Japanese kimonos, Uzbek and Jain textiles

Apologies to those who missed these blogs – I have been travelling in India for several weeks and just didn’t have the time to blog. Hopefully I can manage a couple before Christmas!

Filling shuttles at a rural weaving village in Bihar State

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A new exhibition opened yesterday at the Fowler Museum in Los Angeles. Visualizing Devotion: Jain Embroidered Shrine Hangings runs until 26 March 2023 and features devotional textiles from the collection of Ronald and Maxine Linde. These cloths are known as chhoda and tend to be of velvet or sateen, heavily embroidered with religious themes using gold or silver thread.

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Textile lovers able to visit Paris in the next few months are in for a real treat!

Tuesday 22 November 2022 sees the opening of the Kimono exhibition at the Musée du quai Branly. This exhibition of nearly 200 kimonos was designed by the V&A in London, and will run until 28 May 2023.

“At the beginning of the Edo era (1603-1868), it became the traditional garment par excellence, worn by all Japanese, regardless of social status or gender. A golden age that saw the extraordinary development of its production and the birh of a fashion culture, thanks to the infatuation of the entertainment world. Celebrities and trendsetters of the time – kabuki actors in particular – became the first Japanese fashion icons.

Although it timidly reached European shores at the end of the 17th century, it was in the 1850s, with the opening of Japan to foreign trade, that the kimono was exported to the West, fascinated by its exotic character. The enthusiasm generated by its shape and fabrics profoundly and radically transformed fashion on the continent a few decades later. ” – museum website

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On Wednesday 23 November the Louvre is host to The Splendours of Uzbekistan’s Oases, which runs until 6 March 2023. It has been jointly organised with the Art and Culture Development Foundation of the Republic of Uzbekistan.

“A large selection of these masterworks will leave Uzbekistan for the first time and undergo special conservation treatment for the exhibition, including monumental wall paintings from the Ambassadors’ Hall in Samarkand and its surroundings, the pages of one of the oldest monumental Korans from the early days of Islam from Katta Langar, in Sogdiana, and other treasures in gold from Bactria (Dalverzin Tepe), silver, silk, and fine ceramics. The exhibition also showcases several masterpieces from the famous 16th-century miniature paintings of the School of Bukhara.” – museum website

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The same day sees the opening of another exhibition dedicated to Uzbekistan, this time at the Arab World Institute. On the roads of Samarkand: Wonders of silk and gold has also been organised with the help of the same Foundation and will run until 4 June 2023.

“Sumptuous chapan coats and gold-embroidered accessories from the Emir’s court, painted wooden saddles, silver horse harnesses set with turquoises, precious Suzanis embroidered hangings, carpets, silk ikats, jewellery and costumes from the nomadic culture as well as about fifteen orientalist paintiings” will all be on display.


Chapan, 1900-1904, Bukhara. Tashkent, State museum of arts of Uzbekistan (© The Foundation for the development of art and culture of the Republic of Uzbekistan © Laziz Hamani

Ajrakh block printing, Jewish carpets, Ainu textiles and the Karun Thakar Fund

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I’ve only just become aware of this event, which takes place this Thursday 28 July. OATG member Sarah Fee of the Royal Ontario Museum will be in conversation with noted textile artist Salemamad Khatri, discussing his attempts to revitalise the art of block printing in Kachchh, India. They will also be joined by Abdulazziz Khatri of Khamir. This free online event takes place at 11:00 EDT, which is 16:00 BST. For more information and tickets please click here.

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In previous blogs I mentioned two talks that were taking place in the USA. I’m delighted to say that both of these were recorded and are now available to view.

The first recording is of a talk given by OATG member Alberto Boralevi at the Textile Museum in Washington on the subject What is a Jewish Carpet?

“Alberto Boralevi began his research on rugs and carpets with Jewish features or Hebrew inscriptions in the 1980s, when they were mostly overlooked both by carpet scholars and specialists in Jewish art. There are several difficulties for considering Jewish carpets as a specific group, since fundamental differences in origin, age, design and technique can be found among them. Boralevi defines Jewish carpets as any carpet or rug with a Jewish design, Hebrew inscriptions or any other feature that could prove that it was woven by Jews or commissioned by a Jew or for a Jewish purpose.” Museum website.

The second recording is by Christina M. Spiker on the subject of The Ainu of Japan: Their Unique Textile Tradition. This talk was given in person last week at the Minneapolis Institute of Art, who are currently exhibiting a wonderful collection of Japanese textiles.

Finally, a reminder that the deadline for applications for the Karun Thakar fund (in collaboration with the V&A) close at the end of August. Karun is particularly keen to support innovative small projects. Scholarship Awards of up to £10,000 are offered to students focussing on Asian or African textiles or dress at any accredited university worldwide. Project Grants of up to £5000 are offered to early-career researchers, practitioners, and curators as well as community leaders, grassroot collectives and community-based arts organisations in support of projects focused on Asian and African textiles and dress. More information about the fund can be found here.

A selection of upcoming textile events

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A new exhibition opened a couple of weeks ago at the Asian Civilisations Museum in Singapore. Entitled Batik Kita: Dressing in Port Cities it shows batik as a shared southeast Asian cultural heritage. It features over 100 textiles from overseas as well as from local lenders and of course the ACM collection.

This article from The Straits Times is well worth reading for background to the exhibition.

Cotton batik tulis sarong bukitan of daisies with racing green kepala and badan in salmon pink with latticework isen isen filling.
Java, Pekalongan, 1930s – 1960s © ACM

The London-based Muslin Trust works to protect, preserve and promote Bangladeshi heritage fabrics. One of the most important among these is jamdani, which was used to make saris and stoles. It is so light that it has been described as woven from air. For several years they have been involved in a project called Bringing Jamdani to England. Part of this involved interviewing women who arrived in England in the 1960s and 1970s. “Their sense of self and belonging were expressed through the ritual of wearing a Jamdani sari; to reconnect with the culture they left behind”.

The V&A collection includes a jamdani stole, which was purchased at the Great Exhibition of 1851. This stole has never before been on display. This short video features extracts from the BBC2 series Secrets of the Museum, focussing on this stole. We learn about the history of the jamdani trade, and watch as 171 years of dirt are removed from this precious weaving before it is finally revealed to a group of Bangladeshi ladies from the Muslin Trust.

In complete contrast the new exhibition at the V&A showcases Africa Fashion.

Kente cloth from Ghana, made 1900-1949. These cloths were traditionally woven by men using a small double-heddle handloom.

“Starting with the African independence and liberation years from the mid-late 1950s – 1994 that sparked a radical political and social reordering across the continent, the African Cultural Renaissance section looks at the long period of unbounded creativity……The Politics and Poetics of Cloth considers the importance of cloth in many African countries, and how the making and wearing of indigenous cloths in the moment of independence became a strategic political act…..The first generation of African designers to gain attention throughout the continent and globally can be seen in the Vanguard section.” – Museum website.

