• Tidak ada hasil yang ditemukan

Vol. 1, No. 1, 2009, pp. 54-60

N/A
N/A
Protected

Academic year: 2024

Membagikan "Vol. 1, No. 1, 2009, pp. 54-60"

Copied!
7
0
0

Teks penuh

(1)

กกก An Online Journal of Fine and Applied Arts

OJFAA

Vol. 1, No. 1, 2009, pp. 54-60

ก !"#$%&'()!*ก%+,-*ก !./01 &23456 57 &8!9:;-)<7=>,?0&8%ก-/ก@A(9%&B-/กก !7 &: ?5 2C7D (B;5F 5)

THE USE OF BASIC GRAPHIC ELEMENTS AND COMPOSITION TO EXPRESS IDENTITY OF BUDDHISM (HINAYANA) PRINCIPLES

5 FD/XD1/# ,2&YD?& * Tantawat Pangtaisong

]^$#_1F: ?`! . !F( % !F* :!=ก/-F A+C`!

Asst. Prof. Araya Srikanlayanabuth

Abstract

The objectives of this thesis 0The use of basic graphic elements and composition to express identity of Buddhism (Hinayana) principles> are to study core principles of Buddhism, to study and compare composition principles and basic graphic design elements with theory of Buddhism (Hinayana) core and identity, and last of all, to develop composition principle and graphic design in relation to Buddhism (Hinayana) core principles.The study also found that harmonize with core principles of Buddhism (Hinayana).The survey findings match the 0Three studies; morality, concentration and wisdom> (Sien, Samati, Panya). In respect of art composition, the work of art related must be clear, simplify, and contain connotation. The color related is one-tone harmonized color and sometimes opposite colors for clarity. Compared to Dhamma, this is equivalent to satisfaction of what ones have without greed. Natural shapes are easy to understand with no doubtfulness. Orderly arrangement, in the center, is like BuddhaIs doctrine to live moderate practice.

+7'/0F_%

JKLMNOJ กPQRJS TกUVTกKLWJXNYZJ[ \]OVWJกLก^_[J`LกกJ Xab (`M) ]Lcda TJS 1. XNO]OKTeก^`LกกVกfVRJXab (`M) 2. XNOeก^VT ]MU]MU`LกกJS TกUVTกKLWJXNYZJ[ \กLU`LกกVTg^h]]OVWJVกfVRVT กLก^_[JXab (`M) 3. XNO]OKTjWR`LกกJS TกUVT กKLWJXNYZJ[ \]O WSRJกLU`LกกVกfVR[JXab(`M) VTKกkกKLMXUf JS TกUVTกKLWJ XNYZJ[ \]OWSRJกLU`LกกVกfVR[JXab (`M) WSRJกLU`Lก jcก[ ]O P`RMeW`Lกก 3 [R SN ] b lmm PVJf[JJS TกU \ nJS TกU]OQLWK ]S`MVoJ ] กกNWRM]pW]M UJSLYJcLWกLWRM]XNOSQLWK dR n`Lกb กNXPKPOJ]Oc]jfc VcfJ กcL_`PQRq J nbQc[RPKJfM VTกKLWJ nTU]MU]MURM LOSJjf]MJrRM]MJ[

กกj กSJ`N]OXTXabKRJP`RWJMกJ KEYWORDS: Basic Graphic/ Principles of Buddhism (Hinayana)

'i ?i '/X: JS TกUXNYZJ[ \ /`LกกVกfVR[JXab(`M) /

* [Qgc \ vSQgc \ S_T กc KawJก_`MLM E-mail Address: [email protected]

(2)

+75i

Xab n`eOJP{SLm[JpกcLYJVcfW]cKdeJ lKKaUL `jWRKกJSก ` TQQcP`R S{SLm TกP`RL[UqQ nL`MaW{ก[JJSก` TQQcL`eOJ กf|XTP TjM Xab]S{SLmPกRJQcjMVTMqfSqfกLUSjM n`MRM }K nกZ[J L~bVTd]Q]cVUUjM n TK{QcjMpWMXgcLM cWK]bXcfb]SW[JSjM lKKaUL TjM]kqRLUdNXabกกfRMTกRU[J TQก VcfXabกQQjMfRM fLY]O]SqRKJP`LกXabbVTvก_[JXabPLJSXTP[_T]OLJSjM ]OMV JMfJWj qfLJSaMccL vXVWRJLJScj WRMกV[fJ[L SPLJS]d]

