Issuu on Google+

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

: 163

∫∑∑’Ë 5  √ÿªº≈·≈–¢âÕ‡ πÕ·π–

Chapter 5 Conclusion, Discovered and Suggestions

 √ÿªº≈°“√¥”‡π‘π°“√ °“√¥”‡π‘π‚§√ß°“√°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ ¡’«—µ∂ÿª√– ß§å‡æ◊ËÕÕπÿ√—°…å ·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡∑âÕß∂‘πË ‡æ◊ÕË  √â“ߧ«“¡µ√–Àπ—° „Àâ‡ÀÁπ§ÿ≥§à“ß“π®‘µ√°√√¡ (ŒŸª·µâ¡) ·≈–·À≈àß»‘≈ª°√√¡ ¢Õß∑âÕß∂‘πË ·≈–‡æ◊ÕË  √â“߇§√◊Õ¢à“¬°“√Õπÿ√°— …å·À≈àß»‘≈ª°√√¡ ∑âÕß∂‘Ëπ ‚¥¬„™âæ◊Èπ∑’Ë¥”‡π‘π°“√∑’˵”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡ ‡ªìπæ◊Èπ∑’Ë∑’Ë¡’·À≈àß‚∫√“≥ ∂“π´÷Ëߢ÷Èπ ∑–‡∫’¬π®“°°√¡»‘≈ª“°√‰«â·≈â« 2 ·Ààß §◊Õ «—¥‚æ∏“√“¡·≈– «—¥ªÉ“‡√‰√ °≈ÿࡇªÑ“À¡“¬‡ªìπ™“«∫â“πµ”∫≈¥ß∫—ß ª√–°Õ∫ ¥â«¬ 8 °≈ÿà¡ ‰¥â·°à °≈ÿࡺŸâπ” °≈ÿà¡∑պⓉÀ¡ °≈ÿࡇ¥Á°·≈– ‡¬“«™π °≈ÿࡺ≠“- √¿—≠≠– °≈ÿࡪ–‚¡∑—¬ °≈ÿà¡‚√߇√’¬π °≈ÿ¡à æ√– ß¶å ·≈–°≈ÿ¡à √“™°“√ ‚¥¬„™â°√–∫«π°“√¥”‡π‘πß“π ·∫∫¡’ à«π√à«¡ºà“π°‘®°√√¡µà“ßÊ ∑’Ë™“«∫â“π∑” ‡æ◊ËÕ √â“ß ‡§√◊Õ¢à“¬ °“√∑”ß“π·≈– √â“ß°√–∫«π°“√‡√’¬π√Ÿâ√à«¡°—𠇙‘ß∫Ÿ√≥“°“√µàÕ‰ª °“√¥”‡π‘πß“π∑’˺à“π¡“ ¡’À≈—°°“√∑”ß“π ”§—≠ ¥—ß µàÕ‰ªπ’È 1. °“√°”Àπ¥∑‘»∑“ß°“√∑”ß“π√à«¡°—π °àÕπ°“√ ¥”‡π‘π‚§√ß°“√π—Èπ ¡’‡ªÑ“À¡“¬ª≈“¬∑“ß∑’Ë°“√§âπÀ“·π«∑“ß Õπÿ√—°…å·À≈àß‚∫√“≥ ∂“π·≈–¿“殑µ√°√√¡Ω“ºπ—ß „Àâ¬◊π π“π‰¥âÕ¬à“߉√ ‡æ◊ËÕ°”Àπ¥∑‘»∑“ß°“√∑”ß“π√à«¡°—∫™ÿ¡™π ‚¥¬™’È„Àâ‡ÀÁ𧫓¡ ”§—≠¢Õß°“√Õπÿ√—°…å·À≈àß‚∫√“≥ ∂“π ∑âÕß∂‘Ë𠇪ìπÀπâ“∑’Ë¢Õß™ÿ¡™π∑’Ë®–µâÕߙ૬°—π¥Ÿ·≈√—°…“ ∑”πÿ∫”√ÿß·À≈àß‚∫√“≥ ∂“π¥—ß°≈à“« ¥â«¬°“√ √â“ߧ«“¡ µ√–Àπ—°„π§ÿ≥§à“ §«“¡¿“§¿Ÿ¡‘„®„Àâ°—∫™ÿ¡™π °“√°√– µÿâπ„À⇰‘¥°“√ ◊∫ “π·π«∑“ßÕπÿ√—°…å·À≈àß‚∫√“≥ ∂“ππ’È „Àâ°—∫§π√ÿàπµàÕ‰ª ¥—ßπ—Èπ∑‘»∑“ß°“√¥”‡π‘πß“π®÷ß¡ÿà߇πâπ‰ª ∑’Ë 2 À¡Ÿà∫â“π ´÷Ë߇ªìπ∑’˵—ÈߢÕß«—¥ Õß·Ààß∑’Ë¡’¿“殑µ√°√√¡ Ω“ºπ—ß (ŒŸª·µâ¡) §◊Õ «—¥‚æ∏“√“¡ ∫â“π¥ß∫—ß ·≈–«—¥ªÉ“‡√‰√ ∫â“πÀπÕßæÕ°

Conclusion The Conservation Project of Mural Painting (Hoop Tam) in Maha Sarakham Province, Northeast Thailand aimed to conserve local historical art sites in order to publicize value of the mural paintings (Hoop Tam) and other local art sites, creating a network for local art sites conservation. Dong-Bang Sub-district, Nadun District, Maha Sarakham Province, where two historical sites are located Wat Pho Tharam and Wat Pa-Rerai-registered to the Fine Arts Department. The target group is the communities of the Dong Bang Sub-district which were divided into 8 groups-Leaders Group, Silk Weaving Group, Children and Youth Group, Paya poem and Sora Panya singers Group, Pamo-Thai (Isan Shadow Puppets Show) Group, School Group, Monk Group, and Government Official Group. Working participation process was used, through villagersû activities, in conducting this project in order to, together, build a working network and integrative learning process. Processes used in conducting the project are as follow: 1. Determining direction in working together-before starting this project, its aim was to seek ways to make historical sites and mural paintings extensively conserved. To determine a working direction with the communities, it was essential to make them see importance of the historical sites conservation. It was their duty to help maintain and conserve the sites, and to build awareness and pride to the social causing the ways in conserving them to be carried to next generation Thus, the direction went to two villages, where the two Wats (temples)-Wat Pho Tharam, Ban Dong Bang, and Wat Pa-Rerai, Ban Nong Pok with mural paintings (Hoop-Tam) are located.


164 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

2. °“√∑”ß“π‚¥¬„™â°√–∫«π¡’ à«π√à«¡ ‡ªìπ°“√ ∑”ß“π√à « ¡°— ∫ ™ÿ ¡ ™π‡æ◊Ë Õ §â π À“§«“¡µâ Õ ß°“√¢Õß™ÿ ¡ ™π Õ¬à“ß·∑â®√‘ß ºà“π°“√ª√–™ÿ¡ °“√Õ¿‘ª√“¬ ´—°∂“¡ ∂°ªí≠À“ °“√§âπÀ“§«“¡‡ªìπ‰ª‰¥â¢Õß‚§√ß°“√¬àÕ¬‡æ◊ËÕ®–¥”‡π‘π°“√ µàÕ‰ª À≈—ß®“°‰¥âª√–™ÿ¡ª√÷°…“À“√◊Õ√à«¡°—∫™“«∫â“π·≈â« æ∫«à“‡√◊ËÕß∑’Ë™“«∫â“πµâÕß°“√Õ—π¥—∫·√° §◊Õ §«“¡√Ÿâ‡°’ˬ«°—∫ °“√Õπÿ√—°…å·À≈àß»‘≈ª°√√¡·≈–¿“殑µ√°√√¡Ω“ºπ—ß «à“ ™ÿ¡™π®–¥Ÿ·≈√—°…“ ∑”πÿ∫”√ÿß·À≈àß‚∫√“≥ ∂“ππ’ȇ√◊ËÕß„¥ ∫â“ß æ√âÕ¡∑—È߇ªìπ°“√®ÿ¥ª√–°“¬„Àâ™ÿ¡™π‰¥â§‘¥∑’Ë®–π” ‡ πÕ‚§√ß°“√¬àÕ¬Õ◊ËπÊ µ“¡¡“ ‡¡◊ËÕ°√–∫«π°“√‡√’¬π√Ÿâ¢Õß ·µà≈–°≈ÿࡇ°‘¥¢÷Èπ·≈â« ®÷ß “¡“√∂∑”ß“π·≈– √â“ߧ«“¡ ‡¢â“„®√–À«à“ß°—πµàÕ‰ª‰¥â 3. °“√°√–µÿâπ„Àâ‡ÀÁπ§ÿ≥§à“¢Õß∑âÕß∂‘Ë𠇪ìπ°“√  àß ‡ √‘¡„Àâ™ÿ¡™π‡ÀÁ𧫓¡ ”§—≠‡√◊ËÕߧÿ≥§à“ §«“¡‡™◊ËÕ ·≈– »√—∑∏“¢Õß∑âÕß∂‘πË ‚¥¬∑’∑Ë °ÿ §π‡ªìπ à«πÀπ÷ßË ¢Õß°“√Õπÿ√°— …å ·À≈àß‚∫√“≥ ∂“π∑—Èß ‘Èπ ¡’ª√–‡¥Áπ¥—ßµàÕ‰ªπ’È 1. °“√°√–µÿâπ„Àâ™ÿ¡™π· «ßÀ“§ÿ≥§à“„πµ—«µπ °≈à“«§◊Õ µâÕß∫Õ°„À≥â«à“∑âÕß∂‘Ëπ¢Õßµππ—Èπ¡’Õ–‰√¥’ §ÿ≥§à“¢Õß∑âÕß∂‘Ëππ—ÈπÕ¬Ÿà∑’ˉÀπ ¡’¿Ÿ¡‘ªí≠≠“‡√◊ËÕßÕ–‰√∫â“ß∑’Ë ¬—ߧߠ◊∫∑Õ¥·≈–Õ¬Ÿ§à °Ÿà ∫— ™ÿ¡™π¡“®π∂÷ß∫—¥π’È ·≈â«®–¡’«∏‘ °’ “√ ™à«¬°—π¥Ÿ·≈√—°…“‰«âÕ¬à“߉√ ‡ªìπµâ𠧔∂“¡‡À≈à“π’È®–¬âÕπ °≈—∫‰ª∑’Ë™ÿ¡™π„Àâ§âπÀ“ §”µÕ∫∂÷ߧÿ≥§à“§«“¡¥’ß“¡¢Õß ∑âÕß∂‘Ëπ ‡æ◊ËÕ∑’Ë®–π”¡“„™â‡ªìπ à«πÀπ÷ËߢÕß°“√∑”ß“πµàÕ‰ª 2. °“√µ’§«“¡∂÷ߧÿ≥§à“¢Õß∑âÕß∂‘πË √–∫∫§«“¡§‘¥ §«“¡‡™◊ËÕ„π°“√¥”‡π‘π™’«‘µ°—∫ ¿“æ·«¥≈âÕ¡®“°Õ¥’µ∂÷ß ªí®®ÿ∫—ππ—Èπ¡’§«“¡‡À¡◊ÕπÀ√◊Õ·µ°µà“ß°—πÕ¬à“߉√ ‡ªì𠧔∂“¡ ”§—≠∑’Ë®–𔉪 Ÿà°“√§âπÀ“ ‘Ëß∑’Ë®–‡™◊ËÕ¡‚¬ß√–À«à“ß §ÿ≥§à“¢Õß¿“殑µ√°√√¡Ω“ºπ—ß°—∫«‘∂’™ÿ¡™π‰¥â ‡æ√“– ¿“殑µ√°√√¡Ω“ºπ—߇À≈à“π’ȉ¥â –∑âÕπ‡√◊ËÕß√“«§«“¡‡ªìπ¡“ ¢Õß™ÿ¡™π„πÕ¥’µ ‡™àπ ‡√◊ËÕß√“«¢ÕߺŸâ§π„π ¡—¬π—Èπ  ¿“æ ∏√√¡™“µ‘·≈–§«“¡Õÿ¥¡ ¡∫Ÿ√≥å °“√∑”¡“À“°‘π ª√–‡æ≥’ √«¡∂÷ß»“ π“ §«“¡‡™◊ÕË ∫“ª∫ÿ≠§ÿ≥‚∑… ∑—ßÈ ∑’‡Ë ªìπ ‘ßË ¡Õ߇ÀÁπ ·≈–¡Õ߉¡à‡ÀÁπ ´÷Ëß™ÿ¡™ππ’È°Á¬—ߧߠ◊∫ “π√–∫∫§ÿ≥§à“ ¥—ß°≈à“« Õ¬Ÿà„π«‘∂’°“√¥”‡π‘π™’«‘µ¡“®π∂÷ß∑ÿ°«—ππ’È  ‘Ëßπ’È §◊Õ®ÿ¥‡¥àπ¢Õß™ÿ¡™π

2. Working by using participation process-was working with the communities, through meetings, seminars, and discussions, in order to seek their exact needs and possibilities to conduct sub group projects. After having discussed and consulted with the villagers, it was found that the first thing they needed was knowledge about historic sites and mural paintings conservation and how to work on their maintenance. This let the communities to ideas in conducting more sub group projects. Learning process happened among villagers and allowed them to be able to work and understand one another. 3. Encouraging the people to aware of local valueswas making the communities realize local values, beliefs, and faith by having everybody as part of historical sites conservation. How to do that are as following: 1) Encouraged the communities to aware of their self values and to able to tell what they have, where the local values are in the communities, what local wisdom is conserved so far, and how to conserve them. These became questions for which the communities needed to find answers in order to use them as part of the project later. 2) Defined local values, thinking systems, and beliefs in ways of life and what the environment in the past and present have in common and how they are different. These are important keys in finding what links the value of the mural paintings and the communitiesû way of life together, for the paintings reflect histories of the communities in the past, such as, those about the people, environment, ways of living, custom, as well as religion, faith, and the goodness and the badness, both concretely and abstractly. These have been in ways of living of the communities and that is their prominence.


