Journal of Fine and Applied Arts Khon Kaen University

Khon Masks in Wai Khru Ceremony

Saksom Panthong — 2026-06-29

This qualitative study aims to 1) study the importance of the mask in the Wai Khru ceremony. This study used a qualitative research method. By studying information from documents, textbooks, and information that is the researcher's direct experience. who have had the opportunity to participate in the Wai Khru ceremony, Khon, and drama many times Then take the obtained data for analysis and synthesis.

The research results found that The mask is very important in the Wai Khru ceremony. Both in terms of physical, spiritual, power of knowledge, and faith and it is one of the important factors that affect to Wai Khru ceremony. The importance of the mask in the Wai Khru ceremony can be divided as follows:

The mask serves a symbolic function. It represents the power of the great gods, demons, monkeys, and other characters in the Ramayana. In the ceremony of paying homage to the Thai traditional dance teacher, Different types of masks will be summoned. Placed on the ceremonial pavilion to represent the sacredness of the various gods. In the Wai Khru ceremony, It is like inviting a Khon drama teacher into the ceremony for the students to pay respects. To bring about good fortune Especially those who act as officiating ceremonies. The mask of the Brahmarshi must be worn. It is a symbol showing that the person performing the ceremony is a representative of the Brahmarshi. The god who is responsible for the dance moves Collection of various postures of the arts from the Vedic dance, which was created by Lord Brahma, and the literary arts from the Rigveda. Music from the Sam Vedas Performance of various poses from Yajurveda and the flavor or emotion from the Atharva Veda was codified into the Dance Veda.

The mask is the embodiment of the spirit. It is well known that dance is a discipline influenced by Hindu beliefs. in which many gods are respected And most of those gods are in the Ramayana. That was influenced by the epic Ramayana The mask helps create a magical atmosphere in the Wai Khru ceremony in Thai dance. It has a Hindu flavor. and making a complete difference to the general Wai Khru ceremony. Especially the khon masks that are placed on the pavilion for the Thai classical dance ceremony held in a quiet place. and cut off from the outside atmosphere together with the sound of pipe playing This makes those who attend the Wai Khru ceremony of Thai dance feel like they are in a trance.

The mask is a medium for delivering the power of knowledge and rights. During the ceremony cover the teacher and Students who have just begun to study dance subjects or to study dance at a higher level The teacher who performs the ceremony must cover the teacher and student with the mask of Brahmarshi, the mask of Phra Phirap, and Sert of Nora. It can be compared to the teacher who performs the ceremony passing on knowledge, faith, and various subjects in the performing arts to the students with the mask as a medium.

Buddhist Beliefs in the Paper-Cutting Culture of Dehong Dai in Mangshi City, Yunnan Province

Zhao Mi — 2026-06-29

The objectives of the research are 1) to study the history of Buddhist beliefs and the paper-cutting culture in Mangshi city, Yunnan Province and 2) to study the Buddhist beliefs that appear in the paper-cutting culture of the Dai people in Mangshi city, Yunnan Province. This study employed a qualitative research methodology. The informants included a group of 30 people. They were selected using random sampling techniques. The data were collected by means of observation and interviews. The research results were applied using descriptive analysis methods. The results of research revealed that 1) Before Buddhism came to Mangshi city, Dai people probably have traditional beliefs in respecting sacred things in nature and worshiping ancestors. After Buddhism came, it was mixed with traditional beliefs, resulting in Theravada Buddhism, which has a unique local identity. The paper-cutting culture of Dehong Dai is probably local wisdom influenced by traditional beliefs, Buddhist beliefs Including the influence of the culture of the Han people. This makes the paper-cutting culture of the Dai people still have many styles, contents, and techniques, and is widely used in merit-making ceremonies (Bai ceremonies). 2) Buddhist beliefs that appear in the paper-cutting culture include beliefs about building temples, pagodas, and Buddha statues; Karma; Merit-making ceremonies or Bai ceremonies; Offering sacrifices about animals, flowers and plants.