Nelson Mandela commemorative cloth made in 1991.

The exhibition is now open and runs until April 2023.

The next OATG event will take place on Saturday 16 July, when Yulduz Gaybullaeva will discuss Uzbek headdresses as an integral part of heritage. Dr Gaybullaeva’s thesis was on The history of Uzbek women’s clothes of 19th-20th centuries, and her presentation will include skullcaps, shawls and paranjas from museum collections in Uzbekistan.

This is an online event and as it will begin at 15:30 BST we hope that many of our international members will be able to join us. It is free for OATG members and there is a small fee for non-members. Click here for more information and to register.

 Uzbek bash orau headdresses. ©Yulduz Gaybullaeva

Also taking place on Saturday 16 June is a talk by Alberto Boralevi as part of the Textile Museum Rug and Textile Appreciation Morning series. The subject he will be addressing is What is a Jewish Carpet?

“Alberto Boralevi began his research on rugs and carpets with Jewish features or Hebrew inscriptions in the 1980s, when they were mostly overlooked both by carpet scholars and specialists in Jewish art. There are several difficulties for considering Jewish carpets as a specific group, since fundamental differences in origin, age, design and technique can be found among them. Boralevi defines Jewish carpets as any carpet or rug with a Jewish design, Hebrew inscriptions or any other feature that could prove that it was woven by Jews or commissioned by a Jew or for a Jewish purpose.” Museum website.

Mamluk Torah curtain (parokhet), Egypt, c. 1500-1550. Museo della Padova Ebraica, Padua.

This online talk will begin at 11:00 EDT, which is 16:00 BST and you can find out more about it and register here.

Andean textiles, Seminole Indian culture, Shoes in the Age of Enlightenment

Andean textile expert Elena Phipps will be giving a lecture on the subject of Weaving Silver: Brilliance and sheen in Andean colonial textile traditions on Tuesday 27 July at 16:05 BST. This is part of an international, inter-disciplinary conference entitled The Matter of Silver: Substance, Surface, Shimmer, Trauma, which will take place over three consecutive afternoons. Each free session can be booked separately. For more information and registration details please click here.

© Elena Phipps

A new exhibit has opened at Elliott Museum, Stuart, Florida, dedicated to the life and culture of the Seminole Indians. Entitled Seminole People of Florida – Survival and Success it “will focus on the rich material culture that the Seminoles created and sustained during the late 19th and 20th centuries. From isolation in the mid-1800s to the establishment of two sovereign tribes that oversee modern, successful businesses, the Seminole people have experienced an extraordinary journey.” – Knowhere article. The exhibition will run until 4 October 2021.

© Elliott Museum

A new scholarship supporting the study of Asian and African textiles and dress has been established by Karun Thakar, in collaboration with the V&A. Awards of up to £10,000 are available for those studying these subjects both in the UK and internationally. Click here for more details.

The Bata Shoe Museum in Toronto is now open again. They are running a series of virtual tours this summer. This Sunday, 25 July, at 11am Eastern time (16:00 BST) the tour will focus on Footwear in the Age of Enlightenment. It will look at how clothing codified the distinctions between people, and how “a close examination of 18th century footwear reveals a great deal about the power dynamics of the period.” – museum website. More information about the exhibition can be found here. You can register for the online tour here.

Upcoming textile events

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A new exhibition has just opened at the Brunei Gallery, SOAS, London and will run until 26 June 2021. Opium, Silk and the Missionaries in China retells one of the largely forgotten histories between Britain and China in the nineteenth century.  

Chinese headdress, comb and slippers from the Gladys Aylward collection. Courtesy of SOAS Special Collections.

“Drawing on several collections using artefacts to explore the history of the Opium Wars through botanical arts and tools; historical artefacts about silk; missionary work and intercultural shared experiences in China recorded by British Missionaries throughout this period. ” – Gallery website.

On Tuesday 25 May 2021 the London-based Oriental Rug and Textile Society will host an online talk by OATG member Maria Wronska-Friend of James Cook University, Queensland. Her subject will be From Sarong to Sari: Rabindranath Tagore’s fascination with the batik of Java. In 1927 Tagore developed an interest in Javanese batik, collecting several dozen examples. On his return to West Bengal “he supported the introduction of the batik technique into the curriculum of the local art school. The new technique has been embraced in Santiniketan with great enthusiasm and resulted in the production of thousands of stunning saris, stoles, fitted garments and decorative fabrics.” – ORTS website. For more details of this talk which begins at 18:00 BST click here.

On Tuesday 2 June 2021 Richard Wilding will give a talk to the Royal Society for Asian Affairs on the Traditional Costumes and Culture of Saudi Arabia. He, along with Hamida Alireza, is co-editor of a recently published book with the same title. “The Mansoojat Foundation is a UK-registered charity founded by Saudi women. The charity is dedicated to the preservation of ethnic Arabian costumes. They conduct research that is vital to our knowledge of the region’s history and culture, and make Arabian heritage accessible to the public. Their workshop in Jeddah offers employment to women with hearing and speech impediments.” – Publisher’s website. Click here to see a sample of several pages from the book.

The webinar will look at how the “costumes and jewellery of Saudi Arabia reveal a great diversity of regional and tribal identities, reflecting the Kingdom’s contrasting urban and rural, settled and nomadic, desert and mountain environments. The Arabian Peninsula sits at the centre of ancient pilgrimage and trade routes, and this has resulted in centuries of influence from textiles, beads and jewellery passing through the region.” It takes place at 14:00 BST and is free, but you do need to register for it.

Child’s Coat with Ducks in Pearl Medallions (detail), 700s. Sogdia (present-day Uzbekistan). Silk; w. 84.5 cm. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1996.2.1 

Another event taking place on 2 June 2021 is the annual Pauline and Joseph Degenfelder Distinguished Lecture in Chinese Art. This is held by the Cleveland Museum of Art and the speaker this year will be Zhao Feng. His subject will be Chinese Textiles from the Silk Road.

“For centuries, the Silk Road has been an important network of trade routes that has allowed for the exchange of silk and other goods, as well as of ideas and technologies between cultures across Asia and Europe.

Zhao Feng, director of the China National Silk Museum in Hangzhou, presents recently excavated and conserved silk textiles from sites along the Silk Road. He shares new insight on fibers, dyes, weave structures, tailoring, and pattern designs featured in these textiles and discusses international collaborative initiatives, such as the Interactive Silk Map of the World and the Silk Road Online Museum.” – Cleveland Museum of Art website. The lecture is at 19:00 EDT, which sadly is midnight in the UK, so this is one for the night owls. Register here for this free event.

