อาภรณ์พิพรรธน์ ปัตตานี

Editorial

Clothes are one of the four basic needs that like to come up with a way to produce high quality
humans seek for in order to survive. Humans in and more stunning clothing, for example, weaving
the prehistoric period utilized animal skin as their silk into faille fabric, wool into felt fabric, and wood
clothes. The skin, however, felt uncomfortable due fiber into linen or hessian fabric.
to the heat and its heaviness. Therefore, humans
came up with alternatives to animal skin, such as In Thai society, which is an agricultural
leaves, bark, and vines, which would be tied and society, weaving fabric was considered women’s
combined to create simple clothing. Later on, duty since ancient times, as an aphorism that said
humans discovered how to make robes from “when rice season ends, women weave, men forge”.
plants that could be twisted into a long line. This This represents how responsibilities were divided
then led to the weaving of garments. For humans, up in society. Growing rice to consume and
the concept of making clothes from plants was a growing cotton for weaving garments, therefore,
significant development that led to the discovery of were harmoniously the production processes from
various materials for clothing, including learning the old times. Since women were assigned by
how to make coarse fiber from cotton and use it to society the role of providing and taking care of
create clothing. Nevertheless, as seeking for pleasure clothes, they would have to search for fibers to
and beauty is part of human nature, we then would produce different kinds of fabric in order to use
within the family and on many occasions. This is

Prosperous Textiles Pattani S 49

why fabrics play a major role in daily life and rituals products used in trade, in which fabric was one of
that are rooted from traditions and beliefs of the the products that the international merchants sold
ancestors, and things that are beyond human control, in this region, by exchanging it with forest and
including reincarnation. local products. This caused the ruling class and the
wealthy to have a chance in choosing stunning,
The five Southern border provinces of unusual, and colorful clothes. Aside from being
Thailand (Satun, Songkhla, Pattani, Yala, and utilized as garments, fabrics also served different
Narathiwat) are societies that originated from a roles in everyday life, including religious
gathering of people from different groups coming ceremonies, the upper class parade decoration,
together to settle down. It started from a small building decoration, dowries, tributes as an
community and then gradually expanded to a village, encouragement for the soldiers before battles, and
and finally a pier. As a result of trade with countries cradles.
like China, Vietnam, Cambodia, Indonesia,
Malaysia, India, the United Arab Emirates, the The Native Thai fabric in the five Southern
Middle East, and others, their way of life eventually border provinces contains its own local identity. In
began to change. There were various kinds of other words, the fabrics in this region differ from

50 S อาภรณพ์ พิ รรธน ์ ปัตตานี

fabrics in other regions in terms of patterns, formats, can be differentiated from the other regions by the
colors, and usage. Since this region used to serve patterns, formats, colors, and usage. The differences
as an essential trade center of Southeast Asia, the in usage include ritual ceremonies as well as the
prosperous commerce was an accessory factor in indicator of the user’s social class. Also, the aesthetics
creating the cultural flow, particularly the culture of on these fabrics demonstrate ethnicity, gender, age,
utilizing fabrics between the international merchants, status, value, and belief toward the ancestors, mixed
who came to trade, and the locals, who already with the delicacy from the weavers which inserted
had the traditional knowledge in weaving fabrics. with the local wisdom that has already been extinct.
Eventually, this led to a cultural combination in The aesthetics, thus, act as a mirror that reflects Thai
using fabrics. The locals applied the newly gained people’s background in this region, which is gradually
knowledge to their existing knowledge and created disappearing and leaving nothing but the legend.
fabrics that represented each local’s identity, such as However, there is the development preserving and
Limar silk fabric, So Keh fabric (Yok Tani), Juantani revitalizing Juantani or Lomar fabric
fabric, and Pla Nging fabric. These fabrics, therefore,

Prosperous Textiles Pattani S 51

Thai and Pattani’s Fabric Development
The prehistoric Thai fabric was developed
from local wisdom combined with the
weaving inspirations from Persia, India,
Cambodia, and China, who traveled
to trade and settled down in
Thailand. Such weaving culture was
then integrated with the existing
knowledge, creating fabric that
represented each local’s identity.
For the five Southern border
provinces area, there has been an
indigeous settlement since the past,
where the cumulative culture has created
a civilization that is specifically unique within
the region, especially the culture of fabric utilizing
by Muslim Thais. The five Southern border
provinces have not yet revealed any studies.
However, some apparent writings that could be
applied as the preliminary data are as follow:

According to the Khun Luang Wat Pra
doo song tham testimony book, a document from
Hor Luang, it described in one part that “At Ban Rim
Klong Wat Lot Chong, the Kaek Tani weaves silk
fabric, pieces of yarn fabric, Muang Kliang fabric,
and Muang Dok Khai”. Another part described that
“At Ta Sai Market, there is a clothing shop selling
Sompak Cherngpoon fabric, silk fabric, and Juan
fabric”. Regarding these texts, it can be confirmed
that Pattani people in the late Ayutthaya period
weaved fabric for a living, especially Juantani
fabric, Yok Tani fabric, silk fabric, and yarn fabric.

In addition, Prince Narisara Nuwattiwong
and Phraya Anuman Rajadhon talked about Yun
Tani fabric that they had heard about the rice
reaping song and some people called it Yun Tani.
They, however, had never heard of the word,
so they asked Mueng Pattani about the word
“Yun” which did not appear in the dialect. They
predicted that it was derived from the word “Yaan
Tani”, since the border of Tani was connected
to Kelantan, meaning that Kelantan fabric was
made in Yaan Tani. For Juan fabric, it is a silk
fabric inserted with different colors, similar to Kod
Klit pattern, along the length of the fabric.

52 S อาภรณ์พพิ รรธน์ ปตั ตานี

Besides, there were fabrics that were in purchasing silk and golden and silver wire from
imported from other countries as well, including other countries, along with the fact that the
silk fabric, Yok fabric, Poom fabric, Muang fabric, middlemen underpriced the products. Thus, in
Muang Cherng fabric, Yok Tong fabric, and addition to the ability to understand the
Lai Yang fabric. Since Pattani was a massive characteristics when studying each fabric’s type,
fabric market during the Ayutthaya period, this led this also lead to the understanding of the culture in
to the sale of Auttalat fabric, Khem Karb fabric, utilizing fabrics that appeared in the Muslim Thai
Mhod Tad fabric from Surat and Dhaka in India, lifestyle in the lower Southern part.
Persia and high quality faille fabric from China. For
Juantani fabric, it was popular among the Krungsri The Malay World started to use silk fabric and
Ayutthaya women. So Keh in the 12th century. After that, there was an
import of Indonesian Patola fabric as well as Gina
During that time, some said that the fabric or Ginda fabric, which were used as waist ties, made
was mixed between yarn and silk, whereas others from woven cotton and silk, with patterns similar
said that it was twisted from the Chinese word to Patola and antique Batik fabric. These fabrics
“Tuan” which means silk or faille. Tani, on the other conveyed the civilization that combined with the
hand, matched with the word Ni or Mi which refers Asian and Southeast Asian culture. It can be seen
to yarn-cotton. In addition, there was silk woven that the Southern part of Thailand imported these
Yok Tani fabric where the flower pattern was made fabrics to utilize and they have now become a part of
with Indian golden wire. Pla Nging or Pa La Nging the population. In addition, the weaving techniques
fabric was made of faille fabric and dyed with colors have also been passed down to other woven fabrics
to create different flower patterns, in which women that are considered the local wisdom, such as
utilized it as a shawl. Later on, the production of Juantani fabric, Yok Tani fabric, Limar fabric, and
these local fabrics was cancelled due to the high cost Pla Nging fabric.

Prosperous Textiles Pattani S 53

There are different types of fabric for Muslim The Muslim Thai clothing in the five Southern
Thais in the five Southern border provinces, in border provinces from the past to the present day
which each type contains its own unique beauty. has been evolved respectively, where some designs
For Batik, India was its birthplace, which eventually have already been cancelled, for example, Kra Jom
expanded to Indonesia. However, many specialists Og dress or breast cloth. The dress could be worn
suggested that it might have originated in Egypt or both indoor and outdoor and consisted of three
Persia. In the past, Batik was initiated from the use pieces of fabric: First, Sarong Pateh fabric, or could
of canting, a tool used to write candle drippings on use silk fabric instead. Second, Kra Jom Og dress
fabric set on bamboo railing called Gawa-Ngun. which usually used Ae Jae, Taluepoh, or Pateh
Initially, making Batik was monopolized by the fabric. Third, the hair covering which normally used
royal court of Surakarta in Yogyakarta, which was flower patterned hessian fabric, or Pla Nging fabric
considered an artwork by the upper class. When the which used to be made in ancient times of Pattani.
popularity in using Batik spread all over the place,
this led to different styles in utilizing the fabric. This For men, they used to dress in Puchor
included men wearing Sarong fabric in the house as Porthong style, which has already been cancelled
well as when going to Masjid, when in fact the fabric these days. The women’s dress nowadays consists of
was meant to be worn by women and used in the various styles, including Kurong dress which is an
era in which the Netherlands colonized Indonesia.
In addition, Pun Yung Pateh, also known as Pun
fabric, is a fabric that is longer than Sarong and has
been used since ancient times, worn by both men
and women, and mostly used in special occasions
in the South. Originally, Batik needed to be imported
from other countries. However, the importation
started to decline as Batik could later be produced
locally. For Salindang fabric, it is a fabric that is
worn over men’s pants and the pattern is highlighted
at the fabric’s edge. Also, the fabric is worn as a
head covering for women. Udeng fabric, in addition,
is a square patterned head covering and called
Suraban when used by men. This type of fabric is
usually patterned with squares and women also use it
to cover their head and chest. Currently, Indonesians
extensively wear Batik and it has become the
national costume. Batik extended throughout the
lower South before World War II and has been
receiving a lot of attention until today, leading some
people to mistake it for the Southern local fabric.

