Collective Identity of Disguised Characters in Thai Classical Literature and Thai Visual Arts for the Learning Model of Creative Identity Linkage

Main Article Content

Wanwisa Promjeen

Abstract

The purpose of this research is to on study the collective identity of disguised characters in Thai classical literatures and Thai visual arts that are inspired from disguised characters from the past to the present. The data are collected from the reviews on Thai classical literatures and Thai visual arts, and the interviews with Thai artists, Thai authors, psychologists, scientists, and Buddhist monks who have expertise in religious dissemination. Additionally, it includes the analysis of visual artworks that relate to the disguise to analyze, synthesize, and create a linkage learning model of disguised characters in Thai classical literatures to visual arts into three pathways as follows: sciences, Thai classical literatures, and visual arts. After realizing the result of disguised character linkage from the research process. The author have created a set of visual art works to link the disguised characters in Thai classical literatures and hold an exhibition.


From the study, it has been found out that the disguised characters in Thai classical literatures have originated from the implication and lesson about human lust, and use language as the communication tool through Thai classical literatures. Not only does disguise appear in Thai classical literature but it also appears in European, South-west African, and Asian works. People around the world transfer culture to one another and it influences their arts and beliefs. In conclusion, the study summarizes the creative pathways into three, each of which has a different identity linkage, as follows: Pathway 1: the science principle as the main factor to emphasize on hormones that affect the human body and cause changes after short period of time; Pathway 2: creative visual arts as the main factor that emphasizes on the personification from the creator’s imagination; and Pathway 3: the message conveying the main factor to emphasize on the personality of the characters by analysis on their strengths and weaknesses.


In the conclusion of the linkage from the three pathways, all of them can be applied together for linking the character identity to create visual artworks, starting from the science principal as the primary factor, while imagination and creativity from Thai classical literature and Thai visual arts will follow (Science, Imagination and Creativity). One disguised character has five patterns of disguises and five steps, a combination of two academics link science logic and imagination into a visual art work. It leads to the identity linkage of disguised characters and the creation of visual arts.

Article Details

Section
Articles

References

Bancroft, T. Creating character with personality. New York: Crown, 2006.

Beans-magic. “3DCG Animation and Visual Design Company that create innovative works.” Beans-magic. Accessed November 29, 2020. https://www.beans-magic.com.

Beaurequard, H. and Loveemongkol, R. Thēppakō̜nnam Krīk Læ Rōman : Nāmānukrom Læ Kān ʻĀngʻing Nai Wannakhadī Farangsēt. [Greek and Roman mythology: Encyclopedic names and references in French literature]. Chiang Mai: Ming Mueang Chiang Mai, 2002.

Boonprakob, C. The Art of May Who? . Bangkok: LET’S Comic, 2015.

Charoenporn, N. “Human factors in Manufacturing System: Ergonomics, Safety Engineering.” Word press. Accessed November 29, 2020. https://nichbank.wordpress.com/category/human-factors-and-ergonomics/.

Clontz, J. M. Khon Masks: Thailand’S Heritage. Bangkok: Thai art Museum, 2014.

Department of Cultural Promotion. Rāmmakīan Nai Sinlapa Læ Watthanatham Thai. [The Ramakien in Thai Arts and Culture]. Bangkok: Department of Cultural Promotion, 1991.

Design Leaf. “3DGirl.” Design leaf. Accessed November 29, 2020. http://designleaf.blogspot.com/2007/07/3d-girl-v3.html.

Feungfusakul, A. ʻAttalak : Kān Thopthūan Thritsadī Læ Krō̜p Nǣokhit. [Identity: Review of theories and conceptual frameworks]. Bangkok: National Research Council of Thailand: NRCT, 2003.

Harnarongsak, P. “KānʻŌ̜kbǣp Tūalakhō̜n. [Character Design]. ” Gotoknow. Accessed August 4, 2020. https://www.gotoknow.org/posts/427700.

