Silpa Bhirasri (Journal of fine arts)

Distinguishing Copy, Inspiration, and Imitation: Analyzing the Dynamics of Creative Influence in Dance

Dharakorn Chandnasaro — Tue, 24 Jun 2025 00:00:00 +0700

This article critically investigates the nuanced distinctions between copying, inspiration, and imitation in contemporary choreographic practice, foregrounding the complex mechanisms by which creative influence operates in dance. Positioned within interrelated historical, aesthetic, legal, and ethical paradigms, the study challenges simplistic notions of originality versus derivation, arguing instead for a more layered understanding of intertextuality and artistic lineage. Drawing from theorists such as Harold Bloom, Julia Kristeva, and Rosalind Krauss, the analysis situates choreographic borrowing within dialogic and intergenerational frameworks that reveal how inherited movement vocabularies continue to inform new work. Historical perspectives demonstrate that replication, once essential to cultural continuity in traditional dance, now intersects with modern imperatives for innovation. Case studies—including the Beyoncé–De Keersmaeker controversy, Pina Bausch’s choreographic strategies, and imitation in digital platforms—exemplify the ethical and legal complexities surrounding appropriation in a globalized context. The article contends that responsible artistic influence requires transparency, transformation, and contextual awareness. Moreover, it calls for legal frameworks that recognize both individual authorship and communal knowledge, especially within digital and non-Western settings. Ultimately, the study promotes a historically grounded, ethically informed, and culturally sensitive model of creative influence, vital for sustaining a pluralistic and critically engaged global dance practice.

Academic Art Creation Project: When I Asked AI What is Painting?

Thanarit Thipwaree — Tue, 24 Jun 2025 00:00:00 +0700

This creative research aims to explore the value and meaning of painting in an era where artificial intelligence (AI) has rapidly become highly influential in the art world. With its immense and rapid data-processing power—far beyond what any single human can achieve—AI has become a vital tool for painting creation, from researching information to composing elements, color schemes, and painting styles based on prompts. The main question of this work is: Where does the painter’s role lie, and how should painting collaborate with AI? The study employs two methodologies: first, working collaboratively with AI and subsequently creating a series of paintings, and second, analyzing the results from these artworks. The findings reveal that AI performs excellently as a reference tool, both in terms of time and research scope, and is far faster than self-directed research. AI can present unusual perspectives, though it has limitations due to the constraints of its reference sources (even if they are vast), which are rooted in Western art history textbooks and clearly defined standards of beauty. Consequently, the selection and arrangement of content are confined by these references. Creators can further challenge and develop the composition, color palette, and brushwork to introduce more instability and reflect the turbulence of the contemporary world. There are also concerns about the potential loss of diversity in the process of working with AI, as the internet may foster a “superstar commodity” culture where images, concepts, values, narratives, products, and styles become universally marketable, ultimately leading to a single global market. Continuous creation by individual artists can provide differentiation and challenge dominant forces. Nevertheless, the creative researcher maintains the belief that AI will serve as a supporter of the artist’s creative process. This research indicates that while AI plays a significant role as a facilitator and expander of creative thinking, the deeper value and meaning of painting still depend on the role of the human artist in creating, interpreting, and continuously challenging cultural frameworks.

Appropriation Art in Contemporary Traditional Chinese Painting

Piyasaeng Chantarawongpaisarn — Tue, 24 Jun 2025 00:00:00 +0700

This research study explores Appropriation art in contemporary traditional Chinese painting through a qualitative research methodology. The aim is to study the concepts, styles, and creative processes of contemporary Chinese artists working within the context of Appropriation art. The study analyzes contemporary traditional Chinese painting artworks by three contemporary Chinese artists from the People's Republic of China who create works based on appropriation art: Xu Bing, Yang Yongliang, and Wang Qingsong. The results show that the concepts, styles, and creative approaches of contemporary Chinese artists working within Appropriation art contexts demonstrate overall consistency in direction. All artworks represent new creations rather than copies, reproductions, or repetitions of original works. Contemporary Chinese artists who create works within an Appropriation art context have developed their own identities while reflecting hidden meanings in their works. These meanings can be divided into three main issues: 1) Art History, 2) Social concerns, and 3) Environmental themes. Furthermore, each contemporary Chinese artist has a unique style in presenting their work, employing different techniques and materials for creative expression, including readymade objects, found objects, photography, installation art, and digital art.

Chinese Ming Classic Novels and Japanization in Ukiyo-e Art

Pancheewa Butrach, Piyasaeng Chantarawongpaisarn — Tue, 24 Jun 2025 00:00:00 +0700

This qualitative research aimed to study Chinese classic novels in the Ming dynasty and the adaptation in Ukiyo-e art as Japanization. The objective of the article was to study about style and content adaptation from imaginative representation in Ming’s classic novels to Ukiyo-e woodblock printings in the 17th–19th century. The research analyzed two Chinese classic novels, “The Romance of Three Kingdoms” and “Tales of the Water Margin,” through the works of five Ukiyo-e artists: Katsushika Hokusai, Utagawa Kuniyoshi, Tsukioka Yoshitoshi, Utagawa Kunisada, and Toyohara Kunichika. The study found that Ming-novel-themed concepts in Japanese Ukiyo-e art not only followed in text translation but also were conducted by identity process and imagination of the artist. The combination and adaptation of different cultures led to Japanization. Style and content adaptation represent Japanese society in the Edo era. Cultural transmission of Chinese origin under the Japanization process turned into a new text. The artists were not strictly based on original content. There was the adaptation of artworks to fit in with artists’ and social popularity, based on aesthetic creativity by Ukiyo-e artists.

Traces of Memory: Natural Materials and Phenomenology in Contemporary Art

Tue, 24 Jun 2025 00:00:00 +0700

This article aims to explore the potential of natural materials in contemporary art through the study of five selected artists: Andy Goldsworthy, Walter De Maria, Anselm Kiefer, Alexandra Kehayoglou and Giuseppe Penone, using a phenomenological approach to examine the material phenomena in two key aspects: 1) the fundamental characteristics such as hardness, softness, fluidity, or decay, observed both as inherent properties and as intentionally presented by the artists; and 2) the cultural processes through which these materials are made visible within specific contexts, including the historical background related to the artists and objects. The study reveals five significant themes: 1) traces of existence, representing the passage of time through material transformations; 2) the presence of absence, evoking awareness of nature often overlooked; 3) the silence of materials, highlighting the value of simplicity in natural forms; 4) the stillness of motion, fostering dialogue between humans and landscapes; and 5) rootless roots, reflecting natural processes of transformation and change. The findings demonstrate that natural materials possess the potential to create profound connections between humans and the natural world, serving as mediums for recording the passage of time, memory, and place, while encouraging a deeper understanding of the importance of balance between human activity and nature in the contemporary context.