Wall Murals in Thai Buddhist Temples in Singapore: Case Studies of Wat Ananda Metyarama and Wat Palelai
Buddhist temples in Thailand have been ‘custodians of the beautiful long before museums or private collections of art’ (Ferguson and Johannsen, 1976). The mural paintings inside wiharns (worship halls) depicting scenes of the lives of the Buddha, the rows of krajang taa oi (lotus bud shape) and kanok patterns embellishing the temple architecture and the statues of yaks and singhas are all different manifestations of art in the temple compound. This paper looks at the Thai Buddhist temples in Singapore, and specifically examines the wall murals in them. It attempts to explain the functions and significance of these murals in the context of Singapore.
Thai Buddhist Temples in Singapore
There are at least six Thai Buddhist temples in Singapore, including Wat Ananda Metyarama, Wat Palelai, Wat Uttamayanmuni and Wat Kancanarama (Wong, 1986). It is easy to distinguish them from the majority of the Chinese Buddhist temples from the exterior by looking at the façade of the temple buildings, the roof lined with gold-coated krajang taa oi and kanok embellishments and the compound wall fence which is usually adorned with lines of krajang taa oi designs.
Plate 1 Roof with krajang taa oi and kanok embellishments at Wat Kancanarama
Plate 2 Compound wall fence with krajang taa oi designs at Wat Ananda Metyarama
Methodology
There is no existing literature on wall murals in Thai Buddhist temples in Singapore. To gather information, fieldwork was done in the four temples as mentioned above. However, wall murals were only found in two of them, namely Wat Ananda Metyarama and Wat Palelai. Personal interviews were conducted on-site with Venerable Phramaha Rian, Honourary Secretary and resident monk of Wat Ananda Metyarama and Mr Sebastian Wong, President of Wat Palelai management committee. Secondary sources such as publications of temples and academic papers were also consulted.
Wat Ananda Metyarama
There are four paintings on the compound wall fence, with the first one depicting a story from Mahajanaka Jataka, one of the previous lives of the Buddha. The painting is divided into four scenes, which shows the Buddha swimming in the sea for several days after encountering a shipwreck and therefore perfecting the virtue of perseverance. The second to fourth murals are all scenes from the Vessantara Jataka, the previous life of the Buddha before he was born as Prince Siddharta. These three murals depict the journey of Prince Vessantara and his family to the forests to live as hermits after being put in exile from their kingdom as a punishment for giving away a sacred white elephant. It is understood that these murals were being repainted by commissioned artists who came from Bangkok, Thailand, in February 2009 (Interview 1).
Plate 3 First mural painting depicting a story from Mahajanaka Jataka
Plate 4 Second mural painting depicting a scene from Vessantara Jataka, where Vessantara gives away his chariot and horses
Plate 5 Third mural painting depicting a scene from Vessantara Jataka, where Vessantara and his family are on their way to the forest to live as hermits
Plate 6 Fourth mural painting depicting a scene from Vessantara Jataka, where Madri, Vessantara’s wife, is breastfeeding Kanha, their daughter
Wat Palelai
There is only one mural painting in this temple which can be found above the main entrance in the worship hall. The mural depicts a scene from the life of Gautama Buddha, where he was expounding the Maha-samaya Sutta, which is literally translated as The Great Gathering. The painting depicts most of the gods from ten world-systems gathering to see Gautama Buddha and the five hundred monks who were with him (Interview 2).
Plate 7 Mural painting inspired by the Maha-samaya Sutta
In a separate building, there are two wall murals which are in the form of stone carvings. One mural depicts the life of Gautama Buddha in 31 scenes and the other depicts the teachings of Gautama Buddha in 32 panels. The mural painting and the two mural carvings are all done by Thai artist Khun Teerayoot Daocharat (Wat Palelai publication, 2007).
Plate 8 Mural carving depicting the life of Gautama Buddha
Plate 9 Mural carving depicting the teachings of Gautama Buddha
Buddhist Wall Murals in the Context of Singapore
In Thailand, wall murals are usually found on the side walls and on the end wall in wiharns and ubosots (ordination halls) (Ginsburg, 2005; Ferguson and Johannsen, 1976), where it is convenient for public viewing. Interestingly, none of the walls murals in both temples are located at those positions. At Wat Ananda Metyarama, the four mural paintings are on the compound fence wall, with three of them behind a side gate where visitors of the temple do not have direct access to. The mural painting at Wat Palelai is above the main entrance in the wiharn, which is inconspicuous as well and can hardly command attention. The mural carvings are placed in a new multi-storey building which houses classrooms, a library, multi-purpose and meditation halls.
It is understood that Wat Ananda Metyarama did not have the walls of its wiharn painted with murals as it was beyond their financial ability to do so (Interview 1). Venerable Phramaha Rian added that there were no artistic talents for such a task in Singapore. For the case of Wat Palelai, the design of the wiharn did not allow the side walls to be painted as windows have taken up a considerable proportion of space on the wall (Interview 2).