Drying the fibres. © Kyoto Women’s University, Lifestyle Design Laboratory

Another annual lecture will take place on Saturday 5 June 2021 – this time hosted by the Textile Arts Council. The speaker for this year’s Sinton Lecture will be Kana Taira and her subject is Ryukyu Bashofu: Banana Fiber Textiles of Okinawa.

Bashofu cloth is made from the bast fibers of the Okinawan ito-basho, a variety of banana tree. For centuries this weaving tradition thrived among people of all walks of life on the Okinawan islands. But after World War II, with changes in lifestyle, Bashofu nearly died out. However, in the village of Kijoka, Ogimi, noted for its Bashofu production from before the war, local women led by weaver Toshiko Taira put their passion and dedication into reviving this unique Okinawan weaving tradition. Working together, they established the Kijoka Bashofu Kumiai.(Kijoka Bashofu Association), whose goals were to both revitalize the traditional techniques and to train new generations of weavers. Today the Association produces the renown bashofu kimono and other textile products and trains weavers who come from all over Japan to study there.” – TAC website. Kana Taira is a granddaughter of Toshiko Taira. This online event takes place at 15:00 PDT, which is 22:00 BST. There is s small charge for non-members and you can register via this link.

Kijoka Bashofu thread. From the left: the soft natural colour of basho (banana fibres), dyed yellow with sap tree, and dyed brown with silverberry. © Noboru Morikawa

As is often the case when compiling information for this blog I got sidetracked and started to look for more information on this fascinating subject. I found this article by Noriko Nii on the Visit Okinawa site a useful starting point. I was amazed to learn that it takes the fibres from around two hundred trees to weave the cloth for one kimono! On the website of the Bashofu Hall I discovered some of the other ways the plant is utilised. “The surface fiber has long been used in the production of banana paper, which has recently enjoyed a surge of use for bouquets, bookmarks, papercraft, and more. The outer husk of the fiber, which is unsuitable for yarn, is called shīsāū and is an essential part of the lion masks used in the traditional lion dance performed throughout Okinawa. The fiber is used to create strands of hair to adorn the lion heads, so it is ordered in large quantities each year. The plant is also burned to create a charcoal that is used as a glaze for earthenware, among other uses. “

I would also highly recommend taking a look at this online exhibition on these textiles and the way they are produced. It was created by Ikeda Yuuka and Ueyama Emiko of the Kyoto Women’s University and has some stunning images to complement the text.

Next to a textile event which is taking place in real life – not on a screen! Many of you will be familiar with the World Textile Days which take place at various UK locations throughout the year. The pandemic put a stop to those for some time, but they are restarting next month. The first will be on Saturday 5 June 2021 from 10:00 – 16:00 in Frodsham, Cheshire. Due to Covid restrictions there will not be a talk at this event, nor any catering. However visitors are welcome to take their own food and drink and there will be space provided to consume it. These are always really fun events, with textiles available from a range of traders, including The African Fabric Shop, Textile Traders, Susan Briscoe, The Running Stitches, Fabazaar and Experience Ukraine. Full details here.

OATG members David and Sue Richardson have just added a new section to their Asian Textile Studies website, this time looking at Cambodian kiet textiles. The article looks at historical examples of Cham clothing and various resist-dyeing techniques before examining different types of Cham kiet – from the very simple to the complex.

Carpet with poetry verses, 1550-1600, Iran. Silk warp and weft, knotted wool pile, areas brocaded with metal thread. 231 x 165 cm. V&A: T.402-1910. Bequeathed by George Salting

In my most recent blog I wrote about the Epic Iran exhibition which opens at the V&A in London on 29 May 2021. I explained that Sarah Piram, Curator of the Iranian collections at the V & A, will give an online talk to the OATG next month. This talk will give an overview of some major works, from early silk fragments showing roundels of animals, to Safavid carpets and contemporary craft tradition. Textiles and carpets will be showcased in different parts of the exhibition, and I’m sure one of the highlights will be the ‘Sanguszko’ carpet belonging to the Duke of Buccleuch and Queensberry – one of the greatest seventeenth century Persian carpets in private hands. This talk will take place on 10 June at 18:30 BST. OATG members should already have received their invitations, and registration is now also open non-members through this link.

Some of the ryijys on show

Unfortunately I have only just found out about this exhibition which opened at the Kunsthalle, Helsinki in February and ends this Sunday 23 May 2021. “The exhibition Woven Beauty – Four centuries of Finnish ryijy textiles presents a wide and diverse selection of ryijys that shows their richness as well as their many shapes, textures and patterns that have changed over time. The ryijy has seen many colourful phases in its history and recent times, always returning in new forms to carry on its lively tradition for new generations. Kunsthalle Helsinki will exhibit ryijys from over 300 years. The selection of around 130 ryijys includes traditional types from the 18th and 19th centuries such as bridal and tree of life motifs, modern artistic ryijys from the 1960s, as well as new ryijys from recent years that exemplify a diversity of materials.” – museum website.

Thankfully there is a short video which enables us to see some of the ryijys on show and learn a little more about them. The presentation is in English.

There are so many great textile events coming up that I have had to split them across two blogs – part two coming soon…….

More reopenings!

 

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Many museums are either now open once again, or are preparing to reopen soon. There will obviously be some changes to the visitor experience. In many cases tickets have to be booked in advance and one-way routes have been marked out. For example the Ashmolean Museum in Oxford reopened this week and everyone, including members, has to book their ticket in advance. This should lead to a better experience for all visitors.

The British Museum will be reopening on 27 August. To begin with only a selection of galleries will be opening, with more to be added later. Click here for the full list. Visitors will need to book a timed slot and follow the one-way route marked out.

The V&A in London has also partially reopened, with more galleries to be added to the list in the coming weeks. Please check their website for the new opening hours. Most exciting is the fact that their fantastic exhibition Kimono: Kyoto to Catwalk will reopen on 27 August!

Standing courtesan, colour print from woodblocks, Katsukawa Shunsen, 1804-18, Japan. © Victoria and Albert Museum, London.

 

Parr (1893–1969); cotton or polyester cotton blend; screen printed. © Dorset Fine Arts

Further afield the Textile Museum of Canada opens again to the public on 19 August. Their current exhibition is entitled Printed Textiles from Kinngait Studios and celebrates these textiles which show the traditional way of life. Curated by Roxane Shaughnessy the exhibition also includes a small selection of clothing and footwear in addition to the examples of printed cloth. Last December I blogged about this exhibition, and a video has now been added to the museum’s website. For those (most of us) who can’t get to the museum this gives us a flavour of the textiles on display.