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

®ÿ¥‡¥àπ¥—ß°≈à“«‰¥â·ΩßÕ¬Ÿ„à π«‘∂°’ “√¥”‡π‘π™’«µ‘ ¢Õß™ÿ¡™π·Ààßπ’È¡“π“π·≈â« ‚¥¬µâÕß»÷°…“„Àâ≈÷°≈߉ª„Àâ¡“° æÕ∑’Ë®–™’È„Àâ‡ÀÁ𧫓¡ —¡æ—π∏å°—∫«‘∂’™’«‘µ °“√„™â«‘∏’°“√§âπÀ“ §ÿ ≥ §à “ ¢Õß∑â Õ ß∂‘Ë π ºà “ π°√–∫«π°“√ √â “ ߧ«“¡ — ¡ æ— π ∏å √–À«à“ß°≈ÿࡵà“ßÊ √à«¡°—π ·≈â«π”¡“«‘‡§√“–Àå‡æ◊ËÕ –∑âÕπ „Àâ‡ÀÁπ∂÷ß»—°¬¿“æ¢Õß∑âÕß∂‘Ëπ∑’Ë “¡“√∂𔉪 Ÿà°“√æ—≤π“ °“√‡√’¬π√Ÿâ√à«¡°—πµàÕ‰ª  ‘ËßÀπ÷Ëß∑’ˇÀÁπ‰¥â™—¥‡®π§◊Õ ™ÿ¡™ππ’È ¬—ß¡’¿Ÿ¡‘ªí≠≠“∑âÕß∂‘Ëπ„π¥â“πµà“ßÊ À≈“¬§π ´÷Ëßæ√âÕ¡®– „À⧫“¡√Ÿâ·°à™ÿ¡™π‰¥â‡ªìπÕ¬à“ߥ’ ‰¥â·°à ¿Ÿ¡‘ªí≠≠“¥â“π°“√ ®à“¬º≠“·≈–¢—∫√âÕß √¿—≠≠– °“√∑”Àπ—ߪ–‚¡∑—¬ °“√ ®—° “π °“√∑պⓠ·≈–À≈«ßªŸÉ∑’Ë “¡“√∂Õà“πÕ—°…√∏√√¡‰¥â ‡ªìπµâπ À“°™ÿ¡™π√à«¡°—π¬°¬àÕ߇™‘¥™Ÿ∫ÿ§§≈‡À≈à“π’È„À⇪ìπ ∑’ˬա√—∫„π¿Ÿ¡‘ªí≠≠“¥—ß°≈à“« °Á¬‘Ëß®–‡ªìπ°“√‡ √‘¡ √â“ß »—°¬¿“æ¢Õß™ÿ¡™π„Àâ·¢Áß·°√àß·≈â«π”‰ª Ÿà°“√æ—≤π“∑’Ë ¬—Ë߬◊π„π¥â“πÕ◊ËπµàÕ‰ª 4. °“√°”Àπ¥·π«∑“ß°“√∑”ß“π µ“¡¿“√°‘®À≈—° ¢Õß‚§√ß°“√‡πâπ°√–∫«π°“√∑”ß“π·∫∫¡’ à«π√à«¡°—∫™ÿ¡™π ‚¥¬°“√ √â“ß°√–∫«π°“√‡√’¬π√Ÿâ·≈–∑”§«“¡‡¢â“„®‰ª„π ∑‘»∑“߇¥’¬«°—π·≈– Õ¥§≈âÕß°—∫°“√¥”‡π‘π™’«µ‘ „πªí®®ÿ∫—π ‚¥¬‰¡à„À⇰‘¥§«“¡¢—¥·¬âß°—π‡Õß ª√–°Õ∫°—∫°“√°√–µÿâπ „À⇰‘¥°“√‡√’¬π√Ÿâ‡∑à“∑—π°“√‡ª≈’ˬπ·ª≈ߢÕß‚≈°Õ—π‡π◊ËÕß ¡“®“° ‘Ë߇√â“®“°¿“¬πÕ°∑’ËÕ“®®– àߺ≈°√–∑∫∑“ß≈∫µàÕ ™ÿ¡™π‰¥â ‚¥¬°“√· «ßÀ“√Ÿª·∫∫∑’‡Ë À¡“– ¡‡æ◊ÕË °“√®—¥°“√ ∑âÕß∂‘Ëπ¥â«¬µπ‡Õß ·∫à߇ªìπ 3 ª√–‡¥Áπ¥â«¬°—π 1. °“√®—¥µ—Èß°≈ÿà¡ ‡æ◊ËÕ»÷°…“»—°¬¿“æ¢Õß ·µà≈–°≈ÿà¡ 2. °“√æ—≤π“µàÕ‡π◊ËÕß ‚¥¬„™â°‘®°√√¡¬àÕ¬ ‡ªìπ ◊ËÕ°≈“ß°“√∑”ß“π√à«¡°—π ‡æ◊ËÕ √â“ß°√–∫«π°“√‡√’¬π√Ÿâ ·≈–∂à“¬∑Õ¥§«“¡√Ÿâ√–À«à“ß ¡“™‘° ¥â«¬°“√≈ß¡◊ժؑ∫—µ‘ √à«¡°—π 3. °“√‰ª∑—»π»÷°…“·À≈àß»‘≈ª°√√¡ ¿“æ ®‘µ√°√√¡Ω“ºπ—ß„πµà“ß®—ßÀ«—¥ ‡ªìπ°“√‡ªî¥‚≈°∑—»πå„Àâ°—∫ ™ÿ¡™π‡æ◊ËÕ„Àâ¡’‚Õ°“ ·≈°‡ª≈’ˬπ‡√’¬π√Ÿâ√à«¡°—π 5. °“√æ—≤π“»—°¬¿“æ¢ÕߺŸâ™à«¬«‘®—¬ „π™à«ß ‡√‘Ë¡µâπ°“√¥”‡π‘π°“√ ∂◊Õ«à“‡ªìπ™à«ß∑’˵âÕ߇µ√’¬¡∑”§«“¡

: 165

This prominence has been in the communitiesû ways of living for a long time and it needs to be, in debt, studied in order to point out its relationship with the ways of living. The values of the local were sought-through relationship building process among the groups-used, and analyzed to see abilities of the communities in developing learning process together. One thing about the communities that can be obviously seen is that there are many local experts who are ready to share their expertise and knowledge, such as, Paya poem and Sora Phanya singing, Shadow puppets making, silk weaving, and Dharma language/alphabets reading-mostly by grand chiefs of the temples, to their communities,. If the communities praise these people and accept their expertise, it would be a big improvement of the communitiesû abilities toward enduring development. 4. Working direction determination-according to the major purpose of this project, local participation process was focused through building learning process and understanding of the same working direction relevant to the communitiesû current ways of living without causing internal argument, as well as, encourage them in learning and catching up with globalization that might affect the communities. In order to do this, three most suitable procedures were conducted: 1) Setting up groups and studying their abilities and skills 2) Continuously developing the skills through sub group projectsû activities allowing them to be center of groups to work together in order to build learning process and knowledge sharing among the group members. 3) Organizing a study tour to broaden the communitiesû vision, giving them opportunity in exchanging knowledge with one another. 5. Developing assistant researchersû abilities the beginning of this project was to make the communities


166 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

‡¢â“„®°—∫™ÿ¡™πÕ¬à“ßÀπ—°„πÀ≈“¬ª√–°“√¥â«¬°—π ªí≠À“ Àπ÷Ëß∑’Ëæ∫„π√–À«à“ß°“√∑”ß“π §◊Õ °“√¢“¥§«“¡¡—Ëπ„®¢Õß ™“«∫â“π ‡π◊ËÕߥ⫬ª√– ∫°“√≥å¢Õß™“«∫â“π æ∫«à“‚§√ß°“√ µà“ßÊ ∑’ˇ§¬ºà“π‡¢â“¡“„πÀ¡Ÿà∫â“ππ—Èπ ¡—°®–¡“‡Õ“¢âÕ¡Ÿ≈®“° À¡Ÿà∫â“π ¡“°°«à“∑’Ë®–„ÀâÕ–‰√°≈—∫§◊π Ÿà™“«∫â“π ¥—ßπ—Èπ „π™à«ß·√°™“«∫â“π®÷߇°‘¥§«“¡‰¡à‡™◊ËÕ„®„π‚§√ß°“√π’ȥ⫬ ‡™àπ°—π °“√·°âªí≠À“§◊Õ°“√§âπÀ“ºŸâ™à«¬«‘®—¬„πæ◊Èπ∑’Ë ‡æ◊ËÕ ∑”Àπâ“∑’˪√– “πß“π·≈–∑”§«“¡‡¢â“„®√à«¡°—∫™ÿ¡™π ºà“π °“√ª√–™ÿ¡™’È·®ßµ“¡‚Õ°“ µà“ßÊ ·≈–¥÷ߧπ∑’Ë¡’§«“¡ π„® ‡ªìπ∑ÿπ‡¥‘¡Õ¬Ÿà·≈â« ‡ªìπ‡ªÑ“À¡“¬‡æ◊ËÕ à߇ √‘¡»—°¬¿“æ µàÕ‰ª ®“°π—Èπ®÷ߧàÕ¬¢¬“¬‡§√◊Õ¢à“¬·≈–§âπÀ“ ¡“™‘°¿“¬„π ·µà≈–°≈ÿà¡ πÕ°®“°π’È ªí≠À“§«“¡¢—¥·¬âß¿“¬„π°Á‡ªìπ ª√–‡¥Á𠔧—≠ ·µà “¡“√∂·°â‰¢‰¥â‚¥¬°“√‰¡à¥÷ߪí≠À“ ¢—¥·¬âß à«πµ—« ‡¢â“¡“ Ÿà‡«∑’‡ «π“„π·µà≈–§√—Èß ·µà®–„™â ª√–‡¥Áπ°“√Õπÿ√—°…å·À≈àß‚∫√“≥ ∂“πœ ∑’Ë àߺ≈°√–∑∫ µàÕ§π∑—Èß™ÿ¡™π‡ªìπÀ≈—°¡“∂°ªí≠À“·≈–Õ¿‘ª√“¬√à«¡°—π ¥—ßπ—ÈπºŸâ™à«¬«‘®—¬®÷ß∂◊Õ«à“‡ªìπºŸâ∑’Ë¡’§«“¡ ”§—≠‡ªìπÕ¬à“߬‘Ëß  ”À√—∫°“√¥”‡π‘πß“π„πæ◊Èπ∑’Ë ‡æ√“–°√–∫«π°“√∑”ß“π ·∫∫¡’ à«π√à«¡¿“¬„µâ‚§√ß°“√π’È ®÷߉¡à„™à‡æ’¬ß·§à°“√®—¥ °‘®°√√¡„À⇰‘¥¢÷Èπ‡∑à“π—Èπ ·µàµâÕß„™â§«“¡√Ÿâ §«“¡ “¡“√∂  µ‘ ªí≠≠“ ‰À«æ√‘∫„π°“√·°â‰¢ªí≠À“‡©æ“–Àπâ“ °“√‡¢â“∂÷ß ™ÿ¡™π¢ÕߺŸâ™à«¬«‘®—¬√à«¡¥â«¬ ‡æ◊ËÕ„Àâ Õ¥§≈âÕß°—∫«‘∏’°“√ ¥”‡π‘π°“√¿“¬„µâ°√–∫«π°“√¡’ à«π√à«¡¢Õß∑ÿ°¿“§ à«π „πæ◊Èπ∑’Ë ºà“π°√–∫«π°“√¥”‡π‘π°‘®°√√¡∑’ˇ√’¬°«à“‡√’¬π√Ÿâ ¥â«¬°“√ªØ‘∫—µ‘®√‘ß (Learning by Doing) ©–π—È𧫓¡√Ÿâ §«“¡ “¡“√∂¢ÕߺŸâ™à«¬«‘®—¬ ∑’Ë®–‡¢â“‰ª®—¥°√–∫«π°“√·≈–  “¡“√∂§«∫§ÿ¡°“√¥”‡π‘π°‘®°√√¡µà“ßÊ ®÷߇ªìπ ‘Ëß ”§—≠ ·≈–°“√¡’º™Ÿâ «à ¬«‘®¬— ´÷ßË ‡ªìπ§π„πÀ¡Ÿ∫à “â ππ—πÈ ¬—߉¥âª√–‚¬™πå „π°“√ª√– “𧫓¡ —¡æ—π∏å°—∫™ÿ¡™π·≈– √â“ß∫ÿ§≈“°√ „π™ÿ¡™π„Àâ¡’§«“¡¡—Ëπ„® ‡¢â“„® ·≈– ◊∫∑Õ¥‡®µπ“√¡≥å ∑’Ë¥’µàÕ‰ª‰¥âÕ’°¥â«¬ 6. °“√¥÷ß∑√—欓°√∫ÿ§§≈¡“„™âª√–‚¬™πå‡æ◊ÕË °“√ æ—≤π“∑âÕß∂‘Ëπ °“√„À⧫“¡ ”§—≠°—∫§ÿ≥§à“§«“¡√Ÿâ §«“¡  “¡“√∂¢Õߧπ„π∑âÕß∂‘Ëπ∂◊Õ‡ªìπ‡√◊ËÕß ”§—≠∑’Ë®–∑”„À⇰‘¥

