Contemporary abysses
Kriangkrai Kongkhanun
Abstract
This paper describes the design and development process of an artwork series created by an artist based in Bangkok. The artist attempted to explore human beings ability to commit wrongdoings, forget ethics and let themselves become overwhelmed by lust. The wrongdoings, such as the possession of vengeance, anger, hatred, greed and jealously, are deep-rooted in human lives, and become the dark side of human beings, which like germs, hide within the depths of the human body. The artwork aims to depict the emotions and feelings of human beings whose minds are seized by wrongdoings, which are also fundamental emotions of human beings. Through detailed representations of a sinful abyss, the images attempt to capture the various negative emotions and feelings. Thus, the researcher imagines the worlds of sin by adapting the scenes of devils and demons described in different legends and the ancient Buddhist scripture. These devils and demons have the appearances that reflect their “Karma”. These scenes depict the abstract concepts of hatred, anger, vengeance, greed and jealousy, each of which has its own shape which the project owner designs in order to symbolize people who commit wrongdoings. This artwork incorporates both events in the past and those currently happening, so it is named “Contemporary Abysses”.
This paper describes the design and development process of an artwork series created by an artist based in Bangkok. The artist attempted to explore human beings ability to commit wrongdoings, forget ethics and let themselves become overwhelmed by lust. The wrongdoings, such as the possession of vengeance, anger, hatred, greed and jealously, are deep-rooted in human lives, and become the dark side of human beings, which like germs, hide within the depths of the human body. The artwork aims to depict the emotions and feelings of human beings whose minds are seized by wrongdoings, which are also fundamental emotions of human beings. Through detailed representations of a sinful abyss, the images attempt to capture the various negative emotions and feelings. Thus, the researcher imagines the worlds of sin by adapting the scenes of devils and demons described in different legends and the ancient Buddhist scripture. These devils and demons have the appearances that reflect their “Karma”. These scenes depict the abstract concepts of hatred, anger, vengeance, greed and jealousy, each of which has its own shape which the project owner designs in order to symbolize people who commit wrongdoings. This artwork incorporates both events in the past and those currently happening, so it is named “Contemporary Abysses”.
Keywords: Buddhist scripture; human nature; Karma;
contemporary art; Thai art
1. Introduction
Human brains and societies have been
evolving since the archaic time. Human beings can
distinguish goodness from badness and justice from injustice. Furthermore, they
have evolved to be more advanced than animals. We have a conscience and have
eliminated or concealed our negative traits, including sexuality. However,
these traits are not easily eliminated and certain systems were invented to be
mechanisms to control these traits. Examples of such controlling systems are ethics,
morals, and laws.
However, human beings nowadays are indulging in indecent things.
They are masterminded by lust and lead their lives in the unusual ways. For
examples, they possess high levels of vengeance, hatred, greed and jealousy,
which are deep-rooted in their lives until their identities are corrupted.
Consequently, they steer their lives away from decency. These negative natures
of human beings are like germs that hide within our bodies. All we can do is
just to know and understand them and try to peacefully live with them in order
that they cannot harm our bodies. However, when our minds are weakened, these
diseases proliferate beyond controls and turn us into monstrous ones.
1.1. Objectives of the Study
This project aims to manifest the indecent emotions, feelings and
minds, which seem to be the fundamental feelings of human beings. Indecency
drags human souls to a bottomless abyss which leads our souls to the other
world. This is the conflict between goodness and badness, which turns into
tension, aggression, frenzy and turmoil. These things are caused from the
extreme actions of human beings who see things in an inverted manner.
Human beings whose hearts are being dragged down to abyss have
different feelings such as fear, coldness, frustration, heat and confusion,
which are merged together and cannot be parted. This includes abnormal things
that occur in reality and in imagination.
In this project, forms and stories are made from imagination in
order to create the scene of hell. Forms of human beings, monsters and animals
described in Buddhist stories such as Tribhumigatha are adopted in this project
in order to reflect the results from human beings’ actions. The work reflects
intangible things such as hatred, anger, greed and jealousy. Many forms that
are created in the work symbolize human beings who are lured with these
indecent feelings. This has been happening from the past to the present. The
work in this project is called ‘Contemporary Hell’.
