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VOLUME 19 NO. 4 December 2010 T c o n t en t s : INDONESIA AND TIMO R -LESTE

Volume 19 No. 4 December 2010

3 Editorial TAASa rEVIEW Joanna Barrkman, Guest Editor THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 19 No. 4, December 2010 ISSN 1037.6674 4 CONSERVATION aND CARE oF CULTURAL COLLECTIONS: aUSTRALIA, iNDONESIA Registered by Australia Post. Publication No. NBQ 4134 ANd tiMOR-LESTE PARTNERSHIPS Kristin Phillips and Sandra Yee editorIAL • email: [email protected] General editor, Josefa Green 7 COLLECTOR AND COLLECTED: EXPLORING THE INTERCULTURAL NATURE OF A MUSEUM COLLECTION Guest Editor this issue, Joanna Barrkman Siobhan Campbell Editorial assistance this issue, Sandra Forbes

10 THE rEVIVal oF EMBROIDERED STORY CLOTHS iN NEGARA, publicatioNS Committee I Made Rai Artha Josefa Green (convenor) • Tina Burge Melanie Eastburn • Sandra Forbes • Ann MacArthur Jim Masselos • Ann Proctor • Susan Scollay 12 THE SACRED HOUSE oF tiMOR-LESTE Sabrina Snow • Christina Sumner Eugénio Sarmento design/layout

14 DILI: a CITY iN SEARCH oF itS SOUL Ingo Voss, VossDesign Jill Jolliffe printing John Fisher Printing 16 THE iSLAMIC HERITAGE oF iNDONESIA’S art Published by The Asian Arts Society of Australia Inc. James Bennett PO Box 996 Potts Point NSW 2011 www.taasa.org.au 19 AMBASSador oF iNDONESIAN : iwaN tirta (1935-2010) Maria Wronska-Friend Enquiries: [email protected] TAASA Review is published quarterly and is distributed to members 20 BREASTCLOTHS oF aND BALI of The Asian Arts Society of Australia Inc. TAASA Review welcomes Joanna Barrkman submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and subscription to TAASA Review are available on request. 22 IN tHE PUBLIC doMAIN: KALA FROM THE ART GALLERY OF SOUTH AUSTRALIA Russell Kelty No opinion or point of view is to be construed as the opinion of The Asian Arts Society of Australia Inc., its staff, servants or agents. 23 JOHN HUIE aNd tHE CHINESE GARDEN CHAMBER MUSIC FESTIVAL No claim for loss or damage will be acknowledged by TAASA Review as a result of material published within its pages or Paolo Hooke in other material published by it. We reserve the right to alter or omit any article or advertisements submitted and require 24 EXHIBITION PREVIEW: The First Emperor: China’s Entombed Warriors indemnity from the advertisers and contributors against damages Ann MacArthur or liabilities that may arise from material published.

All reasonable efforts have been made to trace copyright holders. 26 CONFERENCE rEPORT: BORNEO INTERNATIONAL BEADS CONFERENCE 2010

Hwei-F’en Cheah TAASA MEMBERSHIP ratES $70 Single 28 Recent taaSa aCtivities $90 Dual $95 Libraries 29 A MESSAGE FROM taaSA’S PRESIDENT $35 Concession (full-time students under 26 pensioners, unemployed, with ID supplied) 29 TAASA Members’ diary $115 Overseas (individuals and libraries) $650 Life membership 30 WHAT’S oN iN aUStralia aNd oVERSEAS: DECEMBER 2010 - FEBRUARY 2011 Compiled by Sabrina Snow advertisiNG ratES TAASA Review welcomes advertisements from appropriate companies, institutions and individuals. Rates below are GST inclusive.

Back page $850 Full inner page $725 Half page horizontal $484 Third page (vertical or horizontal) $364 Half column $265 Insert $300 Ider-ider, story cloth (detail), presumed from Negara, Bali, Indonesia, 20th century.

Hand embroidered commercially woven cotton and rayon threads and glass beads, For further information re advertising, including dimensions (of complete ) ht 350 cm x 4600 cm long. Gift of Mrs Mary Abbott, discounts for regular quarterly advertising, please contact

collection Museum and Art Gallery of the Northern Territory. The current revival [email protected]

of such embroidered is discussed on pp. 10-11 of this issue. The deadliNE For all articles for our next issue is 15 december 2010 a FUll iNdex of articlES PUBlished in TAASA Review Since itS BEGinnings The deadliNE For all aDvertising in 1991 is available on tHE taaSA wEB Site, www.taasa.org.au for our next issue is 1 february 2011

2 t a a S a C o mm i t t ee E d i t o r i a l : INDONESIA AND TIMO R - L E S T E : p r ESE R V I N G C ULTU R A L H E R ITAGE

Gill Green • President Art historian specialising in Cambodian culture Joanna Barrkman, Guest Editor

CHRISTINA SUMNER • Vice President cloths is experiencing a gradual revival. I Made Principal Curator, Design and Society, I recall inviting Mrs Inez Casimiro, a Powerhouse Museum, Sydney senior member of Darwin’s Timor-Leste Rai Artha records the process of re-engaging community, into the Southeast Asian textiles artisans with sulaman Negara, hand ANN GUILD • TREASURER Former Director of the Embroiders Guild (UK) storeroom at the Museum and Art Gallery of embroidered textiles such as the one on the the Northern Territory after she had agreed cover of this issue, which until recently have KATE JOHNSTON • SECRETARY Intellectual property lawyer with to ‘co-curate’ a display of Timorese objects. teetered on the edge of disappearance. an interest in Asian textiles Viewing the collection, she was drawn to ear- rings, and similar to those Revival and reconstruction are themes implicit Hwei-fe’N CHEah which she’d worn as a young woman in her Lecturer, Art History, Australian National University, in Eugénio Sarmento’s exploration of the with an interest in needlework homeland, before fleeing to Australia as a significance of ceremonial houses in Timor- refugee in 1975. Leste. Sarmento reminds us that material JOCELYN CHEY Visiting Professor, Department of Chinese Studies, architectural forms are embodiments of University of Sydney; former diplomat A woven fibre food cover – lo’u metin – intangible cultural values as he convincingly immediately caught Mrs Casimiro’s eye. She illustrates how Timorese cultural identity Matt Cox is inherent within the traditional ume lulik Study Room Co-ordinator, Art Gallery of New South explained that as a girl she had watched her Wales, with a particular interest in Islamic Art of aunt make similar food covers in her home architecture of Soibada. Alternatively, Jill Southeast Asia village of Same. She had never expected to see Jolliffe considers the changing city of Dili one again - especially not in Darwin, Australia! and reflects on whether, as development Philip Courtenay Former Professor and Rector of the Cairns Campus, and construction proliferate, Dili’s culturally James Cook University, with a special interest in This anecdote illustrates the good fortune varied architectural heritage has a place in Southeast Asian ceramics of Australian cultural institutions that have this city’s future.

LUCIE FOLAN developed Indonesian and Timor-Leste Assistant Curator, Asian Art, National Gallery of Australia collections and the obligations of custodianship Issues of Indonesian art and Islamic cultural resulting from this boon. These collections heritage are examined by James Bennett, Sandra Forbes Editorial consultant with long-standing interest have important roles to play in fostering who considers the role of Islam as a source in South and Southeast Asian art bi-lateral research, training and exhibitions. of artistic inspiration in Javanese art during They are also resources for the revitalisation the early modern era. He argues, using the Josefa Green General editor of TAASA Review. Collector of Chinese of cultural practices, heritage preservation and example of a stunning pair of 18th century ceramics, with long-standing interest in East Asian the documentation of intangible heritage in loro blonyo sculptures, that the widely art as student and traveller Indonesia and Timor-Leste. propagated notion of a syncretic layering

GERALDINE HARDMAN of indigenous, Buddhist-Hindu and Islamic Collector of Chinese furniture and Burmese lacquerware Because it is they who physically care and treat aesthetics is inadequate for the appreciation of its iconography, which is pervaded with MIN-JUNG KIM the items, it is conservators who often develop Curator of Asian Arts & Design at the Powerhouse Museum the most intimate relationship with collection references to contemporary Muslim beliefs. objects. First in this issue of TAASA Review, ANN PROCTOR the observations of international exchange We sadly mark the passing of Iwan Tirta on Art historian with a particular interest in Vietnam training programs in museology practice by 31 July 2010. A celebrated Indonesian batik SABRINA SNOW Sandra Yee and Kristin Phillips remind us artist and -designer, Tirta successfully Has a long association with the Art Gallery of New South that neighbouring nations such as Timor- reconstituted batik into a vibrant modern art- Wales and a particular interest in the arts of China Leste and Indonesia often enjoy only limited form and fashion. Dr Maria Wronska-Friend Hon. aUditor access to collection care resources enjoyed by documents Tirta’s legacy to shaping Indonesia’s Rosenfeld Kant and Co Australian institutions. Valuable collections cultural identity on the international stage during the late 20th century. Still on the s t a t E r ep r esen t a t i ves remain vulnerable to natural disasters, civil unrest and economic pressures. The exchange Indonesian focus, Russell Kelty discusses a rare Australian Capital Territory of skills and techniques between Australian terracotta mid 9th century Buddhist-Hindu Robyn Maxwell museum conservators and Timorese and sculpture of Kala in the collection of the Art Visiting Fellow in Art History, ANU; Indonesian counterparts have supported Gallery of South Australia. Senior Curator of Asian Art, National Gallery of Australia improved care for Southeast Asia collections. Northern Territory Keeping us up to date on recent and coming Joanna Barrkman Siobhan Campbell writes about her events, Ann Macarthur previews the Curator of Southeast Asian Art and Material Culture, investigations in Kamasan village, Bali, into forthcoming exhibition The First Emperor: China’s Museum and Art Gallery of the Northern Territory the significance of the Australian Museum’s Entombed Warriors at the Art Gallery of NSW, Queensland collection of Balinese paintings compiled Paolo Hooke writes about John Huie and the

Russell Storer by renowned Australian anthropologist Dr 2011 Chinese Garden Chamber Music Festival, Curatorial Manager, Asian and Pacific Art, Anthony Forge in the 1970s. Through the while Hwei-f’en Cheah reports on the recent Queensland Art Gallery impressions of villagers, a body of information 2010 Borneo International Beads Conference. South Australia is being amassed which narrates the dynamics

James Bennett of exchange and encounter between Kamasan Thanks to all the contributors and to James Curator of Asian Art, Art Gallery of South Australia artists and Forge: timely research, as Forge’s Bennett, Sue Bassett and Josefa Green for

Victoria incursions remain in living memory. In their support in developing this issue of Negara, Bali, another timely intervention is TAASA Review. Carol Cains under way; here the embroidering of story Curator Asian Art, National Gallery of Victoria International

3 C O NSE R V a t i o N a N d C a r E o F CU l t U r a l C o l l EC t i o NS: A US t r a l i a , i N d o NES i a a N d t i M o r - L ES T E P a r t NE R SH I PS

Kristin Phillips (centre) and workshop participants work as a ‘disaster response team’ Kristin Phillips and Sandra Yee to ‘recover’ a wet textile, as part of the Disaster Preparedness Workshop held at the Sonobudoyo Museum in , , Indonesia, in 2009. Photo Joanna Barrkman he day-to-day challenges facing museum T conservation departments in Indonesia and Timor-Leste are often unimaginable for their Australian peers sitting in the climate- controlled comfort of laboratories fully- equipped with state-of-the-art computer technology, professional-grade materials and generous operational budgets. This is a world apart from the Indonesian and Timor-Leste reality where there is no formal training available in either conservation or collection management practices and museum staff continuously grapple with limited access to relevant expertise and resources.

Altruism can lie behind the sharing of skills and knowledge by Australian museum staff with colleagues in Indonesia and Timor-Leste. Certainly, through neighbourly relations fostered over several decades, Southeast Asian museums have facilitated access for Australian curators and academic researchers to investigate and document regional heritage collections. It has also ensured the success material objects that represent each other’s Kristin Phillips delivered the first week of of major exhibitions in Australia such as cultural heritage. the training on disaster preparedness. Risk Indonesian Gold: Treasures from the National assessment strategies were developed for Museum, (1999), Crescent Moon: Islamic In January 2009 MAGNT and the Yogyakarta reducing the impact of disasters ranging from art and civilisation of Southeast Asia (2004), Husi Museum Association, with funding from sudden earthquake, flood, fire and accidents Bei Ala Timor Sira Nia Liman - From the Hands Australia International Cultural Council, to more subtle processes of deterioration that of Our Ancestors: The art and craft of Timor- jointly facilitated the Disaster Preparedness can be equally as disastrous in the long-term Leste (2008) and Life, death and magic: Two and Collections Management Workshop in on museum displays and collection storage. thousand years of ancestral art from Southeast Yogyakarta, Central Java. This renowned city During the workshop, the participants Asia (2010). When recognising this history is regarded as the cultural heart of Java. enthusiastically formed ‘disaster response of Indonesia and Timor-Leste support for It is home to approximately 40 museums, teams’ with specific roles and functions, and Australian exhibition programs, the question documenting Hindu-Buddhist archaeological staged practical recovery exercises for a small also needs to be asked: what have Australian sites, Muslim court culture, traditional mock disaster. institutions offered as a reciprocal gesture for craft practices, visual and performance arts such professional generosity? collections, as well as supporting an active The second week of the workshop focused museums’ association known as Badan on the preventive care of ceramics and was The Museum and Art Gallery of the Musyawarah Musea (BARAHMUS). There facilitated by Sandra Yee. Sonobudoyo State Northern Territory (MAGNT), together with is frequent tectonic instability in the region. Museum has an extensive collection of Javanese Artlab Australia, have recently facilitated The catastrophic Bantul earthquake in 2006 art and material culture, including a noteworthy three significant exchange projects in resulted in more than 5000 fatalities and collection of 13th-16th century era museum collection care and conservation caused irreparable damage to many historical terracotta figurines from Trowulan, . with Yogyakarta Museum Association monuments and collections. The vulnerability of the museum’s terracotta (Yogyakarta), Museum of Batik () collection was demonstrated by the damage and Timor-Leste Directorate of Culture (Dili). The two-week workshop was developed and to a number of its pieces during the 2006 The projects provide a positive example led by Joanna Barrkman, Curator of Southeast Bantul earthquake. The workshop provided an of ways in which Australia, Indonesia and Asian Art at MAGNT, with conservators excellent opportunity to review the museum’s Timor-Leste can more effectively share Kristin Phillips of Artlab SA and Sandra Yee of method of housing ceramics in display cabinets knowledge, especially in the area of preventive MAGNT, and conducted at the Sonobudoyo fitted with long, narrow glass shelves which conservation skills. The outcome has been State Museum (Museum Negeri Sonobudoyo) were in imminent danger of toppling with even a stronger working relationship between whose important collection was founded the slightest tremor. Given limited time and the participating institutions. Possibly most in 1935. It was attended by 30 participants resources, risk mitigation became an important importantly, the projects have nurtured a from Yogyakarta’s local museums as well focus, with prioritisation given to rehousing a deeper mutual appreciation of identities as staff from Gadjah Mada University and small number of the most historically significant and histories through direct exposure to the Jakarta’s National Museum of Indonesia. items. Polyethylene foam sheets were used