understand its purposes. A problem found during this stage was the villagers had no faith in the project according to their experience with previous research groups that usually came and collected information they needed without giving anything in return. Thus, the villagers had no faith in this project as well at first. This was solved by looking for some local people to, during seminars and meetings, assistant the researchers and coordinate with other local people in the communities. The villagers who had shown some interest in this project were the targets. Then some were picked from each group. Moreover, internal problem was also a big issue but could be solved by the villagers not bringing personal issues up in each meeting. Instead, the issue about historical site conservation influencing the whole communities was brought up and consulted together. Thus, assistant researchers were very important during working with the communities. Participation process under this project didnût require only organizing activities but also knowledge, expertise, and intellect of assistant researchers in solving problems spontaneously, as well as their access to other people in the communities. In order to follow the project procedures and participation process of local units in the area through çLearning by Doingé, abilities of assistant researchers in managing and controlling activities are very important. Having assistant researchers who are local gives benefits in improving relationship with the communities ensuring them to be more understanding and able to carry on good means. 6. Utilizing human resource in developing the communities -awareness and abilities of local people is important. It leads to development and knowledge to be carried from generation to next


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

°“√æ—≤π“·≈–°“√ àߺà“𧫓¡√Ÿâ¿Ÿ¡‘ªí≠≠“¢Õߧπ√ÿàπÀπ÷Ëß ‰ª Ÿà§πÕ’°√ÿàπÀπ÷Ë߉¥â‚¥¬‰¡à¬“°π—° ©–π—Èπ ∑√—欓°√∑’Ëπ” ¡“ √â“ß°√–∫«π°“√‡√’¬π√ŸâÀ≈—° §◊Õ §«“¡√Ÿâ §«“¡ “¡“√∂ ¿Ÿ¡‘ªí≠≠“∑âÕß∂‘Ëπ∑’Ë¡’Õ¬Ÿà„π™ÿ¡™ππ—Èπ‡Õß √«¡∑—Èßªí®®—¬Õ◊ËπÊ ∑’‡Ë °’¬Ë «¢âÕ߉¡à«“à ®–‡ªìπß“π∫ÿ≠ ß“πª√–‡æ≥’ À√◊Õß“π ”§—≠ µ“¡‡∑»°“≈µà“ßÊ ‡ªìπµâπ °“√®—¥°√–∫«π°“√‡√’¬π√Ÿâ ®÷߇ªìπ °“√‡ªî¥‡«∑’°“√‡√’¬π√Ÿâ√à«¡°—π„Àâ°—∫™“«∫â“π ‡ªî¥‚Õ°“ „Àâ ºŸâ∑’ˇ°’ˬ«¢âÕ߉¥âÀ—πÀπâ“¡“ª√÷°…“À“√◊Õ°—π¿“¬„π°≈ÿà¡ ‡æ◊ËÕ  √â“ß°√–∫«π°“√¢—∫‡§≈◊ËÕπ°“√æ—≤π“¢Õß™ÿ¡™π‰ªæ√âÕ¡°—π ¡’°“√ª√– “πº≈ª√–‚¬™πå√à«¡°—π ¡Õߪí≠À“√à«¡°—π ·≈– ¡’°“√«“ß·ºπ®—¥°“√√à«¡°—π °“√π”ª√–‡¥Áπ°“√Õπÿ√—°…å ·À≈àß‚∫√“≥ ∂“πœ‡¢â“ Ÿà‡«∑’™ÿ¡™ππ—Èπ ∑”„Àâ™ÿ¡™π‰¥âÀ—π¡“ „À⧫“¡ ”§—≠„πª√–‡¥Áπ√à«¡ ∑”„Àâ°“√¥”‡π‘π°‘®°√√¡ ‡ªìπ‰ª„π‡™‘ß∫Ÿ√≥“°“√‡æ◊ËÕæ—≤π“™ÿ¡™ππ—Ëπ‡Õß πÕ°®“°π’È °“√¥”‡π‘π°‘®°√√¡¬àÕ¬µà“ßÊ ∑’ˇ°‘¥®“°§«“¡µâÕß°“√¢Õß·µà≈–°≈ÿà¡ ¿“¬„µâ‡ß◊ËÕπ‰¢∑’Ë  “¡“√∂ªØ‘∫—µ‘‰¥â®√‘ß ·≈–µâÕ߇ªìπºŸâ∑’Ë π„®®–¡“æ—≤π“ ∑âÕß∂‘Ëπ‡¢â“¡“∑”ß“π√à«¡°—πÕ¬à“ß®√‘ß®—ß ‚¥¬‰¡à‰¥â‡°‘¥®“° °“√®—¥µ—Èß·µàÕ¬à“ß„¥ º≈°“√¥”‡π‘πß“π®÷߇ÀÁπ‡ªìπ√Ÿª∏√√¡ §◊Õ ‡°‘¥ºŸâ∑”ß“πæ—≤π“∑âÕß∂‘ËπÕ¬à“ß·∑â®√‘ß ·≈–∑”ß“π ¥â«¬§«“¡µ—Èß„®®√‘ß ¡’°“√¢¬“¬‡§√◊Õ¢à“¬¿“¬„π∑âÕß∂‘Ëπ ¡“°¢÷Èπ ∑”ß“π√à«¡°—π¡“°¢÷Èπ ¡’°“√‡ª√’¬∫‡∑’¬∫°“√∑”ß“π √–À«à“ß°≈ÿࡥ⫬°—π‡Õß ®÷ß∑”„Àâ¿“æ√«¡∑—Èßµ”∫≈¥ß∫—ß ¡’°“√‡§≈◊ËÕπ‰À«æ—≤𓉪„π∑‘»∑“ß∑’Ë°”Àπ¥„π™à«ß√–¬– ‡«≈“°“√¥”‡π‘π‚§√ß°“√∑’˺à“π¡“ µ—«Õ¬à“ß °≈ÿà¡‚√߇√’¬π ¿“¬À≈— ß ®“°ºà “ π°‘ ® °√√¡°“√Õ∫√¡¡— § §ÿ ‡ ∑»°å ∑â Õ ß∂‘Ë π ‡ √Á® ‘Èπ‰ª·≈â« ¢âÕ¡Ÿ≈À¡Ÿà∫â“π à«πÀπ÷Ë߉¥â√—∫°“√𔉪 æ—≤π“·≈– √â“ßÀ≈—° Ÿµ√∑âÕß∂‘Ëπ ·≈–°”Àπ¥°“√∑”§à“¬ »‘≈ª– 2 √ÿàπ „πªï°“√»÷°…“ 2/2551  à«π°≈ÿà¡√“™°“√ (Õ∫µ. ¥ß∫—ß) ‰¥âµ—Èßß∫ª√–¡“≥ªï 2552 ¥â“π°“√Õπÿ√—°…å ·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡∑âÕß∂‘ËπÕ¬à“߇ªìπ√Ÿª∏√√¡ ‡ªìπµâπ 7. °“√°√–µÿâ π °“√·≈°‡ª≈’Ë ¬ π‡√’ ¬ π√Ÿâ √à « ¡°— π ‡ªÑ“À¡“¬À≈—°¢Õß‚§√ß°“√§◊Õ°“√°√–µÿâπ¥â«¬°‘®°√√¡∑’Ë®– ™à«¬„π°“√‡ √‘¡ √â“ß°“√·≈°‡ª≈’ˬπ‡√’¬π√Ÿâ√à«¡°—π√–À«à“ß

: 167

generation without much difficulty. Thus, the resources brought to produce the main learning process were knowledge, skills, and local wisdom in the communities, as well as, traditional ceremony and custom. The learning processû management was an opportunity for the villagers to learn and share knowledge with one another allowing them to consult with other members in their groups in order to contribute development stimulation in the communities. Benefits were shared. Problems and plans were consulted and managed together. Bringing historical sites conservation issue to the communities made them realize importance of the sites and activities have been integrated with community development. Moreover, the sub group projects were from desire of each group, under the condition that the activities must be able to be done and there are other peopleûs interests in communities development together. Thus, the sup group projects were not set up by the researchers themselves. The concrete results of this project are that there were people who really wanted to develop the communities seriously, local networks were created in the area allowing more people to work together, and there were working skills comparison among the groups making the project to be, as a whole, continuously active and developed in the direction previously set by the researchers. For example, after the activity of the schoolsû group-local guide training-were done, some information, gathered during conducting the activity, was applied to create and develop a local program. There were also two arts camps organized in this semester 2/2008, as well as, some of the financial year 2009 budget concretely set by the officialsû group (Dong-Bang Administration Organization), for historical sites and mural painting conservation. 7. Knowledge exchange stimulating-the major purpose of this project is using sub group projects as stimulators in supporting knowledge exchange among adults and children/youth in order to carry on the knowledge from