54 S อาภรณ์พพิ รรธน ์ ปัตตานี

oversized shirt that covers the hips, along with Sarong and Southeast Asia, especially the culture of fabric
Pateh. Other examples include Gabayo shirt, Banong weaving which has been applied to the local wisdom.
dress, etc. As for men, they wear a Tueloh Bla-Ngo This resulted in having fabrics with each local’s
shirt in addition to Palikat fabric or long pants, and identity, such as Juantani fabric, Yok Tani fabric,
a Gupiyoh or Sokoh hat. In the case of important Limar fabric, and Pla Nging fabric, and these fabrics
ceremonies, such as guest welcomings and were not merely used as daily garments to prevent
weddings, women usually wear Banong Maedae the coldness or cover the body. The improvement in
dress, whereas men normally wear Gerbang Sa-Aan production, color dyeing, and techniques in weaving
or Saleenae dress. along with patterning, are considered artworks that
the weavers aim to delicately create aesthetics and
This concludes that the economic prosperity prominently reflect the value, culture, weaver
of the five Southern border provinces from society, as well as users.
the past to the present day has been a factor
contributing to a cultural combination between Asia

Prosperous Textiles Pattani S 55

56 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 57

58 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 59

60 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Juantani Fabric

History Limar or Juantani fabric was classified as
Juantani fabric is derived from the Malay upper-class garments, contained a high price, and
word “Juva-Tani”, meaning a hole or a path. frequently used in important ceremonies of the ruling
Despite having a distinctive design and a special class and those with wealthy status. The fabric was
weaving technique, the fabric had been extinct for initially popular among Juan Pattani, but the weaving
some time. According to the research on fabric was cancelled during the reign of K​ ing Rama VI, and
and way of life of Muslim Thai in Thailand’s five switched to import from Kelantan and Terengganu
Southern border provinces by Asst. Prof. Jureerat of Malay instead. Until World War II, when famine
Buakaew, a historical academic of Faculty of took part and caused difficulties in connection, the
Humanities and Social Sciences; Prince of Songkla importation of Limar fabric then disappeared and
University, there is an evidence revealing that the people started to revitalize the fabric again.
Limar fabric (Juantani) was in trade since the
Krungsri Ayutthaya era and continued to the early
Rattana Kosin era.

Juantani, Long Juan, or Limar fabric, are
names for traditional woven fabric in Thailand’s
lower Southern region, which includes Pattani,
Yala, and Narathiwat. Originally, Langkasuka was a
center and an essential port in the Malay Peninsula,
which resulted in trade and political relationships as
well as exchanging goods and cultures with other
states, such as China, India, Arab states, and Malaya.
In addition, silk fabric, silk yarn, and cotton were
among the items traded. Thus, Pattani was regarded
as a significant city for trading silk and exchanging
fabric-related culture. There was no clear evidence
indicating when the South’s usage and production
began. Some experts, however, believe it started
before the Srivichai kingdom. Because of deals
and trades with Chinese and Indians, locals in
Pattani with existing weaving knowledge received
and exchanged culture, resulting in new weaving
products. Simple local woven fabric was replaced
with ikat and a delicate method, and the fabric was
known as Juantani, or Limar or Yok Tani fabric. The
quality and beauty of these woven goods became
well known in the Ayutthaya era and were highly
valued in the Southern community, especially in
the three Southern border provinces in Thailand-
Malaysia.

Prosperous Textiles Pattani S 61

Prominent Features Types of Juantani Fabric
The outstanding features of Juantani fabric The designs can be divided as follows:
is Long or the design along the fabric’s edge, 1. Silk
which sometimes is called “Long Juan fabric”. The 2. Cotton (synthetic color and natural color)
original Pattani weavers called the fabric “Juva”, 3. Batik (Limar Batik): printing patterns with
which referred to the pattern that appeared on both
sides of the fabric’s edge. If the pattern is aligned in wJuoaondetnananidFbarbasrsicmeDtael smigolndss
parallel slots that resemble stripes, then it is called can be divided into the following categories:
“Long Juva”, which contains strangely eye-catching 1. Limar Palikat group: checkered pattern
colors. Other parts of Juva pattern use the ikat 2. Limar Bintang group: pattern of Dao
method and come in different formats. In addition, Krajai, flowers, Pun Prueksa, Khem Khud Tong,
the fabric that is wholly patterned with the Juva Ta Kiang Tong, etc.
design is called “Limar fabric”, which is perceived
as the upper class fabric since it requires delicacy in 3. Limar Puga group: Ta Kai and Kan Yang
producing and is expensive. In the case that the Juva pattern
pattern is used as a design on the hip area (Patah),
this is known as “Patah Juva fabric”. If the fabric 4. Limar Aya or Ayud group: Arabic letter
type, on the other hand, is Sarong, then it is called patterned Limar fabric and the least common group
“Sarong Patah Juva fabric”, in which the fabric’s
edge is in dark red. 5. Limar Juva, Juantani pattern or Long Juan
Limar fabric: prominent feature is the design in
which Long Juan is used as the pattern

Limar Palikat Group (Checkered Pattern)

62 S อาภรณพ์ พิ รรธน์ ปตั ตานี

Limar Bintang Group, Dao Krajai, Flowers, Pun Prueksa, Khem Khud Tong, and Ta Kiang Tong
Limar Puga Group, Ta Kai or Kan Yang Pattern

Limar Bintang Group, Khom Tong and Puga Pattern in Net Shape

Prosperous Textiles Pattani S 63

Limar Juva Group, Juantani pattern or Limar Long/Long Juan

Until B.E.2539-2543, the weaving of silk experiment on lecturing the master trainer, this
Limar fabric had begun again, in which researchers allowed the silk Limar fabric weaving method to
from Prince of Songkla University traditionally spread to Moo Ban Sai Khao in Sai Khao
duplicated the design and experimented by lecturing Subdistrict, Khok Pho District, Pattani Province.
the silk Limar fabric weaving method to the master However, no gatherings of fabric weaving groups
trainer at Wat Chang Hai vocational training center in were discovered in the area these days. The only
Khok Pho District, Pattani Province. Further, during group left was Satree Tor Pa group in Ban Trang
Her Majesty Queen Sirikit the Queen Mother’s Subdistrict, Mayo District, Pattani Province, which
visit on 8 October B.E.2542, she directed to produced Juantani fabric from cotton fibers and the
continue doing research on silk Limar fabric as group was based at Wat Prawet Phupha, or Wat
a result of itsoutstanding beauty. Because of the Ban Trang.

64 S อาภรณ์พพิ รรธน ์ ปตั ตานี

Prosperous Textiles Pattani S 65

66 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 67

68 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 69

70 S อาภรณพ์ พิ รรธน ์ ปัตตานี

PAosrsnt.pPawroefe. Pumkerd, Ph.D.

Director of Princess Galyani Vadhana Institute
of Cultural Studies Prince of Songkla University

The Way of Clothing,
the Clothing Culture of Pattani,
the Uniqueness or Characteristic of Pattani’s Clothing

After working in the civil service as a Ph.D. suggested about the local fabric that fabrics
professor of History Department at Prince of Songkla came here before settlements: “in the 14th-15th
University, Asst. Prof. Pornpawee Pumkerd, Ph.D. century AD, there was evidence found that an
started to pay attention to the local fabric of Pattani Indian merchant from Gujarat came to trade
that Assoc. Prof. Jureerat Buakaew was working on. and brought in a weaving technique. Similar
She stated that “Pattani’s fabric had been going on to China, in which they also brought in silk
and off and the reason behind that is because there and fibers. The reason that fabrics came before
was nobody who continued it. Until B.E.2542, we settlements is because the fabric found in Pattani did
started a project to revitalize fabric weaving by doing not originally belong to Pattani, as silkworms could
the fieldwork starting from Ban Sai Khao group. not be raised here due to the humidity. Therefore, it
The people there were able to weave and sell fabrics, is believed that there was an importation of fabrics
but we did not think that it would be gone again in according to the old people indicating that all looms
B.E.2550 since back then the group did not weave were burnt. This is also in line with the historical
the fabrics themselves; instead, they sent it to information stating that the looms were burnt during
somewhere else, which raised the cost of the fabrics World War II. However, the old looms, which were
and caused the group to separate. The good thing used to weave cotton fabric like Juantani fabric
about weaving fabrics by outsourcing is the woven from either cotton or silk, were still there.
distribution of knowledge as there were no longer Thus, this concludes that the knowledge relating to
any talented or qualified local weavers and we have weaving fabrics already existed within the Southern
currently revived some of it.” community. Until Chinese and Indian technology
came in, which gave rise to various techniques in
According to the research and study about weaving, such as the ikat method from Gujarat, India.”
Suvarnabhumi, Asst. Prof. Pornpawee Pumkerd,

Prosperous Textiles Pattani S 71

The professor continued to explain that in the
three Southern border provinces (Pattani, Yala, and
Narathiwat), there are three methods for making
fabrics: weaving, tie-dyeing (Pla Nging), and
making Batik (a technique in dyeing fabrics with
wax, but recently water is also the ingredient).

