From June 4 to 28,2025 there was a major exhibition "PRINCIPLES" by Professor Emeritus Parinya Tuntisuk at The National Art  Gallery, Cho Fa Road Bangkok. I had the opportunity to speak with Professor Parinya Tuntisuk and gathered details about the life and work of this National Artist to share with readers, so that they may become more familiar with him. His work is symbolic, reflecting thoughts and emotions, presented in a beautifully arranged series that captivates viewers, allowing them to pause and immerse themselves in the imaginative images that reflect Thai society without limitation. Through his skill and talent, he was honored as a National Artist several years ago.

JY. Could you tell us about the beginning of your art education and the learning journey that shaped you into the artist you are today?

PT. I would like to divide my answer into two parts:

1. Formal education in the arts, within educational institutions.

2. Informal learning of the arts, outside formal institutions.

Both parts have equally contributed to shaping me into the artist I am today.

Formal Art Education:

My formal study in the arts began at the School of Fine Arts, under the Fine Arts Department (now the College of Fine Arts). After completing the second year, I passed the equivalency exam for upper secondary education and then enrolled in Silpakorn University, Faculty of Painting, Sculpture, and Graphic Arts, where I completed my bachelor's degree. After graduation, I began teaching at the College of Fine Arts and pursued a master's degree at Silpakorn University, under the same faculty. During this time, I received a scholarship from the Japanese Ministry of Education (Monbusho) for a study trip in Japan for 1.5 years, facilitated by the Faculty of Education and Graduate School at Shizuoka University. This comprised my formal education.

Informal Learning of Art:

More profoundly, being born into a family where both parents were artists played a foundational role, perhaps even more than studying in art institutions. Growing up surrounded by their work—paintings on walls, unfinished works leaning against the walls—I absorbed their dedication and love for art. This naturally cultivated my love and appreciation for art from a young age. As I grew, drawing became a close friend. I found happiness in it and earned small sums by drawing for comic books. This early love for drawing cartoons later influenced my mature artistic expression. Besides my parents, my wife, children, and friends have been crucial companions in conversations about life, art, and knowledge, continually challenging my perspectives and helping shape my artistic path.

JY. Could you share the key moments in your career, from the beginning to being honored as a National Artist? Were there pivotal periods that changed your life?

PT. After graduating in 1977, I continued my artistic path based on my bachelor's thesis titled "Surface, Color, and Symbols." However, within a year, I felt the need to change direction. My thesis work focused on life's negative aspects—pain, sorrow, suppression—with geometric facial structures and dark, rough textures symbolizing life's scars. That reflected how I felt at the time—painful and angry.

But post-graduation, life changed. I wanted a new start, with a positive view on life reflected in my art. While negative-themed art is no less valuable, my own change in life perspective naturally led to more abstract forms, smoother surfaces, and brighter colors . Later, I explored the expressive potential of cartoons, blending them with personal life, nature, and human experiences—friends, lovers, animals, plants, rainbows, suns, moons, rivers, and mountains. This culminated in my master's thesis "Forms and Colors of Imagination" (1980-1982), a major turning point. Notable works from this period include "Painting II," "Myself," "Moonlight," and "Love."

In 1985, I spent 1.5 years in Japan under Professor Shigeharu Okamoto, seeing great works from Japan, Asia, and the West. Experiencing Japanese cultural duality—tradition alongside scientific advancement—sparked reflections on Thai identity. Inspired by a collection of lullabies compiled by Prince Damrong Rajanubhab, I used these gentle, loving Thai stories as artistic inspiration, creating works such as "The Wind Blows," "Yo-Yeh," and "Oriole," marking another shift toward Thai cultural themes.

In 1987, I transferred to the Thai Art Department at Silpakorn University and studied under senior masters like Professor Emeritus Chalood Nimsamer and Ajarn Julatas Prayakrananon. This academic life inspired me to conceptualize "Dialogue of Wisdom," a series of geometric landscapes symbolizing intellectual exchange, using forms like triangles, layered structures, solid colors, and metallic accents. Notable works include "Wisdom" and "Landscape of Wisdom."

