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TABLE OF CONTENTS DESIGNS AND DYES IN BURMESE By Thweep Rittinaphakorn Page 1 DESIGNS AND DYES IN BURMESE WEAVING

Page 3 OKINAWAN BINGATA STEP BY STEP

Page 5 BOJAGI - KOREAN WRAPPING CLOTH

Page 8 A GLIMPSE INTO A PRIVATE COLLECTION OF INDONESIAN

Page 10 ANIMAL MOTIFS ON TRADITIONAL CHINESE CHILDREN’S CAPS

Page 13 WEAVING IN

Page 17 Design LESSER KNOWN IKATS OF PALEMBANG In Burmese weaving art the use of Acheiq (wave-like) design to adorn the textiles was ABOUT US considerable. This design was found not only in The Thai Society is a non-profit organization the tapestry weaving method in the making of dedicated to the study and appreciation of textiles, with Luntaya Acheiq textiles, it was also in particular emphasis on the textiles of Thailand and embroidery work, supplementary weft work, Southeast Asia. Based in Bangkok, the Thai Textile work, and even in block printing. From Society was founded in 2004. when Kathleen Florence the end of the colonial period through Burmese Johnson, wife of U.S.Ambassador to Thailand Darryl independence, and later during the absolute Johnson, invited scholars, collectors, and other textile military rule (1940s-1970s), machine-woven enthusiasts to establish a society dedicated to the study, appreciation, and preservation of the textile arts in the fabrics were overflowing the market. Brocade kingdom and the region. fabrics woven by machine using the Acheiq design were widely produced and supplied Under the leadership of President Dr. Sathirakorn domestically. These were greatly popular Pongpanich, the Society continues to host regular especially among the middle and lower classes educational programs designed to promote appreciation due to the much more affordable price than the of Asia’s rich textile heritage. The Steering Committee authentic Luntaya Acheiq fabrics. Various colors orgainizes regular lectures, trips, and other programs and variations of designs were available to such as its popular Collector’s Corner series. choose from. Membership in the Thai Textile Society has grown steadily, and our emailing list now reaches more than Acheq design was not only produced in Burma 600 people worldwide. to be used domestically, the popularity of the design extended to fabrics produced abroad, The TTS enjoys and appreciates support from the Siam intended for the Burmese market. Several Society and the James H.W.Thompson Foundation. examples of fabrics or tube skirts were found,

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made of silk with brocade work from Hong the dyeing process, they faded quickly after Kong or Europe in the Burmese Acheiq design. being exposed to the sun, or ran when they came in touch with moisture. Fraser then concluded This picture shows vintage tube skirts made of that the adoption of these aniline dyes had imported silk satin fabric with brocaded Acheiq influenced and lowered the standard taste of the and floral designs in pastel blue and muted pink Burmese considerably. colors. Yardage of such fabrics were produced by factories in Hong Kong, mostly with motifs of Records of trade and imported goods also Chinese auspicious symbols, with vast amounts showed that “Imported aniline dyes have imported to Burma during the 1950s -1970s. increased from 42,044 lbs. in 1890-91 to 53,350 These textiles were popular among the local lbs. in 1895-96.” By that time, tins of dyes of all Chinese Burmese, the Shan, as well as the colors were already widely available for sale in Burmese. every large bazaar, farther east of the Shan States in Kengtung. This indicated the wide

availability and popularity of aniline dyes already at the end of 19th century. The only traditional dyeing process still fully practiced at the time was by the hill tribes and people in remote areas. In this example of mid-19th century Luntaya Acheiq textile, a dash of fuchsia (supposedly with chemical dye) is used minimally to create tiny accents in the overall motifs. Geometric and simple motifs ensemble that characterized an early version Luntaya Acheiq design are visually clear. This concurs Dyes with J. D. Fraser’s observation of the earlier From information gathered by J. D. Fraser and gentle color combination practice of the published in 1896 in “Account of Dyes and Burmese before the mass popularization of Dyeing in Burma”, we learn that the Burmese chemical dyes. In fact, the color combination customarily had a great sense in creating color and motifs ensemble in this example could combinations in their weaving, providing a possibly epitomize what the author of this 1896 harmonious effect to the textile. However, as the note called “the most harmonious effect”. Burmese were more inclined to save in labor and time, the arrival of imported aniline dyes from European manufacturers was gladly For Membership Information: welcomed. Consequently, they began to Download Application on TTS Website abandon the traditional way of dyeing yarn with natural dyes, which was more tedious and www.thaitextilesociety.org complicated. Fraser further commented that For Membership inquires these chemical dyes provided strong and bright colors which were very different from the Please email – Membership Chair subdued and artistic tones derived from local [email protected] natural dyestuffs. Although the aniline dyes offered bright colors with less preparation in