4 T A A S A R EVIEW VOLUME 19 NO.4 Fatchiyah A Kadir from Tobal Batik prepares a fabric sample

for conservation treatment at the Textile Conservation

Sonobudoyo Museum staff improve the storage conditions of the museum’s ceramic collection as part Workshop held at the Museum of Batik, Pekalongan,

of the Disaster Preparedness Workshop at the Sonobudoyo Museum, 2009. Photo Joanna Barrkman Central Java in 2008. Photo Kristin Phillips

to individually wrap the Majapahit terracotta challenge was the lack of information program at the Museum of Batik, which was figurines and the collection’s large ceramic about conservation techniques available attended by 25 museum workers from 15 storage jars (guci) to prevent direct contact in Indonesian language. Resource texts cultural organisations throughout Java. with adjacent ceramics. Stacked stoneware taken for granted in Australian museums and porcelain plates were interleaved with are inaccessible to non-English speaking Like the Yogyakarta workshop, this project polyethylene sheet foam and then restacked, as collection custodians. Fortunately, efforts demonstrated how professional development lack of space did not permit individual storage. were made to ensure that the workshop programs can simultaneously provide general The more fragile or rare examples of the trade program was translated into Bahasa Indonesia conservation training opportunities as well as ware ceramics were boxed with foam padding. prior to the workshop and this became a address a specific local need. In Pekalongan, pivotal tool during each session. Another this was the need for the Museum of Batik to Among the most enthusiastic participants challenge was that although a number of develop a strategic plan to upgrade collection of the workshop was Yuli Astuti, Collection standard conservation materials were locally storage facilities and preventive conservation Manager of the collection of Sultan sourced, other materials such as acid-free practices. The eventual implementation of the Hamengkubuwono X which is housed in tissue are simply not available in Indonesia storage facilities will position the Museum Ngayogyakarta Hadiningrat. Sandra and import costs are prohibitively expensive. of Batik as an innovative leader amongst Yee and the workshop participants visited Indonesia’s regional museums. the kraton palace to view the royal collection The success of the workshop built on which consisted of Chinese and European relationships that Artlab Australia conservator, Unlike in Yogyakarta, a professional ceramics, as well as glassware, acquired Kristin Phillips, had previously developed interpreter was not available so that since its establishment in 1755. Large in 2007 while undertaking an Asialink Arts workshop participants also assisted as numbers of the ceramics were displayed in Management Residency at the Sonobudoyo interpreters. A benefit of this more informal glass cabinets, or hung on public display Museum, where she worked extensively on approach was the sense of ownership of with a single uncoated metal wire against the museum’s textile collection and its storage knowledge which participants gained in the masonry wall directly accessible to the facilities. Kristin also visited museums in process. And, it may be added, the absence public. The hanging devices were assessed Jakarta, Cirebon and Pekalongan looking at of a translator provided entertainment at for their earthquake resistance strength, and north coast Javanese batik, enabling her to Kristin’s attempts to speak Bahasa Indonesia! safer measures introduced. One important research more information about traditional The Museum of Batik workshop also nurtured practical contribution of the workshop to local wax-resist dye techniques. The collegiate a network of museum colleagues with whom conservation practice was the introduction of relationships Kristin formed during the 2007 Kristin continues to exchange conservation a reversible microcrystalline wax, which can residency provided the stepping-stone for information and ‘know-how’ on an informal be applied to the base of ceramic and glass facilitating a training program at the Museum basis. The workshop’s emphasis on preventive objects as an adhesive to ensure stability. of Batik in Pekalongan, East Java, in July 2008. conservation measures particularly underlined the importance of identifying local substitutes Nevertheless, the Yogyakarta workshop also Pekalongan’s recently-established Museum as a cheap alternative to costly imported exemplified the challenges facing regional of Batik is under the directorship of Zahir conservation materials. cross-cultural exchanges. The most immediate Widadi, whose dynamic ‘can-do’ attitude issue was communication, with the workshop demonstrates the impressive initiative often The issue of the high cost and relative delivered in English language and then shown by Indonesian museum staff working inaccessibility of overseas conservation translated by professional interpreters into in situations of great professional isolation. products was further highlighted when Bahasa Indonesia. The translation process Zahir Widadi and Kristin, through the Sandra Yee travelled to Timor-Leste in 2008, proved time-consuming, with finer details support of the Australia-Indonesia Institute, accompanied by colleagues Joanna Barrkman occasionally ‘lost in translation’. Another developed a textile conservation workshop and Pep van Papenrecht (Workshop Technician,

T A A S A R EVIEW VOLUME 19 NO.4 5 Sandra Yee and Policarpo Magelhaes from the National Directorate of Culture pack an ancestral figurine

from the National Collection of Timor-Leste for freight to Darwin for display in the exhibition Husi Bei Ala Timor Sira

Nia Liman - From the Hands of Our Ancestors held at the MAGNT in 2008. Photo Joanna Barrkman

funding applications, liaison with overseas professional peers, preparing course content, arranging translations, planning overseas travel and acquitting grants are time- consuming and often compete with the day- to-day work of Australian museum staff.

The need for a dedicated approach to conservation training in cooperation with Australia’s closest neighbours is evident in the astonishingly rare and beautiful works of art lent to recent Australian exhibitions from Southeast Asia’s cultural collections. It is a sobering thought that both the oldest and youngest national museum collections in Australasia are in Indonesia and Timor-Leste. Jakarta’s National Museum collection was founded in 1778 and the National Collection of Timor-Leste dates from the establishment of the East Timor Provincial Museum in 1995 during Indonesia’s occupation of the country.

The continuing requests by regional museum colleagues for support in their quest to MAGNT), to coordinate the packing of 39 loan To protect the objects as much as possible in care for historically significant collections objects from the National Collection of Timor- transit, all wooden items, such as sculptures are difficult to ignore. The diverse fields Leste (NCTL) for freighting to Darwin. The and material culture artefacts, were wrapped in which they seek training include basic wooden figurines and ceremonial house doors, in acid-free tissue before being further condition reporting, correct handling, storage, stone effigies and large earthenware pots wrapped in calico and placed in specially movement of objects, as well as general had been selected for display in MAGNT’s constructed individual boxes. The potential housekeeping and occupational health and exhibition Husi Bei Ala Timor Sira Nia Liman dangers of inclement weather during the safety. Whilst the challenges of language - From the Hands of Our Ancestors, curated by Dili-Darwin voyage required that objects be differences, scarcity of professional materials, Joanna Barrkman (Barrkman, 2008). packed with additional buffering in shipping lack of funds and sometimes - as in Dili - even containers, to protect against humidity, heat, lack of running water can be confronting to The logistical challenges for ensuring the wave motion and potential water seepage. Australian museum staff, it is apparent that safe freight of the exhibition’s loan items An environmental data logger travelled to Australia can contribute significant support from Dili to Darwin were immense, with Darwin in the container with the objects, to our immediate Southeast Asian neighbours many unanswered questions regarding the tracking conditions inside the container. An to care for their cultural heritage collections. availability of local resources and equipment added challenge for the Australian team Yet the question remains: will Australian in Timor-Leste at the commencement of the working in Dili was the constraints of a curfew, cultural organisations be able to continue to project. Product samples of packing materials and mandatory escorted travel between the maintain this useful role into the future? were sent in advance to National Directorate hotel accommodation and workplace, that of Culture (DNC) staff to assist with the was a result of the political crisis in Dili in Kristin Phillips is a Principal Conservator Textiles, sourcing of local substitutes and items such February 2008. Artlab Australia, South Australia. as acid free tissue, cotton tape, bubble wrap and foam, not obtainable Timor-Leste, were The successful outcome of this project was that Sandra Yee is a Conservator at the Museum and Art immediately shipped from Darwin. An DNC staff received useful and relevant hands- Gallery of the Northern Territory. appropriate work space to pack the works of on training in object handling, cleaning and art had to be located in Dili as the National packing, and that the National Collection of East REFERENCES

Collection is yet to be housed in a designated Timor was displayed for the first time outside Barrkman, J. (ed) 2008: Husi Bei Ala Timor Sira Nia Liman – From museum building. A reliable power source the newly established nation and in Australia. the Hands of Our Ancestors. Museum and Art Gallery Northern was required and a logistical solution found Territory, Darwin, in partnership with the National Directorate of for moving crates, containing fragile artworks, The challenge in developing regional Culture, Democratic Republic of Timor-Leste. to the Dili dock for despatch by barge to exchange programs is maintaining on-going Heritage Collections Council, 1998: reCollections: Caring for Darwin. An example of the challenges faced programs that further build on established Collections Across Australia. Commonwealth Department of in the rudimentary conditions was the professional relationships. Organisations such Communications, Information Technology and the Arts, Canberra. introduction of clean gloves for handling as the Australia-Indonesia Institute, Australia objects. Many of the rare items, such as International Cultural Council, Asialink Soemantri, H 1997: Majapahit Terracotta Art. Ceramic Society of the ancestral sculptures from Lautem and and AusAID have generously supported Indonesia, Jakarta. Bobonaro, were friable, with old patinated initiatives in the field of professional Simith, V. 2008: ‘National Museum of Timor-Leste: Its Past, Present surfaces, and it was difficult to keep bare development, yet it continues to be difficult to and Future’ in Husi Bei Ala Timor Sira Nia Liman – From the Hands hands clean when there was little running access funds for more long-term conservation of Our Ancestors, Barrkman, J. (ed), Museum and Art Gallery water available at the Dili packing site. programs. The requirements of writing grant Northern Territory, Darwin.

6 T A A S A R EVIEW VOLUME 19 NO.4 C o l l EC t o r a N d C o l l EC T E D : EXP l o r i NG t HE i N T E R CU l t U r a l N a t U R E o F a MUSEUM C o l l EC t i o N

Siobhan Campbell Anthony Forge (background, left) attends a ceremony at the Pura Bale Batur in Kamasan, Bali, August 1973. Forge Archive, where? photographer unknown.

s museums around the world acknow- A ledge the need for greater interaction with the producers of their cultural heritage collections, research on the Forge Collection of Balinese Art at the Australian Museum in Sydney is generating new perspectives on the artistic and scholarly processes behind the formation of this museum collection.

The Australian anthropologist and collector Anthony Forge (1929-1991) spent one year in Kamasan village, Bali, between 1972 and 1973 and conducted a detailed study of traditional paintings on cloth. During this fieldwork and on a couple of later visits Forge acquired the 160 paintings that now constitute the Forge Collection at the Australian Museum, Sydney. As his intention was to assemble a collection that visually documented stylistic and iconographic change over time, he Kamasan village is home to a community containers and vessels for temple offerings. purchased a considerable variety of works of artists actively producing art for social ranging from old paintings sourced from and religious purposes as part of a painting Although the paintings collected by Forge community temples to new works purchased tradition that can be traced back to at least originate from several centres across Bali, the or commissioned directly from artists. the time of the great East Javanese Majapahit village of Kamasan remains the main centre of kingdom (1293 -1500). The village is located this classical painting tradition and artists today Assembling a museum collection in the two kilometres to the south of Semarapura, continue to work in the classical style. This style field was not something Forge had planned the capital of Klungkung District in East is closely related to the shadow puppet beforehand, but he was encouraged by the Bali. This was the seat of the Dewa Agung theatre. The paintings are characterised by their availability of old and new works. Forge of Klungkung, the highest ruler in Bali until narrative content, depicting scenes from the had collected for museum institutions in 1908, when the kingdom was destroyed by Indian epics Ramayana and Mahabharata as well the United States and Europe during two the Dutch. Kamasan painters, known by the as indigenous narratives including the story of previous periods of fieldwork in the Sepik Balinese word for artist/craftsman sangging, black magic witch Rangda, the courtly tales of region of Papua New Guinea, and therefore served the ruler of Klungkung. Their work Prince Malat Rasmi, the family of Pan and Men had established contacts with potential included the painted ceiling narratives on Brayut with their 18 children, and the Tantri collectors and institutions. When he began the Kerta Gosa, or Court of Justice, located animal fables. They were produced in a variety his first period of fieldwork in Bali, Forge within the grounds of the former royal palace. of formats on bark or cotton cloth and hung was a senior lecturer in Anthropology at This palace, standing on the southern corner within royal palaces, individual courtyard the London School of Economics, but of the main intersection of Semarapura, is and community temples, often stored away during his stay in Bali he was appointed Klungkung’s most visited tourist attraction. and brought out for use during particular as Founding Chair of Anthropology at the Most of the artists reside in Banjar Sangging, festivals. Forge worked with several Kamasan Australian National University in Canberra. the Kamasan ward named after the Sangging artists to produce written and photographic His Balinese painting collection was offered descent group, although other wards within documentation of the painting process, sought to the Australian Museum, which purchased Kamasan including Pande Mas and Siku their views on the provenance and quality of the initial collection in 1976 and then funded also house practicing artists, alongside gold, older works and relied on them as sources to further acquisitions in 1979. silver and metal smiths who largely produce explain the narratives depicted in the paintings.

Ider-ider of Pan and Men Brayut, presumed to be by Kumpi Mesira, Bali (Kamasan, Klungkung District), c1900.

Natural pigment and ink on cotton cloth, 29 x 380 cm. The Forge Collection, Australian Museum, Sydney. Photo Emma Furno

T A A S A R EVIEW VOLUME 19 NO.4 7 Ider-ider of Rangda-Barong and Bharatayuddha, artist unknown, Bali (Djasi, Karangasem District), c1920s (two parts,

see below and right). Paint, charcoal and ink on cotton cloth, 29 x 364 cm. The Forge Collection, Australian Museum, Sydney. Photo Emma Furno

One painting collected by Forge from a temple The paintings and the associated documentation many to assume that production for outsiders in the coastal village of Djasi in Karangasem, record the innovations in classical painting diminishes the significance of this tradition. In East Bali, suggests that the Balinese users of over a 200 year period. This makes the Forge the early 1970s Forge was able to document that, paintings were familiar with different painting Collection unique, for no other collection of while artists may be producing paintings for styles and even employed them side by side. Balinese classical paintings, within or outside sale or fulfilling commissions from outsiders like Ider-ider is the name given to a long and narrow Bali, has such a large amount of contextual hotel groups, government offices and tourists, cloth that hangs from the eaves of a pavilion in information to accompany the works. they continued to produce as part of an artistic temples or palaces and can stretch right around tradition. Today, this sense of historical continuity the outside of the building. Ider-ider usually Forge was not, however, the first foreign scholar to remains an important part of their practice. relate several scenes of a narrative which can study classical Balinese paintings. Officers serving be viewed in sequence by walking around the the Netherlands East Indies colonial administration The documentation of Kamasan painting made building. This particular painting consists of collected outstanding examples which are now by Forge was published as the catalogue to two pieces of cloth which were sewn together held in Dutch collections, but little is known about accompany the first and only exhibition of the before painting, but the two halves are very these works or their artists. Linguist Van der Tuuk Forge Collection held at the Australian Museum different. The scenes on the left side of the cloth worked with several Balinese artists during the in 1978. Within the Museum the collection has show a Rangda and Barong dance and orchestra late 19th century in the process of compiling a been studied in storage by scholars such as Peter with the musicians wearing European style dictionary of Old Javanese, Balinese and Dutch; Worsley (1984: 64-109), who undertook detailed dress. The demon witch Rangda appears with he assembled a collection of more than 400 works research on paintings including the Ramayana an assistant, both with long fiery tongues, while on paper (Hinzler: 1986). Dutch artist and collector scene pictured. This is possibly the oldest work armed men attack them. The scenes on the W.O.J. Nieuwenkamp (1874-1950) reportedly in the collection and is believed to date from right side are from the Mahabharata epic, and studied painting with artists in Kamasan village in the early 19th century. The painting has been depict a meeting which takes place between 1906 (Carpenter: 1997). produced on bark-cloth and shows Rama’s army representatives of the Korawa and Pandawa of monkeys and other animal creatures building sides at the beginning of the Bharatayuddha, The prevailing view of Balinese art history a bridge of rocks between the mainland and their final battle. The cloth shows the leaders among many foreign and Balinese academics Langka. The white monkey, Hanoman, appears of the Korawas receiving Krishna and the is drawn from descriptions of the classical in the centre top flying across the strait. Pandawa retinue. Forge did not discount the painting tradition penned by foreigners possibility that the same artist produced both associated with the development of the Forge’s fieldwork in Kamasan has been further parts of this painting and although the artist ‘modern’ painting styles of the 1930s, who developed by Adrian Vickers (2005) who worked was not known, it is believed to date from had little understanding or appreciation of with artists over many years to document the 1920s and to be the work of a painter Balinese classical art. Observers such as Miguel Balinese views of the paintings. Forge’s work has outside Kamasan. Covarrubias (1937) saw traditional painting not only been of interest to foreign academics, as repetitive, unoriginal and justifiably the catalogue is highly sought after as a reference Another pair of paintings in the collection was superseded by the new painting styles. It is not by artists in Kamasan and has circulated in the made to be used as flags and hung at the uncommon for such accounts to lament the fact community since Forge brought copies back entrance to temples and private compounds. that traditional art is on the brink of extinction to Bali in 1979. Most artist studios still display They are known as kober, and are painted on due to declining religious significance. The a well worn and photocopied version of the both sides with a seam running down one side Forge Collection challenges the conventional original catalogue for perusal by visitors. so that a long piece of bamboo can be inserted as history of Balinese painting, showing not only the flag pole. They generally depict two opposed that innovations cannot be solely attributed It is now almost 40 years since Forge characters or a male and female pair. This pair to arrival of Western artists in the 1930s but conducted his fieldwork study and assembled shows two characters from the Ramayana epic: also that the production of art for secular and this collection. In the intervening years Bali an unidentified demon general who is a member religious purpose is not mutually exclusive. has experienced significant social, political of the demon king Rahwana’s retinue, and and economic change which has shaped the Hanoman, the white monkey general who leads The religious context associated with the transformations in artistic practice in Kamasan the army which defends Rama. production and use of these paintings has led village. The Forge Collection has become a

