Journal of Fine and Applied Arts Chulalongkorn University

Editorial

Mon, 29 Sep 2025 00:00:00 +0700

INSTRUCTIONS FOR THE AUTHORS

Mon, 29 Sep 2025 00:00:00 +0700

ARTISTIC RESEARCH PROCESS IN “ART PHOTOGRAPHY: PARALLEL MEMORY AND LANDSCAPE IN CHIANG MAI"

SINEENARD CHAROENSRI, KAMOL PHAOSAVASDI — Mon, 29 Sep 2025 00:00:00 +0700

The dissertation titled Artistic Research Process in “Art Photography: Parallel Memory and Landscape in Chiang Mai” aims to: 1. investigate the concepts of memory and place, phenomenology theory, artistic works, and the knowledge that has shaped the transformation of Chiang Mai’s andscape, and 2. develop artistic pieces using photographic media as vehicles of memory that mirror the alterations in the landscape of Chiang Mai. This work is driven by the personal memories arising from the researcher's life experiences and journeys, which have led to a reflective observation on the evolution of the local landscape from historical to contemporary times. This process of research and creative experimentation draws directly from the personal experiences of the artist researcher, who was born and raised in Chiang Mai, employing photography to capture and convey memories interlinked with landscape elements such as places and objects. Influenced by souvenirs, this inspiration becomes a powerful motivator for conveying memories, leading to the creation of photographic works. These serve as memory objects in the form of souvenir keychains, reminding us of past narratives and reflecting on the places and public spaces tied to personal memories.

J.S. BACH'S SUITE NO.1 FOR SOLO CELLO, APPLYING BAROQUE CELLO TECHNIQUES TO INTERPRETATION

APICHAI LEAMTHONG, WIBOON TRAKULHUN — Mon, 29 Sep 2025 00:00:00 +0700

This research aims to explore the Baroque musical practices in the performance of Johann Sebastian Bach’s Cello Suite No. 1 in G Major, BWV 1007, focusing on the historically informed interpretation and techniques that align with the composer’s intent. Aspects of exploration include the musical structure of the piece and its performance techniques in the 18^th century, from sitting position, bowing, articulation, ornamentation, use of vibrato, dynamic, and execution of chords. The researcher will practice and study the piece using a modern cello and a recreated Baroque bow. The research findings will demonstrate how Baroque sitting position, bowing techniques, and other methods contribute to creating a unique sound texture which is markedly different from contemporary cello playing styles. Furthermore, the researcher will propose an interpretative approach concerning the use of vibrato, execution of chords, varying dynamics and articulation to form clear and articulated phrases in the performance of the piece, while maintaining its distinctive Baroque suite structure.

ANALYSIS OF MEMORY OBJECTS IN MIXED MEDIA PAINTING: TRACES OF MY MOTHER AND I

NATIMA SUWANNAWONG, KAMOL PHAOSAVASDI, KITSIRIN KITISAKON — Mon, 29 Sep 2025 00:00:00 +0700

Going back and reviewing my childhood experiences in my hometown, Nakhon Si Thammarat Province, leads to an understanding of memories from past experiences. The relationship between mother and daughter leads to the concept of the overlapping of shared memories; it reveals the value of a mother’s love through the study of memory objects in creative works. This article is part of the creative research on mixed media painting: traces of me and my mother. The objectives are 1. to analyze stories from memory objects in the hometown of Nakhon Si Thammarat that convey love and the bond between mother and child leading to the creation of a unique identity; 2. to study theories and techniques for creating symbols in mixed-media painting, and 3. to create mixed-media paintings that reflect memories, love, and the bond between mother and child. There are research methods, including surveying and observing memory objects in the hometown area, Nakhon Si Thammarat. This research article studies theory of memory, semiology, and an interview with the researcher's mother about past experiences.