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OKINAWAN BINGATA DYEING STEP BY STEP white ground. This intricate pattern with Text and photos by John Toomey its vivid colors gave the team the opportunity to explore to the fullest these superb dyeing techniques that could produce such minutely detailed flowers and leaves, and the experience of understanding the kind of culture that nurtured this unique style of beauty. During the time of the presentation visitors had the chance to view the documented fieldwork and research, and participate in hands-on reproduction, copying the designs of the model kimono onto paper, which they could take home. Before starting the reproduction process, the museum team visited the studio of the Shiroma family, one of the leading families who have continuously crafted bingata since the time of Bingta garment with red peony design on white ground the Ryukyu Kingdom. The head of the family In mid-February of this year, 2018, the Tokyo graciously offered invaluable advice, sharing National Museum featured a special hands-on the secrets of the traditional techniques. presentation of Okinawa’s ancient and unique Customarily, such trade secrets of the bingata technique of resist stencil dyeing. Bin is traditional arts in Japan are handed down only a form of the Sino-Japanese Beni, which means in the family and to tuition-paying apprentices, vermillion and a kata (meaning shape, changed and are never revealed to others. Since the to gata for euphony) indicates a template in this traditional ingredients for the coloring are no case a stencil. Kimonos and other textiles of longer easily available, the team decided to use bingata were originally reserved for the royal currently available materials, powdered court, especially as garb for a dance performed minerals, to create their reproduction for this with castanets by a young princess before the presentation. It allowed the visitors to the king or emperor. The three kingdoms of old project to appreciate the beauty of the Ryukyu (a former name for Okinawa) were traditional expertise. unified by conquest into the one Empire of the The Steps Ryukyu Islands chain (Ryu and Oki meaning floating whereas kyu or nawa are the Chinese The first step is known as kata-hori, carving the and Japanese words respectively for a chain or stencil. The paper used is traditional Japanese rope) under the first Emperor King Shō Hashi, a washi (made from the bleached inner bark of tributary state to China in the 15th century. The the mulberry tree, also used for currency notes), art of Bingata blossomed in the 19th century, which is placed on top of a block of dried bean three centuries after the Ryukyu Empire was curd soaked in oil, called a rukuju, that serves seized by the Japanese lord of Satsuma in as a cutting-board base. The paper is cut with a Kyushu. The museum’s project’s team for this special chisel known as a siigu. presentation chose as a model for its study a The second step is placing the stencil on the kimono in a design of masses of peony flowers material to be dyed. Then the resist paste, made (in northeast Asia the peony represents the of kneaded glutinous rice, rice bran and salt is king), buds and leaves, all in red with green on a spread with a spatula into the cutout areas of the stencil, so that it can penetrate the material 3

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and keep those areas from absorbing the dye, areas that will remain as the white ground. The parts protected by the stencil paper, without the paste, will later be colored by hand.

Shading with a short haired brush to get the 3D effect

Working the resist paste into the cutouts of the stencil In the third step a short-haired brush is used to apply the colors mixed from pigments of powdered minerals and soybean milk, working from pale to darker shades, into the areas not covered by the resist paste. The fourth step is shading to create a 3-D effect. The fifth step is Rinsing out the paste steaming to set the color and the sixth is Hands-on washing out the paste, leaving the completed Pre-carved woodblock patterns, colored inks textile. and washi paper were provided at a table for participants to experiment with inking the blocks and printing them on the paper, forming their own creative compositions. This author was privileged to see a visiting Western boy about 10-years old working with his father on their design. To protect the privacy of individuals, especially children, Japanese photo protocol does not permit the publishing of photos of the visiting participants engaging in the hands-on activities.

DISCLAIMER: This newsletter is distributed free to TTS members and subscribers, and it is accessible free to all website visitors in the hopes of encouraging interest and scholarship in textiles and is the sole property of TTS. Personal opinions expressed in this newsletter are strictly those of the authors and are not necessarily endorsed by the Thai Textile Society. Applying color onto the material 4

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With new financial affluence due to expanding BOJAGI - KOREAN WRAPPING CLOTH tourism in Okinawa, bingata is making a An Exhibition in Bangkok comeback in the life of Okinawan people, who Text and Photos by Ruth Gerson are now wearing it more and more; and bingata’s beauty is also extending to other parts of the globe where world cultures and textiles are appreciated.