8 T A A S A R EVIEW VOLUME 19 NO.4 valuable repository documenting the cross- Nyoman Mandra, was amused to recognise village. The Museum’s collection includes cultural engagement that occurred between her father, Ketut Kantor, amongst a group paintings purchased in Europe from the estate collector and community. The relatively of villagers Forge had photo-snapped seated of W.O.J. Nieuwenkamp. Most of the collections recent (in historical terms) engagement in a temple compound. Another elderly in Bali however display little information about between Forge and the community of artists lady identified a photo of her now deceased the provenance of works, which are largely in Kamasan now makes it possible to gather husband, Made Mandra, whom Forge had attributed to anonymous artists. more contextual information about the photographed working as a silversmith. dynamics of his collecting process and the All these developments have shaped how the paintings themselves. In Kamasan today a few old paintings can be community engages with overseas heritage found for sale, but several households continue collections and what kinds of value they ascribe The community of Kamasan village were not to produce new paintings. Small shopfronts to them. In the case of the Forge Collection, the passive participants but variously influenced serving as art display galleries now line the collected works are not a repository of cultural the formation of the collection and Forge’s main road of Banjar Sangging, with shop-signs traditions in decline, but relate to a community understandings of Balinese art. Forge directly identifying the name of the artist hanging outside which continues to produce traditional art worked with several of the artists whose work each one. Although each artist has paintings and maintains a dynamic sense of tradition. is represented in the collection, as well as available to purchase on the spot, most of the Documenting Balinese understandings of the many itinerant traders, antique and art dealers, orders come through commissions. The studio Forge Collection and collecting process should religious leaders and community members. of Nyoman Mandra reports they have at least enable us to better appreciate the intercultural His primary informant among the artists was one visit each day, but the major purchasers of engagement which took the paintings on their Mangku Mura (1925-1999) who came from Banjar these works are domestic visitors from Jakarta journey from village temple to the Australian Siku in Kamasan. This was not traditionally a and Surabaya rather than international tourists, Museum. community of artists but Mura had studied with as was the case in previous decades. The five artists from Banjar Sangging. Forge took many family-run antique shops in the Klungkung Siobhan Campbell is a PhD research student at photos of Mangku Mura working on paintings, capital Semarapura, operating since the 1930s, the University of Sydney. She has been conducting including one of Mura painting the scene known also report that the main clients for their wares research in Banjar Sangging and is currently as the Churning of the Milky Ocean from the are now Balinese families seeking heirloom exploring the observations and documentation Adiparwa, the first book of the Mahabharata epic. items for their homes. Foreign visitors who were produced by Forge from a contemporary viewpoint. the mainstay of their businesses in the 1970s Anthony Forge’s name continues to be widely and 1980s now baulk at the seemingly high REFERENCES remembered in Kamasan Village. Most adults prices asked for the purportedly ‘old’ ceramics, Carpenter, Bruce W. 1997: W.O.J. Nieuwenkamp: First European over 40 remember Forge, his family and their wooden carvings and cloths. Artist in Bali. Periplus Editions, Singapore. house in Banjar Griya - though often their Covarrubias, Miguel 1937: Island of Bali. Knopf, New York. most immediate recollection is the story of Since the late 1970s Balinese have also replaced Forge, Anthony 1978: Balinese Traditional Paintings: A selection Forge landing a helicopter on the local soccer foreigners as the major dealers and collectors from the Forge Collection of the Australian Museum, Sydney. field. Forge was not in the helicopter at the of classical paintings. All the large private Australian Museum, Sydney. time but had organised the flight for a film and public museum collections in Bali house Forge, Anthony 1978: ‘A Village in Bali’ in Anne Sutherland (ed) Face Values:Some Anthropological Themes. British Broadcasting crew he escorted to Kamasan in January 1977 impressive collections of classical paintings Corporation, London. to film an episode of the BBC television series which are on public display: they include the Galestin, T. P. 1956: ‘A Malat Story’ in Lamak and Malat in Bali Face Values. The helicopter landing, along Rudana Museum, Agung Rai Fine Art Gallery, and a Sumba Loom. Royal Tropical Institute, Amsterdam. with Forge’s penchant for smoking massive Neka Museum, Puri Lukisan Museum in Hinzler, H. I. R. 1986: Catalogue of Balinese manuscripts in the cigars, is now legendary. Ubud and the Museum Negara Propinsi Bali in Library of the University of Leiden and other collections in the Denpasar. One of the largest and most impressive Netherlands. Leiden University Press, Leiden. Photographs taken by Forge of the village collections of classical paintings is now held Vickers, Adrian 2005: Journeys of Desire: a study of the Balinese and various local identities were shown to in the Gunarsa Museum, established by the text Malat. KITLV Press, Leiden. various community members in 2010, and Klungkung born contemporary artist Nyoman Worsley, Peter 1984: ‘E 74168’ in Review of Indonesian and elicited interest. Nyoman Normi, wife of artist Gunarsa only minutes drive from Kamasan Malaysian Affairs, 18: pp 64-109.

T A A S A R EVIEW VOLUME 19 NO.4 9 T HE r EV I V a l o F EMB r o i d E R E d S t o r Y C l o t HS i N NEG a r a , B a l i

I Made Rai Artha Ulon, ceremonial hanging with stories of the gods and godesses, by Ibu Ratih, Bali (Sangkar Agung village, Negara, Jembrana), 2008. Hand embroidered with commercial cotton

with synthetic dyes on polyester, 108 x 110cm. Photo courtesy John MacDonald

n Bali, the identity and technique of I embroidered cloth, known as kain sulaman*, is especially interwoven with the cultural traditions of Negara in the west of the island, the only place in Bali where kain sulaman is practiced. on cloth was most likely introduced when Chinese immigrant communities arrived on the island in the 19th century. It was very quickly adopted to become a unique medium of aesthetic expression of the local Balinese Hindu religion, and colourful embroidered hangings were once an essential part of temple decoration during festivals or auspicious life- cycle ceremonies.

The first Negara story cloths, known as sulaman Negara, may have been made as recently as the first half of the 20th century; further research is required, however, to determine exactly when the earliest story cloths were produced (Fisher and Cooper 1998:63). They appeared around the time when there were dramatic changes in Balinese society following the Dutch invasion of 1906, which led to the demise of court patronage for the arts. Negara embroidered textiles display many similarities, in their figurative imagery, narrative content and use for temple decoration, to cloth paintings produced further east at Kamasan under the patronage of the court at Semarapura (Klungkung), initial sketch and subsequent embroidery of the Mahabharata and Ramayana epic narratives that destroyed by the Dutch in 1908; the Negara design is imbued with the energy known as are such an important element in Balinese art. textiles were possibly were initially inspired taksu. According to Balinese belief, taksu is the These plots explore issues of ethics, morality by Kamasan painted hangings (see Campbell manifestation of the spiritual power evoked by and the nature of virtue, acted out in the article pp. 7-9 this issue). the artist during religious ceremonies, and the endless struggle between the forces of the quality of a finished embroidered cloth depends ‘right’ and ‘left’, meaning good and evil. They The process of making kain sulaman begins on its presence. provide critical models for the development with the selection of a suitable base material. of humane character values and prepare each The most common cloth utilised today is plain Once the drawing is completed, the person for life’s journey. An important aspect white or sometimes light coloured polyester, embroiderer selects coloured rayon threads of shadow puppet iconography is the extent although hand woven cotton is occasionally and begins the hand-stitching process. If the that facial colours (wanda (I)) and features - used. Next, craftsmen dedicated to the design base cloth is thin polyester, the stitcher uses such as frightening, beautiful, fascinating or of kain sulaman, known as tukang orten, draw an embroidery frame called a penyangkan humorous appearances - articulate the diverse the desired pattern in pencil on the base cloth. (I). The outlines of the drawing are traced inner nature of the characters. This iconography Tukang orten are considered to be extraordinary using running stitch, and flat stitch is used is transferred to the embroidered medium. people, drawn from the ranks of urusan agama (I), to fill in blocks of colour. An important Characters are usually depicted with only the religious disciplines which include shadow enhancement to the attractiveness of the the minimal suggestion of a landscape setting puppet performance masters called dalang (I), cloths is the addition of small sequin-like and their identity can easily be recognised at a or undagi (traditional architects). Their training mirrors or fringing that is sewn on leluur glance by those Balinese who are familiar with ensures extensive mastery of the repertoire and cloths. A single embroiderer makes each story the shadow puppet theatre. Thus, sulaman iconography of shadow puppet theatre, known cloth and he or she may take between one to Negara often prompts a desire among viewers as pawayangan (I), which forms the inspiration four months to complete the work of art. to further learn about pawayangan stories. for the story cloth designs. In addition to their artistic ability, tukang orten must participate The figurative imagery on story cloths The format of the embroidered story cloths in a cleansing ceremony known as mewinten. is usually derived from the repertoire of carries specific meanings, with the precise The performance of this ritual ensures that the pawayangan, whose plots are based on the significance of each piece determined by its

* All words in italics are in the Balinese language, except those marked (I) indicating Indonesian.

10 T A A S A R EVIEW VOLUME 19 NO.4 Ider-ider, ceremonial hanging depicting the love story between Sampik and Intai, by Ibu Ratih,

Bali (Sangkar Agung village, Negara, Jembrana), 2008. Hand embroidered with commercial cotton

and synthetic dyes on polyester, 27 x 471 cm. Photo courtesy John MacDonald shape and use. Textiles customarily play an essential role in Balinese ceremonial practices as they symbolically represent specific spiritual concepts or the aspirations of participants in the ceremony. One such example is a simple plaid cloth called sekordi, a contraction of suka en werdi that literally translates as ‘happiness- old’. Sekordi are used in life-cycle ceremonies and express the wish for a long, joyful life. Negara embroidered cloth is made in various sizes and shapes, such as ulon , ider-ider , leluur and lamak. The term ulon means a square- shaped wall hanging, marking the head of a sacred structure or site. Ider-ider are long rectangular cloths commonly hung along the eaves of buildings. Leluur are square-shaped canopies usually strung from the ceiling of a ritual space. The long, narrow lamak cloth is hung in front of the stairs leading to the pelinggih, an altar space and the abode of the sacred energies of the gods and goddesses that dwell within the temple.

The choice of figurative subjects - heroic, demonic or supernatural - and the gestures depicted on each embroidered cloth are determined by its shape. For example, an ulon usually has both naga serpents and figurative motifs from pawayangan. Ider-ider and lamak an almost forgotten art form. Although prada Since 2009, Threads of Life has commissioned have bun-bunan, linked flower motifs or and beludru are visually striking, they lack ulon, ider-ider, leluur and lamak cloths and the complete episodes from the pawayangan. Leluur the cultural context and close connection to quality of production continues to improve. usually have only flower motifs decorated Balinese spiritual values that is the essence of Consideration is being given to the use of with glass and fringing. The narrative cloths sulaman Negara. embroidery thread coloured with natural dyes are collaborative works of art as the stories are for further commissions. A dedicated group of determined by the tukang orten while materials The art of embroidering sulaman Negara has embroiderers has re-formed; yet the question and the colours of the threads are selected by recently been reinvigorated in Bali by Threads remains whether community demand and a the embroiderer. Nevertheless, both share the of Life, an organisation in Ubud that supports market for Negara embroidery will re-emerge. same ideal of creating a beautiful object for the sustainable revitalisation of local textile It may be the interest of international collectors the gods and both agree that the use of story traditions around Indonesia. The publication of that ultimately provides enough economic cloths strengthens belief in the sacred presence a definitive historical study of sulaman Negara incentive for the embroiderers to fully revive existing within a ritual space. This enables in Story Cloths of Bali (Fischer, 2004) encouraged sulaman Negara and ensure the continuation the enactment of ceremonies to become a Threads of Life to explore the possibility of of this important aspect of Balinese cultural devotional practice through which awrwah instigating a revival in the art. In 2007 Threads practice. As we wait to see whether this leluhur (I) (ancestors) can transmit strength and of Life undertook fieldwork in Negara, and the distinctive textile art will regain its rightful blessings to the devotee. name of Ibu Ratih of Sangkar Agung village place in temple ceremonies that continue to be was repeatedly mentioned in response to local performed in the modern era, the women of The use of embroidered story cloths to decorate enquiries regarding makers of story cloths. Negara have begun again to tell their stories temples and sacred spaces, such as pelinggih, Ibu Ratih graduated from Akademi Seni Tari with dedication and pride. was popular until the 1980s. The Negara Indonesia (ASTI) as a young woman, then embroidered textile makers prospered and returned to Sangkar Agung village where I Made Rai Artha (Lolet) manages the cultural the textiles were readily available in markets she began to teach dance, information and materials for Threads of Life based around the island. Around 1990, however, and embroidery. She had co-ordinated a in Ubud, Bali, which works with weavers from the novel appearance of cheaper kain prada weaving and embroidery co-operative which remote areas of Indonesia to sustain the cultural (I), mass-produced silk-screen printed gold had ceased activity because of the decline in and technical integrity of traditional textile arts. ink on cloth, and beludru (I), a velveteen buyer demand. Threads of Life commissioned fabric, swamped the market. The growth in a story cloth on specially selected hand-woven REFERENCES popularity of these substitute fabrics meant cotton, but it was only completed two years Fischer J. and Cooper T. 1998: The Folk Art of Bali: The Narrative that the makers of sulaman Negara received later due to the difficulty in securing the skills Tradition. Oxford University Press, New York. fewer and fewer commissions, removing the of a tukang orten. The only remaining tukang Fischer J. 2004: Story Cloths of Bali. Ten Speed Press, California. incentive to perform labour-intensive hand orten in the district was Bapak Putra of Sangkar embroidery and resulting in a decline in Agung and there was heavy demand on him production and loss of embroidery skills. to create other types of ceremonial objects for Within a decade, sulaman Negara has become the entire Negara region.

T A A S A R EVIEW VOLUME 19 NO.4 11 T HE S A C R E d H O USE o F t i M o r - L ES T E

Eugénio Sarmento Existing sacred house of Fatala (interior detail), Soibada, in the old Manufahi district, Timor Leste.

