Antiques-Thing

Woodworking Plans

2012-10-10T21:13:00.003-07:00

TedsWoodworking 16,000 Woodworking Plans 

Ever wanted to create woodworking projects easily and quickly?

I just came across a site with over 16,000 downloadable woodworking plans at:
www.TedsWoodworking.com

Here is an honest review of TedsWoodworking.com

If you want to start a woodworking project, you need all the necessary information, including schematics, blueprints, materials lists, dimensions etc. That is where TedsWoodworking comes in. The plans are clearly drawn and there're step-by-step explainations of how the plan should be done and put together.

There are several other sites whose collection of plans have the dimensions totally wrong without any indication of parts lists, material lists or the tools needed. If you're one of those people who have bought plans like this in the past, TedsWoodworking will change your perception.

In Ted's Woodworking you will get everything you need:
-Diagrams which are detailed with a full set of dimensions
-Step -by-step instructions how to start your project
-The necessary materials for that particular project
-All the woodworking tools you will need

If you are a beginner or have done some woodworking you will find these plans easy-to-follow as the instructions are very clearly written. The woodworking plans are straightforward so they are not complicated at all. Even if you are a total newcomer to woodworking you will simply be able to master all the techniques that are needed and the woodworking skills very quickly by following the concise and clear instructions.

Another thing which is so great about these woodworking plans is that there have been some videos included and there are some to guide you in how to build benches home furniture dog houses bird feeders sheds and much much more.

There is also a lifetime member acess included in the package and you get these extras for no cost to you as they are free with no additional charges at all! This alone is worth the entire price for TedsWoodworking.

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Cons
There is only one drawback that we could find and that being with 16,000 woodworking plans you are bound to get some which look a little disorganized but that is understandable as it is very difficult to place all these plans into their proper categories. Secondly, it might take you a little longer to do the downloads on because of the size of them. But the members area include an option to upgrade to the DVD so you can save time on downloading.

Bottom line:
Truth is, I've been a carpenter for almost 36 years, and I haven't found anything like this for less than 10's of thousands of dollars.Here's the bottom line: If you are planning to start on your woodworking project, this isn't something you SHOULD use, it's something that you would be insane not to.

Batik

2012-06-29T20:14:00.000-07:00

Batik

This article is about the painting and textile dyeing technique, for other uses see Batik (disambiguation). For the SVG software library, see Batik (software)

Indonesian batik

Batik (/ˈbætɪk/ or /bəˈtiːk/; Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪk]) is a cloth that is traditionally made using a manual wax-resist dyeing technique. Batik or fabrics with the traditional batik patterns are found in (particularly) Indonesia, Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore.
Javanese traditional batik, especially from Yogyakarta and Surakarta, has notable meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Vishnu, and Śiva). This is related to the fact that natural dyes are most commonly available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch cultures. In the colonial times pesisir batik was a favourite of the Peranakan Chinese, Dutch and Eurasians.^{[citation needed]}
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.^[

Etymology

Although the word's origin is Javanese, its etymology may be either from the Javanese amba ('to write') and titik ('dot' or 'point'), or constructed from a hypothetical Proto-Austronesian root *beCík, meaning 'to tattoo' from the use of a needle in the process. The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.

History

Wax-resist dyed textile from Niya (Tarim Basin), China

The carving details of clothes worn by Prajnaparamita, 13th century East Java statue. The intricate floral pattern similar to traditional Javanese batik.

