Exhibition will be presented first at Bangkok at the Thai Cultural Centre in July 1992; from Bangkok, the exhibition will travel to Washington, D. C., where it will be presented at the the Textile Museum
This highly-illustrated book presents the insights of 12 scholars and art historians into the textiles of Cambodia, Indonesia, Laos, Myanmar, Thailand and Vietnam. Authors include Mattiebelle Gittenger, John Guy, Susan Conway and Gillian Green. Topics cover such diverse subjects as Shan and Thai court dress, Khmer textiles and Cham weaving. 220 colour illustrations
Journey with fifteen scholars to Southeast Asia and neighbouring countries to discover the hidden meanings behind traditional textiles. Throughout Asia, textiles have played an important role in concepts of power and kingship and are also closely associated with shamanistic, Buddhist and Islamic beliefs. The papers presented in this work represent knowledge and research of leading scholars from around the world who participated in The James H W Thompson Foundation symposium in August, 2005. Diana K Myers compares Bhutanese and Southeast Asian textiles, Gillian Green covers Cambodian hangings, John Guy, Roy Hamilton and Robyn Maxwell discuss different aspects of Indonesian textiles, while Susan Conway investigates Shamanistic practices among the Shan. Barbara and David Fraser, Vibha Joshi and Piriya Krairiksh research the textiles of three other minority groups in Myanmar, while Patricia Cheesman and Linda McIntosh take us on a journey to Laos. For Thailand, Leedom Lefferts and Suriya Smutkupt look at links between Buddhism and textiles, while Thirabhand Chandrachareon discusses royal Thai brocades. Finally, Michael Howard shows how the Tai peoples of Vietnam use textiles to denote status and religion. 300 colour illustrations
This volume examines the role of textiles within the expanding global economy in the Age of European Exploration. Major themes include: the opening of new markets and responses to competition in the cloth trade, evolving techniques and modes of production, and changes in the patterns of consumption of local and imported cloth in a comparative, cross-cultural context.
Volume I surveys the long history of fashion from the ancient world to c. 1800. The volume seeks to answer fundamental questions on the origins of fashion, challenging Eurocentric explanations that the emergence of fashion was a European phenomenon and shows instead that fashion found early expressions across the globe well before the age of European colonialism and imperialism. It sheds light on how fashion was experienced in a multitude of ways depending on class, gender, and race, and despite geographical distance, fashion connected populations across the globe. Fashions flowered and were reseeded, through entanglements of empire, forced and voluntary migration, evolving racial systems, burgeoning sea travel and transcontinental systems.
"The first study of Lao-Tai textiles to focus specifically on the relation between the figural designs of the textiles and their religious meaning and use. Based primarily on interviews with weavers and shamans from Hua Phan province, Laos, this study highlights the layered meanings of design elements and their roles in providing protection and power both in everyday life and in ritual performance. Using rich data from shamans' narratives about their trance experiences, the author provides first-hand insight into how shamanic visions shape the visual appearance of a ritual textile."--Page [4] of cover.
This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.
Việt Nam is the home of more than fifty ethnic minorities--such as the Cham and Thai--many of which have distinctive clothing and weaving traditions linked to antiquity. The tight-fitting tunic called ao dai, widely recognized as a national symbol, has its roots in the country's 2,000-year history of textiles. Beginning with silk production in the Bronze Age cultures of the Red River, this book covers textiles in Việt Nam--including bark-cloth, kapok and hemp--through the centuries of Chinese rule in the north, a number of independent feudal societies and the brief period of French colonial rule.