Last month I blogged about the major exhibition of chintz at the Royal Ontario Museum which had been postponed due to the pandemic. This will now open on 12 September. The museum website has lots of interesting background information and videos, including one about a rare book of Indian chintz patterns recorded by a Japanese cloth manufacturer which was published in 1785. Best of all is the video featuring OATG member Sarah Fee (the curator of this exhibition) in conversation with Anjli Patel examining the chintz collection “from the importance of historical pieces to the work of top designers embracing this heritage textile today.” This gives us a chance to see several of the textiles from the exhibition in close-up.

 

I was recently checking some of the Asian textile links on our WordPress site and noticed the Harris Museum in Preston, UK was listed. I checked out their website to see what collections they held, and became fascinated by the story of John Forbes Watson. In 1866 he put together an 18 volume set of fabric sample books entitled The Textile Manufactures of India. This was published by the India Office of the British Government. Forbes Watson was Reporter on the Products of India at the India Museum in London. As such he was responsible for identifying and cataloguing Indian products for the Secretary of State for India. “Forbes Watson’s great skill was as an organiser and cataloguer of information and objects. He re-organised the India Museum’s collections and published on a variety of subjects, including Indian tobacco, tea cultivation, and cotton. He even tried to catalogue the population of India in a photographic series called The Peoples of India (8 vols, 1868-75).” – Harris Museum website.

John Forbes Watson 1827-1892

Although he had worked in India for several years as a physician in the Bombay Medical Service, he did not return to India to collect the samples used in these books. Instead – textile lovers and curators look away now – he cut out sections from fabrics held in the stores of the India Museum and used them to create 20 sets of the 18 volume books. As you can imagine this involved hundreds of samples. The India Museum closed in 1879 and much of its contents were sent to the South Kensington Museum, now the V&A.

It’s important to realise that the fabrics chosen were not intended to fully represent the wide variety of textiles made in the region. Forbes Watson’s focus was on those fabrics which could be useful to British industry, more specifically to show manufacturers what they could copy. According to him “The 700 specimens … show what the people of India affect and deem suitable in the way of textile fabrics, and if the supply of these is to come from Britain, they must be imitated there. What is wanted, and what it is to be copied to meet that want, is thus accessible for study”.

 

Sample no 24 listed as a turban from fine cotton made in Jeypoor in Rajpootana.

 

A design registered by a British manufacturer which is clearly a copy of the sample shown above. ©Harris Museum and Art Gallery, Preston.

The Harris Museum website has a lot of fascinating background to these volumes and has now made all 700 textile samples in these books available to explore digitally for the first time. It is possible to just browse through each volume, or you can search under different categories. The title of the volumes is actually misleading as it only mentions India but they do contain some textiles from further afield such as Pakistan, Bangladesh, Uzbekistan and Nepal. I highly recommend taking a look.

A few days after discovering that website 2 different friends shared an article about these volumes from an Indian perspective. Written by Kaamya Sharma for The Hindu, we learn how copies of these books were sent to many British manufacturing locations and “As a result, cheap, mass-produced, British replicas of these samples inundated the Indian market within a decade. These were print imitations of intricate weaves whose technique had been developed and perfected by Indian weavers over several centuries. The cheaper prices of British textiles had a predictably devastating impact on Indian handlooms.” Forbes Watson was clearly a great admirer of Indian textiles and his books of samples are invaluable to textile historians, but we also need to acknowledge the devastating impact their publication had on the very textiles he so admired.

 

Moving to another area of Asia, I found this video by the Tracing Patterns Foundation on banana fibre cloths from Mindanao fascinating. This time the speaker is Craig Diamond, who has a passion for these T’nalak cloths woven by the Tboli people. The technique used is warp ikat and the colours are obtained using natural dyes. Craig explained that black is seen as the background, red as an embellishment, and white as the primary pattern. This was most helpful and something not every presenter would have thought of. The cloths have several uses, both for ceremonies and as a form of currency. I was amazed to learn that some are 35 feet in length!

With my interest piqued I started to look for more information on this textile tradition and found this article on the Narra Studio website provided a lot of background on how textiles are seen as a form of storytelling.

We hope OATG members enjoyed the special Lockdown Newsletter with a variety of interesting articles which was sent out last month. Please don’t forget to email our editor Gavin Strachan by the end of August if you have ideas for the next newsletter. These are being produced in addition to our usual Asian Textiles journal in recognition of the fact that we are currently not able to provide our usual programme of events. Don’t forget that all 76 back issues of our journals are available to search through and view online for members, with the first 62 also being available to non-members.

Newsflash!

Another exciting treat will also soon be arriving in your inboxes. Chris Buckley and Sandra Sardjono have produced an excellent video for us on Minangkabau Looms and Textiles. This will be in a password-protected area of our website and all members will receive the password in the coming days.

 

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Textile films

 

The next OATG event – A visit to the Kimono: Kyoto to Catwalk exhibition at the V&A and talk by the curator Anna Jackson – was supposed to take place next week and has obviously had to be cancelled due to the current situation.

©Victoria and Albert Museum, London

However all is not lost! The V&A have produced a series of 5 short films through which Anna guides viewers through the exhibition. Each episode is beautifully filmed and the pace is just right. It’s a wonderful opportunity to learn more about these fascinating textiles and their history. As the V&A point out kimono are sometimes “perceived as traditional, timeless and unchanging” but this exhibition “counters this conception, presenting the garment as a dynamic and constantly evolving icon of fashion.” I highly recommend watching these films in the correct order to gain a better understanding of this evolution.

The Japan Society in New York was due to hold an exhibition entitled Boro Textiles: Sustainable Aesthetics this Spring, the main focus of which was over 50 pieces from the collection of the late Chuzaboro Tanaka. These pieces were previously shown at the Amuse Museum in Tokyo and more background can be found here.

©Amuse Museum, Tokyo

Once again they have turned to the medium of film to ensure that the results of all of the hard work that went into putting this exhibition together can be shared widely. A 5 part video tour narrated by Yukie Kamiya and Assistant Curator Tiffany Lambert guides us through the exhibition. I loved the way the pieces were hung and the section in the first video explaining how and why this method was chosen.

 

Finally, moving away from Japanese textiles, OATG member Dr Chris Buckley has been busy putting together a series of short films  focussing on looms and textiles. Many of you will be aware that Chris is an expert on loom technology. The first of this series looks at a particular Indian saree and the loom technology with which it was produced. We look forward to seeing the rest of the series….

 

Hope you enjoy watching these and may your isolation keep you safe.

 

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Mud glorious mud!

Shortly after posting my most recent blog I was contacted by designer and anthropologist Charlotte Linton with an update on her research into textile production on the Japanese island of Amami Ōshima. Along with several other OATG members I attended an excellent presentation and workshop by Charlotte at Wolfson College in Oxford last year.

 

A weaver re-aligning the threads. © Charlotte Linton.