168 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

°≈ÿࡺŸâ„À≠à ·≈–‡¥Á°/‡¬“«™π ‡æ◊ËÕ àߺà“𧫓¡√Ÿâ¢Õߧπ √ÿàπ Àπ÷Ë ß  Ÿà § π√ÿà π Àπ÷Ë ß ‰¥â Õ ¬à “ ߉¡à ¢ “¥µÕ𠇙à π °“√Õ∫√¡ ¡—§§ÿ‡∑»°å∑âÕß∂‘Ëππ—È𠉥â°≈ÿà¡¿Ÿ¡‘ªí≠≠“„π∑âÕß∂‘Ë𠇙àπ π“¬∫ÿ≠≈’ æ≈§”¡“° (¿Ÿ¡‘ªí≠≠“¥â“πª–‚¡∑—¬À√◊ÕÀπ—ßµ–≈ÿß Õ’ “π) 𓬇 ∂’¬√ æÿ∑‰∏ ß ‡ªìπµâπ ¡“™à«¬„π°“√Õ∏‘∫“¬ ‡√◊ËÕß√“«®“°¿“殑µ√°√√¡Ω“ºπ—ß„À⇥Á°·≈–‡¬“«™π‰¥â‡¢â“„®  à«π§à“¬»‘≈ª–√—°…匪Ÿ ·µâ¡ °Á‰¥âÀ≈«ßªŸ≈É πÿ ∏¡¡⁄∏‚≈ ‡®â“Õ“«“  «—¥ªÉ“‡√‰√ ‰¥â¡“Õ∫√¡„À⧫“¡√Ÿâ·≈–‡≈à“‡√◊ËÕß√“« §«“¡‡ªìπ¡“ ¢Õß°“√ √â“ß«—¥  ‘¡ ·≈–À¡Ÿà∫â“π„Àâ·°à™“«§à“¬ °≈ÿࡺ≠“ √¿—≠≠– ‰¥â¿¡Ÿ ª‘ ≠ í ≠“∑âÕß∂‘πË ¡“™à«¬°—π¢—∫√âÕß·≈–∂à“¬∑Õ¥ ºà“π«‘∑¬ÿ°√–®“¬‡ ’¬ß·Ààߪ√–‡∑»‰∑¬ ®—ßÀ«—¥¡À“ “√§“¡ ·≈–·°â‰¢∫∑°≈Õπ„Àâ¡’§«“¡ ≈– ≈«¬¬‘Ëߢ÷Èπ‰ªÕ’° ‚¥¬ 𓬧”‰À≈ »√’«‘‡»… 𓬫‘√—µπå ‚°°√–∫Ÿ√≥å ‡ªìπµâπ πÕ°®“°π’È ∑“ß‚§√ß°“√¬—߉¥â®—¥∑—»π»÷°…“ πÕ° ∂“π∑’Ë §◊Õ «—¥ π«π«“√’æ≤ — π“√“¡ ·≈–«—¥ √–∫—«·°â« ∑’®Ë ß— À«—¥¢Õπ·°àπ „Àâ ”À√—∫°≈ÿ¡à ºŸπâ ”‡æ◊ÕË °“√°√–µÿπâ „À⇰‘¥ °“√‡√’¬π√Ÿâ·≈–𔧫“¡√Ÿâ∑’ˉ¥â¡“„™â„π‡æ◊ËÕ°“√æ—≤π“∑âÕß∂‘Ëπ µàÕ‰ª º≈≈—æ∏宓°°“√®—¥°‘®°√√¡µà“ßÊ §◊Õ ·µà≈–°≈ÿà¡ ‰¥â¡’°“√æ—≤π“µàÕ¬Õ¥°‘®°√√¡ÕÕ°‰ª ·≈–¢—∫‡§≈◊ËÕπ‰ª ¢â“ßÀπâ“æ√âÕ¡°—π„π∑ÿ°°≈ÿ¡à ∑⓬∑’ Ë ¥ÿ ®–𔉪 Ÿ°à √–∫«π°“√ æ—≤π“∑’ˬ—Ë߬◊π·≈–‡ªìπ∑ÿπ∑“ß —ߧ¡ ◊∫‰�� 8. °“√ª√–‡¡‘πº≈ ®“°°“√ª√–‡¡‘πº≈°“√¥”‡π‘π ß“π„π¿“æ√«¡ ®–‡ÀÁπ‰¥â«à“™ÿ¡™π‡°‘¥°“√‡ª≈’ˬπ·ª≈ß ·≈–æ—≤𓉪„π∑“ß∑’Ë¥’¢÷Èπ  ‘Ëß∑’ˇÀÁπ™—¥ §◊Õ °≈ÿࡺŸâ„À≠à ·≈–¿Ÿ¡‘ªí≠≠“™“«∫â“π ´÷Ë߇ªìπ°≈‰° ”§—≠∑’Ë®–¢—∫‡§≈◊ËÕπ ™ÿ¡™π ‰¥â∑”Àπâ“∑’˪√– “π√–À«à“ß°≈ÿࡇ¥Á°‡¬“«™π°—∫°≈ÿà¡ æ√– ß¶å‰¥â ®“°°√–∫«π°“√¥”‡π‘πß“π∑’˺à“π¡“ ‡ªìπ °“√°√–µÿâπ°“√‡√’¬π√Ÿâ¢Õß°≈ÿࡺŸâ„À≠à„π™ÿ¡™π„À⇪ìπ°≈‰° ¢—∫‡§≈◊ËÕπ°“√∑”ß“π™ÿ¡™π æ∫«à“µâπ∑ÿπ∑“ß —ߧ¡∑’ˇÀÁπ ‰¥â™—¥ §◊Õ «—¥  ‘¡ ŒŸª·µâ¡ ∑”„À♓«∫â“π√Ÿâ«à“™ÿ¡™πµπ‡Õß ¡’µâπ∑ÿπ‡À≈à“π’ÈÕ¬Ÿà ·≈⫬—ß “¡“√∂π”µâπ∑ÿππ’È¡“æ—≤π“·≈–  √â“ßæ≈—ß·Ààß°“√‡√’¬π√Ÿâ‡æ◊ËÕ°“√æ—≤π“∑’ˬ—Ë߬◊π ·≈–¬° √–¥—∫°√–∫«π°“√∂à“¬∑Õ¥§ÿ≥§à“·≈–µâπ∑ÿπ‡À≈à“π’È àßµàÕ §π√ÿàπµàÕ‰ª‰¥â·πàπÕπ

generation to next generation continuously. For example, local guide training was assisted by the local wisdom groupûs personnel-Mr. Boonlee Polkhammak, shadow puppet making expert and Mr. Sathian Puthaisong, in explaining stories and tales behind the mural paintings to children and youth. for Arts Camp : Hoop-Tam Conservation, Grand chief Loon, the abbot of Wat Pa-Rerai, who can read dharma alphabets on the walls was the guest speaker in giving knowledge and explaining history of Wat, Sim, and the Village to the people joining the camp. Paya and Sora-Phanya singers group had some people from the Local Wisdom Group help singing and rewrite these poem. Above of all these singings had through Maha Sarakham radio broadcasting, Thailand and had edited them to be corrected by Mr. Khamlai Sriwiset, and Mr. Wirat Kokraboon. Moreover, this project organized a study tour to Wat Sa Nuan Waree Phattanaram and Wat Sa Bua-Kaew, Khon Kaen province, for the leader group in order to encourage them in learning and applying knowledge to develop the communities. The outcomes of organizing these activities were that each sub group developed and extended the activities moving forward with each one another to enduring development and extensive local values asset. 8. Evaluation-as a whole, the communities were changed and developed in better ways, especially, in the way that the adults group and the local wisdom group, the key groups in driving the communities forwards, acted as coordinators that linked the youth group and the monks group together. Gathering from whole processes of this project, the adults groupûs learning process was stimulated to be a key in driving the communities forwards. The obvious social assets-Wat, Sim, and Hoop-Tam made the villagers realize that the assets really exist and can be developed to form learning power for enduring development, improving values and assets sharing process to be carried onto next generations.


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

¢âÕ§âπæ∫·≈–¢âÕ‡ πÕ·π– 1. §π‡ªìπ∑√—欓°√∑’ Ë ”§—≠¢Õß°“√æ—≤𓂧√ß°“√ °“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥ ¡À“ “√§“¡π’ȇªìπ‚§√ß°“√∑’ˇπâπ°“√æ—≤π“§π‡æ◊ËÕ°√–µÿâπ „Àâ ‡ °‘ ¥ °“√¥Ÿ · ≈√— ° …“·À≈à ß ‚∫√“≥ ∂“π»‘ ≈ ª°√√¡¢Õß ∑âÕß∂‘Ëπ‰«â ‚¥¬‚§√ß°“√‰¡à‰¥â‰ª·µ–µâÕßµ—«‚§√ß √â“ß ∑“ß ∂“ªíµ¬°√√¡·µàÕ¬à“ß„¥ ·µà„™â°√–∫«π°“√¡’ à«π√à«¡ ∑“ß — ß §¡‡æ◊Ë Õ æ— ≤ π“™ÿ ¡ ™π„Àâ ‡ °‘ ¥  ”π÷ ° „π°“√Õπÿ √— ° …å ·À≈àß‚∫√“≥ ∂“π¥—ß°≈à“« ¥—ßπ—È𠂧√ß°“√„¥Ê °Áµ“¡ ∑’ˇ°’ˬ«¢âÕß°—∫§π ®÷߇ªìπ‡√◊ËÕß∑’˵âÕß„™â§«“¡Õ¥∑π„π °“√∑”ß“π ·≈–µâÕß„™â√–¬–‡«≈“∑”§«“¡‡¢â“„®√à«¡°—π‡ªìπ Õ—π¥—∫·√°‡ ’¬°àÕπ ·¡â®–µâÕß„™â‡«≈“π“π°Áµ“¡ ®“°π—Èπ®÷ß ®– “¡“√∂«“ß·ºπ¥”‡π‘πß“π„π¢—ÈπµÕπÕ◊ËπÊ µàÕ‰ª 2. ·À≈àß∑ÿπ ‡π◊ËÕߥ⫬°“√‡ πÕ‚§√ß°“√·≈–°“√ ¥”‡π‘πß“π‡ªìπ‰ªµ“¡ —≠≠“¢Õß·À≈àß∑ÿπ ∑”„À₧√ß°“√ ·∫∫π’È ‡¡◊ËÕ¥”‡π‘πß“π‡ √Á®µ“¡√–¬–‡«≈“∑’Ë°”Àπ¥·≈â« √“«°—∫«à“®–‡ √Á® ‘Èπ‡¡◊ËÕ‚§√ß°“√‰¥â∂Õπµ—«ÕÕ°®“°æ◊Èπ∑’Ë ∑—ÈßÊ ∑’Ë¡’‚Õ°“ ®–‡°‘¥°“√æ—≤π“µàÕ‰ª„πÕ𓧵‰¥â ·µà°≈—∫ ‰¡à‰¥â√—∫°“√ “πµàÕ Õ¬à“߉√°Áµ“¡ °“√¥”‡π‘πß“π‚§√ß°“√ °ÁµâÕß¡’°“√«“ß·ºπ√Õß√—∫‰«â ‡æ◊ËÕ‰¡à„À₧√ß°“√∑’Ë¥’‡™àππ’È À“¬‰ªæ√âÕ¡°—∫À¡¥ —≠≠“ ‚¥¬‚§√ß°“√‰¥âª√– “πß“π √à«¡°—∫°“√ª°§√Õß à«π∑âÕß∂‘Ëπµ”∫≈¥ß∫—ß ·≈–Ω“°„Àâ ∑“ß‚√߇√’¬π‰¥â™à«¬ “πµàÕ‚§√ß°“√‡∑à“∑’Ë®–∑”‰¥â √«¡∑—Èß ºŸâ™à«¬«‘®—¬„πæ◊Èπ∑’Ë °Á “¡“√∂ “πµàÕß“πµà“ßÊ ‰¥â ∑—Èßπ’È ¡’ ¢âÕ —߇°µ«à“°“√ª√– “πß“π‰«â„π≈—°…≥–‡™àππ’È „π à«π ¢Õß‚§√ß°“√Õ◊ËπÊ „π≈—°…≥–‡¥’¬«°—π°Á “¡“√∂∑”‰¥â ·µà ‡ªìπ∑’Ë πà“‡ ’¬¥“¬∑’Ë°“√ √â“ß°√–∫«π°“√®—¥°“√‡√’¬π√Ÿâ ·≈– °“√æ—≤π“Õߧ姫“¡√Ÿâ„π°“√Õπÿ√—°…åœ ‰¡à„™à‡√◊ËÕß∑’Ë∑ÿ°§π ®–µàÕ¬Õ¥‰¥âÕ¬à“ß∑—π∑’∑—π„¥ ©–π—Èπ À“°µâÕß°“√®– æ—≤π“Õ¬à“ßµàÕ‡π◊ËÕß ·À≈àß∑ÿπÀ√◊ÕÀπ૬ߓπ∑’ˇ°’ˬ«¢âÕߧ«√ ‡Õ“„®„ àµàÕ°√–∫«π°“√∑”ß“π‡™‘ß°“√æ—≤π“Õ¬à“ß®√‘ß®—ß ·≈–∑”ß“π√à«¡°—π·∫∫‡ªìπÀÿâπ à«πµàÕ°—π ‡æ◊ËÕ„À⇰‘¥°“√  π—∫ πÿπ°“√∑”ß“πÕ¬à“ßµàÕ‡π◊ËÕß ·≈– √â“ß°”≈—ß„®„π°“√ ∑”ß“π√à«¡°—π‡æ◊ËÕ √â“ß √√§å ‘Ëß∑’Ë„À⇰‘¥¢÷Èπµ“¡‡®µπ“√¡≥å ∑’Ë«“߉«â

: 169

Discovered and Suggestions 1. Human resource is an important for development -the conservation of mural paintings (Hoop Tam) in Maha Sarakham province, focused on human development in order to encourage them to be concerned in conserving the historical sites and art works of the communities. This project didnût make any change on their architectural structure but aimed at people participation process in communities development creating awareness in conserving the sites. Thus, whatever activities related to human resource required a great deal of patience and time to make them understand the activities before planning the next processes of the project. 2. Funding resource-according to the funding unitûs obligation, the project proposing and process have to rely on it. Once the project is finished, everybody and equipment will have to leave the site project. Even though, there is a chance for this project to be continuously developed in the future, it would not be further conducted. By the way, the project must have a supporting plan, regarding this issue, so that everything wouldnût just disappear when the contract with the funding unit expired. This issue was discussed with Dong Bang Administration Organization which results this project to be partly continued by the local school, as well as the local assistant researchers, as much as they can. This kind of coordination can also be done to other projects that have irrelevant contents with this project. Unfortunately, learning process management and development in conserving historical sites and art works are not what can be extended or continued immediately right after discussed or planned. Thus, if there would be a continuous development for this project, funding resources or concerned units must, seriously, focus on development working process together in order to create its continuous support and courage in working together to achieve the projectûs planned objectives.


