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NEWSLETTER Vol. III No. 2 Spring, 2016 NEWSLETTER Vol. III No. 2 Spring, 2016 TTS Activity Comments by Khun Thweep Rittinaphakorn (AKE) ABOUT US following his presentation to the Thai Textile Society, March 14, 2016 The Thai Textile Society is a non-profit organization dedicated to the study and appreciation of textiles, with particular Chinese Shan Dressing: emphasis on the textiles of Thailand and Southeast Asia. Based in Bangkok, the Thai An eclectic intermarriage between Tai and Chinese Cultures Textile Society was founded in 2004 when Kathleen Forance Johnson, wife of U.S. Ambassador to Thailand Darryl Johnson, invited scholars, collectors, and other textile enthusiasts to establish a society dedicated to the study, appreciation, and preservation of the textile arts in the kingdom and the region. An avid weaver and textile collector, Mrs. Johnson envisioned the Society as a forum for textile lovers to exchange ideas and share information and resources. Since its inaugural meeting in May, 2004, the Society has organized regular lectures, trips, and other programs such as its popular Collector’s Corner series. The TTS enjoys and appreciates support from the Siam Society and the James H.W. Thompson Foundation. It has also worked closely with the latter on programs such as the August 2005 Jim Thompson textile symposium. Membership in the Thai Textile Society has grown steadily, and our e- mailing list now reaches more than 400 people worldwide. Under the leadership of Acting President Dr. Sathirakorn Pongpanich, the Society continues to host Khun Ake addressing TTS members at William Warren Library, Jim Thompson compound Photo Ruth regular educational programs designed to Gerson promote appreciation of Asia’s rich textile heritage. DISCLAIMER: This newsletter is distributed free to TTS members and The Chinese Shan are known by various names including Tai Nuea, Tai Mao, Shan-Tayok, Dehong Tai, Tran- subscribers, and it is accessible free to all Salween Shan, etc. Although most of the names might sound unfamiliar, they certainly provide one with clues website visitors in the hopes of encouraging about them. As some of these names indicate, this Shan or Tai ethnic group lives at the area where China and interest and scholarship in textiles and is Burma meet. It is today in Dehong Dai and Jingpo Autonomous Prefecture of Yunnan province, China. Back the sole property of TTS. Personal opinions then, before the current political boundary was drawn, this borderline area of upper Burma and China known expressed in this newsletter are strictly as Shan State was always the strategic frontier where political powers, trades, economy and cultures were those of the authors and are not necessarily exchanged. This resulted in the intermarriage of Burmese with Shan and Chinese cultures creating a unique endorsed by the Thai Textile Society. Our blend. Particularly, in the area of Shweli River and deep into Dehong area on the Chinese side, the fusion website can be accessed at culture of Chinese Shan is strongly visible in terms of language, architecture, as well as the dressing style. www.thaitextilesociety.org. Chinese Shan costumes, particularly those of women, are interesting examples of how the two cultures (Shan and Chinese) crossbred. The tradition of Tai apparel, such as tube skirts, is mixed with Chinese style adornment and adaptations. The most outstanding items in the repertoire are the women’s festive skirts worn during festivals and weddings. These provide a stunning sight to those who have seen these skirts. They have profuse, eclectic, and gaudy decorations incorporating different materials and embellishment techniques, unlike any other kind. The base of the skirts is always made up of black cotton. At the bottom, 1-3 small narrow bands of the same material are attached. However, positioned at the knee level area of the skirt is the large decorative band acting like the centerpiece. This opulent looking wide band is usually made up of series of rectangular pieces of textiles sewn together. Different colors of Chinese silk satin and brocade are interspaced with the rectangular pieces of locally woven supplementary weave fabrics. The lower part of this wide band is further decorated with smaller panels of Chinese style embroidery work depicting flowers, butterflies, and other, mostly Chinese auspicious symbols. Not least, at the very bottom of this big decorative band, a small band of miniature appliqué work is attached. Such appliqué work is incredibly fine, depicting the repeated swastika or other Chinese auspicious sign. Small band of miniature appliqué at the bottom Photo Khun Ake HEADER: Nan Supplementary weft, tapestry weave in Nam Lai Flowing Water motif Photo John Toomey 1 NEWSLETTER Vol. III No. 2 Spring, 2016 The talk was presented to the Thai Textile Society audiences with several pieces of photographic evidence taken at the turn of