The followings are the main Juantani
patterns:

- Net pattern (Puga) or Kan Yang net: a Thai
name used to call decorating net patterns

- Long Juva pattern: a fabric with hole pattern
- Palikat pattern (checkered pattern)
- Bintang pattern: a star, flower, or circular
pattern
- Ta Kiang pattern: a pattern similar to antique
lanterns, Java lantern or Jawala, and the locals also
applied this into a new pattern called Kra Jok See
or Puk Pao pattern
- Ayud pattern: a rare pattern in which the
word Ayud was derived from the Malay word,
and the fabric is used to wrap corpses for religious
ceremonies
- Puen pattern: a plain fabric without any
patterns but the fabric’s edge contains a little red,
and the locals mostly wear it in daily life
Asst. Prof. Pornpawee explained that in the
past, Buddhist Thais would wear the pleated part of
the fabric to the front. Muslim Thais, on the other
hand, would wear it simply or to the side. Patah was
traditionally worn by men to cover their bottoms,
but it is now also worn to the side. The professor
added that our goal is to preserve and revive the lost
ancient fabrics, improve community enterprise, and
further the products to be a learning resource and
create jobs for the locals.
Writings related to fabrics by Asst. Prof.
Pornpawee Pumkerd, Ph.D.
- Way of fabric
- PSU Pattani and the movements of arts and
cultures
- Preservation and Distribution of woven
Juantani fabric
- Inspiration of the Applied Design from
Woven Juantani to Limar Batik institute

72 S อาภรณ์พพิ รรธน์ ปัตตานี

Prosperous Textiles Pattani S 73

ประธาน: ผู้ชว่ ยศาสตราจารย์ ดร. พรปวณี ์ พมุ่ เกิด
หมายเลขโทรศพั ท:์ ๐๙ ๘๗๓๙ ๕๘๒๖, ๐๙ ๔๖๕๗ ๗๕๗๓
กลุ่ม CIA ลีมาบาตกิ สถาบนั ฯ
ที่ตั้ง/สถานท่ี: สถาบนั วฒั นธรรมศกึ ษากัลยาณวิ ฒั นา
มหาวทิ ยาลัยสงขลานครินทร์
วทิ ยาเขตปัตตานี
181 หม่ทู ี่ 6 ถนนเจริญประดษิ ฐ์
ตำ� บลรูสะมแิ ล อ�ำเภอเมืองปัตตานี
จงั หวัดปตั ตานี 94000
เฟสบ๊คุ : ผา้ ลีมาบาติก สถาบนั ฯ

74 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Limar Batik Institute Group

The Princess Galyani Vadhana that the Limar Batik Institute was founded as a
Institute of Cultural Studies result of the development of the printing, dyeing,
and original fabric production techniques, which
The remarkable beauty of the woven Juantani were all inspired by traditional woven fabrics.
fabric, or Limar fabric, has resulted in an extension
of knowledge from the Princess Galyani Vadhana The use of colors and its sharp patterns are the
Institute of Cultural Studies at Prince of Songkla prominent features of the Limar Batik, which metal
University. This led to the combination between the mold is the most suitable mold in creating such sharp
patterned Juantani fabric, a valuable local woven design where the balance of the candle drippings
fabric, and the ancient wisdom of making Batik can obviously be seen. Therefore, the process
or Pateh. Batik, or Pateh, has a procedure that
involves decorating with colors to form patterns on
the fabric; in fact, this is the most common method
used in Indonesia, Malaysia, and Thailand. The
designs are presented as a reflection of the creator’s
imagination. The Limar Batik features a prominent
and unique pattern which uses hand printing metal
molds combined with writing, as well as an antique
method with some little application. The patterns in
some parts of the Juantani fabric were selected to
rearrange the structure according to the imagination
and the impression of the producers, by duplicating
the original weaved pattern and transforming it into
a new one that is suitable for metal printing. While
some elements have been shortened and others have
been inserted, the original pattern structure, however,
still remains and is not overly distorted. After
sketching each pattern’s structure with pencil on the
paper, the sketches will be revised with the computer
program in order to gain a sharper pattern that is
proportioned properly for mold making. Moreover,
this will give an actual size when printing on the
fabric. Then, the designed patterns will be rearranged
in a structure that creates a whole new piece of
fabric. The Action Research was also used as a
method in designing the fabric patterns. A cooperation
with Mr. Thaninthorn Ruksawong, a teacher of
International Arts and Crafts, was a part of the process
in creating colors, which was derived from the color
data of the ancient woven Juantani fabric in order
to remain true to the original colors. This concludes

Prosperous Textiles Pattani S 75

starting from duplicating the pattern of the woven In addition, the production is friendly to the
Juantani, or Limar fabric, will require the knowledge environment and does not cause any pollution.
and innovation, along with the skilled and Because of this, the Batik from the Southern
specialized craftsmen in designing the patterns on border provinces are being accepted, famous, and
the fabric. This is considered a way to preserve the generating revenue, which proudly create its own
antiquated production as well as the modernized worth and value.
technique that create colorful and unique patterns.
Currently, the craftsmanship center at the Princess Beyond the fact that the Limar Batik
Galyani Vadhana Institute of Cultural Studies, the Institute's knowledge development method includes
Limar Batik Institute’s creator, has also run a training the preservation, revitalization, and inheritance of
program to help young people, entrepreneurs, priceless wisdom, this is also a sustainable
and anybody who are interested in the process of development of the Southern border community
making Batik or Pateh. This resulted in the Limar with a cultural dimension, in which it generates
Batik Institute to presently have the Limar Batik incomes and adding economic values on the basis
products that also contain the locally unique pattern of the cultural capital, improves products that are
that reflect the lifestyle and cultures within the considered revenue generators, and serves as the
community. Additionally, there is a combination connector between the disappearing cultural wisdom
with the pattern and the characteristics of the and the modern culture to enable their peaceful
Juantani fabric, or Limar fabric, that has the Long coexistence. This, hence, will foster the growth and
Juan, or Long Juva, at the tip of each fabric. The extension of both the art and knowledge to drive the
fabric quality is delicate with durable colors, which creative economy, which will be able to maintain
was developed from the original version of the and give lives to the Southern border fabric once
Limar Batik factory at the craftsmanship center. again.

President: Asst. Prof. Pornpawee Pumkerd, Ph.D. Location: Princess Galyani Vadhana
Tel: 09 8739 5826, 09 4687 7573
Group: Limar Batik Institute Group Institute of Cultural Studies

Pattani Province, 94190

Facebook Page: ผ้าลีมาบาติก สถาบันฯ

76 S อาภรณ์พิพรรธน์ ปัตตานี

Prosperous Textiles Pattani S 77

78 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 79

80 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 81

82 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 83

êçúāñðĂùãś

ýĂØĂóòëś ŝÝÝĂ îĉõøõĄ ëŖ

éāÑúĀúñìŘĂĎêóĂã

ČýÑõÑā ùãśÒý×ìŘĂØ÷éåĂéą
ìĂŘ Ø÷éåĂéąĎêóĂã

Ýčéđøĉęöêšî×ĂÜÖćøđðŨîîĆÖÿąÿö×ĂÜēïøćèǰ ñćš ĒúąüêĆ ëēč ïøćèǰêÜĆĚ ĒêîŠ îĆĚ đðîŨ êîš öćđðîŨ đüúćøüŠ öǰĢġǰðǰŘ
ēé÷đÞóćąñćš ĒúąÖćøÙîš Āć×Ăš öĎúđøĂęČ Üñšćēïøćè ēé÷ĔßšđÜĉîìčîÿŠüîêĆüìĚĆÜĀöéêĆĚÜĒêŠĀćàĚČĂñšćēïøćèĒúąǰ
đöęČĂđĂŠ÷ßęČĂǰ ðŦââćǰ óĎúýĉúðşǰ Āúć÷ÙîÝąîċÖëċÜǰ üĆêëēč ïøćèĂÖĊ Āúć÷Ă÷ŠćÜǰ
îÖĆ ÿąÿöñćš ēïøćèĒúąđÝćš ×ĂÜóóĉ íĉ õèĆ æñŤ ćš ēïøćèÿÜ×úćǰ ÷ęĉÜĕðÖüŠćîîĚĆ ǰÖćøêéĆ ÿĉîĔÝÙøĚÜĆ ĔĀâŠ×ĂÜîÖĆ ÿąÿöñšć
ǰ*OTQJSBUJPOǰ)PVTFǰĒúąĂÖĊ ïìïćìĀîÜċę ×ĂÜĂćÝćø÷Ťǰ ÙîîĚĊÙČĂÖćøàČĚĂïšćîđÖŠćßćüÝĊîăÖđÖĊĚ÷îìĊęöĊĂć÷čÖüŠćøšĂ÷ðǰŘ
ðŦââćÙČĂǰ üĉýüÖøĀĆüĀîšćĀîŠü÷ÜćîĒìŠîñúĉê×ĂÜïøĉþĆìǰ àÜęċ êÜĆĚ Ă÷ĔŠĎ îĂćĞ đõĂđöĂČ ÜÿÜ×úćǰîćĞ öćìćĞ đðîŨ ÿëćîìÝęĊ éĆ ĒÿéÜ
ðêì ǰ ÝĞćÖĆéǰ öĀćßî
ǰ üĉýüÖøîĆÖÿąÿöñšćÙîîĚĊ÷ĆÜĕéšøĆïǰ ñšćēïøćèìęĊđ×ćÿąÿöĕüšǰ ëČĂđðŨîÖćøĂîčøĆÖþŤïšćîđÖŠćĒÖŠĕð
øćÜüĆúïčÙÙúêšîĒïïǰ đðŨîĀîċęÜĔîđÖšćÿĉïÙîìęĊĕéšøĆïǰ óøšĂöėǰÖîĆ éšü÷ǰ
óøąøćßìćîđ×öĘ ìøęĊ ąúÖċ đÖćš ÿïĉ ïÙč Ùúêîš ĒïïǰÝćÖóøąïćì ǰ
ÿöđéÝĘ óøąđÝćš Ă÷ĀŠĎ üĆ ǰøßĆ ÖćúìǰĊę ĢġǰĒúąÿöđéÝĘ óøąîćÜđÝćš Ąǰ
óøąïøöøćßĉîĊ
ĂćÝćø÷ŤðŦââćđÙ÷öĊēĂÖćÿĕéšóïðąóĎéÙč÷ÖĆï
ĂćÝćø÷đŤ ñćŠ ìĂÜǰìĂÜđÝĂČ ǰàÜęċ ìćŠ îÖúćŠ üüćŠ ǰñćš ĔîõćÙĔêÝš øÜĉ ėǰ
Ēúüš öđĊ ÷Ăąǰēé÷đÞóćąĒëüėǰÿćöÿęÝĊ ÜĆ ĀüéĆ ßć÷ĒéîĔêǰš ĒêŠ
ĕööŠ ĔĊ ÙøđÖïĘ ñćš đÖćŠ ĕüđš ú÷đÖøÜüćŠ ÝąĀć÷ĕðìÜĆĚ Āöéǰëćš öĔĊ Ùø
ìęóĊ ĂÝąöĊÖĞćúĆÜĀøČĂìćĞ ĕéÖš ĘĂ÷ćÖĔĀšßŠü÷ėǰÖîĆ ǰ
đîęČĂÜÝćÖìĞćÜćîìęĊÝĆÜĀüĆéÿÜ×úćĂ÷ĎŠĒúšüǰ đ×ćÝċÜđøĉęö
ÙšîÙüćš ĀćךĂöĎúđÖęĊ÷üÖïĆ ñćš êŠćÜėǰĔîõćÙĔêšǰĒúąđøęöĉ ÿąÿö

