In 2014 the Galloway Hoard was discovered by a metal detectorist. One of the highlights of this hoard was this vessel, which had been wrapped in textiles. Many of the items inside it had also been wrapped in protective textiles, including silk samite, which may have come from a weaving workshop in Byzantium, North Africa or Southern Spain.
Scientists have now been given a grant of £1 million to enable them to further examine the history of this hoard of Viking wealth. National Museums Scotland (NMS) will carry out the three-year project, which is entitled “Unwrapping the Galloway Hoard”, in partnership with the University of Glasgow.
Dr Susanna Harris, Lecturer in Archaeology the University of Glasgow (who has also worked on the textiles from Must Farm), and co-investigator on the project said:-
“The Galloway hoard is the richest, most varied and well-preserved collection of precious and exotic objects surviving from Viking-age Britain and Ireland. Beyond the silver, familiar from most Viking-age hoards, and the much rarer gold, is an unprecedented array of other materials such as bronze, glass, and rock crystal, entangled with the outstandingly rare preservation of organic materials (wood, leather, wool, linen, and silk).
Many objects are wrapped in textiles, including Scotland’s earliest examples of silk, which could have travelled thousands of miles to reach Scotland. These types of wrappings rarely ever survive and are archaeological treasures in their own right. The unusual survival of organic material like textiles will allow us to apply a range of scientific techniques that usually aren’t possible for the precious metals that tend to dominate treasure hoards.
Once we have identified and recorded the textiles wrapping objects, they can be chemically tested for dye to help us reconstruct lost colours which have faded over the centuries since burial, or they can be radiocarbon dated to help us reconstruct the long lives of these objects before they were buried. Certain types of scientific analysis are better suited to particular materials, but with this exceptional range of material we can apply various techniques and learn more about the whole Hoard. Unwrapping the Hoard, literally and figuratively, is a unique and wonderful opportunity.” University of Glasgow website.
An excellent overview of the hoard can be found on the website of National Museums Scotland. This includes several videos of the objects – highly recommended for jewellery lovers!
It’s difficult to be certain, but this portrait of Molotov appears to be chain stitch embroidery on broadcloth. The basic structure and outer motifs in the carpet below appear to be quite classical, but just look at the subject of the central lozenge.
The subject of Soviet propaganda was also examined by Irina Bogoslovskaya at the Textile Society of America Symposium in 2012 in her paper The Soviet “Invasion” of Central Asian Applied Arts: How Artisans Incorporated Communist Political Messages and Symbols. I remember being really struck by the some of the motifs Irina showed during her talk, the full text of which can be downloaded here. In it she states that “a powerful way to show the difference between Czarist and Soviet power was through mass-propaganda art” and explains how this applied not just to Socialist Realism in paintings, but also to textiles, carpets and even china.
The cotton print above celebrates the Turkestan-Siberia Railroad, juxtaposing the images of the traditional method of transport – camels – with the modern railroad. Another very popular motif was agricultural machinery, as featured on this design by Sergei Burylin in 1925.
It seems that in the late 19th century the Russian manufacturers were printing textiles designed to appeal to the Central Asian market – generally with floral motifs on a vivid red background. We often see these textiles used as the lining on ikat chapans. The textile below is quite different in that it is clearly imitating an ikat design. This example was exhibited at the World’s Columbian Exposition in Chicago in 1893 and was produced by the factory of Anton Gandurin and Brothers.
The earliest textiles in the collection were hand-blocked and the design was achieved using soot and drying oil. We then move on to examples using madder and mordant dyeing, and later to roller printing. There are lots of ways of searching within the collection. I found the section on agitprop textiles in the 1920s fascinating. Many feel very modern and daring in their designs, but some feel like more of a halfway house, incorporating new motifs such as aeroplanes and stars with the familiar floral elements and colour palette.
It’s also interesting to see how some Central Asian people adopted Soviet motifs. In Turkmenistan short neckties were embroidered by women for their husbands to wear to political meetings. Its clear that these were not traditional apparel as the Turkmen use the word galstuk – borrowed from the Russian – to describe them as there was no word for necktie in Turkmen. The embroidery style and the stitches used were typically Turkmen, but the motifs most definitely were not. Many incorporate important dates, the hammer and sickle, red star, or Kremlin clock tower.
