@article{MAKHILLJEAS2019141318022,
    title = {Esan Color Glass: Artisans and Symbolic in Buddhist Architecture},
    journal = {Journal of Engineering and Applied Sciences},
    volume = {14},
    number = {13},
    pages = {4508-4517},
    year = {2019},
    issn = {1816-949x},
    doi = {jeasci.2019.4508.4517},
    url = {https://makhillpublications.co/view-article.php?issn=1816-949x&doi=jeasci.2019.4508.4517},
    author = {Nittaya,Kittisan and},
    keywords = {Esan colored glass,artisanship,symbolism,Buddhist architecture,myths,symbolism},
    abstract = {This research aims to study the history of Esan colored glass study the artisanship of Esan colored
glass and study the symbolism of Esan colored glass in Buddhist architecture. Using qualitative research, data
were collected by field survey, e.g., field-survey questionnaire form, group interview recordings and interview
form. Based on data analysis, study findings are as follows. History of Esan colored glass found in four styles
of Buddhist ubosot as follows: rattanakosin style: being influenced by the late-Ayutthaya period, Esan colored
glass was widely used to decorate Buddhist architecture, since, the Reign of King Rama III and to date Lan
Chang style: as Esan local area has a long relationship with Lan Chang Kingdom, many temples have been built
and decorated with colored glass. This was inspired by the ubosot of Wat Xieng Thong, Luang Prabang;
Vietnamese style: during the colonial era, some Vietnamese escaped for asylum and main occupation at that time
was crafting and construction; noticing from many of the creative works that can be found throughout the
Northeastern Region, Northeast Folk style: the colored glass decoration was a mix of traditional and varied
styles influenced by incoming culture or experience of the artisans themselves in that period. The artisanship
of Esan colored glass is the creativity of artistic contents, concepts, materials and production processes. These
are found to have been on a continuous development for the ubosot styles as follows: Rattanakosin style: it
was found that the colored glass used in the early Rattanakosin period was a glass of ancient colors or Chinese
glass that had a few shades of lustre whereas the modern colored glass comes with different color shades to
choose from; Lan Chang style: Popularity was the decoration with colored glass cut in a shape of mosaic to
depict stories. These are considered colored glass of the present days as they are shining beautifully
Vietnamese style: most of the buildings are brick-and-masonry structured, decorated with low-relief painted
sculpture the identity of the Vietnamese which most of the spherical mirror from a pressed powder compact or
square-shaped glasses is used at some parts of the decoration. Most of the local Esan ubosot styles are brick
and masonry. The gable and apex on the roof are commonly wooden while mosaic decoration is normally
finished with glasses or mirrors from pressed powder compact while glass decorations are preferably only for
some important parts. The study aims at the symbolism of Esan colored glass in Buddhist architecture, as well
as beliefs of art decorated with colored glass in the Northeastern temples. Area of study covers 27 Buddhist
temples, divided into 4 groups then analyzed the symbolism at every temple in 3 aspects: Buddhism, traditional
belief and ethnicity. The study found that Buddhist symbolism is mostly used to convey the story. The
importance of the religion is reflected in the symbolism through colored glass decorated to depict stories such
as the Buddha’s Life, Buddha’s images, Tribhumikatha (The Three Worlds), Chulamani Chedi, lotus, the Sun
naga while symbolism related to the original beliefs is mostly reflected in the myths, folk tales, customs,
traditions, cultures and ethnic symbols. Apart from that, it is related to the way the people live. The symbolism
also relates to the reality of nature through the doctrine of Buddhism.}
    }