Event dates: Thursday 4 October – Saturday 6 October 2018
This two-day seminar at the University of San Francisco Center for Asia Pacific Studies – with lectures, site visits, and receptions—will provide a rare opportunity for the hands-on study of Himalayan thangkas. Participation by scholars, artists, museum professionals, art conservators, Buddhist community members, art collectors, and university students is welcomed. The programme will include close study of thangkas with lectures, group discussions, and curated visits to local temples and museums.
The work of art conservator and cultural emissary Ann Shaftel is at the forefront in the field of thangka conservation worldwide. USF will share her over four decades of experience working with museums, as well as the monasteries and repositories of the Himalayan world community. In addition to her conservation practice, Ann is a renowned teacher of international workshops to disseminate knowledge for the conservation of sacred arts in the US, Canada, Europe, Bhutan, Nepal, India and China. She is a Fellow of the American Institute for Conservation, and Fellow of the International Institute for Conservation.
For more information please contact Joyce Hulbert, firstname.lastname@example.org, or John Nelson, email@example.com. Register by Wednesday, Oct. 3.
Event date: Wednesday 19 September, 19:00.
This event, run by the Oriental Rug and Textile Society, features John Abbate of Bluehanded talking about how the ancient cultural heritage of hand-printed fabrics has a rich history and exciting contemporary future. Artisanal traditions of naturally dyed indigo ‘Lan Yin Hua Bu’ textiles are used for interior decor and fashion design. All the work is done by the hands of an Indigo Master and his family using locally sourced materials, which makes the fabric sustainable and ethical.
The dyeing technique, which has been unchanged for centuries, involves applying traditional hand-cut decorative patterns to natural cotton. Coating the fabric in soybean and lime paste, before soaking in specially formulated vat dyes, gives the timeless blue and white finish. Traditionally used as wedding gifts in the form of bedding and cloth bags, the patterns bestow auspicious wishes such as good luck, long life and wellbeing.
After 25 years of retail design experience with Ralph Lauren, Levi’s and Alfred Dunhill John moved to China as a retail brand consultant where he stumbled upon a beautiful blue and white cloth in the rubble of a Hutong in China. This discovery served as a starting point for his textile company. To John, luxury is in the unique perfect imperfection, individuality and craftsmanship that goes into the making each length of fabric. He works with designers to create new patterns that keep the ancient traditions alive.
Location: St James Piccadilly Conference Room, 197 Piccadilly, London W1J 9LL
Event date: Saturday 22 September, 2018, 10:00.
Among the rare artefacts collected under the custodianship of the Siam Society, the textile collection is prominent. It comprises items from various parts of mainland Southeast Asia, ranging from pieces belonging to the aristocratic class to tribal items, pieces extending from secular textiles to those created for ceremonial use. During this presentation, Thai Textile Society members and guests will have the opportunity to view selected pieces from the Society’s textile collection, including Shan aristocratic winter jackets, Tai Hun tube skirts and more.
Khun Ake (Thweep Rittinaphakorn) is curator of the Siam Society’s textiles collection, and an independent scholar whose main research focus is on textiles and art history, particularly of Myanmar, the Shan states and Thailand. He was guest speaker at the Siam Society, National Museum Volunteers group, as well as the Thai Textile Society. Khun Ake has also presented his research work on Shan royal costumes and Burmese silk tapestry woven textiles at international conferences and various other events.
Venue: The Siam Society, 4th floor, 131 Asoke Montri Road, Sukhumvit Soi 21
For more information and to reserve a place contact: firstname.lastname@example.org
Event date: Saturday 15 September, 2018, 13:00.
In Southeast Asia, textiles are often made by women for the purpose of donation to the local monastery; the textiles are then displayed in monastery buildings or on their grounds. The donations bring the women merit, which is important for Buddhist practice. These displays also give the women a chance to show off their weaving skills and have their work appreciated by others. This talk by Rebecca Hall will concentrate on Buddhist textiles in mainland Southeast Asia, with specific attention paid to the countries of Thailand, Laos, and Cambodia, and is held in conjunction with the just opened exhibition, Ceremonies and Celebrations which she curated. The focus will be on Buddhist banners, their form, and meaning, but will also include other kinds of textiles made and donated at monasteries. The motifs and scenes woven into the textiles are related to Buddhist beliefs and popular stories and help provide insight into the beliefs of laity across the region.
This event is run by the Textile Museum Associates of Southern California, but it is also open to non-members – museum admission fee applies.
Location: USC-Pacific Asia Museum, 46 N. Los Robles Ave. Pasadena, CA 91101. Time 13:00
(Limited Free Parking adjacent to the Museum)
Intertwined with the history of Buddhism in China, which dates back to the first century BC and has shaped the country’s culture, politics and art, jiasha, the robes worn by Buddhist monks, are an integral part of China’s material culture. Despite their significance, jiasha have been largely overlooked by historians, partly because so few examples exist today.
Jiasha are patchwork-like robes made by stitching smaller pieces of cloth together before applying decoration. The draped garment design is emblematic of monastic robes worn in India, the birthplace of Buddhism, and elsewhere in Asia. Rectangular in shape with an angled top edge, jiasha are traditionally worn draped over the left shoulder, with the addition of a single hook to fasten the robe around the torso.
Custom dictated that a jiasha was presented to monks in China on the occasion of their ordination. As such, the textile was made to be a material manifestation of Buddhist teachings and ideology. This begins with the construction of the garment. Jiasha are made by piecing together sections of cloth donated from members of the community in a patchwork-style design. Unlike patchwork, the arrangement of panels is very specific, influenced by the Buddhist mandala motif, with a core centre and flowing symmetry. The modest cut of the jiasha and pieced-together appearance references the rags worn by the Buddha during his ascetic period.
