Chapter I Introduction

CHAPTER I INTRODUCTION 1.1. Background The earliest known adoption of clothing in human history dates back to some 170,000 years ago, predating the first known human migration (Barber, 1996). Wearing clothes is not only an essential human characteristic to protect one’s body from the harsh climate, but also a feature of most human societies. It is apparent that the history of clothing runs parallel to the development of human culture, as anthropologists use textile to observe the progression of technology and the socioeconomic culture of ancient human civilizations (Chen, 2013). The method of textile production as well as the tools used in clothesmaking act as a reflection of which materials were accessible at the time, and how the society built itself around it. Early civilization who are hunter-gatherers used mainly animal skins and plants to cover themselves from the changing weather (Hogenboom, 2016). As time progressed humans discovered ways to create textiles through felting and weaving with the help of tools that are fairly similar to what we have today. Ancient Chinese civilization provided many early examples of textiles that can be traced back to between 5000 and 3000 BCE. The earliest evidence of silk production were found in China from the Yangshao culture that existed along the Yellow River. Domesticated silkworms were cut in half by a sharp knife and loomed into silk (Chang, 1989). The craft remained isolated until the Silk Road opened at around 114 BCE (Elisseeff, 2000) and China was able to distribute the product, while maintaining its monopoly over silk production for the next thousand years. Silk manufacturing turned into a major industry controlled by the state from the Han Dynasty and it remained as one of China’s main cultural heritage as well as one of the main trades that allowed them to interact with other cultures. Within the thriving Yangshao culture that created the art of silk looming, what grew alongside the craft was the early roots of shamanism inspired by their relationship with the nature around them (Woodhead, 2016). This early shamanic religion acts as the base of Taoism — a Chinese philosophy and folk religion that would eventually become the state religion of Tang Dynasty. Taoism’s philosophy 1 is rooted from the natural world with influences from shamanism as it grew in popularity as a religion. As a traditional indigenous religion, Taoism is deeply ingrained in the Chinese culture and its influence can be seen in not only arts and literature, but also in the society and attire. Clothing in religious Taoism consists of three main articles; scarf, dress, and shoes that are decorated in elaborate embroidery depicting plants, animals, and even mythological creatures. Some articles of clothing are worn specifically during rituals by high priests while a select few are meant for taoists as daily wear. Figure 1 shows an example of the high priest’s ritual robe splendidly embroidered with dragons and clouds—an homage for Taoism’s core belief in cosmology and the nature. The Scarlet Robe, also known as Jiangpao (絳袍), is a ritual dress worn during large-scale rituals by the Ritual Master, also known as Fashi (法師),with bright red silk and golden ornaments on the sleeves and bodice with trigrams and exaggerated silhouettes to symbolize the earth with four angles (RISD Museum, 2012). Figure 1.1 Asianart, Taoist Priest’s Robe Source: https://www.asianart.com/exhibitions/taoism/10.html These patterns—bright textiles, golden embroidery, the trigrams, elongated sleeves, and depictions of living beings as well as mythological creatures—can be observed in most article of clothing for rituals in religious Taoism starting from the 2 Six Dynasties period when Taoist traditions were first systemized, up until modern day Taiwan where Zhengyi Taoism priests can be seen with simpler robes with similar embroidery and colors (Haruji, 1994). Taoism became the state religion during the Tang Dynasty as decreed by Emperor Xuanzong who claims to be the descendant of infamous Laozi — the author of Tao Te Ching which has been conferred as the fundamental text of Taoism (Robinet, 1991). Under Tang Dynasty, Taoism flourished and through trades, Chinese immigrants would eventually help spread the religion beyond China (Kohn, 1995). Figure 1.2 Met Museum, Daoist Priest’s Robe. Source: https://www.metmuseum.org/toah/works-of-art/30.75.3/ Although there is almost no records of Taoism in Indonesia, it can be assumed that the religion came along with the traders and merchants who passed through the region along the Silk Road during imperial China as well as through the contracted workers who came during the colonial Dutch East