When discussing murals we commonly know, their main stories often narrate grand themes like the Ramakien, the Buddha's biography, or the Ten Jataka tales, as well as familiar tales of royal figures such as 'Khun Chang Khun Phaen' from the murals of Wat Pa Lelai, which notably inspired the modern film project 'The Marvel of Wan Thong.'
However, amidst the elegant depictions of main characters, one element that completes the narrative is the various background scenes. These backgrounds may not hold significant importance to the main story but serve as necessary 'supporting elements.'
Scenes of villagers gathered drinking, men and women courting, people playfully pulling down pants—these mischievous images are tucked into the corners of temple walls. These depictions, which may not be the main storyline, are called 'background figures.' Yet, contrary to their name, they are not low-quality or discarded scraps; rather, they play an important role in allowing us to look back and study past ways of life from one perspective.
Though background figures were previously overshadowed by main narratives, their interest lies in telling stories of ordinary people. Exploring these figures reveals small details reflecting daily life, the artists' sense of humor, and the worldview they encountered when painting. These serve as historical records that illuminate lifestyles and thoughts of people from earlier times to some extent.
In the past, mural painting required strict adherence to conventions: specific poses for male and female dancers, expressions reflecting literary characters rather than ordinary people. Within these constraints, many artists chose to express their imagination in the background scenes, which are illustrative and do not affect the main story. These include villagers, market people, or animals engaged in various activities—sometimes crude, sometimes comical, mixed together.
For example, murals at Wat Phra Kaew depict monkeys in Rama’s army smoking cannabis pipes; similar monkey groups appear at Wat Suthat with different colors but always smoking cannabis pipes. At Wat Pho, a background figure shows a man grabbing a woman's breast in a narrow bush corner.
According to an article in 'Nisit Nak Sueksa,' Chulalongkorn University's newspaper, background figures reflect the patriarchal values of the past. Men are shown drinking and socializing in groups in front of houses, while women are usually confined to the kitchen, cooking and caring for children, rather than appearing in public spaces.
Similarly, scenes of violence are depicted: at Wat Mokutkasat, a man wields a cane intending to punish his wife; at Wat Suthat Thepphawararam Royal Monastery, a man emerges from bushes attempting to seize a seated woman.
Although some background images may appear unpleasant, what they communicate is valuable for studying and understanding the lifestyles and cultures of past eras.
The idea of giving space to common people's stories, as seen in background figures, was later applied in depicting the legend of Khun Chang Khun Phaen through the murals of the cloister at Wat Pa Lelai Worawihan, Suphanburi Province. Artist Muang Singh Janthai beautifully rendered these scenes, making the temple a place for people to learn about Thai literature.
The distinguished murals at Wat Pa Lelai portray the lives of Suphanburi townsfolk, the royal court scene where Khun Chang submits a petition, Khun Krai's death sentence, the chaos during Khun Phaen's military campaign in Chiang Mai, and the execution ground where Wan Thong is sentenced to death. These inspired the film project 'The Marvel of Wan Thong.'
The film tells the story of Pimmada, a modern woman who travels through time into the world of Khun Chang Khun Phaen’s literature and faces fate as Wan Thong, a woman condemned to death. Her mission is to survive and restore dignity before it’s too late, starring Ink Waruntorn, Mark Prin, and Gulf Kanawut. It will premiere on 3 September 2026 in cinemas.
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