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RATIN B CELE VOLUME 23 NO. 3 SEPTEMBER 2014 TAASA Review CONTENTS

Volume 23 No. 3 September 2014

3 Editorial: Celebrating 20 years of study TAASA REVIEW Marianne Hulsbosch, Guest Editor THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 23 No.3, September 2014

4 TRANSLATING : POETRY, PROFIT AND POLITICS IN THE IMAGERY ISSN 1037.6674 Registered by Australia Post. Publication No. NBQ 4134 OF THE WOVEN ART OF ASIA

Susan Scollay editorIAL • email: [email protected] General editor, Josefa Green 7 TEXTILES IN THE SYMBOLIC UNIVERSE OF Siobhan Campbell publications committee Josefa Green (convenor) • Tina Burge 10 froM PINECONE TO PAISLEY: THE UBIQUITOUS BOTEH Melanie Eastburn • Sandra Forbes • Charlotte Galloway William Gourlay • Marianne Hulsbosch Christina Sumner Jim Masselos • Ann Proctor • Sabrina Snow Christina Sumner 13 OF CHANGE – RABARI WEDDING SHAWLS design/layout Carole Douglas Ingo Voss, VossDesign

16 A FINE POSSESSION: JEWELLERY AND IDENTITY - ASIAN BODY ADORNMENT printing AT THE POWERHOUSE MUSEUM John Fisher Printing

Min-Jung Kim and Christina Sumner Published by The Asian Arts Society of Australia Inc. PO Box 996 Potts Point NSW 2011 18 in CONVERSATION: ASIAN CULTURAL ORIGINS IN THE TEXTILE WORK www.taasa.org.au

OF RUTH HADLOW AND WENDY LUGG Enquiries: [email protected]

Belinda von Mengersen TAASA Review is published quarterly and is distributed to members of The Asian Arts Society of Australia Inc. TAASA Review welcomes 22 CALLIGRAPHIC CLOTHS IN SOUTHEAST ASIA: MEANING BEHIND THE WORDS submissions of articles, notes and reviews on Asian visual and Margaret White performing arts. All articles are refereed. Additional copies and subscription to TAASA Review are available on request. 24 ralli : EXPRESSIONS OF CULTURAL & INDIVIDUAL IDENTITY No opinion or point of view is to be construed as the opinion of Sarah E. Tucker The Asian Arts Society of Australia Inc., its staff, servants or agents. No claim for loss or damage will be acknowledged by TAASA 26 rESEARCHING IN THE FIELD – THE SRI KSETRA MUSEUM, PYAY, MYANMAR Review as a result of material published within its pages or in other material published by it. We reserve the right to alter Charlotte Galloway or omit any article or advertisements submitted and require indemnity from the advertisers and contributors against damages 27 COLLECTOR’S CHOICE: A MUANG HUN TEXTILE FROM NORTHWEST LAOS or liabilities that may arise from material published. Gay Spies All reasonable efforts have been made to trace copyright holders.

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The deadline for all articles TUBE-SKIRT (SINH) (DETAIL) FROM MUANG HUN, OUDOMXAI PROVINCE, NORTHWEST LAOS, FOR OUR NEXT ISSUE IS 1 OCTOBER 2014 LATE 19TH C.. © GAY SPIES, IMAGE COURTESY OF CAROLINE WHITLEY, SEE P27. The deadline for all aDvertising FOR OUR NEXT ISSUE IS 1 NOVEMBER 2014

A full Index of articles published in TAASA Review since its beginnings in 1991 is available on the TAASA web site, www.taasa.org.au

2 TAASA COMMITTEE EDITORIAL: CELEBRATING 20 YEARS OF TEXTILE STUDY

Gill Green • President Marianne Hulsbosch, Guest Editor Art historian specialising in Cambodian culture

ANN PROCTOR • Vice President Textiles literally weave a thread throughout explored the history of the boteh (paisley) Art historian with a particular interest in Vietnam everyone’s lives: it is the first material one motif. She presents us with a chronological Todd Sunderman • TREASURER comes in contact with shortly after birth, trajectory of this universally recognised Former Asian antique dealer, with a particular interest and it acts as a final shroud when one leaves design, giving us a better understanding of in Tibetan furniture this earth. Textiles sooth, protect, shelter and the impact it had, and continuous to have, on identify you. No wonder then that the mere modern-day textiles. Dy Andreasen • SECRETARY mention of textiles conjures up a lot of passion Has a special interest in Japanese haiku and tanka poetry amongst TAASA members. The use of graphic symbols on cloth is

Siobhan Campbell further examined by Margaret White in her Lecturer, Indonesian Studies, Sydney University Shortly after the inauguration of TAASA article, which investigates the use of Arabic with an interest in Balinese art the idea of a special textile focus group was calligraphy on batik cloths of Southeast proposed by Judith Rutherford. A call to arms Asia. This is a welcome enquiry, as it appears Josefa Green quickly resulted in the very first meeting this area is a little neglected in modern day General editor of TAASA Review. Collector of in 1994. Ann Baker’s suggestion to set up a scholarly pursuits. Chinese ceramics rigorous Study Group that expected members Boris Kaspiev to be highly committed to researching and Both Carole Douglas and Sarah Tucker Private collector of Asian art with a particular interest promoting all aspects of Asian textiles was reflect on personal experiences prompted by in the Buddhist art of the Himalayan region enthusiastically adopted. specific textile pieces. Carole vividly recalls her conversation with Rabari women in MIN-JUNG KIM Thus the TAASA Textile Study Group (TSG) the village of Bhujodi, Gujarat, who are still Curator of Asian Arts & Design at the Powerhouse was born and in itself can be considered as a producing the famed ludi (wedding shawl). Museum textile: a vibrant encompassing In light of rapid industrialisation, access to

Natalie Seiz hands-on experience, analysis of textile objects, technology and economic prosperity she reviews of artists, exhibitions, publications, wonders what the future holds for the women Assistant Curator, Asian Art, AGNSW with an interest and the like. The TSG has become stronger and their textiles traditions. Sarah’s memories in modern/contemporary Asian Art than ever thanks to a committed, active core of living as a young girl in the Baluchistan CHRISTINA SUMNER of people, some of them foundation members. region of Pakistan were jolted by the sight Former Principal Curator, Design and Society, Publishing a dedicated textile issue on this, of a well-used and worn ralli () from Powerhouse Museum, Sydney the 20th anniversary of the TSG was an Thatta, Sindh. Like Carole, she recognises the opportunity not to be missed. ongoing resourcefulness and creativity of the Margaret White women who make them today. Former President and Advisor of the Friends of Museums, This issue then, acts simultaneously as a Singapore, with special interest in Southeast Asian art, celebration of Asian textiles and as recognition Belinda von Mengersen approaches Asian ceramics and textiles of, and dedication to all those people who have textiles from a very different perspective, TAASA Ambassador so generously offered their time, expertise, providing us with a rare glimpse into creative knowledge and general support to keep all textile practice in her examination of the work Jackie Menzies aspects of textiles firmly in the spotlight. of two prominent contemporary artists, Ruth Emeritus Curator of Asian Art, Art Gallery of NSW. Hadlow and Wendy Lugg. She describes the President of TAASA from 1992 – 2000 As part of this celebration, a Textile Symposium dialogue between their initial inspiration - state representatives was held on 19 July at the Powerhouse West Timor’s woven textiles (Hadlow) and Museum, Sydney. The first three articles in Japanese hand-stitched Boro (Lugg) - and AUSTRALIAN CAPITAL TERRITORY this issue present summaries of the papers their subsequent artistic response.

Melanie Eastburn presented at the symposium. Curator of Asian Art, National Gallery of Australia Gay Spies invites us to sample her favourite Susan Scollay opened with a keynote address piece, an exquisite Muang Hun tube-skirt, QUEENSLAND which focused on the cross-cultural influences produced for Khmu shamans who were living of symbols and imagery transmitted through in northwest Laos. Min-Jung Kim tempts us Russell Storer textiles, in particular woven textiles. She with a preview of a major jewellery exhibition Curatorial Manager, Asian and Pacific Art, explores how specific designs, colours and at the Powerhouse Museum, Sydney starting in Queensland Art Gallery textile items were successfully exploited to September. Whilst Charlotte Galloway reminds identify and visually enhance political and us of the importance of cataloguing museum SOUTH AUSTRALIA socio-economic power. artefacts as she informs us of her ongoing work James Bennett in the Sri Ksetra Museum in Myanmar. Curator of Asian Art, Art Gallery of South Australia This was followed by Siobhan Campbell, a scholar whose research is firmly located in We trust you enjoy this special issue of the VICTORIA Balinese material culture. Her article examines TAASA Review. Carol Cains how symbolism found on Balinese woven, Curator Asian Art, National Gallery of Victoria International embroidered and painted cloths continues This issue also provides a summary on p29 to play a vital role in contemporary Balinese of the TAASA AGM held in May. We would cultural and ritual life as a means of storytelling like to thank outgoing members of the TAASA and articulating Balinese worldviews. Management Committee for their contribution and welcome our new members, who are listed Rounding off the symposium, Christina on this page. Sumner, a longstanding member of the TSG,

3 TRANSLATING TEXTILES: POETRY, PROFIT AND POLITICS IN THE IMAGERY OF THE WOVEN ART OF ASIA

Susan Scollay

n increasingly important topic for art Asia, the mechanisms of circulation result in a key component of Buddhist ceremonies, A historians in this century has been that imagery being understood, interpreted and although scholars are not sure whether the of ‘crossing cultures’. The University of re-interpreted – ie ‘translated’– in new ways. practice of using silk banners spread to China Melbourne addressed the theme in 2008 when Asian textiles carry imagery and symbols from India via Central Asia, or whether the it hosted a major international conference transformed over time by faith, travelling practice spread outwards from Central Asia aimed at loosening the boundaries between stories, long distance trade, the ebb and into both India and China around the same various fields of art history. Professor flow of fashion in dress and interiors, and time (Xinru 1988: 68). Howard Morphey of the ANU, one of the through the rise and fall of princely states and conference organisers, noted that the discipline imperial power. From the 1st century CE onwards, in the of art history was established after the Arabian Peninsula, well before the revelation Enlightenment as a discipline that encouraged The oldest-known evidence of textile of the Koran to the Prophet Muhammad and the view that art happened only in Europe, and in Asia is an imprint of a woven textile on the emergence of the new faith of Islam in that European art had become the reference two pieces of clay found at the Neolithic the 7th century, tribes met for regular poetry point for serious scholarship. Morphey said site at Jarmo, in present-day Iraq and dated competitions. Their gathering point was near that, as an anthropologist, he would like “art to 7,500 BCE (Barber 1994: 78). However, in the site of what is now the Kaaba in Mecca historians to learn to translate art in the same terms of understanding the circulation of and, tradition says, the best verses were way as a language must be translated.” images, a useful place to start is in northeast embroidered onto cloth banners hung up India where in the 3rd century BCE the for everyone to see (Irwin 2000: 6–7). From His appeal resonated with those working in spiritual teachings of Buddha began to be antiquity, in this and other ways, textiles the field of Asian art history seeking to explore disseminated at Magadha (Bihar), one of conveyed meaning across Asia. the ways distinct cultures have traditionally the oldest settled places in the world. As the encountered and interacted with each other. Buddha’s teachings began to be recognised By the end of the first millennium CE a great The word ‘translate’ in a literal sense means ‘to farther afield, spreading into China for Buddhist civilisation flourished in Central carry across’ but, in a scholarly sense, has been example in the 1st century CE, it became Asia, and caravans carried goods along trading used in recent years to describe the complex customary for key elements of the faith – paths that stretched from China all the way process whereby tangible and intangible including scenes from the life of the Buddha to Rome, along what Europeans in the 19th culture circulates within and beyond its place – to be painted onto temple banners made of century called the ‘Silk Route’ or ‘Silk Road’. of origin. In the context of the woven arts of cloth (Hartel 1982: 21). Silk banners became The main vestment worn by Buddhist monks

Buddhist priest’s robe (kesa), brocaded twill weave with supplementary weft patterning, silk and metallic thread,

122 x 198 cm., Japan, 18th century, Metropolitan Museum of Art, New York.

4 TAASA REVIEW VOLUME 23 NO.3 fragment of silk velvet with gold-covered thread (DETAIL), displaying the çintemani design, 32 x 42 cm.,

Bursa, Ottoman Turkey, 1450–1550, Victoria & Albert Museum, London was a flat, rectangular garment known in Sanskrit as a kashaya, in China as a jiasha and in the Japanese Buddhist tradition as a kesa.

The garment had ancient origins. Carved images from the Indus Valley dating to 2,000 BCE suggest that ascetics wore comparable garments at that time. Stone cylinder seals excavated in the region depict male figures seated in a posture of yogic meditation similar to that portrayed in images of the Buddha 2,000 years later. All kesa were characterised by a distinctive structure of patches of fabric, either 7 or 9, pieced together in strips around a central column. It was crucial that the fabric was discarded or cut up from something else so that it had no material value. But over time, wealthy donors gained merit by giving expensive cloth to monasteries – or individual monks or nuns – to be cut up for kesa.

The illustrated silk fabric highlighted with metal-covered thread used for the body of the Japanese kesa depicts swallows among willow branches on a reverse-swastika fret ground. In Buddhist thought the reverse swastika was a symbol of infinity. The corner and central patches with pine cones on a gold ground come from a different fabric, possibly Noh theatre robes or some other luxurious garment. Patched as required and symbolic of the renunciation of material wealth, but bearing delicate images and motifs previously associated with an elite, the formulaic structure of the kesa, rather than its images, acted as a text conveying its meaning. So the garments fashioned in this way sent messages not only coded in the images painted, woven or embroidered on their surfaces, but also by their shape and means of construction and the fact The çintemani design is characterised by either and his descendents, the Mughal emperors of that they were translations – ie ‘carried across’ a combination of three round balls and two India, were familiar with its symbolism. Tipu – from one owner to another, thereby signifying wavy lines, or three balls and two wavy lines Sultan (1750–99), the renowned ruler of the another purpose, a different meaning. standing alone. The wavy lines were derived kingdom of Mysore, who died defending his from the stripes of a tiger pelt, and the three territory from troops of the British East India This applied too to some motifs, such as dots from those of the leopard, both animals Company, made extensive use of tiger stripes the çintemani design, that originated in the associated with power in ancient Iran and and the çintemani motif as a personal emblem context of Central Asian Buddhism and was Central Asia. In the medieval Persian epic, in his clothing and court decor. But it was the reinterpreted centuries later at the courts of the Shahnama, the warrior hero, Rustam, was Ottoman Turkic dynasty in Anatolia who re- the Islamic Ottoman sultans in Thrace and usually depicted wearing a tiger skin robe interpreted it, from the pages of manuscripts Anatolia. Some of the mechanisms involved and/or headgear. Frescos dating to the 7th of the Timurid workshop tradition. They in this cultural translation resulted from the century in Central Asia depict Bodhisattvas translated the motif wholeheartedly onto exchanges that took place along the northern (Buddhist saints) adorned with tiger stripes court costume, carpets and textiles – and other border with present-day China when nomadic and the three-ball emblem. media such as ceramic tiles, woodwork and Turko-Mongol people from the north began precious metals – all designed to increase the to move south. Despite the building of the As the Turkic tribes moved westwards from power of Ottoman imperial image. fortified Great Wall in an attempt to keep Central Asia from the 7th century, many of the invaders out, the settled Chinese, with them converted to Islam from Buddhism and By using motifs from an older artistic vocabulary, their vastly inferior horses, had difficulty in in the process the çintemani motif became they did not necessarily carry over the warding off the mounted Turkic invaders. associated less with strength of the spirit and symbolic meanings of the originals, but rather Thus began a mutually-beneficial exchange of more with political power. The great 14th- highlighted the implied luxury and powerful nomad horses for Chinese silk; an exchange century Turko-Mongol leader, Timur (or Turkic identity of the çintemani design for their that had long lasting consequences for the Tamerlane as he was known in Europe), used newly-formed court culture. As the Ottoman history of textiles in Asia. the motif extensively at his court in Samarkand, empire became more cosmopolitan and more

TAASA REVIEW VOLUME 23 NO.3 5 knotted pile carpet with çintemani design and

stylised flower and vine meander border (DETAIL),

Rustam fights the white demon (Detail), Folio from Firdausi, Shahnama, Copied in Shiraz Konya/Karapinar district, Ottoman Turkey, 18th century.

c. 1430 for Ibrahim Sultan, Bodleian Library, University of Oxford Photo: Susan Scollay

Venetian rivalry, and thus promoted new sea routes to the Spice Islands and South East Asia.