Bojagi is a traditional wrapping cloth most basic to Korean life and culture. As Koreans traditionally believe that wrapping items protects and bestows good luck on them, these Finished product cloths have become central to their lives. They are designed to cover, carry and store items.

Bojagi are generally square in shape and made of various materials, although silk, and (cloth made of a flowering plant of the nettle family) are the most commonly used. Measuring from 35 cm and up these cloths are utilized in everyday life, the larger ones serving as table cloths and bed spreads. Bojagi however is best known as a gift wrapping cloth for all occasions marking special events, including weddings, engagements and Buddhist rites. Much thought is given to the items wrapped as well as expressing respect for the recipients of the cloth. In a royal wedding hundreds, and often more, pieces of bojagi were presented. Gradations of color creating 3D effect

The Thai Textile Society welcomes articles from you, our members and readership. Please request Guidelines for Submission of articles at: [email protected] Attention: Newsletter Editor

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‘I Love Korea’

‘Korean Traditional Colors’ There are a few techniques in making bojagi such as embroidery, printing, painting and gilding, but the most common form is done in patchwork, known as jogakbo, widely used as domestic wrapping cloth by all Koreans. While wealthy people created their patchwork from new materials, ordinary folks used scraps of cloths to make theirs. This however did not inhibit the work, as many attractive pieces were sewn together from bits of material. The patchwork jogakbo has been a favorite for covering and wrapping food. About a hundred years ago, these were distinguished by the strings attached to them – small loops at the center for easy removal, and at the corners designated as table cloths, the strings were to be ‘Splendid Outing’ tied to the table legs, thus keeping the cloth in silk embroidery’ place. The weight of the cloth for covering food was according to the season in which it was to be used. Summer cloths were made of thin 6

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material, allowing for the circulation of air, while winter materials were heavy and often padded, to keep the heat in. A significant use of small bojagi is for tea covers, looking like rounded pouches.

’Rainbow’ tea set pouches of Oksa silk The use of bojagi was first noted in the 14th Abstract design on silk century. Its popularity declined for many years, and only in the late 1960s people began to regard these works as more than just plain domestic cloths, but rather as objects of art. Their striking contemporary designs were admired, resembling the abstract work of contemporary artists. In recent years, these cloths have been recognized as traditional Korean form of art with pieces finding their way to foreign museums, inspiring new generations of people. Bangkok has been fortunate to have jogakbo cloths displayed at the Korean Cultural Center that is located on Sukhumvit Road between Sois 15 and 17 from mid-March to the end of May of this year.

‘Flower of Red’

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A GLIMPSE INTO A PRIVATE COLLECTION OF INDONESIAN TEXTILES

This private collection of Indonesian textiles was gathered during the period of twenty years, starting almost thirty years ago. They represent the diversity of the textile culture of the vast island nation with and precious metal threads from Sumatra, Java , heavy handspun in Savu, silk woven East Java, red and white with silver thread from Aceh, and hangings from Sumba with figurative themes. These textiles represent the rich collection that was amassed over the years with keen interest, knowledge and love.

Batiks from Java The island of Java produces some of the finest batiks in the world. Cotton and bees wax are used in this resist system creating geometric, floral as well as figurative designs. In Central Java in Yogyakarta and Surakarta (Solo) the craft came under the patronage of the Sultans, with many designs that were used for various East Java batik occasions. The batiks from the coastal regions had designs that were influenced by traders and show Chinese, Indian and Dutch influence.

Java, a batik

East Java batik, black bird on cream ground

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Sumatra silks around the 16th century. is a brocade weaving on silk or cotton done in intricate Sumatra has produced some of the finest silk designs. Here we have a deep blue silk cloth weaves, often woven with gold into the fabric. woven with silver thread. Here are two fine examples, below Photo 1 is a geometric design with ornate lines that run the length of the cloth in gold thread. The rich blue silk cloth in Photo 2 has a broad gold band at the bottom and small designs woven into the body of the textile.

