| บทคัดย่อ(English) |
The purpose of this thesis is to investigate inwhat ways and to what extent the agents in the networkof art production support/enable or restrict/confinethe art that is produced in Thailand, and to study theprojections of cultural identity in Thai art in the1980s and l990s. The work of art is viewed as a culturalexperience and thereby a complex product of economic,social and ideological factors, mediated through theformal structures and owing its existence to a sociallylocated individual i.e. is not autonomous buthistorical, situated, and produced. The study considersthe process of production, distribution and receptionof art in Thailand; the interactions, mechanisms andpractices; the specific forms of patronage orsponsorship of art; and the decline and growth -ofinstitutions, classes, groups, and individuals andtheir agendas. Theories of cultural reproduction, World-systemsdevelopment, western art patronage, commoditisation andexchange, aesthetics, taste and value are considered. The Thai cultural identity is considered withparticular reference to the Thai 'pillars' of monarchy,religion, and nation-state. Cultural revival campaigns,neo-traditional promotion and tourism in the 1980s andl990s are outlined, along with art's new spaces,customers, media interest, meaning, role and position.The contexts and messages/ideas/politics areinterpreted with regard to symbolism; the use oftraditional and new symbols are related to the image ofThailand. |