The results of the study resulted in gaining knowledge of the process of creating four sets of mixed media paintings that developed symbols from my mother’s Pa-teh (Batik Sarong) patterns, and my childhood paintings, which is something that communicates stories showing the existence of the past through traces on the surface of mixed-media paintings, revealing the conversation between mother and child and the harmony of different traces, and returning to interact with past experiences again shows the continuing memory, love, and bond between mother and child that continues from the past to the present.

VOCAL RECITAL BY PATHITAT CHANTHANAKORN: CLASSICAL AND MUSICAL THEATRE REPERTOIRE

PATHITAT CHANTANAKORN, KITTINANT CHINSAMRAN — Mon, 29 Sep 2025 00:00:00 +0700

The vocal recital by Pathitat Chantanakorn: Classical and Musical Theatre Repertoire aimed to demonstrate the differences in singing techniques of the 2 musical styles, divided into 2 parts, consisting of 5 art songs and 7 musical theater solo pieces, totaling 12 songs. The performance is equipped with creativity and conception. The history of the composers and the songs was studied, including the analysis of poetry and specific techniques, and accurate pronunciation according to set objectives. This is to discover comparative conclusions to the differences between the two musical styles and their application to the researcher’s singing career in the future.

FOLKLORE INFORMATION ON THE BELIEF IN KHWAN LEADING TO THE CREATION OF THE CONTEMPORARY DANCE SERIES “KHWAN”

PREYAPORN PHATCHANI, ATSADAWOOT SRITHON — Mon, 29 Sep 2025 00:00:00 +0700

This research explores the belief in “Khwan” in Thai folklore and presents guidelines for creating contemporary dance from this belief. It studies the meaning, importance, and rituals related to Khwan in Thai culture. The information obtained is then analyzed to find ideas for creating gestures, movements, and other elements of contemporary dance that can appropriately convey the belief in Khwan. The research found that the belief in Khwan is an important part of Thai culture, reflecting the connection between humans and nature, and the belief in unseen powers. Studying the belief in Khwan leads to an understanding of the values and meanings of life, as well as the various rituals associated with calling Khwan, receiving Khwan, and sending Khwan, all of which have spiritual meaning and value. The researcher used the information obtained from the study as a guideline for creating the contemporary dance “Khwan”, focusing on communicating the meanings and feelings associated with the belief in Khwan through the design of gestures, movements, imitation of Khwan's postures in various positions, costume design, meaning communication through the use of colors that appear in the Khwan calling ceremony, and other elements that are contemporary, while still preserving the core of the belief in Khwan. This dance work is therefore a harmonious blend of traditional beliefs and contemporary performing arts. It also contributes to the preservation, continuation, and extension of Thai culture, as well as inspiration for creating contemporary art.

ECLIPSE: THE CURATORIAL WORK OF CONTEMPORARY THAI FOLK BRASS BAND PERFORMANCE

KHAJITTAM PHATTAYAKUL, KAMOL PHAOSAVASDI, PORNPRAPIT PHOASAVADI — Mon, 29 Sep 2025 00:00:00 +0700

This article presents the concept and practice of curating performances of Thai folk brass bands, using “eclipse” as a metaphor reinterpreted. The study focuses on the performances of these brass bands from spatial thinking, examining the dimensions of sound and its impact on audience perception through the creation and compression of spatial thinking. The aim is to bserve the seamless movement, integration, and transformation of space by the brass bands, leading to a new interpretation of “eclipse” in terms of inclusion and composite. This reveals the monad, and the sentiment emanating from the sound of the folk brass band.

