Time and Space on Thai Mural Paintings: Case Studies of Wat Chong Nonsi and Wat Prasat

Abstract

This article investigates mural paintings from the late Ayutthaya Period to comprehend the structural, conceptual, and technical aspects. The study examines time and space in mural paintings depicting the Mahanipata Jataka tales (the Ten Great Birth Stories of the Buddha), commonly portrayed in Buddhist Chapels in the late Ayutthaya period. These murals were passed down through generations, eventually establishing the standardized form of mural paintings in royal temples during the early Rattanakosin period. The paintings are believed to have served as the foundation for the evolution of narrative paintings, both in terms of spatial arrangement and complexity, during the reign of King Rama III. Therefore, revisiting the abovementioned subjects of time and space is deemed essential. The study is conducted by analyzing two case study locations: the mural paintings of Wat Chong Nonsi and Wat Prasat, both renowned for their Ayutthaya period mural paintings. The study reveals that both sets of mural paintings exhibit traces related to space and time concepts through portraying figures, backgrounds, and various compositional techniques. Specifically: 1. Time Representation: The mural paintings of Wat Chong Nonsi and Wat Prasat delineate time into three distinct categories: 1) Momentary time, 2) Short-continuous time, and 3) Long-continuous time. 2. Space Depiction of three-dimensional space in two-dimensional mural paintings: Both temples employ similar narratives conveyed with different techniques. Wat Prasat utilizes semi-circular or U-shaped forms to encapsulate the central focal point, imbuing the composition with a three-dimensional perspective. Conversely, Wat Chong Nonsi favours the depiction of three-dimensional architectural forms and suburban scenes, evoking the pictorial space reminiscent of Chinese landscape paintings.