Photo Nuno Vasco Oliveira and Eugénio S.C.J. Sarmento imor-Leste is rich in traditional architecture because its role was to preserve old objects that T which varies in style according to the were valued for their heritage significance, ethno-lingual, geographic and climatic elevated to the status of sacred heirlooms with environment of each region of the country. time. In the early 20th century, the Portuguese The buildings are constructed in various types visitor Martinho (1943: 257) observed: of wood and other natural materials using complex techniques, endowing them with ‘…the uma lulik is like the temple of the a unique appearance. This is most clearly Timorese people. There they keep the most apparent in the particular form of traditional varied objects such as old war and party drums, building that is known as the uma lulik. The machetes of aswain (war heroes), scepters of uma lulik is the sacred house owned by each liurai (kings), old uniforms, swords and rifles, clan or village group and it is the traditional spears, jewels, textiles and chinaware, and focal point of ancestral beliefs and communal even whole buffalo horns of animals that were life, even in matters such as village politics killed to honor the souls of the persons to whom and local security. Embodied within each ume those objects once belonged.’ lulik* are the complex tangible and intangible values of Timorese culture that are most It is significant that many uma lulik not only immediately expressed in the bonds and contain objects locally made by Timorese but obligations of bilateral relationships existing also foreign artifacts, even European soldiers’ between the fetosan (the family of the man/ clothing, swords and helmets. Martinho husband/fiancé) and unmane (the family of noted that the Timorese individual revered the woman/wife/fiancée) social groups. Thus these objects brought from overseas with the architecture of the uma lulik is far more ‘a religious respect as high as the respect complex than common houses. Its design and he had for his own ancestors because sculptural decoration is intended not only to they represented the pages of his history’ appear as aesthetically beautiful but also to (Martinho 1943). convey deep philosophical meanings related Lalean, so consequently Menaha’s head was to Timor-Leste identity. The uma lulik may be said to be like a temple buried with great funerary ceremony. Until because it represents the sacred centre of today, people still place food on his grave The design of uma lulik varies in each region all things and is regarded as a place of and make annual offerings, praising the dead throughout Timor-Leste. In Le Teinu, in prayer. In early times, before battles, the lulik and asking for God’s blessing. The uma lulik Lautem’s Lorosa’e (literally ‘rising sun’) nian (traditional priest) entered the sacred is situated next to his grave and decorated district on the far eastern tip of the island, house especially to perform rituals in close with many symbols related to this story. The the roof and dome of the houses are raised proximity to those objects that had been sacred house also contains warriors’ battle very high while further west in places such taken from the hands of the enemy and artefacts that are a reminder that respect for as Oecusse, Bobonaro and Covalima, the embodied the narratives of past wars. These heroes of war was an important value in roof eaves touch the ground. Likewise, the warrior ceremonies were intended to ensure traditional Timor-Leste culture. The Da’E ornamental decoration carved on the wood subsequent success and victory. The rites Menaha uma lulik has recently been restored beams, pillars, lintels, doors and windows included consulting the intestines of sacrificed and in May 2008 I represented the State of the sacred houses in each region convey animals and marking their foreheads with Secretary of Culture at its inauguration. The specific local symbolic meanings. In the old a mixture of betel, lime powder and areca ceremony included placing sacred foods such kingdom of Suai Loro, in the district of believed to make the wearer invincible. as the tongue and chest of a pig, the tongue, Covalima, sculptural motifs decorating the the liver and the heart of a buffalo, as well uma lulik are intended to demonstrate how the It is through the uma lulik that Timorese as areca nuts and betel leaves, on top of the social lineages of each tribe were established today are able to learn more about their own grave of Menaha. in ancestral times. In Suai Fohorem, the histories. One such example is the uma lulik sculptures that adorn the uma lulik are likened named Da’E Menaha or ‘Menaha’s head’. It is The Government of Timor-Leste, through the to a horse with wings. This supernatural sacred to the suko (clan group) of Abo Quelicai State Secretariat of Culture and the National animal symbolises the great power that was and related to the important uma lulik of Abo Directorate of Culture, and in collaboration shared by five kingdoms whose existence is Matebian on the Matebian mountains. Da’E with the Embassy of the United States of enshrined in the ancient name Cova Lima. Menaha was built following a war between America in Dili, has developed a heritage The uma lulik form can also be seen woven in the kingdoms of Laga and Abo Quelicai. The program for funding the reconstruction the mama fatin, small baskets containing bua people from Abo won and killed an enemy of historically important uma lulik. The (areca nuts) and malus (betel leaves). warrior (funubaluk) from Laga whose name program’s restoration priorities are those was Menaha. In pre-Christian Timor it was buildings that deteriorated while Timor-Leste The uma lulik of Timor-Leste may also be believed that the souls of warriors killed was under Indonesian occupation or suffered considered to be a traditional ‘museum’ in combat go to the after-life paradise of damage during ‘Black October’ in 1999. To

*All terms in italics are in the Tetun language unless otherwise stated.

12 T A A S A R EVIEW VOLUME 19 NO.4 Construction detail of the Ri Tur sacred

Ri Tur, an uma lulik (sacred house) in the Fatala group, Soibada, Manufahi district, Timor Leste. house in Soibada. Photo Nuno Vasco Oliveira

Photo Nuno Vasco Oliveira and Eugénio S.C.J. Sarmento and Eugénio S.C.J. Sarmento

However, the internal design and decoration of Uma Fatala differs from other Soibada sacred houses because these two elements have to be suggestive of its special status both within Soibada society and the Samoro kingdom. In Uma Fatala there are two main pillars that support the roof and these symbolise that its independence is trusted but that the house is administratively dependent on the kingdom of Samoro.

The techniques and sculptural decoration used in traditional architectural construction, with their profound philosophical and cultural meanings, have attracted the attention of foreigners from the first arrival of the Portuguese missionaries in the 16th century. The uma lulik, perhaps more than any other form of traditional architecture, most powerfully represents the art of the people date, this project has ensured the restoration one of them is known as Bibi Nehan (literally a of Timor-Leste. Nevertheless, much more of important uma lulik including Manu goat’s tooth, but in this case a carved wooden research is still required to understand the Benu in Oecusse, Mane Telu in Bobonaro, object in the form of a goat’s tooth). unique heritage of this style of building. It is Lokometa Darlau ini Ainaro as well as the hoped this knowledge will contribute to the uma lulik Horu Fatu Ara in Lautém. Currently, Uma Fatala is undergoing development of Timor-Leste cultural identity reconstruction. The task is being completed that is imbedded in a spirit of nationalism The uma lulik embodies the ancient Timorese according to the guidelines of lian adat as well as a desire for peace and tranquility tradition of reverence for the ancestors and (sacred oral histories). This reconstruction is among other countries. yet its architectural principles also sometimes traditionally described as Uma Futus Hisin significantly influenced the erection of Uma Taun Hisin, literally meaning a sample Mr Eugénio S.C.J. Sarmento is Director of Christian houses of worship following the of the house’s body, represented by a piece Administration, Secretariat of State, Culture, Ministry arrival of Portuguese missionaries. The sacred of traditional woven cloth, as opposed to of Education, Democratic Republic of Timor-Leste. house of Uma Fatala in Manufahi is notable the complete house’s body, represented by a for its beautiful architecture and regarded tree which symbolises the permanence of the The author wishes to thank Dália Mesquita and among the five most important uma lulik in sacred house. The reconstruction is anticipated Nuno Vasco Oliveira for translating the orignal text the Soibada region. The traditional design to take around five years to complete. During from Portuguese to English. was influential during the construction of the this period, 12 ceremonies will be performed, Church of the Holy Heart of Jesus in Soibada because each construction phase requires the REFERENCES in 1889. The missionaries decided that the ritual sacrifice of an animal and libation of its Assis, C. & L. Garate (in press): Património Cultural de Timor-Leste: church’s door would be built facing southwest blood on the tree designated to be felled for As Uma Lulik dos Distrito de Ainaro. Secretaria de Estado da as the building site provided enough space making the pillars or other components of Cultura de Timor-Leste/Universidade La Coruña, La Coruña. in that direction for a courtyard. The dato the structure. Cinatti, R., L. Almeida, S. Mendes 1987: Arquitectura Timorense. Instituto de Investigacao Cientifica Tropical/Museu de Etnologia, (aristocratic lord who is below the Liurai Lisboa. (king) and has only regional powers) of Lacu As with other sacred houses of Soibada, Martinho, Cpt. J. S. 1943: Timor Quatro Séculos de Colonização Mauk disagreed and required that the main the roof of Uma Fatala is constructed in Portuguesa. Livraria Progredior, Porto. door be built facing the east. According to three architectonic layers to symbolise its Sarmento, E.S.C.J. 2003: A História do antigo reino de Samoro e Soibada customary practice, the main door hierarchical position as a sacred house. A a nova religião. Organising Committee of the 100th anniversary of the uma lulik must face east, even if the traditional house inhabited by a liurai has of the Church of Soibada, Dili. land is not level, in order to catch the light only two roof layers while that of a dato has of the rising sun. Furthermore, traditional just one layer. There are no roof layers on sculptures were placed inside the church, and dwellings constructed for common people.

T A A S A R EVIEW VOLUME 19 NO.4 13 d i l i : a C i t Y i N SE a r CH o F i t S S O U L

Jill Jolliffe Government Palace, Dili, originally the office of the Portugese colonial administration, with 1960s monument marking fourth centenary of the death of Henry the Navigator in foreground.

All photos Jill Joliffe 2010 unless otherwise indicated

ast Timor’s capital Dili has not been E treated kindly by history. Joseph Conrad in his novel Victory described it as ‘that highly pestilential place’, while Charles Darwin’s colleague Alfred Russel Wallace, who visited in 1861, declared it ‘a most miserable place compared with even the poorest of the Dutch towns’, by which he meant those of the Dutch East Indies. Their views were influenced as much by enmity towards the Portuguese who governed it as from observing the city itself.

Naturalist Henry Forbes followed in Wallace’s footsteps two decades later and looked at the city more in its own right. He observed: ‘The town, although vastly improved since Mr Wallace’s visit, was still disappointing in many respects, and its Hibiscus-lined streets looked poor and uninviting’. The adventurous Henry and his wife Anna refused to stay with the Governor at his palace in Lahane in favour of building a denied independence, the result of a secret was held 10 days before Indonesian bamboo hut at Fatunaba in the hills behind Dili, 1943 deal between the dictator and the Allies. paratroopers invaded the territory, paving which they preferred for its panoramic view of There were, however, minor reforms in the the way for their 24-year military occupation the city, the palace and Ataúro island. 1960s such as the building of new schools and dedicated, among other things, to eliminating the first scholarships to Portugal and Macau all vestiges of Portuguese and traditional By 1975, after Portugal’s four-decade for a small pool of Timorese students. There Timorese culture. dictatorship fell to the leftist Armed Forces was also housing reform, with the building of Movement, the capital of Portuguese Timor bairros económicos - low-cost housing clusters The influence of Catholic, European values on a was still a tropical backwater, but with a in traditional Portuguese style. The 1960s also distinctive people who were neither nor certain magic in its fusion of architectural marked the appearance of a new architectural Melanesians but standard-bearers of an animist styles: Timorese traditional thatch houses style in Dili, a sort of Salazarist art-deco warrior culture had made the East Timorese a nestling side-by-side with trim, whitewashed common in Portugal, reflecting the lines of special people in Southeast Asia before 1975. Portuguese dwellings in a setting of palm the Italian Futurist movement which had After 1975 they became victims of a modern groves and banyan-lined avenues. flourished under Mussolini. army set on obliterating exactly these special qualities, and their country changed forever. Among important examples of civic architecture This austere, angular style was evident in the were: the colonial administration offices, still a original Hotel Turismo, built by Sebastião Independence was restored to East Timor, with waterfront landmark and reborn today as Calado around 1969. A landmark hotel UN help, in 2002, but its present and future can the Palácio do Governo of the independent haunted by journalists, spies and diplomats only be understood by recognising the human government of East Timor; the SAPT building during the upheavals of the 1975-1999 and physical destruction of those occupation (Society for Agriculture, Fatherland and Indonesian takeover, it was later extended years. The official death toll assessed by the Labour, a colonial body established in the to an adjoining block by Indonesian owner post-war reconciliation commission (CAVR), early 20th century) in Colmera; the Lahane Alex Semara. He planted a tropical garden was 183,000, but in 2010 bodies are still being palace; and the former colony’s main garrison and built a new wing linked to the original unearthed. Around 10,000 of the surviving building on the Dili waterfront. The last began by an arched colonnade. Stylistically it was population were victims of torture. as a primitive artillery fortification when the as foreign to the original structure as the Portuguese moved the capital from Lifau to Indonesian generals housed there on visits Defeated by international pressure, as much Dili in 1769, and was rebuilt between 1885 from Jakarta. Pope John Paul II was rumoured as by Timorese courage, Indonesia withdrew and 1889 as an infantry barracks. The dates of to have occupied a room during his 1989 in September 1999. Its scorched-earth exit the restoration work are based on research by visit, although insiders swear it was only his compounded the damage. As the soldiers Timor scholar Kevin Sherlock. dresser who did. marched under UN watch, heads bowed, to disembark from Dili harbour, the flames In Lisbon the dictatorship of António de The Lahane palace was the setting for the were licking at Lahane Palace and no-one Oliveira Salazar was in decline after World swearing to office of the first independent moved to douse them. Around 80 per cent War II but Portugal still clung to its colonies. government of East Timor on 28 November of the country’s infrastructure was destroyed Portuguese Timor was almost alone among 1975 under then FRETILIN president during the withdrawal. Southeast Asian territories which were Francisco Xavier do Amaral. The ceremony

14 T A A S A R EVIEW VOLUME 19 NO.4 Lahane Palace, Dili, in 1927. Image from Artillery barracks, Dili (left), in 1927. Image from

Viagem ao Extremo Oriente 1927-1928 by Capt. Viagem ao Extremo Oriente 1927-1928 by Capt.

Alvaro de Freitas Morna, 1931. Imprensa da Armada Alvaro de Freitas Morna, 1931. Imprensa da Armada

Dili has in many ways come to resemble a little Jakarta, with its mushrooming kiosks, shanty houses, dense car traffic spewing pollution and a wildcat building boom producing projects with no link to Timorese tradition.

Privileged bilateral relations between East Timor and The People’s Republic of China have directed contracts to Chinese building companies, contributing to the uglification of the city. Chinese involvement began The Timorese have shown themselves to be which they loathed but mimic in their with the building of a Foreign Ministry and a generous people who are not moved by frequent resort to violence. Set to become the Presidential Palace as independence gifts hatred, despite their horrific experience under country’s next leaders, they are not yet able to from Beijing, both monumental buildings Indonesia and their dislike of Portuguese incorporate their colonial past as a legitimate with no organic links with Timorese culture. colonial rule. It would have been perfectly part of their own history: East Timor is still a The same companies have since moved on understandable if, after 1999, they had country in post-conflict mode. to building properties for foreign investors, taken hammers to the ugly triumphalist from hotels to gated villa estates. statues Indonesian authorities had erected Only a few 1975 landmarks have survived throughout their country, but they did not. the military occupation and other heritage If Dili’s identity is threatened, some symbols buildings are being razed by private endure—and with these, hope that the forces of Other factors are also at work. The generation developers or by state authorities who want political and aesthetic confusion of the 2000s may which emerged from the 1991 Santa Cruz public buildings to express pomp and power, give way to more meaningful forms in the next massacre was educated entirely in Indonesian regardless of the historic qualities of the city. decade. Two buildings in the city centre testify schools, but feel cheated of the spoils of to continuity. The Chinese Buddhist temple still independence. They were shoved aside by Lahane palace was carefully restored by serves the Hakka-speaking Chinese community the post 2002 government, dominated by Portuguese architects, as was the old artillery which has been in Portuguese Timor for centuries. Portuguese speakers returning from exile. garrison, which today is known as Casa (Fig 6 )The temple’s altar image of the Lord Portuguese became the official language, and Europa, the diplomatic mission of the European Buddha came from Macau in 1926 and its Prime Minister Mari Alkatiri dismissed their Community. The SAPT building survives, an congregation has survived the ebbs and flows of degrees as those of ‘super-mie graduates’, historic piece of industrial architecture, but its core war. On the next corner is a handsomely-restored referring to a brand of Indonesian noodles. has recently been transformed into a supermarket building of Portugal’s dictatorship period, a busy Many have emigrated, to work in factories by Portuguese entrepreneurs who have repainted health clinic which functioned calmly under in the UK. Searching for a new national it in reds and yellows so garish they can be seen Timorese staff in 1975 after the Portuguese fled, identity, they have been left only with the from the southern mountain approaches to Dili. A and looks as though it never closed. psychological fragments of 1999. few private houses in the Salazarist art-deco style can still be seen but many of the bairro económico Jill Jolliffe is an Australian freelance writer based in They had been taught to loathe the Portuguese houses are crumbling, while the Hotel Turismo Darwin. She has a long association with East Timor, whose language they are now told to speak. has been demolished to make way for an opulent where she currently works on The Living Memory All they knew was the Indonesian army, Indonesian-style resort hotel. Project, a video archive of testimony by torture survivors.

