Читать книгу Geek in Thailand - Jody Houton - Страница 7

CHAPTER 2

THAI DESIGN AND CRAFTSMANSHIP

Thai style is subtle, simple, yet stunning. The secret of Thai style lies in the pursuit of an aesthetic that is in harmony with the surroundings, nature and culture. It is expressed not only in the country’s arts, crafts, silk wear and tribal textiles but also in the architecture, including the beautiful five-star resorts that dot the country, the serene temples that are the focus of towns and the traditional homes that form the center of Thai life.

STYLE STARTS AT HOME

It is not only in the intricate craftsmanship that Thai style is expressed but in the desire for calm amidst chaos. It’s visible in the harmonious lifestyle of slum-dwellers who live in noisy, close quarters; in the hustle and bustle of the markets; in the traffic on the street. Thai style, and the desire for balance and functional oneness with the surroundings, is everywhere, especially in the Thai home.

The teak wood ‘stilt’ house is the typical traditional home in Thailand, especially in the rural areas of the north, center and south. Although the size of these structures often differs, depending on the social status of the owners, and the materials used also varies, the principles behind the design of the house have remained consistent over the centuries.

The stilt house has a multipurpose practicality. Because of the regular monsoon seasons, most of the living areas of a Thai house are built on raised platforms to avoid being flooded. It is for this reason also that many traditional Thai houses have sharply angled roofs, which allow rainwater to run off. The elevated position of a stilt house also allows for cool breezes to pass below the platform and keep the structure from becoming overly warm in the hottest months. This one-floor structure was typically made using teak wood (now a restricted material in Thailand) because of its strength and insect-repellant properties. The use of hardwoods, bamboo and dried leaves also helped keep the house cool.

The elephant shrine in the lobby of the Anantara Golden Triangle Elephant Camp.

A raised door frame, seen in temples and houses to keep spirits out and babies in.

Beautifully crafted wooden furniture is a dominant feature of traditional Thai-style houses.

A traditional Thai stilt house.

INSIDE THE THAI HOUSE

As with Thai temples, visitors to Thai homes take off their footwear before venturing inside. There is no danger of footwear being stolen. Even in the poorest, most ramshackle and dodgiest apartment blocks you will see dozens of pairs of shoes that will remain untouched outside doors.

One of the most interesting architectural features commonly found in traditional Thai homes and temples is visible before one even steps foot in the building. Many Thai homes and temples have raised door frames at the threshold that require visitors to step over and into a room. These are designed not only to strengthen the structure but, it is also believed, to prevent demons from getting in and, in the case of homes, babies from crawling out.

As a result of the gradual Westernization of Thai society, the interior of contemporary Thai homes resembles other nation’s homes, except for the ample floor space. Whereas in Western homes space would typically be filled with sofas, chairs, cabinets, coffee tables, TV stands and ornaments, care is taken in Thai living rooms and bedrooms, in particular, to have space for makeshift dining or sleeping areas.

GET IN TOUCH WITH NATURE—ADD A PLANT

Considering the Thai cultural relationship between plants and animals, it is not surprising that a vital part of Thai architecture, past and present, is how it interacts and blends seamlessly with nature. This is why, regardless of whether in the middle of the city or in the rural countryside, most Thai rooms, buildings, apartments or houses will have a plant or two.

As to be expected in Thailand, if you are in the market for a plant, then there is a market for a plant, along with a plethora of seeds and flower bulbs. Also to be expected in the land of street life is a visit from the local plant man at some time over the weekend. Pick-up trucks or carts laden with pots in a variety of sizes and shapes and all manner of flowers and plants will make the slow crawl from remote pockets of the countryside to the inner cities and suburbs of Thailand to sell their wares.

The Father of Thai Design

Many of today’s young Thai designers graduate from the world-renowned Faculty of Decorative Arts at Silpakorn University and are proponents of what is known as Thai modern design. An early mentor, Prince Narisaranuvativongse, considered the ‘Father of Thai Design’, combined Western design methodology with Thai tradition. The late prince’s traditional wooden residence and studio, Ban Plainern, in Bangkok, contains samples of his art works and is an important center for performing arts. Every Sunday, students and others with an interest in traditional Thai arts attend Thai classical dance and music lessons.

