Words by: John J. Toomey

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Thai mural painting was developed to a high degree in temples to enhance the beauty of the sacred area. Murals adorn the ordination halls (bot) and assembly halls (viharn) and are still used by monks as teaching aids, evoking a tranquil atmosphere of meditation. Typically, the paintings on the upper section represent a gathering of gods and other celestials in rows, whereas those on the middle of the walls depict Jataka stories of the previous incarnations of the Buddha, or the events and incidents in the life of the Buddha before and after his enlightenment, usually including scenes of everyday life of people and animals in town, village and forest in the lowest registers.

The walls of the entrance, opposite the main Buddha image, typically depict the Conquering of Evil (Mara), and the back wall, behind the principal Buddha image, shows the Traiphum, the Buddhist cosmology of heaven (world of formlessness), earth (world of form), and hell (world of desire), the shocking details of the karmic sufferings of the last in striking contrast to the tranquility of the Buddha image.

One may observe subtle differences in the themes of the murals. Nonetheless, they all relate to Buddhism in some way or form. In some murals, scenes of royal ceremonies, depictions of everyday life, local myths and even the history of Thailand can be seen. Some mural paintings exhibit a broad lustful humor even in the most revered of scenes, an indication of the artists’ sense of humor. In one way or another, the Thai paintings transport one to the mythical and fantastic realms where divinities, fabulous beasts and spirits act out their roles.

Traditional Thai Paintings – Typically Asian

Conventional perspective was ignored and figures were large or small depending on their importance. The following characteristics are found in painting styles throughout Asia: Shadows were unknown and spatial distance was suggested by the relative placement of figures and overlapping of architectural details.  Figures were two dimensional and landscapes were merely sketchy backdrops. One remarkable technique of pictorial composition called “apportioning areas” was employed as a technique to arrange the picture.  This is comparable to the “bird’s eye view” of Western painting. There is a strict iconography of rank expressed by the angle of the profile and the use of fine lines known as “hook for nose and jot for eye”.

When starting a Thai mural, the artist left a space for the main story, which was bordered by a heavy or gray line. After the pictures of the palace and the forest were drawn, the artist drew pictures of the people and the story in the appropriate positions. Decorative sin thao, saw-tooth or zigzag lines, were drawn around each of the scenes in the same frame as “space transformers”, effectively isolating the scenes from considerations of perspective by doing away with any surrounding intermediate or middle ground.

Later, a more sophisticated use of palace roofs and crenellations, shrubs, rocks, or lines of people or processions of animals or military was used for such “space transformers”. Alternatively, the artist used mountains or trees as borders not only to separate scenes or episodes of the story but also to unify them. Thus, we see continuous, flowing panoramas of places, palaces, towns, events and country landscapes with real and mythical people or creatures. In the finishing touches, the involvement of the master is often seen, even in the landscape background, such as details of leaves, so intricate that one can identify the species of tree.

Thai mural artists depicted human figures according to a definite organization of styles ranked according to their level of spiritual attainment.  Buddhas often face the viewer straight on. Those of the highest noble orders were portrayed in profile, with a brush of only a single mouse whisker used to delicately draw their arched eyebrows like inverted commas; graceful, elongated lotiform eyelids; narrow aquiline noses with full nostrils; curving moustaches above thick, slightly pursed lips shaped like a boat; and two notches on the chin.  Such nobles pose frozen in the postures of Thai classical dance or seated with one knee up in the royal-ease position lalitsana.

Boddhisattvas, queens and goddesses, with soft, tranquil, and youthful features, are usually depicted in ¾ view, with eyes lowered and a faint smile, and also float as if dancing.  Commoners and animals were portrayed naturally or even grossly without controlling their emotions and are shown as awkward and sometimes licentious buffoons.

Preparation and Technique

The Thai painter strove to be worthy by practicing patience and devotion to his religious calling. Whether monk or layman, he was highly respected and his apprentice was expected to show his loyalty to his master in the annual ceremony of wai khru (bowing respect to the master) to honor the masters of past generations as well. The apprentice carried out the menial chores like grinding the pigments, before being allowed to color in the background, and later slowly learned the ways of the profession. When he died, a master’s brushes, sketch books, mortars, pestles, and other tools were highly venerated by his family.