Field trips with students to temples and ancient sites deepened my spiritual interests, leading to "The Triple Gem" series, exploring Buddhist symbolism. Despite some urging me to return to earlier styles, my immersion in Buddhist teachings naturally led to this abstract transformation. Works like "The Triple Gem and the Worshipers" "The Triple Gem and Avijja"  "Monument" were well-received.

In 1999, while serving as Associate Dean, I found administrative challenges conflicting with the artistic mindset. This frustration led to the creation of "Cycle" and "Dhamma Path," exploring impermanence (anicca) and cyclical existence. Works incorporated symbols like swastikas, spiral textures, and waves, including "Cycle," and 3D works like "Earth and Heaven" for the 13th Asian Games Art Exhibition.

By 2009, as Dean, the workload increased. Art became a personal refuge and responsibility, as leading a renowned art faculty required exemplary creativity. I found solace in the theme of "Home." Starting with depictions of family life and pets, the concept of home expanded to organizations, the nation, and even the planet itself. Works included "Home: Lotus," "Home: Political Crisis," and "Home: Agricultural Land."

Today, amidst global turmoil—natural disasters, wars, environmental degradation, and moral decay—I still turn to Dhamma as a guiding force. This reflection inspired my latest, more intense series "Principles," embodying stronger content, forms, and techniques, representing yet another critical artistic turning point.

JY. How do you perceive the role and value of art in human life, especially in contemporary Thai society?

PT. Art is nourishment for human senses and the mind. It complements the holistic growth of body and spirit, harmonizing human development with beauty.

Visual arts, like painting and sculpture, enrich our sense of sight. Music refines hearing, while performing arts integrate both
senses, enhancing emotional depth whether the performance is joyful or tragic. Good art fosters good taste, allowing us to distinguish beauty and harmony, nurturing inner strength and happiness.

In today's world of crises, art remains vital for healing and transforming society. Artists, by their nature, reflect their lives and surroundings in their work, creating mirrors of societal truths and values. Art speaks across languages, conveying thoughts, feelings, and inspirations. It also soothes both creator and audience. Art's emotional resonance makes it a catalyst for societal awareness, improvement, and positive change—not only locally, but globally.

JY. What is your creative philosophy, and what would you like to pass on to the new generation of artists?

PT. I once wrote in "National Artist, B.E. 2561" that:

"Sufficiency" is knowing when to stop—balancing content without excess or deficiency.

"Discipline" involves systematic working, understanding processes, and caring for tools.

"Meticulousness" extends beyond technique to refined thought, leading to clarity and profoundness.

"Simplicity" emphasizes doing more with less—using intellect and taste over sheer quantity.

These are not rigid doctrines but guiding principles for both life and artistic practice, offered for young artists to adapt as they see fit.

JY. You have contributed to many social projects. Could you share your roles in these efforts and what artists can do to benefit society?

PT. My academic mission always included community service. From early teaching days through administrative leadership, I collaborated on numerous projects, combining artistic expertise with societal development goals.

Art doesn't end on easels, pedestals, or printing presses—it becomes complete when shared with society. Art is a medium conveying human thoughts and emotions, nourishing imagination and spirit. The artist's role is to "prepare this meal" with care and integrity, uplifting the minds of its audience.

Art inherently has transformative power. It embodies aesthetics—truth, goodness, and beauty—that stimulate creativity and foster human depth. Art helps build people, the most precious resource for a nation's future. Moreover, art generates economic value, helping reduce poverty and improve quality of life. Many nations have long supported art for human and national development.

Artists can use their work as a "voice" to raise awareness and inspire societal change. For instance, Associate Professor Sriwan Janehattakankit recently organized "Art for Earth" in Chiang Rai, involving 111 artists nationwide to address environmental issues through art sales supporting eco-initiatives.

More initiatives like this are emerging, which is encouraging. Continued support from all sectors—government, private, and public—is essential for sustainable artistic contributions to Thai society.

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