Thereafter, a different range of exotic textiles, especially painted and printed Indian cotton textiles, began to circulate further afield. These were far superior to anything being produced in Europe at that time – and as their designs began to be ‘translated’ to meet market forces in Asia as well as in Europe, they became a source of inspiration for European manufacturers and for what Europeans later powerful, reaching a cultural peak in the 16th loyalty. The distinctive red colour of the began to describe as ‘fashion’ (Lemire and century under Süleyman the Magnificent, court fabric from which the children’s robes were Rielo 2008: 888). costume adopted a predominantly floral and made was used extensively at the Ottoman highly-regulated design repertoire, but the court for investiture and to signal political This is a summary of the keynote lecture given çintemani design endured as a court favourite power. It was also the spiritually significant at the TAASA symposium, Symbolism and for textiles and carpets. colour of the Bektaşi dervish brotherhood Imagery in Asian Textiles at the Powerhouse to which most Janissaries were aligned. Museum, Sydney, Saturday 19 July, 2014. The capacity of textiles to translate meaning Once identically robed in red in full view of was exploited by the Ottomans and other their local community, the boys were clearly Dr Susan Scollay is an independent art historian and Asian empires by introducing sumptuary laws identified as members of a distinct group and curator. She is an elected Fellow of the Royal Asiatic and through manipulation of colour. Images marked as the property of the sultan and, Society and a contributing editor to the international from illustrated histories produced in the by extension, the Ottoman state and the realm journal, HALI: Carpet, Textile and Islamic Art. reign of Süleyman the Magnificent suggest the of Islam. Ottomans used political messages conveyed REFERENCES Barber, Elizabeth Wayland, 1994. Women’s Work: The First Twenty by clothing in subtle and sophisticated ways, The dye that produced the colour of the Thousand Years. W.W. Norton, New York. such as during the recruitment of Christian devşirme children’s robes is one that became Hartel, Herbert, 1982. Along the Ancient Silk Routes: Central Asian boys for education at the Ottoman court and highly prized in 18th century Europe as Art from the West Berlin State Museums. Metropolitan Museum of eventual life-long service to the empire. Under ‘Turkey red’ or ‘rouge d’Andrinople’. Its Art, New York. this system, known as the devşirme, Ottoman production was a specialty of Edirne, the Irwin, Robert, 2000. Night Horses and the Desert. New York: officials and Janissary troops selected suitable imperial capital of the Ottomans from 1360 The Overlook Press. candidates from the many Christian towns to 1453 – a city better known to Europeans Lemire, Beverley and Giorgio Riello. ‘East and West: Textiles and throughout the Balkans who were subject to as Adrianople. The curators of a recent Fashion in Eurasia’, Journal of Social History, Summer 2008, the jurisdiction of the sultan. Metropolitan Museum of Art exhibition in 887–916. New York argue that the year 1453, when Scollay, Susan. ‘Clothing as a Political Tool in the Ottoman Empire’, An official recorded the recruits’ ages and the Ottoman Turks took Constantinople and Journal of Historical and European Studies, Vol.1, 2007, 77–91. family details and then, in front of their moved their capital there from Edirne, was Xinru Liu, 1988. Ancient India and Ancient China: Trade and Religious Exchanges AD 1–600, Oxford University Press, Oxford. grieving families and fellow townspeople, pivotal in the global trade in textiles. Exhibits the newly levied boys were dressed in special in Interwoven Globe: the Worldwide Textile Trade red robes. This ritual spectacle mimicked 1500–1800 support the idea that overland the ceremonies carried out at court when trade networks along the ‘Silk Route’ to luxurious robes of honour were presented as Constantinople/Istanbul and into Europe rewards for exemplary service or to secure via Venice were threatened by Ottoman/

6 TAASA REVIEW VOLUME 23 NO.3 TEXTILES IN THE SYMBOLIC UNIVERSE OF BALI

Siobhan Campbell

Flag (kober), Kamasan, natural pigment on cotton cloth, 67x79cm.

Forge Collection Australian Museum E074237, Photo Emma Furno

he range of motifs, techniques and T materials characterising Balinese textiles belong to a vast universe of symbolic meaning. As a place, the island of Bali is a potent symbol in itself: paradise to foreigners enchanted by the people and culture, to others an untainted society shaped by the adoption of Indic models of kingship and Hindu Buddhist worldviews or a Hindu enclave in a majority Muslim Indonesia. From a historical perspective, the narrative, symbolic and ornamental features of Balinese woven, embroidered and painted cloths are testimony to the movements of people, goods and ideas along the trade routes of Southeast Asia. However symbols, their messages and meanings, are subject to ongoing rearticulation and as such continue to play a vital role in contemporary Balinese cultural and ritual life.

This brief survey is intended to identify some possible approaches to thinking about symbolism in Balinese textiles. Taken on face value, symbolism relates to the figural properties of cloth and what is depicted in terms of an iconography and artistic vocabulary common to the visual arts, architecture, written texts and performance genres. In this sense a key aspect of the symbolic universe to which Balinese textiles belong relates to narrative, whether stories of indigenous origin or accretions of the Indian epics. The complex forms of narrative congruence between the various art forms represent a means of communicating that is snake (naga) depicted on the cloth is associated (kain poleng), along with his servants Mredah bound up with the oral telling of stories. with the same world creation story as the and Twalen. In the illustrated example, a flag snakes formed the attached to Mount (kober) dating from the early 20th century The figures depicted on cloths relate to the Meru, when the gods carried the mountain depicts Bima’s father, the god Beiyu, who is shadow-puppet theatre (wayang), both in from the island of Java to Bali. distinguishable from his son solely by the terms of the manner of their depiction (in god-spot on his forehead. While being dressed profile or in three-quarter view) and the stories Balinese are also able to identify most in the black and white loincloth conveys a they refer to. Key episodes from this corpus of figures depicted on cloths as character types, clear message of his potency, the artist has widely known narratives are familiar to many recognisable by iconographic indicators of emphasised this aspect of his character by Balinese so textiles are able to refer to these social status. While headdress and hairstyle draping a cloth with the same pattern around narratives in an abbreviated or shorthand are particularly important in this regard it his neck (with a snake) and dressing him in a manner. For instance, the single image of is notable that on painted cloths, a tradition pair of red and white checked pants. flaming demon heads found on many textiles emanating from the village of Kamasan in (such as the breast or shoulder cloth depicted East Bali, costume pattern is not one of the The double- cloths produced in the on p8) may be understood in the context of the attributes dictated by convention. The motifs village of Tenganan also belong to the shared creation story of the Adiparwa, when the gods or patterns on the costumes of individual repository of wayang imagery. Recalling stone decapitate the head of Kala Rau to prevent characters are one of the few aspects that relief sculptures found on 13th-14th century him from swallowing the elixir of immortality. makers can vary at will, with the exception East Javanese temples, the design With some drops of the elixir still in his mouth of a few key characters who are recognisable known as wayang kebo is characterised by a when his head was severed from his body, Kala with reference to their textile motifs. central four-pointed mandala enclosing a Rau’s head becomes immortal and thereafter stepped rectangle, which divides the cloth he seeks revenge on the sun and moon by The mighty figure of Bima is always dressed into semi-circular quadrants. The two scenes devouring them and producing eclipses. The in the potent black and white checked-cloth within each quadrant are a mirror image

TAASA REVIEW VOLUME 23 NO.3 7 Breast or shoulder cloth (anteng or cerik), Negara, Bali, Silk, gold threads, supplementary weft, 53.5 x 206 cm. Collection Dr John Yu, AC. Photo Tim Connolly

of each other and contain human figures, have significant functions in ceremonial The outer design features two pairs of birds depicted with their bodies in three-quarter contexts. While the double ikat, silk patola and pairs of flaming heads (karang gelap) with view and their heads in profile. cloths from Gujarat were prestige items and obtruding eyes, large teeth and extended highly sought after, other types of imported tongues. While the latter signify lightning, On many examples the figures are in groups textiles also function interchangeably and are they also recall the headless figure of Kala Rau of three. In a more unusual example (not amalgamated with locally produced cloths. mentioned above, and are often seen on the depicted), there are only two figures: of a priest One example illustrated in this article was entrance gateways to temples. Accentuating and, possibly, one devotee. The priestly figure , collected by the late anthropologist Anthony the architectural iconography, the double curl recognisable by the mitre on his head, appears Forge in 1979 from a family temple in Satria, ornament between each head resembles the to be in homage before the figure of a refined Klungkung. ornamentation found on the tops of many male, with the ‘lobster-craw’ (supit urang) temple gateways (pucak paduraksa). hairstyle, suggesting that he is a semi-divine The rectangular centrepiece is part of what character. Undoubtedly though, the capacity must have been a larger piece of imported The rectangular cloths (langse) used as of these textiles to protect their users from Indian cotton textile, hand painted with curtains to screen offering platforms also ailments, pollution and danger is not so much dyes and a mordant. The floral rosette on combine painted textiles and imported related to the picture-like representation on the Indian centrepiece appears frequently in printed fabric. Paintings by Kamasan artists them but to their materiality. To be used as part the Balinese artistic lexicon, here it is seen on white cotton cloth are made into curtains of a textile offering (rantasan), the textile repeated between one pair of birds in the with the addition of lengths of imported must be unblemished and uncut, meaning Balinese border design and also between fabric. The other important component of that the cloth is taken off the loom as a the feet of Beiyu on the cloth (flag or Kober) these curtains are the Chinese coins (kepeng) continuous loop with a section of unwoven discussed previously. with a hole in the middle sewn along the top warp threads intact. of the fabric to function as curtain rings. These A cloth border has been hand sewn around coins were once used as currency and tied As in other parts of the Indonesian the centrepiece and painted with red and together on strings of two hundred coins, but archipelago, imported Indian cloths also light blue pigments and a black ink outline. are now made in Bali and serve a ceremonial function as money given to the gods. They are composed of five metals symbolising the gods: steel for Wisnu; silver for Iswara; copper for Brahma; bronze for Mahadewa, and gold for Siwa.

Chinese stories have also made their way into the narratives depicted on Balinese textiles, with the story of the ‘butterfly lovers’ or Sampik and Eng Tae being particularly popular on the embroidered cloths (kain sulaman) of West Bali (Fischer and Cooper 1998: 87-89). This story, serialised in Javanese language newspapers in the late 19th century with Balinese versions circulating around the same time, relates the tragedy of a girl called Eng Tae who disguises herself as a man in order to attend a male school, where she meets fellow student Sampik. The women who make these cloths often facilitate specific identification of the figures they depict by including text on the cloth. Sita’s Ordeal by Fire, Langse, artist Nyoman Laya, Kamasan, natural pigment on cotton cloth, 91x225cm.

Forge Collection Australian Museum E074169, Photo Emma Furno

8 TAASA REVIEW VOLUME 23 NO.3 Temple Cloth, Satria, Klungkung, natural pigment on cotton cloth, 39x54cm. Forge Collection Australian Museum E076400, Photo Emma Furno

This article has identified an important element and about ways of understanding and in the way Balinese eyes appreciate textiles interpreting textiles that leave little doubt as which relates particularly to the implicit to their ongoing importance in articulating recognition of narratives. By emphasising Balinese worldviews. symbols as a form of communication linked to narrative, it is possible to appreciate that the This is a summary of a talk given at the TAASA The Oriental Rug Society of NSW presents makers and users of Balinese textiles value them symposium, Symbolism and Imagery in Asian as conveying religious or spiritual allegiances, Textiles at the Powerhouse Museum, Sydney, Unexpected Treasures: historical accounts, political commentaries Saturday 19 July, 2014. and life stories. This is particularly evident oriental rugs and on textiles where particular episodes and Siobhan Campbell completed her postgraduate study characters are isolated, making a single image on Balinese art in the Department of Indonesian textiles bazaar Studies at the University of Sydney in 2013. She has stand for something. A unique chance to acquire beautiful recently curated an exhibition of Indonesian textiles, things at affordable prices. Carpets, Encounters with Bali: A Collector’s Journey, Indonesian However, understanding symbolism and kilims, , hangings, Textiles from the Collection of Dr. John Yu AC and Dr. meaning is not simply a matter of decoding costume items, tribal elements of the narrative content, it depends George Soutter, AM, at Mosman Art Gallery and has and more from Turkey, Central on a further range of interpretive possibilities been awarded a 2014 Endeavour Research Fellowship Asia, Iran, Afghanistan, Southeast related to the choice of particular narratives to conduct further fieldwork on material culture in Bali. Asia and elsewhere. and episodes. Some textile producers see [[email protected]] their role as didactic, with a responsibility Saturday 8 November 2014 to make supposedly mythological narratives REFERENCES significant by applying their messages to Joseph Fischer and Thomas Cooper, 1998. The Folk Art of Bali: The Narrative Tradition, Oxford University Press, Kuala Lumpur. present-day concerns. In this sense they St Mathias Church Hall encourage the viewers and wearers of their 471-475 Oxford St Paddington NSW cloths to elicit meanings by reference and 10 am – 3 pm association and they may also play visual Be early! images and textual associations against each other. Entering this world of Balinese Further information at symbolism with foreign eyes challenges us www.rugsociety.org.au to think about Balinese knowledge systems

TAASA REVIEW VOLUME 23 NO.3 9 FROM PINECONE TO PAISLEY: THE UBIQUITOUS BOTEH

Christina Sumner

Wool shawl, jacquard weave, Paisley, Scotland, 1860-70.

Collection: Museum of Applied Arts & Sciences, Sydney. Photographer unknown.

he boteh motif, now commonly known T as paisley pattern, is as familiar to us as stripes, polka dots and herringbone. Resembling a rounded leaf or teardrop whose pointed tip curls gently over, the boteh motif is strongly associated, by students of textile history, with the Kashmir shawl industry and, from the late 1700s, with the production of imitative shawls in European centres, including the town of Paisley in southern Scotland.

The development of the boteh motif in Kashmir and its transmission to Europe is a fascinating tale that can be extended backwards in time to seek its ancestry in ancient Babylon and/ or Persia and forward in time to look at more recent and contemporary incarnations. For simplicity, the term boteh will in the main be used throughout, although over time and place it has also been called pine, cone, pinecone, floral boteh and cone boteh, as well as leaf, teardrop and in Kashmir itself buta, which means flower in Hindi. In southern India, Tamils call this motif mankolam meaning mango motif and in Central Asia it is a bodum or almond. To American and British quilters, the boteh motif is Persian pickle and British pear respectively.

The origins of the boteh It has been argued that the origin of the boteh can be found in ancient Babylon, where teardrop forms symbolised the growing shoots of the nourishing date palm, then revered as the tree of life. Boteh is in fact a Persian motif spread east from Babylon into Persia Mughal flowers combined with Persian floral word meaning a plant, while boteh jegdeh is and thence to India and Kashmir. At the same design and developed into a more compact Persian for both the pinecone motif itself time, the curling rounded boteh form can floral motif, with a tilting flower head at the and the cypress tree, a Zoroastrian symbol perhaps simply be recognised as an archetypal top. The number of flowers growing from a of life and eternity. Attention has also been symbol of the life force and its renewal (Reilly single plant gradually increased and in the drawn to the wing shape of the mythological 1987, Eduljee 2014). mid 1700s, towards the end of the Mughal Persian simurgh, the benevolent creature that period, the outline of this floral motif, the became the symbol of the Sassanians, who The Kashmir shawl industry, throughout buta, began to take on the more formal outline ruled from around 200 to 650 CE. The simurgh which the boteh flourished, probably began we associate with the boteh. Shawl design, was said to be a distributor of seeds, and so in the mid 1500s and lasted for a little over including the boteh motif, developed and relates symbolically to the cypress tree as tree- 300 years. The industry has been divided into changed in tandem with the industry itself of-life that appeared towards the end of the four periods, as determined by the prevailing which, from the late 1700s, saw the beginning Sassanian period (Reilly 1987, Eduljee 2014). political masters: the first is the Mughal period of trade in shawls to Europe, the intervention (1586-1753), followed by the Afghan (1753- of European entrepreneurs in Kashmiri Further evidence of the motif’s Persian 1819), Sikh (1819-1846) and Dogra (1846-1877) production, acute competition for the same lineage are the stylised, boteh-shaped leaves in periods (Irwin 1955, Ames 1986). market between Kashmiri and European silk fragments of the 6th-7th centuries found producers and, with a change in European at Akhmim in Upper Egypt, which had come The Mughal period (1586-1753) women’s fashion, the eventual collapse of briefly under Sassanian control. As this motif Mughal shawls of the 1600s and 1700s are both industries. is not found elsewhere in Egypt, it seems likely typically quite plain with a border at each that these fabrics came from Persia. Although end that features a row of slender naturalistic From a technological point of view it is proof will remain elusive, it is feasible that the flowering plants, complete with roots. These still uncertain when the characteristic kani

10 TAASA REVIEW VOLUME 23 NO.3 Pashmina shawl on mannequin, kani weave, Kashmir c. 1820.

Collection: Museum of Applied Arts & Sciences, Sydney. Photo: Sue Stafford technique (a twill weave with double weft interlock) was first practised in Kashmir, but the sophistication of surviving kani fragments of the early 1600s suggests that it was in use by at least the late 1500s, when the Mughal emperor Akhbar invaded Kashmir. Akhbar ruled Kashmir for 19 years and took a personal interest in the shawl weaving industry. It seems likely that kani originated in Turkestan, where related techniques were used, and was brought to India in the 1520s in the entourage of Akhbar’s grandfather Babur. The material traditionally used for Kashmir shawls is pashm, also known as pashmina or cashmere, from the domesticated mountain goat (Capra hircus) found in Ladakh and western Tibet (Irwin 1955, Ames 1986).

