Asian Journal of Traditional and Innovative Arts and Textiles

The Semiotic Analysis of Rituals and Cultural Healing Mechanisms in the Film The Undertaker : A Folklore Study

Mingmanuschon Changharn, Prat Weesaphen — Fri, 07 Aug 2026 00:00:00 +0700

The research article titled "The Semiotic Analysis of 'Rituals and Cultural Healing Mechanisms' in the Film The Undertaker: A Folklore Study" aims to analyze the signs and functions of death rituals presented in the film The Undertaker and to investigate the role of these rituals as cultural healing mechanisms for coping with loss and death. This study utilizes a qualitative research methodology through Media Text Analysis and Close Reading of the film, grounded in the semiotic theories of Saussure and Barthes, alongside folklore concepts regarding the rites of passage by Van Gennep and Turner. The findings reveal that death rituals in the film function as a cultural communication system that transforms abstract grief into manageable concrete signs. These rituals employ signs of severance and modern visual signs, such as the "rainbow crematorium," to deconstruct the myth of terrifying death into a space of love and the acceptance of diverse identities. Regarding healing mechanisms, the study finds that these rituals manage the state of liminality to support the bereaved by creating emotional closure. Furthermore, they establish a social support space through the "Heuan Dee/Heuan Yen" tradition, which transforms individual suffering into a communal responsibility. Ultimately, the film reflects the dynamic role of the undertaker as a spiritual leader who utilizes applied folklore to effectively restore psychological balance amidst loss in contemporary society.

Classifying and Applying Tang Dynasty Dunhuang Motifs: A Design Research Framework for Digital Textile Printing in Contemporary Fashion

Jiamei Wang , Suphichaya Suppipat, Kanwipa Methanuntakul — Mon, 10 Aug 2026 00:00:00 +0700

The Mogao Caves in Dunhuang, China, have been listed as a World Cultural Heritage Site and have become a brilliant pearl in the world's history of art. However, the survival status of traditional murals in Dunhuang is not optimistic. Given various factors, such as natural weathering, human damage, and poor management, the original appearance of many murals has become very difficult to restore, leading to a significant loss of cultural heritage and artistic value in the region. This study seeks to investigate the motif types, color characteristics, and structural forms of traditional Dunhuang motifs from the Tang dynasty. It employs a literature review to explore the subject matter types, color characteristics, and structural forms of traditional motifs in the Dunhuang region during the Tang dynasty. On this basis, its application in fashion was realized through digital textile printing technology. As an intangible cultural heritage, the traditional motifs of Dunhuang from the Tang dynasty can serve as unique design elements in the context of fashionable culture and be developed into sustainable technical designs for society and culture. Four main types of the motifs of Dunhuang from the Tang dynasty have been identified: plant motifs, animal motifs, natural motifs, and geometric motifs. Five design proposals have been developed and presented.

A Model for Promoting Participatory Tourism Promoting in Mueang Fa Daet Song Yang

Prasit Wiangsong, Prapassorn Rittisut, Narongrit Sopa — Mon, 10 Aug 2026 00:00:00 +0700