170 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

3. °“√¥”‡π‘πß“πµàÕ‰ª„πÕ𓧵 ‡π◊ËÕߥ⫬√–¬– ‡«≈“°“√¥”‡π‘πß“π‚§√ß°“√‡æ’¬ß 12 ‡¥◊Õπ Õ“®®–∂◊Õ«à“ ‡ªìπ°“√‡√‘Ë¡µâπ°“√¥”‡π‘πß“π‚§√ß°“√‡∑à“π—Èπ À“°·À≈àß∑ÿπ ‡ÀÁπ«à“°“√¥”‡π‘πß“ππ’ȧ«√¡’§«“¡µàÕ‡π◊ËÕß∑’Ë®– à߇ √‘¡ æ—≤π“∑âÕß∂‘ËπµàÕ‰ª °Á§«√∑’Ë®–‰¥â√—∫°“√ π—∫ πÿπ ‡æ√“– °“√∑”ß“π√à«¡°—∫™ÿ¡™πµâÕßÕ“»—¬°“√∑”ß“πµàÕ‡π◊ËÕß ¡’°“√ ª√—∫‡ª≈’ˬπ·ºπ‰ª∫â“ßµ“¡§«“¡‡À¡“– ¡ ·µà‡ªÑ“À¡“¬À≈—° °Á‰¡à‡ª≈’ˬπ·ª≈ß ·≈⫇¡◊ËÕ≈ß¡◊ժؑ∫—µ‘„πæ◊Èπ∑’Ë®√‘ß æ∫«à“ ¡’√“¬≈–‡Õ’¬¥µà“ßÊ ¡“°¡“¬ ∑’ˇªìπ‡ß◊ËÕπ‰¢ ”§—≠ §◊Õ §«“¡‡ªìπæ≈«—µ√¢Õߧπ ®÷ß∑”„Àâ°“√∑”ß“π‰¡à “¡“√∂ ∑”ß“π‡ √Á®µ“¡√–¬–‡«≈“µ“¡∑’Ë°”Àπ¥ ®÷ßµâÕߢ¬“¬‡«≈“ ÕÕ°‰ªÕ’° 3 ‡¥◊Õπ ‡æ√“–∑’¡«‘®—¬®–„À⧫“¡ ”§—≠°—∫  ‘Ëß∑’ˇ°‘¥¢÷Èπ®“°°“√∑”ß“π∑’˺à“π¡“‚¥¬°“√°√–µÿâπ„Àâ™ÿ¡™π ‰¥â¡’°“√¢—∫‡§≈◊ËÕπ™ÿ¡™π ‡æ◊ËÕ„ÀâÀ—π¡“„À⧫“¡ ”§—≠¢Õß ·À≈àß‚∫√“≥ ∂“π¢Õß∑âÕß∂‘Ëπ‡ ’¬°àÕπ ´÷Ëß√–¬–‡«≈“∑’Ë ¢¬“¬ÕÕ°‰ªπ—Èπ ∂◊Õ‡ªìπµâπ∑ÿπ°“√∑”ß“π¢Õß∑’¡«‘®—¬ ©–π—Èπ°“√«“ß·ºπ°“√∑”ß“π„π¢—ÈπµàÕ‰ª §◊Õ °“√ æ—≤π“»—°¬¿“æ¢ÕߺŸâ„À≠à·≈–‡¥Á°„Àâ¡“°¢÷Èπ‰ªæ√âÕ¡Ê °—π À≈—ß®“°ª√–‡¡‘πº≈·≈â«æ∫«à“ ‡°‘¥°“√‡ª≈’ˬπ·ª≈ß„π ™ÿ¡™π¢÷Èπ¡“∫â“ß·≈â« ©–π—Èπ À“°¡’‚Õ°“ æ—≤π“„πæ◊Èπ∑’Ëπ’È µàÕ‡π◊ËÕ߉ªÕ’° —°√–¬–Àπ÷Ëß ·≈–‚§√ß°“√œ ¬—ßÀ«—ß«à“ —°«—π Àπ÷Ëß ®–¡’§≥–‡¬“«™πª–‚¡∑—¬ ‡°‘¥¢÷Èπ„πµ”∫≈·Ààßπ’È ¡’ ¬ÿ«¡—§§ÿ‡∑»°å∑’Ë¡’§«“¡ “¡“√∂ ¡’ºâ“‰À¡ ºâ“ΩÑ“¬æ◊Èπ‡¡◊Õß ≈“¬®‘µ√°√√¡Ω“ºπ—ß·Ààß·√°®“°∑’Ëπ’Ë ·≈â«°≈“¬¡“‡ªìπ  ‘π§â“∑’ˇªìπ‡Õ°≈—°…≥å ¢Õßµ”∫≈ ¢ÕßÕ”‡¿Õ ·≈–¢Õß ®—ßÀ«—¥¡À“ “√§“¡µàÕ‰ª ‡Àπ◊Õ ‘ËßÕ◊Ëπ„¥ À“°ºŸâ§π„πµ”∫≈ π’È ®–‡ªìπºŸâ¡’§«“¡¡—Ëπ„® ‡¢â“„® ·≈–‡ÀÁπ§ÿ≥§à“¢Õß·À≈àß »‘≈ª°√√¡‚∫√“≥ ∂“π„π∑âÕß∂‘Ëπ ·≈â«®–∑”„Àâ™ÿ¡™π À—π¡“™à«¬°—πæ—≤π“∑âÕß∂‘ËπÕ¬à“ß¡’»√—∑∏“ ·≈–¡’®‘µ ”π÷° √—°∑âÕß∂‘Ëπ¡“°¢÷Èπ Õ—π¡’«—¥  ‘¡ ŒŸª·µâ¡ ‡ªìπ»Ÿπ¬å√«¡¢Õß µâπ∑ÿπ∑“ß —ߧ¡ ◊∫‰ª

3. Future processes of the project-according to the limited time (12 months) for conducting this project, this might be just the starting of it. If the funding unit realizes that this project needs to be continued in order to, further, develop the communities, continuous support should be considered. Working with the communities has to be active. The set plans will have to be continuously adjusted according to the outer influences without changing the projectûs goals. Many important sensitive issues were found while the project was conducted at the villages, such as, the villagers are dynamic . The researchers saw importance of that and gave 3 months extension to the project in order to encourage the villagers in driving their communities forwards and paying more attention to importance their historical sites. The extension would become an asset for the research team to work on the project more. Thus, the next process of this project is planning to improve abilities and skills of adults and children. After the valuation of this project, it is found that better changes happened in the communities. If an opportunity to continue conducting and developing this project at the area for a while is given, the youth Pamo-Thai band and the youth guide to be built at this area that are the project hopes to see. Moreover, silk cotton cloth weaving Hoop Tam patterns would become to be the original product of the community, amphoe, and province. Above of all the communities will understand, confidence, and awareness on value of the culturally historical arts sites, and they will pay more attention to helping each other developing their communities with faith, love, and to Wat, Sim, and Hoop-Tam as the center of their valuable social assets forever.


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

ª√–¡«≈¿“æªî¥‚§√ß°“√œ

: 171

The Closed Ceremony of the Project

¡‘ ‡µÕ√å ®ÕÀåπ ªÕ≈ ™Ÿ∑µ‘ ºŸâ™à«¬∑ŸµΩÉ“¬«—µπ∏√√¡  ∂“π‡Õ°√“™∑Ÿµ À√—∞Õ‡¡√‘°“ °≈à“«§«“¡‡ªìπ¡“ ¢Õß‚§√ß°“√ ‡ªìπ¿“…“‰∑¬ Mr. John Paul Schutte, Cultural Affairs Officer remarked the project in Thai Languaqe.

√”ŒŸª·µâ¡ ‡ªî¥ß“π Hoop-Tam dancing

§≥–¥Ÿß“π ™¡°“√· ¥ß∫π‡«∑’ The guests and the ambassador team

 “∏‘µ°“√· ¥ßÀπ—ߪ–‚¡∑—¬ Demonstration of Pamo-Thai (shadow puppets showing)


172 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«���¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

 “∏‘µ°“√¢—∫√âÕß √¿—≠≠– Sora phanya Singing

ºŸâ‡¢â“√à«¡ª√–™ÿ¡ªî¥‚§√ß°“√œ Participants

§≥–¥Ÿß“π®“° ∂“π∑Ÿµ‡Õ°Õ—§√√“™∑Ÿµ À√—∞Õ‡¡√‘°“ ∂à“¬√Ÿª√à«¡°—π Taking a group photo with the important guests

¡Õ∫¢Õß∑’Ë√–≈÷°„Àâ°—∫ Õ∫µ.¥ß∫—ß Õ.π“¥Ÿπ ®.¡À“ “√§“¡ (𓬠—ߧ¡ «ß…åπÕ°) To give picture frame for Dong Bang Administration Organization Nadun district, Maha Sarakham Province (Mr. Sangkhom Wongnok)


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

: 173

¡Õ∫¢Õß∑’Ë√–≈÷°„Àâ°—∫‚√߇√’¬π¥ß∫—ßæ‘ —¬π«°“√πÿ √≥å To give picture frame for the Dong Bang Phisai Nawakannusorn School

‡¬’ˬ¡™¡°≈ÿà¡∑պⓉÀ¡≈“¬ŒŸª·µâ¡ Visiting the weaving group

º≈ß“πºâ“≈“¬ŒŸª·µâ¡ Silk cloth products with Hoop-Tam pattern

¡‘  ·§√Õ≈  µ’‡øπ å ≈Õß∑պⓉÀ¡ Mrs. Carol W. Stephens, Public Diplomacy Assistant wove the silk cloth.


174 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

Õ“®“√¬åπÿ™®√’ ∑â“«‰∑¬™π– Õ∏‘∫“¬°“√¡—¥À¡’Ë≈“¬ŒŸª·µâ¡ ·°à¡‘ ‡µÕ√å ®ÕÀåπ ªÕ≈ ´Ÿ∑µ‘ Miss Nucharee Taothaichana explained some Hoop-Tam patterns.

