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    The Development of Pottery Souvenir Product to Value Creation at Koh Kret, Nonthaburi

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    This research is about the knowledge of national artist, Mr. ChirasArdnarong. This knowledge isstored by the Office of National Culture. The knowledge and Thai classical music works of Mr.ChirasArdnarongare invaluable and are stored to contribute to and propeleducation about Thai culture inthe Thai classical music society and also to propagate Thai culture to the public and to disseminate itinternationally.The objectives of this research are as follows1. To study the history and works of classical Thai musician Mr. ChirasArdnarong.2. To synthesize the knowledge of classical Thai musician Mr. ChirasArdnarong.3. To disseminate the knowledge of classical Thai musician Mr. ChirasArdnarong.From the research it was found that Mr. ChirasArdnarongwas bornon 16thNovember 1931 at thehome of his father inBang ChangSub-district,Sam Phran, Nakhon Pathom Province, Thailand.Now,Mr.ChirasArdnaronglives at 1056/6 Soi Sut Sakhon, Phran Nok Road, Ban Chang Lo, BangkokNoi, Bangkok, Thailand.He was born into a Thai classical music family and spent time with theirband,which is a reason for his musical talent. Mr. ChirasArdnarong’sknowledge of music extends to theknowledge of songs, the knowledge of practice, the knowledge of adoption and the knowledge of integration(Theory of knowledge). The researchers have published research work as a book to send to theOffice of the National Cultural Commission that can be studied and used as a reference. Theyalso heldaseminar about the academic knowledge ofMr.ChirasArdnarongin December 2009, which is another wayto disseminate the knowledge ofMr.ChirasArdnarong.Mr. ChirasArdnarong is a knowledgeable personin Thai classical music and the manyinner workingsof Thai classical music such as in practice, in administration, and in composition (Music). He also transmitsand continues the knowledge of Thai classical music to young people and those who are interestedin Thailand. As well as this, he createsgreat works of Thai classical music

    āļāļēāļĢāļžāļąāļ’āļ™āļēāļ‡āļēāļ™āļ§āļīāļˆāļąāļĒāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļŠāļđāđˆāļāļēāļĢāļˆāļ”āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢ DEVELOPMENT OF CREATIVE ARTS RESEARCH INTO PATENTS

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    āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļĄāļĩāļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ­āļĒāđˆāļēāļ‡āļĒāļīāđˆāļ‡āļˆāļēāļāļāļēāļĢāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļ‚āđ‰āļ­āļāļģāļŦāļ™āļ”āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļāļēāļĢāļˆāļąāļ”āļ­āļąāļ™āļ”āļąāļšāļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒ āļŦāļ™āđˆāļ§āļĒāļ‡āļēāļ™ āļ›āļĢāļ°āđ€āļ—āļĻāļŠāļēāļ•āļī āđāļĨāļ°āđ€āļ›āđ‡āļ™āļ”āļąāļŠāļ™āļĩāļŠāļĩāđ‰āļ§āļąāļ”āļ—āļĩāđˆāļŠāļģāļ„āļąāļāļ—āļēāļ‡āđ€āļĻāļĢāļĐāļāļāļīāļˆ āļāļēāļĢāļĻāļķāļāļĐāļē āđāļĨāļ°āļĻāļąāļāļĒāļ āļēāļžāļ‚āļ­āļ‡āļ—āļĢāļąāļžāļĒāļēāļāļĢāļšāļļāļ„āļ„āļĨāđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļŠāļēāļ•āļī āļ›āļĢāļ°āđ€āļ—āļĻāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļœāļđāđ‰āļ—āļĢāļ‡āļ­āļīāļ—āļ˜āļīāļžāļĨāļ—āļēāļ‡āđ€āļĻāļĢāļĐāļāļāļīāļˆāđāļĨāļ°āļāļēāļĢāļĻāļķāļāļĐāļē āļĨāđ‰āļ§āļ™āđƒāļŦāđ‰āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ•āđˆāļ­āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļŠāļīāđˆāļ‡āđƒāļŦāļĄāđˆāđāļĨāļ°āļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢ āđ€āļžāļ·āđˆāļ­āļ•āđˆāļ­āļĒāļ­āļ”āļŠāļđāđˆāļāļēāļĢāļ„āđ‰āļēāđ€āļžāļ·āđˆāļ­āļŠāļĢāđ‰āļēāļ‡āļĄāļđāļĨāļ„āđˆāļēāļĄāļŦāļēāļĻāļēāļĨāđƒāļ™āđ€āļŠāļīāļ‡āļžāļēāļ“āļīāļŠāļĒāđŒāļšāļ—āļ„āļ§āļēāļĄāđ€āļĢāļ·āđˆāļ­āļ‡āļāļēāļĢāļžāļąāļ’āļ™āļēāļ‡āļēāļ™āļ§āļīāļˆāļąāļĒāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļŠāļđāđˆāļāļēāļĢāļˆāļ”āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢ āļĄāļĩāļ§āļąāļ•āļ–āļļāļ›āļĢāļ°āļŠāļ‡āļ„āđŒāđ€āļžāļ·āđˆāļ­āļĻāļķāļāļĐāļēāļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļ āđāļĨāļ°āđ€āļœāļĒāđāļžāļĢāđˆāļ„āļ§āļēāļĄāļĢāļđāđ‰ āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļˆāļēāļāļŠāļīāđ‰āļ™āļ‡āļēāļ™āļ—āļēāļ‡āļĻāļīāļĨāļ›āļāļĢāļĢāļĄ āđ„āļ”āđ‰āļ­āļ‡āļ„āđŒāļ„āļ§āļēāļĄāļĢāļđāđ‰āļ„āļ·āļ­ āļŠāđˆāļ§āļ™āļ‚āļ­āļ‡āļœāļĨāļ‡āļēāļ™āļ§āļīāļˆāļąāļĒāđāļĨāļ°āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ—āļēāļ‡āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļĄāļĩāļĨāļīāļ‚āļŠāļīāļ—āļ˜āļīāđŒāļ„āļļāđ‰āļĄāļ„āļĢāļ­āļ‡āļ”āđ‰āļ§āļĒāļ•āļąāļ§āļŠāļīāđ‰āļ™āļ‡āļēāļ™āđ€āļ­āļ‡āļ­āļĒāļđāđˆāđāļĨāđ‰āļ§ āđ„āļĄāđˆāļˆāļģāđ€āļ›āđ‡āļ™āļ•āđ‰āļ­āļ‡āļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļĨāļīāļ‚āļŠāļīāļ—āļ˜āļīāđŒ āļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāļ‚āļ­āļ‡āļšāļ—āļ„āļ§āļēāļĄāļ™āļĩāđ‰āļ„āļ·āļ­āļāļēāļĢāļ•āđˆāļ­āļĒāļ­āļ”āļŠāļđāđˆāļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļāļēāļĢāļ­āļ­āļāđāļšāļšāļœāļĨāļīāļ•āļ āļąāļ“āļ‘āđŒ āđ€āļžāļ·āđˆāļ­āđƒāļŦāđ‰āđ€āļāļīāļ”āļŦāļĨāļąāļāļāļēāļ™āđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāđƒāļŦāļĄāđˆāļˆāļēāļāļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļ•āļĢāļ§āļˆāļŠāļ­āļšāđāļĨāļ°āļĢāļąāļšāļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āđāļĨāļ°āđ„āļ”āđ‰āļĢāļąāļšāļ„āļ§āļēāļĄāļ„āļļāđ‰āļĄāļ„āļĢāļ­āļ‡āļ—āļēāļ‡āļāļŽāļŦāļĄāļēāļĒ āļœāļđāđ‰āļ§āļīāļˆāļąāļĒāļˆāļķāļ‡āļĄāļĩāļ‚āđ‰āļ­āđ€āļŠāļ™āļ­āđāļ™āļ°āļ”āļąāļ‡āļ™āļĩāđ‰ 1.āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒāļĄāļĩāļĻāļąāļāļĒāļ āļēāļžāđƒāļ™āļāļēāļĢāļ•āđˆāļ­āļĒāļ­āļ”āļŠāļīāđ‰āļ™āļ‡āļēāļ™āļ—āļĩāđˆāļĄāļĩāļĨāļīāļ‚āļŠāļīāļ—āļ˜āļīāđŒāļŠāļđāđˆāļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļāļēāļĢāļ­āļ­āļāđāļšāļšāļœāļĨāļīāļ•āļ āļąāļ“āļ‘āđŒ āļĄāļĩāļ„āļ§āļēāļĄāđ„āļ”āđ‰āđ€āļ›āļĢāļĩāļĒāļšāđƒāļ™āļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāđ„āļĄāđˆāļ•āđˆāļēāļ‡āļāļąāļšāļ§āļīāļ—āļĒāļēāļĻāļēāļŠāļ•āļĢāđŒāđāļĨāļ°āđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļĩ āļˆāļķāļ‡āļ„āļ§āļĢāļĄāļĩāļŠāđˆāļ§āļ™āļĢāđˆāļ§āļĄāļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļāļēāļĢāļ­āļ­āļāđāļšāļšāļœāļĨāļīāļ•āļ āļąāļ“āļ‘āđŒāļ—āļąāđ‰āļ‡āđ€āļŠāļīāļ‡āļ›āļĢāļīāļĄāļēāļ“āđāļĨāļ°āđ€āļŠāļīāļ‡āļ„āļļāļ“āļ āļēāļž āđ€āļžāļ·āđˆāļ­āđ€āļāđ‡āļšāđ€āļ›āđ‡āļ™āļāļēāļ™āļ‚āđ‰āļ­āļĄāļđāļĨāļ—āļĢāļąāļžāļĒāđŒāļŠāļīāļ™āļ—āļēāļ‡āļ›āļąāļāļāļēāđƒāļŦāđ‰āļœāļđāđ‰āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒ āļŦāļ™āđˆāļ§āļĒāļ‡āļēāļ™āđāļĨāļ°āļ›āļĢāļ°āđ€āļ—āļĻāļŠāļēāļ•āļīāļ•āđˆāļ­āđ„āļ› 2.