hooptam 4.3 by nuchy tow

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

3. °“√∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡ §«“¡‡ªìπ¡“ °‘®°√√¡°“√∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡ ‡ªìπÕ’°°‘®°√√¡ Àπ÷Ëß ´÷Ëß‡°‘¥®“°§«“¡µâÕß°“√¢Õß°≈ÿà¡∑Õºâ“‰À¡∑’ËµâÕß°“√ ª√—∫‡ª≈’Ë¬π≈«¥≈“¬∫πº◊πºâ“‰À¡ „Àâ¡’≈—°…≥–‚¥¥‡¥àπ ‡ªìπ‡Õ°≈—°…≥å¢Õß™ÿ¡™π ·π«§«“¡§‘¥π’È‡°‘¥®“°¡’°“√ ª√–™ÿ¡°≈ÿà¡¬àÕ¬¢ÕßÀ¡Ÿà∫â“π ·≈â«‰¥âπ”‡ πÕ°‘®°√√¡π’È µàÕ∑’ªË √–™ÿ¡„À≠à«“à À“°®–∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡„Àâ‡ªìπ®√‘ß ¢÷Èπ¡“ “¡“√∂∑”‰¥â¥—ßπ’È „π¢—ÈπµÕπ·√°∑’ËµâÕß‡µ√’¬¡ §◊Õ ºŸâ ∑’Ë¡’§«“¡ “¡“√∂„π°“√·°–≈«¥≈“¬ŒŸª·µâ¡®“°Ω“ºπ—ß ‘¡ ·≈–«‘∑¬“°√∑’Ë¡’§«“¡√Ÿâ¥â“π°“√∑Õºâ“‰À¡ ¡“„Àâ°“√Õ∫√¡ ªØ‘∫—µ‘°“√ ®÷ß®–∑”„Àâ°‘®°√√¡π’È ”‡√Á®≈ß‰¥â ‚¥¬µâÕß‡ªìπºŸâ ¡’§«“¡√Ÿâ¥â“π§”π«≥≈” (≈” À¡“¬∂÷ß ®”π«π∑’Ë®–¡—¥‡ªìπ≈“¬ ´÷ËßµâÕß§”π«≥®“°Àπâ“°«â“ß¢Õßøó¡ ‡æ◊ËÕ°”Àπ¥®”π«π ≈”∑’Ë®–¡—¥≈“¬µàÕ‰ª) ∑“ß‚§√ß°“√œ ‰¥â‡™‘≠π“¬‰æ‚√®πå √ÿ¡™–‡π“«å ºŸâ‡™’Ë¬«™“≠¥â“π°“√·°–≈«¥≈“¬ŒŸª·µâ¡„Àâ‡ªìπ ≈“¬¡—¥À¡’Ë ·≈–π“ß ¡®‘µ√ ∫ÿ√’πÕ° «‘∑¬“°√®“°Õ”‡¿Õ °ÿ¥√—ß ºŸâ‡™’Ë¬«™“≠¥â“π°“√∑Õºâ“‰À¡·≈–¡—¥À¡’Ë ¡“„Àâ°“√ Õ∫√¡µ—Èß·µà°“√·°–≈“¬¡—¥À¡’Ë °“√¡—¥À¡’Ë °“√¬âÕ¡ ·≈– °“√∑Õ®π ”‡√Á®‡ªìπº◊πºâ“‰À¡≈“¬ŒŸª·µâ¡

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3. Silk Cloth Weaving with Hoop-Tam Patterns Background Silk Cloth Weaving with Hoop-Tam Patterns is another needed activity that originated from the weaving group that wants to change silk cloth patterns, to preserve the uniqueness of the community. This idea is from the sub-groups in the meeting from the villages and has grown to a bigger meeting. To create Hoop Tam Patterns on silk cloths, the first thing needed is a specialist (s) who is able to copy the Hoop-Tam patterns from the Simsû walls, and another specialist(s) or guest speaker for a workshop who specializes in silk cloth weaving and is able to calculate Lam-number of wispiness of silk thread-which can be calculated from the width of weaving machine in order to determine the number of Lam used to weave for each pattern. The specialist from the village is Mr. Phairoj Roomchanao was invited to copy Hoop-Tam patterns for silk weaving. Furthermore, Somchit Burinok the specialist in weaving silk was invited from Kut-Rang District to train the group how to copy the patterns, how to put patterns on wispiness on silk thread, how to color them, as well as how to weave a silk cloth with Hoop-Tam patterns.

Procedures °“√¥”‡π‘π°“√ 1. °“√ª√–™ÿ¡°≈ÿà¡ ‡æ◊ËÕ™’È·®ß‚§√ß°“√·≈–°‘®°√√¡ 1. Meeting with the members is a procedure used ∑’Ë®–¥”‡π‘π°“√√à«¡°—π ¢âÕµ°≈ß·≈–·π«∑“ß°“√¥”‡π‘πß“π for explaining the project and finding out better solutions on working together.

°“√„™â°√–∫«π°“√¡’ à«π√à«¡‡æ◊ËÕÀ“·π«∑“ß °“√∑”ß“π√à«¡°—π Picture 1 The participatory process is used in the meetings with the silk cloth weaving group to find better solutions on working together. √Ÿª∑’Ë 1

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2. °“√§—¥‡≈◊Õ°¿“æ ‚¥¬∑’Ëª√–™ÿ¡‰¥â≈ß§«“¡‡ÀÁπ «à“°“√§—¥‡≈◊Õ°¿“æ∑’Ë®–π”¡“‡ªìπµâπ·∫∫°“√§—¥≈Õ°≈“¬ µâÕß‡°‘¥®“°°“√ ”√«®ŒŸª·µâ¡√à«¡°—π Õ¿‘ª√“¬√à«¡°—π ¥â«¬‡Àµÿº≈§«“¡‡ªìπ‰ª‰¥â §◊Õ®–µâÕß‡ªìπ¿“æ∑’Ë∫√√¬“¬∂÷ß §«“¡ ”§—≠„πª√–«—µ‘»“ µ√å™¡ÿ ™π„πÕ¥’µ·≈– –∑âÕπ¿“æ §«“¡√ÿßà ‡√◊Õß «‘∂™’ «’ µ‘ §«“¡‡ªìπÕ¬Ÿà §«“¡¥’ß“¡¢Õß™ÿ¡™π ∑“ß °≈ÿ¡à ∑Õºâ“®÷ß‰¥â§¥— ŒŸª·µâ¡‰¥â®”π«π 3 √Ÿª ´÷ßË ‡ªìπ≈“¬¥—ßÈ ‡¥‘¡ §◊Õ ≈“¬§π‰∂π“ ≈“¬ºŸâÀ≠‘ßÀ“∫µ–°√â“ ≈“¬π°¬Ÿß ·≈– ≈“¬ª√–¬ÿ°µåÕ’° 2 ≈“¬ §◊Õ ≈“¬°√–∂“ßµâπ‰¡â ·≈–≈“¬π° °—∫µâπ¬“ß„À≠à

2. Picture choosing is a procedure to help decision how to choose the original Hoop-Tam paintings to become a silk weaving pattern throughout the meeting. The members will reasonably discuss why they choose the individual pictures. Each chosen picture must reflect the history and way of life and the past of the community. The group has chosen three pictures from the original: The Plowman pattern, the Women loading baskets pattern, the Peacock pattern and the other two adapted patterns: plant pot pattern and birds with big rubber trees pattern.

