The surging news reporter Li Mei sorted out
Fabrics and clothing has always been a concrete manifestation of people's pursuit of a better life and taste, since ancient times, dyeing and weaving technology has been affected by different influences such as geographical environment, social economy, trade exchanges, folk customs and customs, showing a rich and diverse appearance. Asia is vast and diverse in fabric culture: Indonesia's "Song Ji" and "Ika" are the most distinctive and precious fabrics of Sumatra and Bali; China's silk fabrics are exported overseas, and the "Silk Road" crosses the Eurasian continent; Persia has been famous for its brocade and wool blankets since ancient times, and many fabric designs that meet Persian tastes are intricately decorated and colorful...
The surging news learned that the "Asian Fabric Exhibition" in the southern branch of the National Palace Museum in Taipei ushered in a change of exhibition, and the exhibition selected the elite fabrics of various regions in the courtyard to present Asian multiculturalism.
Fabrics, composed of fibers, are an important material for tailoring clothes. Before the Industrial Revolution, weaving and embroidery was mostly carried out at home, and modern people no longer need to bow down to the machine, and fabric has become the most familiar and unfamiliar material in the world.
In ancient Asia, even before the cutting of fabrics, they were able to identify a certain culture, religion, gender or even occupation implied by the differences in spinning, dyeing and weaving, or the peculiarities of ornamentation, as if decoding. What's more interesting is that across time, space and regional aesthetics, ancient fashion spread far faster than we think, because fascinating things always make people flock to it. China was once famous for weaving bright silk, precious as gold, and the world's unparalleled silk weaving quality is a symbol of East Asian civilization; South Asia India produced the world's most beautiful painted cotton cloth, which not only swept the world, but also promoted the worldwide cotton textile revolution. These cross-regional trends are, of course, driving not only business opportunities, but also cultural influence. In Indonesia, a country of thousands of islands stretching for thousands of miles between the Pacific Ocean and the Indian Ocean, cultures from all over the world can be seen converging, circulating, and diverging again when the time comes.
It is reported that the exhibition exhibited in the southern branch of the National Palace Museum in Taipei is divided into four units, and the "Focus Exhibits" comprehensively analyzes the characteristics of classic fabrics and further interprets its cultural meaning; "Understanding Fabrics" deconstructs the dyeing and weaving process of fabrics from the aspects of fiber materials, weaving and dyeing techniques, decorative patterns, clothing tailoring, etc., so that the appreciation of fabrics is more simple and easy to understand; "Regional Style" introduces exquisite fabrics and costumes from West Asia, East Asia, Southeast Asia, South Asia and other places, and looks forward to experiencing the cultural window of different regional styles; Through the display of wedding dresses across Asia, "Wedding Dress" understands the etiquette culture behind the costumes and people's wishes for a better life.
Focus exhibits
Embroidery is one of the most famous and precious textile traditions in South Asia. This craft, until the spread of ready-to-wear, has been an important part of homemade work and family memory. Women of different generations in South Asia have passed on their family skills through needle-by-stitch learning, and at the same time, they have sewn their current emotions and lives into it.
Early 20th century Pokari embroidered headscarf Punjab region (present-day India)
"Phulkari" is Punjab's most dazzling traditional embroidery craft. Punjab is located on the border of present-day India and Pakistan. Traditionally, regardless of religion, women learned pokari embroidery from their mothers, grandmothers, relatives and friends, and most of these embroideries eventually became their dowry. People use it on important days such as weddings and festivals. The rectangular pokari embroidery in the picture above is mostly used as a female headscarf. Worn similarly to a dupatta, it can be draped over the head and shoulders, while circling the neck. The embroidery on the cotton turban is made of yellow, white, red, royal blue, magenta and other bright silk threads to set off the pattern. The embroidered composition surrounds the cluster of flowers in the center, making it visible in all four directions, and is a common layout method in South Asia.