The Golden Era of Thai Architecture

Assistant Professor of Architecture at Silpakorn University Faculty of Architecture, Dr Pattrapon Vetayasuporn, believes that to understand Thai architecture is to understand Thailand’s geographical position in relation to the two great civilizations of India and China as well as nearer neighbors. Shapes, lines and motifs from these places are integral features of the Thai architectural landscape.

“You see both Indian and Chinese influence in the design of different temples. One of Thailand’s most famous temples, Wat Arun, for example, is a real melting pot. Images of ancient Chinese soldiers and animals are around the base of the Khmer-style central tower while other sculptures are inspired by Indian Hindu gods and goddesses like Shiva. If you want to understand Thai architecture, you have to trace its historical origins,” says Dr Pattrapon.

Thai architecture also differs according to the location, and what Dr Pattrapon calls ‘resource of space’. The further north you travel, he says, the more likely you are to see houses made from teak, whereas in the south, because of the absence of native teak wood, houses tend to be made from a variety of other materials. It is for this reason that Dr Pattrapon believes that in addition to the three broad Thai architectural categories of temple and shrine architecture, palace architecture and traditional Thai house architecture, there are other differences that stem from variations in location and the ethnicities, background, beliefs and lifestyles of the inhabitants.

Dr Pattrapon considers the Sukhothai period of Thai history to be the ‘golden era’ of Thai architecture, arts and craftsmanship. It was because of the kingdom’s prosperity and stability that both time and money were spent on building, developing and creating culture and towns, as opposed to fighting. “Even the Buddha was smiling,” he remarks.

The future of Thai style, of Thai design, however, is uncertain he feels. “Thais don’t appreciate Thai architecture and culture anymore. It’s a real shame. It’s a situation where foreigners appreciate and see the value in it more than locals do.”

Space is at a premium in Thai homes and often low tables are brought out at mealtimes.

The traditional Thai ‘lying cushion’.

At mealtimes, a low table is brought out and reed matting or cushions are placed around it. Thai people still prefer to eat seated on the floor. This, again, has its origins in functionality. In most social situations, Thais are preoccupied with social status and hierarchy and the potential for embarrassing scenarios caused by chairs of different heights. If, however, everyone sits on the floor, then everyone is equal and potential problems are avoided. The host just has to be careful with the allocation of the floor cushions.

Most Thai houses also have a shrine area, complete with Buddha images, photos of deceased relatives and photos of the King and Queen of Thailand.

In many Thai houses, the cooking area or kitchen is situated outside, usually at the rear of the house and often at ground level to keep cooking smells away from the living areas. The fridge, however, is often placed in the living room for ease of access.

Traditional Thai houses are also commonly known as Thai knock-down houses, referring to the ease with which they can be dismantled and reassembled in another location, a common practice in the past because of the migratory nature of rural Thais. This adds a completely new meaning to the term ‘moving house’.

In recent years, many Thai architects have revisited the architecture of the traditional Thai home, in particular the rural home, which they have come to regard as sustainable, multipurpose and stylish, and reflecting the essence of Thai style and design. The time when all Thais lived in such homes rather than in apartment buildings or Western-style concrete homes is nostalgically perceived as reflecting a richer culture and a simpler, more peaceful existence, when fish were in the sea, rice was in the fields and Thai society was less fraught with political and other struggles.

Today, the subtle blending of nature and functionality with elegant design is at the heart of much of Thai architecture. This is seen in Thailand’s most iconic contemporary buildings and structures, which often blend traditional Thai style with modern Western conveniences.

The Influence of Foreigners

The contribution of foreign artists and architects and their works deserves special mention in the development of Thai art and Thai style. Several influential foreign artists, some working alongside local artists, had a profound impact on the development of Thai art and sculpture. One such person was Italian-born Corrado Feroci, who was invited to Thailand in 1923 by King Rama VI to teach Western sculpture in the Fine Arts Department of the Ministry of Palace Affairs. He later served as the court artist of Siam. In 1944, he changed his name to Silpa Bhirasri and became a Thai national in order to avoid arrest by the invading Japanese army.

Along with Prince Narisaranuvativongse, with whom he worked, Bhirasri is widely credited as being one of the fathers of modern art in Thailand. He designed and sculpted many of Bangkok’s monuments, including the Democracy Monument and Victory Monument and the statue of King Rama I at Memorial Bridge. He was also instrumental in the founding of Silpakorn University, the University of Fine Arts, in 1944. His birthday, September 15, is observed every year as a public holiday.