Q]c]OfJ]UVTLUL~bUpvSM P`RS{SLmกLUqSfกกfSa_Sf PกTVS ]OMV J WLJกf K{ n]OUaSกJcRJ LUcL ]MqRVTXL~cLJMqf VcfUaSกJXabMLJ[W กUq_กJSSqRP`LกXabb deJกXL~กTUกkMVkfXabP`RWSRJกLUvX LJS [WaWก_ LMLVT กTUกSWPก TMaกc`LกXabbPQRVกR lm`LJS

LUc jjc (Albert Einstein) Lก€ก QML kqRg^]LXLbvX กfdeJ XTXabกf]MQ]c `MLM rcL jWRc]XXJ[]MQY`eOJ[J[QNONOJ " The Human Side "

reOJLก€กkqR]OjWRLUJLpUkqR]Y jWRกfYJRMP`R n V`fJpกScf The religion of the future will be a cosmic religion. It should transcend personal God and avoid dogma and theology. Covering both the natural and the spiritual, it should be based on a religious sense arising from the experience of all things natural and spiritual as a meaningful unity. Buddhism answers this description. If there is any religion that could cope with modern scientific needs it would be Buddhism. "PSc KTcRJ nก LYSMqf`N XTKR]O]cLc VTSKTRS{VUUbLc (SN nVUU{Kq ]OP`RQNOcX]MJMfJW]M) VTVUU M(SNXeOJW n`LกP`mf) LYNOSUSaLYJbQcVTKcPK KeJS]กZMqfULm {eกJ]OกW[eYK TUก_cfOJLYJ J SN LYJbQcVTKcPKMfJ n`fM]O]S`M XTXabcU[Rก{`W]YjWR dRKT]PW]OLUNjWRกLUScRJกJMcLMP`f lKKaUL LYกS nXTXab"

S{XqW[JjjcLY]SLM]O{SLmrfMqfVTSMกSRXU VTg^h]กvX`Ng^h]X OJ]OcRJกSR`LY ]OKJXTXabKRjWRcUP`RUWKกf`RLY 2500 }

(http://www.dra.go.th/dra_new/religion_buddha/webboarddetail.asp?id=148)

PJXab]กกfdeJ NOJq fJกM ]OกWKกbca W Y{ j ]MU]MUPVJf McกKTVMก n SU กrK j‡pWK (Xabvก[a, 2549:75) OJ]Y{P`RkqRKLM`fPJWR กcกfKT]Sก]OMNOJกLjWR LUcLYJVcfa^MOLJS T LJSVTSNOJ`eOJ]OSY{Qq L~ก[J TpWMcW กTLOJaกL]YกMLJ nV`fJ]O[JkJQLYW]`MQYKT`jWRP TLcc TPMaSกกJ `LJKกกfM[JKLกWpL nkP`RกWกVcกVMก[Jpก cTLcก `LJKก]O]กVUfJVMกKLกWP } S..295 pกcTLกreOJ] nNJ`J KmafJNJ กM nMTbjUrS QfJ`eOJXL }[JMaSกJreOJMqfT`fJQfJ]OpLfMPc^]O 5 j KdeJ Pc^]O 15 NJP`mf‰ [JKLกWpLJr]กcTLcกfMKกM n`qfUR ก‰ Lก กSJYJ`R]O[Rj MqfPXNY]OQNJ VkfWjRLZUVTกh`M UWQQ]XVTกSRcกcO{

(3)

`NK]MกjWRfjf]M XTกWJj cj WRMLcM v^VT[Ub]MRJdO cWK กVUfJVMกMap c[cvqcOกfcLYJPXNY]O]O`fJjก PQfJ]O TQQpWMLOj fP`mff-[]M

`LJNjfjWR ]กLYJMLJ]SMกKVTQNOPjMc ]กKLWcLYJLJSLกW[eYpWMXก[aJ]O nKR[J ]OWP`RcLJ]{KUWK`NQkqRjd`fkNW Vcf`MRM }vM`LJกfM[Jp bX T`fJXกSdNOกLUXกpL{P`RกWLXJกกVUUPJ TVT`Lcdก VRKT]MกMaSกJf 0MaSNW> (The Dark Ages) Vcfjf]TjNWPJ`Lcdก reOJj deJก{`LJNWRM