According to reports, this kind of pattern is closely related to life, pocary, also known as "original poikari" (Sainchi Phulkari). With darning stitch as the main stitch, embroidery shows the daily life and experience of women, such as spinning, shopping, favorite jewelry, disputed conflict scenes, popular circus performances in the newspapers, colonial officials from Britain, all with vivid embroidery, jumping on the canvas. Poultry raised by the family, vehicles and horses from the market, and various birds, animals and plants with auspicious meanings are also common embroidery elements.
Get to know fabrics
What is a fabric? How are they made? This unit displays materials, techniques, cuts, ornaments, etc., allowing the audience to re-understand the ubiquitous fabrics in life.
18th century cotton painted dyed cloth on the coast of Kromandale, India
Cotton is a material that is both comfortable and breathable. Since ancient times, South Asia India is the world's main producer of cotton textiles, Indian cotton cloth is known for its smooth, light and fine, painted cotton cloth is an important commodity sold around the world. Unlike linen, wool and silk, cotton is more washable. India's painted cotton cloth, with its unique color fixing and dyeing technology, makes the color fastness improved, which is less likely to fade. At the end of the fifteenth century, from the Portuguese direct voyage to India, the Netherlands, Britain, France and other places no longer need to change hands through the Turkish or Arab trade, and can directly buy Indian cotton cloth of various colors. Europe's enthusiasm for this fabric, widely used in home and fashion design, reached its peak in the late seventeenth century, while oppressing the survival of the local traditional textile industry, and around the first half of the eighteenth century, a series of laws were promulgated to prohibit the import of Indian painted cotton cloth, but it still could not stop people from loving it. Whether it is a gradient of red or blue, bright purple, yellow and green, it dazzles Europeans in the sixteenth and eighteenth centuries. This painted cotton cloth from the National Palace Museum in Taipei is produced in India for sale to the European market and can be used as a robe or dress fabric for women. Delicate florals are designed on cotton on a white background, with their long, interlocking stems that outline the floral silhouette in dark colours and are dyed with a charming reddish-purple hue.
Mid 19th century Gold Weaving Women's Ceremonial Turban Indonesia West Sumatra (Minang Kaho)
The precious gold-woven "songket" turban, which can be folded into a hat ornament that looks like a buffalo horn, is worn by women at celebrations and is an important traditional costume of the Minang Jiabao people, the indigenous people of the western highlands of Sumatra. The long bandana is interwoven with red silk threads and wefts of red, yellow, gray and other multi-colored silk threads. In the dark blue part of the middle section, the weft line is made of thicker cotton thread, which makes it more able to withstand the pressure of frequent folding and improves durability. The pattern on the turban is mainly highlighted by gold threads, and the decorative belt is arranged parallel at both ends of the scarf, of which the representative patterns include: the image is taken from the "half-cut peanut" (balah kacang), with a continuous octagonal overlapping combination of ornaments, implying that as a good Minan, sharing should be fairly distributed, and honest about buying, selling and trading; The ornamentation, known as the "Itiak pulang patang " (Afternoon Ducks Marching Home", is a rather ancient motif in which flocks of ducks line up in an orderly manner, rarely deviating from their route, to compare the good Minans, who should follow traditional customs and laws (Adat). The ornamentation of "caterpillar crawling" (ulek tantadu) has a similar meaning. These are common motifs on the traditional fabrics of Minang Kapo.
Regional flair
Asia is vast and the fabric culture is diverse, this unit selects fabrics and costumes from all over the world to West Asia, East Asia, Southeast Asia, South Asia and other regions, presenting the dressing culture styles of different regions.
West Asia Iran (Persia)
Persia, the name of many dynasties in ancient Iran, was also the main name for Iran before 1935. Since ancient times, this place has been famous for its brocade and wool carpets. After the seventeenth century, the Persian market purchased a large amount of painted cotton cloth from India. This type of fabric is designed to meet Persian tastes, with intricate ornamentation and bright hair color. After the eighteenth century, It was popular in Persia to cut tops from such fabrics, and also made various types of household cloth to enrich life. Although Iran is mainly Muslim, there are still a small number of Zoroastrians living here, whose clothing is different from other believers, and the embroidery on women's clothes is delicate and lovely. On the other hand, the Persian Zoroastrians who lived on the northwest coast of India had their clothing integrated into India, but the decorative design still showed the influence of faith and global trade.