The Afghan period (1753-1819) In 1753, an Afghan invasion brought an end to the Mughal period in Kashmir. Under Afghan rule, the naturalistic Mughal buta grew smaller and increasingly stylised, and end borders appeared with small repeating motifs rather than the traditional single row of plants. At around the same time, a similar boteh form based on leaf shapes was developing independently in Persian decorative arts and brought its own influence to bear on the subsequent transformation of Kashmiri buta to boteh.

Towards the end of the 1700s, some exquisitely soft and beautifully woven Kashmir shawls began to trickle into Europe in the baggage of returning officials, traders and travellers. In India, these shawls had been primarily worn by men, but in Europe they were rapidly appropriated by women as a fashion accessory. Kashmiri shawl fabric was well suited to the light cottons and classical simplicity of women’s dress in the late 1700s. When mid Afghan period, with Paisley in southern devices were introduced over the years in Napoleon and his officers returned from a Scotland following in 1805. There were Kashmir. One Sikh period innovation was to campaign bearing Kashmir shawls as gifts, the difficulties however; it was almost impossible use for creating pattern, rather Empress Josephine became an avid collector. to duplicate the exquisite and intricate than simply for joining pieces together and There are a number of fine portraits of French kani weave and pashmina was unavailable disguising irregularities. Embroidered or amli women of the early 1800s wearing Kashmir in Europe. The extraordinary variety of shawls could be produced for about one third shawls, and these serve as an excellent materials and blends used by European shawl the cost of woven shawls and, at least initially, documentary resource. manufacturers is telling evidence of their vain escaped the heavy duty on shawls imposed attempts at duplication (Irwin 1955, Ames by the government. Although these shawls were exorbitantly 1986, Reilly 1987). expensive, the demand in Europe in the early In 1830 the jacquard loom was introduced 1800s soon outstripped supply. European The Sikh period (1819-1846) and European shawl design became more entrepreneurs consequently sought to influence The beginning of the Sikh period, in the early and more complex as borders encroached on Kashmiri production methods in order to 1800s, was one of dramatic stylistic change plain centres until pattern eventually filled increase the output. In France, manufacturers for Kashmir shawls. Prior to this, design the entire surface of the shawl. Even the were quick to seize the economic opportunity evolution including that of the boteh had been most intricate of patterns could be produced presented by the shortage, and competed to relatively gradual, but designs now became rapidly and the end product was consequently produce shawls specifically designed to appeal much more crowded, the botehs elongated much cheaper. The looms themselves were to European tastes. Production centres were and sinuous, and the colours rich and dark. expensive however, and ownership of the also established in Vienna and Russia. Shawl In order to increase the output of shawls, industry became more and more restricted making across the English Channel began in to reduce costs, and so maintain a share in to managers and entrepreneurs, and less and Norwich and Edinburgh in about 1780, in the the European trade, various labour-saving less within reach of the weavers themselves.

TAASA REVIEW VOLUME 23 NO.3 11 Pashmina shawl on mannequin (detail), kani weave, Kashmir c.1820.

Collection: Museum of Applied Arts & Sciences, Sydney. Photo: Sue Stafford.

supported it, in both Kashmir and Europe, collapsed. While European jacquard looms were soon put to other uses, the Kashmiri industry had been permanently changed. The legacy of Kashmir remains however in the traditional Asian boteh motif which has - as paisley pattern - earned itself a place in the designer’s classical repertoire (Irwin 1955, Ames 1986 and Reilly 1987).

Contemporary expressions From the early to late 1900s and into this century, the boteh motif has again come into its own, as variations on its simple theme continue to proliferate globally. Paisley pattern was hugely popular in dress, accessories and soft furnishings in the 1920s for example while swirling, wildly colourful paisley was a prominent component of psychedelic art of the 1960s and is now enjoying a reappearance in the current fashion for retro style. The boteh remains a perennial favourite on men’s ties and turns up regularly worldwide in, for example, Indian saris and jewellery, English wallpaper, Central Asian embroideries, Persian shawls and Australian block prints. Gang affiliation is sometimes demonstrated by matching paisley bandannas, while the motif has also managed to achieve notoriety among an element of the religious far right who believe contact with the paisley pattern endangers their immortal soul through its association with such phenomena as India, goat hair, prayer rugs and magicians. Finally, the Kashmiri government is now reviving the fine art ofkani weaving with some considerable success; sadly however in these beautiful contemporary Kashmir shawls botehs are curiously scarce.

This is a summary of a talk given at the TAASA symposium, Symbolism and Imagery In general, French taste dominated shawl earlier in the century along with their own in Asian Textiles at the Powerhouse Museum, design and shawl motifs had a distinctly pattern books. By about 1850, the designs Sydney, Saturday 19 July, 2014. European air. Such was the competition used by Kashmir shawl weavers were mainly between producers for their share of the a local interpretation of French jacquard Christina Sumner OAM is a foundation member of market that the designs of one manufacturer patterns featuring elongated botehs among a TAASA and formerly Principal Curator, Design and were frequently imitated by another. Both densely ornamented ground. Society at the Powerhouse Museum, Sydney. Her Norwich and Edinburgh complained that research interests focus on the traditional textiles of Paisley pirated their designs, with the result By the mid 1860s, although production Central, South and Southeast Asia. that in 1840 the government was persuaded continued in both India and Europe for some to allow protection under the patents system. years, the slide into oblivion had begun. In REFERENCES However production in Paisley soon eclipsed Kashmir, the long-established tradition of fine Ames Frank, 1986. The Kashmir Shawl, Antique Collectors’ Club, Woodbridge, England. output at other British centres and, by 1850, shawl production had been eclipsed by drastic the majority of shawls available for purchase changes to design and fabrication. In Europe, Eduljee, K. E., http://www.heritageinstitute.com/zoroastrianism/trade/ paisely.htm, accessed 12 July 2014. in Britain were made in Paisley (Irwin 1955, the introduction of the jacquard loom and also Irwin, John, 1955. Shawls: a study in Indo-European influences, Ames 1986, Levi- Strauss 1986 and Reilly 1987). printed shawls had brought their price down Victoria & Albert Museum, London,. to a level that almost all women could afford. Levi-Strauss, Monique, 1986. The Cashmere Shawl, Harry N. Abrams, The Dogra period (1846-1877) Fashion leaders sought new directions and the Inc., New York. In 1846, after a battle with the Sikhs, the crinoline began to shrink, first into the bustle of Reilly, Valerie, 1987. The official illustrated history: The Paisley Pattern, British handed over rule of Kashmir to the the 1870s and then the narrow trailing skirts of Richard Drew, Glasgow.

Dogra prince Raja Gulab Singh. During this the 1890s, neither of which was improved by Sumner, Christina. ‘From Kashmir to Paisley: the shawl trade and the period the local shawl trade was dominated the addition of a draped shawl. The hundred- hundred years fashion’, The Australian Antique Collector, Jan-June by French merchants who had settled there year fashion was over, and the industries which 1993, pp.60-63.

12 TAASA REVIEW VOLUME 23 NO.3 VEILS OF CHANGE – RABARI WEDDING SHAWLS

Carole Douglas

Dhebaria Rabari group, Mandvi town. © Carole Douglas 2004

achhuben Karna Rabari sits in a pool of L sunlight in front of her home in Bhujodi, central Kachchh (aka Kutch), Gujarat. She is quietly stitching together two hand woven lengths of cloth that will eventually become a shawl destined for a foreign buyer. Her fingers work deftly and she glances up only briefly as I sit down beside her. She is using machhi kanto (fishbone), the that traditionally joins the two halves together. In direct contrast to her own plain black woollen shawl that identifies her seniority and her widowhood, this newer version is made of finely woven, white, Australian merino wool. Lachhuben has already decorated the piece with lines of fine black running stitch. Once this centre seam is completed, she will return the finished article to local weaver Shamji Vishram Valji who commissioned the work. Like many traditional villages in Kachchh, Bhujodi is made up of two separate yet interdependent communities: Harijan and Rabari that have existed side by side since it was founded. Thus, in its own unique way, this contemporary shawl represents the coming together of the two halves - a unique pairing that reaches far back in time. Rabari also closely oversaw any orders they medallions on their shawls into which spices placed and, according to Shamji, it was not were tightly packed. I have been offered two According to the village historian’s records, uncommon for the customer to come to the explanations for this practice; one Rabari Bhujodi was established in 1179 CE by a loom and count the warp threads to ensure elder explained that they warded off evil wandering pastoralist named Bhoja Rabari. the quality of his or her product. spirits while a local collector said they were However like all histories based on oral filled with tobacco to ward off insects. There tradition, this remains open to interpretation The original Rabari migrants eventually is a likely element of truth in both. and, as Shamji pointed out, this record simply divided into three distinct groups: Kachhi serves as a marker for the official naming of Rabari who settled in the central parts of The ludi created for a bride’s wedding is a the village. He believes Bhujodi was settled Kachchh, Dhebaria Rabari who live in the west significant part of her dowry and Lachhuben earlier but an official naming ceremony and the eastern group of Vaghadia Rabari. recalls the making of hers with great clarity. ensured that the village would flourish. And Over the ensuing years each group evolved “I am 85 now” she tells me “I was 15 when it did. Today Bhujodi is one of the oldest unique styles of dress that marked their distinct I moved from my village, Makhana, into functioning traditional villages in a district identities. Shawls remain the most visible my husband’s home here in Bhujodi.” She that remains populated by the descendants of point of difference. A practiced eye can tell at adjusts her shawl and I glimpse a thinning its first settlers - those who came to Kachchh a glance to which group a woman belongs and hairline common to women who have worn in search of greener pastures. her marital status by its style. the heavy woollen garment for their entire adult lives. She continues her tale with pride During these early migrations of pastoral The Rabari shawl, locally called a ludi, is a as she recounts how she shore her own sheep communities, Rabari and Megwhal (Harijan) large cloth that covers the head and the and gave the wool to a local weaver. “After the groups moved in close proximity as they entire length of the body. Due to the narrow vankar gave me the finished work I sent it to the travelled from the hinterlands of the Thar width of the loom necessary to produce a Khatris ( community) in Nakhatrana. Desert in Rajasthan and Sindh into Kachchh. stable weave, traditional ludis consist of two They made the best black dye.” While the Theirs is a historically symbiotic relationship; narrow pieces each measuring two and a half original shawl is long gone, Lachhuben assures the former herded camels, goats and sheep yards and joined by hand along their length. me it was simple. “Only plain black wool and and the latter were skilled weavers (vankars). In some communities the centre seam and no bharat (embroidery) apart from the stitch I In return for weaving cloth for the Rabari, borders are embroidered with auspicious used to join the pieces together. Same as this!” who considered themselves a higher caste motifs that signify their beliefs. These include She pushes the new piece at me and laughs. due to their ancestral ties with Rajput rulers, symbols to protect against bad influences and the weavers were given surplus wool for their to attract prosperity and fertility. Vaghadia “Why black wool?” I asked. I have often own needs and land on which to farm. The Rabari traditionally embroidered raised wondered how Rabari women cope in the

TAASA REVIEW VOLUME 23 NO.3 13 T

Machine embroidered motif and seam, Dhebaria Rabari.

Embroidered motif to be appliqued onto Kachhi shawl. © Carole Douglas 2002 © Carole Douglas 2013

extreme heat of summer. According to Shamji’s The patterns tied into traditional ludis reveal a sell plain shawls and intricately machined interpretation of Lachhuben’s long response, set of complex codes that denote marital and designs for patches and borders and women the Rabari were gifted wool by Lord Krishna maternal status. For example, Vaghadia Rabari spend considerable time choosing the right and hence regard it as the ‘pure’ fibre. The women traditionally wear different designs combinations. This fashion has allowed many tradition of black rests in the annals of Rabari during different phases of their married life. Dhebaria women to substantially increase lore: it marks the ritual mourning for the death When I met with dyer, Iqbal Sumar Khatri of their household income by producing these of a king and furthermore it is widely believed Samakhiali, he had brought along five rough embellishments on high-powered industrial that this death was the event that provoked the woollen shawls tied in various designs; the machines. Rabari’s migration into Kachchh. first one was for the marriage day and each successive shawl signified the wearer’s It is the natural progression of any vigorous Our conversation was interrupted by young number of children until the fourth child, at culture for each generation to introduce children arriving home from school and we which time the original wedding shawl was change. Lachhuben’s granddaughter has stopped for chai. A few younger women had worn again. For example the design on one taken a great leap in design. In her innovation, also joined us and their arrival prompted shawl, morandi, is worn after the birth of the she is hand embroidering the border of her me to ask Lachhuben about her daughters’ first child. The border motif is called ubhad- ludi on a wide piece of polyester that will later wedding shawls. She said that her elder khabad which means ‘up and down’ and, as be attached to the end of her store bought daughter had purchased hers undyed from a weaver Shamji pointed out, it refers to the woollen shawl. Lachhuben points out that hawker who came regularly from ‘outside’ the terrain of Kachchh. she can later remove the border and turn village. Her younger daughter had purchased it into a decoration for her home for, unlike hers directly in Bhujodi. No reason was given None of these shawls were joined or herself, her granddaughter will not wear her for this. However both shawls were tie-dyed embroidered and, as Iqbal lamented, in these wedding shawl more than once. Modernity by a Khatri from Moti Virani, who would days of lightweight ready-made shawls, there manifests itself in many ways and while regularly travel the many kilometres from is no longer any demand for his work. In a the younger generation has adapted to suit his village to Bhujodi to collect orders before similar vein, contemporary Kachhi Rabari changing trends in their embellishment and returning home to fulfil them. On a different shawls are tie-dyed in red and black and use, woollen veil cloths are still mandatory note, her granddaughter, who is preparing frequently incorporate scorpion (fertility) and wedding wear and continue to play a role in for her wedding next year, bought her shawl swastika (auspiciousness) motifs. And while the property transfers of marriage. already tie-dyed in the local market. In just Dhebaria Rabari were enforced to wear plain one generation the closed loop system that black due to a community ban on dowry I had brought along a contemporary wedding had existed for more than half a millennium embroidery, machine embroidered motifs shawl for Lachhuben’s comment. It is liberally between the Rabaris, Vankars and Khatris was are now in popular demand by brides to be. embellished with brightly coloured synthetic unequivocally broken. In the Dhebaria hub of Anjar, special stores , sequins and ricrac braid. While the

14 TAASA REVIEW VOLUME 23 NO.3 ‘Morandi’ design denotes wearer’s marital status.

Heavily embroidered border typical of Vaghad shawls. © Carole Douglas 2006 © Carole Douglas 2014

embroidery skills of the bride are evident in - rough, warm and protective. Strategically her rendition of bavaliyo (interlacing) stitch placed along its centre seam are round motifs she has replaced mirrors with plastic sequins with small raised centres. Shamji sniffed at the and the braid replaces the traditional zigzag mounds. “Ah” he said: “Dried tobacco I think pattern created with time-consuming chain – to keep moths away.” They both identified stitch. The central join is machined using the shawl as being from Vaghad, the region multi-coloured metallic thread. As we unfurl that had perhaps brought some influence to the shawl, the small crowd closes in. They bear on Kachhi style. examine the handwork carefully and tell me it is ‘saru che’, very good, as they admire its The morning had worn on and I could hear NOTE: This article is based on fieldwork, flair. When I ask Lachhuben about the sequins the clatter of lunch in preparation. Lachhuben interviews and friendship. Thanks to my colleague and braid she makes little comment except to was weary of visitors and it was time to take Aarati Halbe, Sahjeevan; Vankar Shamji Vishram note that one can buy these things easily in the our leave. It occurred to me as I watched Valji and Lachhuben Karna Rabari, Bhujodi; market and, after all, it makes the work easier. her carefully putting the white shawl to one Vanka Rabari, collector, Bhujodi; Pankaj Shah, And when I asked her opinion about the sheer side that the world of Rabari and vankars QASAB and Kuldip Gadhvi, Bhuj for their last quantity of embellishment she informs me has certainly shifted on its axis. Rabari no minute checking of my translations. I also wish to that wedding shawls became more elaborate longer shear their own sheep to supply acknowledge the many Rabari met on highways, when Kachhi Rabaris were exposed to wool to vankars to weave into ludis, in return in villages, homes and fields who have allowed me those of other groups. “When we saw them giving them surplus wool for their own use. to take photographs and given me insights into a (Vaghadia) sometimes with their fancy shawls Instead, many entrepreneurial weavers such deeply traditional way of life. we began to put more work into ours.” as Shamji Vishram Valji use Australian merino wool, imported via Rajasthan, and employ Carole Douglas is an award winning textile artist, I brought forth a final shawl on which ochre hundreds of Rabari women to embellish plain educator and environmental advocate who has spent and green tie-dyed patterns contrast strongly shawls with mirrors and stitch to supply a the past 18 years travelling and working in India. Well against its dark brown ground - the result hungry market place. Khatris still figure in known for her ground breaking exhibition project of overdyeing with indigo. It is densely the equation although their traditions too ‘Resurgence’ (Manly Art Gallery and Museum 2003) hand embroidered in predominantly yellow, have evolved. And who knows what the next in aid of Indian artisans after the devastating Gujarat orange and white cotton thread and its ends generation will create? In the current Kachchh earthquake, Carole has developed specialised tours to are weighted with mirrors anchored firmly scenario of rapid industrialisation, access to the region to continue her support of traditional life in place with tightly packed chain stitch. It technology and economic prosperity it will be and livelihood. She also produces, under her company lies heavily on the head and shoulders - like interesting to observe in which direction the label ‘Desert Traditions’, a range of goods that support a solid echo of the earth from which it sprang ludi will evolve. tradition, the environment and local enterprise.