Everything described before takes place in the limited space of hell. It cannot sneak out. The
technique used for creating the work in this project is the wood engraving by
which wood blocks are carved. The blocks are used for making prints on Thai
traditional paper, using black and white colours. This work is produced with a
simple technique in order to reflect strong and straightforward feelings that
are not complicated.
This work consists of forms created from imagination such as beasts
fighting with each other with the intention to kill each other. The prototype
of this work is ancient Thai art. However, the stories depicted in the work are
developed so that the forms in the work have their own characteristics. This
work is created with wood engraving technique which reflects contrast such as
black and white colours.
1.2. Scope of the Study
The scope of this project covers the following aspects:
·
The manifestation of the
spirits in accordance to Thai beliefs,
·
The manifestation of the
catastrophe of spirit through the symbol of a human being’s individual belief, which represents emotions and
modernizes Thai beliefs to be contemporary,
· The manifestation of the stories that incorporate the beliefs that
respond to emotions and well reflect the concepts and forms of expression, and
·
The manifestation of wood
cut/wood engraving technique.
1.3. Concepts about Art Creation
1.3.1. Cultural and Social Influence
Human desire, which is called lust, is infinitive and always drives
human beings towards indecency and away from ethicality. Goodness is forsaken
in the era in which money and materials are more important than any other
thing. Human beings are lured to be captured in the maze of lust, anger,
hatred, greed, jealousy and indulgence, which are generally seen in the current
society. Raised in traditional Thai culture, I, the creator of this project,
possess Thai beliefs and thus, am aware of the distinction between goodness and
badness and feel embarrassed to commit sins. However, many people nowadays lose
their human spirits and let themselves be influenced by their instincts. When
human instincts are freed and our minds cannot be controlled, human beings will
be swallowed into the badness and will be struggling in the maze of hell. This
concept is used as the theme for creating the work in this project.
1.3.2. Influence from Nature
Beauty and charm of forms of animals drove a great ecologist and
biologist in the time before Victorian era- Charles Darwin- to read a personal
narrative of Alexander von Humboldt who
had recorded his trip to South America and the areas around that region.
Darwin, having read the narrative, imagined the tropical land that Humboldt
described1. Likewise, for the artist, natural beauty leads to
limitless imagination. I combine beauty and charm of the forms of animals with
my personal imagination and feelings in order to create the unique art.
1.3.3. Influence from Film
The animation titled ‘Spirited Away’ gives inspiration for the
creation of the work in this project. This animation inspires both the concept
and forms of the work in this project. Spirited Away is an adventure-fantasy
movie that reflects the philosophy of eastern world. The script is written by
Hayao Miyazaki who also directs the animation. The animation is produced by
Gibli Studio and has won many awards including the Best Animation Oscar Award,
which is the fifth Oscar award for animations.
The theme of this animation is the travel to explore things, to
learn and grow up, and to think about tangible and intangible things around
one’s self.
1.3.4. Influence from Art
The art work that greatly influences the work in this project is
Tribhumi Praruang/Tribhumigatha, which is a pictorial book that is not made in
the current form of book. Rather, it is a big piece of paper that is folded
several times like an ancient scroll. This book contains paintings about Thai
custom and culture. It depicts the story of Tribhumi (the three worlds in
Buddhist belief). This book also contains other additional stories such as the
Dhosachata (the Ten Past Lives of Lord Buddha), which is composed by dint of
the faith in Tribhumigatha, which is one of excellent literatures in Buddhism.
It is believed to be composed by King Lithai, a king of Sukhothai, around 1988
B.E. (1445 C.E.). The Tribhumi pictorial books that are important and are
regarded as the books that contain beautiful Thai arts are the Tribhumi books
composed in Ayutthaya and Thonburi eras.
Fig. 1. Tribhumigatha,
which is one of excellent literatures in Buddhism. It is believed to be
composed by King Lithai, a king of Sukhothai, around 1988 B.E. (1445 C.E.).