SqRVTก]MqRก]OMกLUpกSกqm`Mj KกNU`WY SQNO[JScc]M]O]cfS{

JLLกWŠbŠ กM nXLJcLW]MPกกULก^`LJN d]O{SLmJ[JQSc c]MกM nqMกJJL~b กeก^VTกKกJ lmm กกULก^SqR j deJก{

กSLWMN (Illuminated manuscript) reOJS`MccLLก^`MdeJก[]M`LJNVR TWLUWRMJ

`NJ MfJjกc S{]YjWRกM]S`MdeJ`LJN]O[]MWRMMN ]M TWLU vX TกU VT kcPQfJMaSกJ (avก_ W^ZXLba , 2520 : 5) VT]O`jWRQLWKกLUJกVUU[J Tm]O a‹ reOJ]S nกLก^_qJก URJก]Mกfjc 0r> >zen> `N 0c> 0minimalist> nJกVUU]O]MUJfM JcL VTeกreYJกVoJj WRM LQm]OKก XabกMr KกWQNO]Mก{`LU € LกกVUU Lก ก] VT LQm f 0TU-rTU> VT TU-rTU ]O n`LJN{`LU € LกกVUU Lกก] VT LQm jWR]ก ]MU]MU`Lก TU-rTU กLU pW P`R`SVcกcfJ[J`LกSSW Vcf]SSRM`N`NกL PJกVUU ]O]S]MUJfMVT]SJcLPcLLJ ]MUN pWcTLcก VT pW cTLก LYJ (ก กO[K, 2546)

Kก]OVTS{SLm[J lm`kqRKLMJ`S nj jWR]OKTeก^VTSRSRNOJกPQR JS TกUVTกKLWJXNYZJ[ \]OVWJกLก^_[J`LกกJXab(`M)XNO]OKTjWR]

JกVUU]OVWJกLก^_JXab(`M) MfJ`T VTXNO n TpMQPกXL~JP JกกVUUcfj

1;D=0i 85;5ก !1;./F

9%+89`& 51;./F

1. กKLMSLYJ]Y kqRKLMKTafJReก^VSSW`LกกVT g^h]VกfVR[JXab(`M) 1.1 TLcกกW[JXab (`M)

1.2 `LกกVTg^h]VกfVR[JXab (`M)

2. กKLMSLYJ]Y kqRKLMKTeก^afJRกPQR`LกกJS TกUVTกKLWJXNYZ \]OWSRJ กLUVSSW`LกกVTg^h]VกfVR[JXab (`M) jWRVกf

2.1 JS TกUXNYZ (Basic Elements) 2.1.1 KaW (Points)

2.1.2 R (Line) 2.1.3 q J (Form) 2.1.4 XNYk (Texture) 2.1.5 ] (Color)

(4)

2.2 กKLWJXNYZ (Basic composition) 2.2.1 Wa Balance

2.2.2 KLJ`T Rhythm 2.2.3 LWf Proportion 2.2.4 ]OfJ Space 2.2.5 VcกcfJ Contrast

3. ST`VT ]MU]MU`LกกJS TกUVTกKLWJXNYZJ[ \ ]OWSRJกLU

`LกกVTg^h]]OVWJVกfVRVTกLก^_[JXab (`M) ก !?!$ &8'!3>%&j3%7=>"#$"5ก !1;./F

SNOJNKLM]OPQRPกKLMSNVUUUdK{2QaWSN

QaW]O1: VกfVRVTกLก^_[JXab(`M) pWMeก^`LกกVกfVRJ Xab(`M)Kก_ก]Oก]OM[RJVTกLv^_XTvก^aKjWR`LกกpWM]O n`Lกก VกfVRJXab (`M) VT{VUUUdXNO]OKTa `S{cUf`LกกVกfVRJ Xab(`M) SN`LกกTj n{SLmpWMJj กU[RqกLUXTJŽd]O]OJj กU [RqSN`MLM`KawJก_QMLMVT {Lก`NLW]O ULcbก_กLWSTV PQRกก{`WSfY{`LกSTV5TWLUKกLYก{k]OjWRSTVก]OaWกSN`Lก0jcก[> n

`LกกVกfVRJXab(`M)XT n`Lก]OT[J`LกbcfJ‰]O]MqfPNOJ] bVT lmmpWM`Lก[Jjcก[]Y]OafJRj qfก`aWXRKกSaก[[JOJLYJ J