TAASA REVIEW VOLUME 23 NO.3 15 A FINE POSSESSION: JEWELLERY AND IDENTITY - ASIAN BODY ADORNMENT AT THE POWERHOUSE MUSEUM

Min-Jung Kim and Christina Sumner CEREMONIAL HEADPIECE (LAMBA), SHEET GOLD ALLOY, REPOUSSÉ, SUMBA, INDONESIA, 1880-1950,

COLLECTION OF THE MUSEUM OF APPLIED ARTS AND SCIENCES. IMAGE COURTESY OF JANE TOWNSEND

ecorating one’s body with precious D materials is perhaps universal cultural behaviour among humans. However, the value placed on materials and designs can vary from culture to culture. The Museum of Applied Arts & Sciences in Sydney (also known as the Powerhouse Museum) is opening an exhibition titled A Fine Possession: jewellery and identity in September. The exhibition showcases a spectacular selection of over 700 pieces of jewellery from Australia, Europe, Asia, Africa and the Pacific. It celebrates the central place of jewellery in people’s lives from antiquity to the present day, and from around the world. The objects on display are jewellery and body adornments sourced from major cultural institutions and many individual collectors as well as the Museum’s own collection.

Among the iconic and rarely seen items on display will be ancient Egyptian scarab jewels, a magnificent 19th century tiara and necklace made from exotic beetles, Australian gold- rush jewellery, Chinese kingfisher-feather and finely carved jade ornaments, a ‘Southern Cross’ diamond brooch in the form of Charles To complement the storyline, selected items mirrors, which played a role in adornment Kingsford-Smith’s legendary aircraft, and a will be on loan from various private collectors as reflectors of beauty and as objects worn necklace worn by Nicole Kidman in the film including Chinese Mandarin hat finials or carried on the person. Social standing, Moulin Rouge. A striking range of students’ from Ken and Judith Rutherford, Indian personal taste and the availability of raw contemporary studio jewellery will complete the gold dowry necklaces from Anne Schofield materials determined design and materials. selection. The exhibition is organised into nine and Chinese fingernail guards from Roger For thousands of years, different items themes: Belief & Magic, Love & Death, Nature Grellman. Adelaide-based collectors and the matured at different times, and to some & Culture, Style & Revival, Gold & Identity, authors of Ethnic Jewellery and Adornment: degree their evolution was never complete, Status & Wealth, Men & Adornment, Modernity Australia, Oceania, Asia, Africa Truus and Joost as objects continued to convey meaning even & Change and Revolution & Evolution. Objects Daalder are major lenders to the exhibition when they served a functional role. from different cultures including Asian cultures not only of Asian objects but also Pacific and will be shown in four of the nine sections. African pieces. Asia is a particularly culturally diverse region and expressions of identity cover a very broad The exhibition is a great opportunity to bring According to the Oxford Dictionary, jewellery spectrum. Different materials are considered the Museum’s long-standing collection of is defined as ‘personal ornaments, such as ‘precious’ by different cultures. For example, Asian jewellery and body adornments out of necklaces, rings, or that are typically the Chinese have favoured jade since ancient the vault and on public display. Whilst Asian made from or contain jewels and precious times and valued it more highly than precious body adornments have rarely been the focus metal’. However, in the Asian context, metals such as gold. Jade was so highly of any museum collection, the Museum has jewellery can be more broadly understood. valued that it was equated in importance collected them since its establishment in 1879. Whereas in Europe and many parts of the with the king. The character for ‘king ( )’ This significant collection includes 170 Japanese world, beautifying or adorning the body in Chinese originated from the form of a string combs and hairpins from the Edo (1603-1868) generally involves decorating bare skin of jade beads and the character for ‘jade ( )’ is and Meiji (1868-1912) periods, nearly 400 such as the neck, wrist and fingers, in Asia almost identical except for the additional dot. Chinese and Japanese toggles, and a group jewellery seems to have developed somewhat of Chinese jade hairpins and belt hooks from differently, particularly in East Asia. Many Chinese artisans developed highly the Qing dynasty (1644-1911). The Museum items of jewellery evolved from being abstract sophisticated techniques for carving jade; also holds Chinese kingfisherfeather inlaid talismanic items of personal adornment to some examples shown in the exhibition are hair ornaments, Miao silver alloy jewellery, being functional aspects of dress. belt hooks, and hairpins. In the 1st Chinese Mandarin beads and hat finials, an century CE, Xu Shen described jade (yu) as Indonesian man’s ceremonial headpiece and Some of the earliest known items include follows in his book Shuowenjiezi (Discussion of Malaysian belt buckles or pendings. belt hooks, hairpins and earrings, as well as Writing and Explanations of Character):

16 TAASA REVIEW VOLUME 23 NO.3 KINGFISHER FEATHER HAIRPIN, GILT METAL, KINGFISHER FEATHER, GLASS, SEED PEARL, CHINA, C.1800, GIFT OF MISS E A MACDONALD, 1979,

COLLECTION OF THE MUSEUM OF APPLIED ARTS AND SCIENCES. IMAGE COURTESY OF GEOFF FRIEND

Jade is the fairest of stones. It is endowed with five virtues. Charity is its lustre, bright yet warm; Rectitude is its translucency, revealing the colour and markings within; Wisdom is its pure and penetrating note when struck. It is courage, for it can be broken but does not bend; Equity is its sharp edges, which injure none.

(Xu Shen (58 CE – ca. 147 CE) translation adapted from Zheng Dekun)

Another distinctive feature in East Asia is that hair ornaments such as combs and hairpins are among the most popular forms of jewellery. This is probably due to the nature of Asian dress, in particular for the Chinese and Japanese, who tend not to reveal much skin, while their striking jet-black hair offers a background against which such jewels shine. The Chinese adored hair ornaments made from kingfisher feathers with their gloriously iridescent ultramarine to turquoise-blue hues. Kingfisher feathers were first featured in ornaments as early as the Han dynasty (206 BCE-220 CE) and, over time, Chinese artisans developed sophisticated techniques to create from them a variety of dress embellishments and accessories. Kingfisher feather jewellery was very highly valued and denoted status, wealth and royalty. BELOW: JADE BELT HOOK WITH ‘CHI’ DRAGON MOTIF, VARIEGATED JADEITE, CHINA, 1700S-1880S, GIFT OF MRS ROSEMARY D CONACHER, 1966, COLLECTION OF THE MUSEUM OF APPLIED ARTS AND SCIENCES. IMAGE COURTESY OF SOUTHA BOURN In the case of Japan, rings, necklaces and earrings had little or no place on the already elaborate traditional Japanese dress; as a result, lacquer combs (kushi) and hairpins (kanzashi) would have been the only additional embellishment. Yet these hair ornaments were a vital part of Japanese fashion as they expressed a woman’s character, social class and religion. There is an ancient Japanese proverb that clearly demonstrates the importance of these hair ornaments: ‘A woman’s hair is her life’.

The exhibition A fine possession also features ornaments from the Museum’s collection that materials. Gold has male connotations and universality of our enduring passion for were worn exclusively by men, including was only worked by men, while the repoussée adornment. The exhibition opens to the public Chinese and Japanese belt toggles and the imagery on the lamba shows attributes viewed on 23 September 2014 and will be on display silver Malay belt buckle. In some of the as male, such as horses with riders, eagles and for 12 months. Indonesian islands, on ceremonial occasions, the sun. Such an heirloom piece conferred aristocratic men wore spectacular headdresses, special powers on the owner as, through its Min-Jung Kim is Curator of Asian Arts and Design neckpieces and frontal ornaments which inherent supernatural attributes, a high status (Design and Society) and Christina Sumner is the indicated their social status and prowess in man could commune with the ancestral spirits former Principal Curator of the Powerhouse Museum such pursuits as communicating with the on behalf of his community. of Applied Arts & Sciences, Sydney. ancestors and headhunting. Collectively, the Asian and other non- REFERENCES Like the crescent-shaped, buffalo-horned gold European objects displayed in A Fine Xu Shen, (58 CE – ca. 147 CE). Shuowenjiezi (Discussion of Writing and Explanations of Character’) on: http://www.britannica.com/ lamba from the island of Sumba, these heirloom Possession balance the strong Western content, EBchecked/topic/112548/Chinese-jade. Accessed 15 July 2014 pieces were generally made from precious reminding visitors to the exhibition of the

TAASA REVIEW VOLUME 23 NO.3 17 IN CONVERSATION: ASIAN CULTURAL ORIGINS IN THE TEXTILE WORK OF RUTH HADLOW AND WENDY LUGG

Belinda von Mengersen COMMON THREADS (LUGG, 2005), (CO-CURATED BY LUGG AND LEIGHTON-WHITE, 2005) INSTALLATION IMAGE,

BELGER ARTS CENTER IN KANSAS CITY, USA.

oth Ruth Hadlow and Wendy Lugg are B Australian textiles artists who use samples of traditional textile material culture as conceptual and actual starting points in their own textile exhibition practices. This article examines Ruth Hadlow’s approach to West- Timorese woven textiles in her multi-faceted work Patternbook (2005-ongoing), and Wendy Lugg’s to Japanese hand-stitched Boro in her series and internationally touring exhibition Common Threads (1999-2005). Each involves ‘reading’ and reflecting on individual pieces: a silent dialogue, which is then interpolated into their own work. The most intriguing aspect of these encounters is the artists’ capacity to deeply and irrevocably respond at both the conceptual and physical level.

Textile artists often employ samples of material culture as a basis for primary research within their practice. However, when cultural items are thus used, it can be easy to or conversation. Between the object and the latter only makes, but that the one assume a simplistic process: straightforward the artist a dialogue begins, in which each makes through thinking and the other thinks plundering and superficial re-appropriation. unfolds in response to the other. The result through making.” (Ingold 2013: 6). For Hadlow and Lugg, however, a relationship is not a reflection of existing culture or a with a textile cultural sample is ongoing and representation of the artist at a particular He describes this notion of ‘thinking through conversational: the site not of conclusion or point in time, but rather an entirely new making’ as an “art of inquiry” (Ibid) focusing containment, but of complex unfolding. Such creation made possible only by combination: on the materiality of craft-based making research practice moves far beyond aesthetic what each enables the other to be. practices such as those of Hadlow and Lugg. analysis, relying rather upon a set of terms and This explanation provides an insight into methodologies. Some of Hadlow and Lugg’s Hadlow engages with traditional West the relationship between artists and their unique approaches to objects of textile material Timorese textiles to explore conceptual, materials: an interchange of ideas through culture are tacit, but others are more corporeal physical and philosophical ideas within her different modes of communication. However, or simply just practical in their application. work. Her practice encompasses several can such an understanding be applied more distinctive modes: visual textile-based broadly to conceptual visual artists working Hadlow has described the use of traditional temporal installation; writing; digital book in contemporary textiles? Can Hadlow and West-Timorese woven textiles as “objects publication, and performative lectures. “As Lugg’s methodologies, in selecting and to think with” (2011: 75), while Lugg talks part of my doctoral research I wanted to responding to cultural textile items offer a of “working-in-response-to” and alongside conduct an exploration into approaching new perception for ‘an art of inquiry’ and new traditional Boro and Sashiko Japanese textiles West Timorese textiles as poetic generative ways of working and thinking? (1995). It is these conceptual devices, which material rather than as cultural artifacts”, characterise the work of both artists. For Hadlow explains. “Traditional textiles are It could be said of Hadlow and Lugg, that each Hadlow and Lugg, then, it can be seen that the usually seen from the perspectives of the component of their work propels the other. physical sample of textile material cultural is museum, the collector, or the anthropologist; For it is the cultural origins of the textile items, both an object of traditional aesthetic influence I was interested in considering them from and their implicit craft-based conventions but also, more uniquely, a ‘conceptual tool’. the perspective of an artist, as objects to think that compel such conceptual readings and re- The item itself becomes the site of research. with” (Hadlow 2011: 75). readings. The items are not selected for their subversive capacity, but rather for the stories While Hadlow physically maps the space This approach can be understood as intrinsic to they embody, to which these artists respond. between two cultures in her artwork through Hadlow’s process. It is also addressed by Mark pieces of traditional Timorese hand-woven Ingold in his inter-disciplinary text Making: While cultural textile objects offer a rich and cloth, Lugg intuitively investigates used, Anthropology, Archeology, Art and Architecture: varied provenance to draw from, the artist worn and repaired Japanese Boro cloths, must engage only with what speaks most re-positioning them within and alongside “What then is the relation between thinking clearly to them. Hadlow discusses how she her own practice. Such processes come and making? To this, the theorist and the seeks to dislocate from a sense of ‘otherness’ about through the initial encounter, where craftsman would give different answers. and romanticism within cultural objects the cultural textile item enables a re-seeing It is not that the former only thinks and (Hadlow 2006). She chooses not to incorporate

18 TAASA REVIEW VOLUME 23 NO.3 THREADBARE II (LUGG, 1999) physical objects within her work: instead she conducts a live conversation with the artifact, incorporating the gleanings into her pieces. This is done in a cyclic manner: examining the derivation of motifs in cloth.

Of particular interest were West Timorese textiles showing a combination of traditional and non-traditional motifs used in contemporary back-strap loom hand-woven cloths with a supplementary weft pattern. Hadlow discovered that an old cross-stitch pattern book was being used as a resource for additional motifs for the supplementary weft weavings. She then made contemporary artwork and a digital book Patternbook (Hadlow 2005) as a type of performative encounter with these cultural objects. This project was conducted in a number of parallel ways, overlaying motifs and re-seeing through the resultant intersection. As she explains:

“In Patternbook (2005) the drawings were comprised of penciled handwriting in English and Indonesian, in the form of X’s, which in turn formed motifs derived from a cross-stitch pattern book lent to me by a Timorese weaver, Ina Lalak. She had incorporated the European cross stitch motifs into her weaving, translating what can be described as a foreign text and, through that process, creating what I think of as a material creole (2006).”

