Event: Sumba – Island of the Ancestors

Event date: Thursday 19 July, 6-7:45pm

OATG members David and Sue Richardson first visited the Indonesian island of Sumba in 1991. They have since returned many times, drawn back by its fascinating culture and fabulous textiles.

This talk will briefly cover the history and ethnography of Sumba, before focussing on its weaving culture. Textiles are fundamental to life on this island, being used extensively in bridewealth exchanges, for settling disputes, and for funerals. Two main techniques are used – supplementary warp and warp ikat. It can take many months just to do the binding for one of the ikat cloths, with some requiring up to 20,000 separate knots.

David and Sue will also be showing some wonderful examples from their extensive collection – including textiles made by members of the Sumbanese Royal families.

Location: The Pauling Centre, 58a Banbury Road, Oxford OX2 6QS.

Time: 6pm for a 6:15 start

OATG events are free for members and £3 payable on the door for non-members. Advance booking is recommended.

Should you require disabled access, please do get in touch beforehand to make sure adequate provisions can be made.

For more information, and to book a place at this event, visit the Eventbrite page.

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Exhibition: Empire of the Sikhs

 

Exhibition dates: 12 July – 23 September 2018

This major free exhibition telling the story of the last great native kingdom which challenged the British for supremacy of the Indian subcontinent opens today. The Sikh Empire (1799–1849), which spanned much of modern day Pakistan and northwest India, was forged by the ‘Napoleon of the East’ Maharaja Ranjit Singh (1780–1839) who became known as Sher-e-Punjab, the Lion of Punjab, over his forty-year reign.

Maharaja Ranjit Singh established a powerful military meritocracy that included many European officers. His empire offered a crucial buffer state between the British and incursions via the Khyber Pass. The one-eyed king was a trusted ally of the British but also a potentially formidable opponent.

The inevitable clash with the British came in the form of two bitterly fought Anglo-Sikh Wars (1845–46, 1848–49) in which British pre-eminence hung in the balance as they came within hours of a total surrender. But through treachery, victory was turned into defeat for the Sikhs whose territories, treasury and fighting men became incorporated into British dominion.

A source of great interest to British visitors to the Sikh royal court prior to annexation was the Koh-i-Noor diamond, which was wrested from Afghan hands in 1813. The fabled jewel was eventually presented to Queen Victoria on 3 July 1850 in the armlet that Ranjit Singh had specially made for it. Fitted with a rock crystal replica of the original, uncut Koh-i-Noor, it is now preserved as part of the Royal Collection and will be one of the highlights on display along with a stunning array of over 100 objects and works of art from leading private and public collections.

Among them will be glittering jewellery and weaponry from the Sikh Empire including personal items that belonged to Maharaja Ranjit Singh and the most famous of his thirty ‘official’ wives, Maharani Jind Kaur. They were the parents of the deposed boy-king Maharaja Duleep Singh and grandparents to prominent suffragette (and goddaughter to Queen Victoria), Princess Sophia Duleep Singh.

For more information visit the website of the Brunei Gallery, SOAS, London.

Exhibition: Four Corners of One Cloth – Textiles from the Islamic World

 

 

Exhibition dates: 23 June 2018 – 2019

From Syria, Iraq, Turkey and Yemen – the four corners of the Ka’bah – textiles from the Whitworth collection will be brought together, extending to the widest reaches of influence of the Islamic world.

A section of a Kiswa will form the heart of the exhibition. The Kiswa cloth covers the Ka’bah and is replaced each year during Hajj (pilgrimage to Mecca). Positioned in the direction of Mecca, it will be seen from the very front of the Whitworth, drawing visitors in.

Burnished indigo, silk embroidered robes, tent hangings and Dervish hats stitched with script will surround the Kiswa. From Syria, Iraq, Turkey and Yemen – the four corners of the Ka’bah –textiles from the Whitworth’s collection will be brought together, extending to the widest reaches of influence of the Islamic world.