THAI DANCE CHOREOGRAPHY: SUWANMALEE AND SINSAMUT DRESSED FOR BATTLE

PARINYAWAT THANATHANANTHORN, JINTANA SAITHORGKAM — Mon, 29 Sep 2025 00:00:00 +0700

This research article aims to design and creatively choreograph the performance while also evaluating the quality of the work through a creative research approach. The study gathered data from documents, textbooks, interviews, and observations from various sources. The collected information was analyzed and compiled to serve as foundational knowledge for the creative process. The research findings identified a 10-step process in creating choreography. It began with inspiration from the Phra Aphai Mani story, specifically the episode where Suwanmalee prepares Sinsamut for battle, leading to the creation of a paired dance showcasing their preparation. Information was gathered through interviews with seven experts to guide the creative process. A framework was developed, dividing the performance into three parts: announcing the battle, dressing for battle, and preparing to fight. Lyrics and music were adapted from Sunthorn Phu’s poetry, incorporating Malay elements to fit the storyline. Sinsamut performed a Mon Song Bath Dance, while Suwanmalee performed a Khaek Song Bath Dance. Two performers were selected to play the roles of Suwanmalee and Sinsamut. Dance movements were carefully designed to reflect the narrative, categorized into main movements, expanded movements, and transitions. Costumes were uniquely crafted to represent the characters and align with the battle theme, while props such as a bed, cosmetics, a mirror, and weapons were created to enhance the storytelling. The performance was then reviewed by experts in a focus group, and their feedback was used to refine the work. This improved version was prepared for dissemination, providing a model for creating similar paired dances and contributing to the improvement of Thai performing arts knowledge.

ROLES AND DEVELOPMENT OF SECOND VIOLIN IN HAYDN: STRING QUARTET OP. 17, NO. 6 AND STRING QUARTET OP.76, NO. 3

YANISA SRIROJANUN, NATCHAR PANCHAROEN — Mon, 29 Sep 2025 00:00:00 +0700

Through an examination of Franz Joseph Haydn’s String Quartet in D Major, Op. 17 No. 6 (1771) and String Quartet in C Major, Op. 76 No. 3 (1796-1797), this study aims to demonstrate the evolution and development of the second violin line within the genre of the string quartet. It shows the development of compositional techniques alongside new creative ideas concerning the interpretation of the second violin part through analysis of musical scores, sound recordings and performance practices.

This research shows how the character of the second violin evolves from a mere ‘accompanying’ role, as in Haydn’s String Quartet Op. 17, No. 6, to its role in his String Quartet Op. 76, No. 3, where it utilizes higher playing positions, often taking the principal melodic line, resulting in technical demands more akin to Haydn’s first violin writing. The recorded interpretations of the Festetics Quartet, Kodály Quartet and Buchberger Quartet are used to analyze Haydn’s tempi, dynamics, and articulations. This article will promote a better understanding of the importance of the second violin and its significance to the development of the string quartet.

MASTER MUSIC COMPOSITION “VAYO” FOR ORCHESTRA

SIAM CHAMCHOY, NARONGRIT DHAMBUTRA — Mon, 29 Sep 2025 00:00:00 +0700

This article constitutes a part of the master level of music composition “Vayo” for orchestra. It is a composition characterized by a large-scale orchestral formation with all musical components originating from philosophical aspects of Kasina Meditation, Buddhism, the ethical perspective of the researcher, imaginative interpretations, and realism based on the researcher’s experiences. The researcher aims to convey the principles bridging religion and reality. The objective is to present tone colour, musical content, and the dimension of orchestrating harmonies by collecting and examining relevant materials to create depth and generate interest effectively. In this regard, the researcher aims to broaden the audience's perspective towards the philosophical aspects of abstract music while allowing the compositions to inspire those interested in composition skills.