ดิ้นทองและใจไหมโบราณย้อมดว้ ยครงั่ อาย ุ ๙๐ ปี

&!8"4!SýĂอðาóภãร śณîพ์îĄ ิพóóรèรéธ śนë ์ ŝåปัตåตĂéาąนี

ćFöēöććîîšÝéîǰÙĂöïĊàĀĚĊĆđÖ÷ñĂíđìĕðêÜðċęîĆîĕðñšĔéćĉ÷ïöŗìéŠćÜĆîâŦĊęÿšǰćŨîĒöćšÙÿŠÖÖÜċĀìÖîîö÷ĂČâéĉüėđćîĘêĆĚÜøąćĒǰÙšĔćýß4ÜĆǰšĂČęĂĒîćîÜÝćŠÿéPćÖÜċÜúĔÝïĞćóüĂČĒüñVĀÙšüǰąþøìąĕïćšUĒĉóšúšîï÷đÖĉìIćõđøćĂúćčÙÙðąêÜĉǰí÷ČęĂćÖĒą&øÖÙüÙĒßÜõĆüĕBĔîŨĔúšććüúĀøéĔúTđČęîĆèêĀüÙøšąćUĀėĂšÙąǰćŠÿĕšüć"ßđǰîüøßÜüñĒæ×׹ÙČćĂTćđšĂćšúóĂÿJúöćüšÖüBŤĒĒąïÜö÷ćøßêćǰúïĂ5ĀñöđšĎǰñߊćčĒŠÜööïøćFšćøšćÜŠÜêČęĂÝćÙöîYÖēĎšÝß×îćòÜŠUéèîóĊĚŠĂÙććJñĂøøMĊĚđï÷îÖêF÷ąñćšÜęĆÜĂðŤǰǰǰǰĉĕšć÷öŗéǰĒöööúøđÝÙŠÖßìŠĂąüéĆĆîćééĉĉÜüÜéĔÖĀĚĆÜĀñąßĀÙšúćÖößšćöšÿîøćÜćŠüǰöĊę ęĊìĀĊĒćČĂ÷÷ ŠĔćĞćïĊúǰǰǰúøĆĚšćÜüÝÖĀĂìñǰÝćĉüĚüšÿøñąêĕĒĊšć÷øĒĎüöšïĊĒČÖîĉĂìĆúüÖÜć÷ĀĊúì÷ÖĂđćêčĊöÙìÖ÷ÖćšîĎŠĔąĘđ÷øććǰǰÿîÙĘøêĒÙđîǰŠĔć Ĕ×ĊðĊ÷øìúǰúĂČĀéÜĊǰúîĂŠĚċîŨÖĀöĊđøÙǰĀėßÙšÜąÖĕÜÿǰćøČĂðĀŠîđćđǰúČüøâĆßĂÖÖĒðÖøøǰĊöČëćĂćĘêćúöČĂÝĘîŨúëđïÖîÝïÝïöÙĔÿøćšćöé
ÖĆîÖąüøĆéõćšøćčøćǰĊÖüĚĆîćąĔćšćǰđîĉĚĉüþđø÷ĀßÖĉÜðñêĉîøìÜćúÜćÜćøĀĂĂǰìėèìÙčñšđđĎšþ×ðšöćÖ÷öĊøìŨšĂîÝŠćčøßćŠöøććǰîîČðĂÝšÖĂĊęǰĘćđĎüøÙÜĂČŤ×øÝñĂČĂÜÜðęČĂÝÙöćöñĚĆüîćąïÝŦñǰŤêĂúćöšñćÖßøĀćǰŠŨîúćšćÜúđĎÝšćĔÝćéèÜúĉšĊćëÖđšćõÖċǰßêćø×ćñðøúïčǰÜñâöê÷ĊöĎĀÖñúĕì÷ĂČøšøÿĂöĊêćš÷ąŨîĂîĆĕĊŠćšüÙČćšüïîćúðĎÜĎǰđöĂđÜćÙõšǰàŤúǰĉ÷êĀúĒÖĀÖĆšćîÙđìĒÜöŠćšÜċęöćšóüĉðċóúÜÜöåöđĚĆîï×îøćÿþìñîÖéĆććøúČĂęĊîČÜĂćÖúÝïöēććîĉÜéĆúćîÙėđü÷ïîîšǰĂöÖĊúđąöÙüąÖćïǰŠćîǰǰ×ðñøĒĒÜñêćĘćúú÷ÞǰéĔćÙšćĉÙćĂŨîÖćšúúøĀǰš÷ćßćĀćšøąđÜČèĂúđĔëÜÖąĆîóú×÷÷đšćì×îǰøîÿšđñÿđđÖćĊöǰÝĂĎǰøǰñðđČĂöĊęðøìĆîĚÖĒĔšîĀĊćîćć÷đøć Üćš÷ĊöîøŨúîĕšćóĂððøąǰǰǰĂǰĉÜęČĂĂßöšćîǰÝĆé÷ęĊĂøĂúúúėÜđñúøŦĀÝÙêĉÜîüðÿŠĔîìøĀéąñÜöćĊćǰüÝĊĒćßüêšćøĎüđĂšĎóüŨîöêĊĂ÷ĒĊšĒąćŠććĂéǰććČĂđŠúćÖîçéćĆøǰǰǰǰǰǰĊǰęîĚČĔêÖöĊ÷ìđî÷êĊîęĆîêöĊĂęČìøîìŠđĕÙǰĊìøîĎĔŠĕćöÜđĂćíćĀǰęĊĉéǰóéîćĒĂđĊęïŠöøéÙđî×ǰđøÿÝšøðćøðĀøĊĔćĊêúćČĂČĂćććÝöĊǰÙúÜŠĂÖĘîðîŨÖöąđĊöÝĒÙǰøñÖøúĀÙðÜŦćÖêúąđÿććČîìĂČćŠÙøĀîøøąđêĂćđüĆâÝęđĊÝëČĂÖ÷ąđĔðøććøøêìĂąîüĒüđćîćÝúĂŠöČĂĀîŨÙĉđđñêĆĂîÝÙøĊÝđĀüÖĆēĘîšćøĆéýĉðéąõüîąøĔćŠöðñĚüĉþóćÙêĊŨîĀßćǰēđćČđĂêŦÿúÝšćǰĉéöąïøđèšđþöîĀê÷ÝêĂöćĀĔÖĊßđéÖĊÝĂøćñøñČĊǰęćĂĎüćŤĕŤ×ČĂìŤîîėČĆĂĂé÷ššćøöćÜćĂÖǰǰǰęĊǰĊǰǰŠĎš ǰúÜÖđćðñöÙêðöđđđìßÙúøé×÷ĂšüČĂčîĆèĊÙšćøęðĊŨîćĉćüšîÜćąĎǰÖüÖöŦêôÙÿõ÷đđĒēćĞćĘđðêĊĒøú÷ŠćŦÜÙöĕöćðČĂêćîŨ×ćüßø÷îÿþî÷öéĆŠĂǰĂŠćđúîĕĒč×ĆÖÙñĊĒǰćé÷ćÜúŤÖüúǰóÿøčÝøÙúĎŠÿšìöđĆï湊ćČĂ蹊öÜîĆĂšüîøęĊÙñúëĕ÷ǰâÿöČęĂéšćìðĕüĀšĂĎćšćöĀöÜöććóüêćĀîęČðì÷ŠêĕñćšĊÙöéćøĆÖćéĒøĉĕĂöǰšćüĎǰÿ×ĂČìÖðšąĂúĒĔēÖćñč×ĂÿĊęðēöï÷îąööćšćð÷ìÜÜĉęÿúŦĎŠìêøćĔÿéĆĂ÷ìßęĊđĀúđĀĆÜćêęĊöč×ÖüćîĀęđĊéÙèđšćüć×úĒĎúĉé÷ðĒŤöÿöĊêîććúŠćÙÝöñîŨúĀǰŠĎÖÖĊÖđšü
