Thai Textile Society Adopts Lanna Weaving School Interviews by...

THAI TEXTILE SOCIETY NEWSLETTER Vol. I, Issue No. 2, October, 2013

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Thai Textile Society Adopts Lanna Weaving School

Interviews by TTS Members

Rongrian Suupsarn Phumipanya Lanna Photo J Toomey

Backstrap Loom Photo J Toomey From the new library of textile patterns

The Thai Textile Society has taken on a special project with the weaving school Rongrian Suupsarn Phumipanya Lanna in Chiang Mai. The school was set up with the objective of preserving the Lanna cultural heritage of the North for future generations. The school was founded in 1996 by the organization for the preservation of Lanna heritage and by people interested in art and culture, receiving official recognition in 2003. In 2011 the Boran (Ancient) Lanna Cultural Heritage Foundation officially established the weaving school with Mrs. Nussara Tiengkate as director and advisor. She herself has donated textiles to the school’s collection. The TTS supports the weaving school by sending funds to help establish a library of reproductions of about 100 Lanna textile patterns. Students learn all stages of weaving and dyeing from start to finish. They are aged 8-14 and include boys, though they are outnumbered by the girls. Most are interested in natural dyes and delight in the simplicity of beginner’s weaving. The classes last usually an hour a day and students attend for as many days a week as they like. About 50 students a month come for a short one or two hour session. Even a handful of adults come each month. Other crafts are also studied, such as punching paper cuts, a traditional art of Lanna. Anyone who is interested can join the weaving class. It is hoped that the tradition of weaving in Lanna will continue and that it will be a livelihood for young people.

HEADER: Tai Khrang, Suphanburi National Museum. Photos John Toomey

ABOUT US

The Thai Textile Society is a non-profit

organization dedicated to the study and appreciation of

textiles, with particular emphasis on the textiles of Thailand

and Southeast Asia. Based in Bangkok, the Thai Textile

Society was founded in 2004 when Kathleen Forance

Johnson, wife of U.S. Ambassador to Thailand Darryl

Johnson, invited scholars, collectors, and other textile

enthusiasts to establish a society dedicated to the study,

appreciation, and preservation of the textile arts in the

kingdom and the region. An avid weaver and textile

collector, Mrs. Johnson envisioned the Society as a forum

for textile lovers to exchange ideas and share information

and resources. Since its inaugural meeting in May, 2004,

the Society has organized regular lectures, trips, and other

programs such as its popular Collector’s Corner series.

The TTS enjoys and appreciates support from the Siam

Society and the James H.W. Thompson Foundation. It has

also worked closely with the latter on programs such as the

August 2005 Jim Thompson textile symposium.

Membership in the Thai Textile Society has grown steadily,

and our e-mailing list now reaches more than 400 people

worldwide. Under the leadership of Acting President Dr.

Sathirakorn Pongpanich, the Society continues to host

regular educational programs designed to promote

appreciation of Asia’s rich textile heritage. DISCLAIMER:

This newsletter is distributed free to TTS members and

subscribers, and it is accessible free to all website visitors

in the hopes of encouraging interest and scholarship in

textiles and is the sole property of TTS. Personal opinions

expressed in this newsletter are strictly those of the authors

and are not necessarily endorsed by the Thai Textile

Society. Our Website can be accessed at

http://thaitextilesociety.org

Children use a nail to punch out traditional Lanna paper cuts of same patterns used in

weaving. Photo J Toomey

http://thaitextilesociety.org/


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Khon Dancers’ Costumes and the Dream of Embroidery

Story and photos by Bozena Mazur

TTS Members with Achan Anucha (2nd from R) and khon dancers The Khon dance was originally performed for the Thai royal court only. How privileged the Thai Textile Society members were to enjoy the performance and moreover the actors’ demonstration of how they dress. This royal world was revealed to us by Achan Anucha Thirakanont, director of the Thai Kadi Research Institute on October 18th, 2012, at the Queen’s Gallery in Bangkok.

