THE ART OF CONTEMPORARY JOK :THE INTEGRATION BETWEEN CRAFT AND CREATIVE DESIGN หอสม ุดก ำนกั ลาง ส

By

Miss Vitawan Chunthone

A Thesis is Submitted in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Program in Design Arts International Program Graduate School Silpakorn University Acaemic Year 2013 Copyright of Graduate School, Silpakorn University THE ART OF CONTEMPORARY JOK TEXTILES:THE INTEGRATION BETWEEN CRAFT AND CREATIVE DESIGN

อสม ุด ำนกั ห By กลาง ส Miss Vitawan Chunthone

A Thesis is Submitted in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Program in Design Arts International Program Graduate School Silpakorn University Acaemic Year 2013 Copyright of Graduate School, Silpakorn University Graduate School, Silpakorn University has approved and accredited the Thesis title of The art of contemporary Jok textiles: The integration between craft and creative design. Submitted by Miss Vitawan Chunthone as a Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Program in Design Arts.

……………………………………………………………………………... (Associate Professor Panjai Thratasanawong, Ph.D) Dean of Graduate School น กั ห อ ส ...... /...... มุดกล...... /...... าง สำ

The Thesis Advisor Assistant Professor Namfon Laisatrookrai, Ph.D. Veerawat Sirivasamas, Ph.D.

The Thesis Examaination Committee

...... Chairman (Professor Ekachart Chanurairat) ...... /...... /......

...... Member (Professor Peter Pilgrim) ...... /...... /......

...... Member ……………………………………………..Member (Assistant Prof. Namfon Laisatrookrai, Ph.D.) (Veerawat Sirivesmas, Ph.D.) ...... /...... /...... /...... /......

51155958: MAJOR: DESIGN ARTS KEY WORD: CONTEMPORARY JOK TEXTILES / TAI YUAN / PRACTICE BASED / IDENTITY / VERTICAL FLOOR VITAWAN CHUNTHONE: THE CONTEMPORARY JOK TEXTILES: THE USE OF INNOVATIVE DESIGN AND NEW MATERIALS. THESIS ADVISORS: ASST. PROF. NAMFON LAISATROOKLAI, Ph.D., AND VEERAWAT SIRIVESMAS, Ph.D. 186 pp.

This research was a Practice based Research combined with Applied Research. In this research, note taking, tape recording, interviewing, observing, photographing, video recording and questionnaire surveying were applied to primarily identify the concept of “Contemporary Jok ”. Theกั หpurposesอสม of ุดthisก researchล were to sustain and create Jok textile art through newส perspectivesำน that represent a relationshipาง between traditional crafts and contemporary design. This research was a combination of unconventional concepts and Art form inspired by “The beauty of Imperfection and the Flow”. Nowadays, Technological advancements, social value and economic change impacts on Jok textile regarded as invaluable heritage of Tai Yuan. That is, the role of Jok textile is continually decreasing. In the past, people wove Jok textile for household and religious uses. Recently, in contrast, the purpose of Jok textile has shifted from weaving for domestic use to weaving for sale. However, the development cannot reach to the fullest because it is encountering several shortcomings such as a lack of professional weavers, a lack of various materials and weaving equipment and a lack of comprehensive understanding on its own identity. These result is unable to make local textiles unique and decreasing their aesthetic values. The hypotheses of this study were to present new perspectives of contemporary Jok , to create new Jok motifs and promulgate them to the public and to present new image of contemporary Jok textile which is more international and suitable for current trends. The findings of the study revealed that the alternative weaving tool or the “Vertical Floor Loom” invented by the researcher was the significant factor which enabled weavers to create new and attractive woven textile structures. The researcher believes that this research study would be useful for creative people who place great importance on the value of art work such as artists, interior designers and contemporary art collectors and be great inspiration for the development of Jok textile in the future.

Program of Design Arts Graduate School, Silpakorn University Student's signature ...... Academic Year 2013 Thesis Advisors' signature 1...... 2......

iii Acknowledgments

I would like to express my very great appreciation to Thammasat University for an annual faculty development scholarships year 2008. I am particularly grateful for the assistance given by Assistant Professor Dr. Namfon Laisatrookrai who is my research project supervisor and also a chairman of PhD. Programme for her professional guidance and valuable support as well as special thanks should be given to Dr. Colin Gale, my second supervisor for his useful and constructive recommendations on this project. Professor Dr. Pairoj Jamuni I wish to thank นvariousกั ห peopleอสม forุด theirกล contributionา to this project; Jaroon Paramee, Thongyou Kamlangharnสำ and Pim Chomputaes,ง Manee Sukaseam Master Jok weavers, for their valuable information. Komol Panishapan and Sathorn Sorajprasobsanti who give me knowledge about history of Tai Yuan and Tai Phuan ethnic group as well as show me ancient precious textiles collections. And thanks for Kachama K. Parez and Jakkai Siributr who both have inspired me for the world of contemporary Thai textiles. Advices given by Krist Yensudjai and Dr.Linda Maintoch have been a great help in alternative perspective or image of hand woven Jok textiles. Finally, I wish to thank my parents for their support and encouragement me throughout my study, especially my mother who is inspired me to interested in Jok textiles since I was a young.

vi Table of Content

Page Abstract ...... iii Acknowledgement...... iv List of Figures...... viii Chapter 1 Introduction and Background...... 1 The Current situation...... 1 Purpose of the study...... อสมุด 4 Hypothesis ofำ theน กัresearch...... ห กลาง 4 Areas of Research ส ...... 5 Research process ...... 6 Research Methodotogy...... 8 2 Literature Review and related studies...... 11 Jok Textiles...... 11 A History of Jok weaving in Tai ethnic groups and the Characteristics of Jok textile in other regions of the world...... 11 The classification of Jok textile on their usages...... 22 Costumes...... 23 Household and everyday life uses...... 24 Ritual ceremonmy...... 26 The classification of Jok motifs of Tai ethnic groups...... 27 Tai-Yuan ...... 28 Tai-Phuan or Lao-Phuan...... 31 Tai Krang or Lao-Krang...... 33 Tai Lue...... 34 Phu Tai...... 37 Jok weaving method: the use of material and equipment ...... 38 The classification of Jok motifs: The interpretation and Meaning...... 44 Mythical / Spirtual creature ...... 45 Animal and Floral/Plant...... 48

v Chapter Page Other designs...... 51 The current statues of Jok textiles...... 56 Art Research...... 56 The identification of the aesthetic value of Jok textiles...... 56 Visual Design Theory...... 57 The survey of the development of Traditional Jok textiles through contemporary use...... 70 The case studies of contemporary textiles artists and designers: The use ofน designกั ห conceptอสม andุดก presentation...... ลา 85 3 Methodology ofส ำthe research...... ง 94 Data Analysis: The use of Textile discipline into Fine Art ...... 94 Textile sturcture...... 94 Surface design and decorative technique ...... 95 “Between” International design art and Fashion art exhibition...... 100 Pure Practice...... 106 Experimental with weaving method and textile structure...... 106 The integration of Jok weaving technique with other textile structures...... 112 Jok and ...... 113 Jok and Waffle varation weave...... 114 Jok and Honeycomb weave ...... 116 Jok and 4 shaft double weave...... 117 Jok and 8 shaft double weave...... 118 The experiment of weaving tools...... 120 4 Design Process...... 123 Process of design...... 123 Research and Analysis ...... 124 Planning and Development...... 124 Design Development...... 124 Design Development ...... 138 The development of weaving equipment : The invention of a vertical floor loom ...... 162 vi Chapter Page Results and conclusion ...... 168 Evaluation and consulting advisors ...... 169 5 Conclusion...... 177 Exhibition Design...... 177 Conclusion and Suggestion ...... 181 The Definitions of the art of contemporary Jok textile...... 181 The status of the craft of Jok textiles...... 182 Design characteristics of th contemparay artwork...... 182 References...... ม ...... 183 ำนกั หอส ุดกลาง Biography…………………………………………… ส ……………………………………………………………………. 186

vii Table of Figure Figure Page 1 Diagram showing the research methodology process ...... 9 2 Mural painting from Wat Phumin, Nan...... 12 3 Jok textile border...... 14 4 Jok textile border...... 15 5 Tai Nuea women costume, wearing pha biang…………………………………………. 16 6 Tai Lue curtain, Na Lae District, Luang Nam Tha Province, Technique Khit and Jok…………………………………………………………………… 16 7 Tai Lue tubeskirt, Udom Chai, Laos,ม 1920-1950……………………………………… 17 ำนกั หอส ุดกลาง 8 Vietnamese tubeส skirt...... 17 9 Tai Deang tube skirt, Kong Kuang, , Jok and Khit technique ….. 18 10 Kachin Textiles, Circa 1970, Sizes 58 x 29 to 65 x 31 inches, Kachin State, , and , Jpk and Khit technique…………. 18 11 Wall hanging cotton, Tai Lue from Sipsongpanna, Yuanna, ...... 19 12 Tai textiles, Tai people, Deang river, China...... 19 13 Kera, approx.120 to 130 years old, & cotton…………………………………… 20 14 Kera, approx. 60 to 80 years old, silk & cotton……………………………………… 20 15 Peruvian Hand woven Textile………………………………………………………………….. 21 16 A Guatemalan woman weaves a textile on a back strap loom…………………. 21 17 Tai Yuan’s tube skirt, Bann Ku Bua, Ratchaburi Province...... 24 18 Tai Phuan’s tube skirt, ...... 24 19-20 Tai Khrang’s tube skirt, Phichit Province...... 24 21 Tai Lue’s tube skirt, Wiang Kaen, Chiang Rai Province...... 24 22 Shoulder bag of Tai Yuan, Ku Bua Sub-District, Ratchaburi Province...... 25 23 Square Pillow of Tai Yuan, Bann Ku Bua Sub-District, Ratchaburi Province...... 25 24 Tai Lue man from Ban Phaet, Chiang Khum District, Payao Province wearing towel wiping cloth…………………………………………………………….. 25 25 Tung or Banner, Tai Lue in Phayao and Nan Province…………………………… 27 26 Novice monk head cloth...... 27 27 Kum (กุม หรือ กลุ่ม) design, Mae Cham, Province...... 30

viii Figure Page 28 Kom (โคม) design, Mae Cham, Chiang Mai Province ...... 30 29 Kong Keang (ลายโก้งเก้ง) design has a similar layout to a herringbone.... 30 30 Kab Son Hak (ลายกาบซ้อนหัก) design as a similar layout to a diamond shape...... 31 31 Tai Yuan tube skirt, Nong-Po-Bangkrado Sub-District, Ratchaburi Province...... 31 32 Jok textile motif of Tai Phuan, Had Seow District, Sukhothai Province...... 32 33 Tai Khrang textile, (fromม Exceptional Woven Beauty192)...... 33 ำนกั หอส ุดกลาง 34 Tai Khrang textile, ส Thailand (from Exceptional Woven Beauty192)...... 34 35 Tai Lue textile, Ta Wang Pa, Nan Province ...... 35 36 Tai Lue textile, Veangkean, Chiang Rai………………………………………………………… 35 37 Tai Yuan tube skirt, Vieng Sa, Nan Province...... 36 38 Tai Yuan tube skirt, Vieng Sa, Nan Province ...... 36 39 Pha Praewa, Karasin (Silpakorn University, 2000204)...... 37 40 Pha Praewa, Karasin (Silpakorn University, 2000204)...... 38 41 Kab (กาบ) motif…………………………………………………………………………………………. 39 42 Jok method of Tai Phuan in Sukhothai…………………………………………………… 40 43 Jok method of Tai Yuan in Chiang Mai and Ratchaburi…………………………. 40 44 Back strap loom, Hill-tribe (ลั๊ว), Mae Cham, Chiang Mai Province ...... 42 45 Mae Cham master weaver, aged 89, Mae Cham, Chiang Mai Province...... 43 46 Flying handloom, Ku Bua, Ratchaburi Province...... 43 47 Four shafts table loom ...... 44 48 Kom Lakon Nok, Mae Cham District, Chiang Mai Province...... 45 49 Nok Mu design, Srisatchanalai District, Sukhothai Province...... 46 50 Mythical Bird (Hong) design, Tai Yuan, Nam Ang design (ลายน้ําอ่าง), ...... Srisatchanalai District, Sukhothai Province...... 46 51 The main design is Mythical Bird (Hong), Tai Yuan, Na Muen District, Nan Province...... 47 52 Naga motifs, on Jok tube skirt, Utharadit...... 47

ix Figure Page 53 Naga motif on square pillow, Ratchaburi...... 48 54 Jok textile of Tai Krung ...... 48 55 Jok Tai Lue, Chiang Khong, Chiang Rai...... 49 56 Traditional floral motif “Pak Wan”, Long District, Phare Province...... 49 57 Detail Dok Chan Luang (ลายดอกจันทร์หลวง)……………………………………………. 50 58 Detail Dok Chan Noi (ลายดอกจันทร์น้อย)………………………………………………….. 50 59 Mali Laue (มะลิเลื้อย) motif, Ku Bua District, Ratchaburi Province...... 59 60 Detail from Jok border of a Tai Yuan tube skirt, Ku Bua, Ratchaburi Province...... ม 52 ำนกั หอส ุดกลาง 61 Kor Laew motif ส (ลายขอเหลียว), Ku Bua Sub-District, Ratchaburi Province...... 53 62 Kor Pra Jere (ลายขอประแจ), Ku Bua Sub-District, Ratchaburi Province...... 53 63 Khom Chor Noi Tung Chai (ลายโคมช่อน้อยตุงชัย), Long District, Phare Province...... 54 64 Kab Dok Kaew (กาบดอกแก้ว), Ku Bua, Ratchaburi Province...... 54 65 Ancient Kab motif (ลายกาบโบราณ) Long, Phare Province...... 55 66 Human riding horse on a Tai Yuan towel, Chiang Mai Province...... 55 67 New Dok Chan…………………………………………………………………………………………… 58 68 Kor design………………………………………………………………………………………………….. 58 69 Bhuthan textiles………………………………………………………………………………………… 59 70 New Jok design, The circle shape is rarely found in hand woven textile motifs...... 59 71 Ku Bua Jok textiles, Primary colours are commonly used in hand woven textiles, Ku Bua, Ratchaburi Province...... 60 72 Mae Cham Jok textiles, Jok motifs are highlighted with bright colours (white) or colours that are lighter than the background...... 60 73 Tung, Tai Lue, Chiang Kum, Payao…………………………………………………………… 61 74 Jok motif from Mae Cham tube skirt, Chiang Mai Province...... 62 75 Symmetrical balance design, a Jok motif from a tube skirt, Mae Cham, Chiang Mai Province...... 62

x Figure Page 76 Asymmetrical balance design, belonging to researcher………………………… 63 77 Jok textile of Tai Krung ...... 63 78 New Nok design………………………………………………………………………………………… 64 79 New Dok Chan design………………………………………………………………………………. 64 80 Tai Lue tube skirt, Muang Bang District, Udomchai Province, Laos………. 65 81 Jok tube skirt weaver in Rang Bua District, Ratchaburi Province...... 71 82 The backside of a Jok tube skirt, Ku Bua District, Ratchaburi Province.. 72 83 Jok handbag, Ku Bua District, Ratchaburi Province...... 72 84 Jok cushion, Ku Bua District, Ratchaburiม Province...... 72 ำนกั หอส ุดกลาง 85 New design ofส Jok textiles, from Mea Cham District, 2010...... 73 86 Traditional Jok textiles, from the Jok festival in Mae Cham, 2010...... 74 87 Private collection of traditional Jok motifs of Nusara Teangkeat...... 74 88 Field research in Mae Cham, Weaver uses traditional floor loom ...... 75 89 Jok method in Long district, uses sticks to create a Jok pattern .. template ...... 75 90 A Jok motif pattern woven by using shad sticks……………………………………. 76 91 Pranom Tapang...... 77 92 Komol Antique Textile Museum, Long District, Phare Province ...... 77 93 Nan Riverside Gallery...... 78 94 Ban Nong Bua Sub-District, Ta Wang Pha District, Nan Province...... 78 95 Sathorn Sorajprasobsanthi and weaver, founder of the Golden Textiles Museum...... 79 96 Liberty Department Store, London, UK ...... 80 97 Harvey Nichols Department Store, London, UK ...... 81 98 Contemporary Applied Arts Gallery, London, UK...... 81 99 Visiting Janet Phillips weaving workshops, Somerset, UK...... 82 100 Taking Time Exhibition Visited. (2009)……………………………………………………. 82 101 Houghton, Amy. Cardigan Study, craft space………………………………………… 83 102 Origin Craft Fair (2011)……………………………………………………………………………… 84 103 Outside the Origin Hall. (2010). Old Spitalfields Market, London……….. 84 104 K .Perez Kachama, (2008)...... 86

xi Figure Page 105 Pure Symbolique (Wall Hanging). Private Collection...... 86 106 Somdej II (Textile Art). Jakkai Siributr. (2011). Private Collection...... 87 107 Jakkai Siributr...... 88 108 Peter Collinwood, (1968). Macrogauze 26 (Wall hanging, Textile Art). Design is Fine History is mine...... 89 109 Peter Collinwood, (1999). Macrogauze 3DZ (Wall hanging, Textile Art). Victoria and Albert Museum, UK...... 89 110 Peter Collinwood. Accessed March 18...... 90 111 Ptolemy Mann, (2011). Chromaticม landscape (Textile Art). Private... ำนกั หอส ุดกลาง Collection...... ส 91 112 Ptolemy Mann, Accessed March 2014. Available on...... 91 113 Carol Cassidy, (2007). Climbing monkey (Textile Art). The Queen-sland Government’s Gallery of Modern Art...... 92 114 Carol Cassidy, (2014). Asia Store...... 93 115 Peter Collingwood, (1968). Macrogauze 26 (Wall-hanging, Textile Art). Linda Hendrickson, and Ply-Splitting Books, Tools & Kits…...... 95 116 Detail of a Carol Cassidy textile, (2012). Tumblr ASEAN………………………. 96 117 Silk weaver at Lao Textiles, Friday (2012). Word from Bob, Lao Textiles by Carol Cassidy...... 96 118 Kachama in her studio...... 97 119 Detail of a Kachama textile, Silk wall hanging, (2007)………………………….. 97 120 Ptolemy Mann, woven panels (2012). Accessed March 18...... 98 121 Ptolemy Mann. Accessed March 18...... 98 122 Jakkai Siributr in his studio, (2012)...... 99 123 Jakkai Siributr, Rape and Pillage, (2013). ( on Thai civil service uniforms), installation……………...... 99 124 ‘Between’ Exhibition Questionnaire...... 100 125 Nok I design, composed using Photoshop and PCC++ version…………… 104

xii Figure Page 126 Nok II motif designed vertically to match the silhouette of the garment. Material Invisible thread, horse hair, antara and organza silk, Technique Jok ...... 104 127 Nok II designed using Photoshop and PCC++ version 6………………………………. 105 128 The motif Nok E is arranged vertically to conform with the silhouette of the garments. Material Invisible thread, antara and organza silk. Technique Jok...... 105 129 S and Z twist in , Wikimedia Commons...... 108 130 Woven fabric with collapsed weave.ม Material; and over twisted ำนกั หอส ุดกลาง wool...... ส 108 131 Woven fabric with collapsed weaves. Materials; high twisted linen and cotton...... 109 132 Woven fabric with collapsed weaves. Materials; high twisted cotton and wool...... 109 133 Draft for huck or huckaback...... 110 134 Draft for honeycomb...... 110 135 Draft for waffle variation ...... 111 136 4 Shaft double weave drafts...... 112 137 Design#1,2,3 Materials Cotton no. 20/4, Tool no. 50...... 113 138 Design#4, Materials antara, cotton mercerize, no. 20/4. Tool Reed no. 50...... 113 139 Design#5, Materials cotton mercerize, no. 20/4. Tool Reed no. 50...... 113 140 Design#6, Materials cotton, no. 20/4. Tool Reed no. 50...... 114 141 A simple diagonal shape designed on a waffle weave draft (left), with experimental results (right)...... 114 142 The diagonal inside the square design was graphed on a waffle weave draft (left) before starting the experiment………………………. 115 143 Four diagonal designs of different size graphed on waffle weave Draft 115 144 A Dok Chan motif designed on a waffle weave draft, (left). The motif was positioned on sunken areas and some parts float over the warp yarn (right)...... 116

xiii Figure Page 145 A simple diagonal shape designed on a waffle weave draft to set the placement and location of the motif...... 116 146 Diamond shapes designed on a honeycomb weave structure draft...... 117 147 Experimental work, Jok motif on honeycomb weave. Materials are cotton and mercerize, Tool Reed no.50...... 117 148 4 shaft double weaves drafts ...... 118 149 Jok motif on 4 shaft weave. Materials cotton and cotton mercerize. Tool Reed no.30...... ม 118 ำนกั หอส ุดกลาง 150 Jok motif on ส an 8 shaft weave. Materials cotton. Tool Reed no.30..... 119 151 Jok motif on an 8 shaft weave. Materials antara and hemp. Tool Reed 119 no.50 ...... 152 8 shaft double weave drafts. The lifting draft (top) and the threading draft (the right below and the left below)...... 120 153 To pick up the supplementary warp threads from the top layer, the weaver defines the number on the frame and can operate accurately...... 121 154 To pick up the supplementary warp threads from the layer below, the weaver needs to works underneath the loom...... 121 155 To pick up the supplementary warp threads from the back layer, the table loom needs to be flipped over...... 122 156 Design process diagram. This diagram shows four major methods of design process...... 123 157 Ink jet printing. A selected design is printed with ink jet on vinyl sheets...... 126 158 handloom...... 126 159 Four Shaft Table Loom ...... 127 160 Vertical floor loom ...... 127 161 Mercerize Cotton...... 128 162 Raw cotton ...... 128 163 Natural fibre Horse hair ...... 129

xiv Figure Page 164 Natural fibre Hemp...... 129 165 Silk with Synthetic dyed, 150/200 D, Twisted 340 ...... 129 166 Invisible thread...... 130 167 Metallic Yarn ...... 130 168 Antara (Synthetic yarn) ...... 130 169 Traditional Jok motif, Ku Bua, Ratchaburi province, Collector Manee Sukaseam (60-80 years ago)...... 136 170 Traditional Jok motif, Ku Bua, Ratchaburi province, Collector Researcher ...... ม 136 ำนกั หอส ุดกลาง 171 Traditional Jokส motif, Ku Bua, Ratchaburi, Collector Manee Sukaseam...... 137 172 Traditional Jok motif, Ku Bua, Ratchaburi, Collector Manee Sukaseam……………………………………………………………………………………….. 137 173 Traditional Jok motif, Haat Siou, Sisatchanalai, Sukhothai………………….. 138 174 Top part of Tai Yuan tube skirt, Ku Bua, Ratchaburi…………………………… 138 175 Jok sketch designs, using Word Document Program……………………………. 140 176 Jok sketch designs, using Word Document Program...... 141 177 Jok sketch designs, using Visual PC++ Version 6.0 Program...... 142 178 Contemporary Jok sketch design, using hand tool Poster colour and Acrylic colour on paper...... 143 179 Contemporary Jok sketch design, using hand tool Poster colour and Acrylic colour and computer Photoshop program...... 143 180 Graph table, using Adobe Photoshop program...... 144 181 Free hand sketch design Dok Chan1, hand drawn on graph paper...... 145 182 Woven textile Dok Chan1, Material Mercerize Cotton, Antara, Table loom, size...... 146 183 Sketch design Dok Chan2, word document programmed, Printed on Paper...... 146 184 Woven textile Dok Chan2, Material Mercerize Cotton, Table loom, Size...... 147

xv Figure Page 185 Sketch design Dok Chan3, word document programmed, Printed on Paper...... 147 186 Woven textile Dok Cha 3, Material Cotton, Table loom, size ...... 148 187 Sketch design Dok Chan4, word document programmed, Printed on Paper...... 148 188 Woven textile Dok Chan4, Material Cotton, Table loom, size ...... 149 189 Free hand sketch designed Doh Kem,...... 149 190 Dok Kem design on word document, it is transferred with pencil on graph paper and ready forม weaving...... 150 ำนกั หอส ุดกลาง 191 Dok Khem design,ส it is woven on both sides of the fabrics following the draft pattern. Material Silk and Antara...... 150 192 Sketch designed Doh Mai, word document programmed, Printed on paper...... 151 193 Woven textile Dok Mai, Material Cotton, Table loom, size...... 151 194 Sketch design Kab (A side), Adobe Photoshop, Printed on paper...... 152 195 Sketch design Kab (B side), Adobe Photoshop, Printed on paper...... 153 196 Kab design is Printed on Vinyl, Size 700 x 160 cm...... 153 197 Woven Jok textiles (Kab A side), Materials silk and Antara, Table loom...... 154 198 Woven Jok textiles (Kab B side), Materials silk and Antara, Table Loom...... 154 199 Sketch design Sapao 1 (A side) Adobe Photoshop, Printed on Paper...... 155 200 Sketch design Sapao 1 (B side) Adobe Photoshop, Printed on Paper...... 156 201 Sapao 1 design is printed on Vinyl, Size 700 x 160 cm...... 156 202 Woven Jok textile Sapao1 (A side), Materials silk and Antara, Table Loom...... 157 203 Woven Jok textile Sapao 1 (B side), Materials silk and Antara, Table Loom...... 157

xvi Figure Page 204 Sketch design Sa-Pao 2 (A side) Adobe Photoshop, Printed on Paper...... 158 205 Sketch design Sa-Pao 2 (B side) Adobe Photoshop, Printed on Paper...... 158 206 Sapao 2 design is printed on Vinyl, Size 700 x 160 cm...... 159 207 Woven Jok textile Sapao 2 (A side), Materials silk and Antara, Vertical loom 210 Woven Jok textile Sapao 2 (B side), Materials silk and Antara, Vertical loom ...... 159 208 Double weave Jok structure ...... ม 160 ำนกั หอส ุดกลาง 209 Threading warp ส yarn, using two different colours (red and light mustard) for structure...... 160 210 Traditional of Jok method...... 161 211 Alternative of Jok method...... 161 212 Weaving double weave Jok technique on table loom...... 162 213 New double weave vertical floor loom, size 152 cm. width x 82 cm. high x 75 cm. thickness...... 163 214 The new double weave vertical for loom...... 163 215 Two weavers are working on double weave Jok technique...... 164 216 Detail of double weave vertical floor loom………………………………………… 164 217 Detail of panels…………………………………………………………………………. 165 218 Detail of the beater...... 165 219 The operation of new beater after is modified (Right) The old beater is impinged both layers unparallel (Left)...... 166 220 The components of the new beater control arm. Some of certain parts have been confiscated with screws and iron rings in order to be able to move inextricably to the reed...... 167 221 The new beater frame after the solution……………………………………………. 167 222 The new verticals loom for double weaves Jok. This loom has been adjusted with the new beater...... 168 223 Mae Cham Tradtional Jok tube skirt ( left) Srisatchanalai traditional Jok tube skirt (right)...... 178

xvii Figure Page 224 Four samples of Jok textile...... 178 225 Experimental Jok technique with four shafts structure ...... 179 226 Experimental Jok technique with four shafts structure ...... 179 227 New Dok Chan design, Experimental Jok technique with plain weave Structure...... 180 228 The beauty of the imperfection and the flow I, II, II (in details)...... 181