SAPT building, Dili, East Timor, built in the early 20th century to house the colonial Society for Agriculture, Fatherland and Labour. Its core today is a supermarket

T A A S A R EVIEW VOLUME 19 NO.4 15 T HE i S l a M I C HE r i t a GE o F i N d o NES i a ’S a r t

James Bennett

recent article in the Jakarta Post (9 The Jakarta Post article underlined a known simply as Sunan Duwur, documents A September 2010) reported on the oldest widespread aspiration in Indonesia for the the artistic syncretism that occurred during dated al-Qur’an in Indonesia. This manuscript, preservation of such important objects as the Javanese transition from the Hindu- written on bark-paper and simply decorated the Buleleng al-Qur’an manuscript. Over the Buddhist to Islamic era. It is perhaps the with flower, leaf and geometrical motifs, last decade, growing national recognition most extensive repository of early wood includes a signed colophon dated 1035 hijriah of the country’s Islamic heritage has been carving to survive anywhere in Southeast or 1626 according to the Gregorian calendar. highlighted by major archaeological projects, Asia. The Dutch art historian, A.J. Bernet As with many family heirloom objects still in such as excavations at the ancient Sumatran Kempers, in his definitive 1959 publication private possession in Indonesia, the present port of Barus, that have revealed Middle Ancient Indonesian Art, illustrated the richly owner, Mr Mohammas Zen Usman, continues Eastern ceramics and glassware dating as ornamented gateway doors photographed to carefully preserve the manuscript, which early as the 9th century. The continuing in situ. Some time in the last decade or so, was declared a national heritage object by religious use of historical places of worship, the doors, together with other carved panels, the Indonesian government in 2005. Perhaps such as the Great Mosque of Demak (c1479) were removed and stacked in an open shed in the most remarkable aspect of this al-Qur’an and the Kudus Al-Aqsa Mosque (c1550), the graveyard adjoining the mosque, where is its location - Buleleng in northern Bali, an ensures these sites are well maintained. they have now been almost totally consumed island famed for its Hindu art and culture. by termites. The oldest mosque in , This surprising provenance from the ‘island By contrast, locations associated with Mesjid Bayan Beleq, is associated with the of the gods’ (pulau dewata) is a reminder of heterodox versions of Islam are often Waktu Telu sect that was disbanded by law the complex tapestry of Indonesia’s cultural neglected. The mausoleum known as in 1960, so officially the building has been heritage, of which, today, Islam is increasingly Sendang Duwur (1563), the resting place declared a ‘dead monument’ (monumen mati). the most prominent expression. in East Java of an unidentified personage The mosque is mostly closed to public access,

Dewi Sri and consort (loro blonyo), Indonesia (Yogyakarta, Central Java), c1850. Wood with pigment, iron and gold leaf,

female figure 65.0 x 38.0 x 35.0 cm, male 77.0 x 42.0 x 40.0 cm. Collection Art Gallery of South Australia, gift of Art Gallery of South Australia Foundation 2008

16 T A A S A R EVIEW VOLUME 19 NO.4 Sendang Duwur, East Java: 16th century gateway with original carved wood doors.

From A.J. Bernet Kempers, Ancient Indonesian art (1959) even though the 17th century carved interior decoration features unique subjects such as a naga serpent and other fabulous creatures.

Since the 19th century, the scholarly study of Southeast Asia’s Islamic art has evolved into two distinct approaches to understanding the heritage of the religion in the archipelago. The first, and older, approach presents a ‘layer cake’ model for appreciating Indonesia’s cultural history. Islamic art is located at the end of a sequence of foreign influences that reached the archipelago along maritime trade routes and which commenced with the arrival of Hinduism and Buddhism from India in the early first millennium. This viewpoint was first articulated by Sir Stamford Raffles in the seminal 1817 publication The History of Java, whose key theme was the lost greatness of Java’s pre-Islamic past.

Colonial era scholars, such as Snouck Hurgronje and Richard Windstedt, nurtured the implication that historical Islam in Southeast Asia was somehow less authentic than that of the Middle East through highlighting a gulf between the theory of textural Islam and syncretistic local custom. The notion that Islam was yet another ‘wave of influence’ misleadingly implies that Islamic art in Southeast Asia never attained an identity in terms of its own unique aesthetic perimeters. More recently, the Malaysian scholar Azyumardi Azra (in de Guise 2000), while acknowledging the authenticity of Islamic culture in Southeast Asia, uses the term ‘adhesion’ to describe Islam’s position in regional cultural layering.

The second theoretical approach has emerged in the past two decades. It seeks to define Southeast Asian Islamic art by doctrinal boundaries related to the notion that the Sendang Duwur: present condition of 16th century wood doors and other carved panels. Photo J.Bennett 2008 religion avoids the depiction of living forms. This view emanated from Malaysia where it Museum of Malaysia’s 2005 exhibition Message of art through a perspective of ‘layer cake’ is contextualised in a strong socio-political and Monsoon (de Guise 2005), Dzul Haimi Md cultural history or the more recent trend of movement to proximate the country within Zaini further extended Yatim’s proposition focusing exclusively on art that fits within the sphere of Middle Eastern Islam. The by asserting: ‘the discouragement of figural contemporary theological doctrine, has eminent scholar Othman Yatim, who was representation resulted in a high level of artistic enabled historians largely to avoid the vexing responsible for the first definitive study creativity.’ In the same publication, Badrane issue of precise dating. The only scholar of Southeast Asian Islamic gravestone Benlahcene seeks to reconcile the ‘layer cake’ until now who has seriously attempted to epigraphy published in 1988, categorically and doctrinal viewpoints through using the explore chronology has been Zakaria Ali states ‘Islam forbids the use of human forms broad analogy of religious conversion. First, (1994), although his research was limited to and figurines….[a Muslim artist] would there was the phase of nominal conversion or the period 830–1570. never choose a human form or other forms ‘conversion of the body’ (circa 1200–1400) then created by God.’ there was the phase of ‘conversion of the spirit’ The 16th century was a period of immense (C 1400–1700). significance in the history of Southeast Such an approach is essentially a-historical Asian Islam. Despite commencing with the as it prioritises issues of content - whether A major challenge for appreciating the disastrous fall of Melaka to the Portuguese in objects created by Muslim artists adhere to the Islamic art of Southeast Asia is the surprising 1511, the century ended with the ascendancy parameters of religious orthodoxy or not - over lack of an established chronology of style in of the kingdom of Mataram, whose greatest a chronological analysis of stylistic change. In media other than architecture. In the realm of ruler, Sultan Agung (r.1613–1645), was the catalogue accompanying the Islamic Arts objects, emphasis on either the interpretation granted his royal title from no less an

T A A S A R EVIEW VOLUME 19 NO.4 17 Bayan Beleq Mosque, Lombok, Indonesia. Photo J.Bennett 2008

royalty, and the depiction of the subject in sculpture is most likely directly related to the critical importance of rice production for the wealth and power of Mataram’s ruling class from the 17th century onwards. The ancient close relationship between the ruler and agricultural cultivation is documented in the Central Javanese term petanen (meaning ‘the place of the farmer’) for the kerobongan space. In only royalty was allowed to own the statues and the most sacred images were stored in the chief minister’s house. Dewi Sri, together with the jinn spirit queen Nyai Roro Kidul, were regarded as the tutelary consorts of the Mataram sultans who themselves were permitted the incestuous relationship of older sister with younger brother.

Dewi Sri and consort images demonstrate how the ‘layer cake’ approach in the interpretation of Indonesian art does not acknowledge the authority than Mekkah. He created an epoch was introduced into Indonesia during the extent to which Islamic cultural practices which continues today to define Javanese early classical period (c.700–1000); but have inspired artists. Likewise, the definition cultural identity in relation to Islam. similarly, there is little evidence before the of historical art styles by the measure stick end of the Hindu-Buddhist Majapahit period of contemporary religious pietism fails to The rich aesthetic heritage of Mataram is (c.1242–1551) that Sri the rice goddess was enable the viewer to appreciate the spiritual epitomised, in an unlikely manner, in the widely revered. potency residing in the loro blonyo image. sculptural image of Dewi Sri with her consort, Today among Indonesia’s younger generation also called ‘the inseparable pair’ (loro blonyo), The oldest surviving loro blonyo date from the there is an increasing perception that the in the Art Gallery of South Australia. Central 18th century and their typical dress, seen in art and syncretistic beliefs of their ancestors Javanese tradition relates several versions of Dewi Sri and consort, implies that the sculptural represents a profound misunderstanding of their fateful story but the basic outline is that tradition known today was only formulated the unequivocal monotheism of al-Qur’an. the god Betara Guru coveted Dewi Sri so following the victory of Islam in Java in Nevertheless, even with the current rise of murdered her younger brother and lover, Mas the 16th century. Unlike the depictions of Muslim orthodoxy, the rice goddess’s former Sadono. When Dewi Sri refused Betara Guru’s Javanese shadow puppet heroes and villains role as a powerful protector of the Javanese advances, he raped and then murdered her, in the wayang kulit theatre, the appearance people continues to be remembered in an too, and from her discarded corpse grew the of Dewi Sri and consort does not indicate any invocation recited at communal selamatan first edible plants, including rice. precedent in Majapahit iconography. feasts: ‘Giving honour to Muhammad the Prophet, to Adam and Eve, and to Dewi Sri…’ Her cult was an important focus of ritual Both figures wear long cloth wraps decorated practices in all levels of Javanese society with the parang batik motif that Yogyakarta James Bennett is Curator of Asian Art at the Art until the last decades of the 20th century. tradition relates Sultan Agung was inspired Gallery of South Australia. At the commencement of each harvest, to create after contemplating a stretch of farmers staged a ritual wedding of Dewi jagged rocks on south Java’s mystically REFERENCES Sri and Sadono, symbolised in a pair of powerful coast. The waistcloth of Dewi Ali, Zakaria 1994: Islamic Art: Southeast Asia 830 A.D.-1570 AD. the first cut rice stalks clothed in batik. Sri displays the talismanic blue-and-white Dewan Bahasa dan Pustaka, Kuala Lumpur. Yogyakarta aristocratic families customarily bango tulak design that is also used in the Carpenter, Bruce W. 2009: Javanese Antique Furniture and Folk commissioned wood images, like Dewi Sri and construction of mammoth food offerings for Art: The David B.Smith and James Tirtoprodjo Collection. Editions Didier Millet, Singapore. consort, as part of auspicious preparations of Garebeg Maulud, the annual celebration of the residence of a newly wed couple. the Prophet Muhammad’s birthday. Sadono De Guise, Lucien (ed.) 2005: The Message and the Monsoon: Islamic art of South Asia from the Collection of the Islamic Arts wears a kuluk, derived from the Muslim Museum of Malaysia. Islamic Arts Museum of Malaysia, Kuala Scholars, referencing the ‘layer-cake’ model, Ottoman fez, which tradition states the Sultan Lumpur. conventionally interpret the image of Dewi Pajang (Jaka Tingkir, d. c1587) introduced. Jay, Robert 1969,: Javanese Villagers: Social relations in rural Sri as representing the relic of an ancient His waist-wrap represents an imported Modjukoto. MIT Press, Cambridge, Mass. indigenous fertility goddess merged with Gujarati silk cinde popular among Mataram Jessup, Helen Ibbitson 1990: Court Arts of Indonesia. The Asia later attributes of the Hindu goddess, Sri aristocracy. The double- cloths were Society Galleries in association with Harry N. Abrams, New York. Devi. The worship of ancestor couples, draped (dikerobongi) from pillars in the sacred Kempers, A.J. Bernet 1959: Ancient Indonesian Art. N.V. inherited from prehistoric Austronesia, is inner-room of aristocratic mansions where Boekhandel Antiquariaat en Uitgeverij C.P.J. van der Peet, widespread throughout the archipelago, loro blonyo were displayed, and hence the Amsterdam. although megalithic era stone sculptures space became known as the kerobongan. Othman Mohd Yatim 1995: Islamic Arts. Dewan Bahasa dan Pustaka, Kuala Lumpur. found in Java present no certain indication of an early goddess cult. The deity Sri Devi, Taboos formerly associated with loro blonyo consort of Vishnu and patroness of fertility, images reflect their specific significance for

18 T A A S A R EVIEW VOLUME 19 NO.4 A MB A SS a d o r o F i N d o NES i a N B a t i K: i w a N t i r t a (1935-2010)

Maria Wronska-Friend Evening gown by Iwan Tirta, Jakarta, 1996. The batik skirt features figures of phoenixes and is

covered with gold leaf. Photo Firman Ichsan

n 31 July 2010, Indonesia – and the glamour and refinement, with much attention O admirers of Javanese batik across the paid to the high quality of execution. His world - lost one of the most prominent creations were not to shock but to seduce champions and connoisseurs of these textiles. and incite, revealing subtle and elevated sophistication. Nursjirwan Tirtaamidjaja – better known as Iwan Tirta - a Jakarta-based designer, lawyer In 1996 Tirta published a major book and collector, is credited with launching summarising his many years of work with Javanese batik onto the international fashion batik, illustrated with outstanding examples stage. of fabrics from his collection. On his role as a designer, he commented: ‘I see myself as Born in 1935 in central Java to an upper-class a translator, giving traditional elements a family, he studied law at the University of modern interpretation. I am like a bridge, Indonesia, the London School of Economics joining old and new batik traditions.’ and Yale University, after which he worked at the office in New York. Well In Indonesia itself, Iwan Tirta achieved the aware of international fashion trends and status of a national fashion icon, securing consumers’ expectations as well as strongly the patronage of the Indonesian government, rooted in classical , he was which trusted him with special commissions. well placed to introduce Javanese batik into For example, in 1994, when Indonesia hosted haute couture. the Asia Pacific Economic Conference, he was given the task of designing a series of Interestingly enough, it was in Australia that batik shirts for each of the 18 heads of state Iwan Tirta launched his career as a fashion attending this event. On other occasions he designer: his first shows were staged in 1968 in showcased his collection and designed batik Melbourne, Canberra and Sydney. During the garments for royalty and heads of state, next three decades he presented spectacular among them Queen Elizabeth II, Queen fashion shows, dominated by sumptuous Juliana of the Netherlands, Bill Clinton and evening wear made of high-quality batik Margaret Thatcher. However, probably for the UNESCO decision was to preserve textiles decorated with Javanese patterns, all the greatest admirer of his work is Nelson the beliefs, rituals and customs associated over the world. Combining Oriental opulence Mandela, who, following several visits to with the production and use of these textiles, with Western chic and elegance while at Jakarta, adopted Tirta’s long-sleeved silk and not just the motifs and process of their the same time promoting the achievements batik shirt as his formal dress, worn on most production. of Indonesian textile artists, these shows important state occasions. were staged in all the world’s major fashion The unquestionable legacy of Iwan Tirta’s centres, including New York, Rome, Paris, At the World Batik Conference at Yogyakarta success is a younger group of Indonesian Tokyo, Sydney, Rio de Janeiro and Singapore. in 1997, Iwan was one of the key speakers. In couturiers – Josephine Komara, Carmanita, his passionate presentation, he addressed the Sebastian Gunawan, Ghea Panggabean – who The great success of Tirta’s creations resulted demise of traditional Javanese batik textiles, frequently include batik textiles in formal and from the imaginative use of high-quality undercut by screen prints and industrial casual wear. Iwan Tirta will be remembered hand-drawn batik textiles, all of which were production as well as the shrinking group as a pioneer of Indonesian haute couture and individually designed and made to order. The of customers. He was particularly concerned the unparalleled master of the batik fashion. textiles frequently featured central Javanese with the declining knowledge of these textiles court motifs such as parang rusak or sawat by the mainstream of Indonesian society and Maria Friend is an anthropologist and museum or dramatic phoenixes borrowed from the the loss of the understanding of the symbolic curator specialising in textiles and costumes of Peranakan . Almost all of the motifs meanings of the designs. Southeast Asia have been significantly enlarged, transforming the subdued and restrained style of classical In his role as the international ambassador REFERENCES

Javanese batiks into bold, exuberant statements. of Javanese batik, he must have been very Iwan Tirta 1967: Batik: Patterns and Motifs. Djambatan, Jakarta.