°≈ÿà¡∑պⓉÀ¡ ¡Õ∫ºâ“‰À¡≈“¬ŒŸª·µâ¡·°à∑à“𠇮.æ’. ‡ªìπ∑’Ë√–≈÷° Giving Mr. J.P. Hoop-Tam silk cloth with pleasure

°≈ÿà¡∑պⓉÀ¡ ¡Õ∫ºâ“‰À¡≈“¬ŒŸª·µâ¡·°à¡‘  ·§√Õ≈ ‡ªìπ∑’Ë√–≈÷° Giving Mrs. Carol HoopTam silk cloth with pleasure

°≈ÿà¡∑պⓉÀ¡ ¡Õ∫ºâ“‰À¡≈“¬ŒŸª·µâ¡ ·°à§ÿ≥°—≠™≈’ ®‘µµå·®âß ΩÉ“¬ ◊ËÕ¡«≈™π·≈–«—≤π∏√√¡ Giving Mrs. Kanchalee Jitjang ,Cultural Affairs Specialist, Hoop-Tam silk cloth with pleasure


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

: 175

∂à“¬√Ÿª√à«¡°—π°—∫°≈ÿà¡∑պⓉÀ¡ ∫â“π¥ß∫—ß Taking a group photo

‡¬’ˬ¡™¡ ‘¡«—¥‚æ∏“√“¡ ∫â“π¥ß∫—ß Visiting Wat Pho Tharam Ban Dong Bang

¬ÿ«¡—§§ÿ‡∑»°åπ”™¡¿“殑µ√°√√¡Ω“ºπ—ß∑’Ë«—¥‚æ∏“√“¡ The young guide explained the mural paintings at Wat Pho Tharam

‡¬’ˬ¡™¡ ‘¡«—¥ªÉ“‡√‰√ ∫â“πÀπÕßæÕ° Visiting Wat Pa-Rerai Ban Nong Phok


176 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

: 177

∫√√≥“πÿ°√¡

Bibliographies

§”„À≈ »√’ «‘ ‡ »…. Õ“¬ÿ 64 ªï ∫â “ π‡≈¢∑’Ë 4 À¡Ÿà ∑’Ë 7 ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥ ¡À“ “√§“¡.  —¡¿“…≥å, 27 ¡’π“§¡ 2551. §”√‘π∑√å ¡’∫ÿ≠¡“°. Õ“¬ÿ 63 ªï ∫â“π‡≈¢∑’Ë 20 À¡Ÿà∑’Ë 7 ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥ ¡À“ “√§“¡.  —¡¿“…≥å, 28 ¡’π“§¡ 2551. µà«π ‡ π“‚πƒ∑∏‘Ï. Õ“¬ÿ 78 ªï ∫â“π‡≈¢∑’Ë 121 À¡Ÿà 5 ∫â “ π¥ß∫— ß µ”∫≈¥ß∫— ß Õ”‡¿Õπ“¥Ÿ π ®— ß À«— ¥ ¡À“ “√§“¡.  —¡¿“…≥å, 27 ¡’π“§¡ 2551. ∑Õß ’ °”¡–™—¬§”. Õ“¬ÿ 70 ªï∫â“π‡≈¢∑’Ë 11 À¡Ÿà∑’Ë 7 ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥ ¡À“ “√§“¡.  —¡¿“…≥å, 27 ¡’π“§¡ 2551. ∑Õß ÿ° ∑Õ߬». Õ“¬ÿ 79 ªï ∫â“π‡≈¢∑’Ë 202 À¡Ÿà∑’Ë 8 ∫â“π¥ß∫—ß µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡.  —¡¿“…≥å, 26 ¡’π“§¡ 2551. æÿ∑∏“ · ß ’. Õ“¬ÿ 69 ªï ∫â“π‡≈¢∑’Ë 20 À¡Ÿà∑’Ë 7 ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫— ß Õ”‡¿Õπ“¥Ÿ π ®— ß À«— ¥ ¡À“ “√§“¡.  —¡¿“…≥å, 30 ¡’π“§¡ 2551. ·¡â¡ ∫ÿ≠∂¡. Õ“¬ÿ 84 ªï ∫â“π‡≈¢∑’Ë 58 À¡Ÿà∑’Ë 5 ∫â“π¥ß∫—ß µ”∫≈¥ß∫— ß Õ”‡¿Õπ“¥Ÿ π ®— ß À«— ¥ ¡À“ “√§“¡.  —¡¿“…≥å, 27 ¡’π“§¡ 2551. ≈—Ë« ªîπ–°–‡ . Õ“¬ÿ 61 ªï ∫â“π‡≈¢∑’Ë 16 ∫â“πÀπÕßæÕ° À¡Ÿà 7 µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡.  —¡¿“…≥å, 30 ¡’π“§¡ 2551. ≈ÿπ ∏¡⁄¡∏‚≈. ‡®â“Õ“«“ «—¥ªÉ“‡√‰√. Õ“¬ÿ 71 ªï ∫â“πÀπÕßæÕ° µ”∫≈¥ß∫— ß Õ”‡¿Õπ“¥Ÿ π ®— ß À«— ¥ ¡À“ “√§“¡.  —¡¿“…≥å, 31 ¡’π“§¡ 2551. »‘≈ª“°√, °√¡. ∑–‡∫’¬π‚∫√“≥ ∂“π∑—Ë«√“™Õ“≥“®—°√. ‡≈à¡ 3 æ.». 2534 - 2539. °√ÿ߇∑æœ : ‚√ßæ‘¡æå ¡À“«‘∑¬“≈—¬∏√√¡»“ µ√å, 2540. »‘≈ª“°√, °√¡. √“¬ß“π ”√«®®‘µ√°√√¡Ω“ºπ—ß«—¥ªÉ“‡√‰√ ®—ßÀ«—¥¡À“ “√§“¡, ‡Õ° “√Õ—¥ ”‡π“, 2528.

Khamlai Sriwises. 64 years old. 4th moo 7 Ban Nong Phok, Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 27th, 2008) Khamrin Meeboonmak. 63 years old. 20th moo 7 Ban Nong Phok, Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 28th, 2008) Leou Pinakaseh. 61 years old. 16st moo 7 Ban Nong Phok, Dong Bang Sub-district,Na Dun District, Maha Sarakham Province. (Interviewed March 27th, 2008) Lun Dharmadhalo. 71 years old. Wat Pa-Rerai, Ban Nong Phok, Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 31st, 2008) Mam Boonthome. 84 years old. 58th moo 5 Ban Nong Phok, Dong Bang Sub-district,Na Dun District, Maha Sarakham Province. (Interviewed March 27th, 2008) Phuttha Seangsri. 69 years old. 20th moo 7 Ban Nong Phok, Dong Bang Sub-district,Na Dun District, Maha Sarakham Province. (Interviewed March 30th, 2008) Sawas Tharwaroh. Wat Pho-Taram, Ban Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 31st, 2008) Som Prapasoh. 81 years old. Wat Ban Kao Noi, Na Dun District, Maha Sarakham Province. (Interviewed March 29th, 2008) Thongsri Kamachaikham. 70 years old. 11st moo 7 Ban Nong Phok, Dong Bang Sub-district,Na Dun District, Maha Sarakham Province. (Interviewed March 27th, 2008) Thongsuk Tongyos. 79 years old. 202nd moo 8 Ban Nong Phok, Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 30th, 2008) Toun Senanorith. 78 years old. 121st moo 5 Ban Nong Phok, Dong Bang Sub-district, Na Dun District, Maha Sarakham Province. (Interviewed March 27th, 2008)


178 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

»“ π“, °√¡. °√–∑√«ß»÷°…“∏‘°“√. ª√–«—µ«‘ ¥— ∑—«Ë √“™Õ“≥“ ®—°√ ‡≈à¡ 12. °√ÿ߇∑æ¡À“π§√ : °√¡ »“ π“, 2536. Àπâ“ 745-746.  «— ¥‘Ï ∂“«‚√. ‡®â“Õ“«“ «—¥‚æ∏“√“¡. ∫â“π¥ß∫—ß µ”∫≈¥ß∫—ß Õ”‡¿Õπ“¥Ÿπ ®—ßÀ«—¥¡À“ “√§“¡.  —¡¿“…≥å, 29 ¡’π“§¡ æ.». 2551. ‚ ¡ ª√–¿“‚ . ‡®â“Õ“«“  ”π—° ß¶å∫â“π‡°à“πâÕ¬. Õ“¬ÿ 81 ªï µ”∫≈¥ß∫— ß Õ”‡¿Õπ“¥Ÿ π ®— ß À«— ¥ ¡À“ “√§“¡.  —¡¿“…≥å, 29 ¡’π“§¡ 2551. ‡Õ° “√·ºπ¬ÿ∑∏»“ µ√å√–¥—∫À¡Ÿà∫â“π. Õߧ尓√∫√‘À“√  à«πµ”∫≈¥—ß∫—ß. ‡Õ° “√Õ—¥ ”‡π“, 2551.


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

¿“§ºπ«° √“¬™◊ËÕºŸâ‡¢â“Õ∫√¡„π°‘®°√√¡µà“ßÊ 1. °‘®°√√¡Õ∫√¡„À⧫“¡√Ÿâ‡√◊ËÕß°“√Õπÿ√—°…å·À≈àß‚∫√“≥ ∂“π·≈–¿“殑µ°√√¡Ω“ºπ—ß «‘∑¬“°√ §◊Õ §ÿ≥∑»æ√ »√’ ¡“π À—«Àπâ“æ‘æ‘∏¿—≥± ∂“π·Ààß™“µ‘√âÕ¬‡ÕÁ¥ ºŸâ‡¢â“Õ∫√¡®”π«π 74 §π ¡’¥—ßπ’È 1. π“¬ ß§√“¡  ’ ÿ·≈ 30. π“¬º—¥ Õπÿ≥‚π 2. 𓬠ÿµ—π ≈’À≈â“πâÕ¬ 31. π“¬∑Õß ‡ π“‚πƒ∑∏‘Ï 3. 𓬠“°≈ ·ªÉ¡®”π—° 32. π“¬ ß°“ æ‘¡æå√—¡¬å 4. π“ßæÿ∑∏“ ®—π¥“À—«¥ß 33. π“¬´“¬ ‚æ∏‘Ï∑–¡“µ√ 5. 𓬠—ߧ¡ ‡™’¬ß‚ ¡ 34. π“ß≈–¡—¬ §ÿ≥‚π 6. 𓬫 —πµå ‚ √–∏√ 35. 𓬮—°√æß…å π—π∑–™—¬ 7. 𓬂 ¿“ π“¡«‘‡»… 36. π“¬∫ÿ≠®—π∑√å ª–π“ —ß¢å 8. 𓬠ÿ«‘∑¬å ‚¬∑—¬‡∑’Ë¬ß 37. 𓬠¡æß…å ¿“√µÿ⡇À≈“ 9. 𓬵“ ™–™” 38. 𓬧”„À≈ »√’«‘‡»… 10. π“¬À≈ß ∑“æ‘≈“ 39. π“¬∫ÿ≠¡’ ¿“√µÿ⡇À≈“ 11. 𓬪√‘≠≠“ «ß…åπÕ° 40. 𓬥“ §ÿâ¡ ÿ«√√≥ 12. 𓬉æ∫Ÿ≈¬å ‚æ∏‘Ï欗§¶å 41. 𓬫‘™—¬ °ÿß°ÿ°‚∂ 13. 𓬫‘«—≤πå µ‘¥«ß…“ 42. π“¬º—¥ §ÿ⡉æ∑Ÿ√¬å 14. π“¬Õ¿‘ ‘∑∏‘Ï À“ Õ¥ àÕß 43. 𓬪√– ß§å ª√‘æ≈ 15. 𓬮—π¥“ π“¡«‘‡»… 44. π“ß ÿ°—≠≠“ ªí°°“‚≈ 16. 𓬠¡™“¬ ¿Ÿ¡‘π“ 45. 𓬠‘π∏å ¿Ÿ§”»—°¥‘Ï 17. π“߇∫≠®¡“» ™–™” 46. 𓬠¡“π ∑’‚æ∏‘ÏÀ“¥ 18. 𓬇®√‘≠ ·°â« ÿ¿“ 47. 𓬇≈àÀå ∫—«√—µπå 19. 𓬉æ‚√®πå ≈ÿ¡™–‡π“ 48. π“¬≥—∞æß…å ≠“µ‘‚ ¡ 20. 𓬠’≈“ §ÿ≥‚π 49. π“¬∑Õߥ’ ªíµµ“‡§ “ 21. π“¬π‘§¡ ‡°…‰∏ ß 50. π“¬∑Õß “ ‡ ◊Õ√—¡¬å 22. π“¬π‘¬¡ ‡™’¬ß‚ ¡ 51. 𓬠—ß«“≈¬å ¿“√µÿ⡇À≈“ 23. 𓬪√“≥’ »√’∂“«√ 52. π“¬∫ÿ≠∂¡ · π¡’ 24. 𓬪√– ‘∑∏‘Ï ª“𓇵 53. π“¬Õ—∞ æ«ß ’‡§π 25. π“߇µâ“ ªíµµ“¬–‚  54. π“¬∫ÿ≠‡≈’È¬ß ®—π‡µ 26. π“ß∫—«≈“ ¡–‚√ß¡◊¥ 55. π“¬Õ”æ√ ‡√’¬¡∑“ 27. π“߉滓≈ æ«ß»√’‡§π 56. 𓬰—πÀ“ ‚æ∏‘Ï欗§¶å 28. π“¬√”‰æ æ–¬—߇¶ 57. π“ßÕÿ‰√«√√≥ ¬Õ¥ –‡∑‘π 29. π“¬∑Õß ÿ° ∑Õ߬» 58. π“¬∫ÿ≠Àπ“ ‚æ∏‘Ï欗§¶å

: 179


180 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

59. π“ß√–«‘«√√≥ ¬Õ¥≠“µ‘‰∑¬ 60. 𓬮‘√–»—°¥‘Ï ‡À¡◊Õπª√– “∑ 61. π. .»ÿ¿»‘√‘ «ß…åπÕ° 62. 𓬇 ∂’¬√ æÿ∑‰∏ ß 63. π“߉櫗≈¬å ≈’À≈â“πâÕ¬ 64. π“¬¡’‚™§ ∫ÿ≠¡“æ‘≈“ 65. π“ß ÿ¿“æ√ æÿ∑‰∏ ß 66. π“ßµŸâ ·ªÉ¡®”π—°

67. 68. 69. 70. 71. 72. 73. 74.

