Silpa Bhirasri (Journal of fine arts)
https://so02.tci-thaijo.org/index.php/jfa
<p style="margin: 0in; text-align: justify;"><strong><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;">About the Journal</span></strong></p> <p style="margin: 0in; text-align: justify;"><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;">Silpa Bhirasri (Journal of Fine Arts) is an academic journal initiated by the Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University. The journal has been publishing articles since 2013. It remains committed to creating a space for accumulated knowledge and introducing works of fine arts and issues related to art, such as design, history, art theory, culture, and humanities. Therefore, the journal welcomes academic articles, research articles, creative articles, critical articles, review articles, and academic translations from experts, academics, professors, students, artists, curators, critics, and experienced personnel in the field of art. The journal aims to encourage an atmosphere of exchange, learning, and new perspectives to expand the boundaries of visual art knowledge. Furthermore, the journal also serves as a source of information for teaching and learning for passionate art enthusiasts in the contemporary art scene in Thailand.</span></p>en-US<p style="margin: 0in; text-align: justify;"><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;">This license allows others to:</span></p> <ul> <li><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;"><strong>Share:</strong> Copy and redistribute the material in any medium or format. </span></li> <li><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;"><strong>Attribution:</strong> Proper credit must be given to the author(s) and the journal as the source. </span></li> <li><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;"><strong>Non-Commercial Use:</strong> The work cannot be used for commercial purposes. </span></li> <li><span style="font-family: 'Noto Sans Thai',sans-serif; color: #0e101a;"><strong>No Derivatives:</strong> The material must remain unchanged and cannot be used to create derivative works.</span></li> </ul> <p>The journal's editorial team does not have to agree with the views and comments in the author's article, nor are they responsible for the comments.</p>warasansilpabhirasri@gmail.com (Pichate Kiewprasirt)warasansilpabhirasri@gmail.com (Vareerat Wandee)Wed, 25 Dec 2024 15:04:59 +0700OJS 3.3.0.8http://blogs.law.harvard.edu/tech/rss60The Future Time of Arts: The Different Meanings of the Artwork, Balkan Baroque, by Marina Abramović
https://so02.tci-thaijo.org/index.php/jfa/article/view/272920
<p class="BasicParagraph"><span lang="EN-GB" style="font-size: 16.0pt; line-height: 120%; font-family: 'TH SarabunPSK',sans-serif;">This article examines the past and present contexts of artworks, objects, and audiences in order to propose guidelines for interpreting artworks in "future times." This is achieved by analyzing Marina Abramović’s artwork Balkan Baroque. The analytical method involves using content from the past and present to inspire ideas and imaginations of future artworks, analyzed through the following time periods: 1) Ideas and imaginations from the artist's time period; 2) Ideas and imaginations from the object's time period; and 3) Ideas and imaginations from the viewer's time period. The analysis yields the following findings: 1) The artist’s interpretations across time are connected to the artist’s background. Audiences, with limited experiences in creating meaning, must rely on communication with other media to guide the interpretation of the artwork. 2) The interpretations of the artwork’s objects through time indicate that the objects are connected to events and situations. As audiences engage with the objects, new meanings emerge beyond the original meanings set by the artist. 3) The audiences’ interpretations of the artwork are shaped by their individual backgrounds and experiences.</span></p>Prasert Yodkaew, Chaiyosh Isavorapant, Pishnu Supanimit, Sukumala Nithipattaraahnan
Copyright (c) 2024 Prasert Yodkaew, Chaiyosh Isavorapant, Pishnu Supanimit, Sukumala Nithipattaraahnan
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https://so02.tci-thaijo.org/index.php/jfa/article/view/272920Wed, 25 Dec 2024 00:00:00 +0700The Development of Fabric Pattern Design Using the Eco-Printing Technique According to the Principles of Design
https://so02.tci-thaijo.org/index.php/jfa/article/view/272697
<p>This article presents the findings of a study comparing the effects of different natural mordants in dyeing with plant-based dyes that are available year-round and have distinct shapes. Additionally, the study proposes methods for developing fabric patterns using the Eco-Printing technique, guided by principles of artistic composition. The research methodology involves comparing leaves found in Thailand, focusing on their color fastness and the sharpness of their shapes when using the Eco-Printing technique. The study also explores optimal arrangements based on compositional principles and design fundamentals. The findings reveal that fabric pattern development using the Eco-Printing technique, as guided by the principles of artistic composition in this research, can be consistently controlled and replicated. The design of patterns, color application, leaf size determination, and the arrangement of elements proposed by the researcher can be standardized, both in terms of variety and gradation. The process of developing fabric patterns utilizes natural materials that align with contemporary trends and environmental sustainability. The resulting works feature tones and patterns that can be further developed and applied in various ways, offering a potential pathway for communities to generate income by creating modern fabric designs and extending their products. In terms of quality control and reproducibility, the outcomes meet market demands and align with government objectives, which are in line with the vision set by the National Economic and Social Development Council (NESDC) for 2027, as well as the Creative Economy Agency (CEA), which aims to modernize local products.</p>Nuttida Pujeeb
