Khrua In Khong

Khrua In Khong , one of the most celebrated Thai artists, was active in the 1850s and 1860s during the reign of King Rama IV. He was a painter under the patronage of King Rama IV (Mongkut). Khrua In Khong and King Rama IV developed their friendship when they were in the monkhood during the reign of King Rama III. The king was very fond of him and became a patron to Khrua In Khong; once the king ascended the throne, he frequently ordered Khrua In Khong to paint murals in numerous temples that he built or restored.

His style had been greatly influenced by Western painting, thus distinguishing it from other conventional Thai paintings. He is well known as the first artist to introduce linear perspective to Thai traditional art.

The works of Khrua In Khong served under the king's desire to modernize Thailand in order to survive the Western colonialist aspiration. His best-known works are mural paintings in the ubosoth (chapel) of Wat Bowonniwet and Wat Borom Niwat.

Biography

Early life Khrua In Khong's birth date and origins are uncertain. He was born in Bang Chan, Phetchaburi province, Thailand in the reign of King Rama III. He was ordained at Wat Ratchaburana (Wat Liap) and stayed as a monk for the rest of his life.

His original name was “In” not “Khrua In Khong”, “Khrua” and “Khong” were a prefix and postfix words to specify his personal identity.

The word “Khrua” often refers to an elder monk or a person who has a strict or moody character. It also meant a teacher who specialized in difficult subjects, and the word “Khong” quoting Saan Somdet (Princes’ Correspondence)

“…he stayed in monkhood as a neophyte for too long; hence he was called In Khong (falling tone). At first, I thought had mispronounced Khong (low tone) for Khong, I now realize there is no mistake. Taking Hoi Khong for example, it means big snail. … Therefore, Khong and Khong are the same. "

In the era of King Rama IV, Western colonialism flourished. The king was concerned with the threat of European countries and urged to modernize Siam in a western way - both technologically and culturally, hence the works of Khrua In Khong were serving his demand.

Later life and death It is unclear what caused Khrua In Khong's death and when it was. It is believed to be in the era of King Rama IV because there is no sign of his life and works in the age of King Rama V. It is believed that he stayed as a monk for the rest of his life.

Technique and style Khrua In Khong, although having never visited Europe even once, developed his style from conventional Thai painting to become more western-like by relying on western commercial prints, observations of westerners in Bangkok and his imagination.

Thai artistic tradition before the time of Khrua In Khong was unrealistic. The water waves were drawn as overlapping fish scales, the trees look artificial and the figures stood in unnatural poses. In contrast, Khrua In Khong preferred to paint realistic gestures. The scenario, trees, and figures became more natural and realistic like a western painting.

Despite the fact that he departed from the traditional Thai painting style, the works of Khrua In Khong were still mostly related to Buddhism since he himself stayed in the monkhood for life. Moreover, he had been greatly influenced by the king's religious beliefs as a painter under the King's patronage.

In addition, the works of Khrua In Khong were not entirely about Buddhism. They were also important as historical records of political events and social conditions during the reign of King Rama III.

Disciples Khrua In Khong had many disciples but only one of them was recorded - Phra Khru Kasin Sangwon. He was the abbot of Wat Thong Nopphakhun, who painted murals in Wat Thong Nopphakhun. His murals were allegoric paintings, same as the Dharma Paintings of Khrua In Khong, but the figures were Thai style instead of western.

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