The objectives of this research were: 1) to study the current conditions and desirable states of participatory tourism promotion in Mueang Fa Daet Song Yang; 2) to analyze the needs and essential requirements for participatory tourism promotion in Mueang Fa Daet Song Yang; 3) to synthesize the core components of participatory tourism promotion in Mueang Fa Daet Song Yang; and 4) to develop a participatory tourism promotion model in Mueang Fa Daet Song Yang. The mixed-method research was employed for this study consisting of three phases. Phase 1 focused on studying the current conditions, essential requirements and needs for participatory tourism promotion in Mueang Fa Daet Song Yang. A questionnaire was used to collect quantitative data from 375 participants, selected using Yamane's sampling criteria. Phase 2 synthesized the core components of participatory tourism promotion in Mueang Fa Daet Song Yang. Phase 3 focused on designing and developing a model for participatory tourism promotion in Mueang Fa Daet Song Yang through a group discussion method. The results revealed that the overall condition of participatory tourism promotion in Mueang Fa Daet Song Yang was at a low level. Regarding each item of the current conditions. The overall essential requirement for participatory tourism promotion in Mueang Fa Daet Song Yang was at a high level. Regarding each item of the requirements. The findings indicated that the overall necessity for promoting participatory tourism in Mueang Fa Daet Song Yang regarding the PNI consisted of marketing and public relations (PNI_modified = 0.475), followed by tourist attractions and activities (PNI_modified = 0.472), products and services (PNI_modified = 0.469), and finally planning, implementation and monitoring and evaluation (PNI_modified = 0.401). 3) The synthesized core components of promoting participatory tourism in Mueang Fa Daet Song Yang were found to focus on collaborative knowledge development in planning, proactive marketing and digital public relations, and the enhancement of historical and local identity-based tourism activities. These were integrated with empowering local communities to participate in decision-making, ensuring fair benefit distribution, and implementing sustainable attraction management. 4) The participatory tourism promotion model for Mueang Fa Daet Song Yang revealed key strategies including the development of products, services, and tourism routes unique to the local identity; the linkage of learning networks with the public and private sectors; and the establishment of a sustainable participatory tourism management system driven by co-learning and joint development networks.

Creative Integration of Watercolor and Papercutting for Visual Storytelling: Orbitaria

Pratana Jirapasittinon, Premwadee Vinijchayakul — Tue, 11 Aug 2026 00:00:00 +0700

This creative-based research explores the potential of integrating watercolor techniques and papercutting art for contemporary visual storytelling through the case study Orbitaria. The objective of the study is to investigate how the combination of these two techniques can generate visual depth, atmospheric qualities, and narrative expression in visual art. The research is conducted using a creative-based research methodology, comprising the study of material properties, experimental integration of techniques, the creation of an original artwork, and analysis through visual analysis, aesthetic evaluation, and visual narrative approaches. The findings reveal that watercolor possesses a strong capacity to convey subtle and unstable emotional states through its transparency, fluidity, and layered color application, while papercutting art provides structural elements of visual space, depth, and viewing rhythm through cutting, arrangement, and layered composition. When integrated, these two techniques enable materials to function as a material-based narrative, effectively communicating emotions, memories, and inner mental states. The artwork Orbitaria demonstrates that the layering of cut paper in combination with watercolor textures creates a viewing experience akin to looking through layers of thought and memory, while also opening space for viewers to actively and subjectively interpret the narrative.

Pretas in Theravada Buddhism: Symbols and Meanings for the Creation of Contemporary Sculptural

Waranyu Puengping, Burin Plengdeesakul — Tue, 11 Aug 2026 00:00:00 +0700

The research article titled “Pretas in Buddhism: Symbols and Meanings Toward the Creation of Contemporary Sculpture” aimed to 1) study the characteristics of pretas in Theravāda Buddhism, 2) analyze the symbols and meanings of pretas in Theravāda Buddhism, and 3) create contemporary sculptures inspired by the symbols and meanings of pretas in Buddhism. This study employed a Mixed Methods Research approach by combining documentary research from the Tipiṭaka and related academic works with interviews conducted with experts in Buddhism and contemporary art and design. The collected data were analyzed through content analysis and symbolic interpretation in order to develop contemporary sculptural works, which were subsequently evaluated by members of the general public. The findings revealed that pretas in Theravāda Buddhism are beings that exist within one of the realms of suffering (Apāyabhūmi), whose appearances and living conditions reflect the consequences of unwholesome karma committed in previous lives. Based on the Ten Unwholesome Courses of Action (Akusala-kammapatha), pretas can be categorized into three types bodily misconduct pretas, or pretas resulting from unwholesome bodily actions; verbal misconduct pretas, or pretas resulting from unwholesome speech; and mental misconduct pretas, or pretas resulting from unwholesome mental actions. Each category possesses distinct physical characteristics and forms of suffering, reflecting Buddhist concepts of karma, punishment, and moral admonition. Furthermore, the symbolic analysis indicated that the characteristics of pretas function as symbols representing the consequences of one’s actions. The knowledge concerning the forms and symbolic meanings of pretas was subsequently applied in the design and creation of contemporary sculptures, with consideration given to symbolic communication and social context in order to ensure that the creative works remained consistent with Buddhist beliefs while effectively conveying their meanings to contemporary audiences. The results of this study may serve as a valuable guideline for the creation of contemporary artworks that meaningfully integrate religious and cultural dimensions.