A tush kiyiz is a wall-hanging intended for the interior of a Kyrgyz yurt. This particular example from the collection of the British Museum is far too large for that purpose and may well have been commissioned for a public building.
OATG members David and Sue Richardson have a very similar example in their collection. It was acquired 20 years ago in Bishkek and was said to have been made by an old lady from Novopavlovka. The date 1959 is embroidered on the central triangle. This textile illustrates the bizarre marriage of Soviet thinking and Soviet design with traditional Kyrgyz nomadic folk art. The border has been embroidered using quite thick cotton threads in chain stitch throughout.
The design is a celebration of the Soviet Union, being dominated by circular medallions representing the Soviet Socialist Republics. Most of the medallions conform to a set format, with a rising sun, a hammer and sickle, and some feature of the Republic concerned in the centre, and a frame of the local produce, mainly agricultural, such as wheat, maize, cotton, or trees.
The spaces between these medallions are filled with a variety of wild and domestic animals and birds: a butterfly, a goat, parrot, swan, geese, and cow; a horse, woodpecker and white doves of peace. On the tumar some of the birds, such as the hoopoe and cuckoo, are named and even a Soviet warplane gets in on the act!
Join curators Amber Lincoln and Jago Cooper at 20:00 GMT for a special online tour of the major British Museum Arctic exhibition. They will be celebrating the resourcefulness of Arctic Peoples, exploring 30,000 years of creativity and ingenuity, and addressing the unprecedented pressure that dramatic loss of ice and erratic weather caused by climate change are putting on Indigenous Communities.
You can watch this tour via Facebook or YouTube and for those in time zones which make this difficult it will be recorded and available later.
Several new online talks are scheduled for December. Here is my selection.
On 9 December Selvedge will host three specialists from different areas of the globe talking about the craft of resist dyeing. The speakers are Yoshiko Wada, renowned textile artist and President of the World Shibori Network, Abduljabbar Khatri from the Kutch region of India who specialises in bandhani, in which thousands of tiny knots are hand-tied onto stencilled designs and Sang Made Erass Taman, a leading batik artist who was born on Bali but now lives on Java. Booking is essential – click here for more details.
Don’t forget that our next online lecture will be by journalist and author Nick Fielding, a long-standing member of the OATG. The subject of Nick’s talk is Travellers in the Great Steppe – Nomads and their Textiles.Nick is a very engaging speaker with a wealth of knowledge in this area and this should be a fascinating talk.
This talk is scheduled for 10 December. As usual, it is free for OATG members, but registration is essential. Non-members may attend for a donation of £3 payable via PayPal. Please note there are very few tickets remaining so if you haven’t got yours – act now!
On 12 December the Textile Museum Associates of Southern California, in conjunction with rug and textile groups from Seattle, Colorado, San Francisco and Chicago present a free online talk entitled The Beauty of Boteh: A Textile Journey Across Village & Tribal Rugs by Dr Hadi Maktabi, a researcher, author and dealer from Beirut.
“What is the source of the boteh, or paisley, design, and how has it spread throughout the oriental rug world, transforming into both elegant and sophisticated swirling configurations, and more tribal geometric forms? It can be seen in a large variety of rugs and trappings, from high end urban Kermans to rustic Farahans all the way to nomadic Q’ashqais—and that’s just within Qajar Persia. Hadi Makabi’s program will discuss how this famous motif travelled from Kashmir shawls onto Persian textiles and ended up ubiquitously on rugs in the 19th century, by way of costumes and urban decorative pieces. This high-end association influenced rural and ethnic societies irrepressibly. What is wondrous is that the motif is still relevant today and has a seemingly endless variety of reinterpretation.” TMA/SC.
This talk takes place at 10am Pacific time (6pm in the UK) on Saturday 12 December. To register please contact the organiser Cheri Hunter.
