200YEARS-010724 - Flipbook - Page 113
Silpakorn:
The Department, University,
and National Fine Arts Exhibition
Professor Sutee Kunavichayanont
Following the transition from an absolute monarchy to a democracy in 1932,
the Thai Royal Household9s role as a patron of the arts diminished. In its stead,
the Fine Arts Department emerged as the primary institution overseeing both
traditional and modern cultural arts. Initially known as the School of Fine Arts,
it was later renamed and established as Silpakorn University in 1943. Professor
Silpa Bhirasri was crucial in developing its curriculum based on artistic principles
adapted from Italian art institutions. The Fine Arts Department and Silpakorn
University collaboratively developed a structured art education system,
producing both artworks and qualified personnel.
and daily life, contrasting with the themes of earlier periods. Notable modern
artists include Prakit (Chitr) Buabusaya, Fua Haribhitak, Tawee Nandakwang,
and Sawasdi Tantisuk. Their renowned works were often submitted to the
National Art Exhibition.
Living as an artist without being a 8civil servant artist9 was challenging during
this time. Earning a livelihood by selling Modern Art was a novel concept. Only
some non-civil servant artists achieved outstanding work during this period,
such as Mesiem Yipintsoi, a wealthy lady who created art without relying on
sales for survival. Mesiem was a self-taught artist who gained recognition at
The Department also patronised modern art by organising the National Art the National Art Exhibition. She later became a prominent artist, patron of the
Exhibition, which commenced in 1949 (Silpakorn University later assumed arts, and an esteemed judge in various art competitions.
responsibility for these exhibitions and competitions). The National Art
Exhibition became a significant platform in Thailand, serving as both a launching The 8boom9 of the art market and gallery business in 1957 resulted from the
pad for emerging artists and a system for ranking established ones through first National Economic and Social Development Plan in 1961. Coupled with
distributing gold, silver, and bronze medals. Achieving a complete set of these Thailand9s position as a Southeast Asian hub amidst the Cold War tensions, this
medals elevated an artist to the status of 8Distinguished Artist9, contributing led to Western, primarily American, financial support. The influx of professionals
to the development of 8masterpiece9 or 8grandmaster9 level works in Thai art, and tourists from America and Western Europe significantly contributed to the
as evidenced by the popularity and economic value of award-winning pieces. growth of Thai Modern Art. With additional backing from Thai elites, the Modern
Art scene in Thailand from 1957 to 1967 thrived in quality, quantity, and business
Modern Artists
like never before. The emergence of 8full-time artists9 or 8independent artists9
in the Thai context became evident, with prominent examples being Thawan
Modern artists worked in new styles that differed from traditional Thai art Duchanee, Anan Panin, and Chakrabhand Posayakrit.
from 1927 to 1937. Many were civil servants under the Fine Arts Department,
performing official duties such as sculpting likenesses for national monuments. Apart from studying art at Poh-Chang Academy of Arts and Silpakorn University,
Additionally, many served as art instructors at Silpakorn University. These which were centres for modern art education, studying art abroad was also
individuals can be referred to as 8artist bureaucrats,9 including notable a crucial path for significantly enhancing knowledge and experience
figures like Professor Silpa Bhirasri, Sanan Silakorn, Sittidej Saenghirun, Sawaeng in Modern Art. Essential artists who gained such experiences from 1937 to 1957
Songmangmee, Piman Moonpramuk, Chamras Khietkong, and Paitoon include Prakit (Chitr) Buabusaya, who studied painting and sculpture in Japan;
Muangsomboon.
Fua Haribhitak, who studied in India and Italy; Sawasdi Tantisuk, Tawee
Nandakwang, and Prayat Pongdam, who received scholarships to study at
In 1947, these artist bureaucrats began creating 8Modern Art9 comparable to art institutions in Italy; Piriya Krairiksh, who studied art in England and Austria;
international Modern Art. Their works transcended the confines and purposes Damrong Wong-Uparaj, who was awarded a scholarship to study art in England;
of government and religious art, reflecting the individualistic intentions of and Thawan Duchanee and Chavalit Soemprungsuk, who received scholarships
modern artists. These pieces moved away from realism, embraced simplicity, to study in the Netherlands.
and displayed unique artistic expressions. They also focused on ordinary people
111
