在泰國一鄉一產品（One Tambon, One Product, OTOP）政策的影響下，丹塞選擇鬼面節（Phi Ta Khon festival）作為地方觀光文化特色，Phi Ta Khon 面具也因此成為文創商品，一改以往的宗教色彩。但不論傳統或創新的Phi Ta Khon 面具，從其型制上都反應出「在地意識」，即使Phi Ta Khon 面具已走向商品經濟的路線，但做「賧」的傳統文化仍與常民生活緊密結合，因此Phi Ta Khon 從實作層面到精神意涵，都還是深受當地宗教文化的影響。 本文以民族誌書寫的方式，記錄並分析丹塞地區以鬼面節面具來建構社區美學的實施情形，同時透過面具作品的分析，探討工藝家、面具作品和社區環境三者之間的互動關係，說明工藝家如何透過面具作品再現其內在意識，並與外部環境的經驗相輔相成後，建構社區美學意識，並形成地區文化特色。

Dansai area has selected Phi Ta Khon festival as local cultural characteristic of tourism for a long time. The OTOP policy of Thailand has a powerful influence on Phi Ta Khon festival. Phi Ta Khon masks which represent different traditional religious significance have become one kind of cultural and creative industry. Phi Ta Khon reflected cultural awareness of their local society either in traditional or innovative masks. Although Phi Ta Khon masks have been transformed into economy goods, they are still closely connected to the custom of merit-making（ทำบุญ，做「賧」、做功德). This paper used an ethnographic approach to record how Dansia constructed aesthetics with Phi Ta Khon masks and explored how artists interact with arts and communities by analyzing masks.