddha altar. It can assume that the oblique guideline enhances the dynamism of the composition, as in temples, all the panels aimed at one single message, the victory of good over evil. The panel in front of the Buddha altar shows the moment the Buddha overcame the mara and became an enlightened one. At the same time, the panel behind the Buddha represents the universe (Tribhumi). The window bay that surrounds the Buddha represents all aspects of stories that he has been through recalled in the enlightenment moment; after this, these stories become his doctrine. This is the basic pattern used in most temples during the early Rattanakosin era. By understanding the nature of the clockwise manner-rite of circumambulation, we can see that the viewer has to move from left to right to the next panel. No matter how complex the narrative is, mostly the first scene of the story starts from the right. The oblique structure gives dynamism to the composition that enhances the viewer to move forward to the next panel. This is probably one reason why the crisscrossed oblique composition is the most popular choice for the artisan.

Conclusion

The article suggests that the oblique guideline in Thai traditional painting is a structure that serves both functions and aesthetics for the following reasons.

The oblique structure of the narration network in Thai traditional painting allows viewers to fulfill their imagination. It creates harmony between each scene while organizing the relationship among them. It suggests the direction of movement if used with character and creates dynamism. It gives the diversification of composition; the artisan can balance the importance of each scene by arranging the size and position based on his idea. This gives more possibility for narrative structure. For example, the narration of the same story, Vessatara Jatarka, by an Indian artisan and a Thai artisan is different, like the same movie directed by different directors.

All in all, it can be concluded from the thinking above that the oblique guideline in Thai traditional painting are unique and can be considered an essential element that represents the sense of Thainess.

Reference

• A scene dividing method in mural painting : Late Ayutthaya to early Rattanakosin Period, Phongsak Akharawatthanakun, Silpakorn University, 2010
• No Na Paknam. 1987 "Paintings in the Reign of King Rama I." [Thai/English] Muang Boran Journal. Vol. 13 Pt. 2. 
• Napat Sirisambhand Alec Gordon THAI WOMEN IN LATE AYUTTHAYA STYLE PAINTINGS1 
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