The tradition for European or foreign-influenced art has continued in Thailand. In 2013, a European Heritage Map listing 65 sites of historical importance in Bangkok and Ayutthaya was published by the European Embassies and Delegation of the European Union. A year later, an app was released. It includes some of the best as well as lesser known pieces of European architecture, including the Hua Lamphong Railway Station in Bangkok.

The Jim Thompson House

The late Jim Thompson, famous for revitalizing the Thai silk industry, and later for his mysterious disappearance in the jungles of Malaysia, is also well known for his former residence, the Jim Thompson House, located alongside a canal in Bangkok. The house comprises six separate buildings built from disassembled century-old teak homes, and has been turned into an official museum. Its hundreds of pieces of art and items of interest make it a must-visit place for those who wish to learn about one of Thailand’s most interesting foreigners and entrepreneurs while enjoying a tour around an immaculately kept and beautiful traditional Thai home.

The interior throughout contains a mixture of Western and Eastern influences.

Marble, as opposed to wood, is used to keep feet cool.

The exterior of the Jim Thompson House after the tourists have all left.

THAI ANTIQUES AND CRAFTS

Most tourists leave Thailand with a souvenir or two, but while visitors may find it easier to take home a miniature elephant statue or wooden frog instrument, Thailand has a wonderful assortment of handicrafts, pottery and other unique and worthy items to compete for that valuable luggage space.

PEACE AND PATRONAGE

Thai craftsmanship started to flourish during the Ayutthaya period (1350–1767) of Thai history. It was then that artists, artisans, musicians and craftsman tended to create under the patronage of the kings, and as such were encouraged to produce the finest and most noteworthy pieces.

CERAMICS, COLORS AND CRAFTSMANSHIP

Thai ceramics, one of the earliest recorded examples of Thai craftsmanship, have been found dating back to 3000 BC. The earliest ceramics were earthenware, made of clay, and were basic in design. The most famous and celebrated of Thai ceramic-making came during the Sukhothai period (1238–1448) and these exquisite bowls, boxes and jars were often used in foreign trade.

From the 18th century onwards, a unique type of polychrome enameled porcelain with Thai motifs, called bencharong (‘five colors’), was made in southern China exclusively for Siamese royalty. There is now some modern reproduction in Thailand.

ORIGINAL 3D SCREENS

Although the commercial use of teak wood in Thailand has been restricted since 1989 in an attempt to replenish Thai forests, there are still a number of skilled craftsmen and carpenters in the large cities, with Chiang Mai perhaps the best place to find all manner of furniture expertly crafted from teak and other types of wood.

Thai spas, fine dining restaurants and even temples adorn their walls with intricately hand-carved wooden panels. Chiseled from wood, sometimes teak, in a variety of sizes, the level of detail of these 3D works of art is often quite breathtaking. They often depict images of Buddha or Thai mythological creatures, and are finished with varnish, oil or sometimes paint.

KNACK OF LACQUERWARE

Lacquerware, made by applying successive coats of translucent colored lacquer layers to a wood or bamboo base, then embellishing it with designs, most often gold and black lacquer figures or traditional motifs, was originally made almost exclusively for temples and palaces. Many household objects, from simple bowls to large cabinets, are still made by this ancient process, though modern lacquerware makes use of a wide range of base materials, including ceramics and metal.

Like many of the craft traditions practiced in Thailand, the origins of lacquerware can be traced to Chiang Mai, where the finest pieces are still created.

CARVING OUT A NICHE IN HISTORY Although it is unclear as to whether vegetable carving originated in Japan or Thailand, the delicate, intricate and flawlessly beautiful art, which has since been extended to fruit and soap carving, can be seen in Thai hotel lobbies and at cultural fairs, markets and restaurants around the country.

Vegetable carving is believed to date back more than 700 years to the Sukhothai era, when, in much the same way that other Thai arts developed, a servant to the king who was charged with making a krathong (a boat-shaped offering made from banana leaves), decided to carve a pattern of a flower as decoration.

Over the years, the popularity of this ancient art has gone through ups and downs but it is still taught from the age of 11 in most Thai schools.