Tribhumi is a literature that is remarkably important to Thai
society. It teaches people to fear sin and to understand the results from wrong
doings so that they adhere to the principles in Buddhism. The Tribhumi
pictorial book is an important cultural heritage that manifests the wisdom of
ancient Thai people.
The Buddhist riddle pictorial book with the description by
Buddhadhas Bhikhu is also an inspiring work of art. The original copies of this
book are scrolls called ‘Bud Khao’ found at old temples in Chaiya or Suratthani
Province, the home city of Buddhadhas Bhikhu.
In such ancient temples there are many inscriptions about Thai herbal
medicines, folklore and Buddhist principles in Khmer alphabets. A Bhuddhadhas
monk found a copy of this book and copied it in transparent films and imitated
the pictures in the book by having some of them painted at the Spiritual
Theater at Suan Mokhplaram Temple. The book was also publicized. In the
publicized version, the Buddhadhas monk wrote the descriptions of the pictures
in it.
Hieronymus Bosch aka Jeroen van Aken (original name) circa 1450 C.E. - 9th August 1516 C.E.), whose date
of birth is unknown but has been estimated through the consideration of his
self-portrait that depicts himself as an aged man whose age is around 60 years,
which he painted not so long before he passed away. Bosch is an important
Renaissance artist from the Netherlands in the 15th and 16th
centuries. He was an expert in oil painting. Many of his paintings show the
ethical failure of human beings. Bosch used pictures of demons and half-human
and half-animal creatures as mechanisms to create fears and frustration, and to
manifest the badness of human beings. His works are unique and full of symbols
and imagination.
Raqib Shaw, born in 1974 in Calcutta which is the capital of West
Bengal, India, spent his childhood in Cashmere where he was influenced by
Buddhism, Hinduism, Islamism and Christianity. Later, he traveled to study in
London, England, until he graduated his Bachelor’s and Master’s degrees from Central Martins School of Art. His works
are full of symbols and imagination. Many of his works depict violence, sexual
emotions and fighting for powers. They consist of sophisticated details,
various colours and different coloured stones.
2. Procedure and Elements of Creation
The woodcut or wood engraving technique is one of the oldest
printing techniques in the world. Invented in eastern world in the 13th
Buddhist century (8th Christian century), this technique spread to
the western world in the middle of the 20th Buddhist century (15th
Christian century). Works made with wood engraving technique have their own
unique charms and features. This technique is simple because artists need not
press the block too hard. Artists just rub a spoon on the material on which the
block is printed in order that the ink or colour from the block will be
absorbed by the material.
The creation procedure of the work in this project is the creation
of forms that are caused from the combination of imagination and feelings.
These forms symbolize indecent minds of human beings that drag their spirits to
the underworld. The work consists of many feelings such as fear and coldness.
2.1.1. Data Retrieval
Abstract Data are retrieved from the thinking and consideration of the feelings
and experiences that I obtain from everything that happen all around in my
daily life such as media, literatures, rhymes, movies and my own actions. These
things affect my feelings and inspire my work.
Substantial Data that
are used for creating the works in this project are retrieved from following
sources:
·
Natural and biological living
things such as human beings, animals and plants the forms of which trigger the limitless imagination and
lead to the creation procedure; and
·
Arts of all types such as old
and contemporary paintings, sculptures and print arts, which expand the
imagination and are processed, analyzed and are combined with my feelings,
imagination, and beliefs.
2.1.2. Sketching Process
The sketching process is divided into 2 steps as follows:
·
Character design which is to
sketch the rough structures of main characters of the work in this project, which are adapted from the
forms seen in nature, and ancient and contemporary arts which are deformed and
re-interpreted in accordance to the theme of the work through the combination
with my personal feelings until they become semi-abstract forms with their own
unique characteristics; and
·
Composition whereby the
designed forms are put together in the sketch and the details are added.
I, the artist, am aware that the sketch is important. In the sketch,
there are just main characters, but the forms and space are important. The
characters are placed in their positions, but the space creates a lack of
feelings, so I use my imagination and design details to be added into my
work.