Moving from rugs to textiles Fatima Abbadi will discuss Embroidery in the Age of Corona: Documentation and Practice from Iraq, Jordan and the Netherlands for the Islamic Art and Material Culture Collaborative (IAMCC), Toronto, Canada, on Saturday 19 December at 11am EST (4pm in the UK).
“In this conversation, Fatima will share her passion for Jordanian and Palestinian embroidery traditions and her ongoing project to teach embroidery in the Netherlands. She will also talk about the work of Suzan Sukari, a contemporary embroiderer from a Christian community in the northern Iraqi city of Qaraqosh. Despite the upheavals of war in her region, Suzan continues to produce special festive garments (charuga), that combine age-old designs and motifs with newly developed iconography representing scenes from everyday life. Fatima will also discuss her recent publication, Al-Salt: A Photo Documentary Project, and how she has employed photography to document, promote and preserve her Jordanian culture and heritage.” ROM
Our journal, Asian Textiles, is produced three times each year. In addition to this our editor, Gavin Strachan, is currently putting together a third Lockdown Newsletter, which should go out just before Christmas. If you would like to contribute something to this please email it to him as soon as possible. Perhaps you have an interesting story about a particular textile, a review of a book, a query about something in your collection that you would like to share? If so, Gavin would love to hear from you.
Today, 26 November 2020, is the inaugural Day of Chuvash Embroidery. This festival is associated with the birthday of Ekatherina Iosifovna Efremova (1914-2000) who dedicated her whole life to the study, preservation and development of Chuvash folk embroidery traditions.
Embroidery was the most developed genre of Chuvash decorative applied art. In the 18th to 19th century clothes and ritual objects were richly decorated with embroidery made using a counted thread technique on bleached hemp canvas. The embroidery technique was very diverse; more than 30 kinds of one-side and two-side stitches were used. Embroideries were made mainly with silk and wool threads. The predominant colour was different shades of red. The embroidery was enlivened with small highlights of yellow, green and blue. The embroidery was supplemented with appliqué of red braid and fringes made of threads and beads.
Handmade embroidery in still important in Chuvashia today; there are still numerous seamstresses working, and contests and exhibitions are carried out. In 2015 the Museum of Chuvash Embroidery was opened in Cheboksary.
The above text is translated from the original text, which was written by Kashpar Natalya. All of the images are the copyright of the Russian Museum of Ethnography.
This Saturday, 21 November, OmarJoseph Nasser-Khoury will give an online talk on Embroidery from Palestine: Disciplining the Past to Craft the Future. He will speak about his experiences working to document and understand certain techniques of embroidery and rural textile traditions from Palestine. He will focus on the techniques themselves, the people he has worked with, and some of the ideas he has developed along the way.In 2018 he worked on updating the Palestinian textile collection catalogue at the British Museum. Some of this work was under the supervision of our Chair, Helen Wolfe.
“The British Museum’s Palestinian textile collection constitutes one of the largest textile collections at the Museum, with over 1000 pieces, and is one the largest and most extensive in the world. The BM’s collection is unique in so far as it contains men’s, women’s and children’s dress (garments, hats, headdresses and face covers), cosmetic pouches and soft furnishings that roughly cover the period over the last 150 years. Most significantly, it contains day-to-day dress of both genders that is often missing in other notable collections.” – British Museum website.
“The Palestinian textile collection is partly made up of two missionary collections which were acquired by the British Museum in the 1960s; the Church Missionary Society (CMS), and the Jerusalem and East Mission (JEM). These missions collected dress and textiles based on certain orientalist beliefs and historical misconceptions that regarded the 19th century styles of rural Palestine as unchanged since biblical times.” OmarJoseph Nasser-Khoury.
During his time at the British Museum OmarJoseph examined the stitching used on the textiles in great detail. He concluded that a particular motif from the south Palestine region (irq-il-loz – almond branch) was not embroidered with stem stitch as had previously been understood, but was in fact produced using a couching technique. He has recently co-authored the book Seventeen Embroidery Techniques from Palestine: An Instruction Manual.
This talk is hosted by the Institute of Islamic Studies at the University of Toronto. It will take place at 1600 GMT and is free, but advance registration is required.