According to Tirta, this ‘microscopic approach’ pleased when his life-long efforts to promote Iwan Tirta 1996: Batik: A Play of Light and Shades. Gaya Favorit to batik designs created a stronger visual effect, this group of fabrics were rewarded in Press, Jakarta. better suited for the demands of international October 2009, when UNESCO placed the Iwan Tirta 2000: ‘Quo Vadis Batik?’ in M. Hitchcock, W. Nuryanti haute couture. batik of Indonesia on the List of Intangible (eds) Building on Batik: The globalization of a craft community. Cultural Heritage – the first group of Asian Ashgate, Aldershot , pp 3-9. Despite these modifications, all of Tirta’s textiles to receive such recognition. However, garments carried the marked seal of Javanese when publicly commenting this event, he aesthetics. His style was guided by restrained reminded his compatriots that the reason

T A A S A R EVIEW VOLUME 19 NO.4 19 B R E A S T C l o t HS o F J A V a a N d B a l i

Joanna Barrkman

he Javanese word kemben signifies kain worn at the courts denoted the wearer’s represent the four cardinal points radiating T penutup dada wanita, which, translated subservience to the ruler. Wearing batik was outward. Thus the central power inherent literally into English, is ‘cloth used to cover the preserve of the elite, and most people in the lozenge is dispersed outwards to give women’s breasts’. The kemben is a narrow outside the courts wore plain, coarse, hand- life to all around it and the cloth becomes length of cloth, often decorated with intricate spun fabric, only wearing decorative kemben a metaphor for ‘...where the sky and the motifs, and is usually wrapped from left to for ceremonial occasions. For everyday attire underworld, fire and water, male and female, right around the torso and breasts. Once the women of commoner status wore simple Shiva and Vishnu and Sri intersect and, kemben is evenly wound around the upper cloth wraps on the lower part of their body through their intersection, create the universe, body it is secured by being tucked into the and nothing on the upper body. the world and on the local level, the state waist. Breastcloths were most noticeably (Wessing 1988: 43-44). In a Muslim cultural worn in Java and Bali as a classical form of Most often, kemben were made from a fine context, the symbolism of the dodot implied woman’s upper body attire, until the mid- grade of unbleached cotton known as mori, notions of felicity associated with paradise 20th century. which first entered Indonesia from India in whose key elements were water and a garden the early 19th century,. The smooth surface of landscape. The presence of the later is often The origins of kemben are obscure: it is still the mori cotton suited the application of hand- suggested by the batik motifs known as semen not known when they were first worn in painted hot wax used to batik designs onto the and alas-alasan, meaning ‘forest life’. The use Indonesia. Javanese sculptural reliefs of fabric. Classic mori batik breastcloths feature of a lozenge in the centre of a woman’s kemben Buddhist and Hindu female attendant deities a central lozenge that is reminiscent of the denotes the wearer’s role as a producer of from the 8th century onward occasionally centre field of the masculine Javanese dodot life and is therefore symbolic of fertility and depict cloths draped across shoulder and cloth. Today dodot are worn only by rulers on procreation. When a woman wore a kemben torso. It is most likely that the general use of ceremonial occasions and by central Javanese embellished with the central lozenge her breastcloths emerged as a form of upper body grooms at wedding ceremonies; in the potency was purportedly reinforced. attire contemporary with the spread of Islam 17th-18th centuries, however, the dodot was in Java during the 16th century, as Quranic widely worn in Javanised courts throughout A modification of the lozenge centre is the tradition explicitly demands modesty in both the archipelago, even by European delegates use of a rectangular shape known as kemben male and female dress. attending royal receptions. blumbangan. This motif is said to originate from Jogyakarta; however, a south Indian Also known as semekkan in ancient Javanese The lozenge form on Javanese textiles is trade cloth in the collection of the Art Gallery language, breastcloths were worn in the sometimes described as representing the of South Australia, which features an empty Yogyakarta and Solo keratons, indicating their centre of the universe where a water spring rectangular shape and is dated with a Dutch use as an elite, aristocratic practice. Kemben is said to exist. The extremities of the lozenge East Indies (VOC) stamp to the mid-late 18th

Kemben sindangan (breastcloth), Java, 20th century. Cotton; resist dye batik technique, 2220 x 510mm. Gift of James Cook University, collection Museum and Art Gallery Northern Territory

Kemben blumbangan (breastcloth), Java (Jogyakarta). DATE. Mori cotton and silk, resist dye batik technique and hand stitching, 2470 x 520mm.

Gift of James Cook University, collection Museum and Art Gallery Northern Territory

20 T A A S A R EVIEW VOLUME 19 NO.4 Mayang mekar (breastcloth), Java (Jogyakarta), 20th century. Cotton and aniline dyes, resist dye tritik technique, 1700 x 330mm.

Gift of James Cook University, collection Museum and Art Gallery Northern Territory

century, suggests that the design was more with mechanised screen-printing technologies. - akin to a bandage. When anteng are tightly widely known in earlier times. The addition bound around a Legong dancer’s torso her of colourful silk cloth sometimes occurred by Another form of Javanese breastcloth is known figure is accentuated. hand-stitching a piece of silk to the central as semekkan sindur or kemben kebangunan rectangle or lozenge area. Such cloths were (cloth of flowers), a name resulting from the Balinese anteng incorporate various reserved for the highest ranking female bright colours achieved by using synthetic production techniques such as weft ikat, the members of court, with the silk insert being aniline dyes and a dyeing technique known double ikat of Tenganan village, darker in accordance with the wearer’s age. It as tritik. The tritik technique is created by and songket made with gold metallic threads remains unclear whether this incorporation of hand-stitching the pattern into the cloth, after only available to high caste Balinese and were the silk emerged in response to the occasional which the stitched threads are pulled so that thus symbols of prestige. availability of prestigious sumptuous silk the cloth tightens. Then after the cloth has cloth or as a device to protect the inherent been dyed, the stitching threads are removed: On the island of Nusa Penida, near Bali, power represented by the central form. where the threads were tightened, the dye has yet another technique is used to make been resisted and the cloth remains white. The breastcloths - slit tapestry-weave. These One style of breastcloth reserved for semekkan sindur, typically worn in Jogyakarta, cloths feature simple geometric patterns and court attire in Java is prada (Javanese for is used by the bride-to-be on the evening are known as rangrang. Such cloths were gilding). Prada describes cloth which has before her wedding (midodaren). The sindur reportedly also worn in the 1980s on Bali, been enhanced with the application of gold cloth, used as a kemben, symbolises fertility but while on Bali the blouse has now leaf in a technique that appears to have and prosperity. It is worn in conjunction with become the preferred form of women’s upper been known in Java, south Sumatra and Bali kain panjang trumtum motif, which is symbolic body attire, on the remote island of Nusa from as early as at least the 17th century. In of buds, growth and new life. Alternatively, Penida rangrang breastcloths continue to be Javanese courts prada cloth was reserved for the mayang mekar kemben is reserved for use by worn as ceremonial attire, in particular at the most auspicious events such as special newlyweds only and it features two shades of ngaben (cremation) ceremonies. court ceremonies, dances and marriages and green and a decorative border featuring the temple festivals. Only the finest hand-drawn regulon motif (Djumena 1990: 90, fig 200). The useum and Art Gallery of the Northern batik was decorated with gold leaf, which Territory continues to add to its existing was applied once the batik was completed. Tritik breastcloths were made in Jogyakarta significant holdings of breastcloths, and an and Solo where they are used as traditional example of rangrang was recently acquired The process for applying the gold leaf offerings to deities and are of greater ritual to document the revival of this style of cloth involved marking out the lines of the design importance than Javanese batik (Maxwell using natural dyes. The collection was also in glue (a white glue made from fish bones 2003:79). Breastcloths following a code of quite recently (2006) augmented by several or a red glue made from buffalo hide) onto colours such as gadung motif in green, bangun breastcloths acquired by Dr Maria Wronska- which the fine gold leaf or dust was applied. tulak in white and dark blue, papasan mateng Friend in the 1990s, part of a significant The excess gold was collected. These opulent in dark blue with red and gadung melati in donation of Indonesian textiles from the prada cloths can be stiff and brittle and are not green and white are offered in the annual James Cook University to the Museum and to be washed, as the gold easily rubs off. Labuhan ceremonies of the Yogyakarta and Art Gallery of the Northern Territory. Surakarta courts: they are placed into the sea The 19th century prada silk breastcloth in the at Parangtritis Beach to honour the Sultan’s Joanna Barrkman is Curator of Southeast Asian Art collection of the Museum and Art Gallery of consort Nyai Loro Kidul, Goddess of the and Material Culture at the Museum and Art Gallery the Northern Territory was initially decorated Southern Ocean, who resides in the depths of the Northern Territory with a ceplok motif, an ancient star motif of the ocean (Negoro 2001:95). The use of which, according to Hindu-Buddhist belief, is these cloths in this context reinforces their REFERENCES symbolic of the four cardinal points. The ceplok association with fecundity and feminine Djumena N. S 1990: Batik and Its Kind. Djambatan, Jakarta. was applied using the resist-dyed batik stamp power, as Nyai Loro Kidul is the consort of Maxwell, R. 2003: Textiles of Southeast Asia; Tradition, Trade and (cap) technique and then dyed in an indigofera the rulers of both Solo and Jogyakarta. Transformation. Periplus Editions, Hong Kong. bath. The popularity of prada breastcloths also Wessing, R. 1988: ‘Spirits of the Earth and Spirits of the Water: extended to Bali where prada was applied to Balinese culture also has a form of breastcloth Chthonic Forces in the Mountains of West Java’ in Asian Folklore imported Javanese batik.(Maxwell 2003:183). known as sabuk or anteng. Upper body Studies, Vol. 47(1); pp 43-61. European factory prints imitating batik were attire was traditionally worn at Balinese Negoro, S.S. 2001: Javanese Traditional and Ritual Ceremonies. CV Buana Raya, Solo, Surakata. also used for this purpose. Prada textiles that temple ceremonies and in courts. The more had not been previously worn as a garment decorative breastcloths in Bali were indicative were also adapted as altar decorations at of status and prestige. They are thinner than shrines. Today prada cloths remain popular in the Javanese kemben, their dimensions being Bali, although they are commercially produced approximately 15 cm wide and 3 metres long

T A A S A R EVIEW VOLUME 19 NO.4 21 I N t HE PUB l i C d o M a i N: K ALA F R O M T H E A R T G A L L E R Y OF SOUTH AUST R ALIA

Russell Kelty Kala, Indonesia (Muntilan region, Central Java), mid-9th century (early Hindu‑Buddhist Period, c7th-10th centuries). Terracotta, stucco, 55.0 x 75.0 x 35.0cm. Gift of Michael Abbott QC through the Art Gallery of

South Australia Foundation 2007, collection Art Gallery of South Australia

There was a ruined candi The demon’s masks looked As if they were crying silently. Arjuna-wiwaha (Arjuna’s Wedding), canto 15:13

hose lines from Empu Kanawa’s epic T poem Arjuna-wiwaha, composed some time between 1028-35 to honour King Airlangga’s consolidation of authority in East Java following years of devastating chaos, is a reminder that temple ruins displaying giant kala faces above the entrances have been a feature of the Javanese landscape since antiquity.

The heritage of Central Javanese candi architecture is synonymous with the extraordinarily skilled use of stone in monuments like the early 9th century Candi Prambanan, near Yogyakarta. The Art Gallery of South Australia’s Kala, however, which is said to have originated from a now-vanished nearby was often associated with the colour black. but its close stylistic similarity to the demonic temple known as Candi Sukun, documents the The talismanic image derives from the ‘face faces decorating auxiliary shrines at Candi use of fired clay from an early date in Hindu of glory’ (kirtamukha) motif which appears Plaosan, near Prambanan, suggests the and Buddhist temple construction. on the lintel of the doorways to the inner sculpture may have been made around the sanctuary of many Hindu temples in India time of that temple’s construction in 825-850 The small village of Sukun (‘breadfruit’ in and is often fiercely leonine in character CE. The pyramid ornament crowning the the ) is located in Muntilan with horns, huge fangs and a gaping mouth. head, and the confident relief modelling of region not far from the great 9th century The kala image was transmitted to Indonesia the plant scrolls, are also typical of the Early Buddhist structure of Candi Borobudur, where in the middle of the first millennium with Hindu-Buddhist Period lintel style. the remains of fired-brick stupas have been the arrival of Hinduism and Buddhism unearthed by archaeologists. During the 1897- and was subsequently incorporated into The civilisation that created this powerful 1925 restoration of the nearby Mendut Temple architectural features at places such as the sculpture mysteriously vanished at the end of a brick structure was discovered beneath great Borobudur stupa, which features no less the 10th century, and some historians attribute a later stone exterior. Several terracotta than 328 demon masks. the disappearance to increased volcanic sculptures from Central Javanese temples are activity in Central Java. Empu Kanawa’s use found in international collections and confirm In the early classical period (7th–10th century), of kala images at an abandoned jungle temple the archaeological evidence for the use of this kala (known in Old Javanese as cawiri or in his poem above was a literary device medium from an early date. These include an cawinten) was generally depicted without a found in other old Javanese poems, and was architectural panel decorated with parrots now lower jaw and this appears to be a specific intended to evoke a mood of melancholy. in the Norton Simon Museum, Pasadena, and reference to the story of Rahu in Indian Purana a Buddha image in the Los Angeles County texts. This demon attempted to steal the Russell Kelty is Curatorial Assistant of Asian Art at Museum of Art. elixir of immortality from the gods and was the Art Gallery of South Australia. subsequently beheaded by Vishnu. In the later Grimacing demon masks like the SA Gallery’s Islamic period, commencing around the 15th REFERENCES Kala were intended to fulfil the role of century, Kala would became associated with Dumarcay, Jacques 1999: ‘Buddhism and architectural change’ threshold guardians, preventing evil from the purification ceremonies for rice fields and in Indonesian Heritage: Ancient History., Editions Didier Millet, transgressing the sanctuary while enabling exorcism rituals in Java. In agricultural rites, Singapore. ritually purified devotees to enter. Kala was Kala was ritually beheaded and his monstrous Fontein, Jan 1990: The Sculpture of Indonesi., National Gallery of Art & Harry N. Abrams Inc., Washington. the youngest son of Lord Siva, born out of appearance used to frighten away the spirits the seed that Siva spilt on the earth when the of pestilence, ensuring a bountiful rice harvest. Hall, Kenneth R 2005: ‘Traditions of knowledge in Old Javanese literature, c. 1000-1500’ in Journal of Southeast Asian Studies, Vol god vainly attempted to ravish his consort 36, Issue 01, National University of Singapore, Singapore. Uma, and so manifests the demonic aspect The SA Callery’s Kala displays a gaping Pal, Pratapaditya 2004: Art from Sri Lanka & Southeast Asia:Asian of the gods. In Sanskrit kala means ‘time’, mouth, rather than only the upper jaw. Art at the Norton and Simon Museum Vol. 3, Yale University Press specifically time as a fixed entity. Thus the This is more typically associated with later in association with the Norton Simon Foundation, New Haven word came to denote destiny or death and Singosari-Majapahit (1222-1500) examples, and London.

22 T A A S A R EVIEW VOLUME 19 NO.4 J O HN HU I E a N d t HE CH I NESE G a r d EN CH A MBE r MUS I C FES t i V a l

Paolo Hooke In the Chinese Garden of Friendship: from left to right, Ying Liu (erhu),

John Huie and Lulu Liu (pipa). Photo Rick Stevens 2009 n many cases people who love European I classical music, when faced with the prospect of listening to Chinese music, reject it out of hand. We hope to show audiences in Australia new music and instruments they may not have heard before,’ says Australian composer John Huie, founder and artistic director of Sydney’s Chinese Garden Chamber Music Festival.