Aceh, sarong with silver thread Sumba and Savu handspun cottons Sumba and Savu textiles were woven with handspun cotton. The Sumba people designed both geometric and figurative designs, seen here is the modern weaving of two monkeys, Photo 1 - Sumatra, silk with silver thread while the Savu piece is in stylized floral motifs.

Sumba modern weave in cotton, detail

Photo 2-Sumatra, silk with gold thread Songket from Aceh Sericulture did not succeed in Indonrsia, but

there was some silk grown in Java for a time, Savu heavy cotton weave while silk cultivation was more successful in Aceh, but there too, it did thrive just briefly, 9

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ANIMAL MOTIFS ON TRADITIONAL during the third lunar month of each year, carp CHINESE CHILDREN’S CAPS would swim up the Yellow River, with those that Text and photos by Patricia Bjaaland Welch succeeded in passing the rapids in Hunan (known as the ‘Dragon Gate’) turning into Author of Chinese Art: A Guide to Motifs and Visual Imagery. dragons. Carp therefore represent Tuttle Publishing, 2008. determination, perseverance and eventual When you think of protective head gear, do you success, the lesson being that even little boys think of a cyclist’s helmet, or a broad-rimmed can turn into successful officials if they work sun hat, a baseball batter’s steel-lined cap, or a hard. construction worker’s hard hat? But if you had Depictions of roosters played a similar role been a Chinese male child born in the 1800s or because their distinctive red comb was believed early 1900s, the protective bonnet your mother to resemble the red button on the top of a court would have placed on your head could well have official’s hat that indicated high status. Court featured dog ears. Equally possible--if she had hats in imperial China were topped with special had high hopes for your future—would have ornaments that designated rank (the top two been a fish, tiger or even a rooster. ranks, that of a prince and a first-rank official, Infant boys’ caps in traditional China served were designated by a clear red glass jewel and several roles including those of protecting a simulated red coral). This is another reason why precious son from the real and the plant known as a coxcomb was a favorite imagined dangers of the world, to inspiring him decoration on ceramics, snuff bottles, and such to study hard to one day become a successful items as a scholar’s embroidered eyeglass case scholar and prestigious government official. or slippers. Because of their colorful details and symbolic origins, these traditional caps have become highly collectible and offer fascinating insights into pre-modern Chinese culture.

Child’s cap with fish Cap with rooster, courtesy of Sun Yat Sen Nanyang Take for example, the practice of depicting a fish Memorial Hall museum, Singapore on a child’s hat or slippers to inspire him towards perseverance in his studies. This practice stems from an old Chinese belief that

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Silk collar with embroidered rooster Because roosters also play a symbolic role as the dispatcher of darkness with their morning crow, they were also believed to possess protective Child’s Tiger caps powers, and one child’s garment in my collection depicts an embroidered rooster looking over its shoulder at a bright red sun that encloses the Chinese character meaning ‘sun’ (ri 日).

Dog ear cap, courtesy of Sun Yat Sen Nanyang Memorial Hall museum, Singapore

Child’s Tiger cap Dogs are far rarer than the usual goldfish and Tiger faces, stripes, whiskers and tails are carp, tigers and other motifs that are meant to another decorative feature due to their either protect their wearers or inspire them in protective qualities. Tigers represent strength, their studies, but dog ears can appear as ‘dog power and courage—all attributes any parent ear or dog head caps’ (goutóumào 狗頭.) These would wish their son, hence their appearance caps feature two little ears that top the cap’s on many articles of traditional Chinese crown to deceive evil spirits and keep children’s clothing (I even spotted a little dog in them from spiriting away a family’s prized son a ‘tiger sweater’ on the Shanghai bund last by making them think that little crawling animal winter). on all fours is just a family’s pet dog. They are Because the Chinese believed that the character also known as ‘dog wind bonnets’ as their main for ‘king’ (wang in Chinese, 王) appears function, shared by many of these caps, was to naturally on all tigers’ foreheads, it also appears protect a child’s head in chilly or windy on boys’ caps. weather. 11

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Children’s caps were home-made, sewn by mothers, grandmothers, older sisters and maids following traditional patterns but often showing a sense of flair and individual creative touches. They were usually made of silk, and were padded with additional layers of silk or cotton wadding (or in the case of several of the caps in my collection, newspaper). Some caps also contained stiffened material and cardboard to help hold their animal shapes. Larger features such as appliquéd animals or attached noses, tails and rooster combs were stuffed with cotton. It is doubtful these caps were ever washed as their shape would have been severely challenged, and they are not color-fast (as those in my collection that had the misfortune to have been the victims of water Chinese girl wears hat with flowers photographer: John Thomson (1865-66) damage prove). Once easy to find, they have now virtually disappeared from most antique markets and beware—some modern copies have been spotted priced as antiques. Luckily, there are excellent collections in many ethnographic and historical museums and reappear from time to time in special exhibitions.