°≈ÿà¡∑Õºâ“‰À¡ ”√«®¿“æ®‘µ√°√√¡Ω“ºπ—ß ∑’Ë ‚∫ ∂å«—¥‚æ∏“√“¡ ‡æ◊ËÕ§—¥‡≈◊Õ°¿“æ ”À√—∫„™â „π°“√∑Õºâ“‰À¡µàÕ‰ª Picture 2 Pictured is the silk weaving group surveying the Wat Pho Tharam in order to choose paintings to be woven into patterns. √Ÿª∑’Ë 2

√Ÿª∑’Ë 3 ¿“æ∑’Ëºà“π°“√§—¥‡≈◊Õ°®“°°≈ÿà¡∑Õºâ“‰À¡ Picture 3 The chosen pictures

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3. π“¬‰æ‚√®πå √ÿ¡™–‡π“™å ‡ªìπºŸâ∑’Ë¡’§«“¡ “¡“√∂ Mr. Phairoj Roomchanao is a villager who is very „π°“√·°–≈«¥≈“¬ŒŸª·µâ¡¢ÕßÀ¡Ÿà∫â“π ‰¥â∑”°“√≈Õ°≈“¬ skillful in copying Hoop-Tam. He was copying the ∑’Ë§—¥‡≈◊Õ°·≈â««“¥∫π°√–¥“… ‡æ◊ËÕπ”‰ª§”π«≥ ç≈”é paintings to calculate the number of Lam or wispiness of silk in the thread. (À¡“¬∂÷ß ®”π«π·∂«∑’ËµâÕßæ—π‡ âπ‰À¡)

§ÿ ≥ ‰æ‚√®πå √ÿ ¡ ™–‡π“™å °”≈— ß §— ¥ ≈Õ°≈“¬ ŒŸª·µâ¡ ∑’Ëºà“π°“√§—¥‡≈◊Õ°®“°°≈ÿà¡∑Õºâ“‰À¡ ·≈â« Picture 4 Mr. Phairoj Roomchanao was copying the chosen pictures. √Ÿª∑’Ë 4

4. °“√§—¥≈Õ°≈“¬ŒŸª·µâ¡ 3 ≈“¬ ¥—ßπ’È

√Ÿª∑’Ë 5 ≈“¬§π∑”π“ ®”π«π 70 ≈” Picture 5 A Plowman pattern using 70 Lams

4. Copies of the 3 Hoop-Tam patterns:

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√Ÿª∑’Ë 6 ≈“¬§πÀ“∫µ–°√â“ ®”π«π 64 ≈” Picture 6 Women loading baskets pattern, this Contains 64 Lams

√Ÿª∑’Ë 7 ≈“¬π°¬Ÿß ®”π«π 70 ≈” Picture 7 Peacock pattern, that has 70 Lams

5. °“√·°–≈¬ª√–¬ÿ°µåÕ’° 2 ≈“¬

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5. Copy of two applied Hoop-Tam patterns

√Ÿª∑’Ë 8 ≈“¬π°°—∫µâπ¬“ß„À≠à®”π«π 33 ≈” Picture 8 Birds with big rubber trees pattern, 33 Lams.

√Ÿª∑’Ë 9 ≈“¬°√–∂“ßµâπ‰¡â ®”π«π 38 ≈” Picture 9 Planted pot patterns, 38 Lams

6. Mud-Mee Slik weaving processes as done by 6. ¢—ÈπµÕπ°“√∑Õºâ“‰À¡¡—¥À¡’Ë≈“¬ŒŸª·µâ¡ ‚¥¬ ‰¥â the experts from the Kut Rang District. «‘∑¬“°√ºŸâ‡™’Ë¬«™“≠¥â“π°“√∑Õºâ“‰À¡®“°Õ”‡¿Õ°ÿ¥√—ß

√Ÿª∑’Ë 10 π“ß ¡®‘µ√ ∫ÿ√’πÕ° «‘∑¬“°√¥â“π°“√∑Õºâ“‰À¡ ®“°Õ”‡¿Õ°ÿ¥√—ß Picture 10 This is Mrs. Somchit Bureenok, a silk weaving specialist from the Kut Rang District.

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°“√‡µ√’¬¡°“√ ‚¥¬‡√‘Ë¡®“°°“√π”‰À¡‰ªøÕ°„Àâ¡’ Preparation : Prepare the silk by bleaching it to become §«“¡ «¬ß“¡·≈–ÕàÕππÿà¡ ‡æ◊ËÕ∑’Ë®–‡µ√’¬¡°“√¡—¥À¡’ËµàÕ‰ª lighter in colour and soft to touch in order to get prepare it for the Mad-Mee making process. 6.1 Measuring Feum-a comb-like a loom with the length 6.1 °“√«—¥Àπâ“øó¡ (Õÿª°√≥å∑Õºâ“™π‘¥Àπ÷Ëß) ·≈–§”π«≥≈” (®”π«π·∂«∑’ËµâÕßæ—π‡ âπ‰À¡) ‡æ◊ËÕ∑”°“√ equal to the width of the cloth and then calculate the Lums-number °«—°‰À¡ (°“√æ—π‡ âπ‰À¡) ‚¥¬„™â‰¡â∫√√∑—¥«—¥¢π“¥§«“¡ of wispiness of silk thread- by using a ruler to measure Feum to obtain the width of the fabric in order to wind up the silk. °«â“ß¢ÕßÀπâ“ºâ“‡æ◊ËÕ§”π«≥≈”

°“√«—¥Àπâ“øó¡ ‡æ◊ËÕ„Àâ‰¥â§«“¡°«â“ß ¢Õßº◊πºâ“‰À¡ Picture11 Measuring the Fuem to get the width of fabric. √Ÿª∑’Ë 11

øó¡ øó¡À√◊ÕøíπÀ«’ ‡ªìπ‡§√◊ËÕß¡◊Õ∑’Ë ”§—≠„π°“√∑Õºâ“ ´÷Ëß°“√∑Õºâ“µâÕßÕ“»—¬øó¡‡ªìπÀ≈—° ‡æ√“–‡ªìπµ—«®—¥ºâ“ „π¢≥–∑’Ë°”≈—ß∑Õ ≈—°…≥–¢Õßøó¡ª√–°Õ∫¥â«¬ à«π ”§—≠ 2 à«π ¥—ßµàÕ‰ªπ’È à«π∑’Ë 1 §◊Õ à«π∑’Ë‡ªìπ‰¡â ¡’≈—°…≥–‡ªìπ √Ÿª ’Ë‡À≈’Ë¬¡º◊πºâ“∑”¥â«¬‰¡â´’Ë‡≈Á°Ê ¬“«ª√–¡“≥ 9-10 ‡´πµ‘‡¡µ√ ‡√’¬°«à“ øíπøó¡ ¡’¢π“¥„À≠à°«à“‡¢Á¡‡≈Á°πâÕ¬ ·≈–¡’®”π«πÀ≈“¬æ—π´’Ë¡“‡√’¬ß°—π ¡’™àÕß«à“ß„Àâ‡∑à“°—∫ ‡ âπ¥â“¬ 2 ‡ âπ Õ¥ºà“π‰¥â ·≈–øó¡·µà≈–™ÿ¥µâÕß¡’ 2 µ—∫ §◊Õ µ—∫Àπâ“·≈–µ—∫À≈—ß„™â¥÷ßºâ“ ≈—∫°—π à«π∑’Ë 2 §◊Õ à«π∑’Ë‡ªìπ‡™◊Õ°Õ¬Ÿàµ‘¥°—∫ à«π·√°¥â“π∫π¡’¢π“¥‡∑à“°—π à«π∑’Ë‡ªìπ‰¡âµ‘¥µàÕ°—∫ ‡™◊Õ°π—Èπ „™â ”À√—∫√âÕ¬¥â“¬À√◊Õ‡ âπ‰À¡¢÷Èπºâ“ ‡æ◊ËÕ¬÷¥¥â“¬ „Àâ ≈—∫¢÷Èπ≈ß°—π°—∫øó¡µ—∫·√°·≈–µ—∫À≈—ß

Fuem (a comb loom) Fuem (Funwee) or comb which looks like a loom with a length equal to the width of the cloth that is an important weaving tool, has two parts: The first part is çFunweeé a rectangular wooden part which has teeth 9-10 centimeters teeth like a comb. Between the teeth run two threads. Its frame is made from wood or metal. Each of which is a small hole for the warp. The loom functions as a pressing device to make woven threads stick together into a piece of fabric. The second part is çFuemé that is made from wood curved in birds or other beautiful designs in the old days.

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≈” À¡“¬∂÷ß ®”π«π∑’Ë®–¡—¥‡ªìπ≈“¬ ´÷ËßµâÕß§”π«≥ Lam is number of wispiness of silk thread-which can ®“°Àπâ“°«â“ß¢Õßøó¡ ‡æ◊ËÕ°”Àπ¥®”π«π∑’Ë®–¡—¥≈“¬µàÕ‰ª be calculated from the width of weaving machine in order to determine the number of Lam used to weave for each pattern.