She describes how the performative installation evolved “… on a day-by-day basis, working with improvisation and the notion of The Common Threads exhibition (1999-2005) alternative type of provenance. They draw on a the diary/notebook as a space to record and comprised historical, utilitarian Japanese utilitarian heritage and a socially unrecognised explore” (Hadlow 2006). Images from this work textiles stitched for everyday use, and Lugg’s value-structure. Lugg places her work were later overlaid with written texts about contemporary works made in response. alongside traditional Japanese Boro, allowing her shifting cultural perceptions and a sound According to the exhibition catalogue: for both to be re-seen and re-contextualised. track to create an interactive virtual book, also “[Lugg’s] work incorporated vintage Japanese This creates a dialogue between the pieces, a called Patternbook (Hadlow 2010). Hadlow’s cloth, embedded with memory, to explore the deliberate space where the viewer may reflect process allows the viewer to encounter the art of making-do, a common heritage shared upon what is subtly yet palpably enabled. phenomenological result of the original with the Japanese makers of the old textiles in dialogue, resulting in ‘lived experience’ made the exhibition.” As conceptualists and practitioners, Hadlow visible: a rare kind of artistic exposure. and Lugg interpolate objects of Asian textile The cloths that Lugg chose were worn, material culture in multiple ways. What they Lugg began working with Japanese Boro channeling Yuriko Saito’s Japanese aesthetics perceive in the objects they focus on cannot textiles by deconstructing and reconstructing of imperfection and insufficiency (Saito, 1997). be simply articulated. Textiles as objects of them. They were then made into new pieces, In this text, Saito describes how used, worn, material culture are complex. While it may mirroring her subjective take on the Australian repaired and re-used cloth enables a particular initially seem that Hadlow and Lugg are Wagga quilt and the practice of ‘making- type of austere beauty to emerge and how this looking merely at aesthetics, or the craft-skills do’. The contemporary quilt pieces that she alternative ‘imperfect’ aesthetic may be valued employed in the item’s construction, this constructed were hand-stitched, mimicking the even more highly than a new, unused item (Ibid). cannot fully explain the scope of knowledge running lines of Boro and Sashiko. A perceptive represented by the object or its capacity to shift occurred when she began to exhibit the Australian Wagga quilts are very simple, made operate as a tool for thinking. found objects and her own constructed textile from re-cycled materials like flour sacks, or quilts together. This provided the viewer with tailors’ samples, made by men or women out According to theorist Paul Carter, ‘material a context, whereby the ’original’ item could of necessity (Hucker n/d). Placed in a Western thinking’ is a kind of exchange: “…what become a kind of teaching tool showing the fine-art exhibition context, these used and happens when matter stands in-between esoteric beauty of the other. deliberately re-purposed textiles provide an the collaborators supplying the discursive

TAASA REVIEW VOLUME 23 NO.3 19 THE SITUATED LINE, RUTH HADLOW (2013) PULANG,, CURATED BY MICHELLE ELLIOT, SEPTEMBER 2013,

ARTICULATE GALLERY, LEICHHARDT, SYDNEY, AUSTRALIA

situation of their work” (Carter 2007:19). This is exactly what Hadlow and Lugg engage in: “…the making process always issues from, and folds back into a social relation…It is this back-and-forth or discourse, that provides the testing-ground of new ideas, and which establishes their interest” (Ibid). Carter also examines the potential of a cultural object to remain changeable: “…from the point of view of creative research, materials are always in a state of becoming. They are … colloidal, humid and combinatory” (Carter 2007: 19).

In this way, ‘conversation’ is intrinsic to Hadlow and Lugg’s practices, where the encounter re-shapes both the artist and the work through physical and conceptual dialogue. It is through the ‘performance’ of making that new ideas emerge: being ready to engage with whatever arises in ‘conversation’ with the object (Carter 2007: 19). Artists like Hadlow and Lugg are re-seeing and re- interpolating cues from the intrinsic, dense subtleties of textile language and meaning within a cultural space, a space where the textiles are “…culturally situated on the threshold between the functional and the symbolic” (Pajaczkowska 2005: 222). It is this in-between territory that these textile artists are drawn to, and play upon, within the solitary spaces of their own practice.

Dr Belinda von Mengersen studied textiles at Goldsmiths College, University of London then completed a PhD at the University of Newcastle, Australia. She lectures in Technology (Textiles) at the National School of Arts, Australian Catholic University.

REFERENCES Hadlow, R., 2011, ‘The Library of Translation Exercises: dis/ location and art practice in West Timor’, Art Monthly Australia, no. 244, pp.74-6.

Hadlow, R., 2006, ‘The Library of Translation Exercises’, Mapping the Mind, an unpublished paper seminar paper, University of South Australia.

Hadlow, R., 2010, Patternbook (virtual book),

Hucker, W., ‘Wagga Rugs’, Pioneer Women’s Hut, Tumbarumba, Australian National Quilt Register. http://www.collectionsaustralia. net/nqr/wendy.php n/d, accessed 11/6/2014

Ingold, T., 2013, Making: Anthropology, Archeology Art and Architecture,

Routledge, Abingdon, Oxon; New York.

Lugg, W., 2005, Common Threads, exhibition catalogue (co- curators: W. Lugg and S. Leighton-White), international touring exhibition (1999-2005), various venues in Australia, UK, Japan, New Zealand, USA. This article focuses on the final installation of this exhibition, Belger Arts Center in Kansas City, USA, 2005.

http://www.wendylugg.com/exhibitions.htmPajaczkowska, C., 2012, ‘On Stuff and Nonsense: The Complexity of Cloth’, Textile: The Journal of Cloth and Culture, v. 3, no. 3, September 2005, p. 220-249.

Saito, Y., 1997, ‘The Japanese Aesthetics of Imperfection and Insufficiency’, The Journal of Aesthetics and Art Criticism, vol. 55, no. 4, p. 377-385.

PATTERNBOOK (HADLOW, 2005), INSTALLATION DETAIL, ADELAIDE, AUSTRALIA

20 TAASA REVIEW VOLUME 23 NO.3 TAASA REVIEW VOLUME 23 NO.3 21 CALLIGRAPHIC BATIK CLOTHS IN SOUTHEAST ASIA: MEANING BEHIND THE WORDS

Margaret White

BATIK CLOTH WITH ISLAMIC CALLIGRAPHY AND FLOWER, EARLY 20TH CENTURY, BATIK ON COTTON, 244 X 104 CM (IRREG.),

ART GALLERY OF NEW SOUTH WALES, GIFT OF JOHN YU AND GEORGE SOUTTER 2008

he spread of Islam in the 7th century T produced a vast network of trade based on common values and the shared Arabic language, uniting the ummah or global Islamic community. It is most probable that the calligraphic batik cloths of Southeast Asia were inspired by contact with Indian Muslim and Arab traders throughout the Indonesian archipelago since the 13th century. The Turkish Ottoman empire secured close links with Aceh and Jambi in Sumatra from the 16th century with the spread of Islam and the Sultanate’s influence was particularly evident in this type of batik cloth. Designs may have also been copied from textiles brought back by Hajj pilgrims from Mecca.

Muslims believe that the written word is God’s word and is, therefore, sacred. Thus, calligraphy is considered the highest art form in Islamic culture. Calligraphic batik cloths all bear the elegant, free flowing Arabic script as their main motif which can be represented in various styles, leading to the development of an extensive, artistic vocabulary. The writing was a type of graphic symbolism that carried immense religious significance. Beautiful exercise their skill and creativity in subjects significant rites of passage such as weddings, calligraphy allowed even those who were which were often half hidden or camouflaged. circumcisions and funerals as well as for illiterate to appreciate the perfection, presence Patterns which disappeared beyond the border warfare and royal investitures. Kerlogue notes and power of God. Arabic calligraphy also enclosing them, for example, alluded to beliefs that batik is one of the most meaningful forms functioned to unite the plastic arts throughout of eternity and infinity in Islamic thought. of art in Indonesia and so has come to represent the Islamic world, decorating and enhancing particular symbols reflecting many of the the significance of architecture, and objects in One way in which cloth could be invested values held most dear by the culture which ceramic, stone and metal as well as textiles. with meaning was by covering it with produces them (Kerlogue 2004: 75). Their calligraphy, a task for which the batik meanings are partly associated with the way In the Muslim world, pre-Islamic styles technique was eminently suitable. (Kerlogue are used: how they are folded, where were pared down to eliminate most 2004: 98). The most commonly used phrases they are placed and to whom they are given. representational images. This was connected was the profession of faith in Islam or shahadah In the case of calligraphic batiks, they are the to a fear of idolatry and the belief that only (There is no god but God and Muhammad vehicle for the script invoking deeper meaning Allah was the creator, although it has been is the messenger of God) or the basmallah, a and reverence for the Muslim believer. observed that this practice was not as phrase used at the start of each of the surahs widespread in Southeast Asia (Maxwell 2003: or verses of the Qur’an and uttered before Banners, head cloths and shawls draped over 335). The Arabs adopted the plant motif or any major undertaking. Many batik kaligrafi the shoulders carry motifs with religious twining arabesque which derived from the were hand drawn (batik tulis) using a canting quotations and meanings and are still often Mediterranean vine motif of the Romans and (wax pen) which could render fine detail on used in accordance with the ancient functions the Byzantines, incorporating it into their art resist dyed cotton cloth. The Arabic script of sacred cloths. Ceremonial calligraphic batiks, and making it characteristically Islamic by was known as jawi in all Malay-speaking such as royal banners, are of a superior quality using the motif to fill empty spaces. regions. This stemmed from medieval times and had a considerable amount of time and when both Malay and the Arabic Kufic script expense spent on production. They can even In the illustration of an early 20th century were used. The ancient tradition of applying be used in illness or when divine guidance was calligraphic batik cloth, one can discern a lettering was recorded in the Malay chronicle, required. However, they are not usually worn or stylised, central flower motif within the the Hidayat Raja Muda dating from the late used on specifically religious occasions. calligraphy. Geometric forms such as straight 15th century. lines, squares, triangles, diamonds, circular In Southeast Asia, where the notion of motifs and their variants could be added to Sharing the cultural traditions of other protection appears to be particularly the calligraphy and arabesques as the designer Southeast Asian societies, calligraphic batiks important (Maxwell 2003: 336), calligraphic required (Gillow 2012: 8). Artists were able to are associated with the life cycle; used during batiks served as talismanic, even magical,

22 TAASA REVIEW VOLUME 23 NO.3 BATIK HEAD CLOTH WITH STYLISED ISLAMIC

CALLIGRAPHY DESIGN, EARLY 20TH CENTURY, BATIK, COTTON,

BATIK COFFIN COVER WITH STYLISED ISLAMIC CALLIGRAPHY DESIGN, MID 20TH CENTURY, BATIK, COTTON, DYES, 290 X 105 CM DYES, 95 X 91 CM (IRREG.), ART GALLERY OF NEW SOUTH WALES,

ART GALLERY OF NEW SOUTH WALES, GIFT OF DR JOHN YU AND DR GEORGE SOUTTER 2007 GIFT OF DR JOHN YU AND DR GEORGE SOUTTER 2007

purposes. Soldiers would wear smaller, Calligraphy and prominent Islamic symbols Although calligraphic batiks have not square, red head cloths (ikat kepala) to were originally applied to batik banners and received as much research attention as symbolise bravery and deflect weapons and flags. They had a preference for jelemprang other Southeast Asian textiles, it is clear that bullets. Devout Muslim soldiers killed on patterns (derived from the eight-petalled calligraphic decoration has always been in the battlefield were covered in a large batik lotus motif) and ceplokan patterns (featuring vogue, enjoying widespread appeal in the shroud or kerudung (literally shroud) on their repeated geometric shapes) based on Indian Islamic world. The production of batik with way to their burial. The calligraphic batik patola designs often worked in Islamic green. Islamic calligraphy in Southeast Asia is coffin cover pictured from Jambi is inscribed Eventually, these designs began to appear experiencing a recent revival through screen with the shahadah and stylised bird motifs on deta head cloths and selendang prayer printing and sale to places such as Jambi and arranged around lozenges. shawls. The deta head scarves were folded, Bengkulu. glued and pinned into neat turbans to be worn The origin of the kerudung can be traced to by men at weddings and other ceremonies Margaret White lived in Singapore from 1991-2011 India, Iran and Turkey. It was the Ottoman (Gillow 2010: 289). and was a past president and advisor of the Friends custom to place calligraphic silk cloths over of the Museums (Singapore). She is currently serving the tombs of their saints, holy men, great On some calligraphic batik cloths, words on the TAASA Management Committee following her rulers, martyrs and soldiers. Another likely have been stylised into lions, birds and stars, passions in textiles and ceramics. influence on Southeast Asian calligraphic all of which have religious significance. For batiks is the talismanic jama or shirt which example, a central, star-shaped calligraphic REFERENCES was inscribed with verses from the Qur’an. medallion is possibly derived from Islamic Campbell, Siobhan, 2014. Encounters with Bali, A Collector’s Journey, Indonesian textiles from the collection of Dr John Yu AC Sometimes these jama have been found folded Sufi precepts. In many motifs, the meanings and Dr George Souter AM. Mosman Art Gallery catalogue. up so it is not certain whether they were are encoded with numbers often representing Gillow John, 2010. Textiles of the Islamic World. Thames and meant to be worn or rather carried about on letters or vice versa in a cabbalistic Hudson, London. one’s person (Seow 2003: 323). arrangement. This is particularly prevalent in Kerlogue, Fiona, 2004. The book of batik. Archipelago Press, the cloths sewn into talismanic shirts. Editions Didier Millet, Singapore.

However, it is in the 19th and early 20th Kerlogue, Fiona, 2004. Arts of Southeast Asia: London. century among the diverse communities Kerlogue draws another link with the wider Thames and Hudson, London. that settled on the north coast of Java that Islamic world by the use of the repeated, Maxwell, Robyn, 2003. Textiles of Southeast Asia Tradition, the predominant Muslim influence on swirling tughra. This swirling motif is a device Trade and Transformation. Revised Edition Periplus, Singapore. calligraphic batiks can be seen. In Cirebon, used to authenticate Ottoman state documents Seow, Marilyn. (Ed) 2003.The Asian Civilisations Museum A-Z special batiks in blue and white and red and consists of the name of a Sultan, his Guide to its collections Editions Didier Millet, Singapore. and white were made for export to Sumatra patronymic and the formula May he ever be http://www.sgcool.sg for consumption by Muslim communities victorious. The three central lines with two (Campbell 2014: 44) Examples are shoulder loops which appear like a rooster, is believed to cloths and head cloths decorated with Arabic have supernatural powers and was a common script once worn by Minangkabau clan chiefs design component in square head cloths in the Padang highlands of West Sumatra or (Kerlogue 2004: 161). The early 20th century by fighters in the struggle for independence batik head cloth shown has a central stylised to protect themselves. floral surrounded by four tughras.

TAASA REVIEW VOLUME 23 NO.3 23 RALLI QUILTS: EXPRESSIONS OF CULTURAL & INDIVIDUAL IDENTITY

Sarah E. Tucker

RILII, MAKER UNKNOWN, PROBABLY MADE IN HYDERABAD, SINDH, PAKISTAN, CIRCA 1950-1960, 215 X 123 CENTIMETERS. IMAGE COURTESY

OF THE INTERNATIONAL QUILT STUDY CENTER, UNIVERSITY OF NEBRASKA-LINCOLN; IQSCM 2005.035.0002. WWW.QUILTSTUDY.ORG.

alli is a generic term for a diverse group of R quilts from Northwest India and Pakistan - a geographic area from Rajasthan in the east to Baluchistan in the west, and from the Punjab in the north to Gujarat in the south. This is a region particularly well known for its textiles, and is made up of many and diverse ethnic and tribal groups, each with their own quilt designs and use of particular colours and techniques.