For more information visit the website of the Whitworth, University of Manchester, UK

Article: Diversity and Exquisiteness – Examples of Three Asian Textile Sample Books

 

 

In this article Andrijana Sajic, Senior Book Conservation Coordinator, Thomas J. Watson Library (Metropolitan Museum of Art, New York) discusses three Asian textile sample books from their Special Collections.

The first of these is Japanese Textiles, whose accordion structure allows readers to see either side of the book because they are mounted on the front and back of the boards. Based on the thickness and patterns of the samples, the textiles were used for mounting hanging scrolls. The book could have belonged to an individual scroll maker or studio, and been used as a personal record or a commercial reference guide. While little is known about this sample book, it is certain that these beautiful, thin, woven silks, with their extraordinary motifs, metallic threads, and metallic leaf applications, are remarkable samples of cloth.

Another Japanese textile sample book is Nippon Hand Weaves in Kusakizome Dyes, published in 1959 by Akira Yamazaki. Unlike the Japanese Textiles book, this book contains detailed information about its function and maker’s intentions. It is a collection of twenty-six plant-dyed, handwoven textiles that were specifically made for this book and created, as the author states in the introduction, to “transmit the wealth of the past.” This elegant structure contains information about each cloth sample and plant used in the dyeing process, and also about the materials used in the construction of the book.

The textile sample book Balai Penelitian Batik, which has an unknown date of production, was created by the Ministry of the Industry of People of Jogjakarta and Batik Research Centre. Unlike the two other books presented here, this is a manual that leads the viewer through steps in batik production, in both English and Indonesian. Each page contains a sample of treated cloth, a brief description of the process, and an illustrative photograph.

The information in the introduction does not explain the institution’s intention in creating this manual. However, this publication clearly captures the complex, time-consuming process of batik production and educates readers through didactic samples that illustrate the wax-resist dyeing technique with copper stamps. Descriptions are brief and factual, and samples are the focal point of the page. The viewer is invited, through nine consecutive cloth samples, to see and feel the transformation of pure starched white cloth into a finished batik design, a sample of which is adhered to the front cover of the book.

To read the full article click here

Exhibition: The Boteh Of Kashmir And Paisley – The Signature From The Most Revered Cloths Of Creation

 

 

Exhibition dates: 29 June 2018 – 2 February 2019

This exhibition looks at the development of the boteh motif and Paisley shawl from the late sixteenth to the late nineteenth century. Designs in the Mughal period were based on naturalistic forms and flowering plants, evolving into an increasingly symbolic style. This was followed by the cone shape and then with the elongated forms following a stylised representation of the boteh. Lots of information can be found in the exhibition catalogue here

For more information visit the website of the Lacis Museum of Lace and Textiles Berkeley, California

 

Event: A Revolution in the Bedroom – How Indian dyed cottons transformed Europe’s interiors in the 17th and 18th centuries

 

Event date: Friday 29 June 2018 at 18:00, Royal Ontario Museum, Toronto.

Brightly coloured, washable Indian cotton fabrics revolutionised the décor of bedrooms and living-rooms of western households as soon as they were introduced in the 17th century.

Join Indian textiles specialist Rosemary Crill for a fascinating look at how the hybrid designs of these chintz fabrics, with their exotic flowers and trees, fed into the 18th-century craze for Chinoiserie, and how they became a staple element of western design vocabulary.

For more information visit the website of the Royal Ontario Museum

 

 

Exhibition: Fabric Africa – Stories Told Through Textiles

 

 

Exhibition dates: 30 June 2018 – 19 May 2019, Bristol, UK

Fabric Africa is a stunning snapshot of the diversity of modern and historic textiles from across the continent of Africa.

Highlights from the World Cultures and British and Empire and Commonwealth collections of Bristol Museum & Art Gallery will reflect the variety of patterns, colours, materials and techniques created as well as focusing on the personal and provocative stories they can tell.

The selection of textiles and clothing dates from the late 1800’s to the present day and come from Nigeria, Ghana, Kenya, South Africa, Sudan, Mali and Swaziland amongst others.

From mud cloth to adinkra, barkcloth dresses to kanga cotton prints, ‘royal’ kente cloth to huge embroidered agbadas, this exhibition will give a taste of the amazing ingenuity of the textile artists of Africa and explore the importance of cloth in social and political lives of those who wear them.

There are also some individual stand-out pieces like the 1980’s European style dress and suit made from barkcloth – the clothes were a gift to some European friends from a Ugandan chief – and a Victorian style heavy cotton dress worn today by Herero women from Namibia.

For more information visit the website of the Bristol Museum & Art Gallery

 

Exhibition: Weaving New Worlds

 

Exhibition dates: 16 June – 23 September 2018

“This is not a story of genteel craft work.” – Lesley Millar (curator) on the new exhibition at the William Morris Gallery, London.

This is certainly true of the diptych of Kim Jong Un by Pat Taylor, and Bandages by Mari Meen Halsoy, a Norwegian artist living in Beirut.

The old buildings of Beirut still carry holes left by bullets and shells during 15 years of civil war in Lebanon, and many of its people have matching psychological wounds. Halsoy is attempting to heal both through her work.

The project, installed by Mari Meen Halsøy at the William Morris Gallery in Walthamstow, north-east London, recreates the wall of a shattered building known as the Yellow House. The building is located on the former “green line” that divided Christian east Beirut and Muslim west Beirut during the 1975-90 war.

At first glance the work combines beautiful pieces of traditional tapestry, some as small as postage stamps, which are dyed in muted shades of grey, blue and ochre. In fact, each has been precisely matched in size, shape and colour to a hole left in the Yellow House wall by bullets or shells, many of which took human lives. Each tapestry is made from a tracing on cotton fabric taken directly from the wall’s surface.

Tapestries have always told stories. In this exhibition 16 women artists from the UK, USA, Norway, Canada, New Zealand and Japan weave the stories of our time: the possibilities, the hopes and lost chances. Using the traditional hand woven tapestry techniques that connect us to the past, they have taken contemporary images and events, personal dreams and feelings. The tapestries range in subject matter, from reflections of rural mythologies, to floods and urban decay. Always at the heart of the work is the human condition, the artists offering us both a utopian and dystopian view – the choice is ours.

For further information on the exhibition visit the website of the William Morris Gallery, Walthamstow, London.

To read more about the Bandages installation click here

Event: ORTS Film Night

 

 

Event date: Wednesday 20 June 2018 at 6.30pm, St. James Piccadilly 

As part of their summer programme the Oriental Rug and Textile Society (ORTS) will be hosting a film night focussing on the Bakhtiari.

Antony Wynn, who spent many years living in rural Iran, will be showing two films about the migration of the Bakhtiari tribes.  The first one “Grass” is a classic silent film made in 1925 by three Americans who made their way across Turkey and Iraq to meet the Bakhtiari in their winter quarters  and follow them and their flocks over swollen rivers and up over snow-covered mountain passes to reach their summer pastures.  It is a very dramatic film and shows clearly how tough life was for the nomads in those days.

The second film “People of the Wind” was made by the late Shusha Guppy in 1976, following the same route with descendants of the same people, and it shows what had changed and what had stayed the same over those fifty years. This could be a long evening, so there will be an interval between the two films.

The doors open from 6pm with drinks and snacks being served. Non-members are welcome at a charge of £7 (£5 for students).

For details of the location visit the ORTS website

Event: World Textile Day – Scotland

 

Event Date: – 16 June 2018 10:00-16:30, Bridge of Allan.

The World Textile Day team write: You can say this about Scottish textile lovers – they really do go the extra mile, with visitors coming all the way from the Borders, Aberdeen and Inverness to ogle our array of textile treasures. In 2018 we’ll be back at our great venue in Bridge of Allan for the 6th year – astounding!

The SPECIAL GUEST SPEAKER will be Diane Gaffney, textile trader, collector and traveller discussing Many Hands Make Light Work: Incredible Handmade Asian Textiles. There will also be a Fair Trade Market showcasing a wide variety of textiles.

Free parking available nearby!

For more details visit the World Textile Day website