Exhibition: Collecting and Recollecting

Exhibition dates: 22 February – 14 July 2019

This exhibition has just opened at the International Quilt Study Center & Museum (IQSCM), which has the largest publicly held collection of quilts in the world.

According to the curator Marin Hanson

“Throughout western India, people make quilts for practical reasons: to have something to sleep under, to hang in doorways, to augment dowries, to sell. They make quilts for personal reasons, as well: to document daily life, to offer as gifts, to signal group affiliation or individuality. The quilts in this exhibition were made by women and men from towns and villages across the states of Gujarat, Maharashtra, and Karnataka. These craftspeople come from varied geographic, economic, and social backgrounds, but all value quiltmaking for the creative outlet it provides. The textiles often share visual and material similarities, but they also reflect their makers’ own communities, personalities, and life stories.”

Hanson goes on to explain how the IQSCM worked with researchers from various backgrounds to examine the quilting traditions of three regions: Gujarat, Maharashtra and Karnataka. Research on the quilts of Gujarat was carried out by Martha Wallace and Patricia Stoddard – the author of Ralli Quilts. They were assisted by Alok Tiwari and Salim Wazir, who is well-known to all who have had the good fortune to visit Bhuj.

Bhopa Rabari quilt. © IQSCM

Geeta Khandelwal from Mumbai has made and studied quilts since the 1970s. Recently she spent three years examining the quilts of Maharashtra. The quilt depicted below uses not only pieces srom saris and blouses but also seed bags that have the logo of the distributor printed on them.

Joshi quilt. © IQSCM

Karnataka quilts were studied by two different researchers – Henry Drewal and Shubhapriya Bennur. Henry Drewal was fascinated by the quilts of the Siddi people of northern Karnataka which are known as kawandi. These are usually made by older ladies, who are not able to work on the land. Drewal became involved in establishing a Quilt Cooperative to help these women to sell their textiles.

Siddi kawandi. © IQSCM

The quilts studied by Shubhapriya Bennur are known as kaudi. Most of these are formed from scraps of recycled clothing and they come in several different types for a variety of uses – baby quilts, ceremonial quilts, sitting quilts and bedcovers. 

 

Bedcover from northern Karnataka. © IQSCM

There are many more images of quilts featured on the museum’s website under the Featured Works section, with detailed information on the history and use of each example.

 

Location: International Quilt Study Center & Museum, University of Nebraska, Lincoln.

 

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Exhibition: Traded Treasures – Indian Textiles for Global Markets

Exhibition dates: 26 January – 9 June 2019

13th or 14th century cloth from Gujarat, made for the eastern Indonesian market

This recently opened exhibition at the Johnson Museum of Art, Cornell University, showcase the collection of Banoo and Jeevak Parpia.

“Known for many centuries as the source of fine cotton and silk textiles, India has produced some of the world’s most innovative textile traditions. Spanning five hundred years of the history of India’s thriving commerce to Southeast Asia, Europe, and Japan, this exhibition reveals why Indian textiles were in demand the world over.

Some of the earliest surviving Indian textiles are printed and painted cotton fragments found in Indonesia. Along with silk double-ikat patola, these were used for ceremonial purposes and treasured in Indonesia as heirlooms. The maritime trade that relied on supplying Indian textiles to Southeast Asian markets in exchange for spices was first conducted by Arab, Persian, and Indian merchants but later dominated by Portuguese, Dutch, and British traders, which expanded the demand for Indian chintz and embroideries in Asia and Europe.

The textiles presented in this exhibition…….. tell a fascinating story of global commerce and the ingenious ways that Indian artisans designed and produced goods of astonishing beauty and technical sophistication, while also revealing how cross-cultural interchange contributed to global aesthetic developments.”

A fully illustrated catalogue on the history of the Indian textile trade, is due out in March 2019 and will have contributions by many leading experts, including our founder Ruth Barnes, Kaja McGowan, and Sylvia Houghteling.

Location: Bartels Gallery, Johnson Museum of Art, Cornell University, 114 Central Avenue, Ithaca, NY.

 

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Event: Unpicking Woven Heritage – Cultural narratives of handwoven eri silk textiles from Meghalaya, Northeast India

 

 

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: Legend of the Loom – film and talk

 

Event date: Thursday 12th April, Barbican, London

The 3rd London Bengali Film Festival launches at the Barbican with the red carpet UK premiere of the documentary ‘Legend of the Loom,’ focusing on the Muslin cloth, trade and demise of the industry.

Researched and scripted by Saiful Islam, the film covers the story from the first foreigners to come to Bengal in search of its fine textiles, the establishment of empires and the opening of trade routes which began to connect the subcontinent to the wider world. Along the way, weavers, farmers, experts, designers, scientists and artisan’s give their views, add nuggets of information and display techniques which make the story come alive.

The film is introduced by Saiful Islam (CEO-Drik (Bengal Muslin), who is also be leading the Q&A after the film.

