Asian Journal of Traditional and Innovative Arts and Textiles

Vessantara Jataka: Analyzing the Narrative Construction of the Jataka Tale from the Ramayana

Phanuwat Chantapoon — 2026-04-07

This article aims to analyze the construction of the Vessantara Jataka based on the Ramayana epic. The researcher employs Franz Boas’s Cultural Diffusion theory and Claude Lévi-Strauss’s Structural Theory of Myth to explain the influence of the Ramayana on Jataka literature. Furthermore, Jacques Derrida’s Deconstruction theory is utilized to comparatively analyze the literary texts of the Vessantara Jataka and the Ramayana. The findings reveal that within the Tipitaka and its commentaries, the Ramayana exerts a direct influence on the Dasaratha Jataka and an indirect influence on the Vessantara Jataka. An analysis across nine dimensions: 1) plot progression, 2) notions of divinity, 3) protagonists, 4) secondary characters, 5) key events, 6) poetic forms, 7) historical background, 8.) associated rituals, and 9) core beliefs demonstrates that these elements are interconnected and function similarly. They collectively express the ultimate religious aspirations: achieving union with the Divine (Moksha) or being reborn in the era of Maitreya Buddha.

Khan Si Sip Ha: Forms and Buddhist Beliefs in Luang Prabang

Prapaporn Uttama — 2026-04-08

The academic article titled "A Study of the 45-Cup: Forms and Beliefs of Buddhists in Luang Prabang" aims to explore the design of the 45-cup and the beliefs associated with it among Buddhists in Luang Prabang. The study employs a methodology that includes document analysis from books, texts, research papers, and fieldwork. The research area is Luang Prabang, Lao PDR, and the target group consists of knowledgeable individuals. Data collection tools include surveys, non-participatory observation, and unstructured interviews. The results are presented in a descriptive and analytical format. The study identifies five key aspects of the 45-cup: 1) Functionality 2) Materials 3) Structure 4) Craftsmanship, and 5) Aesthetics. The 45-cup is categorized as a religious offering and belongs to the group of flower cups. It is created as a substitute for each family member and is similar in shape to the couple cup, but with a fixed number of 45 marigold flowers. The marigold flowers used as decorations symbolize prosperity and power. The "head-rounding candle" used with the 45-cup measures the circumference of the owner's head. Both the usage and the symbolism of the couple cup and the head-rounding candle emphasize the believer’s intention to gain merit through the offering. The 45-cup is believed to protect the family, especially in cases where it is difficult for families with young children to create individual couple cups for each member. The number 45 is derived from the Buddha's 45 years of teaching the Dharma before his passing and is also based on the idea of half a human lifespan, which is considered to be 90 years. Thus, 45 represents half of this age. The 45-cup is created systematically, following a structured and creative process that reflects the belief system at two levels: communal beliefs and societal beliefs.

“(Un)Filled” Communicating Absence and Rebirth through Natural Material Sculpture

Araya Ruamsamran — 2026-04-26

This article explores the concept and creative process of a natural-material sculpture titled “Filled (Un)Full.” The work reflects the complex emotional experience of a pregnant woman who simultaneously confronts the loss of her mother. The study aims to analyze the symbolic use of gourds, bamboo, and palm-leaf rope, together with weaving and interlacing techniques, to communicate dual emotional states: grief from maternal loss and hope for the birth of new life. This research adopts a qualitative approach using practice-based art research methodology. Primary data are derived from a case study based on the artist’s personal experience, while secondary data are gathered through literature review, including research articles, reports, and academic documents. These sources are used to conduct a semiotic analysis of materials and forms. The findings show that the integration of natural materials with hybrid craft techniques enabled the creation of a sculptural work expressing fragility, resilience, and the cyclical nature of life. The gourd symbolizes the womb and vessel of life; bamboo represents support and the void that cannot be fully filled; and palm-leaf rope signifies bonds of connection both lost and emerging. The work ultimately invites reflection on loss, motherhood, and healing through reconnection with nature.