öÜ÷øĒǰÿĀêđĂ×øŠÿÜĂČöćøĒĆ÷šüĂïð÷ŠćïúðǰîĂćŘĒÖóĊĚ÷ćúïÖŠĂÝšüøìîǰćčÜðĊę ÿýøìêŦ Šüø÷êĊęđĊĂîćøŤð÷ñîćčíšćŦâǰĊñÝ÷đćšÖćąâïđŠćóøćìćÜøĎšÝęĊÿñĂćĆÖčîČéąíǰǰǰñĉïšćđÝĀćìÖĎüšć÷ÙćÿĘêĒîêĊĒšĂÙĉćîúîǰÜüšúüĊǰǰüÙúìĂéćšî÷úć÷ŠććÙîÜÜ÷ÖĚĆîîüĒöĊĚïđšććðĊøïĀøŨîŠĂîÿêćÜđĊĚ ĀøąšîÙ÷ĊøìǰÿüÖČĂÖćŠ üöćøìććŠĚüĉöøñüĔĊę éđĀçĆøøšćüš âĊ÷Ďîš÷Ý×ÖŠĒÖíćĂßøúđĘ ÖøøęČĂÜąĊ÷öñöÖøšćÙĊüŠüÝöüŠćøććîǰŠĂÖúöćŠ úĊöÜÝđÝĆÖćĀąøêþđĀøĉâćèöĂČî÷øąćǰĊŠÜčøÖĀą×đüĚĉøÿĂêČĂöÜĆüÜǰǰǰöĂć÷ÖŠćǰñÜÙšĎđßîŠîÝćǰÖëĂšćĉîñđéšć÷Ċ îÝąĚĆîĔßšÿĂÜđìÙîĉÙĔîÖćøìĂ
ðÜèßêŤǰććĒðđüößêêøîŠÿŠćõÿŠąǰñÜćüŠüßćš óîĆêĀćǰêĂŠĉĔýÖĉìĀÙććĞćĆöúâÿĔõđĀüêĕŠøĊ úšøìŤìøćĎšüĂęĊ÷ǰŤĔŠć÷ĒĀÖđĎŠĔúøćîšøąćøüĎšÙÿđĕĆéøÜöüĊ÷ÙöŠćÖøöñćïĊ öšćđîĆ ǰðìŨîĀöĂÖċ ĊÖćöøđČÖĒĂøć×ÖìĂČęĒîüęĊðÜúŠÜćŦêñĀǰąêđćîš đóćõċęÜøîøìČęĂćĊĂćęĊÿÙąÜććÝìøĔöÝêęĊćßćąøüĕšüëđüć×øóĂđšĊ÷ĂúúćÖÝĉÖÜ÷ĂÝĒñǰĊÖĒóąšćĂêđúÖ÷øÜòŠĊ÷ŠćŠĂĕÜøÖéîǰšêÜĆęúÖǰćććö÷øïđìöđĀøßĂúĉéïĆ ĉÜñŠćìĀñšćî×öÙšćĊĚĂĂČĂǰöęĊĊÖÜĒýÿĂĊúúĉúõ÷ćüšðćŠć÷óöąÜ÷ǰǰǰĀĊ Öćš ǰÿ ×ĊìîċĚ øĕÜðđÖÖĘêÝĘ
ąǰđìø÷ĊšĂÖÜñü抚ćǰêúøöĊ ÜćÖìúøćÜÜđÖđðêĘ ŨîǰđóúĊöøććąǰúđðöĊ Ũîć
îÙđČĂøĀđñĊ÷ךćøÖćìĂČêöęĊĔćǰß.ïĊöüš úîĆĉíBĆÖÖĊ MìþćBøÖċèZìĕTąĂüJĒBĒǰš úĂúǰ5ąšü÷đF÷ìćŠ ÖYÙÜđUÿîđJßMîšĉÙFîŠÖ×ǰĘÝĂàĀąÜÜċę îĔÜĆîìĒÿĀĊęĒüĂČ îêéǰÖ4úÜĆ êÿPšĂÿŠćĂČVöÜĉęÜìÖïǰUĂęĊîĆIêĂććǰÝÖ&öćĕBøÙüT÷üüšUðŤ ćǰćŠ âŦ"öñTâîćš Jĉ÷ćBĒĂöǰï5÷ĒïćFúÖîYąòUóĚĊćÙJÖMüïFĕćüǰǰöÙš ĂČđßǰööýęČĂĆćúĉé×ðÖĀĂüÖÜöçĆ üüĊęìîĉëŠćíĊĆĚÜßìøĊñüøøĉöêČîÜǰǰÖđÖĘđĘøêĊ÷ǰ ÖĀǰøúČĂĊöëćšćǰđðĀŨîøČñĂšñćúšćĊöñČćîúîšüĚĆîîöėĊúǰćÙ÷ČĂìđðĊęìŨîšĂúÜñć÷šć
ĒúììšüĕÿĊęęĊĀö÷ćŠ÷ćÖóöÖïǰĘÝĒąöïĕĊĂéïšúćîć÷÷óĊĚ čđđðøïĊ÷ìŨîïđĊęǰø×òšĂöø÷ęĆÜøÝǰÿąĀĂøÜĂČĕĒøöĒêĔšŠĂߊđïðđŠ÷øïŨîĂęČðîÜđø×ŘĒóĚĊęČĂĂúÜÜïĔךüÙìĂøǰðĊęÜÙÿìîêŦ ŠüčĔÖêéÙîÙćîîñîĔĀšîćǰĊ îñ&ßđÜęċćšÖćĀ$ïêøŠć"ĂĉǰČćì!ĀÙÜĊęÿîñîüŠýìčîČé÷ĂĊęìǰǰÜðćĞćîóñĔãÝĀšćéĀĎüšćĀś îøćîÿČĂüêŠĄîĊĒ÷ýćóúÜċÖóćîüšþîèĊǰǰéĀćúĂñî ś ćëšć÷Üċę ÷ŝåǰŠćåîÜĂîĆĚîéöĊĚđą ðøĊ ŨîĂŠ êÜĀšîøǰĂČ ÖøćüĉĚ øéđøüš Ċ÷÷ÖÖßĘđøęČĂĊ÷ñÖšćüÝćŠ ćǰÖúúöĊ ĆÖćêþćèîąǰĊ Ā×øĂČĂÜǰ
ñìšćęĊĂÿćŠüÝîćĔøĀ÷âŤóïŠÝąđðđðŨîŚũĂñ÷šćĕêðĚĆÜêĒćêöŠÿÿöõĆ÷ćðóúǰćÖ÷ćÖú&øđ-üčÜ*úý#/ćø"ǰĊĂ0Ē*÷#účí2ą÷/&ÿć3Üđ0óÙ4.øø+5ćć0ö/ą&ǰǰ-(.öđ.ì(ć$ÙÖ+&î!ÖÙĉ üǰú&Šćü#ǰéđóúćø÷ćĒąïìïęĊßîüđĊĚ ćøĂ÷Ċ ÖćÝüćŠÝüąçĆ đøîĊ÷íÖøøúöćø÷üŠ đöĀîúćŠ ŠćÝîąđĚĊĂĀĊÖöĂćą÷ÿŠćöÜǰǰ
Ă÷ĎŠĔîÿõćóìęĊĕöŠÿöïøĎ èǰŤ đßîŠ ǰñćš ĀŠĂÙĆöõøĊ ŤìĊĂę ÷ŠĎĔîüĆé ĀøČĂìęĊðŦêêćîĊĂćÝÝąđøĊ÷ÖĂĊÖĂ÷ŠćÜǰ ÖćøìĂñšćÙČĂýĉúðąǰ
ÝćÖïĆîìċÖ×ĂÜßćüêŠćÜßćêĉìĞćĔĀšøĎšüŠćÖćøđøĊ÷Öñšć ĂĊÖĒ×îÜĀîċęÜìęĊÿćöćøëóúĉÖĒóúÜĕéšêćöïøĉïì×ĂÜÿõćóǰ
ÝüîêćîĊúć÷êŠćÜėǰ îĚĆîđøĊ÷ÖêćöúĆÖþèąĒúąđìÙîĉÙ×ĂÜ ĒüéúšĂöǰ PêrćosöpÙerüoućsöTîexĉ÷tiöleĒs úPaąttÙaünić Söđ 8ß5ęČĂ×ĂÜüĉëĊßĊüĉêǰ
ÖćøìĂñšćǰđߊî ìĊęĒêÖêćŠ ÜÖĆî

ผผผาา าลลลมมีี มี าาาซซซออองงงเเเกกกตต็็ ต็

ผผผาา า มมมดัดั ัดหหหมมมก่ีกี่ กี่ รรรุยุยยุ ชชชาาายยยดดดววว ยยยเเเงงงินนิ ินแแแทททบบ บดุดุ ุดวว วยยยผผผาาา ปปปาาาเเเตตตะะะอออนนิิินโโโดดด