ม ำนกั หอส ุดกลาง ส

xviii

Chapter 1 Introduction and Background

1. The Current situation This research aims to present the beauty of the ancient art of Jok textile making by the ; broadly categorised as the descendants of speakers of a common Proto-Tai language. These people began migrating southwards from China during the first millennium AD. In Thailandม traditional textiles and the people who ำนกั หอส ุดกลาง possess the knowledge ส to produce them have been slowly disappearing and replaced by cheap, mass produced products. However, recent awareness of the importance of preserving traditional heritage has resulted in renewed interest and a viable market for this ancient art. This paper will focus on the creation of the art of contemporary Jok textile making inspired from Jok motifs characterized by horizontal stripes on the bottom hem band of the traditional Tai skirt or Pha-sin. The designs are all different and original. Each has its own personal identity communicated through the skill and originality of the weaver. Imperfections, or ‘mistakes’ in the weave, merely serve to enhance the beauty of the finished product. Traditionally hand woven textiles have played an important role in the culture, society, and ritual ceremonies of the Tai* peoples. Jok woven textiles or Pha Jok is the special crafts discipline of the Tai Yuan, Tai Phuan, Tai Lue, Tai Krang and Phu Tai peoples of northern Thailand. Jok or Chok is a decorative weaving technique using discontinuous supplementary wefts. The ‘wefts’ are the horizontal threads woven across the width of the fabric, through the lengthwise ‘warp’ yarn. The art of Jok textile making is a delicate skill and very time consuming. The technique consists of carefully inserting weft threads of different colours through the warp threads to make complex, colourful patterns. “The most refined

*Tai people are an ethnic group, comprising several subgroups speaking and dialects. (Conway, 2001: 189)

1 2 supplementary weft technique is called Jok.” (Conway, Susan, 2001: 92). Today, garments are factory produced and it is rare to find a skillful Jok weaver working at home. Thus, sadly the weaving skills of our Tai ancestors, once revered, are now in decline. “With the onslaught of modernisation, the art of Jok (Chok) textile weaving was almost lost from the Tai Yuan culture.” (Somporn Udom, 1987). In the past, people wove Jok textiles for daily usage and religious ceremonies. Modern technology has created a new mass produced style of traditional hand woven textiles. Jok textile identity and individuality changed with the increasing pace of life. Nowadays the weaving of Jok textiles has shifted from domestic and religious use to weavingม for sale. The old values and culture have ำนกั หอส ุดกลาง changed to profiteering ส business enterprises. Local textile designers and weavers now work to please consumers with patterns, motifs, colours and price. They design new Jok textiles which are simple, and less complex; this can detract from the quality of work. Synthetic materials are now widely used instead of natural fibres. The beauty of Jok motifs is unique to Jok textile making; this must not be forgotten. Sittichai Samarnachart, (2001) noted that the development of traditional Jok textile manufacture into the industrial system has been encouraged, however new techniques introduced have led to concern about the quality control. There is now a lack of skilful hand weavers. The government has encouraged hand woven textile production and set up cooperative groups in the regions of Thailand to revive the traditional craft and encourage the establishment of hand woven family businesses to supplement income from farming. These groups are gradually expanding and some are supported by local government units such as One One Product (OTOP) Project to commercially develop Jok textile weaving and encourage village people to earn extra income. Payment is either made monthly or for daily work and is very flexible. The groups are organised by a leader who distributes tasks accordingly. Artists, designers and weavers were interviewed in several areas to discover the current status and marketability of hand woven textile production. Ideas about the status of the art of Jok textile manufacture were exchanged. The value of local craftwork can be comparable to Fine Art from a tourist or collector’s viewpoint. In Ban Ku Bua sub district, Ratchaburi province traditional Jok textile 3 manufacture had almost disappeared. It was replaced by young weavers who produced products lacking in charm and refinement. However, customers here appreciate the old art of hand woven textiles. There is an understanding of the value of traditional craft products. These have become increasingly popular with tourists who recognize the need to safeguard ancient skills. As a result there is high demand for Jok textiles and their price has increased; affordable now by only a few. Government support has encouraged young villagers to remember their cultural heritage and given them the opportunity to earn a living from these hand weaving techniques. They must however ensure that good textile quality is maintained. The work may also enhanceม their spiritual life. The study found that the ำนกั หอส ุดกลาง establishment of cooperative ส hand woven textile groups is facing problems as the labour available is inadequate. The old weaving methods require patience and the delicate work is time consuming. This very labour intensive industry results in high production costs and therefore a reduction in available consumers. Individual production areas lack their own identity and designs and colouring tend to be similar across the region. This is an area of concern and needs to be addressed urgently. Some areas in Thailand still preserve their original identity and design of the traditional Jok textile as well as incorporating the new styles. The use of synthetic material is now widespread as it is easier to purchase raw materials. There are now a limited number of people actively involved in the traditional Jok textile industry. Ancient skills handed down from generation to generation have been lost. The number of hand weaving is limited. There is also a shortage of expertise and weaving specialists to train newcomers to the art. All these things combine to erode the value, lack of identity and charm of the original Jok product. Old methods and techniques still have a very important place and a role to play in our modern lives. The art of Jok textile manufacture must not be lost with time. With the expansion of the middle class, disposable income is increasing. More people in future will therefore be able to afford traditional Jok textile products at a higher price. Contemporary Jok textile design will communicate an international visual language and motivate new generations to treasure and remember their heritage. The inspiration for this work comes from “The Beauty of Imperfection and the 4

Flow”. The Jok technique was applied to a double weave structure; two layers of cloth woven simultaneously. The current situation is as follows: 1. A decline in the art of Jok textile weaving by Tai peoples in Thailand with the change in social status and technological advances. 2. Jok textile production by Tai peoples has lost its local personal identity and both aesthetic and emotional value. 3. Inappropriate designs of the current Jok textiles has reduced marketability. 4. There are several shortcomings,ม including lack of professional weavers, ำนกั หอส ุดกลาง lack of materials and ส weaving equipment.

2. Purpose of the study The purposes of this research are: 1. To protect the art of Jok textile manufacture for future generations, 2. To present a new perspective of the relationship between traditional craft and unconventional design in terms of contemporary textile art, 3. To explore the new concept and design process of double weave Jok textiles with the use of alternative methods and new tools and applying this to the domestic textile environment.

3. Hypothesis of the research 1. To maintain traditional Jok textile art in Thai society on a self sustainable basis. 2. To develop the new image of contemporary Jok textile production and increase the awareness of the younger generation to broaden their knowledge of Thai textiles. 3. The vertical Floor Loom proposed here can be further developed for innovative craftwork in the future.

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4. Areas of Research This research has focused on the ancient art of Jok textile weaving by the Tai peoples who live in Northern Thailand as the Tai Yuan, Tai Phuan or Lao Phuan, Tai Khrang, Tai Lue and Phu Tai. The study focused on both traditional and contemporary aspects. The historical movements of each group of Tai people can be traced through the individual styles of their weaving work. The study is divided into three parts: 1. The study of the history of traditional Jok textile making in each Tai ethnic group in Thailand, inherited from their ancestors. The field research focuses on areas of Central and Northern Thailand.ม It examines the changes in the visual ำนกั หอส ุดกลาง appearance of the textilesส and explores the traditional weaving areas: Bann Ku Bua District, Don Rea District, Rang Bua District in Ratchaburi Province, Long District in Phare Province and Mae Cham District in Chiangmai Province. The traditional Jok weaving culture and the Tai Yuan culture still remains in these villages. Geographical areas covered are: Ku Bua Sub-district, Muang, Ratchaburi, Don Rae Sub-district, Muang, Ratchaburi, Rang Bua Sub-district, Muang, Ratchaburi, Had Siou Sub-district in Sukhothai, Long District in Phare, Mea Cham District in Chiangmai, The list of museums, galleries and private collections: Kachama K. Pares, Muang, Chiang Mai, Sbun-Nga Textile Museum, Chiang Mai, Bank of Thailand Museum, Chiang Mai, Komol Ancient Textile museum, Long, Phare, Golden Textiles museum, Srisatchanalai, Sukhothai, Naresuan University Textiles Museum, , The Support Arts and Crafts International Centre of Thailand (SACIC), Bangprain, Ayuthaya, Queen Sirikit Museum of Textiles, , The Tilleke & Gibbins, Bangkok, 6

Jipathaphan Sathan Bann Ku Bua, Muang, Ratchaburi, 2. The study also focused on contemporary textile artists, designers and craftsmen in England. Geographical areas covered are: Victoria and Albert Museum (V&A), London, Tate Modern, London, Tate Britain, London, Fashion and Textile Museum, London, The British Museum, London, Royal Academy of Arts, London, National Gallery, London, ม ำนกั หอส ุดกลาง Contemporary ส Applied Art Gallery, 89 Southwark Street, London Birmingham Museum and Art Gallery, Birmingham, Netherstowey, Somerset, 3. Weaving methods are focused on experimentation with two and four shaft looms. The combination of Jok techniques with various types of woven textiles are applied by creating small samples to study the practical possibilities. 4. This research will be presented as works of contemporary Jok textile art pieces. Collections of Jok textile art are displayed in museums and galleries in both Thailand and abroad.

5. Research process 1. Literature Review The review of the literature related to the production of traditional Jok textiles by Tai peoples in Thailand. References to the promotion of handicrafts for sale in a global marketplace were also studied. 2. Field research This was divided into three parts ; Thailand, and in England. Data collection was from note taking, tape recordings, interviews, observation, photography and video recordings. A survey questionnaire was also completed.

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Part 1: Thailand The areas with ancient Jok textiles are in the Northern and Central regions. Textile museums and private collections were also visited. A Master of Jok weaving, descended from the Tai peoples was interviewed. The Master had ancient Jok textiles which cannot be seen in museums. The popularity and market demand for Jok textiles in the past, present and future were discussed. Part 2: Cambodia The investigation focused on traditional Khmer woven textiles in Siem Reap, Cambodia. The Institute for Khmer Traditional Textiles (IKTT) is a non profit making organization, founded in 1995 byม Mr. Kikuo Morimoto. He set up a workshop ำนกั หอส ุดกลาง for weaving and dyeing ส with three main goals of: 1. To restore the devastated tradition and save the excellent treasures of Cambodian textiles, 2. To preserve and continue a national heritage by encouraging the younger generations to follow in the footsteps of their forefathers, 3. To re-activate a promising textile industry and reorganise all related cottage industries, such as silkworm farming and weaving. (Institute for Khmer Traditional Textiles, accessed on 25 May 2014 (http://iktt.esprit-libre.org/en/aboutus_top.shtml). The purpose of the visit was to investigate if traditional Khmer textile production had survived the civil war. Part 3: England Traditional and contemporary textile artists and weavers in Somerset, The Midlands and London were visited. The fieldwork also included visits to museums, galleries and craft shops. Up-market shops and department stores in London: Harrods, Liberty, Conran Shop and Harvey Nichols were also inspected. 3. Data Analysis The results from the field research were evaluated: 3.1 To study the parameters which have affected changes in the appearance of traditional Tai textiles and social values. 3.2 To find guidelines for the development of contemporary Jok textile manufacture to reach an international audience.

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4. Data summary and consultation Data from the literature review, related research and field research was summarised, and analyzed by design. The use of a basic design method will generate further development and modification of the Jok textiles. Experts were consulted regarding new styles and designs that would best promote Jok textile production internationally. 5. Computer simulation Computer programs (Word, Photoshop and Illustrator), were used to assist with weaving designs. 6. Experimental weaving methodsม ำนกั หอส ุดกลาง Sample ส textiles were created using 2-8 shaft looms with traditional Jok methods. The use of the double weave vertical floor loom is an essential part of this research. Observations were made and the results were recorded. Various types of material were used, appropriate for double cloth design work. Yarn size and quality were varied. These parameters will affect fabric weight, thickness and the scale and proportion of the motifs. 7. Fact Finding Questionnaires were distributed to ascertain how the public views contemporary Jok textile design. The results will be analysed to draw preliminary conclusions. Specialists were invited to share their ideas and suggestions about the design of contemporary Jok textiles. Results were used as guidelines to develop and improve the research methods. 8. Conclusion The creation of contemporary Jok textiles, maintaining a balance between the old methods and new designs, will promote the ancient art of weaving to a new generation and hopefully gain international recognition.

6. Research Methodology This study is a Practice based Research, the integration of Pure Practice and Research in the art of contemporary Jok weaving. The Pure Practice experiments used a new textile structure with Jok methods and a double weave vertical floor loom. The Practice based Research provides original outcomes or 9 increases existing knowledge in a particular field. (Preecha Taothong, 2011) This study placed great emphasis on interpreting the aesthetic value and identity of contemporary Jok textile art. The beauty of Jok motifs on the bottom hem borders of the Tai Yuan wrap around skirt or Pha-sin was inspirational for this research. The motifs seem to occur as a result of errors while weaving. The weavers use different colour shades of threads and leave inconsistent spaces between them. Trial and error is essential for creating contemporary Jok textile art. Beauty occurring as a result of errors is beauty in an abstract from. A combination of Art Form with contemporary Jok textiles results in original work which has beautyม because of its own irregularities. Thus ำนกั หอส ุดกลาง contemporary textile ส art pieces are inspirational because of “The Beauty of the Imperfection and the Flow”.

To identify the aesthetic value of Jok textiles

Practice Research in based Analysis Art Visual Design Theory Research

To study of the development of Synthesis & Experiment Traditional Jok textiles through contemporary usage

To experiment with alternative tools, methods and textile structure

Pure Practice To express the concept “The beauty of the Imperfection and the Flow” through Contemporary Textile Arts

Figure 1 Diagram showing the research methodology process

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a. Research Outcome The benefits expected are as follows: 1. To have a comprehensive understanding of local wisdom and experience to place more emphasis on Jok textile art, rather than mass producing Jok textiles for commercial purposes. 2. To promote the art of contemporary Jok textiles so that it becomes widely known at national level whilst maintaining its creative identity. 3. To be a great inspiration for textile designers, interior designers and creative people to further develop their own work, based on the outcomes of this study. b. Summary นกั หอสมุดกลา The objectives สำ of this research are to highlightง the value of Jok textile art. Hand-woven textiles should be on a level with Fine Art exhibited in museums. Jok textile weaving must be continued through the use of contemporary and international media. Hand-woven textiles are produced in areas where people strive to maintain their traditional crafts. These areas include Tambon Kubua in Ratchaburi, Long District in Prae, Srisatchanalai in Sukhothai and Mae Jam District in Chiang Mai. Traditional Jok techniques sometimes lack relationship and aesthetic value. “For the case study of the Tai-Yuan in Ratchaburi and Saraburi provinces, the researcher found that the patterns and colours used in some traditional design of Phaa Tin Chok are disappearing.” (Sittichai Samarnachart, 2010) This research investigates the integration of traditional Jok textile making and contemporary design. Theoretical computer technology is applied to enhance the planning of contemporary designs, whilst maintaining the identity and uniqueness of the finished product. The weavers unanimously agreed that the new textiles were successful in maintaining the spirit and integrity of the classical designs. (Pitprapai Sarasalin, 2003) Social values have changed; the new generation does not give precedence to the value of Crafts. Skilled weavers can be real pioneers in reviving the art of hand woven textiles. Government support is also vital if the beauty and aesthetic quality of the ancient textile making art is to be preserved for future generations. Chapter 2 Literature Review and related studies

1. Jok Textiles Jok is a Thai word for ‘to pick quickly’ or ‘lift out’. Jok describes a discontinuous supplementary weft technique, achieved by using a stick, porcupine quill or fingers to pull out certain and thread smaller, more intricate patterns while the fabric is still on the loom. This technique is a time consuming and delicate procedure introducing complexity into the details of the motifs. “The most refined supplementary weft technique is calledม Jok” (Conway, 2001: 92). Tai Ethnic sub- ำนกั หอส ุดกลาง groups, the Tai Yuan, ส Tai Phuan and Tai Khrang coined the term ‘Jok’, literally translated ‘snatch grab’, like a snake strike. The Tai Lue called the technique Kor (เกาะ) or Luang (ล้วง) (Cheesman, 2012) In this study, the use of the word ‘Jok’ relates to a discontinuous supplementary weft technique and ‘Jok motif’ is the hand woven textile surface that results. 1.1 A History of Jok weaving in Tai ethnic groups and the characteristics of Jok textiles in other regions of the world “Tai is the ethnic group speaking Tai languages of many dialects, and subgroups” (Songsak Prangwatanakul, 2008: 149) “The Tai inhabit an area from Assam through Burma, Thailand, Vietnam and parts of southern China.” (Conway, 200 : 189) The major ethno-linguistic group in Thailand today is the Tai, of which the Central Thai are the ruling class. Minority Tai groups include the Tai Yuan, Tai Lue, Lao Khrang and Tai Phuan in the north, the Tai Lao, Nyor, Saek, Kaleung and Phutai in the northeast, and the Tai Dam and Tai Yuan near Bangkok. (Cheesman and Vithi Phanichphant, 1993 : 40) “Tai people who live in different regions will call this technique by a different name. In Laos the use of the Jok technique by Tai people is called Koh (เกาะ)” (Cheesman, 2013). Tai people have long been renowned for their art of hand woven textiles, especially Jok textiles with the discontinuous supplementary weave technique. The art of Jok weaving is rich and deeply embedded in the culture and history of the Tai peoples. There is a regional identity in the textile weaving; individual styles

11 12 characterising certain areas or villages. The culture of Jok weaving of the ‘Tai’ people has been handed down through the generations and transmitted from one weaver to another from region to region. Archaeological evidence confirms this. Tai textile means a hand woven textile created by Tai people; various types of decorative weaving techniques are applied depending on the social status and skill of each ethnicity. The intricate designs are an expression of the symbolism and identity of each subgroup. Historically textiles have played an important role in the practical, ceremonial and religious lives of the people of Asia. They give an insight into the prehistory, migrations and thread systems of these ancient peoples, as well as abstract concepts, such as their interpretation of the phenomena of existence. (Songsak Prangwantanakul and Cheesman, 1993: 24) The painting scene at Wat Phumin (Figure 2) features female and male figures outside the city wall of Inthapat Nakhon. The scene portrays high aesthetic quality through its well-composed unity and it is also considered as a historical record of social life costumes and traditions in the past. (Winai Prabripoo, 2009: 127)

Figure 2 Mural painting from Wat Phumin, Nan. (Photographer: Pirot Thipayamanee (2012) and Wall painting with 19th Century costumes)

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The art of Jok textile results from the historical knowledge of Tai peoples scattered throughout the region. Jok woven textiles are a cultural foundation of the Tai Yuan, a sub-group of the largest ethnic group of Tai peoples. The weaving culture and meaning of Jok motifs reflects their history and the lifestyle of people long ago. Detail of a wall painting (Figure 2), shows costumes of the late 19th century Pha Sin, with the typical structure of Sin Pong and Sin Kan technique and the Tai Yuan tin Chok. (Songsak Prangwattanakun, 1988: 15) We can study the patterns of ancient fabric from the old originals, mural paintings and photographs. Historically, migration and intermingling between Tai groups resulted in changes in the styles of costume and hand woven textile characteristics. Weavers designed patterns and produced images based on the iconography of Buddhism, of spirit religion and of nature (Conways, Susan 2002:182). Pre-migration and distribution all Tai ethnic groups had a similar history of weaving skills. Motif and design patterns have changed over time, adapting to prevailing conditions. There are weaving designs based on realistic concepts, snake (naga) and swan (hong) and geometric shapes, diamond, triangle and zigzag lines. These motifs are symbolic of religion, new life, and the way of life. The style or characteristic of traditional hand woven textiles of the Tai people in each group was modified to suit usage and climate. Tai woven textiles in the northern area of the country are made of thicker fabric than those in the central area. The classification of the originality of Tai textiles cannot be defined by region or country. The designs of each ethnic group have been adapted to their changing lifestyles. However, each group still retains its own cultural and distinctive identity using individual colour schemes and design composition. “The woven treasures of Tai (including Thai and Lao), Khmer, Cham, Burmese and Malay people share similar materials, techniques and iconography, and the weavers’ artistic abilities enable the conception of distinctive fabrics.” (McIntosh, 2007: 5) Jok textiles in Thailand The art of Jok weaving can still be found among the sub-groups of Tai people, the Tai Yuan, Tai Phuan, Tai Khrang, Tai Lue and Phu Tai, who live in northern and central Thailand. They weave textiles with Jok technique and some 14

sub-groups produce extraordinary patterns, using shed sticks and other decorative techniques such as Khit* and .** Jok technique can be executed in two ways. The Tai Yuan in Mae Cham District and in Ratchaburi Province weave with the front of the fabric facing down on the loom. The motifs cannot be seen while weaving, but scrap yarn can be managed on the back easily. The Tai Phuan in Sukhothai Province weave with the back of the fabric facing down on the loom.

Figure 3 Jok textile border of Tai Yuan. Source: Jirawan Gavila Okamoto, Patricia Cheesman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press, 2013), 175.