This event is part of an eight-part monthly series entitled “Crafting Conversations: Discourses on the Craft Heritage of the Islamic World – Past, Present and Future,” an initiative of the Islamic Art and Material Culture Collaborative (IAMCC), Toronto, Canada. There are several talks featuring Asian textiles. For more information click here. If you have any questions or want to be added to the IAMCC mailing list, please email Dr Fahmida Suleman, Curator, Islamic Art and Culture, Royal Ontario Museum.
Regular readers may remember that in my previous blog I wrote about the Textiles on the Move online conference, explaining that videos of the full proceedings were now available to view. They will only be available until tomorrow, 15 November 2020, so if you still haven’t seen them you need to act fast!
The programme was very varied, with an impressive line-up of speakers looking at kantha from Bengal, kanga from Africa, Turkmen carpets, Javanese batik, Silk Road textiles and much, much more. You can download the programme and abstracts here.
Click here for more information and to access all of the videos .
Last October the Brunei Gallery at SOAS in London hosted a very successful exhibition of African textiles from the renowned collector Karun Thakar. One of the highlights of the exhibition was a group of Asafo flags from Ghana. Now over 250 of these flags form an online exhibition, in which the flags have been divided into three groups by age – 19th century to early 1900s, 1920s to 1957, and 1957 to the 1970s.
Before viewing the flags, I would highly recommend reading the excellent short article Proverbs on Parade by Duncan Clarke, written to accompany it. In it he explains that the Asafo were military associations and that the flags are appliqué- and embroidery-decorated cloth banners, which were produced by local specialists.
“Asafo flags are paraded through the fishing villages and towns of the Fante region in a vibrant tradition that depicts a cast of characters blending local mythology with European heraldry. Kings and queens interact with soldiers and musicians, dragons and gryphons, elephants and leopards, whales and sharks, ships, trains and aeroplanes.” – Duncan Clarke.
Clarke goes on to explain how certain images could only be used by specific groups, and that the use of an image from another group could have dire consequences. He also gives the meaning behind some of these images – many of which are linked to proverbs.
Having read the article I had a better understanding of and appreciation of the flags in the exhibition. You can see a high quality enlargement of each flag by clicking on the relevant image.
Now to two exhibitions on a very different theme. The Asian Civilisations Museum in Singapore is showcasing Chinese textiles in the exhibition Fashion Revolution: Chinese dress from late Qing to 1976. We might not be able to travel at the moment, but thankfully a virtual online tour is available. Clicking the arrow in the bottom left of the screen will give you a very quick overview. I then found it easiest to press the View Floor Plan button (just along from the arrow). If you then point to a circle it will bring up information about that particular textile.
The Textile Museum in Krefeld, Germany, has a new exhibition entitled Drachen aus Goldenen Fäden – Dragons from Golden Threads. This exhibition has been curated by Walter Bruno Brix and contains some very special pieces, including the priest’s robe shown below. More information on some of the extraordinary pieces, as well as additional images, can be found in this article by Petra Diederichs for RP Online.
An 18 minute video of the exhibition has also been produced. Even if you don’t speak German it is well worth watching as it is a visual treat!
The Musée Yves Saint Laurent in Marrakesh has a new exhibition from the collection of Bert Flint, a Dutchman who moved to the city in 1957. He collected textiles, jewellery and other beautiful items from across North Africa, the Shara and the Sahel. He also has a small museum in the heart of the old part of the city.
Our recent online lecture by Sarah Fee was a great success, and we have received lots of positive responses to it. The talk was recorded and will be available for members to view shortly in a password-protected area of our website. A notification of the password will be sent to members.
Our next online lecture will be by journalist and author Nick Fielding, a long-standing member of the OATG. The subject of Nick’s talk is Travellers in the Great Steppe – Nomads and their Textiles. Nick is a very engaging speaker with a wealth of knowledge in this area and this should be a fascinating talk.
This talk is scheduled for 10 December. As usual, it is free for OATG members, but registration is essential. Registration will be open for OATG members EXCLUSIVELY until 20 November (you should have already received the invitation), after which any remaining places will be offered to non-members.