đïđìđđïïïìììïïÖîÖîÝÿÙöĔÝÖîÝÝîÝÖÝÝïïÝïïïïÙÙööÿĔÿöÙÿĔĔééééîîîîđđïïììÖÝîîÝÖïÝÝïïïĔöĔÙöÿÿÙććććøøøøčččøčøććććĊÖÖĊÖĊÖĊüüüüĆĆĆĚĚĆĚĚîîîîćć把ćŠććŠććććššššććććééîîîîĉĉĉĉîî÷÷÷÷ÖÖÖÖÜÜĉĉĉÜÜĉîîĉîîĉøøøøććøøøččććÜÜÜÜììììĊÖÖĊüüÜćÜÜÜćććĆĚĚĆîîć把ćÜÜÜÜććššććććććĂĂĂĂîîĉĉììììėėėė÷÷ÖÖììììÙÙÙÙĉÜĉÜččččññññîîĉøø××××ððððÜÜììÖÖÖÖööööøøøøÜÜććÜÜììììććĊęĔĔęĊĊĊęĔĔęĂĂććććììėėććććììÙÙččññǰǰǰǰ××ððîîîîČČČČĀĀĀĀððððĂĂĂĂÝÝÝÝÖÖššššööøøĂĂĂĂììĘĘĘĘđđđđøøøøĔĔęĊęĊÙÙÙÙĂĂĂĂøøøøÝÝÝÝććÜÜÜÜććððððǰǰîîČČĀĀððĂĂÝÝššĂĂććććööööĘĘđđøøąąąąïïïïÙÙÝÝÝââââŦŦŦŦññññǰŤǰŤŤǰŤǰĂĂøøÝÝêêêêúúúúććććööööÜÜððøøøøĀĀĀĀććööŨŨŨŨîîîîąąïïÝÝââŦŦññđúúúúđđđǰŤǰŤĎĎĎĎÝÝÝÝššššććććêêúúÝÝÝÝććööććééééĉĉĉĉššššĊĊĊĊććććëëëëĒŠĒŠĒŠŠĒõõõõÖċċċÖÖÖċøøĀĀŨŨîîúúđđĎĎÝÝøøøø×××ךšććÝÝïïïïččččǰǰǰǰÜÜÜÜćââââééööööĉĉššêêêêĊĊććëë÷÷÷÷ŠŠĒĒĎĎĎĎĀĀĀĀÖÖÖÖõõúúúúċÖċÖĕĕĕĕììììøø××ČĂĂĂĂČČČøøøøïïččǰǰÜÜââĂĂĂĂööêê÷÷ĂĂĂĂîîîîĆĆĆĆĊĕĊĊĕĕĊĕŠŠŠŠĎĎĀĀÖÖúúüüüüÙÙÙÙïïïïąąąąććććĕĕúúúúììĂČČĂøøððððĎĎĎĎĂĂđđđđööööđđđđĂĂîîĆĆÜÜÜÜĕĕĊĊŠŠÙÙÙÙüüÙÙšǰǰšǰšǰšààààïïąąććúúêêêêĀĀĀĀúúúúööööĀĀĀĀððĎĎÖÖÖÖĆĆĆĆššššććććđđööđđÙÙÙÙđđđđĒĒĒĒÜÜöŠŠöŠööŠÙššǰǰććććààššššêêĀĀúúööÜÜÜÜęċċęęċęċĀĀóóóóÖÖĆĆĉĉĉĉššċċċċććóóóóÜÜÜÜÜÜÜÜĊÙĊÙĊÙÙĊööööååååÙÙđđĒĒööööööŠŠïïïï××××îîîîććššććććÿÿÿÿÜÜċċęęóóĉĉċċóóÜÜÜÜññññĊÙÙĊööÖÖÖÖååööććććøøøøüüüüĂČČČĂĂĂČïï××îîęĊęĊęĊęĊîîîîČČČČĂĂĂĂććććććÖÖÖÖÿÿïïïïēēēēññććććÖÖććîîîîĉĉĉĉøøééééüüĆĆĆĆĂĂČČććććîîîîęĊęĊććîČČĂĂćć÷÷÷÷ïïïïÖÖîîîîïïēēîîîîššššććǰǰǰǰĂĂĂĂööööîîĉĉééÙÙÙÙĆĆลลććîîćąąąąööööÖÖÖÖ÷÷ïïïïïîîǰǰǰǰǰǰ××××îîššǰǰĂĂööññññøøøøĒĒĒĒĒĒÙÙลÜÜÜÜññññććććąąööÖÖïïúúúúǰǰÞÞÞÞǰาา××ććććđđđđññøøššššĒĒććććĒććććĂĂĂĂÜÜññććÖÖÖÖšćšćššććúúúúúúøøøøúúÝÝÝÝÞÞššššććććาććđđććććššššøøøøąąąąยยššććććĂĂÜÜÜÜèèèèÖÖšććšúúúøøđđđđÝÝëëëëÜÜÜÜššÖÖććąąąąĆĆĆĆîîîî××××ććøøøøššøøąąย÷÷÷÷đđđđÜÜ××××îîîîèèǰǰǰǰพพđđëëÜÜÖÖąąĆĆññññîîÿÿÿÿ××øøđđđđđđđđ÷÷ÖÖÖÖĉââĉâĉĉâđđ××îîÝÝÝÝĂĂĂĂǰǰǰǰǰǰพññññđđđđööööððððøøøøññĆĚîĆĆĚîĚĚĆîîÿÿđđđđรรÖÖĉâĉâššššîîîîÝÝĂĂććććîîîîǰǰññććććđđööððđđđđøøøøøøĚîĆîĚĆÜÜÜÜććććšššš÷÷÷÷ĊĊĊĊรøøøøøøøøúúúúššîîććîîะะĕĕĕĕććóóóóððððøøøøđđøøÜÜććššĂĂĂĂ÷÷ĉĉĉĉÜÜÜÜĊĊČęęęČČČęĂĂĂĂĂĂøøßßßßøøúúÜŠčŠÜčččŠÜÜŠะööööîîîîĕĕǰǰǰǰóóðð÷÷÷÷øøęęęęĊĊĊĊหหĂĂúúúúĉĉÜÜČęęČĂĂĂßßėėėėÜŠččÜŠøøøøŦŦŦŦööĀĀĀĀîîÙÙÙÙêêêêǰǰđđđđĉĉĉĉÜÜÜÜîîîîüüüü÷÷ęęĊĊหúúĔŠĔŠŠŠĔĔîîîîøøøøėėøøøøøøŦŦĀĀÙÙêêÜÜÜÜđđĉĉตััตÜÜîîüüććććǰǰǰǰÝÝÝÝććććßßßߊĔŠĔüüüüîîøøêêêêøøøøøøđđđđĂĂĂĂššššĎĎĎĎÜÜัตĂČĂĂČĂČČóóóóüüüüććǰǰÝÝććßßüüĒĒĒĒąąąąêêøøééééǰǰǰǰćććđđถถĂĂššĎĎććććĂČČĂĂČČĂ𩩩đđŠđČĂĂČóóüüććććîîîîççççééééĒĒĆĆĆĆąąééÜÜÜÜǰǰććถøøøøććČČĂĂîîîîĚČĚĚČČĚČđđŠŠĔĔĔĔêêêêÖÖÖÖööööććĊĊĊĊîî÷÷÷÷ççééĆĆđđđđîîîîขขÜÜøøööööîîČĚČĚêêêêĔĔĊĊĊĊîîîîęĆęĆęĆĆęêêÖÖîîîîööČĂęČČęęĂęĂČĂĊĊ÷÷øøøøđđîîîîîîขììì슊ŠŠđđđđĕĕĕĕÙÙÙÙööǰǰǰǰêêĊĊîîęĆęĆîîČĂĂęČęøøĊĊĊĊออììììîîøøøøććććììททĕĕĕĕŠŠđđĕĕććććööööđđđÜđÜÜÜÙÙǰǰĂĂĂĂííííĀĀĀĀĊĊอììǰǰǰǰęĊęĊęĊĊęééĉéĉĉĉéøøććทĕĕóóóóééééććööđđÜÜĂĂÖÖÖÖććććĒĒĒĒđĂđđđĂĂĂííงงĀĀĊęęĊĊĊęę่่ปีีปïïïïǰǰĊĊęęéĉéĉŠŠŠŠööööøøøøóóééééééÖÖćć××××ĒĒđđĂĂงøøøøđđđđęĊĊęÿÿÿÿป่ีïïÝÝÝÝššššŠŠööøøøøǰǰǰǰééððððććććøøøø××ĀĀĀĀđđøøรรÿÿĊĊĊĊĔĔĔĔććććÝÝššĊĊĊĊêêêêøøǰǰććććสสČČČČððĂĂĂĂćøøññññććććććććććĀĀööööÝÝÝÝรĊĊĔĔććĊĊêêÙÙÙÙććสČČúúúúĂĂññะะÜÜÜÜććććÖÖÖÖćĘîĘîĘîîĘööÝÝððððÙÙÖÖÖÖöööąąąąđđđđšĎÙÙÙšĎššĎÙĎúúมมะÜÜÝÝÝÝĒĒĒĒÖÖĘîĘîððøøøøññññÖÖÖÖÖÖööąąđđททøøÙšĎÙšĎมúúúúÝÝĒĒĀĀĀĀÙÙÙÙððððøøññŦŦŦŦććććÖÖêêêêทîîîîøúúúúąąąąเเúúđđđđĀĀććććČČČČÙÙîîîîððììììŦŦććêêาาîîććććúúŠŠŠŠąąเดดđđÙÙÙÙøøøøććîîîîøøøøČČîîììøøøøąąąąđđđđêêêêาÝÝÝÝć把ĂĂĂĂดÙÙøøîîøøนนüüüüøøąąÝÝÝÝđđêêÝĊęđÝÝÝđęĊĊđđęęĊÝÝëëëëĂĂ็จจ็ČČČĂĂČĂ÷÷÷÷ąąąąđđđđนüüĔĔĔĔÝÝććććęęĊđđĊÝÝøøøøććććëëจ็ććććČĂĂČêêêê÷÷ąąììììđđĔĔĂĂĂĂąąąąććøøîîîîććใใüüüüććĒĒĒĒüüüüêêđđđđพพììÖÖÖÖććććîîîîĂĂąąÝÝÝÝîîใüüหหĒĒüüđđĂĂĂĂŠŠŠŠพĀĀĀĀÖÖććÙÙÙÙîîĉĉĉĉđđđđđđđđññññÝÝêêêêĆĆĆĆĂĂĂĂหîîîîÝÝÝÝĂĂŠŠĀĀĂĂĂĂÙÙรรĉĉđđđđññÙÙÙĊĊĊĊÝÝÝÝđđđđĀĀĀĀêêĆĆĂĂîîÝÝüüüüĂĂēēēēออรĘĘĘĘîîîîÙÙšććšćšćšĊĊÝÝđđĀĀýýýýĉĉĉĉððððééééąąąąüüüüüüะะēēอĉîîĉîîĉĉĘĘîîîîîîšććšąąąąøøøøýýĉĉððććć把ŠŠééąąööööüüะððððĉîĉîîîาาąąøøññññć把óóóóććććÙÙÙÙêêêêööĊĊĊĊเเŨŨŨŨððîîîîććććาǰǰǰǰēēēēđđđđđđđđññóóććÙÙêêĊĊเŨŨîîจจČČČČđđđđĂĂĂĂććจจǰǰēēđđđđêŦŦŦêŦêêÿÿÿÿééééúúúúÝÝÝÝššššćććĉéĉéĉééĉöąąąöööąจČČđđĂĂïïïïจøøøøŦêŦêÿÿđđđđééúúÝÝššććĉééĉööąąïïøøาาđđîîîîĀĀĀĀêêêêาา÷÷÷÷êêêêĂĂĂĂöööö÷ĊĊ÷÷÷ĊĊććććĀĀĀĀĔĔĔĔÖÖÖÖĊĊĊĊาîîĀĀêêา÷÷êêđđđđĂĂööĊ÷÷ĊććĀĀĔĔÖÖĊĊลลđđรรééééÖÖÖÖĊĊĊĊÝÝÝÝĂĂĂĂøøøøććććÝÝññññøøøøññññČČČČĂĂĂĂลรććććé鍍ŤŤĕĕĕĕÖÖĊĊÝÝĂĂøøććÝññøøññČČĂĂć捍ĕĕยยììììŤŤŤŤîîîîîîîîูกกูėėėėČČČČĆĆĆĆĂĂĂĂĂĂĂĂéééé÷÷÷÷ąąąąššššššššøććøćøøćććććÜÜÜÜยììŤŤîîîîกูėėČČĆĆĂĂĂĂéé÷÷ąąššššøøććććÜÜปปǰǰǰǰǰǰǰǰǰǰǰǰęĊĊęęĊęĊǰǰĊǰĊĊĊǰǰǰǰǰŠŠŠŠĎĎĎĎššššเเปǰǰǰǰǰǰęĊĊęǰǰǰǰĊĊŠŠĎĎššเธธธญญญอออööÙêÙêÙÙöêöêööððööððđđìđđìđßÙßđÙđđđđÙÙììđđßßÙöêêÙöðööðßđÙđđìđÙđđßìøøøøéééé××××ญญเเĂĂĂĂøøéé××ญššššเüüüüČČĂĂČĂĂČččččĆĆèîîèèèĆîîĆĊĊĊĊÙÙÙÙøøøøĊðęĊðęĊðęĊðęจจššüüČĂČĂččĆèîèĆîĊĊÙÙććććøøęðĊðĊęจĉĉććĉĉććîîîîććÜÜÜÜććććĉćĉîîąąąąÖÖÖÖüüüüÖÖÖÖÜÜาาććööööาาŦêŦêêŦêŦąąÖÖüüôôôôÖÖÙÙÙÙาÿÿÿÿööาêŦêŦđđđđđđđđôôÙÙÿÿēēēēććććđđćĞćĞĞĞććđđเเฟฟĘđđĘĘđđĘēēððððêêêêĊĊĊĊććĒĒĒĒøøøøĞćĞćเúúúúฟđĘđĘ÷÷÷÷ŠŠŠŠććććððêêĊĊรรĒĒøøŦŦŦŦÜÜÜÜÙÙÙÙúúöööö÷÷ŠŠććĕĕĕĕรŦŦÜÜÙÙööČČČČĂĂĂĂĕĕาาêêêêććććîŨŨîŨîŨî×××ćć×ČČĂĂüüüüßßßß่อืื่อøøøøาêêććîŨŨî××ć÷÷÷÷üüîîîîßßื่อøøÿÿÿÿ÷÷îîสสîîî÷÷ÿÿööööŠŠŠŠĂĂĂĂǰǰǰǰĂĂĂĂŠŠŠŠสîî÷ćć÷ććđđđđîîîîööงงŠŠĂǰǰĂĂŠŠĕĕĕĕććđđîîĒĒĒĒčččč××××งĆĆĆĆÖÖÖÖĕĕÙÙÙÙññññĒĒčč××ĆĆÖÖĒĊĒĊĒĒĊĊÙÙǰǰǰǰććććิรริññéééé÷÷÷÷ÜÜรรÜÜĒĊĒĊǰǰććริÖÖŤŤŤÖÖŤéé÷÷ÜรÜúúúúǰǰǰǰŤÖŤÖóóóóÿÿÿÿøøøøččččúúǰǰÝÝÝÝøøøøÙÙÙÙวิิวúúúúóóÿÿøøčč้ือื้อĎĎĎĎŠŠŠŠÿššÿššÿÿììììÝÝøøÙÙวิúúđđđđ้อืĎĎĆïĆïïĆĆšÿÿšììđđąąąąĂĂČČĂČĂČïĆïĆččččąąąąŠŠŠŠööööąąÜÜÜÜîîîîัณณัĂČČĂĆĆĂĂĆĆĂĂšüüšüššüîîîîččąąŠŠööÜÜîîณัøøøøĂĆĂĆฟฟüšüšîîęĊęĊĊęęĊÙÙÙÙøøฟññññęĊĊęÙÙëëëëĕĕĕĕââââññëëÿÿÿÿĕĕööööČęęČČČęęĂĂĂĂââééééćššćššććììììÿÿööęČČęĂĂððððĕĕĕĕééćššćììนนüüüüððĕĕนĂĎšĎÚÚĎĂĎšณณććššććššüüšĂĎĎšĂณććööööÜÜööÜööÜööööććććöććććóóóóöÜÜöööććüüüüêêêêććććććóóĀĀĀĀüüêêććผผęČîęČîČîČęîęĀĀððððผČęîČîęììììððŠŠŠŠêêêêĕĕĕĕññññììĊĊĊĊÙÙÙÙŠŠêêööööééééĕĕññććććĊĊววÙÙĆĆĆĆÖÖÖÖööééććวĆĆÖÖććาาééééĒĒĒĒććาééøøøøĒĒĕĕĉĉĕĉĉĕĂĂĂĂööööøøššššććććüüüüรรĕĉĕĉĂĂööÿÿÿÿ×××ךšććüüรììììÿÿÖÖÖÖ××ภภììÖÖððððššššąąąąĂĂĂĂภúúúúððššąąĂĂúúēēēēÖÖÖÖććććññññีีēēÖÖććññčččč××××ีĂĂĂĂčč××ĂĂÿÿÿÿęĊĊęęęĊĊððððÿÿēēēēïïïïาาĊęęĊนน÷÷÷÷ððąąąąööööēēïïาööööน÷÷ąąööććććööššććššćććšš÷÷÷÷ììììÜÜÜÜ÷÷ììĉęĉęęÜÜęĉĉÜÜคคęĉĉÜęÿÿÿÿúúúúŦŦĎĎŦŦĎĎคŠŠŠŠììììêêêêøøøøććććÿÿúúĔĔĔĔŦĎŦĎŠŠììêêÿÿÿาาøøććĔĔÿÿา÷÷÷÷ììììßßßß÷÷ììßßĊęęĊęĊĊęđđđđĀĀĀĀĊęęĊđđใใđđđđĀĀĀĀĀĀĆÜĆÜÜĆĆÜććććใđđĀĀêêêêรรĆÜÜĆććęęĊĊĊĊęęööööčččč××××êêÖÖÖÖรęĊęĊööčč××ÖÖüüüüććććตตüüîîîîććตęđđęĊĊęđĊĊęđîîÙÙÙÙđęĊęđĊèèèèÙÙđđšššđđšèèีรีรđšđšććććććććีร××××ććúúúúĒĒĒĒĎĎĎĎúúúúĉĉĉĉééééćć÷÷÷÷××úúĒĒĎĎúúĉĉéé÷÷ððððððŤŤĒĒŤĒĒŤŤĒŤĒööööÿÿÿÿööตตััîîîîÿÿัตîîććććććććúúúúÙÙÙÙććÝÝÝÝúúööööññññÙÙÝÝööññîŨîŨîîŨŨúúúúŨîŨîúúĀĀĀĀǰǰǰǰÖŠĎŠÖĎŠÖŠÖĎĎĀĀǰǰÖŠĎÖŠĎÖÖÖÖนนÖĊĊĊĊÖÖÖÖนđđđđĊĊššššüüüüÖÖććććđ𩩩ŠššüććüććĎĎĎĎššššćŠŠćććććîîćîîĎĎššććîîüüšüüš××××××üšü×××îĆîĆĆĆîîøøøøîĆĆîććĞĞĞććĞøøćĞćĞÖÖÖÖǰǰǰǰ×××׊ŠŠŠÖÖǰĂĂǰĂĂ××ÝÝÝÝŠŠรรĂĂÝÝรĚĊĚĊĚĊĊĚììììććććĚĊĚĊììććĂĂĂĂĂĂČĂČĂĂĂČČúúúúČĂČĂúúÿÿÿÿǰǰǰǰÿÿǰǰĔĔĔĔĂĂĂĂาาĔĔĂĂาîîîîććććîîććÖÖÖÖÖÖööööööĉĉĚĚĉĉĚĚÜÜÜÜÜÜÜÜĉĚĉĚÜÜÜÝÝÝÝĕĕĕĕÝÝĆÜĆÜÜÜĆĆĕĕÜĆĆÜććććććชชÖÖÖÖชÖÖÜÜÜÜÜÜĕĕĕĕĕĕĘĘĘĘÝÝÝÝĘĘÝÝ××××öööö××ööììììììĊđĊđđđĊĊììììĊđĊđììǰǰǰǰǰǰööööööööööööÿÿÿÿÿÿÝÝÝÝđđđđÝÝđđกกกąąąąąąüüüüüüǰǰŠŠŠǰŠǰŠǰǰŠÝÝÝÝÝÝššššööööššććććĞĞćććĞćĞööđđđđććĞććĞđ𩩩ŠŠŠććććććęĉęĉĉęęĉÜÜÜÜęĉęĉÜÜćššćšććšćšćšëëëëëëÿÿÿÿÿÿญัญัâĆâĆâĆâĆญัĕĕĕĕâĆĆâĕĕĂĂććĂĂćććĂćĂ÷÷÷÷÷÷øøøøøøììììČČČČììČČĂĂĂ××××××ððððððćššććššćšćšć÷÷÷÷÷÷ĊĊĊĊĊĊÖÖÖÖÖÖëëëëëë÷÷÷÷÷÷ĕĕĕĕĕĕĒĒĒĒĒĒÜÜÜÜÜÜĊĊĊĊęęęęĊĊęęญญญđđđđđđĂĂĂĂĂĂĔĔĔĔĔĔééééééđđđđđđüüüüüüÿÿÿÿÿÿøøøøøøÿÿÿÿÿîŠĎŠĎîĎîŠîŠĎĎĎîŠîŠßßßßßßððððððúúúúúúööööööÜÜÜÜÜÜććććććššššššĂĂĂĂĂĂććććććĉęĉęÜÜĉęĉęęĉęĉÜÜÜÜาาาŠŠÜŠŠŠŠÜÜÜÜǰŠǰŠǰŠǰŠǰǰŠšüšüĚĊĊĚššüüüšüšĚĚĊǰǰĊĊǰĚǰĚĊññññññČČ÷÷ČČČČĂ÷÷Ă÷÷ććĂĂĂĂććććĒĒÿÿĒĒĒĒÿÿÿÿððììððððìììì÷÷êê÷÷÷÷êêêêÖÖÖÖÖÖĀĀđđćššćĀĀĀĀđđđđšććšššććÜÜÜÜÜÜööóóüüööööóóóóüüüüŠŠâŦâŦĊęęĊĕĕŠŠćĂćĂŠŠŠŠâŦŦâŦâŦâĊęĊęĊĊęęĕĕĕĕŠŠŠŠććĂĂććĂĂÙÙĘÖÖĘÙÙÙÙÖĘĘÖÖÖĘĘÝÝÝÝÝÝĆĆÜÜĆĆĆĆÜÜÜÜééööééééööööšüüššüüšÜüššüÜøøÜÜÜÜøøøøÿÿÿÿÿÿîîúúĊĊǰǰîîîîîúúîúúĊĊĊĊǰǰǰǰîîîîââââââććîšîšŠćììćŠććććĔĔîîššîîššŠìćŠììì把ĔĔĔĔĉęĉęÜÜęĉęĉęĉęĉÜÜÜÜööïĆïĆööööïïĆĆïïĆĆĀĀĀĀĀĀǰǰÿÿąąǰǰǰǰÿÿÿÿąąąąüüüüüüććććććîîĞĞŠŠććććîîîîĞĞĞĞŠŠŠŠććććććććććĂĂññĕĕććććĂĂĂĂññññîĆĆîîĕĕĕĕĀĀĆîĆîĆîĆŠŠîîîĀĀĀĀëëëëëëǰǰÿÿǰǰǰǰÿÿÿÿĆĚĆĚîîððĆĚĆĚĆĚĆĚîîîîððððĀĀĀĀĀĀ÷÷ĎĎšš÷÷÷÷ÙÙĎĎĎĎššššÙÙÙÙĀĀÜęċęÜċĂČČĂììøøĀĀĀĀċęÜÜċęċċÜęęÜĂČČĂĂČČĂììììøøøøîîîîîîĔĔć把ĔĔĔĔćććć把把đđććććČČđđîđđîĂĂČČČČîîîîĂĂĂĂüüîîĞĞĀüüĀüüććîîîîĞĞĞĞĀĀĀĀććććúúÜÜĔĔúúúúÜÜÜÜĔĔĔĔââââââŠćŠćÿÿĒĒîîÝÝćŠćŠć把ÿÿÿÿÝÝĒĒĒĒîîîîÝÝÝÝÝÝÝÝÜċęÜċęššđđćŠćŠċęċÜÜęęċÜęċÜššššđđđđć把ŠććŠ ööÖÖööööĉęĉęÜÜÖÖÖÖĂĂÝÝúúććććššüüęĉĉęęęĉĉÜÜÜÜĂĂĂĂĔĔÝÝÝÝúúúúććććććććššššüüüüĔĔĔĔììĀĀîĆîĆĉĉééêêÖÖìììì÷÷ĀĀĀĀĆĆîîîĆîĆąąĉĉĉĉŠŠééééššüüêêêêććÖÖÖÖ÷÷÷÷ąąąąŠŠŠŠššššüüüüććććęĊęĊĉĉǰǰǰǰǰšǰǰšęęĊĊęęĊĊĉĉĉĉǰǰǰǰǰǰǰǰšǰǰššǰš




