200YEARS-010724 - Flipbook - Page 20
200 YEARS
JOURNEY
THROUGH
THAI
MODERN ART
HISTORY
Singapore and Jakarta. Print media and photography played pivotal roles in
crafting this image of a civilized Siam, leaving the audience in awe of the city9s swift
modernization. Royal portraits of King Chulalongkorn, taken by German
photographers Robert Lenz and Theodore Schumacher, were significant.
These portraits were distributed to strengthen relations with heads of state and
European leaders. The compositions typically depicted the King of Siam
standing majestically dressed in full royal regalia against a backdrop of Western
decorations, creating an atmosphere that reflected tastes and sophistication
of the modern era.18
Following his visits to Singapore and Java, King Chulalongkorn initiated a
significant architectural project. He commissioned John Clunis, a British
architect from Singapore, to design the Chakri Throne Hall. The construction
was overseen by Chao Phraya Phanuwong Maha Kosathibodi (Tuam Bunnag).
The initial design was Neo-Classical, featuring a large domed roof. However,
Somdet Chao Phraya Borom Maha Sri Suriwongse (Chuang Bunnag) requested
a change to a Siamese-style peaked roof. Reflecting the King9s vision for a
modernized Siam, the interior was a blend of European and Siamese motifs
and symbols, serving as the audience hall for receiving ambassadors and senior
officials. This opulent stage showcased Siam9s civilization drawing parallels with
Windsor Castle and Fontainebleau Palace. The passage was adorned with oil
portraits of Chakri Kings and members of the royal family.
The Paknam Incident of 1893 resulted in of Westernization when French warships
forcibly entered the Chao Phraya River and led to the Franco-Siamese War.
The battle ended in French victory and Siam9s territorial and monetary losses.
This prompted King Chulalongkorn to visit Europe in 1897 to foster understanding
with European nations in order to resolve conflicts and seek allies to bolster
national security moreover, it was an opportunity, study European progress as
a model for Siamese reforms.
As the first Asian monarch to visit Europe in 1897, King Chulalongkorn presented
Siam as a self-developing, civilized nation by adopting European etiquette and
decorum-earning positive European press coverage in line with royal traditions.
Italian painters Edoardo Gelli (1857-1935), Michele Gordigiani (1835-1909)
and sculptor Cesare Fantacchiotti (1843-1922) were commissioned to make
royal portraits. Gelli also painted a large oil portrait of the Royal Family in full
European regalia in the private audience hall of the Chakri Throne Hall, a stage
portraying Siamese civilization.
of Queen Debsirindra, Her Royal Consort Sri Savarindira, Queen Mother Sri
Bajrindra, Her Majesty Queen Sukhumal Marsri, and Her Royal Consort Sunanda
Kumariratana on the eastern wall, honoring the queen and royal consorts as
leading female figures.19 A large number of paintings, sculptures, furniture,
interior decorations, dining sets and costumes were also procured to display
modernity on par with foreign countries.
On his first visit to Europe, King Chulalongkorn took a keen interest in the arts,
costume genre portraits and the Art Nouveau style that simplified natural forms
into decorative motifs for interior and exterior architectural ornamentation
as well as household objects, utensils and apparel. Art Nouveau reached its
peak20 popularity in Europe from 1893 to 1908. King Chulalongkorn introduced
this modern decorative art style to Siam as part of the country9s civilizing
process, leading to the employment of British, German and Italian artists and
craftsmen in Bangkok.
As part of Siam9s civilizing reforms, Gerolamo Gerini (1828-1913), an Italian
military advisor and expert in Siamese language and literature, was appointed
the Royal Scribe of Ancient Monuments. He recommended teams of Italian
architects, engineers, artisans and artists to design and decorate royal palaces,
government buildings, mansions and houses in Western styles. Joachim Grassi
(1837-1905) designed and built Bang Pa-In Palace, Wat Niwet Thammaprawat,
Wang Bura Phirom Palace, Windsor Palace, Chulachomklao Fort, customs houses
and Assumption College. Carlo Allegri (1856-1936) designed and supervised the
construction of the post office, Hua Lamphong Railway Station and Phra Phan
Bridge and led the Italian team that built and decorated the Ananta Samakhom
Throne Hall. This team included Mario Tamagno (1880-1926), Annibale Rigotti
(1870-1939), Vittorio Novi (1859-1954), Carlo Rigoli (1882-1962), Giovanni Gollo,
Rodolfo Nolli and Ercole Manfredi (1882-1972).
The three-story Amporn Sathan Throne Hall is in European style with Art
Nouveau interior decor and was designed by Rigotti and Tamagno under the
direction of Chaophraya Yommarat. This building was highly significant as it was
constructed for the residence of King Chulalongkorn and Queen Sri Bajrindra,
exemplifying the modern outlook of Siam9s absolute monarchy in adopting
Western architecture and design within the context of a civilized Siam, in
contrast to neighboring countries subjugated by colonization and imperialism.
This is evident from the team of Italian architects, engineers and artisans who
were brought in as employees of the Public Works Department including British
and German personnel.21
The studio of Alexander Bassano (1790-1874) in London was commissioned
to produce oil portraits of royal princes and princesses and officials from Cesare Ferro (1788-1862) was born in Turin, Piedmont. He studied art at
photographs. Among these were large oil portraits of Chakri Kings, and those the Accademia Albertina and participated in and won awards at several
18