The Hui Jew’s Harp In Ningxia: Musical Characteristics And Cultural Context

Guoxing Xia, Nachaya Natchanawakul , Ni-on Tayrattanachai — Tue, 11 Aug 2026 00:00:00 +0700

This study examines the musical characteristics of the Hui Jew’s harp (Kouxian) within the cultural context of the Hui ethnic community in the Ningxia Hui Autonomous Region. The research aims to analyze the musical characteristics embedded in the craftsmanship of Hui instrument makers, focusing on the relationship between sound production, material selection, and cultural expression. A qualitative ethnomusicological approach was employed, integrating document analysis, fieldwork, participant observation, and unstructured interviews with three key inheritors of the Hui Jew’s harp tradition: Ma Yizhen, An Yuge, and Li Xu. The findings reveal that the Hui Jew’s harp is not merely a musical instrument but a culturally embedded medium of emotional expression and social communication, particularly among Hui women under historical socio-religious constraints. Musical characteristics are closely linked to craftsmanship, where variations in materials such as bamboo and metal directly influence tonal quality, resonance, and performance techniques. The study identifies three distinctive trajectories of musical development: the preservation of traditional sound and techniques (Ma Yizhen), the integration of traditional knowledge with systematic innovation (An Yuge), and the modernization of the instrument through scientific and cross-cultural adaptation (Li Xu). Furthermore, the Hui Jew’s harp demonstrates a dynamic process of cultural continuity and transformation, reflecting the concept of “selective integration,” in which traditional Islamic cultural values are maintained while adapting to contemporary musical and social contexts. This research contributes to ethnomusicological scholarship by highlighting the interrelationship between sound, gender, and craftsmanship, and underscores the importance of preserving intangible cultural heritage through both traditional knowledge and modern innovation.

Process of Creation of artworks from woodcarving in “Form” and “Mind” Project

Panuwat Sitheechoke, Warakorn Chaitiamvong — Wed, 12 Aug 2026 00:00:00 +0700

The creative work “Body and Mind” aims to explore the structural relationship between the “body” and the “mind” as fundamental dimensions of human existence. The objectives of this study were: 1) to examine the relationship between “form and mind” (body and consciousness) as a binding force that gives rise to attachment and confinement 2) to express the conditions of attachment and inner freedom of the spirit through artistic processes and 3) to analyze the creation of artworks using woodcut carving and ink-printing techniques. This study employed a Creative Research methodology, drawing upon Maslow’s Theory of Motivation, Adler’s Theory of Individual Expression, and Comte’s Theory of Social Structure as analytical frameworks. The findings reveal that “form,” or the physical structure of the body, functions both as a dwelling place and as a prison for “mind,” the psychological state conditioned and shaped by accumulated experiences. These two states persist under forces of attachment and constraint that limit the inner freedom of the spirit. Although the mind is inherently free, it becomes bound by desire, insatiable hunger, and accumulated experiences resulting in suppression and, at times, intense reactions. Meanwhile, the human body, as a physical form composed of biological elements, functions both as a dwelling and a prison for the mind. This dual role creates the illusion that body and mind are inseparable, even though, by nature, they may be distinct. The human mind perceives and constructs experience through the five senses sight, hearing, smell, taste, and touch. Yet perception is never neutral; it is shaped and conditioned by prior emotions and lived experiences unique to each individual. These imprints become deeply embedded, leading to attachment, obscurity, and an inability to attain true inner freedom. Furthermore, as social beings, humans are inevitably entangled within relationships and cultural structures, which further diminish the possibility of absolute mental liberation. In the creative process, wood is chosen as the primary material due to its organic, living quality and natural growth. The varying densities within the wood are engaged through carving, scraping, incising, and the application of ink onto its surface. These processes reveal traces of erosion and abrasion symbolizing pressure, attachment, and the constraints that bind body and mind. The work is ultimately expressed through two-dimensional painting. In the end, this work reflects a paradox: although the human mind possesses the potential for complete freedom, it continues to cling to the body, the self, and social constructs. As a result, it remains unable to transcend the very constraints it has created, and thus cannot fully realize its true state of liberation. The findings of this study indicate that the body represents the tangible structure that serves both as the dwelling place and the physical boundary of human existence, while the mind represents the inner force of perception, thought, emotion, and the construction of meaning in life. Although the body and the mind possess fundamentally different natures, they are inseparably interconnected through lived experience, attachment, and social contexts. Accordingly, the creative artwork portrays the body as a symbol of bondage and the mind as a symbol of the continual pursuit of freedom, reflecting the fundamental reality of human existence that individuals inevitably encounter throughout their lives.

