• ณชรต อิ่มณะรัญ
  • กฤษณ์ ทองเลิศ
Keywords: Naga icon, Mural paintings, Ontological communication


This research had the primary objective to gain insights into the worldview construction of reality and the existence of Naga icon according to the concept of idealism, as reflected through the portrayal of stories in Thai mural paintings that play a significant role in preserving the existence of Naga icon in Thai society. This research was a qualitative research that encompassed textual analysis of a total of seven Thai mural paintings from five provinces. The conceptual frameworks that were employed in this research to serve as a guideline for the analysis of Thai mural paintings consisted of (1) Worldview on Existence; (2) Religious Literature on Naga; (3) Language of Thai painting; and (4) The Work of Art in the Age of Mechanical Reproduction. The research findings are as follows:

  1. The worldview construction of reality about Naga icon in Thai mural paintings comprised major methods, including (a) use of symbols and composition in the aspects of lines and shape dynamics; (b) use of body color to convey symbolic and psychological meaning; (c) use of zigzag lines to separate between the dimensions of the human world and the idealistic world of Naga; and (d) depiction of Naga icon by incorporating a sense of divinity.

2.The existence of Naga icon in Thai mural paintings consisted of five main characteristics: (a) existence as the archetype of mechanical reproduction in contemporary artwork; (b) existence as the intertextuality of contemporary artwork; (c) existence as the cultural capital to communicate Thai identity; (d) existence as the resource of cultural tourism; and (e) Naga paintings continued to play a role as the medium for the decoration of religious places.

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