*Khit: Thai word to describe a continuous supplementary weft. (Conway, 2001: 188) **Ikat: Malay/Indonesian word for a resist-dye process in which yarns are tied in selected areas to prevent penetration of dye and to form patterns when the yarn is woven. (Conway, Ssan, 2001: 18) 15

Figure 4 Jok textile border of Tai Khrang. Source: (Jirawan Gavila Okamoto, Patricia Cheesman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press.2013), 191

Jok textiles in Laos Tai peoples of both Thailand and Laos shared similar traditional weaving methods using Jok and Khit techniques. “The Tai Phuan in Laos weave a pha biang* that is covered in supplementary weft, both continuous and discontinuous, arranged in bands of pattern with a large diamond or lozenge in the centre.” (Songsak Prangwattanakun and Cheesman, 1988:81) Tai people in Laos use their fingers to pick warp yarns and supplementary weft yarns instead of quills. The Tai Deang and Tai Lue in Laos are highly regarded for their distinctive and intricate textiles and weaving skills. The complexity in design and style of the Jok technique is shown by delicate motifs, colours and composition arrangements that indicate their identity. The use of Khit, Ikat and techniques to decorate tube skirts is also popular among the Tai .

*Pha Biang: Lao cloth used by Lao woman to wrap over one shoulder and around the torso. The Thai equivalent is the Pha Sabai. (Songsak Prangwat tanakun and Cheesman, 1998: 105)

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Figure 5 Tai Nuea women costume, wearing pha biang, Laos, 1981 Source: Songsak Prangwattanakun and Patricia Cheesman, Textiles: Yuan Lue Lao, 2 nd ed. (Bangkok: Amarin Printing Group. 1998), 105.

Figure 6 Tai Lue curtain, Luang Nam Tha Province, Laos. Technique: Khit and Jok Source: Songsak Prangwatthanakun, Cultural Heritage of Tai Lue Textiles. (Thai Department, Faculty of Humanities, Chiangmai University. 2008), cover.

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Figure 7 Tai Lue tubeskirt, Udom Chai, Laos, 1920-1950. Source: Linda McIntosh, Art of Southeast Asia Textiles: The Tilleke & Gibbins Collection. (Chicago: Serindia Publication. 2012), 86.

Jok textiles in Vietnam The northern part of Vietnam is populated by the Tai Lue ethnic group who migrated from Laos and China. Tube skirts or Pha Sin of the Tai women in Vietnam are decorated with various techniques such as Jok and Khit with tapestry on the body or middle part. The geometric motif symbols are large. Colour schemes are mainly dark backgrounds decorated with bright colours. Red, yellow, green and white are commonly used. The Tai Lue in Vietnam have a distinctive style of textile design and the use of animal design and motifs are popular.

Figure 8 Tai Dam-Tai Daeng tube skirt. Vietnam. Source: Jirawan Gavila Okamoto, Songsak Prangwatanakun and Patricia Cheesman Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum. Chiangmai: Nopburee Press. 2013), 221. 18

Figure 9 Tai Deang tube skirt, Kong Kuang, Vietnam, Jok and Khit technique. Source: Sumitra Pitipipat, From Birth to Death: Tai Life and Textile, (Thammasat Press, 2010), 61.

Jok textiles in Myanmar The transition of culture in Central Asia and China influenced the characteristic of Myanmar textiles. The distinctive Jok techniques were found in several ethnic groups in Kachin and the . The design composition contains both of vertical and horizontal patterns, with remarkable rhythm. A double weave textile structure is occasionally combined with the Jok technique.

Figure 10 Kachin Textiles, Circa 1970, Sizes: 58 x 29 to 65 x 31 inches, Kachin State, Myanmar, Cotton and wool, Jpk and Khit technique. Source: Accessed December 20, 2013, Available from: http://ethnicstyledecor.com/ textiles/ burmatextiles/kachin-textiles.htm)

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Jok textiles in China Decorative weaving began in China. “Many of the earliest examples were obtained from excavations in sites along the silk road, both within and outside the geographical boundaries of China.” (M A Hann and B G Thomas, 2005: 52) “Weft patterned silk and discontinuous brocading was found in the Chutomb in Jianling. The wefts were inserted by small shuttles within small areas across the shed.” M A Hann and B G Thomas, 2005. Woven textiles of Tai Lue in Sipsongpanna, southern China are highly regarded for their intricate motifs and decorative weaving technique. The use of Jok technique in their textile manufacture reflected their refined taste and creativity. (Songsak Prangwattanakun 2008) Surprisingly there is no evidence of Jok technique being used among weavers in Sipsongpanna. It can therefore be assumed that knowledge of this weaving technique has disappeared.

Fiqure 11 Wall hanging cotton, Tai Lue from Sipsongpanna, Yuanna, China Source: Sumitra Pitipipat, From Birth to Death: Tai Life and Textile, (Thammasat Press, 2010), 61.

Fiqure 12 Tai textiles, Tai people, Deang River, China Source: Sumitra Pitipipat, From Birth to Death: Tai Life and Textile, (Thammasat Press, 2010), 59. 20

Jok textiles in Bhutan Many Tai-Lao textile designs resemble Bhutanese motifs. (K. Myers and others, 1994 : 64) The aspects of Bhutanese culture and their unique natural environment are reflected by their textiles. The use of back strap looms is a cultural preservation of the Bhutanese. Jok and Khit techniques are used with rich weft patterning and colour. “Bhutanese ethnic groups, like the looms they use and the cloth they weave, reflect affinities with both the Tibetans nearby and the distant Tai.” (K. Myers and others, 1994: 69) Jok motifs found in Bhutanese textiles are distinctive with fine outline shapes on a white background and density of motifs on a dark background. Bhutanese woman wear a tube skirt and wrap around the shoulder with a rectangular woven pattern called a Kera. These are commonly woven in supplementary weft , a similar method to the Jok technique. The weavers use their fingers to pick the special weft threads and create the design motifs.

Figure 13 Kera, approx.120 to 130 years old, silk & cotton. (Paothong private collection)

Figure 14 Kera, approx. 60 to 80 years old, silk & cotton. (Paothong private collection) 21

Jok textiles in Latin America and Europe Hand woven textiles by Mayan people are found in some countries in Latin America; Mexico, Peru and Guatemala. Traditional textiles from the Maya, who originate from the highlands of Guatemala, are usually made with fabric woven on back strap looms. They are decorated with discontinuous supplementary weft or Jok technique using fingers or sticks to pick up warps and special weft threads are inserted to arrange the motifs.

Figure 15 Peruvian Hand woven Textile, Tejidos, Nuevos. Source: Tag Archives: Peruvian textile, Accessed December 20, 2013, Available from http://www.arumfellow. com /blog/ tag/ peruvian-textile/

Figure 16 A Guatemalan woman weaves a textile on a back strap loom. Source: Accessed February 24, 2013, Available from http://traveler.national geographic.com/2008/04/genuine-article/morelli-text/1 22

Jok weaving technique has been applied in many regions of the world according to historical studies. It has been used in nearly every Tai ethnic group. However, the date and origin of this technique is unclear. Each group can be recognised by its own character and distinctive style. In Europe and America similar traditional hand woven textiles are found but the use of equipment, weaving tools and weaving methods are different due to habitats and cultural lifestyle. Neighbouring countries such as Laos, Vietnam, Myanmar and China have similar weave methods and use of weaving tools. The technique has a different name in each region. In Europe an inlay or finger worked technique, invented around 1,000 BC is similar to the Jok method.. Schoeser mentioned (2003). This inlay work also creates the pattern on the loom by hand manipulation of weft yarns to fill specific areas where they are needed, rather than running from selvedge (self-finished edge) to selvedge as in the Khit technique. 1.2 The classification of Jok textiles by their usages Historically, ethnic identity such as language, culture and costumes indicates an individual tribe. The similarity in culture of Tai peoples in each group relates to their social values and beliefs. Traditional costumes however indicate the identity of a specific tribe and define their social status. The textiles have different designs, weaving methods, patterns and latent meanings in the motifs. Analysis of decorative tube skirt designs, colours and motif images can identify individual tribes. The casual and ceremonial costume of Tai women is the tube skirt or Pha Sin* which shows distinct cultural styles. The women dress in their own woven fabrics for everyday life and for ceremonial or special events. A skilful weaver is well accepted in society. This skill indicates the potential to be a good housewife, ready to start a family. The classification of Jok textiles found in Thailand was investigated as follows:

*Pha Sin is a woman’s tube skirt similar to a sarong but never worn without joining into a tube as seen in some part of Malaysia and Burma. (Songsak Prangwattanakul and Cheesman, 1988: 61) 23

1.2.1 Costumes Songsak Prangwattanakun and Cheesman mentioned (1988). Pha Sabai is a Tai woman’s upper body costume, consisting of a rectangular piece of cloth wrapped around the chest and tied in various ways. When blouses were first introduced they were made of white cotton, round necked, straight sleeved and open at the front, using either buttons or tie-strings. The male costume was simple; the upper body was either bare or a simple style round necked, long sleeved shirt, open at the front. Below this “The men wore a cloth wrapped, folded and tucked to create a sarong or split pants which were replaced by sewn trousers in both Chinese and western styles” (Songsak Prangwattanakun and Cheesman, 1988 : 51) The majority of Tai Yuan tube skirts are in the central and northern areas. They are made from cotton and only a few were woven in silk at the hem. “The Tai wore a costume which was similar for nearly all groups, but which differed in detail, application and decoration.” (Songsak Prangwantanakul and Cheesman, 1988:51) The border of the tube skirt was decorated with various types of textile designs. People of the same ethnic sub-group could recognise the details of the design structures and decorative motifs from their own Pha Sin or the Pha Sin of surrounding villages. (Songsak Prangwantanakul and Cheesman, 1988 : 61) The Tai women’s everyday outfits and ceremonial costumes showed distinctive local variations enabling quick identification of status, ethnic origin and hometown, while textiles woven for men were less specific, with the exception of the men’s ceremonial cloths. (Cheesman and Vithi Phanichphant, 1993 : 41) The textile pattern consists of three basic parts: the waist band, the main body and the border piece. The three parts are hand stitched together and sewn with one side seam or two seams to create a tubular pattern. The tube skirt of each Tai ethnic group is different in design in terms of design composition and motifs on the body of the textile and the border areas. The Tai Yuan and Tai Phuan’s tube skirts in Chiang Mai, Sukhothai, Phichit and Ratchaburi are similar in design. The middle part is wider with the Jok piece placed horizontally on the border and usually left plain or, in black or red. (Figure 17, Figure 18) The Tai Khrang and Tai Lue’s tube skirts are composed of various decorative techniques in addition to the Jok method. The Tai Khrang in 24

Phichit Province weave their tube skirts in alternating vertical bands of Ikat, combine with Jok or Khit technique and decorate with Jok pieces on the border. (Figure 19,20) In the Tai Lue’s tube skirt in the north of Thailand, the main motif is placed horizontally in the middle of the body part with a wide space at the border, generally in plain, dark colour. (Figure 21)

Waistband

Body

Hem

17 18 19 20 21 Figure 17 Tai Yuan’s tube skirt, Bann Ku Bua, Ratchaburi Province Figure 18 Tai Phuan’s tube skirt, Phichit Province Figure 19-20 Tai Khrang’s tube skirt, Phichit Province Figure 21 Tai Lue’s tube skirt, Wiang Kaen, Chiang Rai Province

1.2.2 Household and everyday life uses Textiles used for the day to day life of the Tai people are vary. A square or rectangular fabric has multipurpose uses, such as a handkerchief, towel wiping cloth, blanket, shoulder bag or pillow case. The shoulder towel of the Tai Lue, called Pha Chet (ผ้าเช็ด) is a narrow rectangular single fabric woven with Jok and Khit techniques in varying pattern motifs, including human figures, animals, and mythical designs. The Tai Yuan decorate square pillows and shoulder handbags with small pieces of Jok textile. They sew all the elements together with sophisticated hand stitched patterns. “The use of the shoulder bag is spread throughout Lanna within the Tai and hill tribe groups. Each group uses individualised techniques, decorative motifs and colours.” (Songsak Prangwantanakul and Cheesman, 1988: 95). (Figure 22) 25

Figure 22 Shoulder bag of Tai Yuan, Ku Bua Sub-District, Ratchaburi Province

Figure 23 Square Pillow of Tai Yuan, Bann Ku Bua Sub-District, Ratchaburi Province

Figure 24 Tai Lue man from Ban Phaet, Chiang Khum District, Payao Province wearing towel wiping cloth Source: Songsak Prangwattanakun and Patricia Cheesman, Songsak Prangwatthanakun and Patricia Cheesman, Lan Na Textiles: Yuan Lue Lao, 2 nd ed. Bangkok: Amarin Printing Group. 1998), 79.

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1.2.3 Ritual ceremony The tung or banner is a long strip of rectangular textile, 10 to 40 cm wide and from 1 to 5 m long depending on the usage in each ethnic group. The tung can be seen hanging in the main sanctuary or around the to signify the celebration. “Banners are made for the purpose of Buddhist ceremonies, both festive and solemn but with different size, shapes, materials and decorative motifs, depending on the beliefs, occasion and popular use.” (Songsak Prangwantanakul and Cheesman, 1988 : 83) Women prepare for life after death by weaving with Jok technique. The story in the design will be transferred onto a woven fabric including tales of ancient legend, a way of life and fertility. The great variety of designs on tung are woven with Jok and Khit techniques. The patterns are mainly created with festive motifs as omens of good luck. Monument designs, stupa, trees, flowers, animals, birds and people are also used. “They are usually made from both cotton and bamboo rods, decorated by scraps of fabric, paper and palm leaf etc.” (Songsak Prangwantanakul and Cheesman, 1988 : 84) (Figure 25) The ordination in a Buddhist ceremony of a Tai Yuan man uses a novice monk head cloth, designed with a white square in the middle of the square cloth, decorated with Jok motif. “A Novice monk head cloth was used in novice Buddhist ordinations. These textiles averaged 16 to 19 inches in length and 15 to 17 inches in width, usually woven with cotton or silk with a white central square of area size 3 x 4 inches.” (Udom Somporn, 1995: 44) (Figure 26)

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Figure 25 Tung or Banner, Tai Lue in Phayao and Nan Province Source: Songsak Prangwat thanakul and Cheesman, Lan Na Textiles: Yuan Lue Lao, 2 nd ed. Bangkok: Amarin Printing Group. 1998), 82.

Figure 26 Novice monk head cloth. Source: Silpakorn University. (2001). Patterns and Colours on hand woven textile. (Bangkok: Amarin Printing Group, 2000), 143.

1.3 The classification of Jok motifs of Tai ethnic groups Cheesman (2012) concluded that the classification of Tai textiles by ethnic group is not always easy to identify. The styles of the textiles have often been intermixed as the groups migrated and interacted from one area to another. Each of these major linguistic groups has distinctive textile style with different applications of techniques, motifs, colour and raw materials. The largest group, the Tai, show distinct recognisable elements, and each sub-group displays 28

sufficient differences in their weaving to be easily identifiable. (Cheesman and Vithi Phanichaphan, 1993 : 40) There are some differences in the features of Jok textiles that enable classification by design composition, motif, dye, the use of materials and tools according to society, way of life and ritual beliefs. Jok motifs that appear in each group of Tai peoples are basic geometric shapes, arranged in regular placement positions. “There are very small dots, fish-egg dots, diagonals, crosses, triangles and squares. These basic designs are developed into other symbols.” (Songsak Prangwattanakul, 2001: 20) Motifs of animal and floral designs are often symbolic and a representation of the weavers’ imagination. Their inspiration is derived from nature and their surroundings. The art of hand woven Tai textiles has been handed down the generations, through migration and cultural change; therefore, it is hard to justify its origin. The transition of art and culture has linked people from place to place and from group to group. Nowadays, the Tai ancestors are scattered across the north, northeast and central parts of Thailand. The cultural links between the ethnic groups are seen in the weaving traditions and costumes. Love and belief are a contributing factor to the art of hand woven textiles which play an important role in society and Tai culture. 1.3.1 Tai Yuan (ไทยวน) The Tai Yuan are the major Tai group living in northern Thailand. They are the descendants of the Tai Yuan of Lanna Kingdom** from Chiang Saen city**Somporn Udom, (1997). Today, Tai Yuan can be found at Chiang Mai, Phrae, Uttaradit, Lampang, Lampoon and other Provinces in northern Thailand. There are also Tai Yuan in Ratchaburi and Saraburi Provinces in central Thailand. (Sittichai, Samarnachart, 2001. The art of Jok weaving is found around Chiang Mai, Phrae, Lampang, Phare, Utharadit and Ratchaburi. In the area around Chiang Saen, Chiang

*Lanna Kingdom was an individual political and cultural stage, powerful in th the thirteen century. The kingdom occupied the northern , **Chiang Saen, today is the area of the northern Province of Chiang Rai, southwest of Laos and southeast of Mynmar. 29

Rai Province there are no original Tai Yuan inhabitants or settlers. Here there are other ethnic groups who migrated and settled in the Chiang Saen District. Weaving with Jok techniques is a valuable part of the lifestyle of the Tai Yuan. Tai Yuan women wear a tube skirt with horizontal stripes across the body part with Muk or supplementary weft and decorated with Jok motifs on the bottom part. The detail such as colour, motif and shape is different depending on habitat. Jok motifs of the Tai Yuan tube skirts in Mae Chaem District, Chiang Mai Province, Long District, Phrae Province and Ku bua Sub-District, Ratchaburi Province are different in design and use of colours. “Chiang Mai hem pieces were mostly brocade with a black area benefit the decorative section, while the hem pieces from Mae Chaem were woven in dense yellow cotton discontinuous supplementary weft,” (Vithi Panichapan and Cheesman, 1993:42). The Tai Yuan tube skirt in Mae Chaem District can be divided into two types. Kum design (ลายกุม) (Figure 27) from the word 'group', with a bird motif as a component, and Kom design (ลายโคม) (Figure: 28) from the word “Lantern”. The diamond shapes are arranged as a mirror effect throughout the pattern. Each design is named by the main motifs, such as Chiang Mai lantern, bird lantern, Hong Ploy (หงส์ปล่อย) or Hong Be (หงส์บี้). (Nutsara Keangket, 2011, Principle, Lanna Textile conservation wisdom. Interview on January, 15) Udom Somporn (2012) noted that the design colours of Ratchaburi Jok tube skirts were usually red on a black or dark background with yellow, green and white inserted as supplementary weft yarns. Designs of Jok textiles of the Tai Yuan in Ratchaburi Province are of two types; main and supplementary pattern. There are two main patterns, a diamond, and a zig zag, or herringbone layout. The main patterns are named as Dok Sear (ดอกเซีย), Kab (กาบ), Na Morn (หน้าหมอน), Kong Keang (โก้งเก้ง) (Figure 29), Kab Dok Keaw (กาบดอกแก้ว), Kong Keang Sorn Sear (โก้งเกี้ยง ซ้อนเซีย), Kab Sorn Hak (กาบซ้อนหัก) (Figure30) and Hak Nok Ku (หักนกคู่). The supplementary patterns are Nok or Bird with geometric shapes such as Sapao (ลายสะเปา), Malilure (ลายมะลิเลื้อย), Kor Pra Jair (ลายขอปะแจ) and Kom (ลายโคม).

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Figure 27 Kum (กุม หรือ กลุ่ม) design, Mae Cham, Chiang Mai Province

Figure 28 Kom (โคม) design, Mae Cham, Chiang Mai Province

Figure 29 Kong Keang (ลายโก้งเก้ง) design has a similar layout to a herringbone. Source: Udom Somporn, Jok textile of Tai Yuan Ratchaburi. (Pabpim Press, 1997), 59

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Figure 30 Kab Son Hak (ลายกาบซ้อนหัก) design as a similar layout to a diamond shape.

Udom Somporn (2012) noted that Jok textiles of the Tai Yuan in Nong Po-Bangkrado Sub-District, Ratchaburi Province, integrate Jok and Ikat techniques on the body part and sometimes Ikat was found on the hem of the tube skirt. Example of these textiles are now only found in museums and private collections.

Figure 31 Tai Yuan tube skirt, Nong-Po-Bangkrado Sub-District, Ratchaburi Province Source: Linda McIntosh, Weaving Paradise, (Tilleke & Gibbins, 2007), 49

1.3.2 Tai Phuan (ไทพวน) or Lao Phuan (ลาวพวน) Tai Phuan or Lao Phuan is a Tai Ka di ethnic group who settled around the South East Asian region. In the northeast of Thailand they are called the Tai Phuan, and in the central region Lao Phuan. “The so called Lao living in Lanna are in fact various Tai groups that have emigrated from Laos. The group in Hat Sieo in Sukhothai Province, Tron and Laplae in Uttaradit Province are Tai Phuan who 32

originated from Xieng Khouang.” (Cheesman and Songsak Prangwatthanakun, 1988:71), Tai have inherited the art of hand woven Jok textiles from their ancestors in Laos. The art of traditional Jok weaving of the Tai Phuan has spread widely around Hat Siou and Srisatchanalai District, Sukothai Province as well as Lap- lae (ลับแล), Nam-ang (น้ําอ่าง) and Nam-pad (น้ําปาด) District in Uttaradit Province. In 1827 the Tai Phuan emigrated from , Xieng Khuang Province, Laos. Some arrived at Had Saew village, Srisatchanalai District, Sukhothai, others at Kaeng Khoi District, Saraburi Province. (Sathorn Soratprasopsanti, 1997 : 3) “The Jok textiles of Laplae (ลับแล) District, Uttaradit, had yellow on a maroon background; those of Nam Ang District had white on a maroon background.” (Songsak Prangwatthanakun, 1993 : 43). The Tai Phuan tube skirt has a similar charac- teristic to the Tai Yuan. Their textiles have combined Jok techniques with Muk (มุก) techniques created by the control of and they are decorated with Jok patterns on the skirt borders. The Hadd Siew teen Jok designs are unique and they come in many distinctive patterns. “We have altogether nine patterns, namely krua noi, krua klang, krue yai, sib song nuaytad, mon sib hok, nam aang, song tong, paed kor and si kor.(Teen Jok the Tai Phuan Legacy in Sukhothai, (2013). Living Thai, No.2:38) Yellow is the main colour of teen jok designs, with green, pink, black and while as supplementary shades.

Figure 32 Jok textile motif of Tai Phuan, Had Seow District, Sukhothai Province

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1.3.3 Tai Khrang (ไทครั่ง) or Lao Khrang (ลาวครั่ง) “The Tai Khrang in Thailand are called the Lao Khrang” (Songsak, Prangwatthanakun and Cheesman , Lanna, 1988:83) The Tai Khrang (Lao Khrang, Lao Vieng, Lao Ka) are an ethnic Tai sub-group. Originally, they lived along the River, in Vieng Chan and in , Laos (Samarnachart, Sittichai, Pha Tin Chok:Textile Arts of Thailand, 2002 : 3) The Tai Khrang descended from the Lao Vientiane and settled in the central areas of Thailand, in Chainart, Uthaitani, Phichit, Nakhornsawan, Kampeangphet and Suphanburi Provinces. The tube skirt of the Tai Khrang has a unique look. The body section is decorated with vertical stripes using Ikat and Khit techniques. The lower part is decorated with Jok weaving. The Tai Khrang use a natural dye ‘Khang (stick-Lac)’ on their traditional woven textiles. Female Coccus lacca insects secrete lac a resinous deposit on a stick. The stick lac is then pounded in a mortar and soaked in water to give a deep crimson red colour. The Lao Khrang live in central Thailand, Suphanburi, Uthaithani and Phichit Provinces. Their ancient textiles were made of silk with yellow discontinuous supplementary weft leaving most of the cloth plain red along the lower hem. (Vithi Panichapan and Cheesman, 1993 : 43) Jok motifs on the Tai Khrang tube skirt border hem are similar in design to Tai Yuan and Tai Phuan. Tai Khrang weave Jok technique combined with ikat. The Lao Khrang tube skirts in Phichit Province have the main body part woven in Tai Nuea style, using alternating bands of supplementary weft and Ikat, together with Tai Yuan tin jok. (Songsak Prangwatthanakun and Cheesman, 1988:71) They weave on the right side up, the same as Tai Phuan or Lao Phuan in Sukhothai Province.

Figure 33 Tai Khrang textile, Thailand Source: Jirawan Gavila Okamoto, Patricia Cheeman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press.Bank of Thailand, 2010), 195. 34

Figure 34 Tai Khrang textile, Thailand Source: Jirawan Gavila Okamoto, Patricia Cheeman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press.Bank of Thailand, 2010), 193.