QaW]O2 :กPQRJS TกUVTกKLWJXNYZJ[ \]OVWJกLก^_[J`LกกJ Xab (`M) pWMeก^`LกกJS TกUVTกKLWJXNYZJ[ \pWMb]

(LITERATURE REVIEW)U_ก ]O nNY`[J[RS]O]KaWafJ`MXNOcKU

S{SLmP`L[R|XT]OcJกL2P3PNOJ[J`LกกJS TกUVTกKLWJXNYZJ[

\VR{S{cUSN `Lก0jcก[> n`LกกVกfVRJXab (`M)กLU

`LกกJS TกUVTกKLWJXNYZJ[ \ nVUUUd]ก1 QaWXNO]OKT{j กU [RqกLUkqRQ]MQm]O nLกกVUU VT €pWMก_กLWSTV PQRกก{`WSfY{`Lก STV5TWLUcก_KกLYก{k]OjWRSTVก]OaW nS{cUPNOJ`LกกJS TกU VTกKLWJXNYZJ[ \

|TLY`LกกJS TกUVT กKLWJXNYZJ[ \]OWSRJกLU`LกกVกfVR[J Xab (`M) SN JS TกUXNYZ (Basic Elements) SN KaW (Points), R(Horizontal Line), q J bQc(Natural Form), Lก^_Tk]OLUqRjWRWRMk`LJ]O กPbQc(Actual Texture or Tactile Texture), ]pW]M(Monochromatic Color Scheme), VTกKLWJXNYZ (Basic composition)SN SWa]OfกL (Symmetrical Balance), KLJ`TกcfNOJ n{WLU(Progression Rhythm), LWf[WVTq J]O][W PกRS]MJกL, U_]OfJ]O nUก(Positive Space), กcLWกL]O] (Contrast of Color)

(5)

]-ก !1;./F

KกkกKLMXUf JS TกUVT กKLWJXNYZJ[ \]OWSRJกLU`LกกVกfVR[J Xab (`M) LY nJS TกU \ VTกKLWJXNYZ]OWqVR]MUJfM jfSfM]TjrLUrR WSRJกLU`Lก jcก[ ]OP`RMeW`Lกก 3 [R SN ] b lmm P`RLOX]MกT{SW] TR SQLO ULcbKmb XNO]OKTjWRกWc lmmPกW{Q]cP`RaJj WRMW]PVJf[JJS TกU \ nJS TกU]OQLWKjfrLUrR jfกjfRM ]S`MVoJ ]กกNWRM]pW]M UJSLYJcLWกL WRM]XNOSQLWK dR n`Lกb กNXPKPOJ]Oc]jfcVcfJ กcL_` PQRq J nbQc [RPKJfMjfSNUVSJ `Tj nMfJjก nMfJLY VTกKLWJ nTU]MU]MURM LOSJjf]MJrRM ]MJ[กกj cJกJXW] กSJ`N]OXTXabKRJP`RWJMกJ

` ! &8)!=F+87=F+!*B1_ &%&'()!*ก%+,-*ก !./01 &23456 57 &8!9:;-)<ก/+B-/กY`!?;ก9

%&'()!*ก%+:;-)< ,-*ก !./01 &23456 5 (BASIC ELEMENTS AND COMPOSITION)

Y`!?;9 (:=- ?j D; )kXX ) 1. KaW (Dot) - KWKf กLUOJW]M VOJ]OJjf`

2. R (Horizontal Line) - JUOJ ]MUJfM 3. q JbQc (Natural Form) - SXVT[RPKbQc 4. Lก^_Tk]OLUqRjWRWRMk`LJ]O กP

bQc (Actual Texture or Tactile Texture)

- SXVT[RPKS nj LhKLก[JbQc 5. ]pW]M (Monochromatic Color Scheme) - jfcVcfJ กcL_`

6. SWa]OfกL (Symmetrical Balance) - S]c LOSJPSXW]

7. KLJ`TกcfNOJ n{WLU (Progression Rhythm)

- กKmc XL~[eYj PJ]OW]