2.1.3. Materials
·
A wood board stuffed with
paper, the thickness of which is 4 millimeters,
·
Wood carving tools,
·
Needles,
·
A stainless Chinese spoon,
·
100 Gram-mulberry paper,
·
Proof paper,
·
Turpentine,
·
Chinese ink, and
·
A cutter
2.2 Work Process and Steps
2.2.1. Block Preparation
Cut the wood board with the cutter for the desired sizes and paint
the cut board with Chinese ink. Draw the characters with colour pencil on the
board. The drawn characters need not have the exact forms as they are drawn in
the sketching procedure. After the characters are drawn, there is space, so I
imagine what other forms or characters should be added in to the frame.
Fig.
2. draw the
characters with colour pencil on the board.
2.2.2. Wood Block Engraving
I use the V-shape wood carving tool to carve the characters I draw
on the wood board. Then, I use the u-shape tool to get rid of the unused parts.
Then, the V-shape tool is used for finishing the wood block. Finally, the
needle is used for reinforcing the forms and lines on the wood block. This step
is hard. I have to use the needle to reinforce each line one-by-one like when I
shade a drawing with a charcoal pencil, but in this case, the needle is used
instead of a charcoal pencil and the
drawing is on the wood, not paper.
Fig. 3. cut with wood carving tool.
2.2.3. Printing
The printing is a full-page work. The paper to be the material must
be the same size as the size of the wood block. The piece of paper is torn with
a ruler in order that it will be in the desired size. The edge of the paper
that is torn with a ruler is not sharp. Then, I use the roller to roll the
black ink all over the paper. After the black ink is painted all over the
paper, I roll the black ink all over the wood block. Afterward, I place the
paper on the wood block. Next, I lay a wood board the size of which is
one-seventh of the block on the paper, but the wood board has to be placed 20
centimeters away from the edge. I sit on the board and use the stainless spoon
to rub on the paper on the 20 centimeter-space from the paper edge. I rub the
spoon in up and down directions from the left to the right. I open the paper
while sitting on the board. If there is any part that is not dyed with the ink,
I rub the spoon on that part again. When the part is completely dyed with ink,
I move the board 20 centimeters downward and rub the spoon on the paper again.
I do this until the entire paper is dyed with black ink. While printing the
work on the paper, the paper must be held still. Every time that the board is
moved, the paper must be still. This is the reason why I have to sit on the
board throughout this step.
Fig.
4. wood block.
3. Elements of Creation
The creation of this work is comprised of 3 main parts, namely,
concept, forms and visual elements, and technique.
3.1. Concept
The forms are
created on the basis of the concept which is established in accordance to the
inspirations that influence the meanings of the work. The work in this project
is the exploration of human beings’ selves that are reflected through the
selves of monsters. The work depicts the imagined scene of the sinners’ land,
which is the land of imagination in which the goodness is fighting the badness.
A variety of symbols are used in order to represent the intangible things such
as hatred, anger, greed and jealousy, such as a gigantic two-headed snake that
is opening its mouths in order to prompt itself to swallow anything that comes
in its range. In the stomach of the snake lays a whale that has swallowed a
bird that has swallowed a turtle that has swallowed a sleeping man with wings.
The big snake
represents a person who has consumed too much and let greed overwhelm his
heart. This makes him hungry and needy all the time until he can swallow a
great whale. His eyes are staring around in order to prompt him to swallow
everything that passes by. This is the overwhelming desire that gives a man
limitless needs.
The bird that
was swallowed by the whale symbolizes a man who cannot take himself away from
all the feelings. A bird should be flying in the sky but he falls into the sea
and is swallowed by the whale. This is the mind of a man who cannot control his
fear, greed or anger, which are fundamental feelings of human beings.
The man with
wings sleeping in the turtle’s stomach reflects the mind of a human being.
Wings are the consciousness that can take a man away from indecent hell. Even
though having the wings, the man is sleeping, which means he lets lusts and
sins control him and drag him to the indecent world. The turtle is the time
dimension in which everything has its own cycle.