1842-1843 Wedding embroidered headscarf for women Iran (Zoroastrian)
The female embroidered headscarf for weddings on display is a typical Zoroastrian wedding embroidered headscarf, generally about three yards long, embroidered with a cluster of flowers in the center, surrounded by fish patterns, Persian characters, peacock patterns and paisley patterns (or flower tree patterns). When worn, the dough pattern will be placed on the chest and become the focus of the vision, and the tassels at the ends will hang freely behind the body, showing the characteristics of Zoroastrian women's clothing at that time. The fish and peacocks on the turbans are symbols of prosperity or permanence, and are linked to Zoroastrian deities. The text, excerpted from the poems of Hafez (c. 1315–1390), one of Persia's most famous lyric poets, celebrates the unparalleled beauty of women and depicts the conquered hearts of admirers, leaving at the end of the sentence "made by James Thyd's embroidery workshop" and the Islamic calendar "1258" written in Arabic numerals. Poetry is the most splendid literary heritage of Persia, Hafez's works often deal with the common themes between the mundane and the sacred- love and wine, and his works are not only regarded as the pinnacle of Persian literature, but also have a profound impact, and the general public can almost casually recite a few ancient verses of their favorite.
First half of the 19th century Painted cotton hanging ornament or floor mat Mersum Lipedem, southeast coast of India (exported to the Iranian market)
Iran's painted cotton cloth Thai half is imported from India, and Isfahan also produces similar products, but it is not as cheap as Indian cotton. This painted-dyed cloth pendant is a product made specifically for the Persian market in India, and is produced in Mersullipdum on the southeast coast of India. The decoration is dominated by red and blue, like arched niches or arched buildings, as if leading to a royal palace or mosque. The gaps in the building are filled with fine and colorful floral patterns or paisley patterns. The densely decorated fabrics with fine patterns faithfully reflect the Persian passion for patterns and decorations. Inside the open light of the building's lintel is an Arabic prayer, which translates to "praise the supreme Allah and give praise to him" The red version in the upper left corner is printed in Persian: "Painted and dyed cloth made by Hajji – Aka Samad " , "hajji" originally meant "inspector" and is the honorific title of Muslims who have made hajj pilgrimages to heaven (Mecca). There is no further evidence that this is a prayer blanket, but these insights give us a clearer picture of its users.
East Asia China
China, since ancient times, is known for its abundant silk production. The "Silk Road" across Eurasia not only reflects the far-reaching influence of Chinese silk fabrics, but also shapes the timeless oriental imagery. After the Ming Dynasty, the silk weaving industry was highly concentrated in the Jiangnan region, from silkworms to weaving to commercialization and specialization. The maturity of jacquard technology in the Ming and Qing dynasties made the patterns on luxurious silk more and more complex, coupled with exquisite silk and embroidery, rich weaving gold and makeup flowers, which made people dizzying. The pattern rich in auspicious meaning is a major feature of Ming and Qing fabrics. On the other hand, wool weaving blankets and furs, as an indispensable part of the court life of the Qing Dynasty, were not only cold sacred products, but also represented the empire's control of the resources and trade of the grasslands and frontiers, and at the same time demonstrated the Manchurian cultural identity.