Designing a Mascot for University Sports Event: A Case Study of the 15th Sathorn Games at RMUTK

Vorachat Busamsai — 2026-06-29

This research aimed to 1) study and analyze data on the mascots from previous Sathorn Games, 2) design the mascot for the 15th Sathorn Games, and 3) assess satisfaction with the prototype mascot for the 15th Sathorn Games. A mixed-methods approach was employed in this research. The research instruments included semi-structured interview, a design appropriateness evaluation form, and a satisfaction questionnaire. In the qualitative research, interviews were conducted with 3 key informants selected through purposive sampling. In the quantitative research, the appropriateness of the mascot design was evaluated by 5 experts. Satisfaction with the mascot was assessed by 300 undergraduate students from Rajamangala University of Technology Krungthep in the academic year 2023. They were selected through purposive sampling. Data was collected online and analyzed using statistical methods including percentage, mean, and standard deviation. The findings were presented in descriptive form, supported by images and tables.

The study revealed that: 1) The current mascot design has strengths in its variety of shapes, alignment with the sports event, and eye-catching colors. However, its weaknesses include poor communication of meaning, lack of memorability, and unclear personality. Opportunities lie in its potential for promotional activities, while threats include its limited adaptability as a souvenir and the use of fragile materials. 2) Five mascot designs were created for the 15th Sathorn Games, named Yak Thai, Ton Sathorn, Kra-rok, Nong Technic, and Alien. The appropriateness evaluation by experts revealed that the mascot design named "Nong Technic" was the most appropriate, with an overall mean score in all aspects at high level (𝑥̅=4.06 , S.D.=0.21). 3) The satisfaction evaluation of the prototype by the sample group in terms of creativity, aesthetics, memorability, and practical usability showed a high level of satisfaction (𝑥̅=4.44 , S.D.=0.17).

Artistic Fashion Design: Flowers Pattern Creation inspired by Vietnam Royal Garment in the Nguyen Dynasty

Tuan Phan Anh — 2026-06-29

Vietnam is a famous with many historical and cultural heritages such as culture, literature, architecture, and art. In particular, the Nguyen Dynasty (1802-1945), is considered the most prosperous period in Vietnam's history. During the Nguyen Dynasty era, the emperors' attire was a very special type of attire, showing the strength and power of the king. One of them is customary attire, which honors aesthetic value and supreme power. Through this research, the author wants to introduce the decorative patterns on the Nguyen Dynasty's customary attire through the creation of modern artistic fashion costumes. The research has three primary objectives: 1) To study the key issues related to patterns on customary attire of Nguyen Dynasty emperors; 2) Analyze creative design concepts and research methods on patterns on customary attire of Nguyen Dynasty emperors; 3) Implement and apply creative models based on the Nguyen Dynasty emperor's customary attire into artistic fashion outfits.

This research aims to introduce new artistic costume designs by preserving the essence of traditional Nguyen Dynasty patterns and combining them with modernity. Furthermore, the author wants to introduce to young people and foreigners a better understanding of the culture and art of the Nguyen Dynasty of Vietnam. From the above research works, the author offers suggestions on using organizations to develop individual capabilities and proposes further research for those interested. People can apply these patterns in design, including clothing, accessories, and complete decorative jewelry, to reflect the identity of the Nguyen Dynasty in a new direction; Commerce can be an idea for entrepreneurs to design a variety of products to apply to Vietnamese products and export them abroad in a modern style, reflecting Vietnamese art and fashion.

Design of Sizing Equipment the Proportions of the Chair are Appropriate for the User for Furniture Designers and Manufacturers