THAI-CHINESE SYMBOLS: SYNTHESIZING BELIEFS IN FINE ARTS DURING THE REIGN OF KING RAMA III TO THE CREATION OF PRINTS “AUSPICIOUS” SERIES

PRATIMA TUNYABOONTRAKUN — Mon, 29 Sep 2025 00:00:00 +0700

The objectives of this research were: (1) to study the beliefs and symbols in the art works of the King Rama III era; (2) to synthesize the beliefs of symbols that appear in the art works of the King Rama III era; and (3) to create a series of “Auspicious” prints that show Thai-Chinese symbols. The researcher has studied documents and field data on works of art during the reign of King Rama III in 7 temples. The researcher created an evaluation of a draft of prints inspired by Thai-Chinese symbols found in the art works of King Rama III for 9 art experts to evaluate and give suggestions. The data were analyzed with description. The findings showed that 1) beliefs influence the way people live their lives and determine the behavior of people in society. Overall, beliefs can be told through symbolic media appearing in works of art. It is often a matter that aims to lead a smooth life, be happy, have a long life, have good fortune, have your wishes fulfilled, have success, love and wealth, and be free from bad things; 2) from the survey, it was found that symbols that represent good fortune are used and developed from an abstract form into a concrete symbolic form through painting, sculpture and architecture which can be divided into 5 categories: 1) auspicious animals, 2) various plants, 3) objects, 4) gods or persons, and 5) characters; and 3) the creation of the “Auspicious” series of prints depicts Thai-Chinese symbols that express the long-standing belief in harmonious relations between Thailand and China. This gives a feeling of auspiciousness according to Chinese culture and has presented a contemporary style using shapes, lines, and bright colors and the arrangement of the elements shows happiness, auspiciousness, good luck, good fortune, and protection from bad things to live in peace and happiness.

Is It Really Simple to Play Ching?

NITIPONG KHAIROO — Mon, 29 Sep 2025 00:00:00 +0700

This article focuses on displaying the knowledge and insight of Ching. The question was raised from two contrast views of the people within the Thai music industry and those who are not regarding whether playing Ching is simple, aiming to make readers comprehend Ching in different aspects. The content of the article includes: (1) the history of Ching, (2) Ching as a symbol of the beginning, (3) the physical characteristics of Ching, (4) important considerations for Ching players, and (5) principles and styles of playing Ching in Thai music.

The study showed that Ching is a percussion instrument made of cast brass, shaped like a pair of Thai coconut rice pancake (Kanom Krok) molds. Archaeological and literary evidence indicated that Ching is a rhythm-keeping instrument in Thai ensembles. Past masters embedded symbolic meanings into Ching to convey the concepts of beginning in three contexts: (1) the ritual honoring ceremony of Thai music teachers, (2) teaching and learning Thai music and dance, and (3) music rearrangement.

The important considerations for Ching players include: (1) sitting posture while playing Ching, (2) ways to produce quality Ching sound, (3) the position of the Ching player in a Thai ensemble, (4) playing Ching to enhance musical emotions in performances, and (5) playing Ching to enhance musical emotions in music. Regarding principles and styles of playing Ching in Thai music, two patterns were found: standard rhythm and special rhythm.

THE ARTISTIC SOUND OF “TONE CHATRI AND KLONG CHATRI”: THE MUSICAL LEGACY OF BAN RUANGNON

BOONSUEB RUANGNON , TEEKAPAT SONTINUCH — Mon, 29 Sep 2025 00:00:00 +0700

This article examines the “Tone Chatri” and “Klong Chatri” in terms of their performance techniques, transmission, promotion, and future preservation, focusing on their role as significant musical instruments in the Chatri drama performances of Ban Ruangnon. These instruments play a crucial role in maintaining rhythm during performances and have a historical legacy dating back to the early Rattanakosin period. The transmission of skills related to playing the Tone Chatri and Klong Chatri within the Ruangnon family has been carried out through intergenerational knowledge transfer and by providing opportunities for external learners. To explore and analyze the musical uniqueness and role of these instruments, this study highlights the adaptation of traditional ensembles from the use of the original Nora orchestra to integrating the Pi Phat ensemble and the transformation of performances from ritualistic offerings to academic and cultural tourism showcases. Despite these adaptations, the traditional essence of the performance art has been preserved through one-on-one knowledge transmission within the family across generations.