1.3.4) Tai Lue (ไทลื้อ) The Tai Lue live crowded together in southern China, Sipsongpanna*. They were moved forcibly to the area of the Lanna Kingdom during the reign of King in the early Ratanakosin era (1782-1815). The Lanna people, Lü Tai Lue settled in the Lanna Kingdom in almost every Province in the North. (Vithee Bhanitchapan, 2004: 45) A group of the Tai Lue that recently migrated to Thung Chang District, Nan Province from Muang Ngoen in Laos, still weave traditional Pha Sin. The structure of the Pha Sin shows the classic Tai Lue style but is more decorative, using tapestry and Jok techniques in bright colours, woven in silk. (Patricia Cheesman & Songsak Prangwatthanakun, 1988: 74) The Tai Lue is found in the northern parts of Thailand, Nan Phayao and Chiang Rai province. The main body part is woven with horizontal stripes using Jok,

*Sipsongpanna or Xishuangbanna, a capital city named Chiang hung or Jin hong (Conways, 1992:22) 35

Khit and tapestry weave technique called Nam Lai design* which inspires from nature. The pattern arrangement is focused on the middle point of the tube skirt and sewn by hand on the bottom border. “The Tai Lue tubular skirt is recognisable by the emphasis on design and pattern in the central part of the textile with a wide plain black or indigo green piece.” (Songsak Prangwatthanakun, 1993: 43)

Figure 35 Tai Lue textile, Ta Wang Pa, Nan Province

Figure 36 Tai Lue textile, Veangkean, Chiang Rai. Source: Songsak Prangwathanakun, Cultural Heritage of Tai Lue Textiles, (Thai Department, Faculty of Humanities, Chiangmai University, 2008), 57.

*Nam Lai design is a unique style of tube skirt in Nan Province inspired from the discontinuous supplementary weft technique, using fingers to pick up the weft threads.

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In some areas of Nan and Chiang Rai Provinces, Jok techniques were integrated with tapestry weave and Khit. “In Nan Province, two cultures of Tai Yuan and Tai Lue come together in a complex combination, which often creates difficulties in separating the distinctive styles of the textiles of the two groups.” (Songsak, Prangwatthanakun and Cheesman, 1988: 73)

Figure 37 Tai Yuan tube skirt, Vieng Sa, Nan Province Source: Jirawan Gavila Okamoto, Patricia Cheeman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press.Bank of Thailand, 2010), 180.

Figure 38 Tai Yuan tube skirt, Vieng Sa, Nan Province Source: Jirawan Gavila Okamoto, Patricia Cheeman and Songsak Prangwatanakun, Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum, (Chiangmai: Nopburee Press.Bank of Thailand, 2010), 179.

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1.3.5 Phu Tai Woven fabrics distinctive of the Phu Tai are shoulder ceremonial shawls or sashes called Pha Praewa “usually woven with red silk and worn wrapped over the breasts as a type of sleeveless camisole.” (Cheesman, 2001: 162) Pha Prae means silky fabric and Wa is a unit of length, equal to two metres. Techniques used are both discontinuous and continuous supplementary weft. “Phu Tai settled in northeast Thailand, Udon Tani, Sakon Nakhon, Karasin, Roi Et and Nakhon Phanom. Pha Praewa are still woven in Ban Pone, Kum District, Karasin Province.” (Silpakorn University, 2000: 203) The combination of Jok and Khit techniques is harmonious, consisting of mythical creatures and floral motifs set in geometric shapes on the red background. The layout of the patterns and the colours they use demonstrate their expertise. The Phu Tai commonly use red colours sometimes high-lighted by the insertion of white or light silky supplementary weft threads.

Figure 39 Pha Praewa, Karasin. Source: Silpakorn University, Patterns and Colours on hand woven textile, (Bangkok: Amarin Printing & Publishing, 2000), 204.

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Figure 40 Pha Praewa, Karasin Source: Silpakorn University, Patterns and Colours on hand woven textile, (Bangkok: Amarin Printing & Publishing, 2000), 204.

1.4 Jok weaving methods; the use of material and equipment The art of hand weaving of Tai people was precious local wisdom recorded by hand and learnt by rote. There is, therefore, no written evidence about the original motif patterns. Tai Yuan women are very skillful with the Jok technique. They use porcupine quills or their fingers to pick up the warp threads and insert multicoloured weft yarns while the tapestry is still on the loom. The Jok method is a very slow process, especially when using fine silk. Their textiles have an elaborate combination of colours and motifs. It takes the weaver three weeks to complete a 15 x 120 cm tapestry. The more complex the design, the more time consuming the work. (Tongyou Kamlangharn. (2011). Weaver. Interview on April 10) Weavers now do not need to remember the image of the design in their mind, as in the old days. They can read the Jok design on a sketch template. Each colour is shown on graph paper. The ratio of a dot equal to an end would be 1:1. The special supplementary wefts are inserted up and down alternately. Defining the design from a template draft prevents damage to the special weft yarns which should not float over 4-5 ends pick. Somboon Kumyod, now 88 years old (2012) has been heralded as a weaving instructor and local scholar. He can remember ancient Jok motifs from old Jok textiles and tube skirts of the Tai Yuan and transferred them onto graph paper, thus colouring and making prototype templates. This method is useful for training 39

the novice weaver in Jok technique. Kumyod has trained local craftspeople to weave and read the Jok design from the graph paper. Now, Jok textile weavers in Ratchaburi store old Jok patterns on graph paper and design new Jok motifs using this method.

Figure 41 Kab (กาบ) motif. The draft was recorded on graph paper by Somboon Kumyod

Traditional Jok weaving is achieved by picking the design out using fingers or porcupine quills. Supplementary weft yarns of different colours are inserted through the design areas by floating over the ends and working each section of the textile. The warp and weft are aligned to from a simple criss-cross pattern. This method is called the "tabby" weft. Using a tabby weave interlocks the textile structure and makes it strong. The Tai Phuan or Lao Phuan weave their textiles the right side up, so that the pattern is visible while weaving . This allows the supplementary wefts to be kept neatly after the fabric is removed from the loom. The body part of the Ta Yuan and Tai Phuan tube skirt is usually woven in supplementary warp or Muk technique. “The distinctive feature is that the body and the hem are woven in one piece. The main body of the tube skirt is a series of horizontal strips.” (Songsak Prangwatanakul, 2008: 50). Tai Yuan weavers in Chiang Mai and the Tai Yuan in Ratchaburi weave fabric face down; the weaver cannot see the front of the fabric pattern while weaving. “This technique is performed with the front of the fabric facing down on the loom , as it is at Mae Cham, Chiang Mai Province, Thailand.” (Songsak Prangwatthanakun and Cheesman, 1988: 25)

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Figure 42 Jok method of Tai Phuan in Sukhothai, woven face up or right side up.

Figure 43 Jok method of Tai Yuan in Chiang Mai and Ratchaburi, woven face down or right side down.

The usage of material and equipment depends on the constraints of the geographic position. The characteristics of the woven textile differ in each locality. People living in cold climates weave thicker textiles to protect themselves from colder weather. Lightweight fabrics are mostly woven by people who live in the tropical regions. The natural fibres, fine silk and cotton, give a soft touch to the lightweight fabric, while cloth made from woolen yarn has a smooth, slick feel and thickness. The original materials used in Jok weaving by the Tai people were cotton and silk. The skillful weaver regularly invented complex designs with fine detail. Whatever material is used, dyeing and preparing the yarn is necessary to complete the work. There are many synthetic dyeing agents available today, but skill is 41

required to make natural dyes from plant and animal products. The dyes must maintain their colours and vividity. The loom is the most important piece of weaving equipment. Back strap looms were used in the past before the development of modern standing looms. The design of handlooms is constantly developing and evolving. Back strap loom (กี่เอว) The back strap loom is one of the simplest pieces of weaving equipment which has its roots in ancient civilizations and has been prevalent in many regions around the world. This loom is still used for weaving by hill tribe groups in the Northern Provinces of Thailand. “The back strap loom was in widespread use by rural households in India and South-east Asia, as well as in Central and South America, and among the Ainu of Japan” (M A Hann and Thomas refer to Schneider, 1987:33) “Peru, Guatemala, China, Japan, Bolivia and Mexico are some of the countries using the blackstrap loom. Today, it is still used in many parts of Guatemala by Mayan women to weave fabrics for clothing and other household cloths.” (2014) Accessed February 21. Available from http://www.educationandmore.org/ backstrap.html This loom is simple in construction and easily portable. The back strap loom is simple to install. “The back rod is tied to a tree or post while the other end has a strap that encircles the waist and the weaver can move back or forward to produce the required tension.” (2014). Accessed on February 21. Available from http://www.educationandmore.org/backstrap.html. One bar is attached to a fixed object (tree trunk, window frame or pool stick) and the other is attached to the body of the weaver, usually by wrapping a strap around their waist. The weavers sits on the ground with the loom on their lap and leans back to adjust the tension. The Jok weaving technique using a back strap loom operates with two shaft weave structures, using shed sticks instead of a harness. The width is limited to about 30 cm according to the width of the rod. “Guatemalan artisan weavers can weave narrow belts or larger 24 to 26 inch widths and perhaps more.” (2014). Accessed February 21. Available from http://www.educationandmore.org/backstrap. html. In Burma and South America this type of loom is still widespread. Pictures illustrate the use of various types of loom such as back strap, traditional floor loom, semi-machine floor loom and table loom. 42

Figure 44 Back strap loom, Hill-tribe (ลั๊ว), Mae Cham, Chiang Mai Province.

Traditional handloom or Treadle loom (กี่พุ่งมือ) The traditional handloom or treadle loom has been modified for all types of work. The loom is small and simple in construction. “The average Thai loom is 12 ft. (3.6 m) long, 4 ½ ft (1.4 m) wide and 4 ½ ft (1.4 m) high” (Conway, 2001:82). This loom is suitable for weaving the border of a Jok tube skirt that is narrow and long. The weavers in Ratchaburi, Chiang Mai, Sukhothai and Phare all currently use the treadle loom to weave Jok borders. To separate the warp threads, the two heddle shafts is raised and lowered alternately, controlled by foot pedals. The weaver sits on a long piece of wood to one side of the loom. The warp tension is controlled by the wooden beam above the weaver’s head. “The closest loom in size and structure to the Thai loom is the Burmese frame loom. The warp is tied on the wooden beam above the weaver’s head.” (Conway, 2001: 82)

Figure 45 Mae Cham master weaver, aged 89, Mae Cham, Chiang Mai Province. 43

Flying shuttle handloom (กี่กระตุก) In Thailand, the development of the flying shuttle handloom evolved from the traditional floor loom, adapted from the machine loom China. (Udom Somporn. (2014). Director, Jipathaphansathan Bann Ku Bua, Ratchaburi. Interview in January) The shuttle runs along the race in front of the beater from side to side. This is controlled by jerking on the rope tied to a wooden stick. The shuttle runs horizontally, parallel to the tooth comb. This type of loom can be used to weave the body part of the Jok tube skirt because of the extra width. A typical size for this loom is width 90 to 135 cm, length 170 to 200 cm and height, 170 to 180 cm.

Figure 46 Flying shuttle handloom, Ku Bua, Ratchaburi Province.

Table loom The table loom is widespread in European and America but not in Thailand. It is easily portable, lightweight and versatile. Weaving width varies from 24 to 80 cm. The table loom can have 4 to 8 shafts, and is suitable for making sample fabric. The heddle shafts are controlled by manual lifting and pulling down.

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Figure 47 Four shafts table loom

1.5 The classification of Jok Motifs: their interpretation and meaning The distinctiveness of Jok motifs is formed by the weaving methods and use of colours. The character of traditional Jok motifs is considered from various aspects, patterns, colour and interpretation. Geometric shape is a fundamental design of woven textiles because of the restriction of the weaving method. The Tai Yuan and Tai Phuan have similar weaving cultures, and both peoples use the same motifs and weaving patterns. The creation of Jok motifs is a sophisticated and time consuming technique, similar to embroidery on a loom. The use of dark and light tones and switching colours in each rhythm produce beautiful designs. Jok motifs inTai Yuan tube skirts are similarly to the Tai Phuan and Tai Khrang textile motifs. The name used is different caused by language and interpretation. The meaning of the motifs of the Tai people depends on their religion beliefs and faith. “The motifs of Tai textiles vary such as half man half frog, elephant, half deer half horse, Naga, half tiger half elephant, half swan, birds, horse, hook and flower (Dok Kood, Dok kaew, Dok Chan and Soi sa)” (Vithi Phanijchapan, 1994:51-52; McIntosh, 2005 : 81; Sumitr Pitiptpatara, Anuch Therakanon, Jeamjitr puangsomjitr, 2010: 4) Woven textiles have designs taken from nature and our surroundings and also items in general use. They portray beautiful and sacred objects, divinities, animals and floral designs. Scenes are portrayed to appease the spirits of our ancestors; the become holy relics, depicting gods and big snakes or Naga (Nguek). “A common misinterpretation of the ‘Triphum’ or three world concept is that it represents only the three levels of Heaven, Earth, and Hell from the 45

‘Kamaphum’ realm.” (Exceptional woven beauty: Masterpieces from the bank of Thailand textile museum, 2011: 48) The Nguek (นาค) is a protective symbol in both shamanic and Buddhist beliefs and the Buddhist interpretation of the box of river dragons is rows Nguek heads representing the Naga who assisted the Buddha while he was meditating on the day before his Enlightenment. (Cheesman, 2004: 277) The common motifs found in traditional Jok textiles woven by Tai ethnic groups are as follows: 1.5.1 Mythical / Spiritual creatures The meaning of the mythical and spiritual creatures in Jok textiles of the Tai people varies due to the cultural beliefs of each ethnic group. Nok (นก) or Bird The Nok motif is the combination of triangular shapes arranged at different angles. The motif is found on the borders of the tube skirts of Tai people and is also used as a main design. The mirror image of the bird shape is arranged in the design, called Nok Ku (pair of bird). This is always used as the main design on the Jok tube skirt of the Tai Yuan in Ratchaburi, Chiang Mai and Tai Phuan in Uttharadit Province. The small Nok motif or supplementary motif is usually decorated on the border below the tube skirt design.

Figure 48 Kom Lakon Nok, Mae Cham District, Chiang Mai Province

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Figure 49 Nok Mu design, Srisatchanalai District, Sukhothai Province

Hong (หงษ์) or Swan Hong, is the mythical bird found in Tai legends that assists the soul’s journey to paradise. “The most powerful motifs were the serpent mother “mae nguek” and the bird “hong”, fertility symbols of female and male energy which were recognised as foremost to the people’s survival.” (Cheesman:13) Hong motifs are often used by the Tai Yuan is Mae Cham, Chiang Mai and they are also found among the Tai Phuan in Had Seow, Sukhothai. Lai Nam Ang motifs (ลายน้ําอ่าง) by the Tai Phuan consist of two swans holding flowers in their mouths. (Silpakorn University, 2001:124) “Hong or mythical bird motif represents a symbol of heaven, supreme and sacred. The Tai Lue in Sipsongpanna call this the peacock design.”(Songsak Prangwatanakun, 2001: 23)

Figure 50 Mythical Bird (Hong) design, Tai Yuan, Nam Ang design Srisatchanalai District, Sukhothai Province. Source: Silpakorn University, Patterns and Colours on hand woven textile. Bangkok: Amarin Printing & Publishing, 2001), 124.

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Figure 51 The main design is Mythical Bird (Hong), at the seam are rows of birds in vertical positions. Tai Yuan, Na Muen District, Nan Province Source: (Jirawan Gavila Okamoto Cheesman, Prang watanakun. Exceptional Woven Beauty. Bank of Thailand, 2010: 169)

Naga or Nguek (นาค) or sacred dragon The Naga or sacred dragon is a mythical beast representing a water serpent deity symbol. “This design is important for Tai people. It reflects the old principle of honouring nature for being the creator of all life.” (Songsak Prangwattanakun, 2005: 23) Naga motifs are usually decorated on Tai Lue and Tai Khrang tube skirts and square pillows.

Figure 52 Naga motifs, on Jok tube skirt, Utharadit Source: Silpakorn University, Patterns and Colours on hand woven textile, (Bangkok: Amarin Printing & Publishing, 2001), 133.

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Figure 53 Naga motif on square pillow, Ratchaburi. Source: Udom Somporn, Tai-Yuan Jok textile in Ratchaburi, (Pabpim Press, 1997), 66.

1.5.2 Animal and Floral/Plant Animal Jok motifs are often found in Tai textiles, as household items, temple banners and shoulder cloths. Motifs such as deer, peacock, horse and elephant are familiar to Tai society. Elephants feature in Jok textiles being auspicious animals for kings and symbols of power, strength and nobility. The elephant motif has had a close relationship with Tai societies for a long time.

Figure 54 Jok textile of Tai Krung (Patterns and Colours on hand woven textile. Source: Silpakorn University, Patterns and Colours on hand woven textile, (Bangkok: Amarin Printing & Publishing, 2001), 145.

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Figure 55 Jok Tai Lue, Chiang Khong, Chiang Rai. Source: Accessed May 31, 2014. Available from https://www.facebook.com/photo.php?fbid= 701202279928848&set=pb.100001172467745.-2207520000.1401550535.&type=3&theater

Pak Kood or Pak Wan (ผักกูด / ผักแว่น) Floral designs consist of flowers, trees and vines which reflect fertility and express ideal beauty. This motif is inspired from the natural water plant ‘fern’, which is commonly found in southeast Asia and Thailand. The Tai Yuan in Long District, Phare weave this motif on their tube skirt borders. The design appears in the traditional patterns of Long District, Nok Kin Nam Ruam Ton (ลายนกกินน้ําร่วมต้น), Sampao Loi Nam or Pak Wan (ผักแว่น), Kor Lai (ขอไล่), Wong Nam Ku (งวงน้ําคุ), Ka Kum Pung (ขากําปุ้ง) or spider legs (ขาแมงมุม) and Mang Bong Lan (ลายแมงโบ้งเลน). (Silpakorn University, 2001: 99)

Figure 56 Traditional floral motif “Pak Wan”, Long District, Phare Province 50

Dok Chan (ดอกจันทร์) The triangular and square shapes are arranged to create the Dok Chan motif. Generally, this motif is used to decorate household items found in Mae Cham District, Chiang Mai Province. The motif is decorated on the left and right side of the square pillow called Lai Na Mhon (ลายหน้าหมอน).

Figure 57 Detail Dok Chan Luang (ลายดอกจันทร์หลวง) Source: Nutsara Teangkret, Jok Mae Cham, (Cheangmai, 2005). 119

Figure 58 Detail Dok Chan Noi (ลายดอกจันทร์น้อย) Source: Nutsara Teangkret, Jok Mae Cham, (Cheangmai, 2005). 110

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Mali Laue (มะลิเลื้อย) or Jasmine The character of the Jasmine tree motif is similar to the vine plant that is winding along the ground. (Udom Somporn, 2007: 65) This pattern is usually woven next to the Sapao motif and placed on the right end of the tube skirt border in Ratchaburi’s Jok textiles.

Figure 59 Mali Laue (มะลิเลื้อย) motif, Ku Bua District, Ratchaburi Province

1.5.3 Other designs Other designs consist of household items or surrounding objects. They have various meanings. Sapao (สะเปา) or Hang Sapao (หางสะเปา) The Sapao motif is inspired from mythical features. “The imagination comes from a traditional vehicle, Sampaothong, which is the means of knowledge and prosperity in the Lanna Kingdom.” (Silpakorn University, 2001: 109 mentioned to Khruamat Wuthikarn,1994) Tai Yuan weavers in Ratchaburi place the sapao motif on the lowest part of the Jok tube skirt border. (Udom Somporn, 1997 : 64) The motif is commonly designed to connect with the Jasmine motif on the lowest part of the Jok tube skirt. Sapao motifs found in Jok Mae Cham are usually woven in black alternating with white but Sapao motifs found in Jok Ratchaburi are woven in red alternating in white. The Tai Yuan in Ku Bua District and Don Rea District, Ratchaburi Province, weave the Sapao at the end of the tube skirt border with yellow and alternating red stripes. It is thus called Leb Leuang or yellow nail when the motif is woven closely. 52

Kor Pra Jear

Sapao

Leb Luang

Figure 60 Detail from Jok border of a Tai Yuan tube skirt, Ku Bua, Ratchaburi Province

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Khor (ขอ) or Hook “The hook motif is similar to a Swastika or Chinese Key.” (Udom Somporn, 1997: 63) The swastika is a peace sign. The hook is a small motif that consists of a geometric shape as a curved or sharply bent device. It is usually combined with the other main patterns in the tube skirt border.

Figure 61 Kor Laew motif (ลายขอเหลียว), Ku Bua Sub-District, Ratchaburi Province Source: Udom Somporn, Tai Yuan Jok textile Ratchaburi, (Pappim Press, 1997), 50.

Figure 62 Kor Pra Jere (ลายขอประแจ), Ku Bua Sub-District, Ratchaburi Province

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Khom (โคม) or Lantern This motif is derived from the shape of a lantern or antique lamp shade. It is based on a rectangular design.

Figure 63 Khom Chor Noi Tung Chai (ลายโคมช่อน้อยตุงชัย), Long District, Phare Province Accessed January 25, 2013. Available from: http://arty4you.net

Kab (กาบ) The Kab is one of the main motifs consisting of a diamond shape with small motifs, triangles and zig zags or herringbones around it. This motif is commonly used by the Tai Yuan in Ratchaburi Province, and is found on the Jok tube skirts in Long District, Phrae Province.

Figure 64 Kab Dok Kaew (กาบดอกแก้ว), Ku Bua, Ratchaburi Province

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Figure 65 Ancient Kab motif (ลายกาบโบราณ) Long, Phare Province

Human figure Human figure motifs are rarely are decorated on everyday wear tube skirts. They usually appear on ritual textiles such as temple banners and novice head cloths. They can also seen on household items; shoulder towels, and the front-side of square pillows.

Figure 66 Human figure riding horse on a Tai Yuan towel, Chiang Mai Province Source: Nusara Teangkret, Jok Mae Cham, (Chiangmai: Nopburi Press, 2002), 153.

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2. The current status of Jok Textiles In Thailand, the status of Jok textiles has altered with modern social value and the changes in lifestyle. The knowledge of the art of Jok textiles, or the intellectual craft wisdom of the Tai people has declined. However, the descendants of the Tai people still preserve and practice the tradition of weaving using knowledge passed down from their forebears. The weaving technique was studied and practiced by the initiates until proficiency. The most skilled weavers are now found among the elderly people. Historically, the purpose of weaving the textiles was to worship the holy spirits, and to assist an easier passage to the afterlife. Nowadays Jok textiles are mass produced and traded to satisfy social demands. The textiles are woven to earn extra income and new designs are being applied to the old technique. The materials is use are now synthetic or factory yarn. “In order to attract more customers and appeal to greater market segments, she also initiated new colour schemes for the textile and developed Jok textile to new types of decorative items.” (Sundri Vichitnaga, (2013). Teen Jok : The Tai Phuan Legacy in Sukhothai, Living Thai : 32) Jok textiles are still admired among specific groups of people in local districts, but remain little known in urban areas and on the international stage. Possibly the aesthetic values and meanings of the design work are less understood in the towns and abroad. Modern weaving machines can now create Jok motifs which closely resemble the traditional style. The cost of factory made products is significantly less than the handmade genuine article.

3. Art Research This focused on the aesthetic value of Jok textiles in terms of both traditional and contemporary styles. 3.1 The identification of the aesthetic art value of Jok textiles In the past. Jok textiles had a strong spiritual importance. The designs were detailed and skilled weavers were highly regarded. There was a harmonious combination of both content and art form to create unity. The tube skirts were decorated in different styles dependent upon their use. Some had extensive fine detail and decoration around the hem borders. The 57

fibres used, silk or cotton are finely twisted together to give a shiny quality. The jok motif is visible on both the front and back sides of the cloth. The master weavers had the skills to keep the supplementary weft yarns neatly knotted into the fabric. Jok motifs decorated with silver or glossy threads were considered to have high aesthetic value and quality. 3.2 Visual Design Theory The Jok woven textiles of each ethnic group have different characters. Design theory is applied to compare like with like and results are observed and analysed. This is to be used as a guideline in the design process syntheses. The research focuses on contemporary Jok textile design and the visual element that is used in two dimensional design. Tai weavers often use everyday items to create their textiles. Inspiration often comes from nature; flowers, plants and animals and geometric shapes such as triangles, squares and rectangles. Different designs can convey the identity of each ethnic group. Jok textiles are formed by weaving method and colour combination. The Jok tube skirts of the Tai peoples can be analyzed by design elements as follows: Line The line is a basic visual element that allows you to create a variety of art forms. In Visual Arts ‘Line’ is a result of the concatenation of small dots. The more small dots that are connected, the clearer the line appears. A line can be straight or curved. A zigzag line is created from short straight lines at different angles, alternating back and forth. Curved lines create shapes which give a sense of movement and freedom. These are rarely found in the hand-woven textiles of the Tai peoples, except in brocade techniques. This is because of the technical constraints and the weaving method.

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Figure 67 New Dok Chan, Small dots are connected continuously to form geometric shapes

Figure 68 Kor design, Short straight lines created at different angles become a zigzag line.

Shape or Form The word ‘shape’ can be used instead of ‘form’. Shape is commonly used to refer to two dimensions, whereas ‘form’ is used for three. In visual design, shape and form are classified into geometric and organic elements.

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Figure 69 Bhuthan textiles, Geometric shapes as rectangles, circles, squares and diamond shapes are commonly used in hand woven textile motifs. (Private collection from Paothong Tongure).

Figure 70 New Jok design, The circle shape is rarely found in hand woven textile motifs.

Colour Colour is important in textiles. Tai peoples often used multicolours in their designs. Primary colours are used in the traditional textiles, often from plants. Red comes from Lac, yellow from turmeric or Jack fruit core, blue from indigo, black from the ebony fruit and white, or off white from natural cotton or silk. Sadly, today weavers are using synthetic dyes rather than natural ones. The use of colour combinations in textile design reflects the ethnic origin and age of the textile as well as the meanings that different colours can convey. 60

Figure 71 Ku Bua Jok textiles, Primary colours are commonly used in hand woven textiles, Ku Bua, Ratchaburi Province

Tone The use of dark and light tones in the design can define the motif outline and highlight prominent areas. If a weaver requires a darker tone the cloth was dyed. A yellow cloth over dyes in blue to gain green, and in red to gain orange. A red cloth over dyes in blue to gain purple. Ethnic Tai textiles often have a background woven in a dark colour such as indigo blue and black.

Figure 72 Mae Cham Jok textiles, Jok motifs are highlighted with bright colours (white) or colours that are lighter than the background.

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The principles of arranging and organizing the elements into an aesthetically pleasing composition have been developed over the centuries. There are no absolutes in art, neither a right nor a wrong way to assemble elements into a perfect design. Creative design relies on the experience of the specialist, professional designer and artisan to arrange the visual elements to obtain completeness and perfection. Principles in Jok Textile design can be analyzed as follows: Unity and Harmony Unity and harmony both have an important role in design principle and will be considered first. The beauty and perfection of a design must have unity either in design content or art form. There must also be harmony; the two are interlinked. For the passage into the next life mythical animals and heavenly deities combine together in unity and harmony onto the woven Jok textiles. Colours are mainly monochrome, but selected areas are highlighted with vivid and bright tones to emphasise their importance.

Figure 73 Tung, Tai Lue, Chiang Kum, Payao. Source: (Songsak Prangwathanakun, Cultural Heritage of Tai Lue textile, (Chiang Mai: Chiangmai University, 2008), 114.

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Figure 74 Jok motif from Mae Cham tube skirt, Chiang Mai Province

Balance Balance can be symmetrical or asymmetrical. Symmetrical balance is a mirror image; one side of an object or design is a reflection of the other. This is common in printed and woven textiles. Asymmetrical balance is not used in traditional woven textiles.

Figure 75 Symmetrical balance design, a Jok motif from a tube skirt, Mae Cham, Chiang Mai Province

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Figure 76 Asymmetrical balance design, belonging to researcher (from experimental work during studying, 2010)

Repetition Repetition in textile design is used for mass production. A motif template is applied repeatedly to produce a continuous pattern. To duplicate the orderly continuation of a pattern represents a sense of constant motion and simplicity. To repeat the stroke with alternate rhythm shows dynamical motion. (Figure 46) The design placement in a woven textile is commonly consistent with rhythm. Historically, the novice weavers studied by observing the designs from the master weaver’s hand loom. There was no note taking or pattern reading on graph paper as is now the case.

Figure 77 Jok textile of Tai Krung Source: (Udom Somporn, Tai-Yuan Jok textile Ratchaburi, (Pabpim Press, 1998), 67.

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Figure 78 New Nok design, Belonging to researcher (from experimental work during studying, 2010)

Size or Scale The structural pattern in the Jok textile is determined by the proportion of the overall pattern. Large Jok motifs are decorated on the bottom part of the tube skirt as the main design and smaller motifs are referred to as the minor motifs. These are placed around the main design to form perfect unity. Size and scale affects the pattern of textile designs. Unusual sizes of motif can create interesting designs.

Figure 79 New Dok Chan design, Belonging to researcher (from experimental work during studying, 2010)

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Figure 80 Tai Lue tube skirt, Muang Bang District, Udomchai Province, Laos Source: Songsak, Pranwatanakun, Cultural Heritage of Tai Lue textiles, (Chiang Mai Chiangmai University, 2008), 81.

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Jok tube skirt of the Tai Yuan

Decorative techniques Visual design theory analysis

Discontinuous supplementary weft Design Principle: Continuous supplementary weft Harmony Plain weave Symmetrical balance Supplementary warp Mirror image and repetition

Design Element: 1. Value of Colour 1.1 Red and yellow are dominant

1.2 Black and white

2. Size Large motifs are decorated as a main hem part, small motifs are arranged around these

3. Shape and motif Geometric

4. Proportion Proportional layout of the Jok Jok tube-skirt of Tai textilesYuan are decorated with motifs on the bottom hem with continuous supplementary warp or plain weave woven on the main body part of the tube skirt. 67

Jok tube skirt of the Tai Phuan

Decorative techniques Visual design theory analysis

Discontinuous supplementary weft Design Principle: Continuous supplementary weft Harmony Plain weave Symmetrical balance Supplementary warp

Mirror image and repetition

Design Element: 1. Value of Colour 1.1 Red, yellow and green are dominant 1.2 Green

1.3 Black and white

2. Size

Large motifs are decorated on the main hem, small motifs are arranged around these

3. Shape and motif

Geometric

4. Proportion Proportional layout of the Jok textiles are decorated with motifs on the bottom hem with continuous supplementary warp

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Jok tube skirt of the Tai Lue

Decorative techniques Visual design theory analysis

Discontinuous supplementary weft Design Principle: Continuous supplementary weft Harmony Plain weaves, Tapestry weaves Symmetrical balance

Mirror image and repetition

Design Element: 1. Value of colour 1.1 Red, yellow, green

and blue are dominant

1.2 Black and white

2. Size - Large motifs are decorated on

the main hem, small motifs are

arranged around these

3. Shape and motif Geometric

4. Proportion Proportional layout of the Jok

textiles are decorated with motifs on the bottom hem. The body

part of the tube skirt is woven with continuous supplementary weft tapestry or a plain weave 69

Jok tube skirt of the Tai Khrang

Decorative techniques Visual design theory analysis

Discontinuous supplementary weft Design Principle: Continuous supplementary weft Harmony Plain weaves Symmetrical balance Ikat (commonly used)

Mirror repetition

Design Element: 1. Value of colour 1.1 Red, yellow and indigo blue are dominant

1.2 Black and white

2. Size Large motifs are decorated on

the main hem, small motifs are arranged around these

3. Shape and motif 3.1 Geometric shapes 3.2 Animal, human and floral

3.3 Symmetrical balance 3.4 Mirror repetition

4. Proportion

Proportional layout of the Jok 70

3.3 The survey of the development of Traditional Jok textiles through contemporary use The fieldwork was conducted fieldwork in the northern, northeastern and central areas of Thailand where the Tai Yuan, Tai Phuan, Tai Lue, Tai Khrang, and Phu Tai ethnic groups live. Tai peoples have a strong identity and local inherited wisdom in the Jok weaving technique. Designs were analyzed to determine links between the ethnic groups. References to the development of the art of traditional hand woven textiles of the Tai peoples were sourced in the literature. Ratchaburi A large group of the Tai Yuan live in Ratchaburi Province. They practice a Jok weaving style found in Ku Bua and Don Rae in Mueang District and Rang Bua in Suanphung District. A survey in Ratchaburi Province, found that the number of master weavers have decreased dramatically. Those that remain are now 40-70 years old. Today we can classify the weavers into three groups, according to their tube skirt designs. The flying shuttle floor loom is commonly used, but the hem border is still normally woven on the traditional floor loom. The survey found that there are very few weavers who specialise in weaving hem borders compared to other types of weaving. This is attributed to the difficulty and complexity of the patterns which requires diligence and effort. Group leader, Rang Bua Sub-District. Interview on November 8th 2011) Most weavers in Ku Bua District weave in a style that is less complicated and therefore less time consuming. The lack of attention to detail has resulted in the modern Jok textiles lacking charm compared to the old original work. Today, local weavers still use traditional floor looms and flying shuttles. Some textiles sold in Ku Bua District are made in others areas. In Ratchaburi Province weaving cooperatives and private business are widespread. Traditional Jok tube skirts or Sin Teen Jok require months to complete and they are expensive due to the shortage of weaving experts. (Naree Pha Jok, Ku Bua Sub-District. Interview on November 9th 2012)

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Figure 81 Jok tube skirt weaver in Rang Bua District, Ratchaburi Province

Manee Sukkaseam notes that in Ku Bua area, Ratchaburi, one of the most famous weaving regions in central Thailand, the popularity of Jok textile weaving has dropped slighty compared to ten years ago. However, the styles of traditional Jok textiles have increased. (Mani Sukkaseam, textile entrepreneur, Pha Manee textile studio, Ratchaburi. Interview on November 9th 2012) Local textile designers have created new designs with new motifs and pattern placement. They use a variety of vivid colours and synthetic yarn found easily in the local market. The textiles can be manufactured quickly with reduced costs. In Ratchaburi Province weaving yarn is no longer dyed with natural pigments. The knowledge and use of the raw materials used to make the original dyes is disappearing. The lack of skilled weavers is the main cause of the decline in authentic Jok textiles. The younger generation now has the option of working in a factory to earn a salary. Mass produced products are more affordable to the general public. Nowadays synthetic fibres and chemical dyes have replaced the old materials. Styles and designs in Ratchaburi Province are now similar in each district. The intrinsic value of the art, is no longer comparable to the past. Jok textiles design is now appearing on handbags and other modern household items to increase marketability. A Jok tube skirt in Ratchaburi Province costs on average about 4,000-20,000 Thai Baht. (2008-2013)

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Figure 82 The backside of a Jok tube skirt, Ku Bua District, Ratchaburi Province

Figure 83 Jok handbag, Ku Bua District, Ratchaburi Province

Figure 84 Jok cushion, Ku Bua District, Ratchaburi Province

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Chiang Mai Mae Cham District is situated in the southwest of Chiang Mai Province. This is a mountainous area and not easily accessible. The majority of the weavers here still use traditional floor looms. Jok textiles in Mae Cham District still retain traditional styles because of the remoteness of the area and the strength of the community. Weaving co-operative agencies and small household businesses are scattered throughout the area. Each village has set up their own group with the products sold to the leader. Jok textiles in Mae Cham are still woven in both traditional and contemporary styles with the use of bright colours and new pattern arrangements. The price of a simple Jok tube skirt is 2,500 to 15,000 Baht, or higher depending on the complexity and detail of each piece. (2008-2013) Jok textiles in Mae Chaem are woven with thick weft and warp cotton fibres as ar the high altitude here winters can be chilly. Chemicals are used to dye the fibres which reduce production costs. The finished products are boiled in water with detergent to soften the fabric and make the garments more comfortable to wear.

Figure 85 New design of Jok textiles, from Mea Cham District, 2010

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Figure 86 Traditional Jok textiles, from the Jok festival in Mae Cham, 2010

In the year 2000, Hong Hean Seub San Phumipanya Lanna, or The Lanna Wisdom Inheritance School was established to encourage awareness of the youth in Mae Chaem to the value and uniqueness of their own local crafts and culture. Local crafts workshops are run, including Lanna music, the art of paper cutting and Jok textile weaving. (Nusara Teangkeat, one of the founders, Lanna Wisdom Inheritance School, Chiang Mai. January 20th 2010). “Handicrafts that respond to the satisfaction of the buyers or market demand rather than as an artistic blending with culture or the manufacturer's pride is unavoidable, causing an inevitable change in the identity of the product from each community. (Nusara Teangkeat:1)

Figure 87 Private collection of traditional Jok motifs of Nusara Teangkeat

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Figure 88 Field research in Mae Cham, Weaver uses traditional floor loom

Phare In Ban Hua Tung District, Ban Na Mon Sub-District, Ban Mae Jong Fai and Long District in Phare Province weaving in the traditional Jok style is mixed with contemporary styles. Both natural and chemical dyes are used. The weavers have adapted the weaving processes using shed sticks to simplify production and reduce costs. This is similar to the Khit techniques used in the northeast of Thailand. The character of Jok textiles woven using shed sticks may not be distinguishable from traditional methods, though experts can observe differences in patterns and features. Very few weavers in Long District still use traditional methods of weaving with a porcupine quill. Using shed sticks and chemical dyes is a time saver compared to the old traditional methods. The intricacy of Jok textiles is smoothly and finely detailed. Nowadays the use of shed sticks has replaced individual weft thread picking. (Silpakorn University, 2000: 101)

Figure 89 Jok method in Long district, uses shed sticks to create a Jok pattern template 76

Figure 90 A Jok motif pattern woven by using shad sticks, it appears repeatedly using shed sticks Source: Silpakorn University, Pattern and Colours on hand woven textile, (Bangkok: 2000), 100.

Pranom Tapang has made a huge lifelong contribution to the recognition and craftsmanship of Thai weaving. In 2010, she was bestowed with the National Artist Award in the field of Visual Arts (Fine Arts-Art of woven fabric). She has disseminated craft wisdom ‘Jok textile’ not only in Phare Province but also both domestically and internationally. Jok textiles woven by Pranom have a distinctive character, especially in the way that intricate designs are blended with natural colours and indigo dyes. She is a creative textile designer; her textiles are often based on ancient patterns amended with her own designs. Her Jok textile work using natural dyes is sophisticated and highly sought after. Prices for her Jok textiles work rang from 5,000 up to 25,000 Baht depending on the types of dye used. Natural dyes are much more expensive than synthetic replacements. Komol Panitchaphan is another pioneer in the conservation of ancient Jok textiles and a founder of ‘Komol Pha Boran’, the Komol Ancient Fabric Museum in Phrae which exhibits antique woven textiles. Komol is also developing new Jok textiles and old textile conservation across the country. He studies arts of hand weaving and creates new patterns based on ancient designs bringing a new vision to his textiles. Jok motifs created by traditional weft methods are very similar to those produced using shed sticks. Only textile experts can distinguish the differences which 77

can be seen from the backs of the fabrics. (Komol Panitchapan, Founder of Komol Pha Boran Museum, Long District, Phare Province. Interview on May 20th 2010) Trading of Jok textiles in Phare Province is done both by women’s weaving groups in the villages and medium to larger businesses. Jok textile designs are woven in traditional styles and simplified designs. The price of the Jok products are 2,000 to 15,000 Baht, or higher depending on the weaving method.

Figure 91 Pranom Tapang Source: Accessed Febuary 15, 2014. Available from www.Mixmagazine.in.th.

Figure 92 Komol Antique Textile Museum, Long District, Phare Province

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Nan: The mural paintings at Wat Phumin in Nan Province depict the characteristics of traditional costumes of the Tai in ancient times. Those costumes look similar to Tai Lue and Tai Yuan textiles. (Winai Prapripru, The founder of Rim Nan Gallery, Nan Province. Interview on April 30th 2010) Chansom Phonhompanya is the a leader of a women's weaving group in Ban Nong Bua District. Jok design in Nan Province is similar to the Lai Nam Lai technique of the Tai Lue. They use chemical dyes instead of natural products. Most of the tube skirts have striped designs made with tapestry using the Khit technique for decoration. Cotton fibre is used and prices range from 400 to 5,000 Baht, depending on the complexity of the design and the weaving technique. (Chanthasom Phonhompanya. Leader group, Nong Bua District. Interview on January May 3rd 2010)

Figure 93 Nan Riverside Gallery

Figure 94 Ban Nong Bua Sub-District, Ta Wang Pha District, Nan Province 79

Sukhothai: Field work in Sri Satchanalai District, Sukhothai Province found traditional Jok weaving with new motifs. Factories yarn, cotton and polyester fibres are used with chemical dyes. Natural dyes still exist, but are seldom used. Sathorn Sorajprasobsanthi, the founder of the Golden Textiles Museum in the area has found that consumer demand and values have changed. The fabrics are softened using fermented mud and the dye colour intensity is reduced to give an antique authentic look. The prices of Jok textiles in Sukhothai range from 2,000 to 10,000 Baht depending on the weaving technique and the detail of intricacy. Jok textiles woven with cotton are cheaper than silk and natural dyes are more expensive than chemical pigments. “In Had Seaw, Srisatchanalai District, there is a distinctive kind of Jok weaving; the harmonious colours of the original textiles are always warm, a trend which continues to the present day.” (The Inherited legend of Tai Phuan Bann Had Seaw, 1997 : 26) “The cultural weaving of the Jok border in Had Sew District, Sukhothai is a unique mix of colourful yarns.” (Sathorn Sorajprasobsanthi, 1997:26) Jok woven textiles are widely found in Srisatchanalai District. Weavers here use cotton fibres of a relatively large size mixed in with synthetic fibres. Cooperatives, State enterprises and private businesses trading weaving products are scattered in the villages.

Figure 95 Sathorn Sorajprasobsanthi and weaver, founder of the Golden Textiles Museum

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In conclusion, the fieldwork in Thailand found that most weavers are still trying to preserve the old styles inherited from their ancestors. The art of Jok weaving has been heralded as one of the original scared crafts. The work is time consuming with the delicate methods employed and warping preparation. The popularity of wearing or using woven fabric has not changed. However, time constraints of the manufacturing processes have reduced the delicate nature and aesthetic beauty of the products with a corresponding decrease in value. London: The fieldwork in England investigated the styles of English traditional hand woven textiles and looked at the contemporary textile designs produced for the international market. The weaving techniques of the artists and designers were also examined including the presentation methods of their contemporary crafts. The use of unconventional thought processes and materials showed diversity and these creative ideas affected the changing structure and commercial value of the woven fabrics. Museums and gallery shops were visited, together with various high end department stores in London to help understand the market trend approach and the attitude of European consumers.

Figure 96 Liberty Department Store, London, UK Source: Accessed January 6, 2014. Available from www.vebidoo.com

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Figure 97 Harvey Nichols Department Store, London, UK Source: Accessed January 6, 2014. Available from www.darkbeige.blogspot.com

Figure 98 Contemporary Applied Arts Gallery, London, UK Source: Accessed January 6, 2014. Available from www.vebidoo.com

Liberty and Harvey Nichols are high end department stores in the UK where international designers and artists are encouraged to display their unique products, including textile art and design. Various types of textiles are sold as accessories or art pieces commanding high prices and with luxurious looks. Contemporary Applied Art (CAA) is a registered charity set up to promote and champion British craft. CAA is the finest exhibition and retail venue for learning about, appreciating and purchasing contemporary craft. Accessed on 27/05/2014. Available from: http://www.caa.org.uk/information/about-caa. International artists and designers are welcomed to show their craft work at the gallery.

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Figure 99 Visiting Janet Phillips weaving workshops, Netherstowe, Somerset, UK, 2009

Janet Phillips is a textile designer and tutor who graduated from the Scottish College of Textile. She uses hand dyeing technique and experiments with colours and texture. She encourages her students to design their own textiles.

Figure 100 Taking Time Exhibition Visited. (2009). Craft and slow revolution, Birmingham, UK, 2010 From Left: Vitawan Chunthone, Dr. Colin Gales, Marlene Little.

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Figure 101 Houghton, Amy. Cardigan Study, craft space. Source: Accessed April 26th 2011. Available from http://takingtimetouringexhibition.files.wordpress.com

The exhibition Taking Time: Craft and the slow revolution, was held at Birmingham City, curated by Helen Carnac. This exhibition demonstrated the leadership skills required in textile discipline through the integration of design concept and the differing views of the artist and designer over the identity of expertise. A new perspective is given to the audience about the slow and time consuming work processes. ‘Taking Time: Craft and the Slow Revolution’, brings together nineteen international artists, manufactures and designers to reflect on the slow revolution and consider ideas about time and process, material and value, site and locality, relationships to the community and the changing nature of production and consumption. The exhibition aims to show that contemporary craft practice can generate a modern and timely response to current social debates. (Craft Northern Ireland). Accessed February 28th 2010. Available from http://craftni.org/events/taking- time-craft-the-slow-revolution/ The public can interact with the artists by answering questionnaires which focus on the use of creative ideas. In the UK, the number of designers, artists and business owners participating in craft fairs is increasing together with the number of visitors.

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Figure 102 Origin. (2011). Source: Accessed February 28. Available from http://stephtravelseurope.blogspot.com/2011/11/origin-craft-fair.html www.flickr.com/photo/origin_uk/62337867117

Figure 103 Outside the Origin Hall. Old Spitalfields Market, London, Source: Accessed October 30, 2010. Available from blog.check-in.london.com

‘Origin’ is an annual crafts exhibition held in London, England. It provides a medium for UK and European artists and designers to present their innovative craft work. The works exhibited here have a unique style and distinctive design as original art pieces. The integration across craft disciplines causes unpredictable and endless changes in craft designs. Young artists and designers are open-minded. Craftwork in the UK is attractive and forward looking. The integration of a wide variety of Art fields causes unpredictability in craft design. 85

4. Case studies of contemporary textiles artists and designers: The use of design concept and presentation Contemporary textile art and design is relatively new in Thailand, but has been in progress, taking shape overseas for the past three decades. The new pioneer artists and designers have no boundaries between art and craft; a new direction of textile art and design is ongoing. A Review of contemporary textiles artists and designers is one of the main concerns of this research, focused on English, Thai and American nationalities. English artist, Peter Collinwood is a textile pioneer. American textiles artist, Ptolemy Mann uses hand woven textile as a new medium to explore her art pieces in a domestic function. Thai textile artists, Jakkai Siributr and Kachama K .Perez produce unique work in the embroidery and stitching of hand woven textiles. K .Perez Kachama K .Perez Kachama lives in Chiang Mai. She is obsessed by the richness of the textiles of the northern hill tribes. In order to bring her creative textiles to life she uses unconventional materials such as straw, dried flowers, dried leaves, paddy rice, weeds and banana fibre. She mixes these with silk and cotton yarn naturally dyed with vivid colours to express her emotion. Assorted tribal hand embroidery is cut into strips and then woven together. This produces the distinctive surface, depth of colour and dimension. Studio Kachama has elevated the craft of weaving to an art form, successfully mixing the traditional techniques and innovative ideas. The evocative multi-coloured chair is just one of many of the company’s unique textile creations. It demonstrates a perfect blend of traditional and contemporary aspects of design and style. Studio Kachama also creates unique wall hangings and creative mixed materials from silk, hemp, cotton, sea shells, and beads. (Innovative Design Awards by Chiang Mai Creative City. Accessed March 18th 2012 . Available from https:// mbasic.facebook.com/i daby cmcc?v=timeline &timecutoff=1367 602113&page=6& sectionLoadingID=m_time line_ loading_div_135702719 9_1325404800_8_6&timeend = 1357027199×tart= 1325404800 &tm=AQBNrd2gDKFOVl_Z&_rdr)

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Figure 104 K . Perez Kachama Source: Accessed February 8, 2014. Available form www.epochtims.com

Figure 105 Pure Symbolique (Wall Hanging). Kachama K. Perez Source: Accessed February 8, 2014. Available form www.kachama.com/htmal/gallery- b.html

“K .Perez has developed and created remarkably detailed and striking textiles that are full of life and vivid colours. With a ‘Back to Nature’ philosophy serving as her guide, she uses natural materials, such as natural-dyed cotton thread and silk yarn, to bring her creative textile works to life. (Jim Thompson Art Center, 2007). Art Weaving Talk At The By Kachama Perez. Accessed March 18.Available from http://marshahedrick.com/cgi-bin/dada/mail.cgi/archive/ shop07 /2007010619 2035/ 87

K .Perez works as a contemporary Lanna-style textile artist and textiles designer. She believes that the craft of hand weaving can be raised to an equal footing with fine art. She uses her artistic ability to express her dreams by focusing on the use of diverse fibres and found objects to generate unique and significant pieces of textile arts. Her renditions represent both traditional and contemporary textile language which communicates to the universal media. (K .Perez Kachama. Director, Kachama Studio, Chiang Mai. Interview on January 2010) Jakkai Siributr Jakkai Siributr is one of the leading contemporary artists in Southeast Asia. He uses found objects and fabrics, associated with the textile medium, such as patchwork, embroidery, stitching and work to make powerful statements about religious, social, and political issues in contemporary Thailand. He combines his craft skill and his satirical concept with materialism in modern life and the everyday popular culture of Thailand. He uses free hand stitches and crochet work as textile mediums to express inner sense through his understanding of textile structure and his knowledge of textiles. (Jakkai Siributr Artist, Interview on November 2nd 2011)

Figure 106 Somdej II (Textile Art). Jakkai Siributr. (2011). Private Collection Source: Accessed February 8, 2014. Available form www.art4d.com/templates/v3story-detail.php?issue=187&drt=14

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Figure 107 Jakkai Siributr. Source: Accessed February 8, 2014. Available form www.designinnovathai.com

Hand stitching is an incredibly detailed and time consuming process which he likens to a meditative practice. He limits his annual production to only a handful of works. He maintains a rigorous connection to traditional Thai craft techniques while making a strong commentary on contemporary issues. (Tyler Rolling Fine Art, 2010). Jakkai Siributr. Accessed March 4. Available from http://www.trfineart.com/ artists/jakkai-siributr He makes use of everyday objects associated with bringing good fortune, integrating them into his elaborate compositions of Thai fabrics, embroidery, and hand-stitched sequined work. Jakkai’s hand stitching is an incredibly detailed and time consuming process. (Tyler Rollin, Jakkai Siributr, Accessed March 4th 2011, Available from http://www.trfineart.com/artists/jakkai-siributr) Peter Collinwood Peter Collingwood is one of the foremost British artist weavers of the past fifty years. His technical and aesthetic innovations have been appreciated around the world. (Hardwick Roger, 2008). An innovative master weaver, author and teacher with a global reputation. Accessed March 5. Available from http://www.theguardian. com/artanddesign Peter Collingwood produced this piece in 1968, using a technique for warp- dominant weaving which he developed during the winter of 1962 and 1963. He perfected 89

the technique in 1967 and produced a series of these ‘macrogauzes’. (V&A search for collection, 2014). Macrogauze 26. Accessed March 18, 2014 Available from http:// collections. vam. ac.uk/item/O110361/macrogauze-26-hanging-peter-collingwood/ The vast majority of his works use only black and natural thread but the subtle interplay between the two is an important part of their appeal. Some are three dimensional; an ingenious use of steel rods enables sections of the weaving to stand out from the rest, but even in the two dimensional ones an illusion of a third dimension springs from the geometry.