So how is it that this Sydney boy came to write for Chinese traditional instruments and arrange Chinese folk tunes? ‘I like German and Italian music, it was drummed into me day after day at the [Sydney] Conservatorium [High School] when I was studying but I have realised that there are other countries that also have a long history of music, China being the biggest and oldest,’ Huie says. And so to pursue his interest in Chinese music, Huie moved to Hong Kong in 1991, then Shanghai in 2002. Here he spent three years researching and reproducing the authentic in the world, and the yangqin, which also The first festival was held at the Chinese Garden songs and musical style of Shanghai in the has a long history and basically looks like from 5-8 February 2009. From China, the Suzhou 1930s, releasing the albums Shanghai Jazz the inside of a piano. Both of these seemed Opera Troupe gave Australian audiences the 1 and 2. Huie continued writing for small versatile enough to perform with a cello and rare opportunity to hear the delicate Suzhou ensembles, using a blend of Western and guitar, or perhaps a double bass and violin. or Pingtan opera. Also from China came the Chinese traditional instruments, to release Using these two beautiful instruments for Shanghai Music Ensemble with guzheng master New Shanghai. He drew his inspiration for much of the melodic work blended with Fang Yu. The visiting Chinese players were these albums from Shanghai itself, once the some great improvisation. I also included the joined by distinguished Australian musicians uncontested jazz capital of Asia. pipa (the small pear-shaped Chinese guitar), such as pianist Michael Kieran Harvey, cellist the dizi (bamboo flute), and the suona which Patrick Murphy, bassist Kees Boersma and Huie describes how, in 1935, Du Yu Sheng sounds like a loud oboe.’ percussionst Claire Edwardes. They presented helped establish The Clear Wind Dance music from old and new China as well as the Band, the first all-Chinese jazz group to Huie’s 15 years’ living and working in China, great European composers. perform at the Yangtze River Hotel Dance traversing the cultures of East and West, has Hall in Shanghai, where they played jazz given him an appreciation that ‘we are all 99.9 Following the success of the first two arrangements of classic Chinese songs. But in per cent the same and share the same musical festivals, the 2011 Chinese Garden Chamber 1949 jazz music was outlawed as an indecent elements no matter where we are from…’. Music Festival will consist of three concerts form of entertainment and jazz ‘lay in an For him, the Chinese Garden Chamber Music on 11-13 February. The festival will feature unceremonious state of refuse’ until the end Festival’s main purpose is to bring Australian outstanding Chinese and Australian of 1978. Even then, with the foreigners long and Chinese audiences and musicians closer musicians, including prominent Chinese gone, and the likes of The Clear Wind Band together by gaining a greater understanding traditional instrumentalists from the deceased or disenfranchised, it would be and appreciation of the beauty, complexity and Shanghai Conservatory of Music, says Huie, another 25 years before jazz would rise again. variation of music from the regions of China. who would like to think that ‘writing for Huie believes that under today’s economic Chinese instruments and arranging Chinese and social reforms, Shanghai is finally In November 2008 Huie was presented with folk tunes, in the way I do, is unique, or experiencing this long-awaited cultural the opportunity to use the Chinese Garden of perhaps special. You have to be passionate resurgence and unsurprisingly, jazz is back. Friendship as a concert venue by the Sydney about any artistic project, that’s what it is.’ Harbour Foreshore Authority. The local During his years in China, Huie worked Chinese community established the Chinese Paolo Hooke is a journalist with Fine Music, the with a number of Chinese traditional Garden of Friendship in 1988 as a way of monthly magazine of 2MBS-FM 102.5, Sydney’s instrumentalists. He says: ‘It became obvious sharing its rich cultural heritage and celebrating Fine Music Station. He presents Chinese Mosaic, a that some were much more adaptable to Australia’s Bicentenary. Remarkably peaceful, program of Chinese traditional, classical and film modern harmonic structures and acceptable to though nestled in the centre of Sydney, the music which can be heard at 12 noon on the fourth the western ear than others. In particular the garden is an ideal venue for a Chinese chamber Sunday of each month on 2MBS-FM. guzheng, one of the oldest string instruments music festival, thinks Huie.

T A A S A R EVIEW VOLUME 19 NO.4 23 EXH I B i t i o N P R EV I E W : T he F i r st E m p e r o r : c H I N A’ s E ntom b ed W a r r io r s

Ann MacArthur

ou have to be somewhat of a military a problem with 6,000 warriors excavated in Qin Shihuang Terracotta Warriors and Y strategist and fighter yourself to mount Pit 1 alone,’ said Dr Liu Yang, the Gallery’s Horses Museum, the AGNSW exhibition an exhibition of China’s terracotta warriors. Senior Curator of Chinese Art, ‘but actually, includes works from 12 other museums and At about the same time that the Art Gallery only a certain number of warriors are set archaeological institutes in Shaanxi province. of New South Wales exhibition The First aside for travelling exhibitions.’ The Sydney Liu and AGNSWdirector Edmund Capon Emperor: China’s entombed warriors two other exhibition was well along in its planning visited all the museums once for research exhibitions are on view at the Royal Ontario when a ruling at the national level put a limit and again to make their final selections of Museum in Toronto and the Museum of for each exhibition of 10 terracotta figures. works chosen to illustrate the development Far Eastern Antiquities in Stockholm. The At that point, according to Liu, it became a of the Qin state leading up to the reign of Qin province of Shaanxi, where the tomb of Qin diplomatic battle with each country pleading Shihuang (221-206 BCE). Architect Richard Shihuang was discovered, is such a hot spot their case through ministerial channels. In the Johnson, who also travelled to the tomb site for rich archaeological discoveries that a end, the limit was enforced for all museums. in Xi’an, has created a dramatic design for the special bureau, the Shaanxi Cultural Heritage exhibition. He said, ‘Our objective is to give a Promotion Center, was set up to administer The 10 figures coming to Sydney cover sense of the enormity of the site and the sheer overseas exhibitions. the basic types that make up the military scale and number of warriors.’ formations in the tomb from armoured Every international museum wants to general at the head to infantrymen, archers, Passing through a photographic panorama display as many warriors as possible in their cavalrymen and horses. In addition to the of the Great Wall, which was famously exhibition. ‘You wouldn’t think this would be terracotta figures, which are held by the linked and fortified by the First Emperor to repel attacks from the Xiongnu people of the steppes, visitors enter a room of bronze, gold, jade and ceramic artefacts reflecting the different cultural influences on the Qin empire. The Qin people rose up in Gansu province and moved eastward to Shaanxi establishing various capitals until the final one at Xianyang. The works on display come from tombs of rulers and aristocrats located at the different political centres. A large bronze bell was one of a set and excavated from of a tomb that was located in the area of the Qin capital from 714-677 BCE. The bells share a design, both solemn and fantastic, that was typical of the Qin at the time. Four openwork flanges consist of two comprising nine intertwined dragons and another two each comprising a phoenix and five interlaced dragons. The inscription on the base of the bell documents the Qin lineage from Duke Xiang, through Dukes Wen, Jing to Xian, and their mandate of heaven. The use of bells in rituals where the ruler paid homage to heaven and ancestors was a tradition developed earlier in the Western Zhou dynasty (c1046-256 BCE).

Another striking work is the iron sword with open-work gold hilt also dating from the Spring and autumn period (770-476 BCE). Made through the lost-wax casting process, the hilt consists of interlocking serpents with inlaid turquoise. This exemplary level of gold craftsmanship is rarely seen in the period. When the sword was excavated it had remnants of fabric around it and seven small gold circular finials lying in a line, indicating it was originally in a scabbard. The sword was part of a significant find of gold objects Bo bell, China, Early Spring and Autumn period, Duke Wu’s reign (r 697-678 BCE), Bronze, overall ht 69.6 cm; bell ht 50 cm,

w. 22.4-26.6 cm. Excavated at Taigongmiao village, Yangjiagou, in Baoji, Shaanxi, 1978, collection Baoji Bronze Museum, Shaanxi

24 T A A S A R EVIEW VOLUME 19 NO.4 Sword with inlaid openwork hilt, China, Late Spring and Autumn period 697-678 BCE. Iron and gold with inlaid

turquoise, overall l. 37.8 cm, wt 3.44 kg. Excavated from No.2 tomb at Yimen village in Baoji, Shaanxi, 1992,

collection Baoji Municipal Archaeological Institute, Shaanxi

exhibition includes examples of a crane, a swan and a wild goose which Edmund Capon has described as ‘not only masterworks of bronze-casting but in the naturalism and realism they herald, like the pottery warriors, a new era in the material arts of China.’

What is most astounding, considering the riches and excess of the Qin Shihuang burial, is that the main tomb itself is yet to be excavated. According to historian Sima Qian writing in the Shiji (records of the historian) 100 years after the death of the First Emperor, the tomb was a paradise with mountains and rivers of mercury. Duan Qingbo, professor of archaeology at Northwest University, Xi’an reports that mercury levels in the soil around the mound of the main tomb are much higher than in surrounding areas. Sonar readings unearthed in 1992 with an aesthetic showing archer’s – could only have been achieved also indicate the tomb is very deep, an a debt to the Eastern Zhou. Jade also held a through meticulous handfinishing. enticing bit of evidence of the treasures that special place for objects of strong personal are still to be discovered. Duan shares recent and ritual value as can be seen in an exquisite The final room in the exhibition displays a archaeological findings in a symposium in pushou holder with a jade ring and a selection from the unusual discovery in 2001 conjunction with the exhibition. double taotie mask in gold, which would have at the Qin Shihuang tomb site of a pit which adorned a ceremonial object. seems to simulate a heavenly realm for the Ann MacArthur is Senior Coordinator of Asian Emperor. It contained a group of 15 pottery Programs at the Art Gallery of New South Wales. Having conquered the Warring States, Qin musicians and a notional riverbank along Shihuang established a centralised political which were placed no less than 46 life-size The First Emperor: China’s Entombed Warriors system of administrative units organised bronze waterbirds: 20 swans, six cranes and is at the AGNSW 4 December 2010-13 March down to small groups of five to 10 families. 20 geese, none of them identical. As with the 2011. For details of associated events, see He further achieved unity through bringing terracotta warriors, detailed painting had Whats On section this issue. about the standardisation of writing, weights, been applied, little of which survives, in measures and currency. One exhibition order to make them lifelike. The Gallery room focuses on the achievements of Qin administration. The mandated currency was a round coin with a central hole. A mould for these coins is on display together with examples of currencies in use in the other Warring States. A bronze standard weight has an inscription indicating it was cast by the central government and the message on a bronze plaque requires compliance with standardised measurements

The entombed warriors are displayed in military formation as they appeared in the pits. Dr Liu Yang outlines in the catalogue the production process for the figures. Each figure is estimated by the Terracotta Warriors and Horses Museum in Xi’an to have taken 150 working days to produce, even longer for a horse. Each human figure typically consists of seven parts – platform, feet, legs, torso, arms, hands and head/neck – made separately. These are allowed to dry and then sealed and strengthened with clay coils.While there is a certain consistency to the faces, no two are identical, confirming that each was subject to individual finishing. Similarly, features such as armour plates, fixings, hooks, shoe ties and costume details – even the tread pattern on the sole of a kneeling Crane with fish in its beak, China, Qin dynasty 221-206 BCE. Bronze, ht 75 cm, l. 115 cm. Excavated from K0007

in Qin Shihuang tomb complex, 2001–03, collection Terracotta Warriors and Horses Museum, Xi’an, Shaanxi

T A A S A R EVIEW VOLUME 19 NO.4 25 C O NFE R ENCE r EP o r t: B O R N E O I N T E R N A T I O N A L B E A D S C ONFE R EN C E 2 0 1 0

Hwei-F’en Cheah

eads have been an integral and intervals. Reita Rahim, founder of fair-trade Abd Kadir from the Standards and Industrial B continuing part of the material culture organisation Gerai OA, offered a highly Research Institute of Malaysia discussed the of many peoples in Sarawak, the location informative overview of organic beads which technical and material challenges faced by of the inaugural Borneo International Beads still retain a place, albeit a precarious one, in ceramic bead makers. Produced by the local Conference (BIBCo) 2010. Organised by Orang Asli and Rungus cultures in Malaysia. Lun Bawang group since 1993 for a local Crafthub Sarawak, a non-profit organisation, clientele, these beads are used in traditional the conference took place in Miri, Sarawak, Two speakers highlighted the value of beads dress and ornament. Indonesian bead Malaysia, on 9-10 October this year. Bringing through their biographies and circulation. designer, Yekti Kusmartono, explained the together international bead and beadwork Eileen Paya Foong from Curtin University modern production of replica ‘Jatim’ beads in makers, researchers, curators and users, the (Miri campus) spoke of the stories associated East Java today as antique beads have become conference reflected on traditions and current with her family’s heirloom beads. Poline Bala more scarce. directions in Southeast Asian beads and from University of Malaya Sarawak discussed beadwork. An accompanying bead bazaar the value of beads on women’s bead-caps and The presentations elicited animated and demonstrations showed the practical their differentiation of ‘old’ and ‘new’ beads. discussions, revealing the complexity of aspects of working with this material. Papers on regional beadwork focussed on bead categorisation and the diversity of nyonya beadwork in Malaysia and beadwork interpretations these invoked. The audience Ten presentations highlighted the richness of of the Philippines. The latter, presented by also discussed the importance of documenting bead culture and emphasized the dynamism social anthropologist David Baradas, was the beads and their ‘personal’ histories. The and ongoing significance of beads and enriched by actual examples of exquisite conference not only offered an insight into beadwork in the region. Ipoi Datan, Director beaded vests, bags and carrying bands for Southeast Asian bead and beadwork cultures of the Sarawak Museum, discussed the cosmetic containers. but provided fertile ground for the exchange beads of bone, shell, glass and stone found of ideas. It augurs well for BIBCo 2011. at archaeological sites which attest to the A recurring theme was the continuing role of depth of bead culture in Sarawak. Given the beads in the cultures of island Southeast Asia Conference proceedings have been published by wide range in bead types, the challenges of and the changes that have taken place. The Crafthub. For further information on BIBCo 2010 studying beads across island Southeast Asia contemporary role of beads as mediators of and 2011, see http://www.crafthub.com.my/. was addressed by US-based Jamey Allen. culture and the evolving nature of beadwork A noted bead researcher, Allen had little in Sarawak was succinctly presented by Hwei-F’en Cheah lectures at the Australian National time to catch his breath as he examined the Heidi Munan, author of Beads of Borneo and University. She was invited to the conference by beads that participants had brought during executive director of Crafthub. Nor Azmah Crafthub to speak about nyonya beadwork.

Kelabit dancers perform at the gala dinner of BIBCo, held October this year in Miri, Sarawak. Guests in foreground are decked out in their heirloom beaded caps. Photo Hwei-f’en Cheah

26 T A A S A R EVIEW VOLUME 19 NO.4

R ECEN t t a a S a a C t i V i t i ES

Looking at tampans in NSW: (L-R) Chris Reid, Diane Schultz Tesmar, Ross Langlands, Roz Cheney, Kate Johnston. Photo Gill Green

TAASA NSW

‘Glorious pots’ - Lecture on Trade Ceramics in Southeast Asia Despite inclement weather, a group of TAASA ceramics enthusiasts gathered at Irene and Ross Langlands’ Nomadic Rug Traders Gallery in Sydney on 14 September to hear David Rehfuss’ talk on the trade in ceramics from countries in Southeast Asia. A monumental clap of thunder sounded as he began his talk.