The next edition of Asian Textiles should have reached most members by now. This includes a lengthy article on Naga textiles by Joanna Cole and Julia Nicholson of the Pitt Rivers Museum and another on Pekalongan batik by Maria Wronska-Friend. I’m sure weavers will be fascinated to read the research on a Taiwanese Kahabu flag by Tsai Yu Shan.
Don’t forget that members can access pdf copies of all editions through our website. Non-members can access all but the last three years here
In addition to this our editor, Gavin Strachan, is currently putting together a third Lockdown Newsletter, which should go out just before Christmas. If you would like to contribute something to this please email it to him by 7 December. Perhaps you have an interesting story about a particular textile, a review of a book, a query about something in your collection that you would like to share?
With all of these exciting developments why not consider becoming a member? Although we are the Oxford Asian Textile Group we do have many members from throughout the UK and the rest of the world. Details of how to join can be found here.
PLEASE NOTE Subscribers who usually read this blog via their email may need to click on the blue title to access it through our WordPress site instead to enable them to watch the video.
Last month I blogged about the major online conference organised by the IIAS Leiden, Tracing Patterns Foundation, and the Textile Research Centre Leiden. The title of the conference was Textiles on the Move, and it took place from 6-9 October. “The theme of the online conference relates to the changing role, importance and significance of textiles and garments when they are moved from one particular cultural environment to another. Particular emphasis is laid on the movement of textiles and garments in Asia, and between Asia and the rest of the world.” – IIAS .
The programme was very varied, with an impressive line-up of speakers looking at kantha from Bengal, kanga from Africa, Turkmen carpets, Javanese batik, Silk Road textiles and much, much more. You can download the programme and abstracts here.
The good news for those who were unable to participate is that recordings of this conference have now been made available and you can watch them online until 15 November.
The first video begins with a welcome by Willem Vogelsang of the International Institute for Asian Studies. He is followed by Sumru Belger Krody of the George Washington University Museum and The Textile Museum whose subject is Beauty & Purpose, Prayer Carpets and their Design Impact.
Next is Ariane Fennetaux of the Université de Paris, speaking on Interwoven Gowns: Japanese Inspired Night Gowns Ready Made on the Coromandel c. 1700. Marie-Eve Celio-Scheurer of the George Washington University Museum and The Textile Museum then talks about Wiener Werktätte Textiles from the Cotsen Textile Traces Study Collection.
Finally OATG member Chris Buckley and his partner Sandra Sardjono of the Tracing Patterns Foundation show a modified version of the presentation on Minankabau Textiles and Looms, which was previously exclusive to OATG members for a while.
The above is just the first of 4 videos. Click here for more information and to access all of the videos – but remember they are only available until 15 November 2020.
“A philosophy originating in medieval India, Tantra has been linked to successive waves of revolutionary thought, from its sixth-century transformation of Hinduism and Buddhism, to the Indian fight for independence and the rise of 1960s counterculture……
Elements of Tantric philosophy can be found across Asia’s diverse cultures, but it remains largely unknown – or misrepresented – in the West. The exhibition showcases extraordinary objects from India, Nepal, Tibet, Japan and the UK, from the seventh century AD to the present, and includes masterpieces of sculpture, painting, prints and ritual objects.” British Museum website.
One of the objects which features in this exhibition is this beautiful thangka from Tibet. It was initially in a sorry state and in desperate need of conservation. I really enjoyed reading this blog by Alice Derham and Teresa Heady about just what this entailed.
Seattle Art Museum are running a series of lectures under the heading Virtual Saturday University. The topic which caught my eye is Korean Culture in Five Colors. This takes place at 10am on Saturday 7 November (1800 in the UK). Sunglim Kim of Dartmouth College will “Explore the traditional five-color system of East Asia in its Korean expressions, which identified the elemental colors as white, black, blue/green, red, and yellow. Kim’s talk investigates the pigments used, color associations, and their use in various art media including painting, ceramics, textiles, architecture, and even food.” SAM website.