Court hat with red buttons The above-described caps were worn by infant and young boys only. Although Chinese decorative art includes hundreds of propitious

good luck symbols (ranging from plants to Red buttons for top of hats animals to insects), apparently only a chosen few motifs were judged appropriate for a child’s garment. Girls’ caps were either plain or decorated with embroidered or appliquéd flowers--interpret from that, what you will.

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SILK WEAVING IN ASSAM back to around 10th-11th centuries when King Text and Photos by Ruth Gerson Dharma Pal of the Pala dynasty sponsored the craft by bringing there weavers as well as Assam is one of the far northeastern states of growers of the Pat silk worms. While the other India referred to today as the Eight Sisters, crafts in the village began to disappear, weaving being almost cut off from the bulk of the remained dominant and in time became country, connected to it by merely a narrow synonymous with Sualkuchi. Until 1930 the strip of land. Known for its tea plantations, weaving industry remained confined to the wildlife and silk, Assam has its distinct weaving community, after which people of character. The village of Sualkuchi, renowned other trades took up weaving as their main for its local silk production, is a place where the source of income. These included farmers, entire population is involved in the silk fisher-men and people from Brahmin industry. It lies on the north bank of the mighty communities Brahmaputra River about thirty kilometers from , Assam’s major city. A variety of Over the years Sualkuchi weaving village grew silk is woven here, some native to Assam and in prominence drawing expert weavers from not woven anywhere else in India. These silks other areas to come and work there. At present include the golden Muga and the light beige Eri many migrant weavers are employed in the also known as Endi silk, with claims that these village with women weavers outnumbering the are the “exclusive monopoly of the people men. of Assam”, and a variety of Assamese mulberry silk that is ivory white in color and known as Pat.

Husband and wife threading the loom Sualkuchi was traditionally a multi-craft home

industry village producing pottery, oil processing, gold making and handloom Weaver using punched cards for design weaving. It became a silk weaving village in the The men are chiefly involved in twisting the thread onto the spools while women weave the 17th century after the local Ahom dynasty defeated the outsider Mughals who had ruled silk threads on the looms that are found in almost every home in the village. Silk remains there for a short while. However, silk weaving the prominent product while some cotton and was not new to Sualkuchi, it has been traced 13

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, also known as khaddar, are woven there as well. Khadi is a handspun cotton often woven with silk or . Walking down the narrow streets and village alleys the rhythmic sound of the looms is unmistakably audible.

Muga Silk Muga is a naturally golden colored silk produced by the silkworm Antheraea assamensis, cultivated solely in Assam, expressed poetically by its people as “The pride of Assam and nature’s gift to the state.” The golden shade of the silk is so unique that it became known as muga color. Muga silk is durable and has a soft sheen which improves with each wash, as does the texture of the cloth that softens each time it is laundered. Muga silkworms are wild and have not been cultivated having therefore undergone few genetic changes. They are tough and are able to survive in harsh climate which is important as Man twisting silk thread onto spools they are bred outdoors on the trees, where they Let us have a closer look at the three indigenous go through the entire developmental process Assamese types of silk. Muga and Eri are non- from egg, to silk worm to cocoon. The tree is mulberry silks while Pat is mulberry silk. These covered by a protective to ensure their silks are categorized according to the kind of survival from various predators. If the worms silkworms from which they originate. A have depleted the leaves on the tree on which wonderful Assamese legend gave rise to these they grow, their grower may move them to three types of silk. It tells of a poor Brahmin another tree. Muga worms are fed mainly on the widow who had given birth to three sons after leaves of the som tree (Machilus bombycina) and the death of her husband, but was expelled from sualu tree (Litsaea polyantha). Muga silk is one her community for allegedly being unchaste. In of the most expensive silks in the world, and her distress the woman looked for help from a very much desired by Assamese women who hermit, who took pity on her and turned her fashion it into their traditional garment the sons into three silk worms - Eri, Muga and Pat. mekhala chaddar or into a . This prized possession is valued as much as the women’s gold accessories. In 2017 Muga silk was given the Geographical Indication tag (GI) which is a form of patent.