To read the full article by Emily Lush and Alan Kennedy visit the website of The Textile Atlas
Event date: 5 September 2018 at 18:30
This lecture by Sumru Belger Krody, senior curator at the Textile Museum, Washington DC shows how nomadic Anatolian women, descended from Turkmen nomads, wove colourful, visually stunning kilims that reveal their culture’s aesthetic preferences for decorating their surroundings. Today, these kilims are the only surviving tangible evidence of their makers’ nomadic lifestyle – a poignant legacy given that women generally did not have an external voice in this patriarchal society. The exhibition A Nomad’s Art: Kilims of Anatolia will be open before the talk.
This lecture is free, but reservations are required. For more details of this event held at the Textile Museum, Washington DC, click here
Event date: Tuesday 4 September 2018 18:00 – 20:00
Anna-Louise Meynell (Centre for Sustainable Fashion, University of the Arts London) has been conducting doctoral research in the remote state of Meghalaya, Northeast India. The research aims to explore and define the cultural heritage of eri silk weaving in the Ri Bhoi District, considering the socio-cultural history, the craft process and the materiality of the product.
Eri silk holds many social narratives of North East India. It is cultivated domestically and known locally as “the poor man’s silk” or “peace silk”, as it does not harm the silkworm in the extraction of the silk. Unlike the continuous filament of the mulberry silk cocoon, the eri cocoon is made up of short staple fibres which require it to be hand spun, resulting in a slubby texture with a dull sheen of silk. It is still almost exclusively dyed with natural dyes and traditionally woven on a simple bamboo floor loom.
The eri silk communities of Meghalaya have been exposed to significant social change and external interventions since pre-colonial times, much of which can be ‘read’ through a study of the textiles and techniques. Anna-Louise will show photos and samples from the archive of eri silk textiles that has been collected during fieldwork – samples that are indicators of tribal migration and assimilation, of colonial influence and widespread conversion from the indigenous Khasi religion to Christianity.
For further details and booking click here
This Oxford Asian Textile Group event will take place at the Pauling Centre, Oxford.
Event dates: 10 – 13 August 2018
To mark the auspicious occasion of Her Majesty Queen Sirikit’s 86th Birthday, the Sanjai Saiyai Phasin Club is organising the fourth Annual Sarong Festival to promote woven fabrics from all regions of Thailand. The event will be held from August 10 to 13 from 10am to 10pm at The Street Ratchadaphisek, Bangkok.
“We will bring woven fabrics from all over the country to salute Her Majesty Queen Sirikit and to also preserve and support Thai handicrafts in line with royal aspirations,” said the club’s president Nayada Amatavanich.
“The event will also feature talks by many famous Thai Fabric designers, among them Thanit Phoomsawai, a well-known designer from the drama “Buppesanniwas”, Wasin Oonjanam costume designer of the drama “Nakaraj”, artists who have created and rewoven fabric patterns such as Terdsak Insaeng, Pairat Sararat, Jongjarun Manakam and Suriya Wongchai, as well as additional Thai fabric experts from different regions. And we will demonstrate how to wear a sarong in various forms.”
In partnership with Feature Co Ltd, the club will also unveil a precious publication on woven textiles in Thailand.
Sanjai Saiyai Phasin Club was established on December 5, 2017 with the objective of preserving and promoting Thai sarong and woven textiles in all regions. It currently has more than 17,000 members.
The Lotha Naga in Longsa village, Wokha District, Nagaland, weave lotha – vividly coloured, geometrically patterned shawls that when worn, denote a man or woman’s social status in the community. The weaving of shawls, scarves and sarongs is done exclusively by women on loin or body tension looms, which are commonly used throughout northeast India. The Naga loom consists of a simple back-strap with a continuous horizontal warp. Basic tools such as warp beams, lease rods, healed sticks and beating swords are fashioned from debris, making the loom inexpensive and highly portable.
Cotton, wool and increasingly, rayon are all used for weaving the long, narrow shawls. Stripes, squares and bands of black, red and white colour are typically used; some designs are woven over with patterns depicting animals or human figures, symbolised by a circular shape. The finished lotha is warp-dominant and has a ribbed texture.
To read the full article and watch a short video on Lotha weaving visit the website of The Textile Atlas here
This woman’s dress or jumlo is the featured Object of the Month from the SADACC (South Asian Decorative Arts and Crafts Collection) Trust.
It was made from a woven black cotton fabric and is finely embroidered with silk threads. It is constructed from three main parts: a bodice, long wide sleeves and a full skirt comprised of numerous triangular inserts of cloth, known as godets. Symmetry is an important element in the design and jumlos are elaborately adorned with buttons, beads and coins. This particular example features beadwork, mother-of-pearl buttons, metal amulets, chains and Pakistani coins dating from 1948 and 1949. Some jumlo are further embellished with zips, lead weights, key and bath chains, padlocks and brass buttons.
Jumlos are made and worn by women from the Shin community. The Shin are semi-nomadic shepherds, who live mainly in the upper valleys of Indus Kohistan, in north west Pakistan, where farming is difficult due to the dry, mountainous landscape. The Shin people move their livestock to higher or lower ground in accordance with the seasons, leaving their village homes during the summer months.
The SADACC Trust is based in Norwich, UK, and more information on this jumlo and many other objects can be found on their website