Indies era from Southern China (Tan, 2005). The abrupt cut of cultural identity during the New Order government has created a new wave of Chinese Indonesians who do not speak their ethnic language, and have no attachment to their identity as Chinese Indonesians (Purdey, 2006). Many younger Chinese Indonesians are not aware of the traditions, even the 3 ones that has been merged with local cultures. This disconnection is a dissonance to Bhinneka Tunggal Ika (Unity in Diversity), the official national motto of Indonesia that promotes unity in diversity. With the lack of support from the government and lack of interest from younger generations, Taoism as both a philosophy and indigenous religion of the Chinese descents, as well as the cultural values it influences will slowly cease to exist in Indonesia. One of Jakarta’s oldest temple is Sin Tek Bio, is located in Pasar Baru and although they have requested funding from the government, the city administration provides very little in maintenance fund for the temple (Yeung, 2012). With no effort to preserve the existing philosophy, soon enough the costumes and textile craftsmanship that influenced and built the local Peranakan culture will start to deteriorate, leaving Indonesia with one less diversity in the midst ongoing journey to unity. Figure 1.3 Backpackstory, Kelenteng Sin Tek Bio Source: https://backpackstory.me/2015/10/11/ternyata-ada-yang-beda-di-travelnblog4- jakarta/dscf5537/ 1.2. Scope The goal of this project is to create a visual e-book that introduces the clothing used in Taoism rituals as well as the symbolism behind it, presented in a compact and easy-to-read book that can be read in a passing. The book will feature 4 illustrations of traditional attires worn by Taoists during both the seasonal and rite of passage rituals as well as a brief introduction to the textile and clothing articles of the Tang Dynasty when Taoism was most prominent as the state religion. The illustrations are made with mixed media, taking inspirations from traditional Chinese painting style which uses India ink and calligraphy. Aimed towards young adults who grew up after the cultural cut during the New order, the book will consist of sketches and paintings as well as brief explanations of the textile, embroidery, and sewing technique as well as the craftsmanship behind the presented pieces in simple terms. The photographs showing the rituals and robes that are still used today for the book are taken from various Taoist temples in Jakarta. 5 1.3. Aims and Benefits 1.3.1.Aims With the creation of this thesis and a visual e-book as the end product, the writer aims to reintroduce young adults of both Chinese-Indonesian descents and other ethnicities who are not familiar with the culture. It will be presented as a light and easy to read book that can be skimmed and put on a coffee table. The writer hopes to overcome the existing cultural gap by targeting Millennial (people born between 1977 to 1995) as the primary target market, and Gen Z as the secondary target market. The book will use fashion—a staple in popular media—as a bridge between the past and the current generation and to reintroduce the diminishing culture. 1.3.2.Benefits By creating this thesis and visual e-book, the writer hopes to compile and repackage the information into a more attractive format that is more appealing to the general public. The writer would also like to support the Taoism community and their pursuit towards being recognized in Indonesia as an independent religious community and not merely as a part of the Tridharma concept. 1.4. Structure The proposed structure for this thesis project is as the following: Chapter 1 - Introduction This chapter covers the general explanation and background of the chosen topic, the scope and the aims and benefits of this thesis research. Chapter 2 - Theoretical Foundation This chapter consists of all the theory foundation supporting the thesis, which includes Ancient Chinese history, the color theory, the customer behavior theory, as well as the art of embroidery. Chapter 3 - Problem Analysis This chapter consists of the analysis from the chosen topic. Chapter 4 - Strategy and Approach 6 This chapter consists of the solution to the problem presented in the previous chapter. Chapter 5 – Design and Realization This chapter consists of the design concept, experimentation as well as art direction. Chapter 6 – Final Product and Implementation This chapter consists of the final product and detailed explanations. Chapter 7 – Conclusion and Recommendation This chapter consists of the conclusion from the project and suggestion for future development. 7 .

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