DEC Journal https://so07.tci-thaijo.org/index.php/decorativeartsJournal <p>วารสาร<span class="s1"> DEC Journal </span>คณะมัณฑนศิลป์ มหาวิทยาลัยศิลปากร เป็นวารสารทางวิชาการทางด้านศิลปะ การออกแบบและสาขาวิชาที่เกี่ยวข้อง กำหนดเผยแพร่ปีละ<span class="s1"> 3 </span>ครั้ง เพื่อเผยแพร่บทความวิจัยและบทความวิชาการ ในสาขาศิลปะ การออกแบบและสาขาวิชาที่เกี่ยวข้อง ส่งเสริมให้เกิดการวิจัย การพัฒนาองค์ความรู้ การเขียนบทความวิชาการ<span class="s1">/</span>งานสร้างสรรค์ของอาจารย์ประจำคณะมัณฑนศิลป์ นักศึกษาระดับบัณฑิตศึกษา นักวิชาการ ผู้ทรงคุณวุฒิ ทั้งภายในและภายนอก คณะมัณฑนศิลป์ มหาวิทยาลัยศิลปากร ที่ผ่านการพิจารณาจากกองบรรณาธิการแล้ว นำเสนอให้ผู้ประเมินพิจารณาบทความ<span class="s1"> (peer-reviewer) </span>จำนวน<span class="s1"> 3 </span>ท่าน และไม่เปิดเผย ชื่อ<span class="s1">-</span>นามสกุล รวมถึงหน่วยงานที่สังกัดทั้งของผู้เขียนและผู้ประเมินบทความ<span class="s1"><strong><em> (double-blinded)</em></strong></span></p> en-US <p>จัดทำโดย ฝ่ายวิชาการ คณะมัณฑนศิลป์ มหาวิทยาลัยศิลปากร ลิขสิทธิ์ของบทความเป็นของเจ้าของบทความ บทความที่ได้รับการตีพิมพ์ถือเป็นทรรศนะของผู้เขียน กองบรรณาธิการไม่จำเป็นต้องเห็นด้วยและไม่รับผิดชอบต่อบทความนั้น</p> [email protected] (ผู้ช่วยศาสตราจารย์ ดร.ศุภชัย อารีรุ่งเรือง) [email protected] (ผู้ช่วยศาสตราจารย์ ดร.ศุภชัย อารีรุ่งเรือง) Sun, 28 Apr 2024 19:59:14 +0700 OJS 3.3.0.8 http://blogs.law.harvard.edu/tech/rss 60 The cultural evidences of Tai’s Naga believe along the Mekong River Basin. https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4033 <p>The aim of this article was to review literature, art, and antiquities based on historical and anthropological information regarding the relationship between the north and north east of Thailand and the Tai - Kadai speaking peoples of Erhai Lake in China's Yunnan Province. Study by compiled the discovery of ancient artefacts’ report, stories, legends, literatures and art forms, including assumptions that many scholars have made over a long period of decades. The timeline was summarized from cultural evidence through beliefs about Naga. The result was to collect information and update it for researchers, academics, and interested person to convenient their research or reference. Although the legend of Naga in Thai – Laos, the origin of the Naga in the Mekong River Basin and its tributaries comes from Nong Sae. Whereas the archaeological evidence indicates that the aspect of Naga did not originate in the Nong Sae or Erhai Lake in Yunnan Province. In fact, it is the result of exchange and assimilation between the Indian civilization and the southern Chinese ethnic tribes. Considering the seriation of archaeological evidence, it can be seen that the belief in the Naga entered Southeast Asia through Buddhist merchants and monks from the Krishna-Godavari river basin around the 1<sup>th</sup> – 3<sup>th</sup> centuries. The early evidences appearing in the port communities which accessible from merchant ships on both the Bay of Bengal and the Gulf of Thailand. While the Indian-style Naga appeared in Khmer culture around the 6<sup>th</sup> century. Therefore, the Naga aspects from the Nan Zhao scrolls was dating estimated in the 9<sup>th</sup> century. Another assumption was about the conflict of 2 Nagas appeared in the Thai -Lao legend and in the Nan Zhao scroll. The Erhai picture in Nan Zhao scroll illustrated an image of two Nagas’ attendants, a gold fish carring money and a jade conch. The key success factor of the coinage system was necessary to set standards from the governor. Thus, the goldfish carring coin is not only a form of an animal. Rather, it reflects the acceptance of the state economic system based on power from the Han rulers. Eventually, the Bai culture group around Erhai Lake was assimilated into the Han culture while the Tai-Lao group spread out along the Mekong Basin and its tributaries. Still favoring the nature of an independent economy that was not bound by standards from the central government as colonial countries. Basic habits that favor a simple, economic system along with the art of not being governed, it is an important geopolitical core that makes the Tai ethnic group separate the center from those in southern China. Therefore, the Naga culture still appears in the folk culture of the Mekong Basin and its tributaries today. Meanwhile, the Yunnan area has been assimilated by the dragon gods of the Han culture, leaving only sparse evidence today.</p> Phuvanart Rattanarungsikul Copyright (c) 2024 DEC Journal https://creativecommons.org/licenses/by-nc-nd/4.0 https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4033 Sun, 28 Apr 2024 00:00:00 +0700 Old Chedi of Wat Anam Nikayaram: Styles and Meanings of Various Architectural Statuses https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/3853 <p>The Bang Pho area of Bangkok shows signs of cultural diversity related to history and has affected the landscape, environment, and communities that exist today. This can be seen from the evidence of the Anam Nikayaram temple, the Vietnamese settlement, the traces of the ancient sites and the condition of the evidence related to the use of the area by the traditional community. The encroachment of temple areas, cemeteries, and pagodas from surrounding communities is a result of changes in ethnic identity. Assimilation of traditional communities which is one of the dynamics of cultures that can merge and blend together. Only the part of the monastery area that has been promoted is preserved as the identity of Vietnamese Buddhism. External historical sites related to traditional communities and related to the beliefs of the temple, it was still neglected, abandoned and lacked maintenance, leaving it in a very dilapidated condition. As a result, in addition to the external condition of important historical sites being damaged and their importance no longer visible. Mention of the history, meaning, function and importance that once existed has disappeared from the memory and awareness of the community. Studying to determine the exact meaning, function, and form of important ancient sites like the old Bang Pho Chedi is therefore extremely difficult. From the current state of decay and disrepair, it creates many doubts among those who see it, leading to questions about its changed status and importance. Reasons for abandonment, encroachment, direct designation of names and functions. Another thing is the emergence of art forms that come from various combinations. It invites you to think of a comparison with contemporary architecture that has been popular for a certain period of time or a combination of continuous modifications, additions, improvements until it becomes an architectural style that cannot be defined as any one thing in particular. This phenomenon that occurs in Thai architecture therefore leads to an examination of the clarity of form in a state where architecture is viewed as a creation outside of traditional art conventions.