Wax resist dyeing technique in fabric is an ancient art form. Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool. In Asia, the technique was practised in China during the T'ang dynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE). In Africa it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.
In Java, Indonesia, batik predates written records. G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, JLA. Brandes (a Dutch archeologist) and F.A. Sutjipto (an Indonesian archeologist) believe Indonesian batik is a native tradition, regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.
Rouffaer also reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that such a delicate pattern could only be created by means of the canting (also spelled tjanting or tjunting; pronounced [ˌtʃanˈtiŋ]) tool. He proposed that the canting was invented in Java around that time. The carving details of clothes wore by Prajnaparamita, the statue of buddhist goddess of transcendental wisdom from East Java circa 13th century CE. The clothes details shows intricate floral pattern similar to today traditional Javanese batik. This suggested intricate batik fabric pattern applied by canting already existed in 13th century Java or even earlier.
In Europe, the technique is described for the first time in the History of Java, published in London in 1817 by Sir Thomas Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch were active in developing batik in the colonial era, they introduced new innovations and prints. And it was indeed starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans. After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost. The Gemeentemuseum, Den Haag contains artifacts from that era.
Due to globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap ([ˈtʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written wax-resist dyeing technique is known now as batik tulis (lit: 'Written Batik').
At the same time, according to the Museum of Cultural History of Oslo, Indonesian immigrants to Malaysia brought the art with them. As late as the 1920s Javanese batik makers introduced the use of wax and copper blocks on Malaysia's east coast. The production of hand drawn batik in Malaysia is of recent date and is related to the Javanese batik tulis.
In Sub Sahara Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs, thicker lines and more colors. In the 1970s, batik was introduced to the aboriginal community in Australia, the aboriginal community at Erna bella and Utopia now develop it as their own craft.

Culture

In one form or another, batik has worldwide popularity. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings, which grace many homes and offices.

Indonesia

The Javanese aristocrats R.A. Kartini in kebaya and her husband. Her skirt is of batik, with the parang pattern, which was for aristocrats. Her husband is wearing a blangkon

Depending on the quality of the art work, craftsmanship, and fabric quality, batik can be priced from several dollars (for fake poor quality batik) to several thousand dollars (for the finest batik tulis halus which probably took several months to make). Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-metre lengths used for kain panjang or sarong for kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as blangkon. Infants are carried in batik slings decorated with symbols designed to bring the child luck. Certain batik designs are reserved for brides and bridegrooms, as well as their families. The dead are shrouded in funerary batik.Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he or she wore.
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as prada (a Javanese word for gold) cloth. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni "first pregnancy" ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Batik is also part of the labuhan ceremony when people gather at a beach to throw their problems away into the sea.

Contemporary men batik shirt in typical Solo style, sogan color and lereng motif.

The wide diversity of patterns reflects a variety of influences, ranging from indigenous designs, Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, or wax recipes with different resist values. They may work with silk, cotton, wool, leather, paper, or even wood and ceramics.

Popularity

Garuda Indonesia flight attendant uniform in kebaya and batik parang gondosuli motif.

In Indonesia, batik popularity has had its tidings. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, which was commonly worn every day. According to Professor Michael Hitchcock of the University of Chichester (UK), batik "has a strong political dimension. The batik shirt was invented as a formal non-Western shirt for men in Indonesia in the 1960s, not long after the country's birth.^[10] It waned from the 1960s onwards, because more and more people chose western clothes as fashionable, decimating the batik industry.
However, batik clothing has revived somewhat in the turn of 21st century, due to the effort of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik is a fashion item for many young people in Indonesia, such as a shirt, dress, or scarf for casual wear. Kebaya is regarded as a formal attire for women. It is also acceptable for men to wear batik in the office or as a replacement for jacket-and-tie at certain receptions. After the UNESCO recognition for Indonesian batik as intangible world heritage on October 2, 2009, Indonesian administration has asked Indonesians to wear batik on Friday, and wearing batik every Friday is encouraged in all government offices and private companies ever since.Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.
The existence and use of batik was already recorded in the 12th century and the textile has since become a strong source of identity for Indonesians,and to lesser extent Malaysia and Singapore. Batik is featured in their national airlines uniform, the flight attendants of Singaporean, Garuda Indonesia and Malaysian national airlines wear batik prints in their uniform. Although the uniforms are actually not real batik because the production is not using the traditional way but using mass produced techniques. The female uniform of Garuda Indonesia flight attendants is more authentic modern interpretations of kartini style kebaya and batik parang gondosuli motif, which also incorporate garuda's wing motif and small dots represent jasmine.The batik motif symbolizes the ‘Fragrant Ray of Life’ and endows the wearer with elegance.

Malaysia, Singapore, Brunei

Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately, his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.

Malaysian batik are mostly large floral motifs, light and vibrant in colouring.

Today, Malaysian batik can be found on the east coast of Malaysia such as Kelantan, Terengganu and Pahang, while batik in Johor clearly shows Javanese and Sumatran influences since there are a large number of Javanese and Sumatran immigrants in southern Malaysia.
The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.However, the butterfly theme is a common exception. The Malaysian batik is also famous for its geometrical designs, such as spirals. The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler, seldom or never using the canting to create intricate patterns, it relies heavily on the brush painting method to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik.