The techniques of vegetable carving differ, as do the base produce and tools that are used, but the most popular patterns for smaller vegetables like carrots and radishes are roses and carnations. With larger fruits like watermelons, the artist has the opportunity to create more intricate designs and details. I have seen human faces and teddy bears etched into the skins of watermelons. After 700 years, however, the most popular patterns on carved vegetables, fruits and soaps continue to be flowers.

There are numerous academies and courses where visitors can learn how to carve fruit and vegetables and also national and international competitions in which the world’s finest carvers compete for prizes and the honor of being crowned the best.

UNIQUE AND GREEN

Thai celadon pottery, a type of high-fired stoneware, is lauded as among the finest of its type in the world. Celadon refers to the pale blue-green color, which is not painted or lacquered on but is produced by a wood and ash glaze during the firing process, which also produces fine crackling. Patterns are incised or carved into the pottery items before glazing and mostly comprise simple linear and floral motifs.

Celadon is one of Chiang Mai’s most popular crafts. Here, artisans produce fine replicas of old designs, both Thai and Chinese, for home decoration and everyday use as well as smaller items like jewelry.

THAI METALWORK

Thailand is one of the few remaining countries still producing nielloware, an ancient art in which an amalgam of metals is applied to carved portions of a silver object to create silver or gold patterns against black backgrounds or vice versa. Since ancient times, nielloware, decorated and produced with meticulous attention to detail, signified status and was usually presented to the king or others in high positions, including foreign dignitaries. In the early 20th century, the King and Queen of Thailand initiated efforts to stimulate the modern-day production of nielloware.

Chiang Mai’s Craft Villages

Partly because of traditional skills passed down from generation to generation and partly because of its relative isolation from the changing fashions of metropolitan Bangkok, Chiang Mai has preserved its strong crafts tradition.

Baan Tawai, about 9 miles (14.5 km) from Chiang Mai, is a great place to pick up handmade wooden items ranging from sculptures and knick-knacks to expertly designed pieces of furniture. There are many stores and factories in the village where you can purchase carved wooden goods at great prices and see the craftsmen at work.

The residents of San Kamphaeng, around 8 miles (13 km) from Chiang Mai, are known for their long history of excellence in making teak furniture, celadon and lacquerware. Also located in the San Kampaeng district is the traditional Lanna-style village of Bo Sang, where the finest handmade umbrellas and parasols are crafted. Bo Sang’s unique mulberry paper umbrellas are admired the world over for their vibrant colors and handmade motifs. Every January a festival is held to celebrate the exceptional craftsmanship of these two towns.

A traditional Thai shawl and skirt made from the finest Thai silk.

Thai silk fabric is generally one, two or three ply, which refers to the number of threads used for the weft when weaving the silk fabric. More ply means more strength and thickness but at the expense of sleek smoothness. Heavier silk shawls, designed for colder temperatures, typically contain more ply.

The colors and patterns of Thai silk vary from simple two-tone designs to intricate tie-dye patterns created by tying and dyeing the warp and weft threads in different color combinations. Popular patterns and designs include flowers, elephants and religious motifs.

REVIVAL OF THE THAI SILK INDUSTRY

Thai silk products are known the world over for their extremely high quality. Beautiful, vibrant and exotic in design, color and texture, authentic Thai silk products can last a lifetime. A name that has become synonymous with Thai silk is that of American-born Jim Thompson, who revived the industry after World War II.

Thompson was perhaps the most famous foreigner living in Thailand after the war (1945–67) and his influence on the Thai silk industry was considerable. He is widely credited with revitalizing the Thai silk industry in the face of competition from foreign textiles, especially Chinese and Japanese silk imports, after the war and with bringing the beautiful and luxury product to the international stage. He introduced superior looms and modern colors and oversaw better and more efficient production practices in the industry. His pioneer company remains one of the biggest and best silk producers in Thailand, and visitors to the kingdom are likely to see one of his many stores in the best shopping districts.

The booming industry of today depends to a large extent on silk from the northeast of Thailand, on the Khorat Plateau, a rural area known as Isan, that has been home to generations of female Thai silk weavers since Chinese merchants introduced the process thousands of years ago. One of the factors contributing to the superiority of Thai silk is the handcrafted manufacturing process. Each level of production is carried out by skilled weavers, many of whom have their own machinery, looms and silk weaving implements in their homes. The Khorat Plateau also exports the vast majority of the fabrics used to create luxurious pieces, both within and outside Thailand.