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that somewhat resembles wool or cotton in appearance. The Eri silk worms are reared indoors and fed on leaves of the castor plant (Ricinus communis) that is their principal food, thus Eri silk is also known as castor silk (era is castor is Assamese). Eri silk is coarse but soft, it is durable but lacks the sheen of muga silk. Its light weight and warmth make practical winter wear for the , used mainly as shawls. To accommodate today’s market, Eri is woven in finer texture and lighter weight suitable for summer stoles. Furthermore, the rising price of the silk has some weavers include cheaper imported yarn with the Eri making the cloth more affordable.

Pat silk is white or ivory-white in color produced from the or Colorful Eri silk woven in intricate designs Bombyx textor Bombyx mori silkworms that are fed exclusively on mulberry leaves. Also known as Mulberry Silk in Assam or ‘nuni pat’, this silk is given different names in the various regions of the country and the world. Because of its luster and fine texture, Pat has been attractive and valuable to nobility and the wealthy. It is produced in smaller quantities than the Muga or Eri silks, as not many mulberry trees are grown in Assam, requiring the weavers to import the silk threads. Early motifs woven into the Assamese silk were Cultivated Eri silk worms angular and geometric. Later designs have been The other native silk to Assam is Eri produced inspired by the various flowers and animals from the Samia cynthia ricini silk worm and is found in the state including peacocks, also known as Ahimsa silk, as its production butterflies, deer and rhinoceros. In the old days allows the development of the pupae into adult when royalty ruled Assam, only (gold moths that are not destroyed as is done in other thread) was used for the woven motifs. In later silk processing. Moths are destroyed so that years when the demand for these cloths grew they would not break the long continuous silk the motifs were woven into the silk with silk threads as they work their way out of the threads and later even cotton. cocoon. Ahimsa means non-violence and therefore the silk acquired the name of ‘peace silk’. The pierced cocoons are spun rather than reeled and produce a fine pale beige soft silk

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means wipe in the Assamese language, indicating Gamosa’s main use as a towel. It is also worn as a head wrapper and as loincloth for men, but worn around the neck during prayers. Culturally, young women weave such a cloth themselves and present it as a symbol of love to their beloved, it is given by younger people to their elders as a show of respect, cover altars and scriptures, worn by dancers and is used to cover musical instrument. It is truly the all- around Assamese cloth. Fine Pat silk woven with animal designs

Silk at a Sualkuchi silk workshop

Design punch cards akin to old computer cards The designs are woven in with the help of rectangular punched cards like the Jacquard in Europe, and practically the same as those used for data input in the early days of computers. The motifs are first drawn on graph papers, then transferred to the cards by means of punching holes corresponding to the design. Although this article is about silk, it would not be complete without the mention of Assam’s ubiquitous cloth, the Gamosa. It is a white cotton cloth woven with red borders on all four sides and designs at both ends of the piece. Though not large in size its functions are numerous, from everyday tasks to the use in important ceremonies. It is the cloth with which visitors in Assam are greeted, considered a great honor. Although Gamosa are commonly woven of cotton they are woven of Pat silk for special Gamosa showcased at Assam State Museum, Guwahati occasions. The word ‘ga’ means body and ‘mosa’ 16

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LESSER KNOWN IKATS OF PALEMBANG John Ang

Whenever we talk about south Sumatran ikats, the first thing that comes to mind are the beautiful and fine ikats called kain limar from Palembang and the nearby city of Mentok, on Banka island, Photo 2: 1920s example of a kain limar shawl of plain about 50 kilometers east of Palembang weave silk weft ikat with natural dyes from Mentok, Bangka Island, Southeast Sumatra, Indonesia. 97 x 123 cm