For more information and to book visit the website of the Barbican

Article: Master Weavers of Bhujodi

 

 

Up until fifty years ago, weaving was not an year-round activity. Bhujodi’s inhabitants dedicated half of the year to farming, and the other half to weaving. But due to climatic shifts that caused inconsistency of the monsoon and its consequential lack of water, farming became less reliable. In order to sustain a living, the shift to weaving became the community’s main livelihood.

The village of Bhujodi is now full of weavers. But how does one distinguish the quality of a weaver’s work from that of another, beyond that relative degree of “taste” that one may own, or years of expertise most people do not possess? Dinesh’s response is humorous and poignant: “It’s just like handwriting. Some have good handwriting, some have bad handwriting.”

Good weavers work with their mind. The mind needs to “see” the pieces. Some people do not see it. But those who have been the benefactors of generational continuity see it. According to Dinesh, it is not just about weaving–the mind needs to be trained. They have lived with the art and have been weaving for generations so they recognise what quality needs to be.

Read more about these master weavers, along with some stunning photography and video on the Moo Won website

Video: Patola Weaving in Patan, Gujarat

 

 

This video documents the process of weaving a patola in Patan, Gujarat. There are so many stages to this process, but when you watch them cutting open the bindings your heart really is in your mouth – just one slip and all of that work would be ruined!

Note the precision with which they are adjusting single threads at the end of the video.

See the video here

Event: Block Printing Study Day at the Joss Graham Gallery

Event date: Saturday 15 July 2017

John Gillow, well known author and authority on world textiles and Sevanti Roy, textile designer and practitioner, will share their expertise with discussion, demonstrations and practical workshops.

Try your hand at block printing!
10am – 1pm morning session (demonstration and practical workshop with Sevanti Roy)
2pm – 3pm talk by John Gillow
3pm – 6pm afternoon session (demonstration and practical workshop with Sevanti Roy)

Cost £45 per session. All materials supplied.
Places are limited, so booking is essential. Call or email the gallery to book a place (see details below).

JOSS GRAHAM GALLERY
10 Eccleston Street, London, SW1W 9LT
tel: 020 7730 4370
info@jossgraham.com

News: Spring-cleaning India’s Most Magnificent Tent

For those of you who might have missed it, Asian textiles got into the news last month when a royal Rajasthani tent was cleaned for the first time in over three hundred years. A totally unique textile, made in imperial workshops from red silk velvet and gold, unfurled it stands four metres high – as high as a London double-decker bus. It’s known as the Lal Dera, or the Shahi Lal Dera – the Royal Red Tent, and is believed to have been the home of Shah Jahan, the Mughal emperor who built the Taj Mahal.

To read the article in full, visit the BBC website.

Exhibition: Hidden in the Lining – Krishna in the Garden of Assam, the Tales of Two Textiles

Exhibition dates: 17 April – 3 Sepember 2017

A partnership exhibition created between Chepstow Museum and the British Museum explores the origins, stories and meanings of woven silk temple textiles from seventeenth-century north-east India. A stunning example is from Monmouthshire Museums’ own collections – an elegant eighteenth-century gentleman’s dressing gown, its magnificent lining made from this rare group of Assamese textiles – only about twenty examples survive today.

They are known as Vrindavani Vastra, which means the cloth of Vrindavan, a forested region in north India where the Hindu god Krishna is believed to have lived as a young cowherd early in his eventful life. Dramatic scenes from Krishna’s life are woven into these vibrant strips of cloth. The same scenes feature in dance dramas performed with elaborate masks that are still distinctive to the region. Masks made by monks and textiles have been loaned by the British Museum, and two beautifully illustrated pages from the finest Assamese manuscript in the British Library are also in the exhibition. The scene is set with some stunning film made in Assam featuring the masked dramas in preparation and performance. (A Textile Society grant made the exhibition of the gentleman’s ‘banyan’ possible.)

This exhibition is taking place at Chepstow Museum, Chepstow, Monmouthshire, NP16 5EZ.

Open: Monday to Sunday, 11–4.

For more information, visit the website of Chepstow Museum.

Exhibition: Chintz – Cotton in Bloom

Exhibition dates: 11 March – 10 September 2017

The Museum of Friesland in Leeuwarden presents a major exhibition of its extensive and well-preserved collection of chintz: the shiny, floral, hand-painted cotton from India that conquered sixteenth-century Europe. The beautiful patterns feel familiar while at the same time convey a special story. Objects displayed range from skirts, jackets, sun hats and regional clothing to wall hangings and blankets. The exhibition Chintz  Cotton in Bloom takes the visitor on a journey from India to Hindeloopen, Indonesia and Japan.

Chintz  Cotton in Bloom shows the wide variety of colourful floral patterns on skirts and jackets, as well as huge wapenpalempores (bedspreads larger than 3.5 x 2.5 metres with a coat of arms). The regional clothing demonstrates how the chintz was cherished and preserved. The visitor discovers the special techniques of this craft and how chintz played an important role in the world in the seventeenth century. In addition, the exhibition shows that chintz still inspires new initiatives in the field of handicrafts. Together with the Textiel Factorij, the Museum of Friesland presents contemporary works by Dutch artists and designers made with Indian craftsmen.

For more information, visit the website of the Fries Museum, Netherlands.