The actor is sewn into his costume as he is dressed

Khon combines theatre and dance and has been performed in Thailand since the Ayutthaya period. Most Khon performances present episodes from the Ramakien, the Thai version of the Indian epic the Ramayana. Different characters shown on the stage are elaborately dressed in costumes specifically designed for particular characters. The most popular are Prince Rama, his wife Sita, his brother Laksmana, the evil king Ravana (Tosakan in Thai), and the monkey general Hanuman. When we enjoy the performance, we delight in the pantomime and the beauty of the costumes without realizing what immense effort and time are needed to prepare each performance. Even though prior to the show many layers of dress are fitted and sewn onto the actors, they still move gracefully, even under their masks. Approximately 20 components like krong khor (wide collar), hoi na (front tail), hoi khang (embroidered cloth hanging down at the front of

each leg) and rad sa el (belt) are actually sewn together or assembled directly on each dancer. It takes three to four hours to create the final appearance of a character before he or she is ready to enter the stage.

True colors of the old costumes During Achan’s presentation Rama and Sita were dressed on the stage in front of us. The embroidery, glittering and shining, was different in older days, a simpler design with fewer colors, but precious and perhaps easier to recognize as a dress of the particular character. Deep green, red, gold and white were the main colors used 100 years ago.

Small, delicate motifs like typical Thai four-petal flowers, kranok flames and fine lines were embroidered with gold and silver threads.

Gold thread embroidery

Couching gold pieces


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Sometimes semi-precious stones, beads or sequins and beetle wings were used for the complicated embroidery and appliqué on silk; and it took months to finish a piece. Achan Anucha brought and displayed the old costumes. Their extremely small size also amazed us compared with what we can see today on the stage! Obviously Western influences brought huge changes to human bodies also. A very clear change we witnessed looking at the new costumes was the difference in materials used: modern-day cotton and synthetics now often replace the expensive and sensitive silk of the old days. Also, the design changed to bigger motifs and the colors are brighter. Why? Maybe because nowadays the performance takes place on big stages in front of an audience enjoying it from a further distance?

But there is hope for preservation of the old tradition and wisdom. HM the Queen’s and HRH Princess Sirindhorn’s concerns and active involvement started a program to develop software to archive old patterns and old Thai colors. This is a difficult and time consuming task, but the royal initiative will for sure bring it to fruition.

Since King Rama VI boosted the performing arts in Siam, the number of dancers seems to have grown, like the number of colors, motifs and details in the complicated and delicate embroidery. After this presentation every Khon performance in the future will have for us a different dimension: we learned more to appreciate this performing art by actually knowing it and seeing what is happening behind the stage with our own eyes. We will enjoy even more the precious world of Khon costume embroidery.

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MORE ON KHON The Hall of the Supreme Artist in Patumthani houses a small khon theatre with displays of costumes for both male and female dancers as shown here. Photos J Toomey, courtesy of the Thai FAD


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Textile Traditions of Lanna

by Ruth Gerson tattooed from the waist to below the knees as a sign of virility, beauty and to ward off evil. To show off these tattoos, they wore short checkered loin cloths pulled up high in a style called khed. When worn longer and covering the knees the style was known as jong kraben. Both men and women did not cover the upper body. Women when going out wore a cloth either wrapped around the breasts, draped around the neck with the ends hanging behind, or it was draped over one shoulder in what was known as pha sabai. Village clothing changed very little over the centuries. The Tai who were rice farmers wore the Moh-Hom shirt, a collarless, round necked cotton shirt dyed blue with indigo. On the lower half of the body men wore loose calf length dark blue trousers known as Sador and women wore plain indigo dyed pasin with simple horizontal stripes near the hem.

Lanna, Chiang Mai court tube skirt cotton, silk, gold

& silver metallic thread, Tilleke & Gibbins Collection

Lanna, Mae Chaem, tube skirt, Tilleke & Gibbins

Collection

Several ethnic groups lived in what was known as the northern kingdom of Lanna where people wore garments that represented their ethnic identity, status and wealth. The nobility and royalty of Lanna wore apparel that exuded their power and wealth, stating their authority. Lanna was founded in the 13th century in an area that bordered Burma and Laos to the north and Siam to the south. It had a number of principalities such as Nan, Phrae, Lampang and Lamphun, each with a different textile tradition.