Copyright (c) 2024 Nuttida Pujeeb
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https://so02.tci-thaijo.org/index.php/jfa/article/view/272697Wed, 25 Dec 2024 00:00:00 +0700Evolutionary Features, Content Characteristics, and Inheritance Strategies: A Study on Nanfeng Nuo Dance
https://so02.tci-thaijo.org/index.php/jfa/article/view/272661
<p>Nanfeng Nuo Dance is a traditional folk dance originating from ancient Chinese sacrificial rituals, specifically from Nanfeng county in Jiangxi province, China. This study aims to examine the evolutionary features, content characteristics, and inheritance situation of Nanfeng Nuo Dance. Through literature review, field research, and interdisciplinary analysis, this research explores the evolutionary features and content characteristics of Nanfeng Nuo Dance, while proposing strategies for its inheritance and development. The findings indicate that the evolutionary trajectory of Nanfeng Nuo Dance has transformed from a witchcraft ceremony into a form of cultural heritage, with each phase displaying distinct evolutionary features. In terms of content characteristics, the dance is primarily characterized by the expression of primitive desires, diverse deity worship, and unique local belief legends. However, regarding its inheritance, Nanfeng Nuo Dance faces challenges such as the deterioration of its cultural ecosystem, a shortage of successors, insufficient funding, and inadequate institutional support. The study suggests that to ensure the sustainable transmission of Nanfeng Nuo Dance, it is crucial to foster a supportive cultural ecosystem, cultivate inheritors, increase investment, and improve policies. In practical terms, the research proposes the establishment of a Nuo Dance Learning Center focused on education, performance, exhibition, and academic exchange. These measures aim to create new avenues for the protection and transmission of Nanfeng Nuo Dance, ensuring that its unique charm continues to thrive in contemporary society.</p>Yuxuan Chen, Jantana Khochprasert, Chusak Suvimolstien
Copyright (c) 2024 Chen Yuxuan, Jantana Khochprasert, Chusak Suvimolstien
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https://so02.tci-thaijo.org/index.php/jfa/article/view/272661Wed, 25 Dec 2024 00:00:00 +0700Factors That Affect the Design of Thai Phra Rajaniyom Attire
https://so02.tci-thaijo.org/index.php/jfa/article/view/270583
<p>The Thai Phra Rajaniyom Attire, created in 1960 for Her Majesty Queen Sirikit, the Queen Mother, was worn during her royal visits to European countries and the United States of America. It later became recognized as Thai national attire. The distinguished design has been embraced by the Thai people and accepted globally. Therefore, the author aims to research this topic to explore the factors that contributed to the creation of the unique silhouette of the Thai Phra Rajaniyom Attire. Through documentary study, the author identified three key design purposes: First, to present Thainess on the global stage; second, to comply with international diplomatic dress codes; and third, to be functional and easily worn within a limited amount of time. Based on these purposes, the author concludes that three main factors shaped the image of the Thai Phra Rajaniyom Attire: authenticity, achieved through historical research; functionality, achieved by incorporating Western pattern-cutting techniques; and societal context, based on the social analysis of the time.</p>Thanakhom Sittiarttakorn, Supachai Areerungruang
Copyright (c) 2024 Thanakhom Sittiarttakorn, Supachai Areerungruang
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https://so02.tci-thaijo.org/index.php/jfa/article/view/270583Wed, 25 Dec 2024 00:00:00 +0700Research on the Impact of the Digital Environment in Museums on Visitor Cognitive Experience: A Case Study of Western Zhou Dynasty Bronzes
https://so02.tci-thaijo.org/index.php/jfa/article/view/270547
<p>Museums play a crucial educational role, yet traditional exhibition methods often fall short of fulfilling the audience's deep understanding of artifacts, especially for items like Western Zhou bronzes, which hold rich historical and cultural value. With the rapid advancement of digital technology, a fundamental transformation in museum exhibition methods is underway. Particularly in the display of cultural heritage, digital environments offer new possibilities for interaction, altering the ways audiences participate and perceive experiences. The presentation methods within digital displays are particularly pivotal. This study employs methods of literature review, field investigation, and interdisciplinary research to explore the construction of digital environments in museums, aiming to enhance the audience's cognitive experience of Western Zhou bronzes. It analyzes the historical value and symbolic meanings of these artifacts, the current application of digital environments in museums, and their impact on audience cognition. The results indicate that Western Zhou bronzes display their extensive history and rich cultural symbols, reflecting the political and religious structures of ancient society. Digital technology has become a crucial direction for advancing museum displays and educational innovation. It makes exhibitions more attractive and educational, significantly enhancing information transmission efficiency and audience learning motivation. Museum digital environments, through rich sensory experiences and audience-centered interactive designs, effectively enhance audience cognitive experiences, making complex historical content more accessible. Proper use of digital media technology can improve audience learning efficiency and deepen their understanding and appreciation of cultural heritage.</p>Jia Zhu, Atithep Chaetnalao
Copyright (c) 2024 Zhu Jia, Atithep Chaetnalao
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https://so02.tci-thaijo.org/index.php/jfa/article/view/270547Wed, 25 Dec 2024 00:00:00 +0700