The first step is to wash the mineral salts away from the walls with extract from the pulverised leaves of the khi-lek (Siamese Cassia) or neem tree, combined with desalinated lime-water, fine sand and sugar, each morning for one or two weeks, until they are completely clean. This is tested by rubbing khamin (Thai turmeric) on the walls. If the walls are salt-free, the tumeric will leave a yellow hue instead of red.
Next, white clay or din sor pong is boiled with glue made from buffalo skin, making a most powerful paste. Alternatively, white chalk mixed with a binding paste of roasted tamarind seeds can be used. Several coats of the mixture are applied on the walls. When dry, the walls are scrubbed with a whetstone until smooth, like a white board.  The master outlines the composition, often using a stylus and red wash for the figures, for the apprentice to fill in later with colors.  Skilful painters do not need to draw outlines and Siamese artists preferred to judge measures by eye and thumb-nail rather than follow a tedious procedure.

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Colors and Brush’s

The traditional Thai painter had five primary pigments: the close equivalent of scarlet from red ochre or cinnabar, yellow ochre, ultramarine blue, pipe-clay white from chalk, and pot-black from soot.  There were also greens from certain leaves or malachite and gold from gold leaf. Prior to the 18^th century, indigo and other powdered pigments were also sometimes imported from China, while other natural colors were taken from the clay of riverbeds.  All were tempera colors, powders extracted from natural materials such as rocks, mixed in bowls with a resin called makhwit (Feronia elephantum) or buffalo skin glue binder. Gamboge, a golden-yellow made from the sap of a tree related to the mangosteen was used to outline compositions.  Thai tempera is of good quality; so the color of the drawing looks fresh and does not change. Therefore, the old drawings are durable and would last a very long time, but for the humid climate, which makes the tempera flake and peel off easily.

The kinds of pigments can sometimes be of use in dating a mural.  If the mural’s background is quite light it could very well come from the Ayutthaya period.  The traditional painting technique continued into the Bangkok period, when colors became richer, thanks to pigments imported from China and other foreign countries.  Around the middle of the 19th century, artists began using chemical pigments and Western perspective. In contrast to the lightness of the Ayutthaya murals, dark greens and burgundy reds served as the somber background during Bangkok times.

The apprentice purified the pigments of stones and foreign matter by repeated washing and sieving before they were pulverized.  He also made the brushes from barks and roots.  Some barks were soaked in water, then flattened, pressed, and shredded into long flakes, pounded, frayed and cut to a point. This brush was used for smooth, flat areas of the mural. Round brushes were made from aerial roots and were useful for stippling in trees and shrubs into a painting’s background or dabbing in the spots of elephant skin. The distinctive appearance of Thai murals is somewhat attributable to the characteristics of such brushes.  The wiry lines of the small brush are due to the hairs which come from the inner ear of a cow or a whisker of a mouse.

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Best Places to See Thai Murals

Among the very best of all the Thai mural paintings are those in the Buddhaisawan Chapel at the National Museum Bangkok (Wed-Sun, 09:30-4).  These portray events in the life of the historical Buddha which are also well-explained under each panel.

There are also very beautiful murals on the cloister walls of the Chapel Royale of the Emerald Buddha and impressive murals showing the influence of western techniques at Wat Suthat (everyday, 9am-6pm).

The following temple murals in Thonburi on the opposite bank of the river are accessible by boat:  Wat Rakhang boasts some of the best in its bot (ordination hall), which have been remounted on boards standing out from the wall for preservation, and marvelous murals on wood in its Sutra Library.

The murals of Wat Suwannaram use western and Chinese techniques to show Jataka Tales, former incarnations of the Buddha; and Wat Thong Nopphakhun is a hidden gem of crisp murals telling the life of the Buddha-to-be as Prince Vessantara in his last incarnation before becoming the Buddha.

From there you can walk to Wat Thong Thammachat for superb murals illustrating the life of the Buddha from the reign of Rama III. See dramatic “space transformers” and vivid colors in the three halls at Wat Kanlayanamit near the Temple of the Dawn and delicate “mouse-whisker” technique at Wat Dusidaram (a bit difficult to find, but worth it).