√Ÿª∑’Ë 12 Õÿª°√≥å°“√∑Õºâ“ 1. °’Ë/ÀŸ° 2. øó¡ 3. µ–°Õ/‡¢“ 4. °√– «¬ 5. ‰¡â‰¢«â 6. ‰¡â§È”/‰¡â°È”æ—Èπ 7. ‰¡âÀ“∫ÀŸ° 8. ‰¡â¥“∫ 9. ‰¡â·ªÑπ°’Ë 10. ‡™◊Õ°‡¢“ 11. ·°π¡â«πºâ“ 12. ·°π¡â«π¥â“¬¬◊π

Picture 12 weaving tools 1. Loom 2. Fuem 3. Heddle 4. Boat shuttle 5. Mai Khang Bar 6. Mai Kham/Kamphan 7. Wooden bar 8. Mai Daab stick 9. Seat 10. Robe 11. Dowel 12. Vertical warp dowel

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√Ÿª∑’Ë 13 °“√§”π«≥≈”‡æ◊ËÕæ—π‰À¡‡¢â“°—∫‚Œß§âπ‰À¡ Picture 13 Counting the number of Lams which will be attached to the separated silk frame

6.2 °“√°«—°‰À¡ ‚¥¬π”‡ âπ‰À¡‰ªºŸ°µ‘¥‚Œß 6.2 Kwag Mai is a process of tiding up silk thread to §âπ‰À¡ ·≈â«º≈—°‚Œß¢÷Èπ∫π ‡æ◊ËÕ„Àâ‡ âπ‰À¡·¬°°—πÕÕ° Hong Kon Mai-a separated yarn frame- then pushes it up to separate ‡ªìπ≈” µ“¡®”π«π≈”¢Õß·µà≈–≈“¬∑’Ë°”Àπ¥‰«â and makes silk thread in Lums depending on the patterns.

‚Œß§âπ‰À¡ ‚¥¬®–æ—π‡ âπ‰À¡µ“¡®”π«π≈” ¢Õß·µà≈–≈“¬ Picture 14 A frame that stretches silk thread. The number of Lams depends on the patterns √Ÿª∑’Ë 14

°“√°«—°‰À¡ ‚¥¬π”‡ âπ‰À¡∑’ËøÕ°·≈â«‰ª„ à°ß (Õÿª°√≥å∑Õºâ“™π‘¥Àπ÷Ëß) ®—∫ª≈“¬‡ âπ‰À¡‰ªºŸ°µ‘¥°—∫°’È (Õÿª°√≥å∑Õºâ“™π‘¥Àπ÷Ëß) ·≈â«°«—°‰ª‡√◊ËÕ¬Ê ®π‰À¡À¡¥ ‰À¡°Á®–¡’§«“¡¬“«‡ªìπ‡ âπ‡¥’¬«√«¡°—πÕ¬Ÿ°à ‰È’ À¡ ‡ √Á®·≈â« °Áπ”‰À¡„π°’È‰ª∑”°“√§âπ‰À¡‡æ◊ËÕ∑’Ë®–‰¥â¡—¥‡Õ“≈“¬µàÕ‰ª

Bleached yarns are used in Kwag Mai process by tiding it up with the Kong-a wheel-and another end with the Ki-which is another type of bobbin-then spin it until there is none left. Ki will contain one long thread that needs to be separated in order to make Mad-Mee patterns.

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√Ÿª∑’Ë 15 °ß „™â ”À√—∫„ à„®‰À¡ Picture 15 çKongé or a wheel for silk skein

ç°’Èé À√◊Õ çÕ—°é ”À√—∫æ—π‡ âπ‰À¡ ‡æ◊ËÕ‚¬ß ‡ âπ‰À¡‰ª∑’Ë‚Œß§âπ‰À¡ Picture 16 çKié or çAké is another type of bobbin that uses to wind up yarn which leads to a separated silk frame. √Ÿª∑’Ë 16

6.3 ‡¡◊ËÕ°«—°‰À¡‡ √Á®·≈â« π”‡™◊Õ°ø“ß¡“¡—¥ 6.3 After finishing the Kwag Mai process, then tie plastic ropes with silk thread, which has already been separated ‡ªìπ≈”µ“¡®”π«π≈”∑’Ë§âπ‰À¡ °“√§âπ‰À¡ ‚¥¬π”ª≈“¬‡ âπ‰À¡∑’ËÕ¬Ÿà°—∫°’ÈÀ√◊ÕÕ—° ‰ªºŸ ° µ‘ ¥ °— ∫ ‚Œß§â π ‰À¡·≈â « º≈— ° ‚ŒßÀ¡ÿ π ¢÷È π ∫π∑”‡ªì π √âÕ¬Ê §√—Èß ‡æ◊ËÕ„Àâ‡ âπ·¬°°—πÕÕ°‡ªìπ≈” ∑‘Èß‡ âπ‰À¡„Àâ ·¬°ÕÕ°„π√–¬–Àà“ß‡∑à“Ê °—π ∑”‰ª‡√◊ËÕ¬Ê ®π§√∫®”π«π≈” ∑’°Ë ”Àπ¥ ∑’ªË ≈“¬ ÿ¥¢Õß‚Œß§âπ‰À¡ æÕ ÿ¥ª≈“¬‚Œß§âπ‰À¡ °Á∑”‡™àππ’È ·µà¬âÕπ°≈—∫ ®π‰À¡À¡¥®“°°’È ®“°π—Èπ°Á®–‡¢â“ Ÿà¢—ÈπµÕπ‡µ√’¬¡°“√¡—¥À¡’ËµàÕ‰ª

from Kon Mai process according to the number of Lams. Kon Mai is a process of tiding yarn which is attached to the Ki or Ak with Hong Kon Mai- a separated silk frame. Then it is turned up and down hundreds times in order to separate the silk thread in equal distance. After nothing is left on the separated silk frame, then it is time to reserve this process until nothing is left in the Ki.

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7. ¢—ÈπµÕπ°“√¡—¥À¡’Ë 7. Tie-Dyed Fabric Silk Process (Mud-Mee) 7.1 Tear plastic ropes in pieces approximately 7.1 π”‡™◊Õ°ø“ß¡“©’°‡ªìπ‡ âπ‡≈Á°Ê ¬“«ª√–¡“≥ 1 øÿµ À√◊Õ„Àâ¬“«æÕ¥’µ“¡§«“¡∂π—¥¢Õß·µà≈–§π π”‰ª 1 foot long or other length depending on the individual. Then tie separated silk thread with Hong Kon Mai frame ¡—¥‡ âπ‰À¡∑’Ë§âπ·¬°≈”‰«â°—∫‚Œß§âπ‰À¡·≈â«

√Ÿª∑’Ë 17 °“√¡—¥‡ªìπ≈”¥â«¬‡™◊Õ°ø“ß Picture 17 Tied Lams with plastic ropes.