The small man-head
fish that are swimming in the ocean represent the journey of human minds that
cannot stay away from luring sins that are all around in the time dimension.
They are eternally struggling with anger, fear and greed without finding the
way out.
The bear that is
catching fish, with water running out of his mouth, represents the sexual
emotion has been released. This means human beings cannot control or hold the
sex drive inside, and have to let it affect themselves.
The monster with
three eyes, wings and a fish tail that is swimming in the ocean is a man that is always struggling. The three
eyes are represent the fear of guiltiness that makes him alert and restless all
the time. This feeling will always haunt him and hinder him from gaining real
happiness. The swimming hands are the hands of a needy man who tries to grab
things all the time and without end. If the man stops struggling, he will drown
in the ocean. Even though he has wings, he cannot get himself away from this
state of sinfulness.
The turtle with
eyes on its shell symbolizes a man who creates some walls to shelter himself.
The walls are the ethical principles
that human beings establish in order that they will fear sins. However,
these walls cannot protect them from being tempted by things that influence
their emotions.
3.2. Forms and Visual Elements
To create an artwork, the ideas and emotions that the artist wants
to express are the most important aspects. The visual elements are the
aesthetic materials that the artist puts together in his art work to create
certain forms with the purpose to convey certain meanings in accordance to the
main theme or concept of that work. As for the work in this project, the visual
elements are as follows.
3.2.1. Form
Form is
the most important element of my work. I choose interesting forms that are seen
in nature such as plants, human beings and animals. Most of the forms used in
the work are organic forms of marine creatures. I design them on the bases of
their biological appearances in combination with my imagination in order that
they will clearly reflect my ideas and feelings.
3.2.2. Lines
The lines in
my work are categorized into 3 types as follows:
·
Lines of wood textures which make the details of
the work more interesting and create the feelings of the work;
·
Lines from the carving set realms and directions
of the pictures, showing the movements of all the characters in the work;
·
Lines from the needle scratch on the wood are
important for this work because they create perspectives and highlights and
shadows in the work.
3.2.3. Colours
Colours can make the work
more interesting. In this work, black and white are used. Black colour conveys
the feelings of fear, mysteriousness, darkness and hidden things. Therefore, it
is used as the main colour in this work.
3.2.4. Space
Space in
this work gives the feeling of infinity. It highlights the movements of the
characters in the work and strengthens their forms.
3.2.5. Tone-Light and Shadow
Tone-light and shadow in this work show high contrast between the forms and space in order
to create the ambience and to highlight the movements of forms and the feelings
that are severe, mysterious, frightening and endlessly struggling.
3.2.6. Textures
Textures in
this work are the textures of the block that are caused from the scratching and
carving. They make the work look interesting, unique, and lively.
3.2.7. Composition
The composition of this work emphasizes the unnaturally enlarged characters that
make them look powerful and attractive to the viewers. The medium and small
forms are also added to the work so that they can show the liveliness and
movements in the work.
3.3. Technique
The creation of the work in this project relies on the woodcut or
wood engraving technique because it does not use so much chemicals. In
addition, this technique can reflect the characteristics and personalities of
the artists (me). It can be used for depicting several forms through a simple
and straightforward procedure that can create the shadows and lights in the
works.
The wood engraving technique is a sub-category of the relief
process. It uses hard wood which is carved with special tools that carve the
wood in order to create a block. The reliefs are flat so that they can hold ink
which is rolled by the roller on the carved block. Then, a piece of paper is
placed upon the inked block and is pressed or rubbed by some tools such as the
roller so that it can absorb the ink.
This technique effectively conveys the emotions and feelings that the
work highlights. In this project, I use manual printing instead of machine
printing so that I can control the
pressure which affects the darkness of the colour. With manual printing
technique, I can create the work that consists of a variety of darkness levels
that can convey feelings of the work better than the monotone darkness which is
caused from the machine printing technique.
4. Analysis on
Project development
Everything in this world changes over time, so does the artist.
Changes around me create different feelings in different times. The infinitive
perseverance seems to cause continuous and consistent progress and development.