Peerapong Puntasri — 2026-06-29

The objective of the research is 1) design and manufacture a device used to determine suitable user chair sizes and proportions for designers, furniture manufacturers and professors of design,; and 2) Evaluate satisfaction among designers, furniture manufacturers and professors of design towards the device used to determine suitable user chair sizes and proportions. The sample consisted is ten furniture designers and manufacturers, three professors teaching in the field of product design, who were selected by purposive sampling. The instrument used in this study was a design result evaluation form, an interview form, and a satisfaction assessment form. The statistics used in this study were percentage and mean. Research results found that 1. designing and manufacturing a device used to determine suitable user chair sizes and proportions for designers, furniture manufacturers and professors of design the device used to determine suitable user chair sizes and proportions was found to be suitable for furniture designers and manufacturers (88.11%). The device used to determine suitable user chair sizes and proportions for furniture designers and manufacturers was able to measure user size and was suitable for use (91.11%). The prototype product was able to enhance efficiency of education in subjects involving furniture design and chair design work (93.22%). Recommendations in prototype product development were as follows: 1. Recommendations were made in the area of weight to facilitate use in product design to include chair inclination adjustments; 2. In the area of satisfaction among designers, furniture manufacturers and professors of design towards the device used to determine suitable user chair sizes and proportions, overall satisfaction towards the product among subjects all groups was found to be at 95.44%.

Songkhla Old Town: The Multicultural Capital in Creative Arts to Enhance Community Economy

Korarit Nilvanich — 2026-06-29

The purposes of this research are; 1) to develop Songkhla old town cultural map and cooperation plan 2) to develop the cultural product, cultural service and cultural space from cultural map data through the participatory process 3) to develop the entrepreneurs, community enterprise and to create value from Songkhla old town cultural capital and 4) to create arts and culture knowledge base including promoting cultural knowledge management for Songkhla old town. The sample groups consisted of 40 community leaders and entrepreneurs, 100 tourists and 644 samples on Social Return on Investment evaluation.

The research tools were 1) the cultural identity and community need survey forms, the interview forms of stakeholders and entrepreneurs in Songkhla old town 2) Songkhla old town tourists’ questionnaires 3) experts evaluation forms and 4) the evaluation forms of community economics, social and environment including a partnerships’ satisfaction on creative works. The research found that 1) the development of the Songkhla old town cultural map and cooperation plan had surveyed and categorized cultures in the Songkhla old town area with the cooperation from the community network and 124 cultural lists were pinned on the cultural map 2) the data from a cultural map were developed to be cultural products, cultural services and cultural spaces through 12 activities with community participation 3) the cooperation with entrepreneurs in the community to develop prototype products and conduct the market testing 4) developing website “สงขลาเข้าท่า.com” (songkhlakaotha.com) which including cultural map data, cultural products data, entrepreneurs and shops data, video, cultural data sources and news and activities in Songkhla old town area. Moreover, the researchers can further develop 59 cultural products and services using cultural map data and all these products and services are useful for local entrepreneurs and community economics.

Communicating Local Identity through Creative Photography Books: Visual Storytelling Techniques for Portraying the Lifestyle and Natural Environment of Ban Phon Ngam, Nakhon Phanom Province.

Watchara Sutakot — 2026-06-29

This research aimed to 1) Analyze the local identity, lifestyle, and natural environment of Ban Phon Ngam, Nakhon Phanom Province, 2) create a photography book communicating local identity using visual storytelling techniques, and 3) evaluate the effectiveness of local identity communication through the creative photography book. A mixed-method approach was employed, including document analysis, focus group discussions with 15 key informants, participant observation, documentary photography, and evaluation by 10 experts and 50 tourists. The findings revealed five prominent dimensions of local identity: history, cultural traditions, beliefs, occupations, and local ecosystems, particularly the relationship between the community and Pha Pao, a unique natural attraction. The photography book creation integrated documentary photography with visual storytelling techniques. The evaluation results showed that the photography book effectively communicated local identity, with both experts and tourists rating it at the highest level x̅ = 4.56, S.D. = 0.17 and x̅ = 4.55, S.D. = 0.52, respectively. This research can be applied to develop creative media for promoting cultural tourism and sustainably preserving local identity.