8. LWf[WVTq J]O][WPกRS]MJกL - SjfVfกW[eYjWR

%l;)! F]-,-*9$%8?5%,5*

ก!A=:mก@ n'!&ก !& 5%%ก,++

pSJกac QNO >`KJ> ]Lcda TJSXNO ]OMก{bT]O nv^[RPKMกP`R[RPK JfMMOJ[eY PSqRNOJ TLcS nVTS[RPKP 0ก ULc lกZUNYJcR> {pWM PQRvX TกUVTJS TกU KกkกKLMNOJ กPQRJS TกUVTกKLWJXNYZJ[ \]OVWJ กLก^_[J`LกกJXab (`M)

กaf “`M XOJKU`MLM KdeJLM{J Ma 25-35 } naf]OกWXRกLUpกก{J c]O[JkqR`mJ cZก]YMJSUSLpWMLYJ] VTvM P`RSSXcfL~b]OVcกcfJ SaRSMcf SXc cc VTSppM]LMP`f กcUpcกLUกXU` lm`VTSafM[JLJS

NY`]O`T Pกก{`W[U[cPกกVUU SN1. TLcก ULc lกZP TjM 2.ก ULc lกZUNYJcR ] 4 b] SN b]MN, b]W, b]LOJ, b]

(6)

vXp c]O1 ก ULc lUNYJcR 0b]> vXp c]O2 ก ULc lUNYJcR 0b]LOJ>

vXp c]O3 ก ULc lUNYJcR 0b]MN>

vXp c]O4 ก ULc lUNYJcR 0b]MN>

vXp c]O5 ก ULc lUNYJcR

(7)

]-7=>.*5i Y)"#$"5ก !%%ก,++

1. KaW (dot) {j PQR ncLก{`WPกLU `NPQRVOJ]OJjf` Qfกก{`WKcPก ULcb

2. q JbQc (Natural Form) nq fJS]O{กVUUP`R[RกLUVSSW >`KJ> SN กJfJกM nX]MJSfJ f

3. ]pW]M (Monochromatic Color Scheme) JS TกU]O nKaWWf KaWJPQR]pW]M `NPQR LYJ`W `T{`LULM{J

4. R (Horizontal Line) {JS TกUj KLWJJU p c nV

5. กcLWกL]O] (Contrast of Color) PQRกLUcL`LJNVTXNY`LJ `NJS TกU]O nKaWWf KaWJ

`T{`LULMaf

6. U_]OfJ]O nUก(Positive Space) KaWWf n foreground

JS TกU VTกKLWJXNYZJ[ \]OWSRJกLU`LกกVกfVR[JXab (`M) jf{PQRLYJ`WKTNกPQRcS`TPVcfTNO

! Fก !%$ &%;&

ก กO[K. (2546). TU-rTU {`LU € LกกVUU ก] VTLก LQm. V XYcYJ: {LกXX J]

Referensi

Dokumen terkait

Dari grafik hubungan antata besar sudut kemiringan terhadap gaya dan koefisien drag di atas menunjukkan terjadinya gaya drag terbesar pada sudut 15° yaitu 13,97

Pernikahan bisa disebut sebagai hal termewah bagi part- ner lesbian. Beberapa post menjelaskan angan-angan L-M akan pernikahan sejenis, namun dengan segera mereka menyadari

Sistem yang mampu untuk menangani permasalahan tersebut adalah sistem pakar Hasil penelitian merupakan terciptanya sebuah aplikasi Sistem Pakar yang dapat digunakan dalam

Pemetaan Kategori Kano Tiap Atribut No Atribut Keinginan Konsumen Kategori Kano Perbaikan 1 Peraturan Mudah Dipahami M Kekurangan : Memperbaiki SOP, membuat

Dalam diri manusia terdapat kecerdasan spiritual (spiritual quotient SQ), sebagai salah satu model kepemimpinan yang perlu diadopsi dan mendapat tanggapan dari seorang pemimpin yakni

To study the influence of chloride salt on the extraction efficiency, the extraction of 0.01 M Co II from the aqueous feed solutions containing different salts like NaCl, KCl and NH4Cl

KESIMPULAN Berdasarkan hasil penelitian yang diperoleh dapat disimpulkan bahwa kalsium dan fosfor pada daun kecipir Psophocarpus tetragonolobus L pada masing-masing daerah memiliki

Tahap penelitian ini adalah 1 penulis melakukan kajian teoritik untuk indikator indikator pembelajaran kooperatif tipe numbered head together untuk meningkatkan kemampuan komunikasi