Figure 108 Peter Collinwood, (1968). Macrogauze 26 (Wall hanging, Textile Art). Design is Fine History is mine. (Victoria and Albert Museum). Source: Accessed March 18, 2014 Available from http://www.design-is- fine.org/post/53953061466/peter-collingwood-macrogauze-26-1968-he

Figure 109 Peter Collinwood, (1999). Macrogauze 3DZ (Wall hanging, Textile Art). Victoria and Albert Museum, UK. Source: Accessed March 18, 2014 Available from http:www.Phillipsdepury.com

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Figure 110 Peter Collinwood. Source: Accessed March 18, 2004 Available from http://digswellartstrust. com/ fellows/past-artists/digswell-house/peter-collingwood-obe/

Ptolemy Mann Ptolemy Mann is an established textile artist and designer specialising in large scale hand dyed textiles. The dye technique is known as Ikat. She collaborates extensively with architects, art consultants and interior designers on site specific art projects. (Farr Christopher, 2011 and Ptolemy Mann, 1972 – ). Accessed March 1. Available from http://christopherfarr.com/artists/view/ptolemy-mann “Ptolemy Mann’s innovative dyeing skills, her appreciation of colour theory and the deep interest she has in architecture, work with her 'purely instinctive' and Matisse -like response to the 'expressive aspect of colour' in the creation of textiles which embody and express her dedicated aspiration, the achievement of minimalism in colour” Wilson, Ian. (2013). Ptolemy Mann. Accessed March 4. Available from http://www.ptolemymann. com/about.html) Mann combines traditional weaving methods such as Ikat with advanced techniques of digital printing to develop a commercial textile art that interacts with architecture to give a unique colour sense. As a textile artist and textile designer, she always makes things that last and have meaning, integrity and depth. Her unique approach to hand dyeing and weaving in a dynamic modern context brings her craft into the 21st century. A modern-day Bauhaus philosophy of product and art making combined with intelligent colour theory underpins all of her work both creative and commercial. (2013). Ptolemy Mann. Accessed March 4. Available from www.ptolemymann.com /about.html 91

Figure 111 Ptolemy Mann, (2011). Chromatic landscape (Textile Art). Private Collection. Source: Accessed March 4, 2014. Available from http://wgsn-hbl.blogspot.com /2012/02/ architecture-of-cloth-colour-space.html

Figure 112 Ptolemy Mann, Source: Accessed March 18, 2014. Available on http://www.housetohome.co.uk/product-idea/picture/winners-of-the-homes-gardens- designer-awards-2011/3

Ptolemy Mann is best known for her linear, colour-soaked wall panels. Colour is crucial to her work and her woven artworks are all about zinging colour combinations and subtle gradations of colour achieved by the Ikat technique she uses to dye her warp threads. She cites the greats of Modernism as her inspiration, including , Charles and Ray Eames and abstract expressionists such as Rothko. She also finds inspiration in photography and the landscape saying, ‘colour is everywhere you look’ (Diana Woolf, 2012). Ideas in the making, Maker of the month /Ptolemy Mann. Accessed March 18. Available from http://www.themaking. org.uk/content/makers/2011/12/ptolemy_mann.html “Ptolemy Mann’s innovative dyeing skills, her appreciation of colour theory and the deep interest she has in architecture, work with her 'purely instinctive' 92 and Matisse-like response to the 'expressive aspect of colour' in the creation of textiles. These embody and express her dedicated aspiration; the achievement of minimalism in colour”(Wilson Ian, 2013). Surface Design Journal. Accessed March 18. Available from http://www.ptole mymann.com/about.html Carol Cassidy Carol Cassidy is an American textile designer who arrived in Laos in 1989 as a textile expert with the United Nations Development Programme. In 1990 she started Lao Textiles studio in Vientiane. “Carol's pieces are displayed in galleries and museums throughout the Unites States: The Textile Museum in Washington, DC, The Philadelphia Museum of Art, and The Museum at the Fashion Institute of Technology in New York.” (Cassidy Carol, (n.d.) Lao Textiles). Accessed March 18. Available fromhttp://www.laotextiles.com “The challenge,” says Cassidy, “was to bring Lao textiles into the future. I wanted to combine my 20 years of experience with hundreds of years of Laotian heritage.” (Asia store, 2014). Carol Cassidy. Accessed March 18, 2014 Available from http://store.asiastore.org/carol-cassidy-bio.html

Figure 113 Carol Cassidy, (2007). Climbing monkey (Textile Art). The Queensland Government’s Gallery of Modern Art. Source: Accessed March 4, 2014 Available from http://store.asiastore.org/carol- cassidy-bio.html

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Figure 114 Carol Cassidy, Source: Accessed May 31, 2014 Available from http://store.asiastore.org/carol- cassidy-bio.htm Chapter 3 Methodology of the research

The research is a practice base that can be split into two parts. The first focuses on reviewing the craftsmanship and skills required producing Jok textiles in Thailand as well as abroad and the second focuses on the use of experimental methods to create contemporary Jok textiles. The methodology and tools for data collection are note-taking, interviewing, observation, photography and experimental work. The fieldwork seeks to explore the hand weaving process of Jok textiles in Thailand and the development of new techniques. Factors affecting the decline in the weaving culture and the changing identity of Jok weaving are analysed. Design concepts of both Thai and foreign textile artists and designers are examined. The research was spread over nine semesters: 1st to 4th, field trips and data collection End of 4th, sample textiles exhibited 5th to 9th, pure research on experimental hand weaving processes and the invention of a new tool suitable for double weave Jok textile manufacture

1. Data Analysis: The use of Textile discipline in Fine Art In Chapter 2 artists and textile designers were reviewed, focusing on the design concepts of their work that express their identity in different art forms. The use of textile discipline is analysed into two groups; textile structure and surface design and decorative techniques. 1.1 Textile structure A revolution in textile structure occurred when Peter Collingwood explored a new way of experimenting with the warp yarns. He created a new perspective that did not adhere to only two dimensions, but moved into three dimensional textile art. His textile art pieces thus give a new perspective of the illusion of depth.

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Peter Collingwood Peter Collingwood was always obsessed by the various ways that threads can be interworked to make a fabric. He invented ways of altering the loom to create different effects through a shaft-switching technique. In 1964, he produced Macrogauze wall hangings, using a warp dominant weaving technique. This allows the warp threads to cross each other and even move sideways. Structurally, Macrogauzes only need to maintain their shape, and not fall apart when they are hung on the wall. Collingwood experimented with the structure before he started the work. Some parts are interwoven to increase the strength of the textile construction.

Figure 115 Peter Collingwood, (1968). Macrogauze 26 (Wall-hanging, Textile Art). Linda Hendrickson, Tablet Weaving and Ply-Splitting Books, Tools & Kits. Source: Accessed September 5, 2013. Available from ผิดพลาด! การอ้างองการเชิ ื่อมโยงหลาย มิติไม่ถกตู ้อง /remembering-peter-collingwood.htm

1.2 Surface design and decorative technique The decorative technique in textile design varies with method, culture and social value. Artists and designers combine craftsmanship with innovative ideas to make their work eye catching. Traditional craft skills are blended with artistic ability to create new modern contemporary art forms. Carol Cassidy, Kachama K. Perez, Ptolemy Mann and Jakkai Siributr apply their knowledge, skill and craft discipline to reveal the effectiveness of different perspectives and ideas in their art works. 96

Carol Cassidy Cassidy focuses on the cultural value and identity of the people in Laos. She integrates an international simplicity with the complexity of traditional Jok weaving (called Kor in Laos) by using shed sticks with contemporary design. Her textiles have an oriental look and charm. The pattern is repeated with alternating highlighted spaces.

Figure 116 Detail of a Carol Cassidy textile, (2012). Tumble ASEAN. Source: Accessed March 18, 2014. Available from http://asean-community.tumblr .com/ post/ 42374033386/ asean-community-lao-textiles-vientiane-laos

Figure 117 Silk weaver at Lao Textiles, Friday, (2012). Source: Word from Bob, Lao Textiles by Carol Cassidy. Accessed March 18, 2014. Available from http://wordfrombob.blogspot. com/2012/03/blog-post_02.html

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Kachama K. Perez While travelling Kachama K. Perez fell in love with the beauty of northern hill tribe textiles around Chiang Mai. She uses traditional craft methods to represent her innovative ideas. Natural products including leaves, rice and seeds are incorporated into the textile design. These items serve as a reminder of her travels and are a statement of the authenticity of her work. The embroidered textiles of the hill tribes are cut before they are rearranged as weft yarns on the loom. The new pattern appears on the textile surface.

Figure 118 Kachama in her studio. Source: Accessed March 18, 2014. Available from http://www.epochtimes.com /b5/7/9/14/ n1833854p.htm

Figure 119 Detail of a Kachama textile, Silk wall hanging, (2007) Source: Accessed March 18, 2014. Available from http://www.epochtimes.com /b5/7/9/14/n1833854p.htm 98

Ptolemy Mann Ptolemy focuses on the beauty of colour and its use in visual motion. She Mann uses the Ikat technique as her dominant medium. Her unique approach to hand dyeing and weaving in a dynamic modern context brings her craft into a contemporary field.

Figure 120 Ptolemy Mann, woven panels (2012). Source: Accessed March 18, 2014. Available from http://nnnancymitchell.wordpress.com /2012/11/06/clothcolourandspace/

Figure 121 Ptolemy Mann. Source: Accessed March 18, 2014. Available from http://handwovenlove.blogspot. com /2013/06/an-interview-with-ptolemy-mann.html

A modern-day Bauhaus, philosophy of product and art making, combined with intelligent colour theory underpins all of her work, both creative and commercial. Her textiles demonstrate the harmony between a variety of colours and simple characteristics. Functional charge and usage in hand woven textile design is related to the recent revolution in Fine and Applied Art. She has successfully and inextricably bridged the gap between the physicality of architecture and textile craft. 99

Jakkai Siributr Jakkai Siributr uses his artwork design to make powerful statements about all aspects of life in Thailand. He uses free hand stitching and crochet patterns to express his feelings on religious, social and political issues. Viewers of his work can become very emotionally involved.

Figure 122 Jakkai Siributr in his studio, (2012). Source: Accessed March 18, 2014. Available from ผิดพลาด! การอ้างองการเชิ ื่อมโยงหลายมิติไม่ ถกตู ้องjakkai-siributr

Figure 123 Jakkai Siributr, Rape and Pillage, (2013). Source: Accessed March 18, 2004. Available from http://stcommunities.straitstimes.com /show/2013/10/16/ shows-opening-singapore-biennale-wee

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In 2011 at The Art Centre, University, Jakkai had a solo exhibition called ‘Shroud’. He has also exhibited at The Tyler Rollins Fine Art Gallery in New York. He maintains a rigorous connection to traditional craft techniques while making a strong commentary on contemporary issues. Textile artists and designers have explored and experimented with new media to elevate textile art to an equal footing with Fine Art. Nowadays, traditional textile techniques and the process of manipulating threads are generally accepted as textile mediums to create contemporary art. Unconventional materials and textile disciplines have shown potential in the use of creative thinking to present a sophisticated art form.

2. ‘Between’ The International design Art and Fashion Art Exhibition The International Fashion Art and Design Art Exhibition, ‘Between’ was held during February 2010 at the Art and Design Gallery, Faculty of Silpakorn University. Exhibiting artists explored a wide range of artistic expression through various textile techniques: stitching, dyeing, painting, weaving, printing, installation and interactive design.

Figure 124 ‘Between’ Exhibition Questionnaire.

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Four pieces of Jok textile design were exhibited. The samples were produced based on synthesised data including problems and shortcomings encountering while conducting the experiments. Results will provide the guidelines which can be further developed in the field of contemporary Jok textile production and applied for commercial purposes. This experimental works will be useful for interior designers, art collectors and contemporary craft lovers. The questionnaires were distributed to visitors at the exhibition to attempt to identify the meaning of ‘Contemporary Jok Textile’. Textile variables were the differences of motifs and materials used, and the size and scale of the motifs.

Part I : The four of woven Jok textile samples were divided into two categories; the first is a traditional Naga motif and the second is a new motif as a geometric form.

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Design Material Reed Result

Sample Motif Size (Point) New Traditional Natural Synthetic

/ Nhak 40/42 16 Cotton I Linen

/ 70/72 26 Nhak Metallic II Antara

New Metallic 70/72 55 / Antara Dok

Chan I

New / 40/42 35 Dok Cotton Chan Linen II

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Data analysis from the ‘Between’ Exhibition A traditional Nhak motif and a new motif were used as models for comparison. The Nhak is a mythical animal, often found on the textile motifs of the Tai people. Nhak I: Sample Jok textile woven with Nhak motif using natural yarn as cotton and reed number 40/42. The score from viewers was 6. Nhak II: Sample Jok textile is woven with Nhak motif using synthetic yarn as metallic thread and antara fabric using the reed number 70-72. The score from viewers was 6. Dok Chan I: A sample textile inspired from an ancient motif. Triangles are arranged by overlapping to create diamond shapes which represent the eight pointed star of the Dok Chan motif, using synthetic materials such as metallic yarn and antara fabric with reed number 70-72. The score from viewers was 35.Dok Chan II: A sample Jok textile woven the same as Dok Chan I, but using natural cotton material, and reed number 40/42. The score from viewers was 15. Part II : Two Nok textile garments were made using invisible thread as warp yarns, horse hair and metallic thread for weft yarn and antara for the supplementary weft yarn to create the Jok motif. The pattern was drafted on paper to define the structure and then placed on a loom to set the outline or silhouette. The design on each garment was the traditional Jok motif of the Tai people, called ‘Bird or Nok’. From the single motif a mirror repetition was created and deployed in the pattern. Both garments were woven with synthetic yarns, invisible thread, antara and natural yarn as horse hair. A Nok II motif was developed from Nok I as a single motif. Four more motif designs were computer generated from the Nok II, using reflection and rotation. Size reduction has produced the rhythm of motion, using PC+++ programme to create the contemporary design.

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Nok I

Figure 125 Nok I design, composed using Photoshop and PCC++ version 6 programs.

Figure 126 Nok II motif designed vertically to match the silhouette of the garment. Material: Invisible thread, horse hair, antara and organza silk, Technique: Jok

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Nok II

Nok A Nok B Nok C Nok D. Nok E

Figure 127 Nok II designed using Photoshop and PCC++ version 6 programmes. (Lekutai, Jearanai,)

Figure 128 The motif Nok E is arranged vertically to conform with the silhouette of the garments. Material: Invisible thread, antara and organza silk. Technique: Jok

The exhibition viewers participated by answering the question ‘Which garment is the most representative of contemporary Jok textile?’ Most chose Dok Chan I, then Dok Chan II. Nhak I and II were equal third. Factors affecting these 106 answers are basic knowledge of textile art and design, as well as the familiarity of the contemporary art. Preliminary analysis can be used as a guideline for further study. This is summarized as follows: 1. A new motif that is not based on the original design can display the word ‘contemporary’, rather than the ancient motifs used in the past. 2. Asymmetrical balance in new designs represent contemporary language compared to the old traditional style. The use of unconventional materials and synthetic materials, antara and invisible yarn, also represent the word ‘contemporary’ rather than natural materials such as silk and cotton.

3. Pure Practice This can be expressed as two issues. Firstly, experimentation with the weaving methods and textile structures. Secondly, the expression of personal identity inspired by the beauty of the ‘Imperfection and the Flow’. 3.1 Experiment with weaving method and textile structure The Jok technique is the process of weaving with independence and freedom compared to other decorative techniques. In the past, weavers inherited the techniques of Jok from their ancestors, learning by observation and memory, there was no written record. Today, weavers create new designs by transferring draft templates onto graph paper, like cross-stitch draft, an easy way for the weaver to record the design. In Thailand, the most common reed size used for Jok technique is number 40 up to 50 or 20-25 ends per inch. The density of the fabric will depend on the reed used and the size of the warp and weft yarns. The process of ancient Jok weaving involves inserting multicoloured extra weft yarns alternately throughout the design. Normally the supplementary weft yarns float over 5-7 ends, depending on the size of reed and the size of yarn used. Larger designs require a big draft scale. The use of computer graphics to modify design is simple and practical compared to hand drawing. The simplest structural woven textile is plain weave which can be applied on 2 or 4 shaft weaving methods. Plain weave structure is flat and consistent; it is best suited to combine with Jok or discontinuous supplementary weft or inlay technique. The combination of plain weave structure with the Jok method as a 107

decorative technique results in the decorative surface appearing clearly on the top of the warp thread. Traditional discontinuous supplementary weaving technique or Jok was designed for suitable textile structures as plain weave. This technique is similar to embroidery while still on the loom. Sticks, porcupine quills or fingers are used to pick out certain warp threads into which a special supplementary weft yarn is woven while still on the loom. (Songsak Prangwatanakun, 2008:16) A summary from the Exhibition is as follows: Experiment of textile structure focused on 4 - 8 shaft weaves. The integration of other woven textile structures with the Jok technique needs to be explored. Woven textile structures that have the potential to integrate with Jok technique are collapse weave, huck, waffle and double weave. The placement of Jok motifs on 4 or 8 shaft weave structures needs to be carefully considered. Position, rhythm and the arrangement of the Jok motif are important. Jok motifs may appear unclear due to the complexity of the textile structure. Collapse weave Two types of yarns, active and passive are needed to make collapse fabrics. Active yarns shrink like elastic and over twisted yarn. ‘Passive yarns are those with a balanced twist or little elasticity’ (Field, 2008:14) and do not change with release of tension on the loom or with washing. Passive yarns have little or no elasticity such as cotton, linen, silk, nylon, rayon and pre-shrunk wool. Collapse weave is flexible and can result in many interesting effects if different fibres are used consistently. Collapse weave is difficult to define because the collapse is caused by many factors as including: 1. The aspects of yarn The different aspect of the yarn is caused by composition and twisting. The size also affects textile structure; finer or thinner yarns are more flexible than thicker ones, and thick yarn cannot be twisted as well as thin. Highly twisted yarn gives the fabric a pleated and puckered surface. Twisted weft yarn will produce stronger pleating. When tension is released, the fabric will shrink as happens after washing or when heated in the drying process. Z and S Twist yarns refer to the 108

direction of the spinning wheel; a Z twist is clockwise and an S twist anti-clockwise. (Figures 118-119) 2. The combination of weave structures Different weave structures produce a variety of effective surfaces in cloth. The common collapse weave structure is a weave with stripes of 3/1 and 1/3 with alternating weft and warp floats. (Figure 120) 3. Finishing techniques All fabrics that are woven in collapse weave change dramatically when taken off the loom. Elastic yarn as Lycra will shrink after the tension is released. Wool and cotton that are interwoven will show a pleating effect after washing in hot water. (Figure 121)

Figure 129 S and Z twist in yarn, Wikimedia Commons. Source: Accessed June 18, 2014. Available from ผิดพลาด! การอ้างองการเชิ ื่อมโยงหลายมิติไม่ ถกตู ้องLeft_Z-Right.png

Figure 130 Woven fabric with collapsed weave. Material; linen and over twisted wool. 109

Figure 131 Woven fabric with collapsed weaves. Materials; high twisted linen, cotton

Figure 132 Woven fabric with collapsed weaves, high twisted cotton and wool

Huck Huck or Huckaback structure has weft floats on one side and warp floats on the other (Field, 2008: 34). Two different blocks can be woven using four shafts. The blocks always have an odd number of ends beginning and finishing on the same shaft. “The end on the upper shafts of each block floats either over or under the weft floats in the areas. The other ends in the block weave as tabby.” (Dixon, 2007: 164) This fabric is very effective if woven with active and passive yarn.

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B A

Plain weave

Figure 133 Draft for huck or huckaback

Honeycomb “Honeycomb weaves resemble the hexagonal cells in which bees store their honey.”(Dixon, 2007: 146) The weave forms ridges and hollows, which give a cell like appearance to the texture. Both weft and warp threads float on both sides, which coupled with the rough structure renders this fabric readily absorbent of moisture.

X 8

X 8

Figure 134 Draft for honeycomb 111

Waffle weave “Waffle weave produces textured fabric, resembling the ridged outlines of small square pockets of the waffle.” (Dixon, 2007: 228) The small area of the pocket is woven by the tabby or plain weave structure.

Figure 135 Draft for waffle variation

Double weave Double weave is a way to weave two layers of fabric at one time. (Chandler, 1995: 158) Several structures can be called double weave, all derive from the ability to weave two layers of cloth on the loom at the same time. Shaft weave If single weft threads travel across the top layer, across the bottom layer, back across the bottom layer, and then back across the top layer the selvedges will be separated on the starting side but connected at the other. If threads from the top layer weave with threads from the bottom layer, then the two layers are connected by stitching. If two different coloured layers exchange faces in some parts of the cloth but not in others, block designs can be produced, one layer weaves pattern, the other weaves background (Van der Hoogt, 2006: 4)

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1 3 1 2 3

1 3 4

2 shuttles two layers A on top 2 4 1 2 4 2 3 4 2 shuttles two layers B on top 1

1 2 3 3 1 3 4 1 shuttle tubular 1 1 2 3 1 3 4 3 1 shuttle double width

Figure 136 4 Shaft double weave drafts

3.2 The integration of Jok weaving technique with other textile structures Five types of woven textile structure were selected. A plain weave structure is the basic of woven textile; this is often used in conjunction with woven Jok techniques because the Jok pattern arising from the weft thread will create an outstanding surface. The research examined textile structures able to create a new appearance with contemporary Jok textiles. The new motifs of Jok are combined with 4 and 8 shaft weave structures, plain weave, waffle weave, honeycomb and double weave. First the design process on the weaving draft was tested for accuracy. Then, this was used as a guideline for preparing the warp yarn.