News of another interesting lecture reached me via OATG member Judy Cottrell. Serena Lee will be giving a presentation on The Yi Tribes: Extraordinary Ethnic Dress in Southwest China to the Textile Museum Associates of Southern California on Saturday 31 October, but non-members are also welcome to attend this online lecture. It takes place at 0930, which is 1630 in the UK. Registration is essential.
I also recently came across a wonderful collection of photographs, taken in Indonesia. They are from an exhibition entitled Garden of the East: photography in Indonesia 1850s – 1940s, which was held in 2014 by the National Gallery of Australia. The accompanying video shows a great variety of these images, many of which show people in traditional dress.
PLEASE NOTE Subscribers who usually read this blog via their email may need to click on the blue title to access it through our WordPress site instead to enable them to watch the videos.
Tomorrow, 15 October 2020, the Japan House, London will host a panel discussion on the making of the film Ainu – Indigenous People of Japan by director Mizoguchi Naomi.
“Filmed in Biratori, Hokkaido, this documentary follows the everyday life of four elder members of the Ainu community, focussing on their experiences and efforts in the preservation of history and culture through Ainu language classes and participation in several daily activities.” – Japan Society website.
After the panel discussion, registered participants will be able to watch a full screening of the film via a video link. For more information and a link to how to book click here.
In a previous blog (2 October) I mentioned another Japan Foundation event – an online talk entitled Kimono Crossing the Sea – Its Power to Inspire Imagination and Creativity on Friday 16 October at 1200 BST.
OATG member Felicity Wood has kindly informed me of another kimono-related talk – The Unbounded Potential of Kimono, Kyoto to Catwalk – this time organised by the Embassy of Japan. This online talk takes place on Tuesday 20 October at 1300 BST.
“Against the backdrop of the ongoing exhibition at the V&A, Kimono: Kyoto to Catwalk, its curator and Keeper of Asian department, Anna Jackson, will be in conversation with Kimono designer Jotaro Saito, who will join from Japan. The two will talk about the exhibition, how they met, and about Jotaro’s convicition that the kimono is an everyday object of fashion that fits into modern life. In following the notion of a total look, in which the designer creates the garment, obi, and all the accessories, the session will explore what this philosophy means in practice for Jotaro Saito’s designs.”
A new exhibition entitled Fibres Africaines opened at the Musée de la Toile de Jouy near Paris on 1 October, and this will run until 28 March 2021.
This exhibition will celebrate “the creativity and diversity of African textiles. While some fabrics are made with precious materials such as silk or glass pearls, others have the audacity to be real luxury pieces, yet designed from humble materials. Raffia fabrics, tree bark, cottons colored with natural dyes such as indigo can be regarded as real works of art for the virtuosity of their manufacturing techniques.” – museum website.
I found this blog by Sarah Foskett of the University of Glasgow Textile Conservation team really interesting. In it she gives some background to a five year project looking at Pacific barkcloth.
Last month they held several online workshops and a website has now been launched. This is still being developed, with new information constantly being added.
There are also a series of videos showing some aspects of barkcloth production. The one above focusses on some of the dyes used.
On Saturday 7 November the Textile Museum, Washington will host another Rug and Textile Appreciation Morning. The presenter will be Alberto Levi, and the subject is Italian Peasant Rugs. “In this illustrated lecture, independent researcher Alberto Boralevi will explore how textiles produced in the Italian folk tradition blend designs and techniques from the East and West……. The term “peasant rugs” generally refers to textiles produced by Italian folk tradition, primarily from the peninsula’s central-southern zones, as well as Sicily and Sardinia. The techniques and patterns of these Italian rural weavings share a striking affinity with the tribal weavings of Anatolia, Persia, and the Caucasus.” – Museum website.
For more information and to register please follow this link.
On Wednesday 21 October and Thursday 22 October the Textile Museum will host a two-day roundtable to celebrate the creation of the new Cotsen Textile Traces Study Center.
“Beginning with an introduction to Lloyd Cotsen’s collecting and an overview of the collection and study center, the roundtable will feature five one-hour panels highlighting textiles from five continents, including an Indian robe for Indonesia, a Kuba hat, and Captain Cook’s sample book of tapa cloth.” – museum website.