Julapong. “ Phāp Khīan Rām Kīat Hō̜ngthī 24 Chāk Thī 2 Thotsakan Phop Nā Sīdā. [Ramakien painting, room 24, scene 2 - Tosakan meets the black face].” Ok Nation. (picture). Accessed January 2, 2020A. http://oknation.nationtv.tv/blog/julapong/2013/06/13/entry-4.

_________. “ Phāp Khīan Rām Kīat Hō̜ngthī Yīsipsī Chāk Thī Pǣt - Thotsakan Plō̜m Tūa. [Ramayana Painting, Room 24, Scene 8 - Ravana in disguise].” Ok Nation. (picture). Accessed January 2, 2020B. http://oknation.nationtv.tv/blog/julapong/2013/06/14/entry-2.

Jutharat, M. Tamnān Krīk - Rōman (Chabap Sombūn) Phim Khrang Thī Nưng. [Greek-Roman Mythology (Complete version)]. Bangkok: Pimkham, 2004.

Kurathong, N. “Yō̜n Ramlưk Thưng Tā Pōn Nak Wāt Phū Mī Botbāt Samkhan Nai Wongkān Kātūn Thai Māk Wā 20 Pī. [Commemorating Ta Phon, the artist who has played an important role in Thai cartoon industry for over 20 years].” Plotter. Accessed November 29, 2020. https://www.plotter.in.th/?p=17583.

Laungaramsri, P. ʻAttalak Chāt Phan Læ Khwāmpen ChāI Chō̜p. [Ethnic identity and marginalization]. Bangkok: Princess Maha Chakri Sirindhorn Anthropology Centre (Public Organisation), 2003.

Leedy, P.D. and Ormrod, J.E. Practical Research: Planning and Design. 10th ed. Upper Saddle River, New Jersey: Prentice Hall, 2013.

Makjui, V. “Wikhro̜ Botbāt Nai Kān Plǣng Kāi Læ Kān Plō̜m Tūa Khō̜ng Tūalakhō̜n Čhāk Bot Lakhō̜nnai Phra Rāt Niphon Ratchakān Thī 2. [Analyze the roles of transformation and disguise pf the character of two plays by King Rama II]. ” Master’s thesis, Thaksin University, Bachelor of Arts in Thai, 2007.

Nabhalai, L. “Samutthai Lem Thī 28. [Thai Book no. 28].” In Ramayana drama His Majesty King Buddha Yodfa Chulalok the Great. Literature and History, Fine Arts Department. Bangkok: Fine Arts Department. Accessed November 22, 2019A. https://cmu.to/j57ax.

_________. “Samutthai Lem Thī 55. [Thai Book no. 55].” In Ramayana drama His Majesty King Buddha Yodfa Chulalok the Great. Literature and History, Fine Arts Department. Bangkok: Fine Arts Department. Accessed November 22, 2019B. https://cmu.to/zJIzl.

Narkpaichit, H. “Kān Wikhro̜ ʻOngprakō̜p KānʻŌ̜kbǣp Khā Ræktœ̄ Dīsai Phư̄a Klum Paomāi. [Millennial Generation The Analysis of Character Design for the Millennial Generation].” MSU Journal 33, no. 4 (2014): 199 - 208.

Netflix. “Krut The Himmaphan Warriors.” Netflix. (movie). Accessed 20 November 2020, https://www.netflix.com/th/title/81307987.

Office of the Royal Society. Photčhanānukrom Chabaprātchabanthittayasathān, 1999. [The Royal Institute Dictionary, 1999]. Bangkok: Nanmeebooks, 2003.

Panichrutiwong, C. “Khrut Sưk ʻAphi Mahā Yut Khō̜ng ʻǢnimēchan Thai ! : Chai Phō̜n Phānitrut Tio. [“Garut” the epic battle of Thai animation! : Chaiyaporn Panichruttiwong].” Mgronline. Accessed January 2, 2020. https://m.mgronline.com/onlinesection/detail/9610000061050.