Charlotte spent one year in Amami Ōshima, during which she explored “how traditional craft industries navigate the paradox between preservation and innovation”. The main cloth produced there is tsumugi for kimono. This is dyed using a process known as dorozome, which involves mud (as a mordant) and the boiled wood of the local hawthorn tree. The production of these cloths is very labour-intensive as it involves at least 28 separate processes. In her new paper Charlotte discusses the future of these textiles from her experiences working in Kanai Kougei – a traditional family business there. She looks at the implications the conferring of Mukei Bunkazai (Intangible Cultural Property) status would bring to these textiles, and the fact that it may mean stagnation rather than innovation. This is examined in the context of the current interest in sustainable fashion. “Making It For Our Country”: An Ethnography of Mud-Dyeing on Amami Ōshima Island appeared in the journal Textile: Cloth and Culture and is available here. I highly recommend taking the time to read this. The OATG are hoping to persuade Charlotte to come and talk to us about her findings in the future. Watch this space for details!

Below I am reproducing some of a blog I wrote on this subject last summer, simply so that readers can have all of the information in one place:

An excellent article by Martin Fackler on the economic issues facing the kimono producers of Amami Oshima appeared in The New York Times in 2015. He describes how 20,000 people were once employed in this profession, but that number has now shrank to 500. His article ends with the following words from Yukihito Kanai:

“We need to become more like artisans in Europe or artists in New York,” said the younger Mr. Kanai, 35, who said he is one of the few “young successors” in the island’s kimono industry. “Even traditions have to evolve.”

An example of a tsumugi textile from Amami Ōshima. ©David Richardson

The production of a kimono on the island of Amami Oshima is so meticulous that a single mistake could squander the efforts of every artisan in the process. The BBC series Handmade in Japan tracked the year-long transformation of the island’s famous mud-dyed silk into an exquisite garment. Although the full-length programmes are no longer available online, short video clips still are. These cover the various people involved in making a kimono – the starcher, the designer, the binder, the mud-dyer, the weaver, the inspector and the tailor. They can be viewed on the BBC website under the title Mud, Sweat and Fears

 

Karanja Ngana immersing her threads in mud on Sumba. ©David Richardson.

For more information on mud dyeing (more correctly mud-mordanting as it is the tannin which produces the dye) see the work of OATG members David and Sue Richardson on their Asian Textile Studies website. David and Sue have now also documented the process of mud-dyeing used by the last major practitioner of this craft on the Indonesian island of Sumba.

 

A new 6 part documentary series on the V&A called Secrets of the Museum began on BBC2 last night. The series looks at the work of the curators and conservators as they handle a wide variety of different objects, ranging from Queen Victoria’s coronet to a Dior gown. The star of last night’s episode for me was Pumpie the Victorian elephant. It was fascinating to see just how much work went into his conservation, right down to dyeing lots of samples with which to repair his trunk. Looking forward to future episodes….

Details
Secrets of the Museum
6 February BBC 2 at 2100

 

Demonstration of how to fold a kimono collar. © Staphany Cheng.

Also on the subject of conservation is this interesting blog by Staphany Cheng, Andrew W. Mellon Fellow, Textiles, Conservation Center, Los Angeles County Museum of Art., in which she shares her experience of participating in the Workshops on the Conservation of Japanese Textiles, held in Taiwan. Much of the emphasis seems to have been on kimono. I had no idea there were three particular ways to fold these garments!

 

Dragon medallion, China, 16th century, silk and metallic-thread tapestry (kesi), 15 x 15 in., Metropolitan Museum of Art, New York.

 

The Seattle Asian Art Museum finally reopens this weekend after a major project to renovate and expand it.  The next event in their Saturday University series is a talk entitled The Dragon and the Pearl: Explorations of a Eurasian Motif by Joel Walker of the University of Washington.

“The art and literature of medieval Eurasia abound with stories of precious jewels guarded by monstrous serpents or dragons. This presentation will investigate iterations of this motif in the Syrian Christian tradition, including a famous stele from the Tang-dynasty capital of Xi’an in northern China and a silver reliquary fragment from Roman Syria. Taken together, these artworks reveal the powerful symbolism of pearls as markers of spiritual excellence.” Seattle Asian Art Museum website.

Details
15 February 2020,10:00 – 11:30
Emma Baillargeon Stimson Auditorium, Asian Art Museum, Volunteer Park, 1400 East Prospect Street, Seattle

 

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Worldwide textile events in February

 

Last month’s AGM heralded big changes for the OATG. Our chair Aimée Payton stood down and Helen Wolfe from the British Museum was elected to the position. Also standing down after many years of service was our webmaster Pamela Cross. Pamela developed the original OATG website from scratch and was responsible for the huge task of ensuring all of the back copies of Asian Textiles were available on it. Over the past few months she has been working with Aimée and Felicitas from our Events team to develop a new website, which was unveiled at the meeting. Please do click here to have a look at it. As you can see our Events page is starting to fill up with a great selection of exhibitions and talks. In fact our first event – a Show and Tell of Manuscript Textiles and an Introduction to the Buddhism exhibition at the British Library – is already fully booked!

 

Woollen tunic from an 8th century tomb in Niger
Institut de Recherches en Sciences Humaines, Université Abdou Moumouni de Niamey, Niger

Just opened at The Met Fifth Avenue is Sahel: Art and Empires on the Shores of the Sahara which focusses on the area today encompassed by Senegal, Mali, Mauritania, and Niger. The history of this region will be illuminated through more than two hundred items. The majority of these will be sculptures, but there are also about 30 textiles including some very rare ancient indigo examples that were preserved in the Tellem Caves in Mali (information from Elena Phipps). Do scroll down the page to the images of the exhibition objects where you are able to click on each one to bring up the full details of the item.

Details
30 January – 10 May 2020
The Met Fifth Avenue, 1000 Fifth Avenue, New York

 

If you plan your visit judiciously you could also attend the first of a new Turkish Centennial lecture series on 7 February. The subject will be Impressions of Ottoman Visual Culture and Art in Europe, 1453-1699. The speaker is Professor Nurhan Atasoy from the Turkish Cultural Foundation. According to the Met website her talk will explore “the rich cross-cultural exchanges between the Ottomans and their European neighbours. Discover the factors that led to the flowering of vibrant and sophisticated artistic production throughout the vast Ottoman Empire in the centuries following the conquest of Constantinople in 1453, and learn how Europe became hungry for visual and artistic representations of their eastern neighbours.” Professor Atasoy has written and contributed to over 100 books on Ottoman and Islamic art.

Details
7 February 2020, 17:00 – 18:00
Bonnie J. Sacerdote Lecture Hall, Uris Center for Education
The Met Fifth Avenue, 1000 Fifth Avenue, New York

 

Bars by Annie Mae Young (c 1965). © Estate of Annie Mae Young

Coming soon to the Turner Contemporary in Margate is an exhibition entitled We Will Walk – Art and Resistance in the American South. It has been curated by Hannah Collins and Paul Goodwin and is the first exhibition of its kind in the UK and reveals a little-known history shaped by the Civil Rights period in the 1950s and 60s. It will bring together sculptural assemblages, paintings and quilts by more than 20 African American artists from Alabama and surrounding states.” – Turner Contemporary website.