āļĢāļđāļ›āđāļšāļšāļŠāļīāđ‰āļ™āļ‡āļēāļ™āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļ—āļēāļ‡āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļ—āļĩāđˆāļĄāļļāđˆāļ‡āđ€āļ™āđ‰āļ™āđƒāļŦāđ‰āđ€āļāļīāļ”āļ„āļ§āļēāļĄāđƒāļŦāļĄāđˆ āđāļĨāļ°āļŠāļēāļĄāļēāļĢāļ–āļœāļĨāļīāļ•āļ‹āđ‰āļģāđ„āļ”āđ‰ āļ„āļ§āļĢāđ€āļžāļīāđˆāļĄāļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāļāđˆāļ­āļ™āļāļēāļĢāđ€āļœāļĒāđāļžāļĢāđˆ āđ€āļžāļ·āđˆāļ­āđƒāļŠāđ‰āđ€āļ›āđ‡āļ™āļŦāļĨāļąāļāļāļēāļ™āļĢāļąāļšāļĢāļ­āļ‡āļ„āļ§āļēāļĄāđƒāļŦāļĄāđˆāđ„āļ”āđ‰āļ­āļĩāļāļ—āļēāļ‡āļŦāļ™āļķāđˆāļ‡ āđ‚āļ”āļĒāļĄāļĩāļāļŽāļŦāļĄāļēāļĒāļ„āļļāđ‰āļĄāļ„āļĢāļ­āļ‡ 3.āļĻāļīāļĨāļ›āļāļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒāļ›āļĢāļ°āļāļ­āļšāđ„āļ›āļ”āđ‰āļ§āļĒāļ āļđāļĄāļīāļ›āļąāļāļāļē āļ—āļąāļāļĐāļ° āđāļĨāļ°āļ­āļ‡āļ„āđŒāļ„āļ§āļēāļĄāļĢāļđāđ‰āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļŠāļ·āđˆāļ­āļāļĨāļēāļ‡āļ—āļēāļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļ—āļĩāđˆāļŠāļēāļĄāļēāļĢāļ–āļšāļđāļĢāļ“āļēāļāļēāļĢāļāļąāļšāļĻāļēāļŠāļ•āļĢāđŒāļ­āļ·āđˆāļ™āđ† āđ€āļžāļ·āđˆāļ­āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļŠāļīāđ‰āļ™āļ‡āļēāļ™āļĢāļđāļ›āļ˜āļĢāļĢāļĄ āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļ§āļīāļ˜āļĩāļāļēāļĢāļŦāļ™āļķāđˆāļ‡āļ—āļĩāđˆāļāđˆāļ­āđƒāļŦāđ‰āđ€āļāļīāļ”āļ™āļ§āļąāļ•āļāļĢāļĢāļĄ āđ‚āļ”āļĒāļŠāļīāđ‰āļ™āļ‡āļēāļ™āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒāļĄāļĩāđāļ™āļ§āđ‚āļ™āđ‰āļĄāļ—āļĩāđˆāļˆāļ°āļŠāļēāļĄāļēāļĢāļ–āļĒāļ·āđˆāļ™āļˆāļ”āļ—āļ°āđ€āļšāļĩāļĒāļ™āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢāđƒāļ™āļĢāļđāļ›āđāļšāļšāļ•āđˆāļēāļ‡āđ† āđ„āļ”āđ‰āļ„āļģāļŠāļģāļ„āļąāļ: āļŠāļīāļ—āļ˜āļīāļšāļąāļ•āļĢ; āļœāļĨāļ‡āļēāļ™āļ—āļąāļĻāļ™āļĻāļīāļĨāļ›āđŒāđāļĨāļ°āļāļēāļĢāļ­āļ­āļāđāļšāļš; āļœāļĨāļ‡āļēāļ™āļĻāļīāļĨāļ›āļāļĢāļĢāļĄ; āļ§āļīāļˆāļąāļĒāļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒ; āļ‡āļēāļ™āļŠāļĢāđ‰āļēāļ‡āļŠāļĢāļĢāļ„āđŒAbstractThe patent is very importance, there is one from the ranking requirements of the university, organization and country to a measure of economic, education and potential of the Nation. The country's leaders that influential economic and education are so important to the modernization to patents and continue trade to create the enormous of commercial value. The subject: Development of creative arts research into patents aim to study the importance, Dissemination of experience to apply for a patent from the art work. It is the knowledge. The part of research results and creative of art be copyright protected by work piece itself anyway no need to apply for copyright registration. The importance of this paper is to continue to submit patent applications for product design to create the new evidence from the review process and already registered