Creative Folk Dance Fon Wichitra Phusa Thai Loei

Sarinthorn Khumkhet — 2026-06-29

The purpose of this research were to Study the production process of naturally dyed cotton fabric in Ban Kok Bok and create a folk dance, "Fon Wichitra Phu Sa Tai Loei," inspired by the indigenous wisdom of cotton weaving among rural women's groups in Loei Province. The target participants of the study included 15 members of the cotton-weaving community group, community leaders, and elderly residents of Ban Kok Bok, Wang Saphung District, Loei Province, as well as 5 dance teachers. The target group for the transmission of the dance was 8 undergraduate students majoring in Dramatic Art at Loei Rajabhat University. The study employed qualitative research methods and was conducted through fieldwork, documentary review, and an analysis of relevant research. The findings revealed that the creative local dance " Fon Wichitra Phu Sa Tai Loei " represents a cultural expression that integrates knowledge and practices of natural dyeing and traditional weaving processes, thereby promoting the identity of Loei Province. The performance is structured into three parts: (1) the preparation of cotton fibers and natural dyeing, (2) the weaving process, and (3) a festive celebration. The accompanying music was composed to correspond with each stage: slow-paced melodies for the initial cotton preparation and dyeing, a moderate tempo for the weaving process, and lively, energetic rhythms for the final festive scene. Costumes were designed to reflect the cultural aesthetics of Loei. The performance and its dissemination demonstrated that the choreographic design effectively conveyed the local weaving process. The dance movements, musical accompaniment, and costumes were appropriate and harmoniously integrated. The creative performance is aesthetically pleasing, engaging, and successfully embodies the lifestyle and cultural heritage of Loei Province.

Ritual Music in Chao Huan Sam Pra Ong Ceremony

Witchayut Phiromkraipak — 2026-06-29

This study examined the role of music in the Ritual of Worshipping the Spirit Shrine of the Three Lords (Chao Huan Sam Pra Ong) and analyzed its musical characteristics.

The research identified seven primary functions of ritual music: expressing belief; serving as a ceremonial ensemble; acting as a medium for communication with sacred beings; enhancing emotional and participatory engagement; representing local cultural identity; preserving traditions and culture; and functioning as a signaling system. The ritual was annually performed in the sixth lunar month, prior to the planting season.

The principal instruments used in the ceremony were the khaen (free reed mouth organ) and gong, both of which were considered essential. The khaen melodies consisted of thirteen traditional patterns, such as Lai Loe Ban Yao Yai, Lai Si Khot Ta Boon, and Lai Lam Phloen. The range of the khaen extended from low "La" (below Middle C, on the second ledger line below the staff) to high "La" (on the first ledger line above the staff). The melodies were performed using three tonal modes: the ionian mode, the dorian mode, and the mixolydian mode (a traditional pentatonic scale). The musical pieces were performed in simple duple meter, with the gong maintaining a steady rhythm throughout each measure, functioning similarly to a beat that provided temporal consistency.

The first set of khaen ritual patterns comprised eight rhythmic pulse groups, with the third group serving as the principal rhythmic pulse, characterized by the greatest descending motion. The second set contained twenty-five rhythmic pulse groups, with the fourth group functioning as the main rhythmic pulse, exhibiting the most stable directional flow. It was observed that the khaen melodies featured a higher frequency of notes than the gong melodies, which maintained a consistent note density across every measure. The tonal colors of the music were integral to enhancing the spiritual and emotional dimensions of the ritual, ranging from solemn and sacred to festive and joyful atmospheres.

The Creation of Thai Music "Phleng Tab Buddha Jayamangala Gatha”

Ratasin Chomsung — 2026-06-29

This research aims to study, analyze, and synthesize the Phleng Tab Buddha Jayamangala Gatha to create a musical suite entitled Phleng Tab Buddha Jayamangala Gatha, employing a qualitative research methodology that involves document analysis and interviews with experts in Buddhism and Thai musicology. The outcomes are presented as a creative work in Thai classical music, performed by a Mahori ensemble following the traditional framework of Thai music, with descriptive analysis applied to explain the content and compositional structure.