7.2 ‡¡◊ÕË π”‡™◊Õ°ø“ß‰ª¡—¥°—∫‡ âπ‰À¡∑’§Ë πâ ·¬°≈” ‰«â·≈â«∑’Ë‚Œß‰À¡ ®“°π—Èπ ¡—¥µ“¡≈“¬µâπ·∫∫ à«π∑’Ë∂Ÿ° ‡™◊Õ°ø“ß¡—¥‰«â®–‡ªìπ à«π∑’Ë‰¡à∂Ÿ°¬âÕ¡„π¿“¬À≈—ßπ—Ëπ‡Õß ¢—ÈπµÕππ’È‡√’¬°«à“ °“√¡—¥À¡’Ë ·≈–‡ªìπ à«π∑’Ë®–°”Àπ¥„Àâ °“√¬âÕ¡ ’„Àâµ√ß°—∫ ’µâπ·∫∫∑’Ë°”Àπ¥ ‡™àπ ≈“¬π°°—∫ µâπ¬“ß„À≠à ®–„™â 5 ’ §◊Õ ’πÈ”µ“≈ ’øÑ“ ’πÈ”‡ß‘π ’¢“« ·≈– ’·¥ß‡≈◊Õ¥À¡Ÿ °ÁµâÕß¬âÕ¡ 5 §√—Èß ´÷Ëß°“√¬âÕ¡ ’·µà≈–§√—Èß ®–µâÕßµ—¥‡Õ“‡™◊Õ°ø“ßµ“¡∑’Ë¡—¥≈“¬„Àâ∂Ÿ°µâÕß ‡¡◊ËÕ¬âÕ¡ ’ µ“¡∑’Ë°”Àπ¥·≈â« ®÷ßµ—¥‡™◊Õ°ø“ß„π à«π∑’ËµâÕß°“√¬âÕ¡ ’ „π·µà≈–§√—Èß ´÷Ëß«‘∏’°“√π’È‡√’¬°«à“ °“√‚Õ∫ ’

7.2 Then tie silk thread to apply the patterns. There are some parts of silk thread which are tied, but will not get dyed later on; this is the Mad-Mee process. As a result, the original patterns will appear after dying the rest of thread. For example, there are 5 colors used in the Birds with Big Rubber Trees Pattern: brown, blue, dark blue, white and crimson; this pattern will be dyed 5 times. For dying each, the tied silk thread must be correctly cut according to the patterns. This is a process called çOb Seeé plastic ropes in each part will be cut off when it has to be dyed.

°“√¡—¥À¡’Ëµ“¡≈“¬µâπ·∫∫‡¢â“°—∫‚Œß‰À¡ ´÷Ëß ‡ªìπ≈“¬ºŸâÀ≠‘ßÀ“∫µ–°√â“ Picture 18 the original pattern of Mad-Mee that follows the çWomen loading basketsé pattern into the silk frame √Ÿª∑’Ë 18

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°“√¡—¥À¡’Ëµ“¡≈“¬µâπ·∫∫ ´÷Ëß‡ªìπ≈“¬ºŸâÀ≠‘ß À“∫µ–°√â“ Picture 19 Making Mad-Mee Silk with the original patterns of çWomen loading basketsé. √Ÿª∑’Ë 19

°“√¡—¥À¡’Ëµ“¡≈“¬µâπ·∫∫ ´÷Ëß‡ªìπ≈“¬π°¬Ÿß °—∫µâπ¬“ß Picture 20 Making Mad-Mee Silk with the original patterns of çBirds with the big rubber treesé. √Ÿª∑’Ë 20

°“√¡—¥À¡’Ëµ“¡≈“¬µâπ·∫∫ ´÷Ëß‡ªìπ≈“¬π°°—∫ µâπ¬“ß„À≠à Picture 21 Applied pattern, a çBirds with the big rubber treesé √Ÿª∑’Ë 21

7.3 ®“°π—πÈ ‡Õ“‰À¡∑’¡Ë ¥— À¡’‡Ë ªìπ≈«¥≈“¬·≈â« ÕÕ° 7.3 After applying the patterns then take the ®“°‚Œß‰À¡ ‰À¡∑’Ë¡—¥≈“¬·≈â«π’È ‡√’¬°«à“ ªÕ¬‰À¡ ‡æ◊ËÕ∑’Ë silk threads out of Hong Mai (the separated silk threaded ®–π”‰ª¬âÕ¡ ’µàÕ‰ª frame); this yarn is called Poi Mai or skeins must be completed in order dye the threads in the next step.

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8. ¢—ÈπµÕπ°“√¬âÕ¡‰À¡ 8. Dyeing processes 8.1 Put dyeing color into boiled water then 8.1 «‘∏°’ “√¬âÕ¡‰À¡π—πÈ ∑”‚¥¬°“√π” ’≈–≈“¬≈ß ‰ª„ππÈ”‡¥◊Õ¥ ®“°π—πÈ °Áπ”‡ âπ‰À¡≈ß‰ªµâ¡ „™â‡«≈“ª√–¡“≥ boil the silk threads approximately 1- 1.5 hrs until the color is no longer faded. 1 ™—Ë«‚¡ß∂÷ß 1 ™—Ë«‚¡ß§√÷Ëß ‡æ◊ËÕ„Àâ ’µ‘¥∑ππ“π

√Ÿª∑’Ë 22 °“√¬âÕ¡‰À¡‚¥¬π”‰ªµâ¡„ππÈ”‡¥◊Õ¥ Picture 22 Dye silk in boiled water.

√Ÿª∑’Ë 23 ‡¡◊ËÕµâ¡‡ √Á® π”¡“≈â“ßπÈ”‡¬Áπ„Àâ –Õ“¥ Picture 23 Rinse the silk with cool water.

®“°π—Èππ”ªÕ¬‰À¡∑’Ë¬âÕ¡·≈â« ‰ªº÷Ëß·¥¥µ“° „Àâ·Àâß Picture 24 Allow the silk to dry. √Ÿª∑’Ë 24

8.2 π”‰À¡∑’Ë¬âÕ¡·≈â«¢÷Èπ¡“≈â“ß°—∫πÈ”‡¬Áπ –Õ“¥ °àÕπ®–π”‰ªµ“°·¥¥À√◊Õº÷Ëß„Àâ·Àâß µâÕß ≈—¥‡ âπ‰À¡ ‡æ◊ËÕ ‰¡à„Àâ‡ âπ‰À¡æ—π°—π ·≈â«ªî¥∑â“¬¥â«¬°“√µ“°„Àâ·Àâß π‘∑ 8.3 ‡¡◊ËÕªÕ¬‰À¡∑’Ë·Àâß π‘∑·≈â« π”¡“„ à„π ‚Œß‰À¡Õ’°§√—Èß ‡æ◊ËÕµ√«® Õ∫‡ âπ‰À¡∑’Ë¬âÕ¡ ’·≈â« À“°æ∫ ®ÿ¥∫°æ√àÕßÀ√◊Õ¡’∫“ß®ÿ¥¬âÕ¡‰¡àµ¥‘ ∫√‘‡«≥„¥ °Á∑”°“√·µâ¡ ’ ¥â«¬æŸà°—πÀ√◊Õ¬âÕ¡´È”°Á‰¥â °àÕπ∑’Ë®–π”¡“°√Õ„ àÀ≈Õ¥¥â“¬ µàÕ‰ª

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8.2 Rinse the dyed thread with cool water then shake it off before hand to allow the thread to dry so the thread stays true. 8.3 After the threads are dry, put them in Hong Mai and double check if they have dyed properly. If not, use a paintbrush to color the Silk which has been dyed or re-dyed before inserting back in to the bobbins.

°“√µ—¥‡™◊Õ°ø“ß∫“ß à«πÕÕ° ‡æ◊ËÕ‡µ√’¬¡°“√ ¬âÕ¡ ’Õ◊ËπÊ µ“¡≈“¬µâπ·∫∫ Picture 25 Cut some part of plastic rope off in order to dye as the original pattern. √Ÿª∑’Ë 25

√Ÿª∑’Ë 26 ≈“¬ºŸâÀ≠‘ßÀ“∫µ–°√â“ ´÷Ëß¡—¥¬âÕ¡ 3 §√—Èß·≈â« Picture 26 A çWomen loading basketsé pattern which had previously been dyed 3 times.

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°“√·°â‰À¡∑’Ë¡—¥≈“¬ ‚¥¬°“√µ√÷ß‰À¡∑—Èß Õß¢â“ß‰«â Erasing a mistake on the pattern can be done °—∫‚Œß‰À¡ „™â¡◊Õ¢â“ß„¥¢â“ßÀπ÷Ëßµ“¡§«“¡∂π—¥¥÷ß‡™◊Õ°ø“ß by stretching the threads upward with Hong Mai then ¢÷Èπ ·≈â«„™â¡’¥µ—¥ø“ß ‡ √Á®·≈â«°Áπ”‰À¡∑’Ëµ—¥ø“ßÕÕ°·≈â« cut the plastic ropes off the misapplied thread and color ¡“µ°·µàß ’‡æ‘Ë¡‡µ‘¡ °àÕπ∑’Ë®–π”‰ª°√Õ„ àÀ≈Õ¥ ·≈â«π”‰ª them before applying them to bobbins. ∑Õ‡ªìπº◊πµàÕ‰ª

√Ÿª∑’Ë 28 Picture 28 √Ÿª∑’Ë 27-28 °“√·µâ¡ ’„π à«π∑’Ë ’¬âÕ¡≈ß‰ª‰¡à∂÷ß‡π◊ÈÕ‡ âπ‰À¡ Picture 27-28 Color the area that could not be dyed with a paint brush.