Mid-Ming Dynasty Blue Ground Weaving Golden Lion Pattern Square Supplement China
"Fang Supplement" is a decoration of the Ming and Qing dynasties official uniforms on the chest and back to indicate official titles. The patterns of civil and military officers are birds and beasts, and different birds and beasts correspond to different ranks. The types of official uniforms in ancient times varied according to the occasion, and the official uniforms woven with complements were "regular clothes" in the Ming Dynasty, including regimental collar shirts, black gauze hats and belts, which were worn by officials for the daily office of "changing the dynasty to see things". The National Palace Museum in Taipei has this Ming Dynasty lion pattern supplement, which is used by high-ranking military attaches or princes' sons-in-law according to the ceremonial system. A lion is outlined in woven gold on the dark blue silk fabric, with thick eyebrows, flat nose and short curly mane, fluffy tail, and a majestic body decorated with cloud-like flame patterns, looking back at the distance with great excitement. Below the foreground are river cliffs and seawater, and the sky is covered with flowing clouds and four ruyi clouds. The overall ornamental layout is roughly the same as that of the military attaché lion of the "Daming Huidian". The size of the Ming Dynasty complement is larger than that of the Qing Dynasty, and it is directly embroidered on the official uniform, rather than in the form of nail seams attached to it. Looking closely at the edge of this patch, it can be roughly inferred that the material originally served was a dark satin with miscellaneous treasures and four ruyi cloud patterns.
Ming Zhilian Boy Na Embroidery Piece China
The boy holding the lotus flower or lotus leaf in his hand is a favorite theme of fabric decoration in the three dynasties of the Yuan, Ming and Qing dynasties. The development of this pattern is likely to be related to the custom of the Qixi women of the Song Dynasty to ask for children. Later, similar to the theme of hundred children or baby drama, it has a symbol of happiness. On this white plain weave, the red shading, lively children, the lotus flowers that pitch differently, the flowers that flip freely, and the butterflies and birds that weave through the colorful silk threads, the embroidery techniques, the lively children, the flowers and leaves that flip freely, and the butterflies and birds that pass through them. Children wear colorful paddy field pattern clothing, called "hundred family clothes", this fabric of children's clothing in the Ming and Qing Dynasties is more popular, and hanging on the child's neck of the same long life lock, all convey the meaning of avoiding disasters and driving away evil spirits, praying for the healthy growth of young children.
Southeast Asia Indonesia
Indonesia, the world's most vast island country, the monsoon for the archipelago to blow a wave of new waves of culture, merchants, craftsmen and imported products to bring ideas, technology and material exchanges, precipitation and integration, reflected in the local fabric, its own style. "Song Ji" (a kind of brocade weaving) and "Ika" (a kind of flower-showing fabric that is dyed first and then woven later) are the most distinctive and precious fabrics in Sumatra and Bali, and are generally used as ceremonial clothing or ceremonial cloth. Fabrics from both places can occasionally be influenced by India, China, the Middle East or Europe in terms of materials, techniques or decorative elements. The different styles of Songji and Ika fabrics, in addition to distinguishing between ethnic groups or beliefs, may be regarded as symbols of power, and sometimes have the sacredness of guarding individuals and communities.
In the first half of the 20th century, the ceremony was decorated with the indonesian village of Bali Deng An nam
The village of Deng An Nam in the east of Bali is one of the few weaving sources of double ikat in the world outside of India and Japan. This type of fabric is called "geringsing", which is generally regarded as a sacred ceremonial cloth, not only the villagers believe that the song lingxin will protect the wearers from disaster and painlessness, but also in the Hindu districts of Bali, they also regard it as a sacred relic, which has an important position in ceremonies. Ge Lingxin is mainly a two-way Ika cotton fabric in red, brown and dark blue tones, with a variety of wide widths and different lengths. The sidan pegat (sidan pegat) belt on display is the narrowest type. The fringed edges are uncut, creating a ring of the band. Men would wear it during sacrifices and exorcisms, draped around their necks like necklaces, and knotted the bands that hung in front of them, and the knot would fall about the waist and abdomen, believing that it had a powerful protective and evil function. The same type of different colors of the Geling Xin frieze, with the fringed edges cut open, can be used as a shroud (anteng) worn by girls during ceremonies.