The findings revealed that the Buddha Jayamangala Gatha, which is also called Phuttha Atthajayamongkhon Gatha or Pahung Maha Gatha, is a Buddhist chant that tells the story of the eight victories of the Buddha and his enlightened followers over important challenges like Mara, giants, an elephant, bandits, a woman, non-Buddhist ascetics, a naga, and Brahma. The chant concludes with a blessing verse, making a total of nine verses. This chant is widely recited in Buddhist rituals and ceremonies for spiritual protection and success. The musical suite Buddha Jayamangala Gatha is composed in the format of a narrative “tab” suite, performed and sung by a Mahori ensemble. The lyrics are written in two traditional poetic forms: Khlong Si Suphap (Thai quatrain) and Klon Paet (Thai octameter poem). The suite consists of three sections: the first praises the virtues of the Buddha; the second, consisting of eight songs, recounts the victories; and the third concludes with the spiritual merits of the chant. The melody draws on traditional Kred songs in both double and single tempos, Use the following principles: arranging and selecting the melodies, consonants it also rigorously maintains the meaning of Pleang Ton Rag, combined with the composer’s imagination. The tonal framework primarily employs Phieng-o lang, with the secondary use of Phieng-o bon and Chawa tonal groups, while the rhythmic structure throughout the suite utilizes the Nathap Prob Kai rhythm.

Study of the Application of Jun Porcelain Elements for the Public Space Design in the Old Street of Shenhou Ancient Town

Xinyuan Fan — 2026-06-29

This research focuses on the study of the application of Jun porcelain elements for the public spaces design in the old streets of Shenhou Ancient Town. The objectives are to study user needs for the renovation of the old streets in Shenhou Ancient Town, as well as the current state of the old streets. To analyze the artistic identity of Jun porcelain and extract key elements, And propose possible approaches for applying Jun porcelain elements in the design of the old streets, the research methods used were documentary data study, field surveys, questionnaire data collection, and expert interviews. The results revealed that local residents have a need for the integration of green landscapes with Jun porcelain culture, as well as a need for the revitalization of public activity spaces and cultural empowerment. Tourists have a need to enhance their experience and interaction with Jun porcelain culture, as well as a need to create attractions and unique features for the area. The analysis of the artistic identity of Jun porcelain reveals that Jun porcelain has three characteristics: 1) glaze color, which is a naturally occurring color tone during the firing process, mostly in shades of reddish-purple and blue-purple with gradients; 2) patterns, which are abstract expressions of natural textures. That is, the patterns of Jun porcelain are formed by the flow of different colored glazes that are accidentally mixed and combined to form patterns; and 3) the shape, which inherits the aesthetic beauty of traditional vessels, emphasizing shapes that are both beautiful and functional. Furthermore, this research proposes a guideline for applying Jun porcelain elements in the design of old streets in Shenhou Ancient Town. The main activity area serves as a medium to systematically integrate these elements. The design includes the entrance plaza to the tourist area, the Xiao River and riverside viewpoints, and the street corner connection points. Furthermore, the design integrates functional needs with cultural experiences to create a balance between locals' lifestyles and tourist experiences.

Musical Accompaniment for Nang Talung Performance of The Sith Soi Saeng Troup, Bang Pit Subdistrict, Laem Ngop District, Trat Province

Thanaphon Pinkaew — 2026-06-29

This qualitative research aims to 1) investigate the essential features of the shadow play performances of the Sith Soi Saeng troupe in Bang Pit subdistrict, Laem Ngop district, Trat Province; and 2) transcribe and analyze the musical accompanying of the shadow play performances of the Sith Soi Saeng troupe in Bang Pit subdistrict, Laem Ngop district, Trat province. The results under those objectives found that 1) The Sith Soi Saeng troupe was founded by Mr. Khamnueng Soisaeng, who inherited the tradition from Mr. Pleuang Soisaeng, and still completely practice the performing rituals and components. 2) The musical accompaniment comprises of the Klong Kruk, Thon Thap, and Ching. Music transcription is resulted into four pieces in Western notation. Structurally, each piece followed a binary structure, and the vocal parts were extemporaneous, consisting of both syllabic and melismatic passages. The toneset were tetratonic, pentatonic, and hexatonic, and varied by song types. The lowest pitch was E⁴ while the highest pitch was E⁵. Melodic movement occurred in three patterns: static, ascending, and descending. All compositions used a 2/4 time signature, with tempos between 100–104 beats per minute, and featured five rhythmic patterns.