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3.2.1 Jok and plain weave The new Jok motifs were woven with a plain weave structure, raw cotton no. 20/4 was used for both weft and warp yarns.

Figure 137 Design#1,2,3 Materials: Cotton no. 20/4, Tool: Reed no. 50

Figure 138 Design#4, Materials: antara, cotton mercerize, no. 20/4. Tool: Reed no. 50

Figure 139 Design#5, Materials: cotton mercerize, no. 20/4. Tool: Reed no. 50 114

Figure 140 Design#6, Materials: cotton, no. 20/4. Tool: Reed no. 50

The research aims to produce contemporary Jok textiles by combining these differing textile structures on a 4 shaft loom. 3.2.2 Jok and waffle variation weave Waffle weave was combined with new Jok motifs in a 4 shaft weave. This textile structure has some plain weave areas which are suitable for decoration with Jok motifs. A design draft was prepared for the warp yarns to set the correct placement positions and ends picked to fit the design.

Figure 141 A simple diagonal shape designed on a waffle weave draft (left), with experimental results (right).

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Figure 142 The diagonal inside the square design was graphed on a waffle weave draft (left) before starting the experiment. The motifs were located on tabby or plain weave sunken areas (right).

Figure 143 Four diagonal designs of different size graphed on a waffle weave draft. The motif was located on the tabby or plain weave sunken area and decorated with small dots.

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Figure 144 A Dok Chan motif designed on a waffle weave draft, (left). The motif was positioned on sunken areas and some parts float over the warp yarn (right).

Figure 145 A simple diagonal shape designed on a waffle weave draft to set the placement and location of the motif.

3.2.3 Jok and honeycomb weave Simple Jok motifs with diagonal shapes were designed to decorate the sunken areas, woven as tabby or plain weave.

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Figure 146 Diamond shapes designed on a honeycomb weave structure draft.

Figure 147 Experimental work, Jok motif on honeycomb weave. Materials are cotton and mercerize, Tool: Reed no.50

3.2.4 Jok and 4 shaft double weave Experiments with 4 shaft double weave and Jok techniques were integrated with unity of both layer A and layer B. The fabric structure was separated as 2 layers but attached on both seams, left and right by weaving with 2 shuttles.

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Shuttle A A on top

Shuttle B B on top

Figure 148 4 shaft double weaves drafts

Figure 149 Jok motif on 4 shaft weave. Materials: cotton and cotton mercerize. Tool: Reed no.30

3.2.5 Jok and 8 shaft double weave Huck weave and Jok techniques were combined. In huck weaving the design is worked completely on the top of the fabric, so the thread never appears at the back. A threading draft was designed on graph paper. The larger spaces of plain weave require the addition of more weft yarns.

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Figure 150 Jok motif on an 8 shaft weave. Materials: cotton. Tool: Reed no.30

Figure 151 Jok motif on an 8 shaft weave. Materials: antara and hemp. Tool: Reed no.50

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8 8 8 8

7 7 7 7 6 6 6 6 5 5 5 5 4 4 4 4

3 3 3 3

2 2 2 2

1 1 1 1

Lifting draft

8 8 8 7 7 7 6 6 6

5 5 5

4 4 4 3 3 3 2 2 2 1 1 1

Threading draft

Figure 152 8 shaft double weave drafts. The lifting draft (top) and the threading draft (the right below and the left below)

3.2 Experiments with weaving tools The 4 shaft double weave structure was chosen because of the concept of ‘the imperfection and the flow’. New Jok motifs from sketch designs were selected for experiment on a flying shuttle floor loom due to the restriction of the fabric width. 121

The Jok design on each layer appears differently, the design has diffused all over the fabric width. The motif on the back layer cannot be seen whilst weaving; the weaver need to be underneath the loom, thus a traditional floor loom cannot be used.

Figure 153 To pick up the supplementary warp threads from the top layer, the weaver defines the number on the frame and can operate accurately.

Figure 154 To pick up the supplementary warp threads from the layer below, the weaver needs to works underneath the loom.

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The table loom was found to be more suitable than a flying shuttle loom. The table loom is compact and light weight and can easily be turned over. Turning the loom over during the weaving process can result in the loss of tension in the warp yarns. Hooks are used to maintain yarn tension, otherwise the fabric will distort and the seams will not be parallel.

Figure 155 To pick up the supplementary warp threads from the back layer, the table loom needs to be flipped over.

4. Summary The research methodology was divided into two parts; theoretical and practical, the latter focused on the equipment required. The production of double weave Jok textiles requires accurate devices. Results cannot be achieved without the development of a new loom. Many problems occurred during the experimental weaving process. A new loom needs to be developed suit the double weave Jok technique. This new design must be adaptable and easy to operate to facilitate the time consuming work process.

Chapter 4 Design Process

1. Process of design Artist and designer use design process to begin their work in art and design. In addition to design theory is also required as a basic complement in the initial process. Design analysis and design solution are a major procedure in the development of art and design. Start doing experimental works before starting the actual work is a necessity as we can learn and be aware of various errors prior before heading to conclusion. Design Process can be resolved into four major methods such as data research and design analysis, planning and development, design development process and following by the production process as the final step.

Design Process

Research and Planning and Design Production Analysis Development Development

Figure 156 Design process diagram. This diagram shows four major methods of design process

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Research and Analysis A study has led to the principle of designed process as a guideline of research. Jok textiles and their ancient motif of Tai Yuan, Tai Phun and Tai Lue are inspired as a personal interest. The research process begins with the observation of design patterns and the use of interpretive symbol, analyze the composition of the patterns direction, analysis the use of materials in Jok weaving from past to present and final analysis of the results of the study. If there are any key factors affect in appearance of traditional Jok textile to achieve contemporary style, therefore to improve of hand woven Jok textiles needs to be analyzed. Jok woven textile’s featured is rather unique and independence which can be developed to differentiate and achieve to international crafts state. Planning and Development Work planning for the development of contemporary jok textiles require the synthesis information through the principles of weaving process. The selection of suitable materials for new Jok pattern, warp thread preparation in relation to the thickness of the fabric and the right equipment are considerable issue. As well as planned duration of the weaving operation, this is also important because it takes time consuming. Includes the study and collect data in visual arts as shape or form and composition of design motif is required synthesized by the principles of design to guide the development of the new aspect in the following order. Design Development The process of design development is to find solution that to improve the appropriate design and relevant to the concept. As well as to experiment with structural textiles that multiple shafts techniques to find a conclusion about the limitations of weaving technique. When the first set of conclusions are made by hand color with acrylic and poster paint. But this method takes a long time, subsequently developed to help in the computer design by choosing the appropriate program based on Word document 2003 and developed the Adobe Photoshop CS3 and CS5 program. Selecting the appropriate design from draft and later inkjet printed on to plastic vinyl as the ratio 1:10 before start weaving. 125

Production Traditional Jok weaving process takes approximately 5-7 months to be done, therefore, when combine this technique with double cloth structure needs double time consuming. A study focuses on the observation the work process in order to find respectively the improvement approach and developing solutions. Jok motifs are designed on to computer using Photoshop programmed. After the drafts are concluded, the use of different types of hand looms is experimented. The appropriate loom for double weave technique is considered due to usability and possibility. Using flying shuttle handloom is inappropriate because weaver is unable to see the right side of the fabric while weaving. The study sought to find a solution by creating new weaving equipment to improve the defects. It is called “Vertical handloom” which invented to meet the primary objective. However, this is the process of four major steps in design that can refer to adoption in a wide range of art and design whether it is pure art or applied art. The method can also switch procedures depending on the task, style of work and in accordance with the concept of artists or designers. The data analysis is divided into three aspects, including analysis of data from a review of relevant literature, analysis of data from field research and data analysis from answering of visitors who visit the art exhibition. The conclusion of design process that used for contemporary Jok textile is as follow 1. To investigate the ancient motif in Jok tube skirt of Tai people. 2. Choose the precious designs and use Adobe Photoshop and Illustrator program to design and reinvent Jok motifare to further develop initial ideas. 3. Select appropriate tools such as Edit and Transform to define the designed areas. 4. Scale, Rotate, Skew, Distort and Perspective are suitable implement to define the motif area. Geometric motif is distorted to modify as non objective shape. 5. Use Illustrator program to draw square grids of size 2 x 2 mm. The proportion is set up to 30 square grids in width and 30 square grids in length. The proportion is equal to the actual size of 1 square inch after being woven. 6. Create of sketch design width 500 squares grids (each square size 2x2 mm.) and the length is 2,500-2,550 squares grid. 126

7. Expand the designs from original sketch and overlay the square grid on it. After that, select the complex outline of a certain pattern to modify and reduce in detail. 8. Enlarge the design by arise with Ink Jet printing onto vinyl sheet. The draft is enlarged to a larger size width of 160 cm. x 700 cm.

Figure 157 Ink jet printing. A selected design is printed with ink jet on vinyl sheets.

9. Choose the appropriate loom for double weave structure. Initially experiment with flying shuttle handloom and change to the 8 shaft table loom with dimensions width is 24 inches. Finally, the 4 shaft vertical floor loom is invented specially for this study.

Figure 158 Flying shuttle handloom 127

Figure 159 Four Shaft Table Loom. Source: Access November 16, 2011. Available from www.spunkyeclectic.com,

Figure 160 Vertical floor loom

10. Natural yarn as Thai silk is used in this experimental study and natural dye such as Lac, Prahod (ประโหด) leave and indigo as well as synthetic yarn. Dyeing with natural raw material needs different method, it is dyed red from Lac and Prahod needs hot dye method but indigo dyes are colorfast in cold dye. Dyeing with natural materials requires skill and knowledge to make the dyes fast and maintain their brightness, requiring a process that involves mordant (fixatives) and synthetic yarn are used such as invisible thread and Antara which is thin and fine yarn of leather-like surface is flat, which is a mixture of 50% polyurethane, 38% cotton, 12% polyamide.

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11. Preparing Silk yarn before dying, to remove the gum sericin use an alkaline solution resolve in boil water. The sericin is removed during the boiling process, and the silk yarns are washed in water and then rinsed clean. Preparing cotton yarn before dying is much easier than silk by boiling in lye to bleach it and then dried in the sun.

Figure 161 Mercerize Cotton

Figure 162 Raw cotton

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Figure 163 Natural fibre: Horse hair

Figure 164 Natural fibre: Hemp

Figure 165 Silk with Synthetic dyed, 150/200 D, Twisted 340 130

Figure 166 Invisible thread

Figure 167 Metallic Yarn

Figure 168 Antara (Synthetic yarn) 131

1.1 Design Concept The concept of designs that applied for this research is the integration between the disorder and refinement or accuracy in Jok motif and the beauty of abstract shape that communicate international visual language. 1.1.1 Concept idea and related design theory Visual elements and design composition was introduced in contemporary Jok hand woven textile design. Line, shape, form, color and surface are visual elements that have the most relevance. Traditional Jok textile of Tai Yuan shows simple geometric shape such as triangle, diagonal, square, rectangle. New Jok design represents of free emotion and does not represent the source of the original shape. It is so called non representative shape. In theory, Visual Arts has recognized the geometric shape is pure shapes and non representative shape as well as abstract shape The principle of colour theory has been analyzed and applied appropriately to meet the content and ideas. A study on selection of color in contemporary Jok textile design are only three colors as black, red and white which pure colour. In the past, red is a primary color that is found in ancient Jok textile of Tai ethnic group and one of primary colour is mainly occupied in Jok design on Tai Yuan tube skirt and inserted by yellow, which are the warm colors that are light weight so as to create a difference in the dark and light shade. It also is designed to highlight the striking pattern. On the other hand, black and white, which is the pure color are introduced to communicate the implication to international appearance. Post-modern artist have emphasized to the non objective shape that shows the simplicity and rarely concern on shape and form that represents the interaction between space, shapes and colour used like Malevich or Mondrian, Kandinsky's works, which often been occupied by using pure colors, and primary color. In an essay of 1920, Malevich divided his movement into three phases, according to the proportion Black, Red and White squares introduced into its pictures. Black represented a worldly view of economy, red revolution, and White pure action; and of these, Black were more important than red, and white the culmination of all (John Gage, Color and meaning p. 246) Tai weaver shows identity through the art of hand-woven textiles with exquisite design and beautiful pattern appears, caused by release visual elements of 132 a composition and blends in perfectly harmony composition. From the analysis of Jok textile in term of pattern and composition in design placement and textile structure which is able to analyze whether the art of Tai-Yuan and Tai Phuan is very similar in all aspects, while Jok textile of Tai Lue and Tai Khrang is slightly different from those of the two ethnic groups mentioned. The design placement on tube skirt of Tai-Yuan and Tai-Phuan is similar in design that consists of the main motif and supporting motif is arranged along the bottom part of the tube skirt. Their textiles are woven horizontally and arranged the pattern placement around the body part and decorated with Jok pattern on the bottom part or border of the tube skirt. Tai Khrang’s textile design is based on the composition on vertical pattern placement. Textile design of Tai Lue’s tube skirt is displayed on the central area of the upper trunk. It is possibly not accurate to conclude that traditional Jok textile has been less popular from the past and become the source of problems for the traditional hand woven textile in Thailand. Since the main purpose of traditional Jok weaving in the past is different to the modern world. Weaving in the past, it is intended to meet faith, religious beliefs and various cultures of each ethnic group that have for so long, until such change occurs gradually, Until the technological progress and survival cause of a revival in traditional hand-woven textiles again in the region of Thailand. The outstanding of Jok textiles of Tai people is currently descendant to their ancestors instead of to lose with the passage of time. The correlated design in traditional woven textile, we can notice the similarity from the decorative styles and their traditional costume. Nevertheless, it can still be distinguished the differences of each ethnic group. The process of weaving has been currently developed with appropriate according to the prosperity of the globalized. Weaving equipment and raw materials used in the weaving has been optimized to characteristics. The design patterns are mixed and applied to the change from the past such as attenuation in design and simply patterns, depending on the specific characteristics and interpretation of weaver. The textile design that appears in the ethnic groups always represent their identity and uniqueness. From the observation 133

of Tai textiles and their costume design, the study has classified by the principles of visual art as following Visual art theory analysis Tai weaver often brings the impression by observing various things around to create their textile. By the original of Jok motif is often taken inspiration from nature such as flower, plant and animal and non objective or geometric shape such as triangle, square and rectangular are often used and interpreted in modern- day symbols. Even though it is from a different ethnic group, but still have the same common point which is similar is the presentation of the beauty that is caused by the use of imagination. The research focuses on contemporary Jok textile design and also study through the visual element that used in two dimensional design. The different design aspects can convey the identity in each ethnic group by showing vary imaginations. Jok textile is formed by weaving method and the combination of colour. Jok tube skirt of Tai people can be analyzed in term of design element as follow. The expression of personal identity and art form “The beauty of the Imperfection and the Flow” The creative thinking of Tai Yuan people shows their identity and precious wisdom. Jok textile is woven with sophisticate and delicate, therefore is considered to be a high valuable woven textiles. A single motif is arranged alternately to create as pattern structure. But sometimes it can be found in ancient Jok textile that resembles the missing pattern in some range. This may be caused by mistakes of the weaver during weaving process. Or it can be caused by various beliefs until the appearance is similar to the design is incomplete. Weavers used wide range of colour yarns which random switched. It sometime viewed superficially, like an incomplete or defective in design and looks unorganized. From my own perspective I have always fascinated by repetition and unconventional appearance as the error in traditional textiles as I have found during my research field trip in Ku Bua, Ratchaburi Province. Most of textile collectors tend to admire perfect piece of fabric but some have seen the aesthetic value in their imperfect aspect. Using visual research such as photographs and taking information to generate ideas as well as using computer add design to develop and transform 134

the design into my aesthetic taste. The imperfection pattern may be caused by intention or mistake of the weaver. (Data from interview: Mrs.Manee Sukaseam, 2010) This research study has brought inspirations from the imperfection or error in ancient motif of Jok tube skirt which is differences from the typical one. The information has been synthesized and presented through design concept as the way to display the uniqueness of beauty. The beauty of the flow and imperfection design has revealed the richness of character and personal identity through contemporary textile art and design language those studies have been analyzed and find out the cause of incomplete pattern in antique Jok textile designs are as follows: Experiment From the past through present, It is important regardless of weaver needs to prepare carefully before starting to weave by selecting fibers such as cotton, or silk and dyes materials such as bark, leave and ash lye. In addition to use material to better suit the design patterns. Natural coloration will be required to prepare as raw materials in the processes of dyeing. It must rely on personal experience from the expectation to set the maximum amount of fiber that will be enough to use. Sometimes unpredictable incident occur, when the weaving material is insufficient. Weaver must invert the colors or find the most suitable color instead. Therefore, the discontinuous pattern appears. At present, the technological evolution of the design has been produced computer designed so that designers have used as a design tool with ease and precision. But in the past, weaver may require trial and error to get a beautiful and accurate design; therefore, they need to experiment with colour alternating rhythm, transposing certain until it is satisfied. In addition to switching colour tones, transposing the rhythm of space and economy in design. Until new shapes and patterns that are interesting. (Fig.1-3) Error In the past, woven fabric with natural fibers and top dyed were commonly used by weaver. The restrictions of dying stuffs caused sometimes uneven colors depending on type of raw materials and other external factors such as method and dye temperature. This is a factor that makes the dying process is unstable. Weaver must solve a facing problem by using existing yarns instead. (Fig.4-5) 135

Intention Jok textile design of Tai Phuan that found in Sukhothai province is created multiple patterns on the border of tube skirt. It looks like a discontinuity of pattern. The propose is by the intention of the weaver that requires preserving those patterns to their ancestors. There are four to five motifs are woven and decorated on the border of tube skirt. Ritual Belief Tai culture beliefs in a woman’s skirt regarding to the incantation or superstition. A piece of white cotton fabric average size 2-3 inches is sewn on the upper edge side seams of tube skirt. According to the belief of the Tai Yuan said it can protect the superstition or avoid wickedness. It looks superficially resembles similar flaws resulting from patch work. From these reasons, the studies have inspired by the beauty of antique textiles motif, specifically in some particular of interesting patterns of Jok motif which does not conform to The cause of incomplete pattern of Jok textile has inspired the study. The beauty of imperfection Jok motif that does not conform to schema in particularly may due to some reason of weaver. An initial analysis of the error pattern found that an abstract or non-objective shape have concealed of imagination and the beauty of contemporary language. The impression caused by imperfections of the flaw, has created through hand woven textile, using traditional Jok techniques as a tool to create alternative textile art and design. Starting by defining the scope area of the motif outline where is incomplete. The beauty or charm that hidden in the designs is elaborate creations based on precious craft. In accordance with the contemporary beauty, the aesthetic value is also required to remain. Therefore, it is the main source of ideas to present the harmony from the conflict combination between a delicate perfection and disordered imperfections. The beauty that is caused by an action in disorder pattern may be considered as an ugly or beauty; it depends on the personal judgment, the duration or time and the purpose of the creator. Finally, it is depend on surrounding context. But in terms of the contemporary perspective, the imperfections in Jok motif may change the perfection of beauty.

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Figure 169 Traditional Jok motif, Ku Bua, Ratchaburi province, Collector: Manee Sukaseam (60-80 years ago)

Figure 170 Traditional Jok motif, Ku Bua, Ratchaburi province, Collector: Researcher 137

Figure 171 Traditional Jok motif, Ku Bua, Ratchaburi, Collector: Manee Sukaseam

Figure 172 Traditional Jok motif, Ratchaburi, Collector: Manee Sukaseam

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Figure 173 Traditional Jok motif, Haat Siou, Sisatchanalai, Sukhothai,

Figure 174 Top part of Tai Yuan tube skirt, Ku Bua, Ratchaburi

2. Design development The research has focused on Tai ethnic group who live in Thailand; the data research is to study some information about various Jok patterns used in woven tube skirt and notice that there are some common characteristics of the aesthetic of the Tai ethnic groups. They use the geometric shapes inspired by nature, such as an animal and botanical species and household object used in everyday life. Best to call a name pattern may differ according to spoken language, culture and group 139 familiarity. The study has divided into four methods, Sketch design, textile structure, weaving method and the development of weaving loom. 2.1 The development of sketch design Visual inspirations are gathered to develop the ideas and transformed into a defined concept. A study of basic tools such as hand sketch drawing and collage technique are used to develop ideas of contemporary Jok textile including other mediums such as Poster colour and acrylic pigment. This is to discover the most appropriate tool to be used in the creation of original contemporary Jok textile designs. The use of Word document, Jok Visual C++ version, Adobe Photoshop and Illustrator program are applied for sketch design process. Hand Painting Poster paint and Acrylic paint are used on paper as basic hand tools to create new Jok motif. This technique is suitable for rough or quick sketch design. The collage technique can be combined for exciting surface and dimension as mix technique. Computer Aid Design (CAD) Computer is used to experiment with visual imagery by using programs like Word Document, Adobe Photoshop and Illustrator to explore further develop initial ideas that have recorded through drawing or photography. Word document program is used to created graph format as well as colour added to design Jok motif. Jok visual PC++ Version 6.0 programe is invented in particular for Jok design. This program is capable to arrange practical and appropriate program to be used to create creative sketched design. By photograph the drawings (hand-sketch design)and then drop them into Photoshop to manipulate them further, using cut and paste, change colour and create layer marks of the drawing

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Figure 175 Jok sketch designs, using Word Document Program.

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Figure 176 Jok sketch designs, using Word Document Program. Advantages: Fast working with less error. The error can be corrected easily. Disadvantages: The ability to design motif is a restrictions due to the feature of motif is not free form, and there are limitations on colours. 142

Figure 177 Jok sketch designs, using Visual PC++ Version 6.0 Program Advantages: Designs can be created quickly and accurately. It also defines the color selection is more than another, and as a program is suitable for symmetric designs. Disadvantages: This programe is suitable for some certain small design. If you want a larger design, the subcomponents must be created then the arranged assembly to get the size of a larger pattern.

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Figure 178 Contemporary Jok sketch design, using hand tool: Poster colour and Acrylic colour on paper. Advantage: Sketches design from hand tool method is selected for further development. This technique is capable to create designs prototype fast and versatile. Disadvantages: Still not found.

Figure 179 Contemporary Jok sketch design, using hand tool: Poster colour and Acrylic colour and computer Photoshop program Advantages: Sketch design Poster colour and Acrylic colour is a primary hand- operated tool which is the most convenient. Disadvantages: It is a slow process and need time consuming. 144

Figure 180 Graph table, using Adobe Photoshop program Advantage: The weaving pattern can be read easily by reading the position of the center position. Disadvantages: Still not found

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2.2 The development of textile structure and weaving method The best of sketch designs are selected for making prototypes. This first of woven textile was inspired by traditional Jok motif “Dok Chan” (ดอกจันทร์), the outline shape is drawn on large graph paper. The different of big and small shapes are overlapping to achieve deeper dimensions or illusion of depth. Weaving technique: Using supplementary weft yarns insert alternately, woven in plain weave on standard flying shuttle handloom. The materials used are natural and synthetic yarns for Jok decorative technique. The draft of design # 2 “Dok Khem” (ดอกเข็ม) has been created on computer by Word Document programmed. The concept of design patterns are derived from a decorative item “mobile” that used in religious and rites of Tai Yuan. When the draft has been created from a Photoshop programmed, it will be transferred onto graph paper. Defining the rhythm of the outline of rectangular shapes has been modified to fit in appropriately. To create Jok design, using a special supplementary weft yarn is inserted by winding around warp thread. This will make the texture contrast than insert under the warp thread

Figure 181 Free hand sketch design: Dok Chan1, hand drawn on graph paper

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Figure 182 Woven textile: Dok Chan1, Material: Mercerize Cotton, Antara, Table loom, size

Figure 183 Sketch design: Dok Chan2, word document programmed, Printed on paper 147

Figure 184 Woven textile: Dok Chan2, Material: Mercerize Cotton, Table loom, size

Figure 185 Sketch design: Dok Chan3, word document programmed, Printed on paper

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Figure 186 Woven textile: Dok Cha 3, Material: Cotton, Table loom, size

Figure 187 Sketch design: Dok Chan4, word document programmed, Printed on paper

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Figure 188 Woven textile: Dok Chan4, Material: Cotton, Table loom, size:

Figure 189 Free hand sketch designed Doh Kem,

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Figure 190 Dok Kem design on word document, it is transferred with pencil on graph paper and ready for weaving

Initially, the experiment with 4 shaft on flying shuttle handloom but need to transferred to 4 shaft vertical floor loom due to the wider of width of fabric.