Creative Digital Communication for Community Development: A Case study Sila Town Municipality, Khon Kaen

Duangjan Nachaisin, Sutee Julakarn, Wichit Wattananon — Wed, 12 Aug 2026 00:00:00 +0700

This research aimed to: 1) examine the current conditions of local product production, public relations, and distribution, and 2) design and develop creative digital media communication to promote local products. The study focused on a case study of Sila Homestay, Sila Municipality, Khon Kaen Province, Thailand. The sample group consisted of 20 members of the “Sila Homestay” community enterprise, selected through purposive sampling. Data were collected using in-depth interviews. Key informants included the group leader, 13 product producers, and 6 individuals responsible for product distribution and promotion. A questionnaire was used to assess opinions regarding creative digital media communication for promoting Sila Homestay products. Data were analyzed using descriptive statistics, including mean and standard deviation. The findings indicated that Sila Homestay local products with strong market demand include traditional Tung Maeng Mum handicrafts, marigold-based tie-dye fabrics, Riceberry rice sheet soap, and local traditional food menus. The design and development of creative digital media for product promotion included communication principles, creative digital concepts, motion graphics and video media, product–presenter alignment, script development, message design, and online dissemination through digital marketing platforms, particularly TikTok marketing. Overall satisfaction with the digital public relations media used to promote community products was at a high level (x̅ = 4.41, SD = 0.70) Digital marketing through TikTok effectively enhances brand awareness, customer engagement, and sales performance for community-based businesses. It expands marketing channels, attracts new customer segments, and increases opportunities for product purchases and community tourism

Chinese as a Heritage Language in Thailand: Theoretical Framework, Core Themes, and Future Prospects

LILING LI, Keran Wang — Tue, 11 Aug 2026 00:00:00 +0700

Thailand, as a Southeast Asian country with a significant ethnic Chinese population, has a profound historical background characterized by large-scale immigration from Teochew, Hakka, Hainanese, and other dialect groups, forming a unique ethnic Chinese social ecology. In the context of globalization and localization process, the transmission of Chinese as a heritage language faces both opportunities and challenges. This paper systematically reviews research on Chinese as a heritage language in Thailand, synthesizing peer-reviewed sources published between 1990 and 2025, identified through Scopus, TCI, and Google Scholar using keywords “heritage language in Thailand” and “Chinese as a heritage language in Thailand”. Through literature review, it finds that current research primarily focuses on factors influencing Chinese as a heritage language transmission among the new generation of ethnic Chinese, family language planning, language maintenance and shift among dialect groups (Teochew, Hakka), and Chinese language variation. The review indicates that significant progress has been achieved in fieldwork and empirical research. Research on Chinese as a heritage language in Thailand has developed a unique path in theory construction, topic expansion, and methodological innovation. However, there remain issues on insufficient cross-ethnic comparative research and inadequate alignment with educational policies. Future research should focus on emerging groups including children of new Chinese immigrants and children from interethnic marriage, strengthen the digital preservation and development of heritage language resources, and provide more explanatory country-specific cases for Southeast Asian heritage language research.