QUALITY THAI SILK

Recognizing the harm that cheap imitations could have on the reputation of genuine Thai silk products, the Thai Agriculture Ministry introduced a unique ranking system to differentiate and authenticate different types of Thai silk products. This comprises four variations of peacock emblems, with a gold peacock being the highest rank, indicating ‘premium Thai silk’. This verifies that the product has been made using traditional methods by hand and with native Thai silkworms.

There are many ways to ensure the product you are buying is indeed good quality, genuine handmade Thai silk. As Thai silk is woven by hand and is of a naturally soft but coarse texture, you should be able to feel, if not see, minor imperfections. With Thai silk, if it looks and feels too good to be true, it probably is. If ‘handmade Thai silk’ feels too smooth, it is likely to be machine woven using non-Thai silkworms.

Jim Thompson relaxing at his home in Bangkok.

Authentic Thai silk products contain the printed pattern on only one side of the fabric, the colors of which should change when held up against the light. The other side should not change color.

As it is hand-dyed, there should be different levels of hues visible in the material, creating a unique look to each piece that cannot be replicated, as opposed to the uniform appearance of commercially processed silk.

Although not recommended trying in a store, unless you ask and it is agreed upon, the burning of a thread should smell like hair and produce very fine ash. Fake silk drips when burnt and emits black smoke.

The Silk Making Process

Thai silk is produced mainly on the Khorat Plateau in northeast Thailand from the cocoons of Thai silkworms, or caterpillars, that come from the eggs of a silk moth (Bombyx mori). The caterpillars are raised on a diet of locally grown mulberry leaves, and when mature each builds a cocoon from its spittle on a mulberry twig frame. The cocoons are them boiled to separate the silk thread from the caterpillars inside.

The color of natural Thai silk thread varies from light gold to light green, with each thread measuring 1,640 feet (100 m) long! The threads, however, are much too thin to be used by themselves and have to be combined with others during the hand-reeling process, done on a spindle, to create a stronger, more durable and uniform fiber for weaving.

The raw silk threads are then soaked in hot water, bleached, dyed in vats of the desired color and dried before they are woven into lengths of fabric using hand-operated looms for making a range of wonderful Thai silk products, including clothing items and home furnishings.

Silk attire is often worn during Thai festivals and events. Weavers work on looms at Ban Tha Sawang Silk Weaving Village to make all types of silk cloth. The tools of the silk weaving trade. Hanks of dyed raw silk waiting to be woven into cloth. Lengths of handwoven silk fabric ready for sewing.

THE ARTISTRY OF TRIBAL TEXTILES

The hill tribes of Thailand are the descendants of tribal people from China, Tibet and Laos who migrated to the remote Thai borders. There are six recognized hill tribes in Chiang Mai and the surrounding areas, each with their own language, belief system and culture.

In the past, much of the income of the hill tribes came from either opium production or subsistence farming employing now illegal agriculturally unsound slash-and-burn farming techniques. As they are no longer allowed to participate in these activities, Thailand’s hill tribes have become among the world’s most marginalized, impoverished and at-risk communities. The fact that a large percentage of them are denied Thai citizenship and are thus technically viewed as criminals because they mostly occupy national forests has worsened their situation.

Some communities were forcibly resettled to the lowlands in the 1980s but many have remained in the hills and the dense jungles of Thailand, living at around 3,200 ft (975 m) above sea level. For many, life is tough and dealing with outlaw soldiers, opium traders and illegal smugglers is a daily struggle.

Although there are plenty of opportunities for tourists to visit Thailand’s hill tribes, it should be noted that over the last generation or so many so-called ‘cultural preservation centers’ have turned into little more than human zoos in the name of ‘ethnic’ tourism. This is especially true of those tours advertising authentic ‘Karen Padung’ trips where visitors can view Padung women, a subgroup of the Karen, who have ‘stretched’ their necks to epic proportions since early childhood (purportedly merely an illusion) through the use of a succession of brass rings.

AFTER OPIUM

More ethically sound sources of income include the growing of coffee beans, Duang Dee Hill Tribe Coffee, for example, being a highly successful project. There is also the very distinctive, colorful and immediately identifiable hill tribe handicrafts and textile industry.