Saturday, March 21, 2009

Parinya Tantisuk. ‘Chang’.

Parinya Tantisuk. ‘Chang’.
Siamrath Weekly, Year 43, Vol. 43 23-29 March 2540. p.62 – 63.

Especially in the art of Asia, stories and images of elephants are abundant in high art and in artisanship. Perhaps because elephants and people have been linked together for so long in so many ways. Elephants help people survive. They provide transport. They help fight in time of war. Elephants share the charisma of kings and angels. The honored high master of artists is Lord Pikanesh, the elephant-headed god.

Here are some ‘elephant’ works to enjoy, for example, a ceramic elephant-glazed brown, the art of Lopburi. Sometimes we call the art of this period Lavapura or Lavo. The design of this piece is strange. It looks provincial. The eyes of the elephant and the various ornamental designs stuck on and scratched in very simply and directly, but give a good feeling. It dates from the 16th to 17th centuries BE and comes from the kilns of Buriram.
The craftsmanship and artistry of the gold elephant embellished with jewels. The elephant is in harness. The design of the gesture is charming and lively. It crouches to present itself and twists a bit, looking up. The trunk curls to hold a decorative bouquet, very politely. This is high caliber work from the Ayudthya period. It is more than 500 years old.

The paintings of elephants from Thai texts from the elephant textbooks. The top image is the first in the universe, according to the Triphumi. It was born from the gods: 26 deities come together. In the second plate is the Erawan elephant of Lord Indra. The 3rd plate is Kirimek. This elephant was ridden by the demon Wasawadi in a story from the life of the Buddha in which the Lord conquers this danger in which demon troops come in to annoy the Lord Buddha to prevent his enlightenment, till Mother Earth wrings out her hair so that floods of water destroyed the demon army. So the enemy was laid low in surrender. The design is clear. The red ground gives the picture a sharp yet graceful distinctiveness. The linear design is so neat and precise, in traditional style, designed with interesting forms expressing great ability to think and to dream.
A scripture cabinet at Wat Po [ไตรคนะเหนือ] There are some mural paintings by mural painters of the Fourth Reign drawn so very well. The paintings of various schools use black and red, taro white, grey, the color of a new cooking pot. And the names of clans of different elephants. There is a picture of people working and holding together to make a shape of an elephant near the city wall. It is not an important point in the painting, but shows us directly how Thai people like to play together like this. They have close attachments to elephants.

Nowadays, there are artists who have presented the subject of elephants and have had notable success, for example, a work by Chatchai Puipia looks creative, as if it is about elephants. It was shown for the first time in the 7th exhibition by members of the Faculty of PSG/SU in 2533 / 1990, a show inspired by the death of Seub Nakasatien. [Chatchai] used a mixed technique and rather abstract forms. The outline of the forms is rather free – planes/ frames of various sizes, brought together in the shape of an elephant. Color, weight; intense, strong, masterful brushstrokes.

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