It is Sindh, an area in the south of Pakistan with a population of 42.4 million people, many of whom are related to tribes in Baluchistan, Punjab, Rajasthan and Gujarat, which is considered to be the centre of the ralli-producing area (Sindh Government Statistics). The words ralli (plural) and rilii (singular) mean a ‘quilt or coverlet stuffed with old clothes’ and are words derived from the Sindhi verb ralarnu, to ‘mix freely, to join’, maker. The first category is made with an next as if travelling in a zigzag manner from or ‘connect’ (Parmanand Mewaram Sindhi- upper layer (purr) of patchwork (touki) which east-to-west across the subcontinent. It was English Dictionary). is found in the checkerboard designs of the clear from the beginning how the lexicon of central plains around Hyderabad. Quilts designs could be used to identify the different Ralli quilts are hung over doorways, and used from middle and south Sindh usually include geographic and cultural regions from where to decorate walls, as bedcovers, and on the blocks with appliqué, whereas in the north, they originated. backs of animals. They can also be made into appliqué and patchwork blocks are often bags to hold a dowry (gotho) to wrap a sacred combined in the same quilt. The first example of a rilii quilt in the text (bhuiki) or even by a snake charmer to exhibition was from Rajasthan. It included store his snake (Ormsby Stoddard 2003: 31). The designs used in making ralli have been appliqué, small glass mirrors (shisha) and passed from woman-to-woman for perhaps fragments of fabric arranged in intricate Until the 1970s women only made ralli for thousands of years, and thus can provide geometric patterns. The 19th century ‘crazy’ personal use, and the cloth used was recycled insights into the collective identity of a cultural quilts - a form popular in England and North from old clothing. Now ralli may also be group or tribe. And although a woman may America - have a marked resemblance to this made from new cloth, and offered for sale to learn to make ralli from her mother or other style of quilt, which raises the question of provide extra income for their families. Where women in her community, she may choose to whether there was a link between these two previously a rilii would have been made from adapt the design. When a rilii is made from types of quilts at the height of British colonial cotton, more recently synthetic fabrics are discarded clothing, it may provide additional involvement in India. Histories of the quilt used - they are easier to hand-stitch and retain insights into its maker’s life, just as her choice medium suggest the enthusiasm for ‘crazy’ their colour when washed. of colours expresses her individual creativity. quilts came from North America, yet the connections between Rajasthan and Britain The older ralli were made with cloth of Ralli are also made to celebrate special and the similarity in layering and embroidery colours related to those found on prehistoric occasions such as a wedding, prior to which techniques used suggest the possibility of pottery from the Indus region - red, black, the women come together to sew a dowry another channel of inspiration via the women yellow, green and blue (Ormsby Stoddard quilt, and the stitching, pattern, and cloth who spent time in India in colonial times. 2003: 48). With the emergence of synthetic used in these quilts may be particularly fine. fabrics, however, a brighter palette has This is an important feature of quiltmaking From Rajasthan the exhibition moved to emerged. Exceptions are ralli made by the two across many cultures, giving women a chance the region of Gujarat, and an extraordinary nomadic groups, the Saami and the Jogi, who to meet together, exchange stories and sing. whole-cloth quilt made from a typical Rabari use a solid colour background on whole-cloth, shawl, richly embroidered and appliquéd so richly embroidered with threads of different I was first introduced to the term ralli in that the surface had a remarkably dynamic colours; thus the thread creates the pattern, an exhibition, South Asian Seams at the quality. Here the exhibition progressed to not different cloth colours. International Quilt Study Center & Museum the second room and ralli from Pakistan. in Lincoln, Nebraska during a visit in 2010. On the walls were quilts from the southern Ralli can be divided into three main categories, Sindh region, with colour scheme and and these can be used as a rough guide to The exhibition was laid out on a regional basis; ornate appliqué characteristic of the Muslim identify the region and cultural group of the the visitor effectively led from one quilt to the Chauhan quilters.

24 TAASA REVIEW VOLUME 23 NO.3 RILII, MAKER UNKNOWN, PROBABLY MADE IN CHOLISTAN, PUNJAB, PAKISTAN, CIRCA 1975-2000, 214 X 138 CENTIMETERS. IMAGE COURTESY

OF THE INTERNATIONAL QUILT STUDY CENTER, UNIVERSITY OF NEBRASKA-LINCOLN; IQSCM 2007.004.0004. WWW.QUILTSTUDY.ORG

Removing the quilt from its traditional place in the home and displaying it within the art gallery results in a shift in focus. Viewing quilts in this setting encourages an analysis of their aesthetic qualities and formal characteristics, supported by an informed narrative which places them in their cultural context. Imagining a quilt back in its domestic setting can cause an abrupt shift from the public to the private domain.

And this is what happened to me when I came across a charpoy covered by a well-used and worn ralli from Thatta, Sindh at this exhibition in Lincoln, Nebraska. Suddenly I experienced a flash of memory which took me back in time to my childhood as a 5-year-old living in the Baluchistan region of Pakistan. Experiencing this personal connection led me subsequently RILII, MAKER UNKNOWN, PROBABLY MADE IN GUJARAT, INDIA, CIRCA 1970-1990, 196 X 127 CENTIMETERS. IMAGE COURTESY OF to explore the world of the ralli in greater THE INTERNATIONAL QUILT STUDY CENTER, UNIVERSITY OF NEBRASKA-LINCOLN; IQSCM 2005.033.0021. WWW.QUILTSTUDY.ORG detail, where I found myself asking questions concerning identity - of the collective, of the individual.

The act of joining two or more layers of cloth by means of lines of stitching to make a quilt, an object that is both functional and decorative, is found in many different cultures. The quilts produced in the Indus valley are particularly distinctive and varied, and represent a tradition that has been practiced for perhaps thousands of years. This is a tradition that has not, however, remained unchanged: these ralli not only identify the various tribal and ethnic groups of the region, they also celebrate the ongoing resourcefulness and creativity of the individual women who make them today.

Sarah Tucker had a nomadic childhood living in various countries in Asia, Europe and the Middle East. She graduated BSc Hons (Zoology) 1974, MSc (Biophysics) 1976, MArtTh (UNSW) 2005. She writes, RILII, MAKER UNKNOWN, MADE IN MATLI, BADIN, SINDH, PAKISTAN, CIRCA 1970-1980, 221 X 137 CENTIMETERS. IMAGE COURTESY OF curates and makes quilts. THE INTERNATIONAL QUILT STUDY CENTER, UNIVERSITY OF NEBRASKA-LINCOLN; IQSCM 2006.021.0004. WWW.QUILTSTUDY.ORG.

REFERENCES International Quilt Study Center & Museum (IQSCM), University of Nebraska, Lincoln, Nebraska USA

Ormsby Stoddard, Patricia, 2003. Ralli Quilts, Traditional Textiles from Pakistan and India, Schiffer Publishing Ltd

Parmanand Mewaram Sindhi-English Dictionary (online):

Sindh Government Statistics (online): .

TAASA REVIEW VOLUME 23 NO.3 25 RESEARCHING IN THE FIELD – THE SRI KSETRA MUSEUM, PYAY, MYANMAR

Charlotte Galloway

NEW CHALLENGES EACH DAY

n 22 June 2014, at the UNESCO conference O in Doha, Myanmar’s Pyu city sites became inscribed on the World Heritage List. The three city sites of Sri Ksetra, Beikthano and Halin are recognised as the most intact and largest examples of first millennium settlement in Southeast Asia, and also are key in tracing the development of Buddhism through the region. I was particularly delighted to see the sites so recognised, especially as I have visited Sri Ksetra a number of times, and had just spent extended periods there in the first half of 2014 while on sabbatical from the Australian National University.

Sri Ksetra has long been recognised as a region rich in history. Preparation of the documents for UNESCO required extensive research of the site itself which was the focus for the listing. The objects in the local site museum were somewhat peripheral to the formal documentation. My study program panels outlining key elements of the region’s terminology and learned much from my involved the complete cataloguing of the Sri history including religion, architecture and Myanmar colleagues about how they describe Ksetra Museum collection and most of the burial practices. The objects themselves are the material in the collection. objects in storage. I worked with local staff, remarkably varied – from large stone steles incorporating training in museology, while and imaginative terracotta architectural The experience was extremely worthwhile. I we jointly discussed and described the array plaques to delicate silver coins and gold rings, worked with fellow professionals who were of artefacts from the site. and much more. all keen to learn more about international museum practice. The museum itself is The project was suggested to me by Dr Bob Cataloguing the works was a great experience, looking terrific and even with its modest Hudson, a Sydney based archaeologist though it had its own challenges. I worked resources and facilities, gives visitors the known to many TAASA members. Bob is with the manager of the Museum and her opportunity to see some fascinating objects one of a small team who worked with the assistants, as well as staff from the Archaeology professionally presented, including some of Burmese to prepare the UNESCO submission, Field School who teach museology. Each day the earliest Buddhist artefacts from Southeast and he appreciated that there was a need to we measured, described and discussed objects, Asia. Large scale stone sculptures are a stand start more formal documentation of existing with me typing everything onto my laptop and out art form for me, as is the variety of styles artefacts. With approval from the Myanmar taking photographs. It was hot, high 30s and and iconography which makes developing a Ministry of Culture, I spent two month-long even low 40s most days, with an overhead fan chronology of Pyu art a challenge, but one I periods in Myanmar, focussing on cataloguing providing some relief in the museum but not am definitely pursuing! Teaching students the Museum collection with local staff. In in the store where open windows and doors from the Field School who are studying for addition I also gave lectures on museology to provided the available ventilation. their Diploma in Archaeology was also a the new intake of students at the Archaeology great experience and helped show how the Field School at Pyay. I thank everyone involved for retaining good museum could be used as a teaching resource. humour through these trying conditions! The Sri Ksetra Museum (formerly the While I had brought some museum tools Sri Ksetra is now firmly on the map. Tourism Hmawsa Museum) is on the outskirts of such as tape measures, soft brushes for will steadily increase and the site will need Hmawsa village, around 6km from the cleaning and torches, I was reminded again to respond to this. We have some ongoing major city of Pyay. The original site museum, how much we take resources for granted. projects in place including development established in the early 1900s, remains in the Basic equipment items such as a stepladder of a museum guide book, and continued grounds of the adjacent monastery, Kyauk or cotton gloves are just not readily available. cataloguing of Pyu artefacts from the region. Kar Thein, and is used as a store. The current Modern museum practices are simply not I look forward to continuing my association museum building was built in the 1960s with well known in Myanmar as opportunities to with the staff and am already planning my later extensions. The museum remained develop such skills have only recently been next visit! unchanged until September 2013 when there available. We spent time on art handling was a major refurbishment of the displays in practices and preventative conservation. We Dr Charlotte Galloway is a Lecturer, Asian Art History conjunction with the UNESCO submission. discussed wall labels and visitor information. and Curatorial Studies at the Australian National These are accompanied by thematic wall I shared information on western art historical University, Canberra.

26 TAASA REVIEW VOLUME 23 NO.3 COLLECTOR’S CHOICE: A MUANG HUN TEXTILE FROM NORTHWEST LAOS

Gay Spies

TUBE-SKIRT (SINH) FROM MUANG HUN, OUDOMXAI PROVINCE, NORTHWEST LAOS, LATE 19TH C..

© GAY SPIES, IMAGE COURTESY OF CAROLINE WHITLEY

ravellers taking the two-day boat trip T down the Mekong River to Luang Prabang spend the night in the little town of Pak beng, perched above the steep riverbank. Most people continue down-river, but a few intrepid travellers take the road north toward the provincial capital, Oudomxai. Few stop on the way in the little town of Muang Hun and fewer still are aware of the extraordinary textiles, like this tube-skirt, once produced here.

When these unique textiles first appeared on the market in late 20th C, they created quite a stir. Very little was known about them or their weavers. Some thought they had been woven by the Tai Lue, because the tube- skirts displayed typical Lue structure: two script, are renowned as weavers, preferring In their new locations the Phuan adapted side seams (most other Tai tube-skirts have cotton and bright chemical dyes. They are by changing their style of dress, tradition only one), the pattern in the mid-section almost unique among the Tai for their use and language to fit in with the locals. Sadly, (body) oriented horizontally when worn, of tapestry, but use it in narrower bands, few in Muang Hun now remember their old and a separate waistband (head) with dark indicating area of origin through pattern and traditions, though their traditional songs indigo hem piece (foot). Most had a red placement. Their use of silk is almost always remain, as does the use of silk warps and cotton waistband and a white cotton border to confined to tapestry and supplementary weft. the use of complex supplementary weft the hem piece. All featured three yellow silk patterning. bands above the hem. The history of Muang Hun may help to explain the difference between these Both the Buddhist Lue and Phuan wove This piece however is all silk, with natural distinctive pieces and those woven by Muang textiles for the animist Mon-Khmer-speaking dyes. The warp and most of the weft is red, Hun weavers today (and the Lue generally). Khmu, the original inhabitants of the country while all of the supplementary weft is in In particular, the use of silk in the warp is living in the hills throughout Laos. Examples different colours, creating a most harmonious more characteristic of the Tai Phuan, masters of the simple textiles they once wove on blend of hues. Its most striking aspect is the of sericulture and silk weaving. They use silk backstrap looms can be seen in the excellent prominent panel of fine tapestry weave, with warps when silk is used in the weft. The Lue Traditional Arts and Ethnology Centre in the colours ‘outlined’ in white. A narrower, and Muang Hun weavers today use the same Luang Prabang. These unique Muang Hun more subtle band of tapestry in the same techniques, however the main decorative tapestry tube-skirts are part of their textile shades, without the white, is placed on the section is narrower and placed at hip level, treasure, for use in ritual ceremonies. upper part of the body. A second major while use of tapestry is more discrete, making element consists of bands of discontinuous the overall effect more restrained. This beautiful, exuberant tube-skirt was supplementary weft, some with triangular made for sale to Khmu shamans. It would shapes enclosing motifs of flowers, fern In the outlying villages around Muang Hun, have never been worn in Muang Hun. As tendrils and small birds. Narrow bands of the Lue are the dominant ethnic group. They textile scholar Patricia Cheesman noted: “No- red and white ikat, and of green or white migrated from the independent principality one would dare wear such an outrageous continuous supplementary weft, separate of Sipsongpanna (now in Yunnan, China) and piece in their own village” (2014 personal these design elements, whilst the bottom intermarried over the last 200 years with the communication). of the hem shows the characteristic yellow Tai Phuan, who originated from the Phuan silk stripes. The brown waistband and dark Kingdom in northeastern Laos. Gay Spies, OAM is a former microbiology teacher, indigo hem are handwoven in cotton. active in community and environmental organisations. The Phuan are the most displaced of all the Her interests include Lao and Thai textiles, tracking I am always attracted to textiles with ‘folk’ Tai. Their territory (now Xieng Khouang down old temples with interesting murals and leading character, as they display the weaver’s province) suffered repeated invasions, and small group tours to Laos. personality. I fell for this textile when I spotted was heavily bombed in the Vietnam War. it in a textile shop in Luang Prabang in the There is no record of the Phuan arrival in REFERENCES early 1990s. It was sold as a 100 year old Tai Muang Hun. After the end of the civil war Cheesman, Patricia (1998). Introducing Muang Hun Textiles, in: Tai Studies Proceedings, S. Burusphat (ed), Bangkok and (2014) Lue tube skirt from Oudomxai province. (1975) the people were relocated to Luang Personal communication. Prabang because they were thought to be Songsak Prangwatthankun (2008). Cultural Heritage of Tai Lue However this one is not typical of Lue textiles. rightist. The area was destroyed and deserted Textiles, Chiang Mai University. The Lue, who live in northwest Lao and have for 10 years. People later returned and rebuilt distinctive architecture, dress, language and the town and surrounding villages.

TAASA REVIEW VOLUME 23 NO.3 27 BOOK REVIEW: EXHIBITING THE PAST

Gill Green

Three Ambonese women ready for church,

n/d. Private collection M. Hulsbosch

which became most pronounced in the late Dutch colonial period.

Autochthonous dress consisted of simple loincloths ciao babaungga for men and harene for women. The Ambonese, however, responded to the changes in their society - affecting their religion, education and social hierarchy - which challenged their ancient customs. European Protestant and Catholic customs, for example, demanded the body to be covered and Islamisation added Pointy Shoes and Pith Helmets. further facets to the requirements of dress. Dress and Identity Construction in Ambon from 1880-1942 In response to these influences, women Marianne Hulsbosch adopted skirts, and kain, with long Brill, 2014 sleeve jackets baju or of finer fabric. RRP $US 142.00, hardcover, 237 pages Men’s dress conformed increasingly to European styles of trousers, with shirts and This publication is an intensive sociological jackets. While the Ambonese responded to the and cultural examination of Ambonese colonial circumstances, the author concludes society as mediated through dress and that the Ambonese never completely Added to these are numerous charming adornment in the late Dutch colonial period. abandoned their adat or traditions associated sketches which the author has prepared from Ambon, a famed Spice Isle in the Indonesian with dress. Interestingly, both male and images, where she wanted to show details archipelago, is situated more or less halfway female Dutch civilians living in Ambon often of hairstyles, jewellery and ornamentation between the most easterly reaches of Sulawesi adopted styles and fabrics in their dress, in essential for the completion of traditional and the western tip of West Papua. Together recognition, at least at a pragmatic level, of the dress for celebratory events in the lives of the with a number of other tiny islands in the tropical conditions they experienced. These Ambonese, as well as their newly assumed central Moluccas group, their reputation for reflected local styles while making their own roles in the hierarchy of colonial society and spice-laden resources far exceeds their size. lifestyle more comfortable. religion.

