孟农先生带领我们去参观曼谷美专学校。首先去拜訪美专的代校长肯教授(Professor Khein )。 肯氏是留意的学生，现在是泰国首屈一指的雕刻家，为人极诚恳。他不厌其煩地为我们详细的介绍该校的设备与学制，以及当地的艺术情况。大家津津有味地恳谈了一点多钟，这种情切之情，大概就是所谓「志同道合」的产物吧 ！他让我们到陈列室去参观。一进门只见满室都是雕刻品，除了他自己的佳作之外，还有前任校长 -- 意大利籍教授 -- 的作品。我们慢慢地挤转着身子，欣赏着这满室的塑像。肯氏的雕塑风格，略带抽象意味。那修长的体型，柔和的角度，颇有美国的雕刻家卡士顿拉斯查氏（Gaston Laschaise 1882-1935）的遗风。

步出陈列室之后，便去参观该校的雕塑教室，由初级至高级，共分为四间教室上课。这时学生们都正在全神贯注地工作，有的学打模，有的学浮雕，有的学塑像。孟农先生一一为我们介绍并加以详细的解释。

离开教室，我们就转至铸造场参观，这里曾为国家铸造了不少的铜像，佛像以及要人的塑像等。规模相当大，设备也完善。记得去年我们在爪哇旅行时，遇到日惹的铸造场正忙着为亚运铸造一个陈列在运动场外的巨像。今年又恰逢泰国筹备运动会，而这铸造场也忙着铸造一座大佛像呢！

泰国的传统美术是与佛教有着极密切的关系的。直到十九世纪末期，西方文明逐渐传入，同时许多外国画家与雕刻家，都被召募到泰国来工作。所以无形中，泰国的绘画与雕刻都深受到西方美术的影响。

曼谷美专学校是创立於一九三四年，隶属於艺术部所管辖的。起初是以四年的时间完成全部的课程。及至一九四一年以后，因为新教育制度的完备，当局才定名为艺术大学。该校的学程分为兩类：一类是三年制的，学生毕业后可领到普通文凭，一类是五年制的，学生毕业之后可以领得学位文凭。 现在的艺术大學共分有四个学科就是：（一) 绘画与雕刻，(二) 泰国建筑学，(三) 装饰美术，(四) 考古学。

你不要小看了这所外貌平平的美专学校，它可以说是泰国美术的摇篮，曾为国家培育了不少的美术人才。举凡雕刻、绘画，以及应用的商业美术等，无不受其影响，并因此泰人对美术的欣而提高了赏能力。反顾我们现在所居住的新加坡，至今尚未能创立一间设备完善的美术专科学校，而且又缺乏了本身可资依赖的[ 美术传统 ] ， 致使一般爱好美术的青年，仍处于暗中摸索的状态。所以当我们一览本邦在美术上所创造的成果时，则无论是用世界的水准，或是自己的水准去衡量，都显得那么的贫乏与脆弱！

每一个国家民族的文化交流，必常以美术的交流为其前导，所以独立之后的新加坡，必须创办一间完善的美术专科学校，这已经是不容忽视的事了！

Mr. Mengnong led us to visit the Bangkok Fine Arts School. First, we paid a visit to the acting principal of the Fine Arts School, Professor Khein. Professor Khein is an observant student of art and is now one of Thailand's leading sculptors. He is extremely sincere and took the time to provide us with a detailed introduction to the school's facilities, curriculum, and the local art scene. We engaged in a lively conversation for over an hour. This deep connection we felt was likely the result of a shared passion for art. He invited us to visit the exhibition hall. As soon as we entered, we saw sculptures everywhere. In addition to his own masterpieces, there were also works by the former Italian professor who had led the school. We carefully maneuvered through the room, admiring the numerous sculptures. Professor Khein's sculptural style has a touch of abstraction. His statues are slender, with gentle angles, reminiscent of the style of the American sculptor Gaston Lachaise (1882-1935).

After leaving the exhibition hall, we visited the sculpture classrooms of the school, which were divided into four classrooms, from elementary to advanced levels. At that moment, students were completely engrossed in their work—some were learning casting, some were doing relief work, and others were sculpting. Mr. Mengnong introduced each classroom to us and provided detailed explanations.

Leaving the classrooms, we proceeded to the foundry to visit. This foundry had cast numerous bronze statues, including Buddha statues and statues of prominent figures for the nation. It was quite large in scale, and the equipment was advanced. I remember that last year, during our trip to Java, we encountered a foundry in Yogyakarta that was busy casting a colossal statue displayed outside a sports stadium for the Asian Games. This year, as Thailand was preparing for the games, this foundry was also occupied with casting a large Buddha statue!

Traditional Thai art is closely related to Buddhism. It wasn't until the late 19th century, with the gradual influx of Western civilization and the recruitment of foreign painters and sculptors, that Thai painting and sculpture began to be influenced by Western art. The Bangkok Fine Arts School was founded in 1934 and was initially a four-year program. However, after 1941, when the new education system was established, it was renamed the University of Fine Arts. The school offers two types of programs: a three-year program leading to a diploma and a five-year program leading to a degree. The university is divided into four disciplines: (1) painting and sculpture, (2) Thai architecture, (3) decorative arts, and (4) archaeology.

Despite its unremarkable appearance, this fine arts school can be considered the cradle of Thai art, nurturing numerous artistic talents for the country. Whether it's sculpture, painting, or applied commercial art, all have been influenced by it, and as a result, the Thai people's appreciation of art has improved. Looking back at Singapore, where we currently reside, we have yet to establish a well-equipped specialized art school. Moreover, we lack our own artistic tradition to draw upon. This leaves young people interested in art in a state of constant exploration. Therefore, when we assess the achievements in art created in our country, whether measured by international or our own standards, they appear impoverished and fragile.

Cultural exchange between nations often begins with the exchange of art, so it is imperative for post-independence Singapore to establish a comprehensive art school. This is a matter that cannot be overlooked!