Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat

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The research article “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat” is part of the study entitled “Digital painting for Virtual Tour to Buddhist story in the murals of Wat Prasat, Nonthaburi Province.” The objective of this research is to study and analyze information that related to murals in Ubosot of Wat Prasat, Nonthaburi Province and to utilize this information to create “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat”. This research employs a mixed-methodology approach, involving the study and analysis of data concerning mural paintings in Thailand, the mural paintings within the Ubosot Wat Prasat, relevant artistic concepts and theories, Semiotics, narrative studies, Digital art theories, theories related to the conservation of ancient artworks, and theories on the creation of hypothetical images by ancient Thai art. These foundations support a comprehensive understanding that is essential for creating hypothesized digital paintings that most accurately reflect the original, deteriorated murals. The resulting artworks were then evaluated by a sample group of viewers to assess their effectiveness. The research findings indicate that the mural of Ubosot Wat Prasat were created around the late middle Ayutthaya period. There are claims that they were commissioned by “King Prasat Thong” during the time before he ascended the throne. The murals were created by artisans of the Nonthaburi school and are considered the oldest surviving mural in Nonthaburi Province. At present, they have significantly deteriorated. The technique used is tempera color mixed with krathin glue. This mural depict narratives related to Buddhist teachings. The mural compositions can be categorized into three major groups: 1) The Past Buddha located on the upper sections of the walls; 2) Thepphanom positioned between the stories of The Ten Great Jatakas murals; and 3) The Ten Great Jatakas murals that painted along the lower wall sections on both the left and right sides of the Ubosot. The spatial arrangement of these mural scenes closely resembles those found in late Ayutthaya and early Rattanakosin temples of the same period, such as Wat Chong Nonsi (Bangkok), Wat Chomphuwek (Nonthaburi), Wat Suwannaram Ratchaworawihan (Bangkok), Wat Bang Yi Khan (Bangkok), and Wat Mai Thepnimit (Bangkok), among others. However, positioning of the murals varies among the temples compared. The arrangement of The Ten Great Jatakas murals at Wat Chong Nonsi appears most similar to that of Wat Prasat, with the primary difference being the order in which the narratives are arranged. In the Ubosot Wat Prasat, The Ten Great Jatakas stories are depicted across ten panels, of which four have completely faded. The remaining visible panels include: Sama Jataka, Nimi Jataka, Mahosadha Jataka, Bhuridatta Jataka, Vidhura-Pandita Jataka, and Vessantara Jataka. Approximately 20% of the lower portion of every mural have entirely deteriorated. In terms of pictorial characteristics, the depiction of royal attire and the detailed outlining are stylistically similar to mural paintings from the late Ayutthaya period. Most protagonists are adorned in royal regalia, wearing the chada yod chai (victory-topped crown). Some figures wear upper garments while others are bare-chested. Those with upper garments are shown wearing short-sleeved shirts decorated with waist sashes or cloth bands, with the hem of the shirt hanging loose— a stylistic feature rarely seen in other Thai mural paintings from the same period. The sanab phlao (lower garments) are rendered without textile patterns; instead, only contour lines are used to indicate the folds of the fabric. Adornment includes armlets, bracelets, and anklets. For figures without upper garments, additional accessories such as necklaces, chest ornaments, and shoulder bands are depicted. Female figures of high social status are similarly dressed in royal attire, wearing ornate jewelry and a rat klao yot headdress, along with a draped sabais. The depiction of attendants shows various styles: noblemen are shown wearing shirts, some with waist bands and loose hems, and distinctive hats resembling decorated leather caps— a type not found in other mural traditions. Additionally, many figures are depicted with cloth sashes tied around the waist. Regarding the creative outcomes, the researcher purposively selected four mural samples from the The Ten Great Jatakas: Sama Jataka, Nimi Jataka, Mahosadha Jataka, Bhuridatta Jataka, Vidhura-Pandita Jataka, and Vessantara Jataka to serve as the basis for the creation of the digital paintings in this study. The evaluation results reveal that most participants who viewed the artworks were unfamiliar with, and had never visited, Wat Prasat. Their overall opinion toward the series “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat” indicates the highest level of satisfaction. Among the artworks, the Vessantara Jataka digital painting received the highest satisfaction score. In terms of perceived benefits, all aspects received high scores. Most participants agreed that the artworks enhanced their understanding of Buddhist teachings. The next highest-rated benefits were: the contribution of the artworks to the preservation of Thai art and culture, their role in increasing public interest in Wat Prasat, their social and community value, and the potential for further development and application in other forms. These findings demonstrate that the digital media created in this study can serve as an effective approach for the preservation and promotion of knowledge and understanding of Thai mural paintings, as well as a means to doctrine Buddhist narratives.

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Related topics: Public Spaces through Art · Visual Culture and Art Theory · Southeast Asian Sociopolitical Studies