It was the spices - cloves, nutmeg and mace The discussion delves further than the textile The material supplementary to the text - that drew first the Portuguese in the early components of dress. Ambonese women consists of a list of end notes to each chapter, 16th century, then the Dutch who, a century created elaborate ornamentation which is a catalogue of image sources, a glossary of or so later, fiercely contested the Portuguese described here in great detail, encompassing technical and non-English terms, a register of trade presence. Ultimately the Dutch won the contribution of jewellery, hairstyles as well interviews over a 12 year period by the author out and established themselves in the region, as hair ornaments. It includes the elements of both in Ambon and amongst Ambonese in specifically in the Moluccas. This history is dress distinctive of wedding attire. Women’s the diaspora, as well as a comprehensive important because it transformed the society slip-on style shoes with upturned, pointy toes, bibliography. A map would have been a of the indigenous peoples of the islands, most cenela and kaus (which provide the title of the useful addition, this area being perhaps a significantly during the last century of Dutch book) obliged them to take small, constricted lesser-known area of Indonesia. colonial rule. steps integral to a notion of appropriate deportment. This publication is without doubt a unique Dr Hulsbosch frames her analysis in and insightful resource both in the depth of sociological terms according to a theoretical For readers interested in traditional textiles, its examination and analysis of Ambonese typology which “…can be used in analysing it is worthy of note that the indigenous dress and adornment and the discussion of sartorial expression as a means of defining peoples of this archipelago, the Alifuru of Ambonese responses to shifting influences identity” (p2 note B). This approach leads her neighbouring Seram, did not have a weaving resulting from colonial society, socioeconomic to organise her discussion under the headings tradition. Their dress in pre-colonial times circumstances, cultural demands and of “Disciplined dress”, “Dominating dress”, employed both natural materials plucked competing religions. “Mirroring dress” and “Communicative from the forest as well as beaten barkcloth. dress”. Described within these chapters are Gill Green is President of TAASA and an Honorary the complex and ever changing components of This hardcover publication is profusely Associate in the Department of Art History and Film dress adopted by Ambonese in response to the illustrated with historical photos from the Studies, University of Sydney. impact of the dress codes, fashions, materials, author’s private collection as well as from that and accessories of European origin, an impact of the KITLV (The Royal Netherland Institute in evidence as far back as the Portuguese but of Southeast Asian and Caribbean Studies).

28 TAASA REVIEW VOLUME 23 NO.3 TAASA’S AGM AND THE INAUGURAL TAASA ORATION

Sandra Forbes

TAASA President Gill Green with recently retired TAASA Treasurer, Ann Guild.

Below: Professor David Christian of Macquarie University, presenter of first TAASA Oration, Source www.bighistory.org.uk

TAASA’s Annual General Meeting 2014 was held in Sydney on 21 May – and yes, we would normally have reported on this earlier, in the June issue of TAASA Review. However, this year the AGM took place so close to our June print deadline that a report had to wait until September. In future, TAASA hopes not only to better synchronise the AGM and deadlines for the TAASA Review, but also to have the capacity speedily to report such events and their outcomes on our redesigned website.

Held in a capacious and comfortable lecture theatre provided courtesy of COFA, the AGM this year attracted 51 members. Our high attendance number for this AGM strongly suggests that the big drawcard of the evening was the post-AGM, inaugural ‘TAASA Oration’, given by Dr David Christian (see below).

The meeting noted that, despite a small loss during 2013 (the year in review), the Society’s the meeting was advised that the project financial position was satisfactory, and was moving forward. The Management Treasurer Todd Sunderman was thanked for Committee meeting held subsequent to the his professional presentation. AGM confirms that a new website for TAASA should be up and running this year. The meeting’s Chair, President Gill Green, advised that former Management Committee At the conclusion of the AGM, Gill Green members Hwei-fe’n Cheah, Matt Cox, introduced Professor David Christian from Charlotte Galloway, Ann Guild, Yukie Sato Macquarie University, the inaugural ‘TAASA and Susan Scollay were all stepping down Orator’. The TAASA Oration, a new initiative from the Committee as of this meeting, and of the Society, aims to provide an annual forum had not chosen to re-nominate. All were where distinguished speakers can present ideas sincerely thanked for their generous donation and projects aimed to inspire. Dr Christian input ideas and advice to further TAASA’s of time and work to the Society. Gill Green certainly fulfilled those criteria. His specialty is aims’. As Emeritus Curator of Asian Art at the particularly thanked and commended Ann the concept of ‘World History’ or ‘Big History’, AGNSW and a past President of the Society Guild for her hard work, professionalism, a new approach to history which attempts to (1992-2000), Jackie is ideally qualified for this efficiency and tireless energy, particularly integrate knowledge drawn from a wide range diplomatic posting. as Treasurer (for eight years) and Events co- of disciplines from history to geology, biology ordinator (three years), during her many to cosmology. He is now working with the I’m sure all TAASA members wish the years of service to TAASA. support of Bill Gates on a free, on-line high Management Committee, and especially school syllabus. His talk was fascinating and TAASA Executive members (President Gill Green (current President) and Josefa erudite, and certainly his basic argument that Gill Green, vice-President Ann Proctor, Green (editor TAASA Review) had also come to ‘the recent past is only understandable in terms Treasurer Todd Sunderman and Secretary the end of their three-year terms, but offered of the whole 14-billion-year span of time itself’ Dy Andreasen), the new Events co-ordinator themselves for re-election, which the meeting is most attractive intellectually. While I freely Sandy Watson and new co-ordinators for endorsed with enthusiasm. Boris Kaspiev, admit to finding his total concept somewhat too Victoria (Boris Kaspiev) and Queensland Natalie Seiz, Sandy Watson and Margaret complex to grasp in one sitting, his ideas and (James MacKean), every success in working White (previously one year term) were also presentation are very stimulating – see Endnote together to increase our awareness and elected unopposed for three-year terms on the below on how to check this out further. understanding of the marvellous arts of Asia. Committee. The full list of TAASA Committee members for 2014 appears on the Editorial The first Management Committee meeting For more information on David Christian’s page of this issue. after the AGM confirmed the new members ‘Big History’ initiatives, see many websites of the TAASA Management Committee and including Wikipedia and Macquarie University’s In answer to a question about the re- saw the initiation of another new idea for www.mq.edu.au/about/events/view/vivid- development of the TAASA website, TAASA: Jackie Menzies was in attendance ideas-exchange-david-christian-on-teaching-the- arising from the minutes of the 2013 AGM, as the first TAASA Ambassador, invited ‘to big-picture/

TAASA REVIEW VOLUME 23 NO.3 29 RECENT TAASA ACTIVITIES

TAASA Weekend Excursion to Canberra facets of Asian textile study. The audience threatened, initially by low priced mill 14 – 15 June 2014 of nearly 80 people was treated to three textiles during the British Raj and after The final days of the National Gallery of stimulating presentations from Susan Scollay, partition, by the loss of major markets Australia’s exhibitions Gardens of the East: Christina Sumner and Siobhan Campbell. particularly Muslim Pakistan. Post Indonesian Photography 1850s to 1940 and A summary of their presentations have been independence, the Government introduced Finding your place in the world: contemporary published in this issue (see pp4 – 12). Our a Chikan embroidery scheme to revive the Indonesian photomedia coincided with the thanks to Ann Guild and Christina Sumner craft but the artisans were exploited by beginning of another show, Bali: Island for their efforts in organising this successful unscrupulous contractors. Today, SEWA (Self of the Gods. Furthermore, a symposium event and to the Powerhouse Museum, Employed Women’s Association) assist by held in conjunction with the photography Sydney for the use of their lecture theatre. cutting out the middleman. exhibitions proved to be an ideal opportunity for a group of TAASA members to gather in TAASA TEXTILE STUDY GROUP Her talk was supported by a display of Canberra over the weekend of 14-15 June. Foreboding Future for Fragile Fabrics - exquisite Brocade and Chikan work together An illustrated talk by Sue-ann Smiles with her own wonderful photographs taken It was a somewhat poignant treat to 7 May 2014 during her recent travels to the region. be taken around Gardens of the East by In this engaging presentation, Sue-ann Helen Perry retiring curator, Gael Newton. We have all Smiles, a member of the TSG, examined two benefitted immensely from her interest in very different textile traditions: the gold From Fashion to Passion: The kimono Asian photography during her curatorship. thread brocade of Varanasi (Benares) and the culture of Japan 1900-present day Participants enjoyed hearing a range of Chikankari embroidery of Lucknow and how A personal exploration by Fiona Cole local and international presenters at the their future is, literally, hanging by a thread. 11 June 2014 Saturday symposium. Amongst them was the What kimono to wear and when to wear celebrated contemporary artist F X Harsono, Sue-ann explored the rich history of Varanasi it are two important dress considerations whose work was included in the exhibition brocade from early accounts of woven gold in Japan. In June, our guest speaker from Finding your place in the world: contemporary thread in Hindu scriptures of the Vedic Singapore led us through some of the Indonesian photomedia. He and other speakers period, through its peak under the patronage complexities of women’s kimono including joined us for drinks generously provided by of the Mughal emperor Akbar, to present day its varying styles, construction, materials and Asia Book Room on the Saturday evening. production as evidenced by her on a recent motifs. We learnt that a furisode with its long, visit to the artisans’ studios. Also discussed flowing sleeves and extravagant obi bow may On Sunday morning, Robyn Maxwell took the was the evolution of brocade looms that has only be worn by young, unmarried women. group through her latest, splendid exhibition, allowed production of an affordable but far It can be lined or unlined according to the Bali: Island of the Gods. Following an excellent poorer quality product. Due to the high cost season and may also be worn for Coming lunch at the gallery café, we concluded the of employing traditional weaving methods, of Age Day in January. Designs include the Indonesian weekend with a most enjoyable the studios still producing the genuine article Three Friends of Winter (pine, bamboo, plum performance of Balinese Dance. now have a limited clientele. blossom) or lattice and drum. Ann Proctor Sue-ann explained how the production Married women wear the kurotomesode for TAASA Symposium: Symbolism and of Chikankari embroidery has also been the most formal occasions, usually in a Imagery in Asian Textiles plain, darker coloured silk patterned only 19 July 2014 below the waist with shorter sleeves. A red TAASA’s flagship symposium was this year lining and decoration inside the robe is held to celebrate the 20th anniversary of characteristic of vintage pieces. A silver or the TAASA Textile Study Group, a group gold brocade obi and matching zori (shoes) whose members have unfailingly and and handbag completes the outfit. enthusiastically dedicated themselves to promoting interest in and knowledge of all The homongi is for visiting and can be a more formal garment with pattern flowing around the hem or over seams extending above the waist onto sleeves and shoulders. Attending a tea ceremony? Then you must wear the iromuji which literally means solid colours although black is excluded as it reserved for mourning wear (mofuku). For more casual engagements, the komon is worn which has an all over repeat pattern, originally stencilled.

Speakers at TAASA’s Textile symposium. From L to R: Christina Carole Douglas examining an exquisite Chikankari shawl

Sumner, Siobhan Campbell, Susan Scollay. Photo: Gill Green © Sue-Ann Smiles, Image courtesy of Sandra Watson

30 TAASA REVIEW VOLUME 23 NO.3 TAASA CSG Ikebana event. Camellia and pine in stoneware Russell Howard presenting Lao textiles from his

vessel arranged by Kuniko Nakano. Photo: Ann Proctor collection to TAASA members. Photo: Boris Kaspiev

As Fiona revealed each strikingly and beautifully woven kimono and shorter, women and men’s haori jackets from her collection, audible oohs and aahs were heard. We learnt that while kimono clad ladies are an iconic symbol of Japan, in the space of little more than a century this garment has rapidly moved from being the staple of every wardrobe to the preserve of ceremonial occasions and specialist wearers. Renting kimonos for special occasions is now quite common. After donning white, cotton gloves, keen participants eagerly got up close and personal to the textiles. Southeast Asian textiles for more than 25 Margaret White years. Most recently, Russell has focussed on Tai textiles from north-east Laos. Viewing TAASA CERAMICS STUDY GROUP a selection of ikat skirts, we were taken on Ikebana: relating ceramics with a textile journey from Sonla in north-west flower arrangement Vietnam through north-east Laos and back 7 June 2014 into Vietnam’s Nghe An province. A meeting of the Ceramics Study Group was maintain the elements of the arrangement Russell explained how the function of the held at the house of Dr and Mrs Tenpas one in a perfect position. The final landscape skirts and the designs varied between the Tai Saturday in June. Twenty-two members and arrangement evoked a lakeside environment groups living in this mountainous area. We friends gathered to hear Mrs Kuniko Nakano, with cleverly placed branches, ferns, flowers then viewed a selection of ceremonial shawls Head of the Sydney Ohara Group of Ikebana, and mosses. from the same area, dating as far back as demonstrate the relationship between the late 19th century. Russell has regularly ceramics and flower arrangement. This school We all expanded our knowledge of Ikebana travelled to Laos, and was able to share his of Ikebana originated during the Meiji Period. through the delightful presentation by Mrs firsthand experience of the source of textiles, Nakano and her assistant, who explained the stories associated with their production Kuniko Nakano has many years of experience the philosophy and practicalities of this style and use, and the changing nature of their practicing and teaching this art form as was of flower arrangement in a charming and place in the culture of Tai people. ably displayed during the morning. She knowledgeable manner. The CSG is grateful to produced three types of arrangement for the Tenpas’ for the use of their home for this Russell drew on his extensive library three differing types of ceramic vessel, each most enjoyable morning. to illustrate the few published textual of which expressed a particular aesthetic Ann Proctor sources about the history of textiles from mood. One, in a flat Oribe style of container, Laos. He discussed the potential for appeared like a miniature garden behind a TAASA IN VICTORIA misunderstanding the meanings of textile fence and was enhanced by the placement of Visit to the textile collection motifs when researchers fail to establish a plain paper table screen at the rear of the of Russell Howard the place of origin of the textile and to arrangement. The first arrangement in a hand 12 June 2014 identify the Tai group that made it. TAASA made stoneware vessel, used branches of pine TAASA Victoria members and guests were participants that they were fortunate to and camellia. Group members were surprised privileged to visit the home of Russell be able to view such an extensive collection, to learn about the various devices, which Howard, who has been collecting mainland informed by Russell’s deep knowledge and

TAASA MEMBER PROFILES SIOBHAN CAMPBELL

that evolved from the study of Indonesian I currently teach in the Indonesian Studies language as a high-school student. Having program at the University of Sydney and completed an undergraduate degree in this year worked with Mosman Art Gallery Asian Studies from the University of New and Dr John Yu, AC to curate an exhibition South Wales, I worked as a translator of Indonesian textiles from his collection. and interpreter with the United Nations Transitional Administration in East Timor and In August 2014 I will commence a further later as a Liaison Officer with the Indonesian period of field research on Balinese art as Consulate General in Sydney. In 2009 I an Endeavour Postdoctoral Fellow. Over I am greatly excited to be welcomed into the began postgraduate study at the University of coming years I look forward to sharing more folds of TAASA, an organisation that fosters Sydney, researching the Australian Museum’s insights from my work with the TAASA such far-reaching knowledge, appreciation collection of Balinese paintings to examine the community and, more importantly, to learn and enthusiasm for the art and culture of relationship between the collecting process from and be inspired by fellow members. Asia. My own interests are based around and the contemporary production Indonesian material culture, an interest of ‘classical’ art in Bali.

TAASA REVIEW VOLUME 23 NO.3 31 Chris Reid discussing textiles he displayed

at the QAGOMA talk. Photo: Gill Green experience, and finished the evening by For an in-depth article about the exhibition asking him when he was going to write his and the history of the samurai, please see own book about this fascinating and little Wayne’s article in the June 2014 of TAASA known area of textile history. TAASA is very Review. grateful to Russell for allowing us to share Boris Kaspiev his passion, and we look forward to a return visit to view his collection of Southeast Asian TAASA IN QUEENSLAND palm leaf manuscripts. Member preview of Mossgreen Asian Art Auction Walkthrough of the exhibition 5 June 2014 Bushido – Way of the Samurai TAASA QLD members attended an Auction 5 July 2014 Preview evening hosted by Jan Manton Wayne Crothers, Curator of Asian Art at the Gallery, with Mossgreen Director Paul National Gallery of Victoria, led TAASA Victoria Sumner introducing Asian ceramics and members on a walkthrough of the exhibition Chinese scholar pieces from their forthcoming Bushido: Way of the Samurai. It is believed this Melbourne auction. Guests were treated to may be the first exhibition about the samurai many interesting anecdotes and insights into shown in Australia. Most of the exhibits were the Asian Art market, and were able to handle drawn from the NGV’s own holdings, and some selected items that Paul had brought with him have never been previously displayed. in his suitcase for the event!

