Asian Journal of Traditional and Innovative Arts and Textiles

From Tham Ting to Phu Phrabat: The overlay of beliefs and sacred areas of the people of the Mekong River Basin

Prachatip Makmool — Tue, 20 Aug 2024 00:00:00 +0700

The article titled “From Tham Ting to Phu Phra Bat: overlay of beliefs and sacred spaces of the people of the Mekong River Basin” presents a study of the history of Tham Ting, Luang Prabang, Lao People's Democratic Republic Including the history of Phu Phra Bat, Ban Phue District, Udon Thani Province, and the overlay of beliefs and sacred areas of Tham Ting and Phu Phra Bat. The results of the study found that Tham Ting and Phu Phra Bat are areas where beliefs and sacred areas of the Mekong River basin have overlapped since the prehistoric era, according to evidence found in antiques and paintings. Those who believe in the ghosts of their ancestors, spirits, sky ghosts, tan ghosts, fairies, and serpents were sacrificed before Brahmanism and Buddhism came to the area. When both religions entered the area. This caused the Dong Sai area to be transformed into a religious sacred place again. When King Fa Ngum of the Lan Xang Kingdom brought Buddhism to spread. Both places were transformed into Buddhist sites where Buddha statues, temples, stupas, relics, and various religious sites were built. That linked to folk legends and traditional beliefs. It has become a belief and a sacred space that is unique to the local area.

Communication Power and Globalization: The Narrative of Myth in “National Representation” in China

Ning Xiao, Arunee Sriruksa — Tue, 20 Aug 2024 00:00:00 +0700

In the era of globalization, communication power helps promote the flow of globalized cross-cultural information. From the perspective of Semiotics, countries are two kinds of subjects: "Object-symbol" or "Symbol-user", and are the subjects of globalization. This paper analyzes and applies the influence of mythological narratives on the shaping of national image, which through mediated "National Representations" can generate considerable narratives to influence individuals or groups. The myth is that globalization advances from "Domestic" to "Abroad" under the guidance of a "Common Interpreter". Through vivid storytelling, resonant heroic images, and rich cultural symbols, myths have become an auxiliary tool for the "National Representation" in the context of globalization.

Composition art for decoding of Bangtan Sonyeondan‘s artwork

Jullajit Jittham, Kham Chaturongakul — Tue, 20 Aug 2024 00:00:00 +0700

This research article has the following objectives: to analyze the composition and art in BTS's music videos "Idol," "Boy with Luv," and "Dynamite," and to produce creative video media to provide knowledge about composition art. By analyzing the composition art used to create video media design works and analyzing satisfaction data from the sample group. The research results found that composition art appears in terms of color use, all three music videos use warm and cool colors, using a variety of color pairings and different tones to influence the color psychology of each music video. Regarding the illustrations, each song features unique illustrations that aim to convey the meaning of the song's content. On the lettering side, artificial letters are commonly used. This is because the designers wanted to tailor the design to match the specific concept of the song, the use of capital letters is intended to capture the audience's interest and in terms of composition, focus on balanced placement to make the image look balanced. Because throughout the song there are alternating images, colors and moving elements. Therefore, the image is usually centered so that it remains in the viewer's eye. Effects and camera angles are used to help keep the audience from getting bored with the focus point. As for the production of creative video media, it provides knowledge about composition art. By producing 5 episodes of video media, it was found that the basic understanding of composition art before viewing the video media as a whole was at a moderate level of understanding. with an average of 2.64 and after viewing the overall picture was at the level of understanding with an average of 4.17. The average after watching video media increased from before watching video media at a statistical significance of 0.01 and the results of the analysis of satisfaction in watching video media The overall picture is at the highest level. with an average of 4.42.

The Music Elements of Henan Traditional Guzheng Music

Bo Zhao, Kritsada Wongkhamchan, Pat Kotchapakdee — Wed, 21 Aug 2024 00:00:00 +0700

This research is qualitative research with the objective of studying the music elements of Henan traditional Guzheng（古筝) music under the guidance of "Ethnomusicology" theory and "Cultural Ecology" theory. The data is collected from the target group of people related to Henan traditional Guzheng music, selected using the purposive sampling method. The collected data was analyzed according to the objectives through two types of data analysis: the analysis of the documents analysis of documents and field data. The formation of the Henan Guzheng music genre is a process that has undergone long-term accumulation. Centered around the Nanyang region, Henan Guzheng music is widely disseminated throughout the province, with this region also possessing rich cultural and historical materials related to Guzheng music research. Centered around the Nanyang region, Henan Guzheng music is widely disseminated throughout the province, with this region also possessing rich cultural and historical materials related to Guzheng music research. This study aims to explore the musical elements of Henan Guzheng music, revealing its formation and artistic background, including four aspects: music source, dialect tone, composition and playing techniques. Among these elements, the "Bantou-tune" and "Paizi-tune" within the "Dadiao-tune" serve as the main sources of traditional repertoire in the Henan Guzheng genre. The local style of Henan Guzheng music is rooted in the Henan dialect, with the technique of left-hand portamento effectively emulating vocalization on the Guzheng. Additionally, the musical style of Henan Guzheng music reflects the optimistic, simple, hearty, and straightforward characteristics of the people of Henan, with unique playing techniques distinct from other genres. These musical elements collectively shape the distinctive local characteristics of Henan Guzheng music expression. This research can enable people in diverse music cultures to learn more about the Henan Guzheng genre and the cultural connotations behind it.