√Ÿª∑’Ë 27 Picture 27

8.4 °“√°√Õ¥â“¬ ‚¥¬π”‡ âπ‰À¡À≈“° ’∑’Ë·Àâß 8.4 Kro Dai is a process of putting multicolor π‘∑ ·≈â«π”¡“°√Õ„ àÀ≈Õ¥¥â“¬‡æ◊ËÕπ”‰ª„™â∑Õ‡ªìπº◊π threads which are already dry on bobbins to weave them into fabric for the next step. ¥â«¬‡‡√ßß“π§πµàÕ‰ª √Ÿª∑’Ë 29 °“√°√Õ‡ âπ‰À¡„ àÀ≈Õ¥¥â“¬ Picture 29 Spin some silk onto a bobbin 1. ‰π/À≈“ 1. Wheel 2. °ß 2. Bobbin 3. µ’π°ß 3. Teen Kong (Wheel pole)

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«‘∏’°“√°√Õ‰À¡„ àÀ≈Õ¥ ‚¥¬°“√π”‰À¡„ à°ß®—∫ ‡ âπ‰À¡∑’ªË ≈“¬¢Õß‡ âπ‰À¡æ—π°—∫À≈Õ¥·≈â«π”‰ª‡ ’¬∫°—∫ ‡À≈Á°ª≈“¬·À≈¡¢ÕßÀ≈“ (Õÿª°√≥å∑Õºâ“™π‘¥Àπ÷Ëß) ªíòπ ‡ âπ‰À¡‡¢â“„πÀ≈Õ¥®πæÕ¥’ π”ÕÕ°¡“®“°À≈“√âÕ¬„ à ‡™◊Õ°ø“ß‰«â ∑”®π‰À¡À¡¥®“°°ß°Á®–‰¥âÀ≈Õ¥‰À¡À≈“¬Ê À≈Õ¥√âÕ¬‡√’¬ß°—π ‡µ√’¬¡π”‰ª∑Õ‡ªìπº◊πºâ“µàÕ‰ª

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Kro Mai (or Kro Dai) process can be done by attaching silk threads with a wheel and then attaching another end with a bobbin and then stick it on a La- a sharp metal stick which is used to wind the threads onto the spool. After a bobbin is full of silk thread, then take it out from the La and thread a bobbin on a plastic rope; redo this step until no thread is left.

√Ÿª∑’Ë 30 ‡ âπ‰À¡∑’Ë°√Õ‡°Á∫‡ªìπÀ≈Õ¥‰«â Picture 30 These are silk threads which are already wound onto the bobbins.

‰À¡∑’°Ë √Õ·≈â«π”¡“„ à°√– «¬ ‡æ◊ÕË π”‰ª„™â∑Õ µàÕ‰ª Picture 31 Wound silk threads in a bobbin are placed in a boat shuttle. √Ÿª∑’Ë 31

9. ¢—ÈπµÕπ°“√ ◊∫ÀŸ° 9.1 °“√‡√’¬ß‰À¡‡§√◊ÕÀ√◊Õ‰À¡¬◊π ‚¥¬„™âÕªÿ °√≥å ◊∫‰À¡´÷Ëß¡’‡ âπ¥â“¬Õ¬Ÿà®”π«πÀπ÷Ëß·≈â« ‚¥¬π”‰À¡‡§√◊Õ (À¡“¬∂÷ß‰À¡¬◊πÀ√◊Õ‰À¡ ’æπ◊È ) π”‰ª¢÷ß‰«â¥“â π∫π„Àâ‡ âπ‰À¡ ∑Õ¥≈ß¡“ Ÿ¥à “â π≈à“ß ‡æ◊ÕË ®–∑”°“√¡—¥∑’≈–‡ âπ√à«¡°—∫Õÿª°√≥å ◊∫‰À¡ ∑—ßÈ π’„È ™â‰¡â°√–¥Ÿ°ßŸ (Õÿª°√≥å∑Õºâ“™π‘¥Àπ÷ßË ¡’≈°— …≥– ‡ªìπ‰¡â·∫πÊ) Õ¥§—πË ‰«â 2 Õ—π §◊Õ ¥â“π∫π·≈–¥â“π≈à“ß∑’„Ë ™â Õ¥‰¡â‰¢«â√–À«à“ß‡ âπ¥â“¬·µà≈–‡ âπ‡æ◊ËÕ‰¡à„Àâæ—πµ‘¥°—π

9. Seub Hook Process (Straightening and threading from the warp yarn in a loom) 9.1 Arrange the warp yarn by using silk thread separating equipment to stretch the warp and hold taut and in parallel order, typically by means a of a loom in order to tie to each thread separately. Then use two of Mai Kraduk Ngoo- a flat stick which is used in weaving-to insert in between the threads to avoid them tangling up.

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9.2 ºŸ°‡ âπ¥â“¬·µà≈–‡ âπ‡¢â“°—∫¥â“¬¬◊π ·≈â«¡—¥ 9.2 Then tightly tie each thread to the warp „Àâ·πàπ‰ª®πÀ¡¥‡ âπ‰À¡‰ª∑’≈–‡ âπ ‚¥¬°“√ºŸ°µ‘¥°—∫ yarn or Kok Hook which is longitudinal threads in loom. °°ÀŸ° (°°ÀŸ° §◊Õ ª¡ºâ“‰À¡‡¥‘¡∑’Ë∑Õµ‘¥‰«â°—∫øó¡‚¥¬‰¡à After finishing this process, the thread will be ready for the next step: weaving. µ—¥ÕÕ°‡æ◊ËÕ∑’Ë®–µàÕ‡§√◊ÕÀŸ°‰«â ”À√—∫∑Õ„π§√—ÈßµàÕ‰ª) ‡¡◊ËÕ§âπ‡ √Á®·≈â«°Áπ”¡“ ◊∫ (°“√ ◊∫ À¡“¬∂÷ß °“√ π”‰À¡∑“ß‡§√◊Õ∑’Ë§âπ‰«â¡“ºŸ°°—∫‰À¡∑’Ëµ‘¥Õ¬Ÿà°—∫øó¡) ‡æ◊ËÕ ®–π” Ÿà°√–∫«π°“√∑ÕµàÕ‰ª

°“√ ◊∫‰À¡‡§√◊Õ(‰À¡¬◊π) ´÷Ëß‡ªìπ‰À¡‡§√◊Õ¥” (À√◊Õæ◊Èπ¥”) ‚¥¬µâÕß¡—¥∑’≈–‡ âπ‰ª®πÀ¡¥ Picture 32 Threading the black warp yarn in a loom by tiding up with the warp threads that are already placed in the loom. √Ÿª∑’Ë 32

°“√ ◊∫‰À¡¡—¥À¡’Ë (‰À¡‡§√◊Õ§√’¡ À√◊Õæ◊Èπ ’ §√’¡) Picture 33 Threading the Mad-Mee warp yarn in the loom. √Ÿª∑’Ë 33

10.The Weaving Preparation Process 10. ¢—ÈπµÕπ‡µ√’¬¡°“√∑Õ‰À¡ 10.1 Thread the warp yarn in Fuem-a comb 10.1 π”‰À¡‡§√◊Õ (‰À¡‡ âπ¬◊π/‰À¡ ’æ◊Èπ) ∑’Ë¬âÕ¡ loom. ‡ √Á®·≈â«¡“µàÕ‡¢â“°—∫øó¡ 10.2 Straighten the warp yarns-mostly black10.2 °“√¥÷ß‰À¡‡§√◊ÕÀ√◊Õ‰À¡‡ âπ¬◊π ( à«π„À≠à ®–¬âÕ¡‡ªìπæ◊Èπ ’¥” À√◊Õ ’æ◊Èπ‡¥’¬«°—π°—∫‰À¡¡—¥À¡’Ë°Á‰¥â) in the loom. ·≈â«¥÷ß„Àâµ÷ß‡¢â“°—∫°’Ë∑Õºâ“

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°“√µàÕ‡ âπ‰À¡‡¢â“°—∫øó¡ µâÕß∑”∑—Èß‰À¡‡§√◊Õ (‰À¡ ’æ◊Èπ) Picture 34 Threading the warp yarn in the Fuem. √Ÿª∑’Ë 34

√Ÿª∑’Ë 35 °“√‡µ√’¬¡‡ âπ‰À¡∑“ß¬◊π‡æ◊ËÕ‡µ√’¬¡°“√∑Õ Picture 35 Preparing the warp yarn to weave.

