Kamin Lertchaiprasert (Thai, b. 1964)


Thai Letter ป, 1991 affixed with gallery label, on the reverse.acrylic on canvas61.5 x 61.5 cm. (24 1/4 x 24 1/4 in.)
|卡明勒‧查布拉瑟 泰國書信 壓克力畫布 一九九一年作Provenance:Acquired directly from the artistBUDDHISM AND THAI ARTDue to its strategic location at the heart of the Indochinese peninsula, the land of the Thai people took central stage in the trans-regional trading networks along the Maritime Silk Route, reciprocally influencing and engaging with great kingdoms through artistic patronage, Buddhist scriptures, and imagery. Until 1932, Thailand was ruled by an absolute monarchy, with the political notion of kingship taken from the Buddhist concept of a dhammaraja. The nature of sovereignty was thus that of a just king acting in accordance with the 10 dhamma virtues, including integrity and self-restraint, combined with the Hindu concept of an all-powerful god-king. Even today, Buddhism takes prime position in the socio-religious climate of the country, largely due to the substantial historic preoccupation of Thai art with promoting the Buddha's teachings. A 'Thai style' crystallised to its famed, iconic forms through the Sukhothai (1238–1438), Lan Na (13–18th c.), U-Thong (12–15th c.), and Ayutthaya (1350–1767) kingdoms, culminating in the arts of the Bangkok/Rattanakosin period (1782–1932). This period is characterised by highly decorative motifs, reflecting the prevailing aesthetics of places of worship as well as the Thai Royal Court.It was in 1238, upon establishment of the kingdom of Sukhothai, that Thailand entered a golden age of artistic magnificence. Freed from the shackles of the Khmers and under the inspired reign of Rama Khamhaeng (1279–1298), an exquisite, idealised original style is initiated, producing innovative interpretations of the Buddha's form.The classic example is the image of the Sukhothai Walking Buddha, with its smooth sinuous forms: an oval face, a high curvilinear nose, and unique physiognomic and symbolic expression of spirit; a style that emphasises the transcendental qualities of the Buddha. Recognition of and connection to grace and serenity are so profound that in Thai, the Walking Buddha is just called 'graceful' (lila) ("The Walking Buddha". Description by The Walters Art Museum. Retrieved February 2019 via https://art.thewalters.org/detail/36064/walking-buddha). Freestanding images of the Buddha were not represented elsewhere in Asia prior to this innovation of 14th century Thai sculptors in Sukhothai. These figures thus attest to the period's high technical accomplishment. Rather than a fulfilling act of personal expression, all art before the 20th century served ritual and devotional purposes, in an act of merit-making. Laypeople, priestly castes, and the royal courts provided patronage to the world of religious art for the sustenance and supply of temples, icons, and empires. In the Thai painting tradition, the Buddha was widely represented in scenes re-enacting significant events of his life, including 547 previous lives, which are described in the Jātaka tales of the Pāli Canon. In the early 20th century, Thailand underwent an artistic renaissance following the establishment of the Faculty of Painting and Sculpture at Silpakorn University in 1943. A dedicated Florentine academic, Professor Silpa Bhirasri (1892–1962), provided tutelage, resources, and the knowledge and equipment of Western style and techniques to domestic artists. These pioneers of a distinct and contemporary Thai art laid the groundwork for the next generation of artists, who further expanded upon these themes. Artists such as Khien Yimsiri (b. 1922) (Lot 50-52) and Pichai Nirand (b. 1936) (Lot 58) actively pushed the boundaries of accepted ideas and mediums, reinterpreting not only classical forms, but the philosophy behind them in a personal vernacular. The torch of revitalisation was passed on to the likes of Jirapat Tatsanasomboon (b. 1971) (Lot 48) and Natee Utarit (b. 1970) (Lot 32), the likes of whom practise invigorated contemporary ideas through a prism of Thai artistic tradition. Such examples relate to authentic, proud self-expression and the trend for new mediums and styles in realist forms.While Tatsanasomboon's Heroine on a White Horse (Lot 48) strongly evokes Botero's Woman on Horse, his Thai protagonist appears as a diminutive apsara in Rattanakosin finery. Here, the feminine cast of Buddhism's rich tapestry of characters is celebrated. Utarit takes an opposing stance with his Golden Buddha painting (Lot 32). The overall monumentality and corpulent exaggeration are in keeping with the iconography of this incarnation of Maitreya, the Future Buddha, introduced to South East Asia from China. Plump and fresh-faced, exuding peace and joy, he is an embodiment of contentment in the present and good fortune to come. (On display at The Met Fifth Avenue, Gallery 520. "The Buddhist Disciple Phra Sankachai". Description by The Metropolitan Museum of Art. Retrieved February 2019 from https://www.metmuseum.org/art/collection/search/56784)