π“ß∑Õß„  §ÿ≥ π π“¬∫ÿ≠ ª“𓇵 𓬇 ∂’¬√ ∑“æ‘≈“ 𓬠¡√ ‡æ‘Ëß®—πµ– π“¬∫ÿ≠≈’ æ≈§”¡“° π“¬∫ÿ≠®—π πÿàπªîòπªí°…å π“¬ÀπŸ®—π∑√å ‚æ∏åæÕ° π“¬∫ÿ≠¥“ ¬Õ¥¬‘Ë߬ß

2. °‘®°√√¡∑պⓉÀ¡≈“¬ŒŸª·µâ¡ ‚¥¬°≈ÿà¡∑պⓉÀ¡ ∫â“π¥ß∫—ß «‘∑¬“°√ §◊Õ 1. §ÿ≥ ¡®‘µ√ ∫ÿ√’πÕ° ®“°Õ”‡¿Õ°ÿ¥√—ß ®—ßÀ«—¥¡À“ “√§“¡ 2. Õ“®“√¬å √—≠≠“ ¿—°¥’ ÿ«√√≥ ®“° ∂“∫—π√“™¿—Ø¡À“ “√§“¡ ºŸâ‡¢â“√—∫°“√Õ∫√¡ 20 §π ¡’¥—ßπ’È 1. π“ß ¡À«—ß ªØ‘‡«™«—≤π“ß°Ÿ√ ª√–∏“π 2. π“ßæÿ∑∏“ ®—π¥“À—«¥ß √Õߪ√–∏“π 3. π“߬ÿæ“æ√ ‚¬∑—¬‡∑’Ë¬ß ‡≈¢“πÿ°“√ 4. π“ß®‘𥓠·πàπ™“√’ ‡À√—≠≠‘° 5. π“ß∫—«‰¢ ≈àÕ¥ß∫—ß °√√¡°“√ 6. π“ß∫—«æ“  ’ ÿ·≈ °√√¡°“√ 7. π“ß·°â« ·ªÉ¡®”π—° °√√¡°“√ 8. π“ß∫ÿº“ ¢÷Èπ°—π°ß °√√¡°“√ 9. π“ß ÿª√“≥’ §√Õß‚ªÉ߇°µÿ °√√¡°“√ 10. π“ß«—ππ“ π«≈ΩÑ“¬ °√√¡°“√ 11. π“ß∫ÿº“ æ«ß ’‡§π °√√¡°“√ 12. π“ß∫ÿº“ ≈àÕ¥ß∫—ß °√√¡°“√ 13. π“ß∑Õß„∫ ·ªÉ¡®”π—° °√√¡°“√ 14. π“ß∑ÕߪÕπ¥å æ≈‡ π °√√¡°“√ 15. π“ß·Œ¡ ¿Ÿ¡‘π“ °√√¡°“√ 16. π“߇¥◊Õπ‡µÁ¡ √ÿ¡™–‡π“«å °√√¡°“√ 17. π“߇ “√å ≈–ÕÕß∑Õß °√√¡°“√ 18. π“ß ¡¡’ ≈àÕ¥ß∫—ß °√√¡°“√ 19. π“ßπâÕ¬ ‚æ∏‘Ï«ß…å °√√¡°“√ 20. π“ß∫ÿº“ ∫ÿ≠µ“ °√√¡°“√


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

3. °‘®°√√¡°“√√âÕߺ≠“ ·≈–¢—∫√âÕß √¿—≠≠– ºŸâ¢—∫√âÕߺ≠“ ‰¥â·°à 1. 𓬧”‰À≈ »√’«‘‡»… 2. 𓬥“ §ÿâ¡ ÿ«√√≥ ºŸâ¢—∫√âÕß √¿—≠≠– ‰¥â·°à 1. π“ß≈–¡—¬ æ—π¡À“ 2. π“ߧŸ≥ ΩÉ“¬‡∑»πå 3. π“ßÀ¡Õπ æ√¡‡¢â 4. π“߇¢Á¡æ√ ∑√—æ¬å§”®—π∑√å

3. π“ߧŸ≥ ΩÉ“¬‡∑»πå 4. π“ß∑Õß®—π∑√å »√’«‘‡»…

5. π“ß‚ ¿“ ªí°°“‚≈ 6. π“ß∑Õß»√’ °”¡–™—¬§” 7. π“߇≈◊ËÕ¡ §ÿ⡉江√¬å

4. °‘®°√√¡Õ∫√¡¡—§§ÿ‡∑»°å∑âÕß∂‘Ëπ√—°…å·À≈àß‚∫√“≥ ∂“π»‘≈ª°√√¡ «‘∑¬“°√ ‰¥â·°à 1. π“ß “«∫ÿÀ≈—π ∫ÿ≠º—π ®“°°“√∑àÕ߇∑’ˬ«·Ààߪ√–‡∑»‰∑¬  ”π—°ß“π¢Õπ·°àπ 2. 𓬰‘µµ‘æß…å  π‡≈Á° ®“°æ‘æ‘∏¿—≥± ∂“π·Ààß™“µ‘¢Õπ·°àπ 3. π“¬æß…åæ—π∏ÿå ®—π∑√å ÿ°√’ ·≈–§≥– ®”π«π 10 §π ®“° ¡“§¡¡—§§ÿ‡∑»°åÕ“™’æ ºŸâ‡¢â“√à«¡Õ∫√¡®”π«π 95 §π ¡’¥—ßπ’È 1. ‡¥Á°À≠‘ߥ“«æ√–»ÿ°√å »√’®—π∑√å 2. ‡¥Á°À≠‘ß¿√‘¥“ «ß»å “√– 3. ‡¥Á°À≠‘ß·æ√æ≈Õ¬ ∫ÿ≠‚ ¡ 4. π“ß “« ÿπ‘ “ ‡ª ÿ¬– 5. π“ß “«°“≠®π“ ∑”π“ 6. π“ß “«π—π∑π“ æ√¡ππ∑å 7. π“ß “«°—≈¬≈—°…≥å ¿Ÿ§”»—°¥‘Ï 8. π“ß “««‘‰≈«√√≥ æ—π∏å¡À“ 9. π“ß “«‡ “«√  æ√À≈àÕ 10. π“ß “«¬ÿ«¥’ »√’∂“«√ 11. π“ß “««√√≥«‘…“ æ«ß»√’‡§π 12. π“ß “«»‘√‘æ√ ≈àÕ¥ß∫—ß 13. π“ß “«§”æ√√≥ ∫ÿ≠µ“ 14. π“ß “« ÿ°—≠≠“  —ß¡“¥“ 15. π“¬Õ¿‘ ‘∑∏‘Ï À“ Õ¥ àÕß 16. π“¬Õ¥‘‡∑æ ∫ÿ√’¡“µ√å 17. π“¬Õ¿‘ ‘∑∏‘Ï ∫ÿ≠¡“æ‘≈“

18. 𓬠ÿπ∑√ ¿“√µÿ⡇À≈“ 19. π“¬¿“πÿæß…å ‰µ√¿Ÿ∑√ 20. π“¬¿‘…≥ÿ  ÿ«√√≥»√’ 21. π“¬ªØ‘æ—π∏å  ‘¡¡“ 22. 𓬠—𵑠‚™§Àπÿπ 23. π“ß “«√‘π√—µπå πÿàπªîòπªí°…å 24. π“ß “«æ—°µ√廑√‘ µ◊ÈÕ‡ª≈’ˬπ 25. π“ß “« ÿ°—≠≠“  ’∑“ ’ 26. π“ß “« ÿæ—µ√“ ‡µ√–π–°“‚¬ 27. π“ß “« “¬ ¡√ 擇æ™√ 28. π“ß “«∑‘æ¬å ÿ¥“ ≈“ߧ”°Ÿ≈ 29. π“ß “«Õ√‘ “ ·°â« ’‰« 30. π“ß “«»‘√“≥’ «“π∑ÿ¡ 31. π“ß “«ª√–«’≥“ ¡‘∑–≈“ 32. π“ß “«Õÿ≈—¬∑‘æ¬å ‡æ’¬√Õ¥«ß…å 33. π“ß “«∏‘¥“¥≈ ™π‰æ‚√®πå 34. π“ß “« ¡®‘µ ¿“√«ß»å

: 181


182 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

35. π“ß “«™“≈‘π’ »√’ ¡»—°¥‘Ï 36. π“ß “«∑—»π’¬å √–∂’ 37. π“ß “«π—ƙƓæ√ º≈ ßà“ 38. π“ß “«ª√–¿— √“ ‡ π“‚πƒ∑∏‘Ï 39. π“ß “«©—µ√·°â« ‚¬∑—¬‡∑’Ë¬ß 40. π“ß “«»≠“¡≈ √ÿàß√—µπå 41. π“ß “«æ—™√’ »√’ ÿ¢ 42. π“ß “«¡—≥±°“ º‘«‡Œâ“¢“ 43. π“ß “«ª√–¿“æ√√≥ ∫—≥±‘µ¬“√—°…å 44. π“ß “« ÿ«≈’ ‡°…‰∏ ß -45. π“ß “«∫—ßÕ√ ¬Õ¥ –‡∑‘π 46. π“ß “« ÿæ—µ√“ §” – ¡ 47. π“ß “« ÿ®’√“ «ß…“ 48. π“¬∏«—™™—¬ ª“ª–‡∂ 49. π“¬∏’√¬ÿ∑∏ æ–¬—߇§ 50. 𓬠¡‡°’¬√µ‘ °“À≈ß 51. 𓬙—™«“≈ ¬Õ¥ªÑÕ߇∑» 52. 𓬠“°≈ ·ªÉ¡®”π—° 53. π“ß ¡À«—ß ªØ‘‡«™«—≤π“ß°Ÿ√ 54. 𓬠ÿ«‘∑¬å ‚¬∑—¬‡∑’Ë¬ß 55. π“ß ¡æ√ «ß…åπÕ° 56. π“ß ÿ°—≠≠“ ¬Õ¥ –‡∑‘π 57. 𓬠’≈“ §ÿ≥‚π 58. π“ß∑Õß„  §ÿ≥‚π 59. π“ß∫—«≈“ ¡–‚√ß¡◊Õ 60. 𓬪√– ‘∑∏‘Ï ª“𓇵 61. π“ß ¡À¡“¬ ‡™’¬ß‚ ¡ 62. π“¬∫ÿ≠≈’ æ≈§”¡“° 63. 𓬇 ∂’¬√ æÿ∑‰∏ ß 64. π“ß ÿ¿“æ√ æÿ∑‰∏ ß

65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95.