«‘∏’°“√∑Õ‰À¡ ‚¥¬°“√π”‡ âπ‰À¡æÿàß (À√◊Õ‰À¡ ¡—¥À¡’Ë) π”¡“°√Õ„ àÀ≈Õ¥ ·≈â«„ à°√– «¬‡æ◊ËÕ„™â∑Õ‡ªìπ ≈«¥≈“¬∑’Ë¡—¥À¡’Ë °“√∑Õ®–„™â‡∑â“‡À¬’¬∫ÀŸ° ≈—∫°—π‡æ◊ËÕ „Àâ‡ âπ‰À¡∑“ß¬◊π·≈–‰À¡æÿàß∑Õ¢—¥°—π ‡ âπ‰À¡æÿàß À¡“¬∂÷ß ‡ âπ¥â“¬∑’Ë„™â ”À√—∫æÿàß‰ª¡“ ≈—∫°—∫‡ âπ¬◊π ‡æ◊ËÕ„Àâ¢—¥°—π‡ªìπº◊πºâ“ ¥â“¬‡ âπæÿàßπ’È¡—°æ—π À√◊Õ¡â«πÕ¬Ÿà„πÀ≈Õ¥∫√√®ÿ„π°√– «¬ ‡æ◊ËÕ§«“¡ –¥«° „π °“√ Õ¥À√◊Õæÿßà ¥â“¬ ´÷ßË µâÕß„™â·√ßæÿßà „Àâº“à π‰ª ÿ¥¢Õß·µà≈– ¥â“π

Weaving process: The weft thread is wound onto bobbins which are then placed in a shuttle which carries the weft thread through the shed to weave as a Mad-Mee pattern. The raising/lowering sequence of warp threads gives rise to many possible weave structures from the simplest plain weave. In weaving, weft is the yarn which is then drawn under and over the parallel warp yarns to create the fabric. Normally, the weft thread is wound onto bobbins which are then placed in a shuttle that makes the weaving easier.

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√Ÿª∑’Ë 36 °“√¥÷ß‡ âπ‰À¡¬◊π Picture 36 Stretching the warp yarn.

°“√¥÷ß‡ âπ‰À¡∑“ß¬◊π„Àâµ÷ß·≈– “ß‰À¡ ‰¡à„Àâæ—π°—π Picture 37 Straighten the warp yarn and separating them to avoid becoming tangled. √Ÿª∑’Ë 37

√Ÿª∑’Ë 38 ∫√√¬“°“»°“√Õ∫√¡ªØ‘∫—µ‘°“√∑Õºâ“‰À¡ Picture 38 The atmosphere in a silk weaving workshop

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√Ÿª∑’Ë 39 °“√∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡ Picture 39 Hoop-Tam patterns in the weaving process.

¥â“¬‡ âπæÿàßπ’È¡’§«“¡ ”§—≠„π°“√∑Õºâ“‡ªìπÕ¬à“ß¡“° The weft is very important to weaving process ‚¥¬‡©æ“–°“√∑Õºâ“‰À¡¡—¥À¡’∑Ë ¡Ë’ √’ “¬≈–‡Õ’¬¥¢Õß≈«¥≈“¬ especially, Mad-Mee Silk Design which has various µà“ßÊ ¡“° ‡π◊ÕË ß®“°‡ âπæÿßà ®–‡ªìπµ—«°”Àπ¥≈—°…≥–≈«¥≈“¬ beautiful patterns with a finesse of fabrics. If the weft §«“¡ «¬ß“¡ §«“¡·πàπ ·≈–§«“¡ª√–≥’µ¢Õß‡π◊ÈÕºâ“ is weaved incorrectly, the pattern will not show. À“°°“√®—¥‡ âπæÿßà ‰¡à∂°Ÿ µâÕß ≈«¥≈“¬¢Õßºâ“¡—¥À¡’ÕË “®®–‰¡à ª√“°Ø‡ªìπ≈“¬‡≈¬°Á‰¥â À√◊Õ‰¡à‡ªìπ‰ªµ“¡≈«¥≈“¬∑’Ë¡—¥À¡’Ë‰«â

√Ÿª∑’Ë 40 ºâ“‰À¡¡—¥À¡’Ë≈“¬ºŸâÀ≠‘ßÀ“∫µ–°√â“ Picture 40 Mad-Mee Silk with women loading baskets into the pattern

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√Ÿª∑’Ë 41 ºâ“‰À¡¡—¥À¡’Ë≈“¬°√–∂“ßµâπ‰¡â Picture 41 Mad-Mee Silk with the plant pots pattern.

11. º≈ß“π

11. Accomplishment

√Ÿª∑’Ë 42 ≈“¬π°¬Ÿß Picture 42 çPeacocké pattern

√Ÿª∑’Ë 43 ≈“¬ºŸâÀ≠‘ßÀ“∫µ–°√â“ Picture 43 çWomen loading basketsé pattern

√Ÿª∑’Ë 44 ≈“¬π°°—∫µâπ¬“ß„À≠à Picture 44 çBirds with big rubber treesé Pattern

√Ÿª∑’Ë 45 ≈“¬§π‰∂π“ Picture 45 çPlowmené pattern

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12. °“√ª√–‡¡‘πº≈

√Ÿª∑’Ë 46 °“√ª√–‡¡‘πº≈√à«¡°—∫°≈ÿà¡∑Õºâ“ Picture 46 The valuation process with the silk weaving group

Õ∫√¡‡æ‘Ë¡‡µ‘¡‡°’Ë¬«°—∫‡∑§π‘§°“√ÕÕ°·∫∫ °“√„™â ’ ·≈–§«“¡µâÕß°“√¢Õßµ≈“¥ºâ“ ‚¥¬ «‘∑¬“°√ Picture 47 Techniques of the pattern designing and color using workshop, together with the perceived demand of cloth in a market by the guest speakers. √Ÿª∑’Ë 47