The subjects of the five panels are : Asia, Europe-Central Asia, Africa, Americas and Oceania. Our founder, Ruth Barnes, will look at a patchwork coat (pictured above), created from over 100 small pieces of Indian block-printed textiles. and intended for Indonesia.
In her presentation Hélène Dubied will look at a Central Asian silk weft-faced compound twill, which dates to the seventh to tenth century. This is part of the permanent exhibition of the Abegg Stiftung. The presenter will give details of how this delicate textile was conserved.
I have a particular fascination with Captain James Cook, so will be most interested in Adrienne Kaeppler’s talk on the Alexander Shaw Barkcloth Books. These books are made up of pieces of barkcloth from Cook’s actual voyages!
These are just a few of the highlights of this event – the pdf with the full programme can be accessed here. Please note registration is essential.
I’ve mentioned the superb videos produced by the Tracing Patterns Foundation in previous blogs. Their latest release is called Kantha Reimagined: From Private to Public . This was co-produced with Kantha Productions LLC.
The presenter this time is Cathy Stevulak, who explains the importance of kantha as a women’s artform in Bengal. I was intrigued to learn of references in the 6th century BCE to kantha being worn by ascetics.
PLEASE NOTE The video referred to in the title is no longer available. I will add it to a future blog when it is.
OATG member Dr Sarah Fee will be giving our first Zoom lecture later this month. Dr Fee is Senior Curator, Global Fashion & Textiles (Asia and Africa) at the Royal Ontario Museum, Toronto.
For the first time in 50 years, the Royal Ontario Museum’s world-renowned collection of Indian chintz is being presented to the public in a new original exhibition. Lead curator Dr. Sarah Fee will share highlights from the exhibition and discuss its wider narrative arc that traces 750 years of global trade in, and desire for, this most-influential of India’s trade textiles, from medieval times to the present. She will also share the challenges of bringing the exhibit to fruition during this time of global pandemic.
This online talk will take place on Wednesday 21 October at 1830 BST. This event is free for OATG members and just £3 (payable by Paypal) for non-members. Please note that registration is essential.
We have another excellent talk lined up for December, and the next edition of Asian Textiles is out later this month so why not consider joining us? Click here for more details.
The Seattle Art Museum will host an online lecture TOMORROW with the intriguing title of Dragon’s Blood and the Blood of Dragons. This is part of their Saturday University Lecture Series: Color in Asian Art – Material and Meaning. The presenter is Jennifer Stager, Associate Professor of Art History, Johns Hopkins University.
As an entry point into attitudes toward color, this talk considers the red pigment identified as cinnabar or dragon’s blood in the ancient Mediterranean. The Roman historian Pliny the Elder attributes this pigment (derived from Socotra tree resin) to the blood of actual dragons living on the Indian subcontinent. His critique of painters for their indulgence and excess in using it—and the persistent idea that colors contaminate—stands against an idealized whiteness constructed in opposition to the materials and geopolitics of other cultures. Prof. Stager examines the afterlives of Pliny’s fantastical slander. Seattle Art Museum website.
This talk will take place on Saturday 3 October at 1000 Seattle time, which is 1800 in the UK. You need to register in advance.
The Japan Foundation are hosting an online talk entitled Kimono Crossing the Sea – Its Power to Inspire Imagination and Creativity on Friday 16 October at 1200 BST. Renowned fashion historian and curator, Fukai Akiko, will discuss how the kimono was depicted in the latter half of 19th century and the intriguing relationship between the kimono and artists.
For progressive artists such as Manet and Whistler, as well as innovative fashion designers such as Paul Poiret and Madeleine Vionnet, the kimono was not merely a beautiful garment invoking exoticism, but an inspirational source for their creativity and, as a result, we are able to perceive its significant influence in their pieces. – Japan Foundation.
The talk will be preceded by an introduction by Anna Jackson, the Curator of Kimono: Kyoto to Catwalk, and a brief conversation with Fukai Akiko will follow her lecture. Register for the talk here.
Finally Marilyn Murphy and her team at ClothRoads have put together another great list of textile-related events. Their list is definitely worth subscribing too as they often feature events that I don’t come across elsewhere.