Wayne highlighted objects of specific interest for the history of collecting in Melbourne, including suits of Edo period armour, horse Greg Pankhurst and Ruth McDougall, Curator, saddles and stirrups, a full set of horse Pacific Art, in front of textiles from Greg’s collection. trappings and textiles that were acquired Photo: Mandy Ridley by the NGV in Melbourne during the 1880s, and other items whose acquisition was TAASA members, resulted in a wonderful made possible through the Felton Bequest. weekend of textile discovery in Brisbane. Bushido includes items in a variety of Greg has been a long time collector of media: sumptuous textiles, lacquer work, traditional textiles from south Sumatra, metalwork, wood block prints and sculpture. especially tapis, Lampung’s famed couched Paul Sumner presenting items from Mossgreen’s gold thread women’s skirt cloths. Persuaded forthcoming auction. Photo: Mandy Ridley. THE TAASA by Janet and James, Greg very generously allowed Janet to curate a beautiful collection TEXTILE STUDY GROUP Artist Talk – Khadim Ali of textiles selected from his collection. IS TURNING 20 26 July & 5 August 2014 On Tuesday 5th August, Josh Milani The exhibition was hung in her Gallery 159 Gallery hosted a viewing and talk by Josh at the Gap, just to Brisbane’s north. Visitors introducing the work of Australian based were treated to a dazzling display of tapis and Hazari artist Khadim Ali in his latest show also to a number of rare ‘ship cloths’. This of works on paper, video, and featuring opening was preceded by a re-creation of three large handmade carpets with intricate their Lampung wedding by TAASA members designs commissioned in Afghanistan Chris Reid and Evie Reid in the Queensland by the artist. Earlier, at the opening on Art Gallery, with the lecture hall decorated Saturday 26th July, TAASA members had the by the actual textiles, many and diverse, that opportunity of meeting the artist, who accompanied their wedding in 2000. The talked very movingly about the plight of question for Greg on everybody’s lips was You and your partner are invited the minority Hazari community in Southern when was he going to write the book! to join us in celebration. Afghanistan, and the thematic elements Gill Green Date Tuesday 28th October informing his powerful works, which Time 6.00 For 6.30pm unitl 9.00pm continue to receive increasing acclaim both in Place Nigiri’s Australia - with his survey earlier this year at 81 Christie Street AGNSW, and overseas at invited shows such St Leonards Dress A touch of India as Documenta. Contact Gill Green: [email protected] M: 0466 977 313 TAASA Queensland Textile weekend 2-3 August 2014 TAASA TSG Members and their Guests: $50 Per Person. Bookings and payment in A meeting between TAASA Queensland advance are essential. No refunds convenor James MacKean, The Australian This includes: all entertainment, sumptuous Forum for (TAFTA) founder, food, dessert, wine, soft drinks, tea & coffee and much more. Janet De Boer and the self-styled “doily collecting cowboy” Greg Pankhurst, all

32 TAASA REVIEW VOLUME 23 NO.3 TAASA MEMBERS’ DIARY SEPTEMBER – NOVEMBER 2014

TAASA Member Talk & Preview – Bonhams TAASA Victoria end-of-year party TAASA IN QUEENSLAND 76 Paddington St, Paddington, Sydney Thursday 4 December 2014, 5.30 – 7.30pm Artist talk with Vipoo Srivilasa Wednesday 29 October, 2014, 6 -7.30pm East & West Art Gallery, East Kew Saturday 6 September, 3 - 5 pm Bonhams will be holding an auction of a Cost: $20 members, $25 non-members. Edwina Corlette Gallery, major collection of snuff bottles covering Bookings essential. 2/555 Brunswick Street, New Farm more than 360 bottles of various material: For bookings and further information on On the occasion of this Thai-born Melbourne ivory, rock crystal, horn, inside painted glass, TAASA Victoria events, contact Boris Kaspiev based ceramic sculptor’s latest exhibition. pecking glass, cloisonné, ceramics, lacquer, at: [email protected] or 0421 038 491. This is a free event. RSVP to gallery@ and various hardstones, mostly of late 19th edwinacorlette.com; Tel 07 3358 6555 century to 20th century. Bonham’s Asian TAASA TEXTILE STUDY GROUP Art Specialist, Yvett Klein, will walk TAASA All meetings held at the PLC Room, Lindy Lee Exhibition members through the collection, pointing out Powerhouse Museum, 7.15 – 9.15pm UQ Art Museum highlights and providing some background Refreshments provided. $10 members; $15 This first major survey of Lee’s practice information on these exquisite objects. non-members. Email enquiries to Helen explores her acclaimed early photocopy work, Cost: $10 members, $15 non-members. Perry at [email protected]. and work that evolved following her embrace Refreshments provided. RSVP to of Buddhism and her Chinese heritage. Join Gill Green essential by 26 October at The Rabari Shawl – Symbol of Change TAASA QLD at the opening of this exhibition [email protected]. 10 September 2014 in September, and later in October for a gallery Carole Douglas will talk about these woven walk through with curator Michele Helmrich. TAASA TSG Celebration Dinner and embroidered shawls and how their use Dates and times to be advised. RSVP to Tuesday 28 October 2014, 6-9pm and construction have evolved over time. [email protected]. Both free events. All welcome at this Diwali themed dinner. For details see ad p32 and insert. 12 November 2014: to be advised. Empty Vessels II 22 -23 November 2014 TAASA End of Year Party, Sydney TAASA CERAMICS STUDY GROUP Lesley Kehoe Galleries in Brisbane 6- 8pm, Wednesday 3 December 2014 A dealer’s perspective: collecting & On this weekend, Lesley Kehoe Galleries Korean Cultural Centre, Elizabeth St Sydney authenticating Chinese ceramics will be transported from Melbourne to Join TAASA to celebrate an active year for Presentation by Ray Tregaskis a pop-up location in St Lucia, Brisbane. the Society and to enjoy good company, Tuesday 30 September 2014, 6-8 pm An introduction to Tea and Zen, and to refreshments and a traditional Korean COFA, Paddington, Sydney Sake drinking culture, will accompany performance. Join us for this presentation by long term the artisan vessels on display. There will RSVP to Sandy Watson at: antique dealer and expert Ray Tregaskis and be a performance piece with music and [email protected]. take the opportunity to bring in your own refreshments. Details provided on RSVP pieces for discussion at the meeting. to [email protected]. Cost: $45 TAASA IN VICTORIA Members $20; Non-members $25. TAASA members, $70 non-members. Private Melbourne Japanese Light refreshments. Numbers limited. art collection viewing RSVP to Margaret White: margaret. Further details to be advised. [email protected]

TAASA MEMBER PROFILES NATALIE SEIZ

My interest in Asian family in Hong Kong, but they were both have worked on number of exhibitions art began when, by immigrants in a ‘white’ Australia. So it since. I decided to study part time, and necessity, I had to may have been from this background that received my PhD in Art History at the enrol in a course I thought in Asian art I was going to find University of Sydney last year, examining called Modern out more about myself or where I fit in. the emergence of contemporary women Asian Art taught by artists in Taiwan from the 1970s-2000s. a new lecturer at the I wanted to do more research, so went to University at the Taiwan in 1999 where I lived and worked My interests in modern and contemporary time, John Clark. for a number of years to learn Chinese. I Asian art have broadened, and I continue It opened my eyes eventually decided to explore the work of to speak and publish on women artists in to a world of art I had never contemplated women artists, in the knowledge that the Asia. My current position at the AGNSW is before. Sure, I have a rather diverse voices of women are often left unheard. Assistant Curator, Asian Art. family background: my father was born in When I returned to Australia, after working Harbin, China of a Russian émigré parent; at Gallery 4a, I got a position at AGNSW my mother is from a traditional Chinese working with the Asian collections and

TAASA REVIEW VOLUME 23 NO.3 33 WHAT’S ON: SEPTEMBER – NOVEMBER 2014 A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS

Compiled by Tina Burge

ACT Talks in conjunction with the exhibition grey mist that was a constant element within include: their surroundings and their artworks reflect Stars of the Tokyo Stage - Natori Shunsen’s • Starstruck by Melanie Eastburn, Curator, their responses to their environment. kabuki actor prints Asian Art, who will discuss the work of For further information go to: 19 July – 12 October 2014 Zoe Kincaid, a Canadian journalist and www.4a.com.au. National Gallery of Australia, Canberra kabuki aficionado living in Tokyo in the

1920s on 4 September at 12.45 pm A Fine Possession: Jewellery And Identity The exhibition’s kabuki actor prints reveals 23 September 2014 – September 2015 the dynamic world of Japan’s kabuki theatre • Turning Japanese: the art of collecting Japanese The Powerhouse Museum, Sydney through actor portraits created by artist prints by Mark Henshaw, author of the Natori Shunsen (1886–1960) in the 1920s and recently published novel The snow kimono, The exhibition showcases a spectacular 30s. An inspiration to artists for centuries, and former Curator, International Prints at selection of over 700 pieces of jewellery and kabuki draws on Japan’s rich folklore, the National Gallery of Australia body adornments from Australia, Europe, literature and history, as well as violent, Asia, Africa and the Pacific. On view will be a romantic and scandalous events, to present There will also be films associated with the large selection from the Museum’s significant lavish and dramatic performances. Kabuki exhibition: collection of Asian jewellery. See pp16 – 17 in actors were extremely popular in Japan • The actor’s revenge (DVD, 1963, M, 113 this issue for a preview of the exhibition. and were renowned for their flamboyant mins) on 7 September 2.00 pm portrayals, extraordinary characters and • Kabuki documentaries, which take the viewer Chinese Arts Weekend colourful personal lives. Shunsen’s prints backstage, on 28 September at 2.00pm. 13 - 14 September 2014 provide a fascinating glimpse into this For further information go to: Eryldene Historic House and Garden glamorous world, while demonstrating www.nga.gov.au 17 McIntosh Street, Gordon, Sydney consummate mastery of traditional Japanese printmaking techniques. SOUTH AUSTRALIA Including performances and a talk by Jackie Menzies. Details on www.eryldene.org.au. Exclusively from the NGA collection, Elegant Pursuits – Art of the East Asian Scholar Stars of the Tokyo Stage explores kabuki Until 7 December 2014 QUEENSLAND and modern Japanese printmaking in the Art Gallery of South Australia, Adelaide context of the great change taking place in A program of exhibitions celebrating Tokyo in the 20th century. A selection of Presents the cultivated environment of the contemporary Japanese art and fashion will spectacular kabuki robes further illustrates scholar-artist filled with the implements for his be held at the Queensland Art Gallery (QAG) the extravagance of the theatrical form. aesthetic, moral and spiritual cultivation such and Gallery of Modern Art (GOMA) over as flowing calligraphy, austere ceramics used 2014-2015. for tea, lacquerware and sculpture. Essential to the scholar’s practice were the Four Treasures Hanga: Modern Japanese Prints (brush, ink, inkstone and paper) which were 16 August 2014 – 8 March 2015 believed to reveal his true character. The QAG, Brisbane dynamic qualities of the brush and ink pervade the display on screens and hanging scrolls. The exhibition will explore the texture, colour For further information go to: and innovation of Japanese printmaking www.artgallery.sa.gov.au. from the 1960s to the present. It showcases printmakers working in a variety of NSW techniques and styles, including innovators such as Kiyoshi Saito, as well as artists Haze - Tully Arnot, Sarah Contos, known in broader contemporary art contexts Jensen Tjhung such as Toko Shinoda, Tadanori Yokoo and 22 August - 25 October 2014 Masami Teraoka. Gallery 4a, Sydney

Over sixty works from the Gallery’s Haze is an exhibition of new work by collection of Japanese prints created after Australian artists Tully Arnot, Sarah Contos 1950 will be displayed. This highlights the and Jensen Tjhung. Together, these three ongoing importance of the printmaking Matsumoto KOshirO VII as UmeOmaru in ‘Sugawara’s secrets artists undertook 4A’s inaugual Beijing tradition in Japan, where artists continue of calligraphy’ 1926 from the series Collection of creative Studio Program at the studios of Chinese- to draw from centuries-old techniques and portraits by Shunsen , Woodblock print; ink and colour Australian artist Shen Shaomin in Huairou imagery, while innovating and experimenting on paper. National Gallery of Australia, Canberra, gift of on the northern outskirts of Beijing in with new forms and technologies. Jennifer Gordon,1998 September 2013. They were transfixed by the

34 TAASA REVIEW VOLUME 23 NO.3 We can make another future Curated by Japanese fashion historian University of Oxford, have jointly curated this 6 September 2014 – 21 September 2015 Akiko Fukai, Director of the Kyoto Costume year’s blockbuster exhibition at the British GOMA, Brisbane Institute in Japan, the exhibition explores the Museum. Ming – 50 Years that Changed China unique sensibility of Japanese design, and its focuses on the 50 years from 1400 to 1450 The exhibition will include Japanese sense of beauty embodied in clothing. that the curators maintain, changed China contemporary works from the QAG & irrecoverably. It was not only a period when GOMA’s permanent collection including Check the gallery’s website for details the Ming dynasty established Beijing as the Kohei Nawa’s glass bauble-encrusted PixCell- about discussions, talks and tours with capital and built the Forbidden City, but also a Double Deer#4 (2010) and Yayoi Kusama’s international and local guest speakers, period when China was thoroughly connected immersive, mirrored installation Soul under designers and curators, including the with the outside world enabling Chinese the moon (2002). opening weekend’s events on 1-2 November. artists to absorb and reinterpret outside influences. The exhibition will feature a range For further information go to: Future Beauty – 30 Years of Japanese Fashion of spectacular objects – including porcelain, www.qagoma.qld.gov.au 1 November 2014 – 15 February 2015 gold, jewellery, furniture, paintings, sculptures GOMA, Brisbane VICTORIA and textiles – from museums across China and the rest of the world. Many of the pieces have Future Beauty explores the tremendous Bushido – Way of the Samurai only been recently discovered and have never innovation of Japanese fashion designers 4 July – 4 November 2014 been seen outside China. from the early 1980s to the present. National Gallery of Victoria - International With nearly 100 garments featured in For further information go to: the exhibition, ranging from the classic www.britishmuseum.org and elegant to outrageous, this will be a The exhibition explores the fascinating world USA fascinating experience and rare opportunity of the samurai who were the warriors, rulers to view these unique creations first hand. and aristocratic elite of Japanese society for more than 800 years from the 12th century Assyria to Iberia at the Dawn of the Classical Age Japanese fashion made an enormous impact through to the end of the Edo period in 1868. 22 September 2014 – 4 January 2015 on world fashion in the late 20th century Bushido: Way of the Samurai focuses on samurai Metropolitan Museum of Art, New York with designers such as Issey Miyake, Rei as both warriors and men of refined culture Kawakubo of Comme des Garçons and and showcases the attire of the samurai in Yohji Yamamoto. Their works will be shown the form of armour, helmets, swords and At its height in the 8th to 7th centuries BCE alongside examples by the techno-couturier equestrian equipment. It displays the cultural the Assyrian Empire was the largest empire Junya Watanabe, a protégé of Kawakubo, pursuits of samurai in the form of Noh the world had yet seen, reaching from together with the pioneer of the Ura-Harajuku costumes, calligraphic scrolls, lacquer objects Assyria (present-day northern Iraq) to the movement Jun Takahashi, and the new and tea utensils and re-lives the legacy of Mediterranean. The exhibition will comprise generation of radical designers including bushido through representations of samurai of over 260 works of art on loan from Tao Kurihara, Hiroaki Ohya, Matohu, Akira in large screen paintings, dramatic woodblock collections in Western Europe, the Caucasus, Naka, Hatra and mintdesigns. prints and noble studio photographs. the Middle East, North Africa, and the United States. The pieces will reflect the deep For further information go to: roots of interaction between the Assyrians www.ngv.vic.gov.au and their trading partners along the shores of

INTERNATIONAL the Mediterranean. For further information: UNITED KINGDOM www.metmuseum.org.

Ming – the golden empire FRANCE National Museum of Scotland, Edinburgh 27 June – 19 October 2014 Splendours of the Han: Rise of the Celestial Empire The exhibition includes works from the 22 October 2014 – March 2015 Nanjing Museum, including ‘Chinese Musee Guimet, Paris National Treasures’, and introduces key aspects of the Ming dynasty, focussing on To celebrate the 50th anniversary of the remarkable cultural, technological and diplomatic relations between France and economic achievements of the period. China, this exhibition showcases the artistic For further information: www.nms.ac.uk legacy of the Han, including painting, bronzes, ceramics and lacquer ware, drawn Ming – 50 years that changed China from major Chinese museum collections and 18 September 2014– 5 January 2015 recent archaeological finds. British Museum, London

Jessica Harrison-Hall, the British Museum’s Yohji Yamamoto’s Spring/Summer 1995 Collection, Kyoto curator of Chinese ceramics, and Craig Costume Institute, Photograph byTakashi Hatakeyama Clunas, professor of the history of art at the

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