The Tai ethnic groups in Lanna comprised the Tai Yuan who constituted the majority of the population, the Tai Lue who were forced out of Sipsongpanna in southern China and settled near Nan, the Tai Yai and the Tai Khoen who arrived from the Shan states and the tribal groups of Lawa and Karen who arrived from Burma. Most of these Tai groups wore similar clothing. The women wore tube skirts, called pasin, and men wore baggy pants, and some wrapped turbans around their heads. What distinguished these groups were the designs of the female pasin; although different in pattern, all were arranged horizontally – typical of the north and distinguishable from Isaan (northeast Thailand) weaves, which had vertically woven designs in them.

The early people of Lanna wore little

Lanna and Lan Xang style court blouse (silk, cotton, gold metallic thread) Tilleke & Gibbins Collection

Royal fashions of the north, unlike village styles, continued to change with the influences that filtered into their culture. New and attractive materials became available to them, brought from markets outside of Lanna, while visitors to their area introduced novel and attractive designs. Shirts and jackets were sewn of silks, velvets, embroidered with gold and silver metal threads, and gold buttons were attached to some.

Tin Jok or discontinuous supplementary weft weaving technique

clothing. Men had their lower bodies Hta mein Luntaya skirt, Burma, Tilleke & Gibbins Collection

Lanna man with tattooed thighs, Wat

Phra Singh, Chiang Mai

A piece was added at the bottom of the pasin woven in tin jok or discontinuous weft-weave. The dominant designs are lozenges (diamond-like pattern) running horizontally as well. The design ends in thin threads woven into the textile to resemble a fine hanging fringe. The background of the weave of the Tai Yuan was always red. Another design seen on royal pasin was the luntaya. This wavy horizontal pattern has its


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origins in Burma, adapted by the Lanna court and embellished with flowers and tendrils that were added to the delicate waves. The nobility of Nan wore a weave distinctive to their area, the multi colored tapestry weave fitting snugly to create artistic geometric designs. Specific court designs were the Lai Kranok flame motif and pha lai yang, which is a finely drawn design on textile or very fine batik (reserved for royalty). Some painted and printed textiles were ordered from India, others came from Bangkok, but by far the superior pieces were woven in the northern palace of Lanna where the most skilled weavers were employed.

In summing up Lanna apparel, villagers wore cottons while the nobility used silks and other fine textiles. Women donned pasin and men jong kraben, with designs and colors that distinguished them and indicated their origin. Together the Tai have posed an impressive picture of northern wear.

More images for some articles in the TTS Newsletter and TTS

events can be found in the Photo Gallery of our Website:

http://thaitextilesociety.org/gallery.php

Kindly ask permission before you use any and acknowledge the

creators and send us a copy or notice of your work.

Nan tapestry weave, detail, author's collection

TEXTILES CONSERVATION AT THE BANGKOK NATIONAL MUSEUM

Story and photos by John J. Toomey

If you have frequented the Bangkok National Museum auditorium for lectures, presentations, workshops, symposia and other events, you might have wondered what is upstairs in that building behind the stage. Finally the veil was lifted on last May 30th as the curators of the Conservation Department of the NMB took us behind the scenes to show us the painstaking labor of love that they daily carry on to conserve, preserve, and restore the precious pieces of our museum, as well as some of the Royal regalia and furnishings in palaces, mansions and museums throughout Thailand.

Upstairs in the Science Department labs, we learned that all restored textiles are backed with new material, wrapped in acid free Tyvek®, rolled and placed in stiff tubes for storage. Textiles are cleaned with mild chemicals and vinegar, using cotton buds, but not lemon juice.

Throughout our tour we were reminded that in restoration it is important to make sure that the new additions are removable in the future, in case we someday come to understand that they were mistakes.