8 6 SýýýĂĂอĂðððาóóภóãããรśś ณîî ś îพ์ĄîĄîĄîิพóóóóóรóèèรèééธéน ś ś śëë ์ ëปååŝŝ åŝ ัตåååตĂĂĂééาéนąą ą ี

Prosperous Textiles Pattani S 87

Leema Songket converted the house into an exhibition venue for his
antique fabric collection, which is also seen to be a
BpisraiwoyurovtSoeonKnuginskgientRg, aathmsehaidrVotu'msbraleediegDni,n method. method to preserve the ancient house.

YwaonbekdyaDvJPaiinavngtatfamamnbieur'stilhcthiociadsun,lmdtwuiawrhdaioelcirhsukmsciion,nmagannbtdhcinieweednasotsSutciubmrmeleeaastDte.rdain Individuals and groups interested in fabrics,
Wis owvoevneYn ouksiSngartohnegs,ifnogulendDiinnSmoentghkolda., including Thais and foreigners, are welcome to visit
and learn at the museum. The entrance is free and
Aj. Punya will be the guide providing suggestions
and knowledge about fabrics.

Aj. Punya explained about the fabric
collecting method that before getting to know
about fabrics, we must conduct historical study
to learn about their origins and backgrounds. In
Thailand, however, no records were found referring
to Southern fabrics. Unlike foreigners, their examples
include South East Asia Textile or Malaysia Textile
books, which indicate the type of fabric found in
Siam, Cambodia, or Pattani. Some of the fabrics
he discovered were around two hundred years old,
with the oldest dating from the late Ayutthaya
period. This is due to the fact that most fabrics
decayed over time and wars, and some were in
imperfect condition, such as those used to wrap
scriptures in the temple.

Regarding the foreigner’s record, it revealed
that each pattern of Juantani fabric was named after
the characteristics and weaving techniques, which
include:

- Southern Yok fabric is a fabric using a
weaving method where the yarn is lifted to create a
brocade design. A non-lifting method, on the other
hand, will produce a plain design known as the Ket
design.

- Limar fabric is a fabric that in the past used
five colors as the fabric’s symbol, in which Limar is
the Malay word for five.

- Ikat is the Mudmee method in Thai
- Juva Tani is made from ikat banana ropes
with the pattern staying in the holes or stripes, and
Juva is the Malay word for holes or stripes.
For example, if a fabric uses two weaving
methods, where the fabric’s edge has a brocade
design (the Ket design) and the body contains Limar
fabric with ikat method along with five or more
colors, it is called Limar Ket design. This is because
the fabric contains more Limar fabric than Ket design.
If the whole fabric is made of Limar fabric, which
is the ikat design, it is called Limar. For the fabric
that is called Limar Tani or Juva Tani, on the other

8

8 S ýอาĂðภรóãณ์พś îพิ îĄ รóรóธèนé์ ปś ëตั ŝåตåาĂนéี ą

Leema Songket
Prosperous Textiles Pattani S 89

90 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 91

92 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 93

94 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 95

96 S อาภรณพ์ พิ รรธน ์ ปัตตานี

Prosperous Textiles Pattani S 97

98 S อาภรณพ์ พิ รรธน ์ ปัตตานี