</p> Arnuphap Chantharamporn Copyright (c) 2024 DEC Journal https://creativecommons.org/licenses/by-nc-nd/4.0 https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/3853 Sun, 28 Apr 2024 00:00:00 +0700 Children, Art museum, Talking and Asking Questions https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4514 <p>The purpose of this article is to point out taking children to learn the modern art in art museums. Talking and asking questions that are critical to the development of the foundations of life, both physically, emotionally, and mentally. The art museum has huge, light spaces. It is ideal for children to learn. Talking and asking questions are important to give children an understanding of the artwork. The artist's ideas. The talk and questions will depend on the age of the child to be used properly so that the child can learn the linkage of the work to themself.</p> Atipat Vijitsatitrat Copyright (c) 2024 DEC Journal https://creativecommons.org/licenses/by-nc-nd/4.0 https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4514 Sun, 28 Apr 2024 00:00:00 +0700 Mystic Border. When borders are hidden by the state. Photo Operations on the Thai - Myanmar Border https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4315 <p>This paper presents the Dara-Ang ethnic group residing in Ban Nolae, Fang District, Chiang Mai Province, Thailand. The study, which focuses on the community's experiences in the borderland context between Thailand and Myanmar, uses documentary photography and social science concepts to explore the notions of state, border, identity, and power. The fieldwork observations and photographic documentation reveal that the Dara-Ang people struggle with their identity under the influence of capitalism. They are recognized and marginalized by the state, and their existence is fluid and dependent on external forces. This realization transformed documentary photographs into fine art photography through darkroom manipulation.</p> <p>The resulting artworks create new meanings from the film traces, challenging the positioning of borderland ethnic groups as citizens by the state and capitalist systems and questioning their agency within this liminal space.</p> Ugrid Jomyim Copyright (c) 2024 DEC Journal https://creativecommons.org/licenses/by-nc-nd/4.0 https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4315 Sun, 28 Apr 2024 00:00:00 +0700 An Analysis of the Art Learning Management Model Based on the Loose Parts Concept for Early Childhood Children https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4445 <p>The purpose of this research is to analyze the art learning model according to the concept of "Loose Parts" for early childhood children. and analyze the current formats of art learning management for early childhood in various formats. The sample group includes 40 art learning activities according to the Loose Parts concept. Data collection tools include an analysis table summarizing the formats. Arrange art learning according to the concept of Loose Parts for early childhood children. Consists of the following elements: 1) learning topics 2) activity units 3) materials 4) skills developed and a table summarizing the current art learning management model for early childhood in various formats, consisting of the following elements: 1) art learning management model 2) teaching components 3) component details teaching This is a secondary literature review. From related research documents Journal of art activities both domestically and internationally. and conclude with analytical tables and content analysis.</p> <p>The results showed that the Loose Part art learning management model for early childhood is a highly flexible learning arrangement. It has an open-ended topic that does not restrict the work topic much to enable children to be flexible in their thinking and to create their own works as they imagine with materials. It is important that the material is an open-ended material that can be moved, assembled, dismantled, reconstructed, or redesigned in a variety of ways. When there is no fixed structure, children can unleash different thoughts and imaginations, be gender neutral, and can maximize their own imagination and creativity. Therefore, teachers, activities organizer, or parents must understand the development of learners. The ability to do anything, and the ability to do nothing, to make the activity effective and for the learner to truly develop.</p> <p>The results of the research were based on the analysis of the art learning management model based on the concept of Loose Parts for early childhood children. and forms of art learning management for early childhood children in various forms at present, it was found that the art learning management model based on the Los Parts concept is an open-ended learning management without a clear learning topic. so that children can be flexible in their thinking and create their own works according to their imaginations through the use of materials Open-ended devices that can be found in everyday life. both man-made materials and natural materials. It is important that the materials must be open-ended materials that can be moved, assembled, dismantled, rebuilt or redesigned in a variety of ways. which, when there is no fixed structure, results in children liberating their ideas and different imagination from the original gender-neutral used imagination and creativity with full efficiency as a result, children have developed skills in various fields comprehensively.</p> Jantana Chaiopanon, Soamshine Boonyananta Copyright (c) 2024 DEC Journal https://creativecommons.org/licenses/by-nc-nd/4.0 https://so07.tci-thaijo.org/index.php/decorativeartsJournal/article/view/4445 Sun, 28 Apr 2024 00:00:00 +0700