the century, gleaned from old books, as well as from early traveling memoirs. Information from those sources shed lights for better understanding on the dressing practice of the Chinese Shan. Added to the photographs was physical material evidence of garments, drawn from the speaker’s own collection and presented at the talk. Photo Ruth Gerson Shan Apparel Small band oF miniature appliqué at the bottom Photo Ruth Gerson More images For some articles in the TTS Newsletter and TTS events can be Found in the Photo Gallery oF our Website: http://thaitextilesociety.org/gallery.php Kindly ask permission beFore you use any and acknowledge the Shan Dress Photo Khun Ake creators and send us a copy or notice oF your work. 2 NEWSLETTER Vol. III No. 2 Spring, 2016 CHANDERI SARIS Ruth Gerson Woman weaving on a pit loom A buyer examining the fine weave Photo Ruth Gerson Photo Ruth Gerson A hundred years later Hindus and tribal people who had moved to In India’s hot climate the sari has been the dress mode for women for Chanderi joined the community of weavers who had acquired the name centuries. The style of weaving, use of materials and designs vary Koshi, the Marathi word for weaver. The cotton woven there was of the from region to region. In the central state of Madhya Pradesh there most exquisite quality rivaling the finest Indian muslins. In the past are two such distinct styles – the Maheshwari sari and the Chanderi Chanderi produced the raw materials used for weaving, i.e. cotton, silk Sari. While the Maheshwari saris are woven mainly of cotton with and Zari (gold or silver threads), although some of these were possibly distinct designs of stripes, checks and floral borders, the Chanderi brought to Chanderi by merchants who traveled the ancient trade routes saris are a weave of cotton and silk, a cool combination of materials on which the town was situated. that enables the wearer to withstand the high temperatures of the central Indian summers that often rise above 40 degrees centigrade. Most saris were woven of the delicate locally grown cotton threads. Then The design of these saris include patterns of fruits, flowers, leaves in the 19th century, the British introduced mill spun cotton. The weavers and birds all evocative of the local nature. however did not like this kind of thread as it lacked the natural sheen of the raw home spun cotton and began looking for alternate sources. And Historically Chanderi was located on ancient trade routes and its so the Chanderi weavers became innovative, weaving newly introduced saris reflect the influence of the numerous cultures that had passed Japanese silk threads with the cotton ones to produce the famed there. The designs and weaving methods have evolved over time, but gossamer Chanderi sari. Today these materials are brought in from other these were always well received by the public especially by nobility parts of India, as well as from China, Japan and Korea. Although Chanderi and royalty who cherished the incredibly light weight quality of the silk is dyed both through natural and chemical processes, chemical dyes mixed weave that was pleasant to wear as well as being suitable for are preferred due to their fast acting quality. the intense heat of the region. As these saris were historically favored by queens, they were exclusive and very expensive even in Traditional looms are still used including upright looms and pit-looms that Medieval India, thriving under the royal patronage, their glossy are sunk in the floor. Although there are many looms operating in Chanderi, transparency and sheer texture giving pleasure to the wearer. During the hallmark fabrics of this village are woven on traditional rudimentary pit- the Mughal period weaving and selling woven fabrics reached its looms. It takes a single weaver about two weeks and a pair of weavers height. It is told that a Chanderi woven cloth was presented to the working together one week to weave a sari. The length of sari varies from Mughal emperor Akbar, placed inside the hollow part of a bamboo 4.5 to 8 meters although the 5-meter length seems most commonly worn, stick. It was so fine and delicate that when fully drawn out it was with width of 60 centimeters to 1.2 meters. large enough to cover an elephant. th Weaving in Chanderi was first recorded in the 13 Century, a craft that was possibly handed down to present day weavers. The first weavers were Muslims, as many are today in Chanderi. 3 NEWSLETTER Vol. III No. 2 Spring, 2016 Indigo and More Indigo Pit loom (Internet photo) A master designer working out the details to be woven into the cloth Centuries-old techniques are still used to produce lightweight saris Photo Ruth Gerson with intricate borders working with cotton, silk and Zari. The blend of silk and cotton is characteristic of the Chanderi weaves, applying silk for warp (long threads) and white cotton for the weft (short threads).
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