π“ß ¡∂«‘≈ · ß°–≈“ π“ß≈–¡—¬ §ÿ≥‚π π“¬∑Õߥ’ »÷°πÕ° π“ßÕàÕπ®—π∑√å §ÿâ¡ ÿ«√√≥ π“¬∑√ß√—µπå ∏π¡“≈“æß»å 𓬇©≈‘¡  ◊∫ ÿπ∑√ π“ß≈¥“«—≈¬å  ’∑‘» π“ßæ√√≥∑‘æ¬å¿“ ‡√◊Õß√—¡¬å π“ßæ‘ ¡—¬ ‡§√◊Õ·¥ß π“¬π‘«—µπå Õÿàπæ‘°ÿ≈ π“¬æß»∏√ ºà“π ”·¥ß π“ß√–«‘«√√≥ ¬Õ¥≠“µ‘‰∑¬ π“ß “«πÿ™π“∂ ∑Õß ÿæ≈ π“ß√ÿàß∑‘æ¬å ªîπ“ “ 𓬮”≈Õß · ß ÿ√‘¬“ 𓬠¡æ√ ‡À≈à“∑Õß “√ π“ß«—π‡æÁ≠ °“√ Õπ 𓬫—π™—¬ ¥Õ°‰¡â∑Õß π“ß ÿ°—≠≠“ ‚¬∏“¬ÿ∑∏ π“ßπÿ™®√‘π∑√å  —µ¬å ÿ¢¬‘Ëß π“¬∫√√®∫ ®—π∑√å·√¡ π“ß«‘¡≈√—µπå §ÿ≥‡«’¬π 𓬫√—≠êŸ ‡√◊Õß√—¡¬å π“ß°√√≥‘°“  ‘ß¡“µ“ π“ߪƒ…≥“ ∑“‚« π“ß “«Õÿ¥¡≈—°…≥å «“π‘™™—ß π“ß “« ÿ∏“π’ ∑Õ߬àÕ¡ 𓬉¡µ√’ ª–«–‡ π– π“¬ ß°“ ªí®®—¬‚§π—ß π“¬∑«’»—°¥‘Ï ®—π¥“À—«¥ß 𓬉æ√—µπå ª√–‡ √‘∞‚ 


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

5. °‘®°√√¡°“√∑”Àπ—ߪ–‚¡∑—¬ «‘∑¬“°√ §◊Õ 1. π“¬∫ÿ≠≈’ æ≈§”¡“° 2. 𓬠¡∫—µ‘ ¬Õ¥ª√–∑ÿ¡ 3. 𓬮ÿ¡æ≈ «—π∑“ ºŸâ‡¢â“√—∫°“√Õ∫√¡®”π«π 28 §π ¡’¥—ßπ’È 1. ‡¥Á°À≠‘ß«‘≈—≠≠æ√ ª“𓇵 2. ‡¥Á°À≠‘߇°«≈‘π »√’ —ߢå 3. ‡¥Á°™“¬™‘π°ƒ… ·πàπ™“√’ 4. ‡¥Á°™“¬Õπÿ™“ ∫ÿ≠¡“æ‘≈“ 5. ‡¥Á°™“¬æß»°√ ‡Õàπ·§π 6. ‡¥Á°™“¬®√Ÿ≠«ß»å ®—π¥“À—«¥ß 7. ‡¥Á°™“¬Õ¿‘«—≤πå ‡≈Á° ‘ß‚µ 8. ‡¥Á°™“¬¬»«√‘» »√’∂“«√ 9. ‡¥Á°™“¬§”¿’√å ¡’∫ÿ≠¡“° 10. ‡¥Á°À≠‘ßæ—™√‘π∑√å  —ß ÿ«√√≥ 11. ‡¥Á°À≠‘ßÕ“¿“æ√ ‡¡◊Õ߇©≈‘¡ 12. ‡¥Á°À≠‘߇®π®‘√“ ‚æ∏‘Ï¡“µ¬å 13. ‡¥Á°™“¬≥—∞æß…å »√’«‘‡»… 14. ‡¥Á°À≠‘ßÕ“¿“»‘√‘ ·∑àπª√–∑ÿ¡

15. ‡¥Á°À≠‘ß»√—≠≠“ æ“π‘™ 16. ‡¥Á°À≠‘ß ÿ°—≠≠“ ™—¬™π– 17. ‡¥Á°À≠‘ß®‘√“«√√≥ ∑Õß·®à¡ 18. ‡¥Á°™“¬§√√∏‘µæ≈ ¬Õ¥ –‡∑‘π 19. ‡¥Á°™“¬Õ—…Æ“«ÿ≤‘ ¬àÕß¡≥’ 20. ‡¥Á°™“¬»√“«ÿ∏ ª√–∑ÿ¡∑Õß 21. ‡¥Á°À≠‘ߢπ‘…∞“ ∫ÿ≠‡™‘¥ 22. ‡¥Á°À≠‘ß»ÿ¿ ‘π ™—¬™π– 23. ‡¥Á°À≠‘ß√—µπ“¿√≥å §ÿ≥‚π 24. ‡¥Á°™“¬≥—∞«ÿ≤‘ ®—π¥“À—«¥ß 25. ‡¥Á°™“¬«’√–»—°¥‘Ï ¬Õ¥«ß°Õß 26. ‡¥Á°™“¬ππ∑å∏«—™ »√’ ÿ¢ 27. ‡¥Á°™“¬°âÕß¿æ ∑“æ‘≈“ 28. ‡¥Á°™“¬«—™√™—¬ æ√À¡ππ∑å

6. °‘®°√√¡§à“¬»‘≈ª–√—°…匟ª·µâ¡ (‡¥Á°·≈–‡¬“«™π) «‘∑¬“°√ §◊Õ 1. Õ“®“√¬åÕ”æ√ · ß‰™¬“ ®“°‚ª√·°√¡»‘≈ª°√√¡ ¡À“«‘∑¬“≈—¬√“™¿—Ø¡À“ “√§“¡ 2. Õ“®“√¬å»√’æ—≤πå ‡∑»“√‘π∑√å 3. Õ“®“√¬å √—≠≠“ ¿—°¥’ ÿ«√√≥ 4. Õ“®“√¬å‡°√’¬ß»—°¥‘Ï æ≈®ÕÀÕ ºŸâ‡¢â“Õ∫√¡®”π«π 63 §π ¡’¥—ßπ’È 1. π“ß “«π—π∑π“ æ√À¡ππ∑å 10. π“¬Õ¿‘ ‘∑∏‘Ï À“ Õ¥ àÕß 2. π“ß “««‘‰≈«√√≥ æ—π∏ÿå¡À“ 11. π“ß “«§”æ—π∏å ∫ÿ≠µ“ 3. π“ß “«°—≈¬≈—°…≥å ¿Ÿ§”»—°¥‘Ï 12. ‡¥Á°À≠‘ßÕ“√¥“ §ÿ⡇¢«â“ 4. π“ß “« ÿ°—≠≠“  ‘ß¡“¥“ 13. ‡¥Á°À≠‘ß¿“√µ’ ¿“√µÿ⡇À≈“ 5. π“ß “«‡ “«√  æ√À≈àÕ 14. ‡¥Á°À≠‘ßæ—™√“¿√≥å ≈’À≈â“πâÕ¬ 6. π“ß “«¬ÿ«¥’ »√’∂“«√ 15. ‡¥Á°À≠‘߇§√◊Õ«—≈¬å  ‘ßÀå©≈“¥ 7. π“ß “««√√≥«‘…“ æ«ß ’‡§π 16. ‡¥Á°À≠‘ß™‘¥™π° ∫ÿµµ–π—π∑å 8. π“ß “«»‘√‘æ√ ≈àÕ¥ß∫—ß 17. ‡¥Á°À≠‘ß®‘√“æ√ πÿ°√√—¡¬å 9. π“ß “«°“≠®π“ ∑”π“ 18. ‡¥Á°À≠‘ß»√’·æ√ ¡’∫ÿ≠¡“°

: 183


184 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

19. ‡¥Á°À≠‘ß·æ√æ≈Õ¬ ∫ÿ≠‚ ¡ 20. ‡¥Á°À≠‘ßæ‘»¡—¬ §ÕßπâÕ¬ 21. ‡¥Á°™“¬«‘‡™’¬√ «ß…åπÕ° 22. 𓬠ÿπ∑√ ¿“√µÿ⡇À≈“ 23. π“¬Õ¥‘‡∑æ ∫ÿ√’¡“µ√ 24. π“¬¿“≥ÿæß…å ‰µ√¿Ÿ∑Õπ 25. ‡¥Á°À≠‘ßÕ√ÿ≥’  ‘¡ß“¡ 26. ‡¥Á°™“¬æÿ≤‘æß»å ≈–ÕÕ 27. ‡¥Á°À≠‘ßµ√’√—°…å À“ ÿ¢ 28. ‡¥Á°À≠‘ß ÿ®‘µ√“ Õ‘π∑√»‘≈“ 29. ‡¥Á°™“¬≥—∞æß…å ‚æ∏‘Ï¡“µ¬å 30. ‡¥Á°™“¬™—™«“≈ ¬Õ¥ªÑÕ߇∑» 31. ‡¥Á°À≠‘ß≥‘™°ÿ≈ æ“√“»√’ 32. ‡¥Á°À≠‘ß«√√≥‘¥“  ’‰ ¬ 33. ‡¥Á°À≠‘ߢ«—≠ƒ∑—¬ ·°â« «à“ß 34. ‡¥Á°À≠‘ß —ß«“≈¬å ·°â« «à“ß 35. ‡¥Á°À≠‘ß ÿ√’¡“» ‡®’ˬ∑Õß 36. ‡¥Á°À≠‘ß»‘√‘¿“ §”™π–™—¬ 37. ‡¥Á°À≠‘ßÕÿ∑—¬√—µπå æ«ß»√’‡§π 38. ‡¥Á°À≠‘ßÕ√ª√’¬“ ≈’À≈â“πâÕ¬ 39. ‡¥Á°À≠‘ß«π‘¥“ ªíµµ“¬–‚  40. ‡¥Á°À≠‘ß∫—≥±‘µ“ »√’∂“«√ 41. ‡¥Á°À≠‘ß∑‘檿“ Õ“√¡≥凬Áπ

42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63.

‡¥Á°À≠‘ß ÿ¡“≈’ ™“™”π“≠ ‡¥Á°À≠‘ß®‘√“¿√≥å  ‘ß©≈“¥ ‡¥Á°À≠‘ß¡—™™‘¡“æ√ ª“𓇵 ‡¥Á°™“¬«—™√–  ÿ¢»‘√‘ ‡¥Á°À≠‘ßÀπ÷Ë߃∑—¬ · π¡’ ‡¥Á°À≠‘ßπßπÿ™ · π¡’ ‡¥Á°À≠‘ß‚ ¿‘¥“ ∫—«√—µπå ‡¥Á°À≠‘ß»√—≠≠“ ª√‘æ≈ ‡¥Á°™“¬ —𵑠ÿ¢ ¿“√µÿ⡇À≈“ ‡¥Á°™“¬»√“«ÿ∏ ¢÷Èπ°—π°ß ‡¥Á°™“¬«‘∑¬– ¿“√«ß…å π“ß “«»‘√‘æ√ æ≈æ‘∑—°…å π“ß “«‚ ¿“«√√≥ · π¡’ ‡¥Á°À≠‘ß ÿ°—≠≠“ ∫ÿ≠¡“æ‘≈“ ‡¥Á°À≠‘ß®—π∑√宑√“  ‘ß¡“µ“ ‡¥Á°™“¬Õ¿‘™“µ‘ ∫ÿµ√«‘‡»… ‡¥Á°™“¬Õ¥‘»—°¥‘Ï ∫ÿ√’¡“µ√å ‡¥Á°À≠‘ßÕ—ß ¥“ß  ÿ¢ °≈ ‡¥Á°™“¬≥—∞æß…å »√’«‘‡»… ‡¥Á°™“¬∏—≠≠“ƒ∑∏‘Ï æ–‚¬‚§ ‡¥Á°™“¬æß…å‡∑æ «‘™“ππ∑å ‡¥Á°™“¬æß»°√ ‡Õàπ·§π

7. °‘®°√√¡∑—»π»÷°…“∑’Ë«—¥ π«π«“√’æ—≤π“√“¡ ·≈–«—¥ √–∫—«·°â« ®. ¢Õπ·°àπ «‘∑¬“°√ §◊Õ º».™Õ∫ ¥’ «π‚§° Õ¥’µºŸâÕ”π«¬°“√ ”π—°»‘≈ª«—≤π∏√√¡ ¡À“«‘∑¬“≈—¬¢Õπ·°àπ 8. °≈ÿà¡Àπ૬ߓπ√“™°“√ ‰¥â·°à Õߧ尓√∫√‘À“√ à«πµ”∫≈¥ß∫—ß Õ.π“¥Ÿπ ®.¡À“ “√§“¡ 9. °≈ÿà¡æ√– ß¶å ‰¥â·°à «—¥‚æ∏“√“¡ ∫â“π¥ß∫—ß ·≈–«—¥ªÉ“‡√‰√ ∫â“πÀπÕßæÕ° 10. °≈ÿà¡‚√߇√’¬π ‰¥â·°à ‚√߇√’¬π™ÿ¡™π∫â“π¥ß∫—ß ·≈–‚√߇√’¬π¥ß∫—ßæ‘ —¬π«°“√πÿ √≥å


°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

: 185


186 :

°“√Õπÿ√—°…忓殑µ√°√√¡Ω“ºπ—ß (ŒŸª·µâ¡) „π®—ßÀ«—¥¡À“ “√§“¡ The Conservation of Mural Paintings (Hoop - Tam) in Maha Sarakham Province (Northeast Thailand)

æ‘¡æå∑’Ë  “√§“¡°“√æ‘¡æå- “√§“¡‡ª‡ªÕ√å 84 ∂.º¥ÿß«‘∂’ µ.µ≈“¥ Õ.‡¡◊Õß ®.¡À“ “√§“¡ 44000 ‚∑√. 0-4372-2344 ·ø°´å. 0-4374-2200


hooptam 5