Figure 191 Dok Khem design, it is woven on both sides of the fabrics following the draft pattern. Material: Silk and Antara. 151

Selected Design # 3: Dok Mai

Figure 192 Sketch designed Doh Mai, word document programmed, Printed on paper

Figure 193 Woven textile: Dok Mai, Material: Cotton, Table loom, size: 152

Selected Design # 3: Kab (กาบ) Kab motif is an old motif which common found on tube skirt’s border. Its style is a rectangular shape place the concatenation. Using Adobe Photoshop program creates new Kab motifs. Weaving technique: Using supplementary weft yarns insert alternately as traditional Jok method combine with inserting special supplementary weft yarn by winding around warp thread. The woven structure is 4 shaft double weave on table loom. Materials used: Natural yarn for warp and weft thread and synthetic yarns for Jok decorative technique. Natural Thai silk, rope 370, twisted 6, 30/32 for warp yarn and rope 150, twisted 6, 29/31 for warp yarn and using Black and white Antara yarn and natural yarn dyes for Jok decorative technique. Antara is the fiber properties that easy to torn therefore, while weaving need to use extra caution. It looks thin- plate, light weight and leather-like surface. Size-width is 5 mm.

Figure 194 Sketch design Kab (A side), Adobe Photoshop, Printed on paper

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Figure 195 Sketch design Kab (B side), Adobe Photoshop, Printed on paper

Figure 196 Kab design is Printed on Vinyl, Size: 700 x 160 cm.

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Figure197 Woven Jok textiles (Kab A side), Materials: silk and Antara, Table loom

Figure 198 Woven Jok textiles (Kab B side), Materials: silk and Antara, Table loom

Using program of Adobe Photoshop CS 3 creates new Kab designs. Selected two designs from sketches to weave in double cloth structure, both sides A and B are woven differently in design but it was woven together at the same time.

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Selected Design # 4: Sa-pao 1 (ซะเปา) The drafts that were created with Adobe Photoshop have been selected to try weaving in this design 4. Then apply the selected sketch designs to enlarge by ink jet printing. A sketch on the left side (A) will be woven into the red background and a sketch on the right side (B) will be woven into the black background. The main criteria in selecting the design sketch should observe each side in detail by selecting images with detail that is balanced. During the study have discovered that the overall pattern if the element is not balanced, it affects the structure of woven fabrics. Weaving technique: Using synthetic yarn (Antara) as supplementary weft yarns insert alternately by winding around warp thread. This method can cause surface embossing. The woven structure is 4 shaft double weave on table loom. Materials used: Natural yarn for warp and weft thread and synthetic yarns (Antara) for Jok decorative technique. Natural Thai silk, rope 370, twisted 6, 30/32 for warp yarn and rope 150, twisted 6, 29/31 for warp yarn and using Black and white Antara yarn and metallic thread for Jok decorative technique.

Figure 199 Sketch design Sapao 1 (A side) Adobe Photoshop, Printed on paper 156

Figure 200 Sketch design Sapao 1 (B side) Adobe Photoshop, Printed on paper

Figure 201 Sapao 1 design is printed on Vinyl, Size: 700 x 160 cm. 157

Figure 202 Woven Jok textile Sapao1 (A side), Materials: silk and Antara, Table loom

Figure 203 Woven Jok textile Sapao 1 (B side), Materials: silk and Antara, Table loom

Selected Design # 5 Sa-Pao 2 (ซะเปา) To select a pattern to be woven, it must take into consideration a balance of both sides. Because when woven with double weave structure the tension on both side should be regularly and not going to pull one side of the fabric.

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Figure 204 Sketch design Sa-Pao 2 (A side) Adobe Photoshop, Printed on paper

Figure 205 Sketch design Sa-Pao 2 (B side) Adobe Photoshop, Printed on paper

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Figure 206 Sapao 2 design is printed on Vinyl, Size: 700 x 160 cm.

Figure 207 Woven Jok textile Sapao 2 (A side), Materials: silk and Antara, Vertical loom Figure 210: Woven Jok textile Sapao 2 (B side), Materials: silk and Antara, Vertical loom

2.3 The development of textile structure and weaving method 160

Plain weave structure is the most textile structure that suitable to combine with Jok technique because the motif would appear clearly. The weft and warp set of yarn are interconnected to form a two layers fabric or double weave structure. The fabrics have two right sides or face that woven with plain weave structure. Therefore 4 and 8 shaft double weave structure is fully applied for the final of my experimental stage. Due to the wider width of fabric is caused of the invention of the vertical floor loom.

A B A B

Figure 208 Double weave Jok structure

Figure 209 Threading warp yarn, using two different colours (red and light mustard) for double cloth structure.

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Traditional method of Jok by Tai people is similar to inlay technique by inserting extra weft thread to create decorative woven textile surface. The extra wefts threads float over the ends are picked up and go down underneath if no need the motif appear on the front side (Fig.A). The alternative method of Jok technique is invented by inserting supplementary weft yarn between the gaps of two layer fabric and then picks the certain end and twists the yarn around each end to create dense design. (Fig.B)

Figure 210 Traditional of Jok method

Figure 211 Alternative of Jok method 162

3. The development of weaving equipment: The invention of vertical floor loom Double weave structure is normally referred to the warp and weft yarns are interconnected to form a two-layered cloth. In this research, the two layers surfaces are designed for different Jok motifs on both surfaces. The weaving method of double weaves structure unable to be applied simply from the front side of the loom. Jok double weave technique requires a specific loom to accomplish due to weaving method, therefore, the vertical floor loom is invented to solve the problem of this research.

Figure 212 Weaving double weave Jok technique on table loom The table loom is used for double weave Jok technique. The loom is determined to the position in vision of the angle. Thus, during experimental stage weaver is solving the problem by lying underneath the loom and operates the pattern count with difficulty. Finally, the vertical floor loom is invented; especially for Jok double weave structure. This loom has a possibility to work properly compare to traditional floor loom and table loom. It can weave a single or duo weavers by sitting against the front loom and work consistently. The contemporary Jok textiles on double cloth 4 shaft weave structure are experimented on vertical floor. The vertical floor loom is a convenient and suitable for double weave Jok structure as well as time-saving on. The weaver able to vision 163

on the both sides surface while weaving. The vertical floor loom consists of 1reed frame, therefore, it necessary to share same beater. The movement of the beater frame is perpendicular to fabric surface. The warp tension adjustment requires two gear disc locks on the top and below of the loom. The four harness frames are set up horizontally above the beater frame. The function of use of the harness needs to operate by hand pulled forward and pushed back. The loom is made off hard-wood and hard weight in order to stabilize the balance.

Figure 213 New double weave vertical floor loom, size 152 cm. width x 82 cm. high x 75 cm. thickness

Figure 214 The new double weave vertical for loom. 164

Figure 215 Two weavers are working on double weave Jok technique.

Figure 216 Detail of double weave vertical floor loom. (Left) The gear disc locks are attached on the below and top part of the loom) to adjust the tension. (Right) The four heddle wooden panels are made with size 40 cm. x 60 cm.

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Figure 217 Detail of heddle panels. (Left) The movement of 4 panels is controlled by 16 wooden rollers. (Right) The heddle panels are controlled by the handles on the side of the loom. Working problems 1. The difficulty is occurred because of heavy weight of beater frame. 2. The beater is unstable when on the fabric on layer A and Layer B. And two layers on the horizontal level are unparallel. The beater is unable to press down horizontally. The angle of the beater needs to be adjusted to be parallel to the right angle.

Figure 218 Detail of the beater. 166

Solution The problems have been solved due to the working problems. 1. The new beater has been replaced by using plywood instead of hardwood. (Red wood) This is an important part in the enforcement of heddle frame. 2. The new beater is modified by realignment of beater frame to horizontal position

30 ’C

Figure 219 The operation of new beater after is modified (Right) The old beater is impinged both layers unparallel (Left)

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Figure 220 The components of the new beater control arm. Some of certain parts have been confiscated with screws and iron rings in order to be able to move inextricably to the reed.

Figure 221 The new beater frame after the solution. (Right) The system is regulated by new control arm that move flexible to support the parallel angle.

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Figure 222 The new verticals loom for double weaves Jok. This loom has been adjusted with the new beater.

4. Result and Conclusion The experiment result and recommendations of the vertical floor loom is analyzed as follows: A) The reed is beaten in an inclined position (Fig.8) or not at the horizontal level. The problem needs to be resolved for density. The beating procedure needs to be improved; both layers have an unequal in density. The angle of the beater needs to be adjusted to be parallel to the fabric grain. 169

B) The cloth beam needs to be adjusted after every 2 inches because the weaving method is operated in only short and narrow space and this is time consuming. The consequence is if the angle of the beater is adjusted to be parallel to the right position (Fig.9) therefore, weaver has no need to adjust the cloth beam too often which solves the production time problem.

5. Evaluation and consulting advisors The research has conducted by sending questionnaire to the 3 groups of people as follows. 1) Textile Specialist 2) Art & Design or other related filed Specialist 3) General people The questionnaire is set to finding the result as follows. 1) To find the definition and meaning of the art of contemporary Jok textile. 2) To analyze of the motif patterns that communicates of contemporary Jok textile. 3) The guideline leads to concept development and further applications. Questionnaire for Research The art of contemporary Jok textiles The integration between craft and creative design (ศิลปะการออกแบบผ้าจกร่วมสมัย“การผสมผสานระหว่างหัตถศิลป์และการ ออกแบบสร้างสรรค์”) Objectives 1. The Questionnaires is designed to gather information of the definition of “Contemporary Jok textile” which represents the relationship between the traditional crafts and creative design in the field of domestic textiles art. The result of the questionnaires will be reported in the overview and will be beneficial to the improvement and conclusion of this research. 2. Questionnaire was divided into 3 steps as following: 2.1 Part 1 General information of the respondents 170

2.2 Part 2 Opinions to the appearance of Jok textiles art for contemporary language 2.3 Part 3 Opinions to the new design 2.4 Part 4 Opinion to the use of materials 2.5 Part 5 Opinion to the use of tool (Loom) 2.6 Part 6 Opinion to the implementation or application 2.7 Suggestion 3. Respondents who have knowledge or expertise in the field of textile art and design 4. Respondents who have knowledge in art and design or related fields.

Part 1 General information of the respondents

Please mark ✓ in the box [ ] and fill that meets your comments. Information of the respondents

1. Gender [ ] Male [ ] Female 2. Age [ ]20–29 yrs. [ ]30–39 yrs. [ ]40–49 yrs. [ ]50–59 yrs. [ ]60 yrs. Up 3. Education [ ] Bachelor Degree [ ] Master Degree [ ] PhD .[ ] Other 4. Work address...... 5. Position ...... 6. Telephone /Mobile/email...... 7. Specialize at...... 8. How are you familiar with Jok textiles? [ ] Never heard [ ] A little [ ] Middle [ ] Good (I know how to weave Jok) [ ] Very Well (I can weave Jok textile)

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9. Have you ever seen Double weave Jok textile before? [ ] No I have never seen [ ] Yes I have ssen………………………………Where?...... Part 2 Opinions to the appearance of Jok textiles art for contemporary language How can you describe “Contemporary?” [ ] Never heard [ ] Tradition/Antique [ ] Present time [ ] Future/Avant-garde [ ] Not sure 172

Part 3 Opinions to the new design 3.1 Please √ in the box that you agree. By 5 level to 1 of the greatest to 5

“The imperfection and the flow no.I” Layer A Layer B

Materials & Coloue scheme Textile quality

How this new Jok designs have 1 2 3 4 5 effected the most to the definition of 0-9% 10-30% 31-60% 61-80% 81-100% Contemporary Jok textile? The overall design Colour scheme Textile quality (Texture, Surface) Material of used 173

3.2 Please √ in the box that you agree. By 5 level to 1 of the greatest to 5 “The imperfection and the flow no.II” Layer A Layer B

Materials & Coloue scheme Textile quality

How this new Jok designs have 1 2 3 4 5 effected the most to the 0-9% 10-30% 31-60% 61-80% 81-100% definition of Contemporary Jok textile? The overall design Colour scheme Textile quality (Texture, Surface) Material of used 174

3.3 Please √ in the box that you agree. By 5 level to 1 of the greatest to 5 “The imperfection and the flow no.III” Layer A Layer B

Materials & Coloue scheme Textile quality

How this new Jok designs have 1 2 3 4 5 effected the most to the 0-9% 10-30% 31-60% 61-80% 81-100% definition of Contemporary Jok textile? The overall design Colour scheme Textile quality (Texture, Surface) Material of used

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Part 4 Opinion to the use of tool (Loom) Do you think that this vertical floor loom can be adapted for the use of other type of weaving technique? [ ] YES [ ] NO [ ] Not sure ( If YES Please explain) ……………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………

(Top) Double clothes is woven by the use of a vertical floor loom (Below) Vertical floor loom is invented.

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Part 5 Opinion to the implementation or application 5.1 Do you think the Jok textile pieces are suitable for (You can check more than one box) [ ] Costume [ ] Ritual ceremony [ ] Household object [ ] Interior decorative item [ ] Display as Art piece in the gallery [ ] other………………………………………………………… Suggestion ...... 5.2 Do you think the Jok textile pieces are suitable for which market place? (You can check more than one box) [ ] European [ ] American [ ] Asia and South East Asian [ ] African [ ] Middle East [ ] other…………………………………… Suggestion ...... 5.3 What would be the key issues to be considered to improve the design that will be for customer’s taste of International Market? Suggestion ...... 5.4 Do you understand more about the art of contemporary Jok textiles more after you have seen this exhibition? [ ] Yes [ ] No (If Yes please answer this next question) 5.5 In which way? ...... Chapter 5 Conclusion

5.1 The Exhibition An exhibition was organized at the Faculty of Fine and Applied Arts, Thammasart University, Bangkok, to present to the general public some elements of the new design techniques. The exhibition aimed to increase general awareness about the craft of the contemporary Jok textile industry in Thailand and its recognition on a global stage. Mixed media were used to showcase new perspectives in the dimension of contemporary textile art. Video presentations detailed the weaving method and visually expressed the sources of inspiration. 5.1.1 Exhibition Design Some exhibits were complete and some were shown in stages of experimental design. A photo presentation detailed the weaving trials and the creation of the new vertical floor loom. Exhibits were sequenced in the timeline of the design process. A survey was conducted to better involve and relate to the visitors and gain valuable feedback. The exhibition was divided into three sections:

Section 1 The first section exhibited traditional Jok textile patterns of the Tai sub- groups, Tai Yuan, Tai Phuan, Tai Khrang, Tai Lue, and Phu Tai. The history of the traditional Jok technique weaving art was also presented. The unique designs of each sub-group communicated meaning and identified their individuality. This was an important concept for the visitors to comprehend and greatly assisted them to recognise the value of the ancient craft as an art form.

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Figure 223 Traditional Jok textiles of Tai people

Section 2 The second section presented the ideas and inspiration behind the work. A video entitled ‘the art of contemporary Jok textiles; the integration of traditional and creative design’, showed the processes followed in the new contemporary computer aided artwork. Pieces of experimentally designed textile illustrated the development process and aided the understanding of the design procedures.

Figure 224 Sketch design

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Figure 225 Experimental works

Section 3 The third section housed example tubular pieces of experimental Jok textiles woven as double cloths. Three were complete works and a further six were made using digital printing from contemporary Jok patterns under the concept of, ‘The beauty of the imperfection and the flow’. The tubular cloth exhibits were hung from the ceiling allowing 360o viewing. The ancient Jok weaving technique was simulated by the forms illustrated with digital printing. Individual craftsmanship can now be computer generated for commercial production. The textile surface differs from the woven work because of the production method and the materials used.

Figure 226 Digital printing on fabric 180

Figure 227 Completed works “The beauty of the imperfection and the flow”

The vertical floor loom, a weaving tool created for the experimental weaving of Jok textile with double cloth was set on a plinth. Photographs depicted adjustments made to the design of the loom. The vertical floor loom can also be used for tapestry weave and other weaving methods.

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Figure 228 The new vertical floor loom for double weave Jok technique

5.2 Conclusions and suggestions

5.2.1 The definition of ‘The art of contemporary Jok textiles’ The diversity and variety of complex Jok textile designs are very hard to classify and categorise. Experts in the field alone can differentiate the subtle weaving differences and nuances between each Tai sub-group. The variables that impact upon the definition of ‘the art of contemporary Jok textile’ consist of basic knowledge of the textiles and specialisation in this particular type of art. ‘Contemporary Jok textile art’ may best be described as patterns which radiate feelings different from the old traditional styles, either with new design work or materials, or by presenting the essence of Tai handcraft with a modern western approach. This is perhaps an ideological innovation in terms of handcrafts, or ‘innovative handcrafts’. In the past, the positioning of the patterns and the motif details followed simple rigid rules. The motif lower hem of the Pha Sin was considered inappropriate for placement on the head. Thus, for religious ceremonies like the ordination of monks, different Jok patterns were used.

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5.2.2 The status of the craft of Jok textiles Comparing handcrafted textiles with visual art requires a widening of perspective and expression. This is a comparison in terms of abstract values. The ancient Jok weavers used the visual elements from everyday objects as inspiration for their designs. The motifs expressed the uniqueness and individuality of the craftsmanship. Weaving is an artwork in itself, and the Jok textiles also had a practical use historically, in religious rites and ceremonies. In the modern world textiles art are produced as an art form and their status can be elevated to be equal to that of Fine arts. 5.2.3 Design characteristics of the contemporary artwork The characteristics of contemporary Jok textiles, ‘the beauty of the imperfection and the flow’, are different from the traditional Jok ideals. Patterns are now arranged in unconventional ways, and colour combinations have changed. The use of neutral or light colours now communicates contemporary design differing from the hues of the past. The characteristics of the textile and weaving materials are interlinked. A rough texture produced from artificial material illustrates modernity more so than a textile with a smooth surface crafted from natural silk and cotton. Perhaps the materials now used in modern Jok weaving, producing rough and uneven surface expression have become the main factor in the transition to contemporary design, eclipsing the changes in pattern design and positioning.

References

Thai References Acharaporn Sailasutara. (1996). Knowledge of Textiles. 10th ed. Bangkok: Sangsan Vichakarn. Jirawan Gavila Okamoto. Cheesman Patricia. Songsak Prangwatanakun. (2010). Exceptional Woven Beauty: Masterpieces from The Bank of Thailand Textile Museum. Chiangmai: Nopburee Press. Komol Panichapan. (2003). Fai Kaew Mai Kum. Chiangmai: Chotana Printing. Nusara Teangkeat. (2002). Jok Mae Cham Motif. 2nd ed. Chiangmai: Nopburi Press. Sumitra Pitipipat, Anucha Teerakharnon and Teimchit puangsomjit. From Birth to Death: Tai Life and Textile. Thammasat Press. Sathorn Soratprasobsathi. (1997). The legend heritage of Tai Phun in Bann Hat Siou (สืบสานตํานานไทยพวนบ้านหาดเสี้ยว). Sukhothai Hok An Teong. Silpakorn University. (2001). Patterns and Colours on hand woven textile. Bangkok: Amarin Printing & Publishing. Sumitr Pitiphat, Anucha Teerakanon and Teamchit Puangsomjit. (2010). From Birth to Death: Tai Life and Textile. Pathumtani: Thammasat Press. Songsak Prangwatthanakun. (2008). Cultural Heritage of Tai Lue Textiles. Thai Department, Faculty of Humanities, Chiangmai University. Songsak, Prangwatthanakun. (1993). Textiles of Asia: A Common Heritage. Bangkok, Amarin Printing and Publishing. Songsak Prangwatthanakun and Patricia Cheesman. (1998). Lan Na Textiles: Yuan Lue Lao, 2nd ed. Bangkok: Amarin Printing Group. Son Simatrang. (1983). The structure of Lanna mural paintings. Bangkok: Silpakorn University. Udom Somporn. (1997). Tai-Yuan Jok textile Ratchaburi. Pabpim Press. Vinai Prabipu. (2011). Nan Mural. Bangkok: 21 Century Press. Virun Tangcharoen. (2002). Visual Art Research. Bangkok: E&IQ Publishing. Vithi Phanitchapan. (2004). Fabric and Thai Textiles (ผ้าและสิ่งถักทอไทย). Cheangmai: Cheangmai Silk Worm. Wiboon Leesuwan. (2007). Encyclopedia of Textile. Bangkok: Darnsutha Printing.

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English References der Hoogt, Madelyn van, (2006). The Best of Weaver's : Magic of Doubleweave. USA: Xrx Books. Bernet Hann M A, Thomas B G. (2005). Pattern of Culture : Decorative Weaving Techniques. Leeds. Cheesman, Patricia. (2004). Lao-Tai Textiles: The Textiles of Xam Nuea and Muang Phuan, Bangkok: Amarin Press. Conway, Susan. (2001). Thai Textiles. Bangkok: River Book Press. Conway, Susan. (2002). Silken Threads Lacquer Thrones Lan Na Court Textiles. Bangkok: River Book Press. Field, Anne. (2008). Collapse Weave : Creating Three-Dimension Cloth. London: A&C Black. Gage, John. (2000). Color and Meaning: Art, Science and Symbolism,1st ed. USA: University of California Press. Gale, Colin and Jasbir Kaur. (2002). The Textile Book. UK: Bloomsbury Academic. Geijer, Agnes. (1979). A History of Textile Art. USA: Pasold Research Fund in association with Sotheby Parke. K. Myers, Diana and other. (1994). From the land of the thunder dragon: textile arts of Bhutan. Serindia Publications. Lauer, David, and Pentak, Stephen, (1999), Design Basics. 5th ed. Wadsworth Publishing. Levinson, Jerrold. (2005). A The Handbook of Aesthetics Oxford Handbooks). USA: Oxford University Press. McIntosh, Linda. (2007). Weaving Paradise: Southeast Asian Textiles and Their Creators. Bangkok: Tilleke & Gibbins Press. McIntosh, Linda. (2012), Art of Southeast Asia Textiles: The Tilleke & Gibbins Collection. Chicago: Serindia Publication. Phillips, Janet. (2008). Designing Woven Fabrics. UK: Natural Timeout Publications. Schoeser, Mary. (2003). World Textiles: A Concise history. London: Thames & Hudson.

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Steed Josephine, Stevenson Frances. Basic Textile Design 01: Sourcing ideas. (2012). Switzerland: AVA Publishing. Van der Hoogt, Madelyn. (2002). The best of weaver’s: Fabrics That go Bump, USA: R Books. SACICT, (2013). “Teen Jok: The Tai Puan Legacy in Sukhothai”. Living Thai. no.2:29.

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Autobiography

Name Miss Vitawan Chunthone Contact e-mail: [email protected] Address 103 Mu 3, Somboonkul Road, Muang, Ratchaburi, 70000, Thailand

Educational Background 1996 Master of Arts (MA) Textiles/Fashion and Surface Design, Birmingham Institute of Art and Design (BIAD) University of Central England (UCE) , Birmingham , UK 1991 Bachelor of Fine Arts (BFA) Applied Arts Studies, Faculty of Decorative Arts, Silpakorn University, Bangkok Thailand

Professional Background 2009 – Present Guest Lecturer Accessories Design, Basic Textiles and Woven Textile, Department of Fashion Design, Faculty of Decorative Arts, Silpakorn University, Bangkok, Thailand 2004 -2010 Guest Lecturer “Two Dimensional Design” Department of Communication Arts, Faculty of Fine and Applied Arts, Bangkok University, Thailand 1998 - Present Full-time Lecturer Faculty of Fine & Applied Arts, Department of Fashion, Textile and Garment Design, Thammasat University, Thailand

Research Fund Research and creative Fund of Graduate School, Silpakorn University, 2011 Research Fund of Thammasat University, 2008