The History and works of Molam Phimjai Phetphalanchai

Rattanaporn Sarasri — 2026-04-08

This article aims to study the history and works of Molam Phimjai Phetphalanchai. The research methodology includes observation, in-depth interviews, and document analysis. The key informant is the artist, with over 30 years of experience in the traditional Molam Plern performing art. The study found that she plays a significant role in preserving and developing the Molam Plern performing art, creating a unique identity. She comes from a strong, culturally rich Molam family and has been influenced by role models in both Molam and Luk Thung music. She subsequently developed her own singing techniques, performance styles, and presentation approaches, becoming a key role model for contemporary Molam Plern artists. Furthermore, she has a prominent role in continuously transmitting the knowledge and spirit of Molam to new generations, earning her the title of “Queen of Molam Plern”.

Historical Origin and Symbolic Representation of Nantong Blue Calico: From the Perspective of Symbolic Interactionism

Baowei Wei — 2026-04-09

Nantong blue calico, recognized as a national-level intangible cultural heritage item in China, represents a traditional resist-dyeing craft deeply rooted in the agrarian culture of the lower Yangtze River region. However, existing studies primarily focus on pattern restoration and technical preservation, often overlooking its dynamic symbolic transformation. Drawing upon Symbolic Interactionism, this study investigates the historical origins and symbolic representations of Nantong blue calico, examining how meanings have been constructed, negotiated, and transformed through social interaction. This qualitative research was conducted in Nantong, Jiangsu Province, between 2023 and 2025. Data were collected through semi-structured in-depth interviews with intangible cultural heritage inheritors, artisans, museum staff, and consumers, and non-participant observation at the Nantong Blue Calico Museum and Zhengxing Dyeing Workshop. The findings show that the formation of Nantong blue calico resulted from the long-term integration of resist-dyeing techniques and adaptation to environmental and socio-economic conditions. Its symbolic meanings have evolved from natural-pragmatic symbols rooted in indigo and cotton production, to ethical and social identity symbols, national resistance symbols, collectivist symbols, and, in contemporary contexts, to eco-fashion and intangible cultural heritage–based cultural capital symbols. These transformations demonstrate how technological innovation, migration, policy change, market forces, and environmental conditions collectively shaped its evolving symbolic system. The study confirms the central proposition of Symbolic Interactionism that meaning arises from social processes. By conceptualizing Nantong blue calico as a living symbolic system rather than a static artifact, this research contributes to heritage studies and provides theoretical insights for understanding how traditional crafts sustain cultural relevance through continuous social interaction and symbolic reinterpretation.

The Creation of Contemporary Printmaking Art from Semiotic Elements in the Mor Yao Spirit Ritual of the Kaleung Ethnic

Theerawat Mikhawan — 2026-04-10

This research article aims to (1) examine the semiotic structures embedded in the Mor Yao spirit ritual of the Kaleung ethnic group in Nong Sang Subdistrict, Na Kae District, Nakhon Phanom Province, and (2) create contemporary printmaking artworks derived from these ritual signs. Data were collected through documentary research and fieldwork, with key informants consisting of local knowledge holders and ritual practitioners. The analysis was conducted using semiotic theory and presented through descriptive-analytical methods alongside the production of contemporary printmaking artworks. The findings reveal that the Mor Yao spirit ritual has been continuously practiced for over 100 years. It is rooted in beliefs concerning ancestral spirits, Pu Ta and Ya Ban guardian spirits, Buddhist sacred spirits, celestial beings, as well as Phii Haksaa, Phii Fa, and Phii Thaen, all of whom are believed to protect and safeguard the community. The ritual functions as a semiotic system composed of five principal components: space, participants, ritual objects and offerings, temporal structure, and ritual procedures. Each component embodies both denotative and connotative meanings, reflecting the worldview, ethnic identity, and value system of the Kaleung community. In the creative phase, these ritual signs were transformed into two-dimensional contemporary printmaking works characterized by a surreal atmosphere. Circular compositional arrangements and rhythmic line movements were employed to symbolize ritual dance movements, while a dominant palette of white, black, and gold was used to convey purity, mystery, and sacred power. The technique adopted was mixed-media printmaking, integrating traditional printmaking processes with digital printing. This combination conceptually represents cultural continuity and adaptation within a contemporary context. The resulting artworks systematically translate the semiotic meanings of the Mor Yao ritual into contemporary visual language, grounded in a clear theoretical framework, and effectively reflecting the cultural identity of the Kaleung ethnic group in terms of content, form, and aesthetic value.