19th century to early 20th century Shoulder cloth for gold weaving ceremonies Indonesia South Sumatra Palembang (Malay)
Palembang, located in eastern South Sumatra, is one of the oldest cities in Southeast Asia and an important port and trade center. The traditional dresses of the Malays in Palembang are often made of gold brocade "Songket" (songket) as a fabric, woven gold fabrics are often regarded as a symbol of wealth and power, gold and silver wire is mostly imported from China, and high-quality gold thread can ensure that the woven brocade is comfortable and soft. The shoulder cloth is usually a long cloth that can be folded in half from the short side as a decoration on the shoulder. This type of silk woven gold Song Ji shoulder cloth, woven gold thread almost fills the cloth surface, so it is also called kain songket lepus. The texture design is roughly divided into a central rectangle and two ends, the center is a diamond-shaped pattern, and the eight-petal pattern and eight-pointed star ornament can be seen at both ends and the cloth edge, which is a common theme with Islamic style. The middle of each type of pattern is decorated with multi-colored lines in the form of "small shuttle back weft". Ornaments like mountain shapes or serrated teeth, called bamboo shoot patterns, are common decorative elements in Southeast Asia and have the meaning of growth and reproduction.
Punjab region of South Asia (present-day Pakistan, India)
Phulkari is the most famous traditional embroidery craft in the Punjab region (present-day Pakistan, India). Punjab is located at the junction of present-day India and Pakistan, and before the partition of India and Pakistan in 1947, almost all local women, regardless of religious belief, would make and wear beokari embroidery, usually as a headscarf, draped over their shoulders and heads. It symbolizes the material wealth of women, but also reflects the rich cultural and religious traditions of the region. The word "Phulkari" is derived from Hindi, Punjabi and Urdu, which translates to the craft of flowers. Different types of Pokari also have their own names, for example: "original Pocary" based on character life scenes; The "Garden Pakali" is decorated with embroidered geometric patterns; "White Pocari" with red embroidery thread on a white background for older women or widows; Or specifically refers to the "door to the divine world" that may be related to religious activities, etc.
19th century Pokari embroidered turban Punjab region (present-day Pakistan)
"Pokari" embroidery is characterized by the use of a variety of bright and untwisted silk threads called "pat", which women generally buy from nomadic merchants. The cotton cloth used as a base cloth is called khaddar and is hand-woven and dyed locally. Its makers and users are women, and they are mostly worn as headdresses and shawls. There are many types of "boncaries", such as this one based on white cotton with a geometric pattern embroidered with red silk thread, called "thirma phulkari", a combination of colors that suggests that its user is an elderly woman or widow. The geometric ornamental style, which resembles the shape of a small squid, is generally speculated to imitate the jagged pattern outline on the Central Asian ikat fabric.
Wedding dressage
The traditional wedding dress of Central Java, Indonesia, wears a typical batik skirt and is paired with a black-and-gold thread embroidered coat as the basic form. The batik skirt is decorated with dark blue and brown as the main color, and the ornamentation includes the Spirit Mountain, flames, boats, jade seats, treasures, golden-winged bird wings (garuda) and other symbols of the budding Sumen pattern (Semen Romo), which was originally a pattern for the Royal Family of Central Java, and has now become the most distinctive traditional celebration pattern of Indonesian batik. Black velvet coat with intricate floral ornamentation embroidered with gold thread at the neckline, cuffs and hem. Compared with the early illustrations, the wearing of the coat is a method of wearing the shoulders under the influence of Islam, and the wedding dress also witnesses the fusion of tradition and foreign cultures. Wearing gorgeous hats, hairpins, and embroidered shoes on his feet, the most luxurious costumes show the grandeur of the wedding ceremony and the blessing of the couple's married life.
At the exhibition, the organizers also combined the cultural relics of the National Palace museum in Taipei with the forward-looking digital technology to create a digital experience space for Asian fabrics, and the audience can transform into professional professionals of the "Textile Workshop" to create beautiful and classic fabrics, or they can stand in front of the "Asian Dressing Mirror" to match and disguise with the textile relics of the National Palace museum in Taipei to explore the unique charm of Asian fabrics.
The exhibition will run until September 11.
(This article is compiled from the official website of the National Palace Museum in Taipei and related fabric historical materials.) ）
Editor-in-Charge: Weihua Gu
Proofreader: Yijia Xu