Abstract
The main purposes of this thesis, " An Analytical Study of Beauty of Sculpture in the Phramaha Chedichaimongkol Wat Bhanamtiptepprasitthivanaram, Nongpork District, Roi-et Province" were to study the theory of beauty in aesthetics, to study the history and characteristics of sculpture in the establishment of Phramaha Chedichaimongkol, and to analyze the aesthetical beauty of Phramaha Chedichaimongkol. This was a documentary research to collect all data from Tipitaka, philosophical paper, Buddhist paper, and related researched with the descriptive analysis.
A result of this study was found that the aesthetics was one of philosophical theories in accordance with value and beauty. It was the philosophy to search what the beauty was and what the standard of examining that beauty. In order to analyze the beauty of sculpture in Phramaha Chedichaimongkol, the researcher used three aesthetical theories: subjectivism, objective idealism, and relativism. A result of this study was found that subjectivism had the standard of examining the beauty according to the individual feelings as a symbol of the beauty. The objective idealism or materialism believed that beauty was the eternal quality in the materials in the first time and it did not depend upon the human feelings. Finally, the relativism stressed on human mind and aesthetical materials. The beauty was the relation between a person and materials in a way of responded equality.
Phramaha Chedichaimongkol Wat Bhanamtiptepprasitthivanaram was made of the mixed central art and I-san art in Thailand, i.e. Phrapathomchedi and Phrathatpanom, a big pagoda established according to Luangpu Sri Mahaviro's intention. When the beauty of sculpture in three floors of this Mahachedi was analyzed, it was found that the first floor had the beauty of sculpture according to subjectivism. It was the beauty coming from the state that mind acknowledged the material and searched the beauty of that material according the past experience and beauty kept in mind. It was the beauty presented from the technician's imagination to picture through lines, color and light properly and harmoniously. It had good look and proper management. The beauty of sculpture in the second floor followed the objective idealism. It was the beautiful art in all materials brought to establish this pagoda, to be carved, or to be sculpted. It was a valuable thing itself. All things like cement, sand, resin, or golden color were valuable themselves although nobody knew it. The beauty of sculpture in the third floor was in the relativism. It was natural beauty as seen in the forest, the mountain, beliefs, tradition, ceremonies, and culture in the community, Nongpok district. Because it was in the Buddhist belief, it became the beauty coming from mind, mixed with good quality of materials. After the sculpture was made, it made people surprised and rapturous in the artist beauty presented in a way of Thai identity.
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