Writing for artnet news, Caroline Elbaor elaborates further “A series of quilts sourced from the isolated Alabama enclave of Boykin will also make their UK debut, following a critically lauded presentation at the Whitney Museum of American Art in 2002. Boykin, formerly known as Gee’s Bend, is largely populated by descendents (sic) of people enslaved on the Pettway plantation. The distinctive quilts, typically patched together from a variety of materials, including blue jeans or cornmeal sacks, have taken on a hallowed significance as symbols of resistance and survival.”

Mark Brown’s article for The Guardian on these distinctive quilts is also well worth a read.

Details
7 February – 3 May 2020
Turner Contemporary, Rendezvous, Margate, Kent, CT9 1HG

There will also be a preview on Thursday 6 February when the exhibition will be opened by Bonnie Greer MBE

 

©Chris Buckley

On 11 February OATG member Chris Buckley will be giving a talk to the Hajji Baba Club of New York on Tibetan Rugs: Ancient Problems, Innovative Solutions. Chris will explain how Tibetan rug making traditions evolved as well as examining some unique knotting methods. Having run a carpet weaving workshop in Lhasa for several years he is extremely knowledgeable on this subject. He will give the same talk to members of the International Hajji Baba Society in Washington on 9 February – see below.

9 February 2020
International Hajji Baba Society
Basement of St. Paul’s Lutheran Church, 4900 Connecticut Avenue, NW

For further details email Jeff Krauss

11 February 2020
Hajji Baba Club
The Coffee House Club, Sixth Floor, 20 West 44th St, Manhattan, NY

Contact the Hajji Baba Club for further details.

The next event in the programme of the Oriental Rug and Textile Society is a talk by Markus Voigt, HALI contributing editor, on the subject of Carpets from the Tarim Basin and Tibet: and possible connections thereof. “At a casual glance Tibetan rugs might be mistaken for those from Xinjiang / Uyguristan (Eastern Turkistan). The talk will examine how two neighbouring but very disparate cultures came to have commercial crossover in rugs prior to Chinese conquest of Tibet.” – ORTS website.

Details
19 February 2020 at 19:00
The University Women’s Club, 2 Audley Square, London, W1K 1D8

For further details go to the ORTS website

 

Mantle border, Peru, Nazca culture, early Intermediate Period (2nd–8th century). Cotsen Textile Traces Study Collection T-0093. Photo by Bruce M. White.

This month sees the opening of a new exhibition at the Textile Museum in Washington DC called Delight in Discovery: The Global Collections of Lloyd Cotsen. Over 4000 pieces from the Cotsen Collection were donated to the Textile Museum in 2018 and this new exhibition brings together some of the global treasures he collected over a lifetime. You can read more about Lloyd Cotsen and his collecting in this blog from last year.

Details
22 February – 5 July 2020
The Textile Museum, 701 21st Street, NW, Washington, DC 20052

 

Sarong from Lasem, Java; possibly made for export to Jambi, Sumatra; cotton, batik 19th century. © Tropenmuseum

Over in San Francisco Itie van Hout will be giving a talk on the Indonesian Textiles at the Tropenmuseum. Itie was the former Curator of Textiles at the Tropenmuseum, which houses nearly 12,000 textiles from across Indonesia, collected over a period of 160 years. The majority of these were taken to the Netherlands when Indonesia was a Dutch colony known as the Netherlands East Indies. She has written extensively on Indonesian textiles. For further details visit the website of the Textile Arts Council.

Details
22 February 2020, 10:00am
Koret Auditorium, de Young Museum, 50 Hagiwara Tea Garden Drive, Golden Gate Park, San Francisco CA 94118

 

© Chayawat Manasiri

Indonesian textiles are also the subject of another exhibition which has recently undergone a complete change in Bangkok. A Royal Treasure: The Javanese Batik Collection of King Chulalongkorn of Siam opened in November 2018. However this month all of the textiles are being replaced with different examples from the substantial Royal collection. This will also happen again in September, giving visitors the opportunity to see a far greater selection of these batik textiles. “Among the highlights of the latest acquisitions are a few pieces that have never been displayed before, namely, the Mikado pattern from Yogyakarta which reflects the Japanese influence in the various Japanese fans portrayed through the batik printing technique, as well as the blangkon headdress painted with gold known as batik prada, assumed to come from Cirebon, West Java. It was used only on special occasions by male members of the royal family. Only one piece has been found in the entire royal collection.” Sawasdee magazine. For more images and information please click here.

Details
1 November 2018 – 31 May 2021
Queen Sirikit Museum of Textiles, Ratsadakhorn-bhibhathana Building, The Grand Palace, Phra Nakhon, Bangkok, 10200 Thailand

 

Jacket with couched gold thread. ©Michael Backman

The National Museum has recently opened a small textile gallery and is jJust a short distance away from the Grand Palace so you could easily combine a visit to the two collections. Michael Backman has written a short blog about this gallery with some close-ups of a few of the textiles. He says that “Included are pha lai yang textiles – printed cotton fabrics that show thep phanom deity figures, worn as a lower garment by members of the royal family. There is a shawl known as a pha sphak that is of silk woven with gold thread and embellished with fluorescent beetle wings.”

Details
The National Museum Bangkok, Na Phrthat Rd., Phra Borommaharachawang subdistrict, Phra Nakorn, Bangkok

 

Rabari embroidery from Gujarat, a child’s hat from Sindh and a belt from Albania. ©Sally Hutson

Back in the UK a temporary textile exhibition has been curated at the Milton Keynes Museum. Called A Sense of Place and Time, this is an exhibition of textile art set within the history of textiles. Ethnic textiles are on show alongside contemporary examples by Art2Stitch. There will be a changing section on communication through textiles featuring examples from other cultures.

Details
23 November 2019 – 26 April 2020
The New Gallery, Milton Keynes Museum, McConnell Drive, Wolverton, Milton Keynes, MK12 5EL

Please note this museum is staffed by volunteers and has limited opening times.

Kimono for a young woman (furisode), 1905–20, probably Kyoto, Japan. © Khalili Collection, K106

Many members have been looking forward to the V&A’s new blockbuster exhibition Kimono: Kyoto to Catwalk which finally opens in London on 29 February. It is being curated by Anna Jackson, Keeper of the Asian Department, who also wrote the introduction to Thomas Murray’s book (see my December blog). In an interview with Jess Cartner-Morley for The Guardian she says her aim in this exhibition is to “overturn the idea of the kimono as static, atrophied object and show it as a dynamic and constantly evolving icon of fashion”. She also discusses the history of the kimono, and cultural appropriation. This is well worth a read to whet your appetite for the exhibition.