When we look back and analyze the past by using our thinking process, we can
see the growth of everything, including its strengths and weaknesses, and
mistakes, in the more precise fashion. These things are used as data for
analyses and developments of new things all the time. As for this project, its
development is divided into 3 phases as follows.
4.1. Phase 1: The work before the project,
Year of 2551 B.E. (2008 C.E.)
In the first phase, I presented my work in the form of a big wood
engraving that focused on gigantic forms with small forms added as the
backgrounds. As for the theme, I desired to reflect the darkness of human
beings that is hidden in their hearts. Accumulated beyond the limit, this
darkness explodes. This is how human beings can be masterminded by lust and
changed from human beings into demons. In this phase, I was looking for the
symbols to be used in the work. Such symbols have to suit the concept and main
feelings that this work was intended to manifest.
Fig.
5. the work before the project,
Year of 2551 B.E. (2008 C.E.)
4.2. Phase 2: The
work before the project, Year of 2552 B.E. (2009 C.E.)
In this phase, I had accumulated knowledge and expertise, so I
became more skilled and experienced in working. Consequently, I adjusted my
work by adding new things into it. More symbols and meanings were added into
the work. I wanted to link my work to the riddle pictures that had hidden
implications in them. Concerning the technique, I had experimented with new
objects to be added into the work. Also, more natural forms were used in order
to reflect human beings’ feelings. In this phase, both the style of this work
and the technique used for creating it became more precise.
Fig. 6. the work before the project, Year of 2552 B.E. (2009
C.E.)
4.3. Phase 3: The
project
In this phase, many analyses and developments were carried out.
There are developments in concept, technique and the feelings of the work. This
‘Contemporary Hell’ work depicts the imagined world of sinners that is hidden
underneath human beings’ consciousness. The eternal needs and desires emerge
from human beings’ minds and become uncontrollable although human beings try to
suppress them with ethical principles.
After the data was collected, processed and analyzed on the bases of
the experiences and developments of work in phases 1 and 2, this work was found
to be satisfying because it manifested the continuous creativity in terms of
concept, style and feelings of the work. It is more sophisticated and powerful.
The forms used in the work are divided into two main groups, namely, the forms
that really exist and the imagined ones. The forms of both groups are
interesting and more united. Experiences and knowledge obtained during the
course of this project can contribute to the learning process that leads to
continuous and consistent changes and developments.
Fig. 7. project 1
Fig. 8. project 2
5. Conclusion
The project is based
on the ‘complex’ that lays in human beings’ minds. It arouses me to question
myself, expand the linkage to society, and come back to solve my problem. This
project gradually deconstructs the complex I have by thinking and considering
the conflicts that are hidden in the work. I depict human lust by showing the
story that is the mixture between concept and feelings through the forms of
creatures that symbolize the demon from the world of spirits in order to remind
the viewers of what sinners will face with in hell.
The stories from the
ancient scroll of Tribhumigatha and symbols that represent demons in hell are
adopted and adapted until they have unique forms. This project is supposed to
be successful in terms of its ability to convey the mysterious feeling and to
teach the viewers to think about Buddhist philosophy that can lever human
beings’ ethicality which will take them to the better world after their death.
References
Bhikkhu, 1987. Anapanasati
Mindfulness of Breathing. NA, Bangkok.
Bhikkhu, 1990. The Buddha's
Doctrine of Anatta. Vuddhidamma
fund, Bangkok.
Bhikkhu 2005. Handbook for
Mankind. Mahachulalongkornrajavidyalaya U, Bangkok.
Bhikkhu, B.,
2006. Truth of Nature FAQ (The Master Buddhadasa Explains the Buddhas's
Teachings).
Amarin Printing & Publishing, Bangkok.
Fine Art, Department. Triphum Bible, 1999. Audhaya issue-Thonburi issue, Book 1.
Ammarin Printing and
publishing, Bangkok.
Fine Art, Department. Triphum Bible, 1999. Audhaya issue-Thonburi issue, Book 2.
Ammarin Printing and
publishing, Bangkok.
