A Comparative Study of Patterns and Meanings of Universal Islamic Art and Ayutthaya Period Art in Phra Nakhon Si Ayutthaya Province DOI:

Abstract

This article aims to comparatively study the patterns and meanings of universal Islamic art and Ayutthaya-period artworks in Phra Nakhon Si Ayutthaya Province, aiming to establish a body of knowledge for pattern creation. This qualitative research employed in-depth interviews with a purposively selected group of three experts in Islamic art patterns. The research instrument was a qualitative questionnaire, and data were analyzed using statistical means ( and standard deviations (S.D.) to summarize

              the findings. The study analyzed the comparative similarity of 9 samples of Islamic art patterns discovered in Phra Nakhon Si Ayutthaya Province. The similarity analysis ranked the items as follows: 1) A gold ring inscribed with interlaced Arabic letters Lam and Alif (x̅ = 3.69, S.D. = 0.71); 2) Lotus motifs (x̅ = 3.43, S.D. = 0.17); 3) Stucco decorative motifs featuring three petals or a three-pointed leaf pattern (x̅ = 3.37, S.D. = 0.27); 4) Interlaced patterns or the endless knot; 5) Window trellis motifs of the minor Viharas at Wat Phra Si Sanphet, Phra Nakhon Si Ayutthaya; 6) Components of gold ornaments, gold chest pendants, and neck ornament fragments; 7) Motifs on fragments of gold and gemstone jewelry; 8) Patterns on coins discovered in the crypt of the main Prang at Wat Ratchaburana; and 9) Lotus motifs reflecting the influence of Islamic art during the Ayutthaya period.

              The overall mean similarity of the 9 patterns was at a moderate level (x̅ = 3.25, S.D. = 0.19). Furthermore, these findings can be developed into a comprehensive body of knowledge regarding various pattern formats and structural designs for future related research.