Such limars however, have always been expensive and were mostly used by the rich elite of south Sumatra for court and religious ceremonies, weddings and New Year festivities. Besides these exquisite limars, there is a group of ikat that very few people are aware of, even though in Sumatra they are well known and are still being used. These ikats are known as blongsong, tajung and gebeng. Instead of using the traditional backs-trap loom, they are woven on the frame loom called Alat Tenun Bukan Mesin (ATBM) - non machine weaving hand loom. Such ikats are much cheaper to produce and were created just after World War II in the late 1940s or early 1950s. This was when Photo 1: Map showing a location of Pelambang and Mentok in Bangka Island Palembang was recovering from economic setbacks and people were not able to afford the expensive limars. All three ikats used a These ikat are exquisite and can be said to combination of silk and and with the represent the highest technical weaving addition of mechanical levers on the frame achievement of the region. When looking at loom, a wide array of complicated designs was some examples it seems that tiny details and achieved at a faster rate than those woven with complicated curves have never been an obstacle a back-strap loom. This with the introduction of for the highly skilled weavers of Palembang chemical dye colors resulted in a new range of or Mentok, in the nearby Bangka island. ikats for men and women that become very popular in Palembang. According to some locals these more affordable ikats may have been TTS Postal Address inspired by the checkered ikats of the Bugis, of Thai Textile Society which a large community still reside not far from the city of Palembang PO BOX 1408 Nana Post Office Bangkok, Thailand 10112

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Photo 5: 1960s vintage photo of a Palembang Selendang blongsong with chemical dyes. Photo 3: Frame loom called Alat Tenun Bukan Palembang. Sarong: 124 x 101(x2) cm; Mesin (ATBM)-* hand loom for weaving blongsong, tajung and gebeng ikats.

Photo 4: 1960s silk checkered and ikat* Bugis sarong from Makassar. 114 x 98 (x2) cm Selendang: 51 x 189 cm Photo 6: 1960s silk and nylon sarong and lady wearing a The blongsong is a silk and nylon weft ikat sarong & selendang blongsong patterned sarong which is always accompanied by a shawl called selendang of the same pattern and color scheme and used by women only. The patterns are of repeated floral motifs that cover either only the head, kepala or narrow section of the sarong, or both the head section and body, badan section of the sarong. The colors always bright and of chemical dyes, generally tend to be in various shades of pink, purple, blue and green. 18

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gatherings at Hari Raya Idul Fitri (Hari Lebaran) or by bridegrooms at their Akad Nikah or marriage oath swearing ceremony but not at the main wedding ceremony where of gold supplementary weft threads are preferred.

Photo 7: 1960s silk and nylon sarong and selendang blongsong, with chemical dyes. Palembang. Sarong: 112 x 97(x2) cm; Selendang: 48 x 113 cm

The tajung is also a nylon/silk fabric used for sarongs for men of all ages. Their ikat patterns can be woven from weft or from warp ikat or of compound ikat where a combination of the two types of ikats are used.

Photo 9: 1960s silk and nylon sarong Chemical mical dyes, Palembang.107 x 93(x2) cm

Photo 8: Old black and white photo showing young boys in tajung sarongs.

Generally the colors of tajung ikats are not as bright and often contain green or blue colored patterns over a checkered base Photo 10: 1960s silk and nylon sarong tajung oikat and pattern. Different names are given to these pattern. Che-tajung of ikat and check pattern ikats according to the size of their Palembang. 117 x 100(x2) cm tajung checks. They are used only by men and of all ages, at semi-formal occasions, like at family

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TTS NEWSLETTER

Vol. VI Issue No. 1

SPRING 2018

Photo 11: Undated vintage photo taken from a display case of the Sultan Badaruddin II Museum showing a wedding celebration in Palembang where all wear tajung sarongs.

The gebeng, also of nylon and silk, are woven for older married men. These are worn for less formal occasions and even as everyday informal clothing. Since they are not completely of silk, Photo 13: Silk and nylon sarong gebeng. Chemical dyes they are very suitable for wearing to the Palembang. 115 x 87(x2) cm mosque. This is because silk, an item of luxury, is not encouraged for use when worshipping in All three types of ikat seemed to have risen in the mosque. Patterns of gebengs often feature popularity after World War II during the 1950s lozenge shapes composed of short colored ikat and 60s. This may perhaps be because they lines or dots and are of subtle pastel colors. were reasonably priced and very comfortable to wear. Today, however, with all kinds cheaper imports from China, India and Pakistan appearing in the market, demand for these fine local hand-woven ikat has gradually become less. Today, it seems the only places that have documented these textiles are the Balaputradeva Museum and the Sultan Badruddin II Museum in Palembang, but these two collections are small and definitely do not represent the range of colors and designs of this fascinating group of textiles. It is therefore important that more of these cloths are properly recorded, so that we can have a clearer idea of this interesting fashion trend that gained wide popularity for a short period of time in the Photo12: 1960s silk and nylon sarong gebeng history of Malay fashion. Chemical dyes Palembang 114 x 100(x2) cm

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