and protected by law.Therefor researcher is recommendations as follows: 1. Fine Art has the potential to continue in work piece with copy rights patent applications for product design. There is no different an advantage as science and technology. It should contribute to creating patents both quantitative and qualitative to keep a database of intellectual property creators, organizations and nations further 2. The pattern piece of art works that are new and can be reproduced, It should process before filing a patent application is published. 3. Fine Art is composed of wisdom, skills and knowledge to mediate cultural concrete. It can be integrated with other sciences in order to create value an unique benefit of the society and the country. The contribution of creative and innovative form to cause to submit the patent.Keyword:  The patent, The visual arts and design; Works of art; Creative research; Creative wor

    Visiting Patient Activity at Patient Room in Perspective of Thai People (An Interior Design of Patient Room in the Perspective of Thai People)

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    The purpose of the present study is to determine which aspects of the patient rooms considered important to their inpatients and visitors experience that fit to cultural preference of the users. We sent the questionnaires to 125 people in Bangkok and in its surrounding areas. We asks those respondents to rate the 9 (nine) items that related to the patient's room and visit activities to the patient on a scale from 1 (very unimportant) to 5 (very important). These items are related to the visiting activities for the patients (2 items of questions) and 7 items related to aspects of the patient's room (room / space, a special area, furniture, layout, color, room accessories, and artwork). The other item is an open question about the most important factor in the patient's interior space. From the overall questionnaires distributed, 92.8% are eligible to be analysed. The analysis shows that two aspects of the patient's room which have the highest average value is the overall patient room (4.07) and a special area for visitors (4.07). Both are followed by lay out (4.00), color space aspects (3.99), furniture (3.83), and room accessories (3.64). The respondents considered that the artworks are not too important compared to the other interior elements so that the average value is in the last rank, namely 3.58. Thus we concluded that in the perspective of Thai society, three main things in relation to the activity of the patient visits are (1) the design of patients’ space that not only accommodate patient care activities, but also the activity of social interaction. (2) The need of a special area for social interaction between visitors and patients in patient space that becomes crucial, and (3) an efficient layout arrangement that supports visiting patient activities without reducing the control to the patients against their needs for privacy
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