√Ÿª∑’Ë 48 º≈ß“π∑—ÈßÀ¡¥ Picture 48 All the finished products

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13. √ÿªªí≠À“·≈–¢âÕ‡ πÕ·π– 13.1 ‡√◊ËÕß¢Õß°“√º ¡ ’ °≈ÿà¡∑Õºâ“‰À¡¬—ß‰¡à‡§¬ º ¡ ’·∫∫¥—Èß‡¥‘¡¡“°àÕπ ‚¥¬‡©æ“–°≈ÿà¡ ’®“°ŒŸª·µâ¡ ´÷Ëß¡’‡æ’¬ß 4 ’À≈—°‡∑à“π—Èπ §◊Õ °≈ÿà¡ ’‡À≈◊ÕßÕàÕπ °≈ÿà¡ ’ øÑ“Õ¡πÈ”‡ß‘π °≈ÿà¡ ’‡¢’¬« ·≈–°≈ÿà¡ ’πÈ”µ“≈ ‚¥¬µâÕßΩñ° ‡∑§π‘§°“√º ¡ ’„Àâµ√ß°—∫ ’®“°¿“æ∫πΩ“ºπ—ß‚∫ ∂å„Àâ‰¥â π—∫«à“‡ªìπ‡√◊ËÕß∑’Ë¬“°·≈–‡ªìπª√– ∫°“√≥å§√—Èß·√°¢Õß°≈ÿà¡ ∑Õºâ“‰À¡ √«¡∑—Èß«‘∑¬“°√¥â«¬‡™àπ°—π Õ¬à“ß‰√°Áµ“¡ °Á∂◊Õ«à“ ‡ªìπ°“√«‘®—¬ªØ‘∫—µ‘°“√π”√àÕß ‡æ◊ËÕ§âπÀ“§«“¡‡ªìπ‰ª‰¥â „π °“√∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡√à«¡°—π 13.2 ‡√◊ËÕß≈«¥≈“¬„À¡àÊ ∂◊Õ«à“‡ªìπ°“√∫ÿ°‡∫‘° ≈“¬ºâ“‰À¡¢÷Èπ¡“„À¡à ‚¥¬„™â¿Ÿ¡‘ªí≠≠“¥â“π°“√∑Õºâ“¢Õß °≈ÿà¡¢÷Èπ‡Õß ‡æ√“–∑“ß°≈ÿà¡¬—ß‰¡à‡§¬§‘¥ª√–¥‘…∞å À√◊Õ ª√–¬ÿ°µå≈«¥≈“¬Õ—π‡°‘¥®“°ŒŸª·µâ¡¢÷Èπ¡“°àÕπ‡≈¬ °“√ Õ∫√¡§√—Èßπ’È®÷ß∂◊Õ«à“‡ªìπ§√—Èß·√°∑’Ë‰¥â∑”°“√∑¥≈Õßª√–¥‘…∞å ≈«¥≈“¬„À¡àÊ √à«¡°—π 13.3 ‡√◊ËÕß¢Õß°“√µ≈“¥ ‡π◊ËÕß®“°∑“ß°≈ÿà¡ ∑Õ ºâ“‰À¡°≈ÿà¡π’È ¡’Ωï¡◊Õ¥’‡¬’Ë¬¡Õ¬Ÿà·≈â« ·µàµ‘¥ªí≠À“µ√ß °“√∑”°“√µ≈“¥ ´÷Ëß‡ªìπªí≠À“ ”§—≠¢Õß°≈ÿà¡ °≈à“«§◊Õ µà“ß§πµà“ß∑Õ¢“¬°—π‡Õß ¬—ß‰¡à “¡“√∂√«¡°≈ÿ¡à °—π¢“¬À√◊Õ µàÕ√Õß√“§“„πµ≈“¥‰¥â ¥—ßπ—Èπ °“√°√–µÿâπ„Àâ‡°‘¥º≈ß“π º≈‘µ„À¡àÊ ‡°‘¥¢÷Èπ®÷ß‡ªìπ°“√‡ªî¥µ≈“¥„Àâ¢¬“¬°«â“ßÕÕ°‰ª ‚¥¬∑“ß°≈ÿà¡°Á®–æ¬“¬“¡®—¥µ—Èß°≈ÿà¡∑Õºâ“‰À¡¢÷Èπ Õ¬à“ß ‡ªìπ√Ÿª∏√√¡µàÕ‰ª„πÕπ“§µ 13.4 ®ÿ¥ÕàÕπ¢Õß°≈ÿà¡∑Õºâ“ §◊Õ °“√√—∫®â“ß¡—¥À¡’Ë ∑—ÈßÊ ∑’Ë à«π„À≠à¡’Ωï¡◊Õ„π°“√∑ÕÕ¬à“ß¥’‡¬’Ë¬¡ µàÕ‰ªµâÕß∑”„Àâ ‡ªìπº≈ß“π¢Õßµ—«‡Õß ·≈â«®—¥µ—Èß‡ªìπ°≈ÿà¡¢÷Èπ„πÕπ“§µ‰¥â ∂â“À“°®–√—∫®â“ß∑”Õ¬à“ß‡¥’¬«π—Èπ °≈ÿà¡‡Õß°Á®–‰¡à¡’º≈ß“π ‡ªìπ¢Õßµ—«‡Õß ‡°‘¥¢âÕ‡ ’¬‡ª√’¬∫„π°“√∑”µ≈“¥ 13.5 ‡√◊ËÕß°“√ª√–¬ÿ°µå ‰¡à«à“®–‡ªìπ‡√◊ËÕß°“√‰≈à √–¥—∫ ’À√◊Õ°“√∑Õº ¡º “π√–À«à“ß‰À¡°—∫ΩÑ“¬°Á “¡“√∂ ∑”‰¥â ‡™àπ „™â‰À¡‡ªìπ‡ âπ¬◊π·≈â«‡Õ“ΩÑ“¬‡ªìπ‡ âπ∑Õ ∑”°“√ ∑¥≈Õß‰ªÀ≈“¬Ê ·∫∫ °Á®– “¡“√∂‡√’¬π√Ÿâ°“√ª√–¬ÿ°µå ≈«¥≈“¬µà“ßÊ ÕÕ°¡“ ∑—Èßπ’È Õ“®®–§—¥‡≈◊Õ°≈“¬∫“ß à«π ¢ÕßŒŸª·µâ¡¡“„™â‰¥â‚¥¬∑’Ë‰¡àµâÕß§—¥≈Õ°≈“¬¡“∑—ÈßÀ¡¥

13. Summary and Suggestions 13.1 Traditional color mixing is one of the problems that the Silk Weaving Group encounters especially with the Hoop-Tam colors: lemon yellow, blue, green and brown. The group is trained in how to mix colors correctly in the moral paintings. It was difficult for these workers as it is their first time to try new things; however, it is the pilot project to make contributory Hoop-Tam patterns. 13.2 New patterns are designed by using local wisdom of the Weaving Group. As they previously havenût designed any new styles, Hoop-Tam is first new design for the community to contributory work together. 13.3 Marketing is also another problem that the group encounters. Members in the group are skillful in weaving the fineness silks, and only sell to clients individually. As a result, they have no potential to bargain for the right price. Therefore, encouraging them to produce new quality work together whilst they form as team will solve these problems. 13.4 The Downside of the Weaving Group is that most of the villagers are hiring others to make the Tie-Dyed Fabric Silk (Mad-Mee) even though they are very skillful at this job. The solution to this problem is to encourage the villagers to Tie-Dyed their own silk and form another group in the future. 13.5 Encouragement is crucial to help the members become more creative in adapting ideas: color mixing and making a fabric which uses silk mix with cotton (using silk thread as a warp and cotton as a weft). As a result, the members will learn new ideas in making new patterns. This is another