By virtue of where they are placed, it can be seen that the murals are not exactly highlights in the grand scheme of the temple compounds. As such, it is worth questioning the role and significance of these murals in the Singapore context. Ferguson and Johannsen (1976) studied Buddhist murals in the temples in Northern Thailand and mentioned that they served to make Buddhist ideas concrete to promote understanding to the laity as well as to engage the youths in Buddhism in a bid to counteract the forces of modern entertainment. Cate (2003) mentioned that part of the intention of the murals in Wat Buddhapadipa in London, UK, is to educate visitors to the temple. Do the murals in Singapore serve the same function?
To that, Venerable Phramaha Rian replied that it was unlikely that Singaporeans would learn much from the murals as most of them do not have basic education in Buddhism. He related his own experience as a Thai kid who received formal schooling in Buddhism and hence being able to understand what the content of the murals entail. Similar to the visitors in Wat Buddhapadipa in UK, Singaporean Buddhists who are not schooled in Buddhist narratives would encounter problems of access and analysis when faced with the murals, which they may admire without deriving explicitly religious values (Cate, 2003).
When asked about the possible different interpretations of the murals by Singaporean and Thai devotees, Venerable shared that the Thai people can connect to the murals beyond the aspect of aesthetics. An example would be that Thai devotees, when looking at the murals depicting Vessantara, would be able to contemplate on the act of giving (the virtue which Vessantara perfected in the Jataka) as they understand the context of the mural (Interview 1). Singaporean devotees would unlikely be able to get the same realisation.
Employing Panofsky’s (1939) treatment of iconography, in which the first stage involves identifying images to understand primary symbolism, second stage identifying themes behind primary symbolism, and the final stage understanding the intrinsic meaning of content, it can be said that a Singaporean is likely to reach only the first, maximum second stage when looking at the mural. A Thai is more likely to reach the final stage as the mural connects with them on the level of narratives rather than aesthetics.
The choice of the theme of mural painting also implicitly reveals the non-educational intents of the mural itself. The mural painting at Wat Palelai is inspired by one of the Buddha’s discourse known as ‘The Great Gathering’ and it is chosen because it fits the purpose of the worship hall where devotees gather for evening chants (Interview 2). The narrative here is relatively superficial and the intrinsic meaning of the content of the mural in this case is highly accessible.
It can thus be seen that murals in Thai Buddhist temples in Singapore are not primarily intended and are unlikely to educate the Singaporean devotees on Buddhist concepts and teachings.
However, it is interesting to note that in the new building of Wat Palelai, there are huge panels on the wall with photos and captions introducing the four holy sites of Buddhism.
Plate 10 Photos and captions introducing the four holy sites of Buddhism
These can be seen as modern and convenient alternatives to murals, with their production requiring less expertise and with them having greater potential in the local context to transmit relevant knowledge to the Singapore devotees.
Both informants revealed that the murals in their temples were made possible with the generous donation of the devotees. For both temples, artists from Thailand have been invited over to complete the murals and were commissioned. The repainting of the four murals at Wat Ananda Metyarama, for example, costs $15000 (Interview 1). The financial supporting of the murals in the Buddhist context can be considered merit-making deeds, not unlike artists in Thailand who would paint murals for free to accumulate merit (Ferguson and Johannsen, 1976). Especially in Singapore where most people cannot afford the time to offer food to the monks and help out in the temple services, cash donation is the best way for the devotees to contribute to the temple. The murals in Singapore can be seen to have taken on the function of a merit-making platform for the devotees.
The mural carvings at Wat Palelai present another dimension to the case of murals in Singapore. When asked about the reason why stone carvings were chosen, Mr Wong replied:
‘There is the Borobudur in Indonesia. There is the Angkor Wat in Cambodia. In Singapore we have this at Wat Palelai. (laughs) These can serve the same function as mural paintings.’
It is understood that the decision of having mural carvings is made by Venerable Ajaan Kheng, a Singaporean monk, as well as the management committee including Mr Wong himself (Interview 2). The dynamics in decision-making here is not so much between the binary categories of monks and artists, which is the case for both Northern Thailand and Wat Buddhapadipa (Ferguson and Johannsen, 1976; Cates, 2003). Rather, it is between the Singaporean Buddhists and the Thai artist, where the latter in a transactional deal helps the former to realise their ambition of creating a national icon of sorts in their temple. The discourse of Thai authenticity and value of art are not so much in question when put against the larger nationalistic endeavour in the creation of this piece of art.
Conclusion
The socio-cultural context of Singapore has made the role and significance of wall murals in Buddhist temples unique in its own, as shown by the case studies of Wat Ananda Metyarama and Wat Palelai, likely the only two temples in the country with wall murals. It is understood that Wat Ananda Metyarama is intending to have its wiharn painted with murals within the next two years (Interview 1) and that Wat Palelai has plans to install electronic devices to explain meanings of the mural carvings (Interview 2). While the murals may not function as educational tools as of now, the same cannot be said for the future. The murals in Singapore have yet to be used and seen beyond its aesthetic façade. With its potential for greater purposes, murals in Singapore are likely to receive more attention and have their functions maximised in the years to come as the temples venture into different ways to educate and promote religion in this secular nation.