Curator of the Bangkok National Museum’s Science Department Khun Sopit shows us conservation, preservation and

restoration. Epaulettes in restoration for royal staff uniforms. Courtesy FAD

http://thaitextilesociety.org/gallery.php


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Patterns of textiles of the past carved in stone

KHMER TEXTILES – THEN AND NOW

Story by Jenny L. Spancake Photographs by Jenny L. and Steven C. Spancake

In December 2009 the Thai Textile Society (TTS) traveled to Siem Reap, Cambodia, site of the Angkor Archaeological Park, to visit both the monuments of the ancient Khmer empire and the villages currently weaving traditional Cambodian textiles. The mission of the TTS is the study and appreciation of textiles with a particular emphasis on those of Thailand and Southeast Asian textiles. Therefore, a study trip co-led by Jenny Spancake and Pauline Tabtiang was arranged to examine textiles of the past carved in stone on temple walls and their influence on present day weaving in one country of the region.

Carvings illustrate importance of textiles at court

The bas-reliefs and other carvings on the walls of the famous monuments of the Angkor area illustrate the type of textiles in use at the time of the Khmer Empire; they are on doorways and ceilings, illustrating the importance of textiles at the court. Most of the group had visited Angkor before, but this time we focused on these images so easily overlooked on a first visit. Limited by time, we were able to visit only a few of the temples where textile reliefs can be seen. The bas-reliefs at Angkor Wat illustrate the wide variety of uses of sumptuous textiles within the Khmer court, such as the military equipment of King Suryavarman’s army, including clothing, palanquins adorned with figured textiles, pillows, curtains, and banners. Other carved ornamentations on the temple illustrate still more textile patterns. If we could imagine people passing through the temples at the time it was in use, we would see how colorful the scene must have been. The temple itself probably was painted; with the clothing of the courtiers and priests, we can visualize a riot of color.

Although we do not know what type of textiles were produced in Cambodia itself at the time of Angkor, we do know that at least by the nineteenth century the Cambodians produced intricate weft ikat (hol in Khmer) textiles. There is no definite knowledge about when the production of weft ikat began, although weavers are mentioned in inscriptions from the seventh century. Cambodian hol is distinctive in that it is woven using the twill technique, while in Thailand ikat is woven in plain weave. In 1975 Cambodia experienced the rule of the Khmer Rouge and the loss of much traditional knowledge. This history is well-known and the loss of skills and experience in many areas of handicrafts, art and education was profound. However, a number of groups have been working to re-establish traditional textiles in Cambodia and we wanted to see what was being produced today around Siem Reap.

An approximately two hour drive takes you to the village of Phnom Srok in Beantay Meanchay Province. An association of silk villages in the area had been formed with funds from France to enable the villages to set up a central training site where villagers could come to learn the use of natural dye. The center teaches the villagers how to use the natural dyes and techniques to control the quality of these dyes. About 100 different colors can be produced. One of the most important dyes is from tree bark, known locally as prahout. We were shown a wonderful caramel color as well as a bright yellow that was made with this dye. When asked what was used as a mordant, a lively conversation ensued wherein we discovered the many problems of translation. This conversation truly brought home the problem of doing research in a language not one’s own and the specificity of textile terms that are not necessarily known or understood by the average person who translates everyday aspects of life. As the mordant may be often be the most secret part of the natural dyeing process, perhaps translation was not the problem.

Natural dye from bark and natural “golden silk” nestled in branches


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Another surprise for us was seeing the local silk in its natural state before bleaching. I had seen photos of the “golden silk” for which the area is known, but seeing the rich golden color of the silk in reality brought home the differences in varieties of silk. The villages in this area are still producing silk as a family industry. They make the silk, dye and weave it. In a small village we saw the silk cocoons nestled in branches.

Morimoto holds stick lac. Children brought to work.

Banana fiber to tie ikat

The highlight of the trip was our visit to Morimoto Kikuo’s Forest Village Project. To visit Mr. Morimoto’s village is to be able to see all of the traditional aspects of the production of a silk textile. He has received the Rolex prize, which rewards pioneering projects that demonstrate innovative thought and contribute to the betterment of mankind for his role in re- establishing the traditional Khmer hol. He founded the Institute for Khmer Traditional Textiles (IKTT) to create and promote traditional silk hol textiles with intricate patterns that range from floral to complex pictorial representations of the Buddha’s life. Mr. Morimoto found some older women who still retained that knowledge. He encouraged them to teach others and from this modest beginning he now runs a village of about 200 people who produce traditional textiles. The women bring their young children to work; for me the sight of a very young girl watching her mother weave exemplifies Mr. Morimoto’s goal – the preservation of traditional textiles and the handing down of knowledge from one generation to the next.

