The creative effects of the mural paintings at Pip Paliwan Temple, Tak Bai, Narathiwat
การสร้างสรรค์ภาคจิตรกรรมฝาผนังวัดปิบผลิวัน ตำบลศาลาใหม่ อำเภอตากใบ
จังหวัดนราธิวาส
Pichet Piaklin, D. of Education, F. of Education, PSU.
Grant : Prince of Songkla University, Pattani Campus
Published : Research Report
Key words : creative effects, mural paintings, Pip Paliwan Temple
This is an experimental development research in philosophy in the field of painting art, on the creative effects of mural painting on Buddha's life story in the chapel of Pip Paliwan Temple in
Salamai Subdistrict, Tak Bai District of Narathiwat Province.
From the creative and analytical study of the murals of the chapel, it is found that the mural painting done is a modern style different from those of the past, with an experiment on transforming the art of presentation from the traditional style using human figures (of heroes-heroines) portrayed
in dust paint in the two-dimensional linecut into a new style using significant trees in Buddha's life
story as symbols to convey meanings. The materials, techniques, and methods of presentation used
are also new in the creation of mural art and are totally different from those of the Ayudhaya and
early Rathanakosin periods; the arrangement of picture composition is different as well. The major difference lies in the fact that the mural art of the past focussed on education on Buddhism using
pictures with art work playing a supplementary role, so the murals served only to support the story telling whereas the murals in the chapel of Pip Paliwan Temple focus on the use of painting to narrate Buddha's biography portraying only the major events of his life. This is, therefore, a stylistic art work typical of individualistic art of expression. The arrangement of painting composition of the Pip Pali-wan Temple murals is characterized by simplicity to create beauty as well as to achieve a suitable proportion in the content, story, and architectural features including the length, width, and the total
area of the foursides of wall used for painting. The chronological order of paintings starts from the
wall to the right of the principal Buddha image, the wall behind the principal buddha image, followed by the wall to the left of the principal Buddha image and the wall on the opposite side of the Buddha image. The paintings are divided into seven categories namely : 1. Dusit Pariwatta (signifying the time before Buddha was reincamated into the life of Prince Siddharth) 2. Kapphanikkhamana Pariwatta (signifying the time when Buddha entered the womb of His holy Mother) 3. Buddha Puja Pariwatt (signifying the time of His Enlightenment) 5. Dharmachakka Pariwatta (signifying the time when Buddha gave his first preaching) 6. Devorohana Pariwatta (signifying the time Buddha descended
from heaven after preaching His holy Mother) and 7. Mahapari Nirvanna Pariwatta (signifying Buddha entering Nirvanna).
All the paintings done on the mural are meant to express the deep religious faith in Buddha's
life story and Buddhism. They are created to give value to the meaning of birth leading to the attain-ment of prosperity, like flower in full bloom. This is the divine wisdom of Buddhist philosophy. The coherence of lines, colors, depths, and shapes in various sizes, and the vacant spaces in between yields the simple movement in order and creates an elevated harmony in the overall color effect giving bril-liance and warmth, which is truly beautiful. The atmosphere of peace, serenity, and profound beauty of Buddhism can be perceived in the conveyance of thoughts and content which reflects complete loftiness of spirituality in the Buddhist concepts.
BACK