Photographic Approaches of Documenting Lao Wiang Ethnic Identity in Nong Saeng, Saraburi

Wattana Charoenchainoppakul — 2026-04-13

This research article, Photographic Approaches of Documenting Lao Wiang Ethic Identity in Nong Sang, Saraburo, aims to 1.To study the identity of the Lao Wiang ethnic group in Nong Saeng, Saraburi. 2.To examine the processes and techniques used to capture their ethnic identity through photography. 3.To establish guidelines for creative photography that accurately represents Lao Wiang identity. Methodology This is a qualitative research project. Data was collected through documentary analysis and in-depth interviews. Research Findings 1. Ethnic Identity: The Lao Wiang in Nong Saeng have preserved identities in attire, occupation, and food inherited from their ancestors in Vientiane, while adapting these traditions to fit the modern era. 2. Photography Techniques: Capturing this identity requires specific applications of composition, camera settings, lighting direction, and lens selection, each tailored to highlight different cultural nuances. 3.Creative Guidelines: The study concludes that successful identity photography must prioritize cultural correctness, creative communication, and community consent.

Integration of Benjarong Porcelain Motifs into Mai Tam Mee Silk Pattern Design: A Cross-Media Approach to Thai Craft Innovation

Siqi Song — 2026-04-13

The preservation and innovation of traditional crafts face the dual challenge of maintaining cultural authenticity while achieving contemporary value. This study addressed this issue by exploring the integration of traditional Benjarong porcelain patterns into contemporary Mai Tam Mee silk design. Using qualitative methods, the research decoded the cultural semantics of Benjarong patterns from the reign of King Rama II and conducted a comparative analysis with the form of Mai Tam Mee. The results revealed a visual complementarity between the two. Based on this, key design elements were extracted from seven dimensions to guide the redesign. Two design proposals, validated by experts, demonstrated the feasibility of transforming the aesthetic of porcelain into textile applications while preserving cultural meaning. This study not only provides a practical framework for the contemporary transformation of traditional patterns but also creates a material dialogue in response to the “21^st Century Maritime Silk Road.”

PHANOM Model: An Integrated Learning Model for Developing Local Photographers' Potential into Cultural Heritage Communicators Wat Phra That Phanom, Nakhon Phanom, Thailand

Watchara Sutakot — 2026-04-16

This research is a participatory action research with three main objectives: (1) to find effective methods for developing local photographers into cultural heritage communicators through integrated learning; (2) to create and apply the PHANOM Model to enhance the capabilities of photographers; and (3) to assess the impact at the individual, community, and site levels at Wat Phra That Phanom, Nakhon Phanom, Thailand. A preliminary survey found that 85% of local photographers lacked advanced technical knowledge, 78% had insufficient knowledge of cultural heritage, and 92% experienced problems with low service pricing. A total of 120 local photographers were selected through neighborhood sampling. Quantitative research instruments included a Pre-Post Knowledge Test (35 items, Cronbach's Alpha = 0.89), a Portfolio Assessment Rubric, and a Satisfaction and Attitude Questionnaire, supported by qualitative tools including in-depth interviews, focus group discussions, and observation protocols. The PHANOM Model integrates three theoretical frameworks, namely Transformative Learning Theory, Community of Practice Theory, and Cultural Heritage Preservation Theory, into six components (Photography Art, Heritage Consciousness, Artistic Excellence, Network Building, Organizational Culture, and Memory Preservation), carried out across four phases within 24 weeks. Results showed a 167% increase in overall knowledge and competence (p<.001, d=7.51), portfolio quality improved from 28% to 82.3%, and 88% of participants shifted their professional identity from service providers to cultural heritage communicators, with an average income increase of 28%. At the community level, a photographers' club of 135 members was formed and continues to operate independently, along with a heritage database of 1,047 photographs. The PHANOM Model shows that integrated learning can effectively connect technical skills with cultural understanding, providing a model that can be applied to heritage conservation through local photographers and community members in other contexts.