In another interview for LOVE magazine Anna Jackson talks about the difficulty of acquiring some of the pieces, their fragility, and the challenges in displaying them correctly.

The exhibition will be in three sections. “It begins by unpicking the social significance and heritage of the kimono in 17th century Japan, moving to consider the kimono and its position across a more international agenda, finishing with the progressive transformation of its comtemporary (sic) identity.” Scarlett Baker, LOVE magazine.

Details
29 February – 21 June 2020
Gallery 39 and North Court, Victoria and Albert Museum, Cromwell Road, London

The OATG have planned a visit to this exhibition, which will include a talk by Anna Jackson, for 26 May. Booking for the limited number of places available will open for members in mid-April via Eventbrite.

 

 

While at the V&A you should also take a look at the posters in this small exhibition entitled Manners and Modernity: Ukiyo-e and etiquette on the Seibu Railway. These posters convey how to be a well-behaved commuter through humorous messages.

They will be on display in Room 45 of the Toshiba Gallery until 22 March 2020.

 

Conserving Pumpie the elephant

Those who cannot get to the V&A will be interested to know that a new 6 part documentary filmed behind the scenes begins next week on BBC 2. The series is called Secrets of the Museum and looks at the work of the curators and conservators as they handle a wide variety of different objects, ranging from Queen Victoria’s coronet to a stuffed toy elephant! Henry Wong has written a fascinating piece about this series for design week, including an interview with Alastair Pegg (the director of programmes at Blast! Films) who concludes that “It reveals what’s behind the closed doors — there’s an industriousness that visitors don’t see. That’s the pleasure of this series.”

Details
Secrets of the Museum
6 February BBC 2 at 2100

 

Nesyamun’s ornate coffin has been on display in Leeds since the 1820s. © Leeds Museums and Galleries.

Finally, I was fascinated to read of this work by a team from Leeds Museums and Galleries and researchers from various disciplines to recreate the voice of an Egyptian priest called Nesyamun who lived around 1100 BC. The mummified remains of Nesyamun were scanned at the Leeds General Infirmary and a 3D model of his throat was reproduced using a 3D printer. A full and very interesting account of the project is given here in layman’s terms, but if you want to read the scientific paper then click here.

 

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A veritable cornucopia of worldwide textile events!

Later next month a new exhibition entitled Unbound: Visionary Women Collecting Textiles opens at Two Temple Place in London. This exhibition “celebrates seven pioneering women who saw beyond the purely functional, to reveal the extraordinary artistic, social and cultural importance of textiles.” Two Temple Place website. 

This is a very collaborative project, curated by June Hill and Lotte Crawford and involving no less than seven museums and art galleries from different areas of the country. It’s interesting that they are looking at the role of women as collectors, not as makers of textiles.

Embroidered japangi or cloak from Albania

The female collectors discussed include Edith Durham, who first visited the Balkans in 1900. As well as documenting the craft traditions of the area she also became involved with local politics, helping in hospitals and with refugees and campaigning. This blog about her recalls how she came into conflict with the Foreign office who marked her card thus: Durham, Miss M.E.: Inadvisability of corresponding with……

Louisa at the Khyber Pass

Louisa Pesel was the first President of the Embroiderers Guild and in addition to her own stunning designs for Winchester Cathedral she collected textiles from many places including Morocco, Turkestan, Syria and China. Many of these were donated to the University of Leeds. An excellent source of information about her is this blog by Colin Neville.

The other collectors the exhibition features are Olive Matthews, Enid Marx, Muriel Rose, Jennifer Harris and Nima Poovaya-Smith.

“The exhibition looks at how these collections continue to influence us today and asks why textiles still have to fight for their place amongst the more established visual arts” – a question which I often ask myself too.

In many ways the focus of this exhibition reminds me of one held at the Pitt Rivers Museum earlier this year called Intrepid Women. See my earlier blog on this subject.

Details
25 January – 19 April 2020
Two Temple Place, London WC2R 3BD
Admission free

 

 

Also opening late next month at The Met Fifth Avenue is Sahel: Art and Empires on the Shores of the Sahara which focusses on the area today encompassed by Senegal, Mali, Mauritania, and Niger. The history of this region will be illuminated through more than two hundred items. The majority of these will be sculptures, but some textiles are also included. Click here for more details.

Details
30 January – 10 May 2020
The Met Fifth Avenue, 1000 Fifth Avenue, New York

 

The next talk in the programme of the Oriental Rug and Textile Society is by Zara Fleming on the subject of Bhutanese Textiles: Ritualistic and Everyday textiles of Bhutan. Zara will explain how textiles are woven into everyday life and are used as clothing, currency and gifts. They are also used to signify status and are a vital component of Bhutanese festivals, dances and Buddhist rituals.

Details
22 January 2020 at 19:00
The University Women’s Club, 2 Audley Square, London, W1K 1D8

For further details go to the ORTS website

 

Ngatu (decorated bark cloth) with spitfire plane motif c1940s. © Kitmin Lee

Koloa: Women, Art, and Technology is an exhibition which opened recently in Hong Kong. It is presented by Para Site in conjunction with Tunakaimanu Fielakepa who is the “foremost knowledge-holder of ‘koloa‘ or customary women’s arts in Tonga”. This exhibition was previously on show in Tonga earlier in 2019. It “features a rich array of Tongan art practices, focused upon the main categories constituting koloa: ngatu or bark cloth making and fine weaving such as ta’ovala garments and ceremonial mats, as well as kafa or woven rope. The presentation includes prized, heirloom pieces as well as newly produced examples specially commissioned for the exhibition.” Para Site website. Additional works by three women artists – Tanya Edwards, Nikau Hindin and Vaimaila Urale – are also included to showcase aesthetic lineages in the Pacific.

A mixed design Tongan kupesi which was made before the 1930s. Courtesy of Lady Tunakaimanu Fielakepa

Details
7 December 2019 – 23 February 2020.
G/F & 22/F, Wing Wah Ind. Building, 677 King’s Road, Quarry Bay, Hong Kong.

 

Three-layered lined kimono

There are only a couple of weeks left to see the exhibition in Heidelberg called Good Wishes in Silk: Children’s Kimono from the Nakano Collection. Kazuko Nakano has compiled a collection of almost a thousand objects that provide insights into the colourful and symbolic art of kimono design from the Edo period (1603-1868) to the present day.

A selection of around 80 children’s kimonos is now presented in Germany for the first time. Some of these examples are rather sophisticated and are clearly intended to be worn on special occasions, while others are more simple everyday wear. “They are genuine works of art, with a great variety of decorative motifs, and can be perceived as a kind of embroidered wish list with which the parents equip their children for their future lives.”