∂â“À“°µâÕß°“√‡æ‘Ë¡¡Ÿ≈§à“¢Õßºâ“‰À¡„Àâ¡’√“§“ Ÿß°«à“∑’ËÕ◊ËπÊ °ÁµâÕß¡’°“√ª√–¬ÿ°µå·≈–æ—≤π“∑—Èß‡√◊ËÕß≈“¬·≈– ’ ‰ª¥â«¬ ·≈â«°Á»÷°…“°≈ÿà¡‡ªÑ“À¡“¬«à“„§√§◊ÕºŸâ∫√‘‚¿§ 13.6 °“√∑¥ Õ∫§«“¡µâÕß°“√¢Õßµ≈“¥ „π §√—ßÈ ·√°Õ“®®–∑Õ‰ª¢“¬∑’ßË “π©≈Õßæ√–∏“µÿπ“¥Ÿπ°Á‰¥â ‡¡◊ÕË ‰¥â√—∫§”µ‘™¡®“°≈Ÿ°§â“ °Áπ”¡“„™â‡ªìπ·π«∑“ß°“√æ—≤π“ ‘π§â“„Àâ¡’ª√– ‘∑∏‘¿“æ¡“°¬‘Ëß¢÷ÈπµàÕ‰ª ‚¥¬∑—Èßπ’È„Àâ®¥ ∫—π∑÷°¢âÕ‡ πÕ·π–‰«â∑ÿ°§√—Èß ·≈â«·π«∑“ßÀπ÷Ëß∑’Ë®–„Àâ‡°‘¥ §«“¡¬—Ëß¬◊π §◊ÕµâÕßÀ“≈«¥≈“¬∑’Ë‡ªìπ‡Õ°≈—°…≥å¢Õßµ—«‡Õß „Àâæ∫ ·≈â«æ—≤π“Ωï¡◊Õ‰ª‡√◊ËÕ¬Ê ´÷Ëß≈“¬®“°ŒŸª·µâ¡∑’ËÕ¬Ÿà„π ‘¡ ∂◊Õ‰¥â‡≈¬«à“‡ªìπ≈“¬‡Õ°≈—°…≥å´÷Ëß‰¡à¡’∑’Ë‰Àπ ·≈â«‰¡à¡’ „§√‡≈’¬π·∫∫‰¥â ∂◊Õ«à“∑’Ë∫â“π¥ß∫—ß·Ààßπ’È‡ªìπÀ¡Ÿà∫â“π‡¥’¬« ∑’Ë “¡“√∂∑Õºâ“‰À¡≈“¬ŒŸª·µâ¡‰¥â‡ªìπ·Ààß‡¥’¬«„π‚≈° 13.7 °“√Õ∫√¡ªØ‘∫—µ‘°“√‡ªìπ‡æ’¬ß‡πâπ«‘∏’°“√ Õπ‡∑à“π—Èπ º≈ß“π∑’ËÕÕ°¡“Õ“®®– «¬À√◊Õ‰¡à «¬ Õ¬à“ß ∑’Ë‡ÀÁπ°Á∂◊Õ«à“‡ªìπ‡√◊ËÕßª°µ‘ ‡æ√“–°≈ÿà¡∑Õºâ“‰À¡‰¥â∫ÿ°‡∫‘° ·≈–‰¥â∑¥≈Õß°“√∑Õºâ“‰À¡·∫∫„À¡àÊ ´÷Ëß‡ªìπ°“√π”‡Õ“ ‡Õ°≈—°…≥å‡¥àπ®“°ŒŸª·µâ¡ ´÷Ëß∫√√æ∫ÿ√ÿ…‰¥â‡°Á∫‰«â„Àâ ≈Ÿ°À≈“π ◊∫¡“∑ÿ°«—ππ’„È Àâ„™â‡ªìπ¡√¥°‰¥â∑”¡“À“°‘πµàÕ‰ª·≈â« °Á¬—ß∂◊Õ«à“‡ªìπº≈ß“π∑’Ë· ¥ß∂÷ß‡Õ°≈—°…≥å¢ÕßÀ¡Ÿà∫â“π¥â«¬ 13.8 ‡√◊ËÕß≈“¬ºâ“·≈– ’π—Èπ „π¿“æ√«¡æ∫«à“ ≈«¥≈“¬ºâ“∑’Ë∑Õ‡ √Á®·≈â« ∫“ß™‘Èπ¡Õß·≈â« «¬ß“¡ ‡æ√“– ‡ªìπ≈“¬∑’Ë¡’®ÿ¥‡¥àπ‡æ’¬ßµ”·Àπàß‡¥’¬« ¥—ßπ—Èπ °“√§‘¥∑’Ë®– ∑Õ¥â«¬≈«¥≈“¬Õ–‰√µàÕ‰ª µâÕß§‘¥µàÕ‰ªÕ’°«à“ ®–„Àâ‡ªìπ º≈‘µ¿—≥±åÕ–‰√ ∂â“ ¡¡ÿµ‘«à“®–„™â°—∫À¡ÕπÀπÿπ ¿“æ°Á®– µâÕß‡ªìπ≈“¬∑’„Ë À≠à¢πÈ÷ ‰ªÕ’° ‡æ√“–¡Õß„°≈â·≈â«‡ÀÁπ™—¥¥’ ·µà ∂â“À“°π”¡“µ—¥‡ªìπ‡ ◊ÈÕºâ“ Õ“®®–‡ªìπ≈“¬∑’Ë‰¡à‚¥¥‡¥àππ—° ‡æ√“–ºâ“‰À¡®–¡’§«“¡¡—π«“« ´÷Ëß‡ªìπ≈—°…≥–‡¥àπ„πµ—« ºâ“Õ¬Ÿà·≈â« Õ’°∑—Èß¬—ß¡’√“§“·æß¥â«¬ ∑’Ë ”§—≠§◊Õ¡’Õ“¬ÿ°“√ „™âß“ππ“π «¡„ àµ“¡‚Õ°“ ”§—≠Ê ‡∑à“π—Èπ‡Õß ©–π—Èπ ≈«¥≈“¬µà“ßÊ µâÕß‰¡à‚¥¥‡¥àπ‡°‘π‰ª ‡æ√“–«à“ À“°‡ªìπ ≈“¬‚¥¥‡¥àπ¡“°Ê §π∑’Ë‡ÀÁπ®–®”‰¥â ·≈â«°Á∑”„Àâ‡∫◊ËÕ∑’Ë®– «¡„ à

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way to increase the value of products by creating new designs. 13.6 Checking the markets are needed by selling products at Na Dun Stupa Fastival to get clients feedbacks to help improve the silk fabrics to better quality. One of the best marketing tactics is to use the uniqueness of the products; therefore, the members must choose which patterns cannot be found anywhere else in order to get the clientsû full attention.

13.7 The workshop is only providing knowledge of weaving to its members. The outcome does not have to be perfect, but the members bring out their own artistic uniqueness by making Hoop-Tam patterns that shows their pride in continuing the art of heritage through their silks. 13.8 The outcome of patterns and colors is positive: patterns on finished silk fabrics are seen in the same place which makes the fabrics look beautiful and outstanding. Therefore, the members must consider the next step of what products and patterns they wish to make in the future because different products have different designs. For example, using silk fabric to make pillows, the picture in the provided patterns must be large. In contrast, to make them as clothes, the pattern must not be outstanding because silk itself is shiny which makes it look beautiful, expensive and lasting long. Therefore, silk clothes should not have too much design within the patterns.

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Patterns suggestions Peacocks Pattern (on black warps) This pattern is good for making clothes because it will last long and doesnût look dull. However, the size of the pattern on the bottom of the skirts should be reduced or used on other patterns, to help peacocks pattern look more outstanding. Plant Pots Pattern This pattern should have a big pot in between two small ones, but some misunderstandings in MudMee process makes the pattern seem less appealing. Besides, the two lines underneath are too bight which tend to dull the pattern.

Women loading baskets Pattern This pattern looks fine even though the ladies in the patterns are a bit small and color seems to be a problem which makes the pattern somewhat dull. However, this is not a big issue; it is the beginning of creativity. To solve this problem, the original colors from Hoop-Tam must be maintained in the pattern. Moreover, putting browner color will make this pattern stand out because brown is a matching color within this pattern; therefore it will make the pattern look fine. Repeat this action with the trees, by adding more blue color onto the pattern. Otherwise, the pattern looks fine.

≈“¬§π‰∂π“ ≈“¬π’È ‡ªìπ≈“¬∑’Ë¥Ÿ·≈â«¡’√“¬≈–‡Õ’¬¥¡“° ®π∫“ß∑’ „Àâ§«“¡√Ÿâ ÷° ß —¬«à“‡ªìπ≈“¬Õ–‰√ µâÕßæ‘®“√≥“¥Ÿ„°≈âÊ ®÷ß ®–√Ÿâ ·µàπ’Ë°Á§◊Õ‡ πàÀå¢Õß≈“¬π’È‡™àπ°—π „π¿“æ√«¡‡√◊ËÕß°“√ „™â ’°Á¬—ß§ß‡ªìπªí≠À“‡À¡◊Õπ°—π°—∫≈“¬Õ◊ËπÊ §◊Õ ’§àÕπ¢â“ß °≈¡°≈◊π°—∫º◊πºâ“ ®÷ß∑”„Àâ≈“¬‰¡à‚¥¥‡¥àπ ‘ßË ∑’‡Ë ÀÁπ‰¥â™¥— §◊Õ ≈“¬µâπ‰¡â ·≈–§«“¬ ®–‡ÀÁπ≈—°…≥–∑à“∑“ß∑’Ë™—¥‡®π ®—ßÀ«– ¢Õß¿“æ®—¥√–‡∫’¬∫‰¥â¥’

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Plowman Pattern There are a lot of details in this design that make it difficult to see exactly what the pattern is. Color manipulation is still an issue like the other patterns the pictures in the patterns are not clear and do not stand out. However, the arrangement of the pattern is good and can be seen in the pictures of trees and buffalos. Taking a closer look reveals there is something there that makes it look a whole lot more appealing.