Pesopas, T. “KānʻŌ̜kbǣp Tūalakhō̜n Phư̄nthān Samrap Dek. [Basic character design for the children].” Sripatum Chonburi Journal 12, no. 5 (July 2016): 181.

Phu, S. “Nithān Kham Klō̜n Sunthō̜nphū Rư̄ang PhraʻAphaimanī. [Nithan Kham Klon Sunthonphu Phra Aphaimani].” Vajirayana. Accessed November 29, 2019. https://vajirayana.org/พระอภัยมณี.

Romyanan, W. Wiwatthanākān wannakhadīthai. [The evolution of Literature]. Bangkok: Faculty of Arts Chulalongkorn University, 1997.

Ruengruglikit, C. Wannakhadītō̜nton: Laksanarūamlæittipol. [The early Ayudhya poetry: characteristics and influence]. 1st ed. Bangkok: Faculty of Arts, Chulalongkorn University, 2001.

________. “Kham Sap Nai Wannakhadī Thai : Kō̜ranī Sưksā Klum Kham Čhamlǣng ʻInsī Čhamlǣng Plǣng Kāi Čhamlǣng Kāi Čhamlǣng Rāng Læ Kham ʻƯ̄n ʻƯ̄n Thī Mī Khwām Khlāi kan. [A Case Study of Vocabulary in Thai Literature: Chamlaeng-plaengkai, Chamlaeng-kai, Chamlaeng-rang and Other Words of Related Meanings].” The Journal of the Royal Society of Thailand 30, no. 4 (October/December 2005): 1055.

________. “Kǣn Rư̄ang Læ Botbāt Khō̜ng Kǣn Rư̄ang Nai Bot Lakhō̜n Rư̄ang Rāmmakīan Phra Rāt Niphon Khō̜ng Phra Bāt Somdet Phra Phut Yō̜t Fā Čhulā Lōk Mahārāt. [The Theme and its Roles in Rammakian by King Rama I].” Journal of Humanities and Social Sciences Suratthani Rajabhat University 8, no. 3 (September/December 2016): 2.

Sheenanawin, V. LET’S Do Your Dream with Item workshop and On One animation school. Bangkok: LET’S Comic, 2011.

Somtrakul, P. “Kānsāng San Khunnalaksana Khō̜ng Tūalakhō̜n Læ Kānʻō̜kbǣp Sinlapakam Nai Kānsāng San Ngān ʻǣ Ni Mē Chan Čhāk Phu Tha Prawat. [Characterization and art direction for Buddha biography animation project].” Master’s thesis, Chulalongkorn University, 2009.

Sujjapun, R. Nāmānukrom Rāmmakīan. Chabap Prapprung Mai. [Newly revised version of the Ramkiet name]. Bangkok: Satapornbooks, 2010.

Thavornprapasawat, W. “Krabūankān Sāngsan ʻǢ Ni Mē Chan Čhāk Wannakam Sīrai. [Creative Process of Animation from S.E.A. Write literatures].” Master’s thesis, Chulalongkorn University, 2014.

Thawikan, N. Prawattisāt sin : Samai Kō̜n Prawattisāt ʻĪyip Bōrān Mēsōpōtēmīa Krīk Rōman. [Art History : Prehistoric Egypt, Mesopotamia, Greece, Roman]. Bangkok: Odeon Store, 1986.

Turbosquid. “3DModels.” Turbosquid. (picture). Accessed November 29, 2020A. https://www.turbosquid.com/Search/3D-Models.

__________. “Bone Fighter 3DModels.” Turbosquid. (picture). Accessed November 29, 2020B. https://www.turbosquid.com/3d-model/skeleton-fighter?synonym=bone+fighter.

Uaraksakul, T. Kānsāng Phāpphayon Sō̜ng D ʻAnimēchan. [How to make 2D Animation]. Bangkok: Media Intelligence Technology, 2004.