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Benjarong is a traditional form of
hand-painted Thai ceramic, featuring colorful glazed enamel on a
porcelain base. It was originally influenced by the blue and white
ceramic that came to the fore during China's Ming dynasty
(1368-1644).
Benjarong
emerged during the reign of King Prasart Thong (1630-1655), its
patterns developing throughout the latter part of the Ayutthaya era
(1351-1767) into the Rattanakosin era (1782-1932). After this time,
Benjarong's popularity began to fade as European glassware came into
vogue.
Fortunately,
Samut Sakorn province's Don Kai Dee community has managed to revive
this eye-catching form, helping to ensure a revival over recent
years.
Urai
Tang-iam, president of Don Kai Dee's Benjarong Village, welcomes
guests into her home, where thousands of examples of Benjarong
pottery are stored.
“Benjarong
is a combination of two words – benja
[meaning 'five'] and rong
[meaning 'colors']. So, it literally means 'ceramics painted in five
colors',” Urai said.
The
'standard' five colors were originally black, green (or sometimes
blue), red, white, and yellow. Occasionally brown, orange, pink, and
purple were used, and, more recently, an even greater array of colors
can be seen on Benjarong ceramics, according to Urai.
Urai's
mother once worked in a plant producing Benjarong until it was forced
to close in 1982 amid economic woes, causing many locals to lose
their jobs. Having been trained by both Thai and Chinese instructors
in the delicate art of painting Benjarong ceramics, Urai chose to
establish a cooperative,
which has grown over the years into a group of one-hundred members.
As I
took a stroll along a narrow path, surrounded by examples of the
group's work, Urai pointed out some significant designs.
“Mat
ceramics are actually more difficult to produce than those with a
gloss finish,” she said. “But most people prefer a shiny gloss
finish.”
Benjarong
was once produced by order of the Royal court. Although the technique
originated in China, the designs were most certainly Thai.
During
the Ayutthaya period (1351-1767), the most popular designs featured a
deva
(a supernatural being in Buddhist cosmology) and a garuda
(a mythical half-bird, half-human creature), or a deva and a
narasingh
(a kind of 'man lion' found in Hindu mythology), surrounded by flames
on a black background.
During
the reign of King Phra Phutta Yot Fa Chulalok (King Rama I
[1782-1809]), an iron red had become more popular as the background
color, while green foliage had replaced the flames.
Popularity
peaks
Benjarong
really reached its peak during the reign of King Phra Phutta Loetla
Napalai (King Rama II [1809-1824]). The monarch was so fascinated by
Benjarong that he even produced his own designs.
A
new design to emerge during this period featured roses, while it was
said that the king's favorite design featured a garuda fighting with
a naga. The use of gold, known as Lai
Nam Thong, grew in
popularity during this period of history.
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During
the reigns of King Nangklao (King Rama III [1824-1851]) and King
Mongkut (King Rama IV [1851-1868]), Benjarong lost its luster
somewhat, partially due to the destruction of numerous kilns in China
amid upheaval there, as well as growing demand among the pubic for
European glassware. The only major change seen during this time was a
move away from red as a background color to white.
Production
really began to ease during the reign of King Chulalongkorn (King
Rama V [1868-1910]), although plainer forms of porcelain were still
imported from China. In terms of Benjarong design trends, characters
from Thai literature began growing in popularity.
The
revival in Benjarong has provided an opportunity for local craftsmen
to show off their skills again. And, according to Urai, the Benjarong
ceramics produced by the Don Kai Dee community are made using
locally-sourced materials.
Urai
said that seven distinct procedures need to followed during the
production process, including molding, drawing an outline of the
design, adding color to the item, then the gold, as well as three
different visits to the kiln. The complete process take about six
weeks, she said.
The
outline of the pattern can either be produced in black or gold, Urai
said, although black is more difficult as it needs to be done with a
paintbrush. She said the outline can be applied in gold by using a
special pen.
Producing
Benjarong ceramics, however, is a very intricate procedure and those
involved in the drawing and painting need to spend about three years
perfecting the art.
Since
it is very much a community effort, Urai and her colleagues try to
encourage young people to get involved and learn the artistic
techniques. The group also approaches art students, who can help out
with technological aspects of the production process.
“We
never know that Moroccan mosaic designs could be combined with Thai
designs to produce some wonderful new patterns. Thanks to computer
technology, we can now appeal to different buyers,” Urai said. And
the involvement of young people in the community should hopefully
ensure that the distinctive Benjarong styles and patterns continue to
thrive, she said.
GALLERY
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Art & Culture 
Art & Culture
Thailand is home to a rich cultural heritage with distinct spiritual and art lineages. Gain insight into the ways of Thai culture passed down through the centuries in addition to its more modern variations through original Art & Culture articles.
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