It was fascinating to see the entire production process in one village. Mr. Morimoto believes that using the traditional methods produces a textile of superior quality that is closer to historic textiles. At the Forest Village bananas are used in the weaving and dyeing of silk. For example, the silk is bleached with banana ash, while the strips to tie the ikat patterns are banana fiber.

Natural dyes are used and one of the most important is lac which produces a beautiful red color, the hallmark of the older Cambodian ikats. Lac is produced from the resinous secretion of a species of insect as they nest in a host tree. A wide variety of other natural dyes are used; mordants are alum and iron. The iron is extracted by putting old pieces of iron in a bucket of water and letting nature take its course. We watched a documentary on the village which showed an old gun being boiled in one pot; perhaps a very symbolic recycling in a Cambodian context. Mr. Morimoto quoted the old saying about dyeing explaining why his more laborious process is better: “Quick way of dyeing, quick way of going”.

Many mulberry trees were destroyed during the time of the Khmer Rouge. Mr. Morimoto found villages where the original still grew and reintroduced the trees at the Forest Village and brought silkworm eggs from Khmer villages in Thailand. The village also grows cotton. Everything is grown organically at the Forest Village. Mr. Morimoto believes that the soil and its quality are particularly important in every aspect of textile production, particularly dyeing, especially for indigo. No chemicals of any kind are used in his village.

Note traditional tumpals on textile behind this weaver

Another aspect of Mr. Morimoto’s project is preservation of both the older textiles and their designs. He researches these by visiting villages and documenting the designs. He has begun computerizing them so that they can be preserved indefinitely. As we discussed these textiles, the meaning of the designs provoked a lively discussion. We looked at the tumpals at the end of the panel, derived from Indian design

Tying off the ikat


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and now so important in the design of all Southeast Asian textiles. Mr. Morimoto interprets these designs as representing offerings to the Buddha, or the tree of life. He also emphasized that the Khmers love a small design.

Mr. Morimoto sees one very large problem. The average Cambodian cannot afford to purchase the products produced by the village. Unfortunately the traditional methods are time consuming and consequently reflected in the price. We must remember that in the past patronage played a very important part in the creation of complex woven pieces. Only the rich could and still can afford the piece that takes a woman six months to a year to tie and/or weave. Should a woman produce a piece and be paid less than the average daily wage for her work? Can we support a tradition that devalues the work of weaving because it is predominantly produced by women? Must it be old to be valuable? Sometimes an old piece of inferior quality will be hotly bargained for while a much more complex new piece is disdained because it is new. These are questions that we who are interested in textiles must ask, or else not be surprised when the quality of weaving deteriorates. If we buy only tourist quality textiles, why would a woman weave spectacular pieces she cannot sell at a price that reflects her cost of raw materials and the time producing it. I have heard a textile “collector” say, “Great, I got such a good price, I don’t see how she could even pay for the raw materials.” If fair prices are not paid, more weavers will move from hand weaving to the factories.

One final word from Mr. Morimoto: “Our fabric is made by human and living. As it is practically used, its color comes alive. Please don’t let your cloth lie in a drawer, but use and

THE NATIONAL TEXTILE STORAGE FACILITY

The King’s Golden Jubilee National

Museum by Darika Thanasaksiri, Curator of Textiles

with John Toomey

Tai-Khrang decorative hanging for entrance to mosquito net

You might wonder what happens when a museum collects so much that it has duplicates or an overflow that it can no longer store. The Kanchanaphisek (The King’s golden Jubilee) National Museum houses collections of such overflows as textiles, woodcarving, basketry and pottery. The museum was established in 1986 and started collecting ethnological objects

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carry it around with you so that the cloth is pleased.” Pleasing in 1994, the 50 anniversary celebration of the Golden Jubilee

the cloth is a wonderful way to salute Mr. Morimoto.

(A version of this article appeared in the journal of the Oxford Asian Textile Group.)