Details
27 October 2019 – 12 January 2020
Kurpfälzisches Museum Heidelberg, Hauptstrasse 97, 69117 Heidelberg

 

Kaparamip with red cotton fabric border © Textiles of Japan: The Thomas Murray Collection at The Minneapolis Institute of Art

The January programme from the Textile Museum Associates of Southern California (TMASC) is a talk by Thomas Murray – a well-respected researcher, collector, dealer and author of several books, the latest being Textiles of Japan: The Thomas Murray Collection.

This talk, entitled Traditional Textiles of Japan, will explore Japan’s rich tradition of textiles, from firemen’s ceremonial robes and austere rural workwear to colourful, delicately-patterned cotton kimono. “The traditional clothing and fabrics featured in this lecture were made and used in the islands of the Japanese archipelago between the late 18th and the mid-20th century. The Thomas Murray collection includes daily dress, workwear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernisation would leave behind traditional art forms such as the handmade textiles used by country people, farmers, and fishermen. The talk will present subtly patterned cotton fabrics, often indigo-dyed from the main islands of Honshu and Kyushu, along with garments of the more remote islands: the graphic bark cloth, nettle fibre, and fish skin robes of the aboriginal Ainu in Hokkaido and Sakhalin to the north, and the brilliantly coloured cotton kimono of Okinawa to the far south.” – Thomas Murray.

Details
Saturday 25 January 2020 10:00am
Luther Hall, St Bede’s Episcopal Church, 3590 Grand View Blvd., Los Angeles

For further information and to reserve a place please email info@tmasc.org

 

 

A very engaging review of Murray’s book appeared in the Nov-Dec 2019 issue of Arts of Asia, along with several stunning illustrations. This gave a huge amount of background into how the book came into being and really conveyed a sense of the passion for Japanese culture behind it. Those who don’t have access to Arts of Asia should take a look at The fabrics that reveal the ‘other’ Japan written for BBC Future by Andrea Marechal Watson. The images contained in her article should certainly whet your appetite to take a further look at the book from which they are drawn. For further information about the Ainu see my blog from January 2019.

 

Outer kimono for a young woman (uchikake), 1800 – 30, probably Kyoto, Japan. © Image Courtesy of the Joshibi University of Art and Design Art Museum, 2204-36

I don’t usually blog about events far in advance, but the exhibition Kimono: Kyoto to Catwalk at the V&A in London which opens in February is sure to be very popular – in fact the members’ preview day has already sold out. It is being curated by Anna Jackson, Keeper of the Asian Department, who also wrote the introduction to Thomas Murray’s book.

Details
Opens 29 February 2020
Victoria and Albert Museum, Cromwell Road, London

 

Parr (1893–1969); cotton or polyester cotton blend; screen printed. © Dorset Fine Arts

The current exhibition at the Textile Museum of Canada is entitled Printed Textiles from Kinngait Studios and celebrates these textiles which show the traditional way of life. Curated by Roxanne Shaughnessy the exhibition also includes a small selection of clothing and footwear in addition to the examples of printed cloth.

Kate Taylor has written an interesting article on this exhibition for The Globe and Mail. In it she explains that as “the Canadian government forced a people living on the land into permanent settlements, the Inuit began to need cash. The art projects…… were initially introduced by government agents. The idea was that the skills used to carve stone, incise bone and sew clothing could be adapted to produce handicrafts for southern markets. But carving and printmaking were just two possibilities: This show offers a wide selection of rarely seen textiles, startlingly modernist and highly colourful designs created in the 1950s and 60s.”

A full colour catalogue will be available in 2020.

Details
7 December 2019 – 30 August 2020
Textile Museum of Canada, 55 Centre Avenue, Toronto, Ontario, M5G 2H5.

 

John Ang will give a talk on The Influence of Foreign Fashion Trends on Malay Dress to the Textile Enthusiasts Group, which is linked to the Friends of the Museums (Singapore). He will discuss the origins and hybrid nature of Malay clothing. John stresses that “Malay dress is not static but always changing. Rather than seeing particular forms of clothing as Malay dress, he will demonstrate that what really constitutes Malay dress is the manner in which it amalgamated and adapted different fashion styles”.

Details
9 January 2020 at 10:00am
Activity Room, Indian Heritage Centre, 5 Campbell Lane, Singapore

Contact the Textile Enthusiasts Group for further details and to register.

 

Kain panjang with Broken Dagger motif. © Go Tik Swan

Saint Louis Art Museum has a new exhibition, curated by Philip Hu, showcasing a selection of batik textiles from the island of Java dating from the mid-19th to the late 20th century. They include They include pieces “made for royal and aristocratic clientele, ceremonial use, and everyday fabrics worn by men and women.”

The video below gives you some idea of just how much painstaking work is required to complete a piece of batik.

 

Batik of Java: A Centuries Old Tradition; Courtesy of Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture

Details
13 December 2019 – 7 June 2020
Gallery 100, Saint Louis Art Museum, One Fine Arts Drive, Forest Park, St. Louis, Missouri
Admission free

 

Detail of a Qarajeh rug. © Tschebull Antique Carpets.

Next month Raoul “Mike” Tschebull will give a talk at the Hajji Baba Club, New York, on his new book Qarajeh to Quba: Rugs and Flatweaves from East Azarbayjan and the Transcaucasus. “Qarajeh…… is a small, isolated community at the end of a gravel road in eastern Azarbayjan, in northwest Iran. Although some limited weaving still goes on there, this famous weaving village is best known for its striking 19th century kennereh on wool foundations and its beautifully coloured cotton-foundation export rugs and carpets which were woven beginning in about 1900.” Tschebull Antique Carpets website.

Front cover of the book.

The book is published by Hali and showcases 70 pile carpets and flatweaves from his own collection, the majority of which have never previously been published. The images are by the leading textile photographer Don Tuttle.

Details
Tuesday 21 January 2020
The Coffee House Club, Sixth Floor, 20 West 44th St, Manhattan, NY

Contact the Hajji Baba Club for further details.

Imperial dragon insignia roundel with a five-clawed dragon. © David Rosier

A reminder that a series of Arts Society study days will take place at the Ashmolean Museum in Oxford from January to March. These are open to the public as well as members of the Arts Society and are likely to be very popular, hence the advance notice. Subjects include The Visual Art of Power and Rank at the Chinese Imperial Court (David Rosier) and Japanese History, Art and Culture (Suzanne Perrin). Click here for full details.

Finally I hope to see many of you at the Oxford Asian Textile Group AGM on Saturday 18 January at the Ashmolean Museum Education Centre. As usual the official business will be followed by the ever-popular Show and Tell session. Full details will be sent out to members via Eventbrite in January but in the meantime please make a note of the date!

 

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