David Rehfuss is the inaugural – and still serving - president of the Washington Oriental Ceramics Society; he works with the sherds collection at the Freer and Sackler Galleries in Washington and has curated successful exhibitions of Asian ceramics in the DC area. were made by weavers working under the with their possessions, of the coastal areas of Because the overland silk trade routes are auspices of Yayasan Tafean Pay (Tafean the island. well known, David focussed on the sea trade Pah Foundation), which started in 1989 in routes, also of great antiquity. Accompanied Kefamenanu with 8 weavers and now has 14 TAASA Iranian Arts and by excellent maps and images, David took co-operatives in TTU (north central Timor) Crafts Seminar, Sydney us on the journey of traded ceramics from with over 700 weavers. This stimulating one day TAASA seminar Vietnam and Thailand and also discussed the was held on 30 October at the Powerhouse ceramics of Burma and Cambodia, although The long arid island of Timor has absorbed Museum with 80 attendees. A full report will they did not play a role in international trade. a wealth of migratory influences over time. be provided in the March 2011 issue of the Those who attended this enjoyable evening Kate discussed the artistry and technical TAASA Review. – which began with refreshments and active expertise of contemporary weavers in West ceramics conversations - are extremely Timor while explaining the origin of aesthetic TAASA QUEENSLAND grateful to David for reinvigorating the and customary considerations. Among the interest in ceramics among TAASA members, many designs are traces of Dongson metal- Talk on Hmong Costume Art to Ann Proctor for initiating the event, and to work culture. Each area has its distinct style At a well attended and much enjoyed event Irene and Ross for their generous hospitality. but common motifs across the region include held on Saturday 14 August, Dr Maria Friend anthropomorphic figures and bird and reptile gave a talk on Hmong costume art in the Textile Study Group Meeting, life. Said Kate, ‘Animism is still a force and Queensland Art Gallery’s lecture theatre to 15 September: West Timor textiles traditional life is strong under the trappings TAASA members and friends. The talk was About 40 members attended Kate Johnson’s of modernity.’ In any significant life event, the enhanced by the presence of five members of presentation on her trip in June to West Timor, adat (the customary law that governs social the Brisbane Hmong community of whom two Indonesia, introduced by Carole Cassidy and religious order) is strictly adhered to. younger ones wore their traditional costumes, as and illustrated with images depicting village did the representative of ACAPA, the Australian life, local textile artists and maps. Kate also Textile Study Group Meeting, Centre of Asia Pacific Art! Examples of Hmong displayed 16 beautiful textiles acquired during 13 October: Tampan from Sumatra were on display for examination. her two week journey with resident artist Ruth Chris Reid brought in a marvellous collection Hadlow, known to many members of TAASA. of tampan, traditional handwoven covering cloths from South Sumatra. These squares Despite colonisation, West Timor retains of cotton cloth played an important role in a vibrant textile practice, crafting richly festival events in that region. While more or patterned colourful cloths for domestic and less the same size and with similar motifs, each ritual occasions. Kate revealed the region’s district displays its own particular variation materials and techniques, motifs and history. of common themes. Patterning was achieved Many village and town centres in West Timor in the supplementary weft technique. What produce fine warp ikat and supplementary is of significant interest in terms of dating weft decorated textiles using both natural, these sought-after textiles is that they are all locally-gathered dyes along with synthetic pre-1883, because the devastation wrought dyes, and making use of rough, home-grown by the eruption of Krakatoa and subsequent cotton. Some of the examples Kate presented tsunami tragically wiped out the populations, Two Hmong children in traditional costume

at the Queensland talk. Photo courtesy Ray Fulton

28 T A A S A R EVIEW VOLUME 19 NO.4 a MESS A GE F r o M t a a S A ’S P R ES i d EN T

This is a particularly The TAASA Review has gone from strength practical note, the TAASA website is currently auspicious time in to strength and in the last 10 years has being substantially upgraded into a more TAASA’s history to blossomed from black and white into full responsive and useful portal to access TAASA’s have the privilege of colour. The Review’s editors – Heleanor activities and links. A member email list now becoming the new Feltham, Ann Macarthur, Sandra Forbes affords an instant, effective and less expensive TAASA president: and currently Josefa Green have put in an means of communication with members. For it is the prelude inordinate amount of dedicated effort and the next year and into the future, TAASA looks to TAASA’s 20th expertise to produce a peer–reviewed journal forward to continuing to provide a forum for anniversary in 2011. of stature, subscribed to by university and people to share their interests in and pursue the museum libraries. Many members of TAASA study of all facets of Asian arts. Together with our acknowledge the Review as the main vehicle dedicated TAASA for their connection with TAASA and the Gill Green, President, The Asian Arts Society of Australia Management and Publications Committees, world of Asian arts. TAASA Vice President Christina Sumner and I are particularly proud to be able to With such a solid base TAASA can build on the sterling efforts of preceding confidently look forward. What activities are presidents - Carl Andrew, Jackie Menzies and the Committee planning for the immediate Judith Rutherford -whose determination and future? The TAASA Asian Arts Essay Prize wealth of expertise have forged ambitions is being offered in 2011 for the first time. A and directions for TAASA over these 20 years. sum of $2000 will be awarded for the prize- Time has attested to their success in providing winning 3000-word essay on any topic on an an avenue for members with diverse interests Asian arts subject by a tertiary student under and experiences in the Asian arts to explore the age of 35. their particular passion. In these endeavours, the cooperation of a number of major galleries On a completely different tack, travel companies and museums around the country has been familiar to TAASA members are scheduling seminal in assisting TAASA by offering a number of specialist tours in 2011 and 2012, venues to run seminars and meetings and badged as ‘Travel with TAASA’, to celebrate by contributing their expertise through the our anniversary. Members will be receiving TAASA Review and TAASA events. information over the next few months. On a

t a a S a MEMBE R S’ d i a r Y DE C EM B E R 2 0 1 0 – F E b r UA R Y 2 0 1 1

TAASA NSW EVENTS TAASA Textile Study Group TAASA NSW End of Year Party 6-8 pm, Briefing Room, Powerhouse Museum. and Bazaar The 10 November meeting of the Textile Wednesday 8 December 6-8 pm, Briefing Study Group was the last for 2010. Room, Powerhouse Museum, Sydney. Meetings will recommence in February All members and their guests are invited 2011. Program will be announced early to the NSW annual end-of-year Party in the year. All enquiries to Gill Green, and Bazaar. Entry to the Briefing Room [email protected] or 02 9331 1810. is from the lower level entrance of the Powerhouse Museum in Macarthur Street. TAASA QUEENSLAND This promises to be a bumper year for the Discussions have been held with ever popular Bazaar with Asian related Professor Huib Schippers, Director of items, books and novelties at bargain the Queensland Conservatorium, who is prices. Drinks and snacks are provided, planning concerts of Asian music to which conviviality is expected – and appropriate he will invite TAASA members. Other dress-ups! Cost: $10 members, $15 guests. events are in the planning stage and will be If you have items to donate please contact announced to members in the new year. Gill Green at 02 0331 1810 or email [email protected]

T A A S A R EVIEW VOLUME 19 NO.4 29 W H a t ’S o N i N a US t r a l i a a N d o VE R SE A S: DE C EM B E R 2 0 1 0 - F E b r UA R Y 2 0 1 1 A S E L E C T I V E R OUNDU P O F E X HI B ITIONS AND EVENTS

Compiled by Sabrina Snow

AUSTRALIAN CAPITAL TERRITORY VICTORIA British Raj. Many objects date to the late 18th century, when the British in particular Connections Reflections of the Lotus: ceramics commissioned artists to portray the world National Gallery of Australia, Canberra from Thailand the foreigners encountered in India. 16 October 2010-15 May 2011 Geelong Art Gallery (touring exhibition) Media used include lithographs and the 30 October 2010-30 January 2011 then new art of photography. There is Exhibition in the Children’s Gallery which also a substantial textile section.. reveals the beauty and diversity of Islamic This exhibition comes from the Art Gallery of See artgallery.nsw.gov.au//calendar. art and helps develop an understanding of South Australia’s internationally recognised its influence around the world. Islamic works collection of Thai ceramics. Its title refers to Comings and Goings: Lai Lai Wang Wang of art are paired with other objects in the the lotus, the water flower that is the central Chinalink Gallery, 107 Regent Street, Redfern, Sydney collection under themes such as calligraphy, symbol of Buddhism in Southeast Asia. The 29 October -18 December 2010 geometry, colour and the garden. exhibition includes the most unusual of the See nga.gov.au/connections Sawankhalok sculptural subjects, the rare The opening show of the Chinalink 16th century War Elephant. Gallery, established in Sydney in 2010 See geelonggallery.org.au/reflections Hexagonal tile, Iran, by the Zhuong Guo Society, a notr-profit of the lotus. probably 17th century. organisaion which aims to explore the

Glazed earthenware, dynamics of cross-cultural exchange between NEW SOUTH WALES 31.2 h x 27.8 w x 2.3 d cm. Australia and China via the visual arts.

Bequest of William F Wells, This exhibition showcases the works of 20 The First Emperor: China’s Entombed Warriors collection National Australian-Chinese contemporary artists, Art Gallery of New South Wales, Sydney Gallery of Australia who have become an increasingly visible 2 December 2010-13 March 2011 and important force in the formation of Australian identity and within the evolution Art from the Solomon Islands For preview of this exhibition, see pp. 25-26 of Australian art history. National Gallery of Australia, Canberra this issue. It showcases the terracotta army See chinalinkgallery.com. 26 February-29 May 2011 which protected the tomb of China’s first emperor Qin Shi Huangdi (221–210 BCE), Zen: The Art of Japanese Ceramics The first major exhibition in Australia who unified China more than 2000 years Newcastle Regional Gallery showcasing the fine traditional arts from these ago. The some 120 objects include 20 of the 6 November 2010 -16 January 2011 islands, which have an incredible history of world-famous life-size warriors from Xi’an, warfare and art - early European accounts terracotta figures of foot soldiers, generals, Celebrating the sister-city relationship between specifically note the artistic attention given kneeling bowmen and cavalry and chariot the City of Newcastle and Ube in Japan, this to the decoration on weapons and raiding horses. Displayed alongside these iconic exhibition explores the influence on ceramic art canoes. Drawn from museums and galleries figures are ceremonial vessels and bells, of Zen Buddhism with its emphasis of gesture, across the Pacific, the exhibition features works ornamental gold and jade, weapons and simplicity, spontaneity and the essential qualities with pitch black, glossy surfaces, iridescent armour, palatial architectural remains, pottery of materials, technique and the object. Through nacreous shell, distended faces and fluid limbs and ceramics. Significant recent finds which the Gallery’s significant collection of Japanese - distinctive features of Solomons art. have rarely been seen outside China include ceramics these principles are given form and are See nga.gov.au/exhibitions/solomonislandsart an exceptional life-size bronze crane and further translated into accompanying painting swan, discovered only in the last decade. by Australian artists including Royston Harper, Mother and child, Peter Upward and Tony Tuckson. Solomon Islands/ The exhibition is complemented by a See newcastle.nsw.gov.au/nag/exhibitions. Papua New Guinea, symposium on 4-5 December with international c1940. Wood, paint, Armoured General, China, scholars, and a subsequent extensive program of ht 49.0 x w 11.0 w x Qin dynasty 221-206 BCE. events including celebrity talks, performances, d 18.0 cm. National Terracotta, ht 203 cm, wt tours and film program. Gallery of Australia 250 kg. Excavated from Pit 1, See artgallery.nsw.gov.au/calendar. Qin Shihuang tomb complex,

1980, collection Terracotta The Indian Empire, Multiple Realities: Warriors and Horses Museum, selections from the Portvale Collection Xi’an, Shaanxi Art Gallery of New South Wales, Sydney Until 11 January 2011 Images of the people, architecture, customs and costumes of India which captivated the imagination of patrons as diverse as Indian maharajas, East India Company employees and the administrative personnel of the

30 T A A S A R EVIEW VOLUME 19 NO.4 INTERNATIONAL The Gods of Angkor: Bronzes from the National Museum of Cambodia UNITED KINGDOM Arthur M Sackler Gallery, Smithsonian Institution, Washington, DC (until 23 January 2011) Imperial Chinese Robes from Paul Getty Museum, Los Angeles the Forbidden City (12 February-14 August 2011) V&A Museum, London Travel with TAASA 7 December 2010-6 March 2011 The fascinating story of bronze sculpture Cambodia: and casting in Cambodia is revealed through Three centuries of beautiful and historic 36 exceptional works. Examples from the Angkor, Preah Vihear garments worn by the emperors and prehistoric period to the post- Angkorian empresses of the Qing dynasty (1644-1911). period (3rd century BCE to16th century CE) and Beyond On display are exquisite robes, hats, , present the origins, uses, and techniques of With Gill Green and Darryl Collins children’s clothes, and elaborate fabrics bronze casting and the development of a 30 October – 18 November 2011 made for the last Empress Dowager Ci Xi distinctly Cambodian style. and her court ladies. The exhibition explores See asia.si.edu/exhibitions/current/ the complex conventions specifying which godsofangkor.asp; or getty.edu/museums/ clothes should be worn on different court exhibitions. occasions: from official robes for important rituals to festive dresses for banquets and Fresh Ink: Ten Takes on Chinese Tradition celebrations. All objects are from the Palace Museum of Fine Arts, Boston, Mass. Museum, Beijing. 20 November 2010-13 February 2011 See vam.ac.uk/collections/asia/imperial A groundbreaking exhibition in which Images and Sacred Texts: contemporary Chinese ink painters engage Buddhism across Asia in dialogue with classical artworks from The British Museum, London China’s past. Ten leading artists from China 14 October 2010-3 April 2011 and the diaspora, all of whom have a deep engagement with traditional Chinese ink Explores the shared traditions of Buddhism painting, come to Boston’s Museum of Fine - the ‘three gems’- throughout Asia, from Sri Arts to study its superb collection of Chinese Lanka to Japan, through sacred texts, painted art and create new works in response. They scrolls and sculptures. will reinterpret the artistic past , creating a With Angkor as its capital, the Khmer empire ruled over what is now central and southern Vietnam, southern See: britishmuseum.org/exhibitions/ vibrant artistic future: a mission not only of Laos, Thailand and part of the Malay Peninsula. Angkor’s buddhism_across_asia.aspx ‘Fresh Ink’ but of contemporary China itself. superb ruins are the major reason travellers come to See articles and interviews in Orientations view the great empire’s remnants. Yet Cambodia offers UNITED STATES magazine October 2010; and mfa.org/ travellers a host of other experiences, including the legacy of outstanding ancient and French colonial architecture, exhibitions/fresh spectacular riverine environments, a revitalising Phnom The World of Kubilai Khan: Penh and beautiful countryside. Chinese Art in the Yuan dynasty Four Thousand Years of Southeast Asian Art Our wide-ranging Travel With TAASA program sets out The Metropolitan Museum of Art, New York Honolulu Academy of Arts, Honolulu to reflect this variety. As well as Angkor we visit other Until 2 January 2011 Until 9 January 2011 evocative Khmer temple complexes including Preah Vihear, the breathtaking mountaintop temple of immense Covers the period from 1215, the year Presents more than 150 works of art from historical and political significance to the Khmers. An interesting diversion across the border into Thailand to Kubilai Khan was born, to 1368, the year Cambodia and Thailand ranging from the experience Phanom Rung and Phi Mai is also included. of the fall of the Yuan dynasty he founded 4th millennium BCE to the 16th century. Two highly qualified leaders are looking forward to in China. It features paintings, sculpture, The exhibition includes a wide variety of sharing their enthusiasm for Cambodia with you: Gill decorative arts in gold and silver, ceramics sculptures, both monumental and miniature, Green, President of TAASA, art historian and author and lacquer, which all illustrate the new in stone and bronze, from the Angkor specialising in Cambodian culture; and Darryl Collins, prominent Australian expatriate university lecturer, art forms and styles generated in China at kingdom, and also explores the development museum curator, and author who has lived and this time. Many works relate to the various of the unique Angkorian ceramics tradition. worked in Cambodia for twenty years. religions then practiced in China , including Arts from the Sukhothai Kingdom include Price per person twinshare Buddhism, Daoism, Nestorian Christianity, select Chinese ceramics from the same ex Phnom Penh $4800 Islam, Manichaeism and Hinduism. period, and later examples of Japanese tea To register your interest, reserve a place or for See: metmuseum.org/exhibitions/kubilai khan ceremony ceramics influenced by Sukhothai further information contact Ray Boniface export wares. See:honoluluacademy.org/exhibition/fourth H ERITAGE D ESTINATIONS NATURE • BUILDINGS • PEOPLE • TRAVELLERS ousandyearsofsoutheastasianart. PO Box U237 University of Wollongong NSW 2500 Australia p: +61 2 4228 3887 m: 0409 927 129 e: [email protected] ABN 21 071 079 859 Lic No TAG1747

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