COLLECTOR’S CORNER

Last June 1st TTS Steering Committee member K. Chomporn Dhanesnittaya presented "Beaded Textiles" at the Jim Thompson

Foundation’s William Warren Library. Photo J Toomey

of His Majesty’s accession to the throne. Despite its name, some objects were actually donated from people around the area where the museum is located, in Patumthani, near the Hall of the Supreme Artist and the National Archives.

Later, a central storage facility for all 44 of Thailand’s national museums was built in this area, too; so all the overflow of artifacts from National Museums around the country, including antiquities and ethnological objects from other national museums, were moved to this storage. In 2002, the storage on view for exhibition was transferred to the direction of the Office of National Museums.

Textile storage at Kanchanaphisek NM's Storage Facility A second building was constructed for stored items to be put on view and was arranged to exhibit collections in various galleries according to material, including pottery, woodcarving, basketry and textiles, the last taking about 15 minutes to visit. The textile storage facility exhibits Thai military uniforms and Phra Bod, which are paintings of Buddha images on textiles, along


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with Burmese appliqué funeral draperies known as Shwe Chi Doe (sometimes referred to as kalaga in English after their Portuguese name) and other textiles.

Burmese Shwe Chi Doe of Royal Ploughing Ceremony

But the highlights are tube skirts from the Tai-Khrang ethnic group in Utaithani province. The Tai-Khrang groups lived mainly in Central Thailand and some in the Northeast where they moved after migrating from Laos. They have a unique traditional culture especially in the Pha Sin. The Pha Sin has three parts: the waist band, the main body using the matmee technique-ikat, and the broad hem piece using the difficult tin jok technique (tin meaning “foot” and jok meaning “to pick out”). The women use a porcupine quill to pick out the supplementary weft threads. Most of the hem piece is made from cotton but the main body is made from cotton or silk. Although Pha Sin have now disappeared from daily Thai life, many ethnic groups still wear and weave them. Pha Sin tin jok in this collection come from Tai-Lue, Tai-Yuan, Tai- Puan and Tai-Khrang; and, so, all the designs are different. Most of these textiles were made in Ban Rai, Uthaithani.

outdoors. The designs were based on elements of their own environment such as animals and flowers. Some of the designs on Pha Sin are similar to the designs found in basketry and the Dong-son culture’s metal drums. They made these items for use in daily life and in rituals. The Mae-Chaem tin jok has 16 designs which are found only in their geographical area, which means that the tin jok of Mae-Chaem is an emblem of the origin of the special attributes of this ethnic group in this area.

Mae-chaem textiles and weaving technique

You can round out your visit to the National Storage Facilities with a visit to the basketry, woodcarving and ceramics galleries and the exhibition hall of Thai National Artists in the Hall of the Supreme Artist which are also open to the public. If you go on your own, the National Storage Facility of the Kanchanaphisek National Museum is located at Klong 5, Klong Luang, Patumthani 12120. Tel. & fax. 02 902 7568. Open Monday to Friday, 9.00 a.m. - 4.00 p.m., except National Holidays. Admission is free. The author of this article, Ms. Kung, will be happy to be your English guide if you call in advance. Here is a link to a map to this museum: https://www.facebook.com/groups/13978553287981 0/147022538822776/?notif_t=group_comment#!/photo.php?fbid =387529334685279&set=a.387529248018621.1073741825.30493 4299611450&type=1&theater

All photos courtesy of the National Museums’ Storage Facility of the Kanchanaphisek National Museum

Phra Bod, Buddhist painting on cloth banner

Phasin, tube skirts of the Tai-Khrang

The Tai-Yuan weave from Mae-Chaem in Chiangmai province, is readily distinguishable by its predominately yellow color. Yuan refers to the Tai-Yuan groups from Yonok City, in Chiang-Saen district, not to be mistaken for the Vietnamese Yuan, who are a different ethnic group. Most of the Tai-Yuan live in northern and western Thailand, e.g., Chiang-Mai, Chiang-Rai, Mae Hong Son and Ratchaburi. The Tai-Yuan language comes under the Tai-Kadai language family, and includes a written language.

Moreover, the women used to weave scarves, triangular pillows, bed sheets and many other items; but nowadays, very little remains. The women wove them while the men worked

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