Thailand

Batik sarongs are also designed as wraps for casual beachwear. In the southern Thai island of Koh Samui, batik is easily found in the form of resort uniforms, or decorations at many places, and is also used for the locals' casual wear in the forms of sarongs or shirts and blouses. It is the most common, or even symbolic product for those visiting Koh Samui Island. The Batik of Samui mostly shows the beauty and attractions of the paradise island and its culture, such as the coconut shells, the beaches, palm trees, the island's tropical flowers, fishing boats, its rich water life and southern dancer, Papthalung.

Azerbaijan

The batik pattern can be found in its women's silk scarves, known as kelagai, which have been part of women's clothing there for centuries. Kelagai were first produced in the village of Basgal and were created using the stamping method and natural colors. The cocoons were traditionally processed by women while the hand-printing with hot wax was only entrusted to male artists. The silk spinning and production of kelagai in Azerbaijan slumped after the fall of the USSR. It was the Inkishaf Scientific Center that revived kelagai in the country. Kelagai is worn by women both old and young. Young women prefer bright colors, while older women wear dark colors.

China

Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.

Types and Variations of Batik

Sacred Dance of Bedhoyo Ketawang. The prada (gilded) batik is wrapped around the body.

Javanese court batik in deep brown color

Cirebon batik depicting sea creatures

Javanese Kraton Batik (Javanese court Batik)

Javanese kraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).
The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:

Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.

Pesisir Batik (Coastal Batik)

Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik, which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.

Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon Kraton. This cloud motif shows Chinese influence.
Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.

Indonesian Batik from other areas

Java

Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten). Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
- Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
- Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
- Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
- Kuningan Batik.
- Banten Batik. This type of batik employs bright and soft pastel colors. It represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002-2004. Twelve motifs from locations such as Surosowan and several other places have been identified.
Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s. The long fabrics usually is done in two pattern called pagi/sore (Indonesian: morning and afternoon) refer to two type of motifs in one sheet of fabric, as the solution of cotton fabrics scarcity during war time. Another recognizable traits of Java Hokokai batik are the Japanese influenced motifs; such as sakura (cherry blossoms) and seruni or kiku (chrysanthemums, Japan national flower and the symbol of the emperor), butterflies (symbol of female elegance in Japanese culture), and overlaying intricate details that has made Jawa Hokokai batiks as one of the most notable, noble and beautiful batik art forms in Asia.

Javanese batik with bird and floral motifs
Batik Buketan Pekalongan shows European flower bouquet
Batik Lasem with its typical bright red
Batik Java Hokokai demonstrated Japanese influenced motifs

Bali

Balinese Batik. As Balinese Hindu culture does not restrict the depiction of images, the Balinese have traditionally focused more on sculpture and painting than on textiles. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.

Sumatra

Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay Peninsula.
Minangkabau Batik. Minangkabau ethnic also have batik called as Batiak Tanah Liek (Clay Batik). They use clay as dye for batik. The fabric was immersed in clay for more than 1 day to make permanent color and after that they design the motif of animal and flora
Aceh Batik.
Palembang Batik.
Riau Batik.

Painting

Out of its traditional context as fabrics with pattern, batik can also be as a medium for artists to make traditional or modern paintings or artworks. Such arts can be categorized in the normal categorization of arts of the west.

Batik painting depicting two Indian women
Javanese batik painting depicting buddhist deity
Sydney Opera House (Artist - Arman Mamyan)
Indonesian modern batik painting.
Framed modern impressionist batik painting by Yogya based artist Slamet Ryanto.
Modern impressionist batik painting by Yogya based artist Yanci. (dd.2010)

Batik Collectors

Santosa Doellah has been recognised by The Indonesian Museum of Records as having the world’s largest collection of ancient Chinese-influenced Indonesian batik textiles. In total his collection consists of approximately 10,000 Batik pieces.
The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.
Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.

Technique

Batik painting in Java during colonial period. Observe many different varieties of patterns used.
Dipping cloth in dye.
Production of batik cloth in Java, Dutch East Indies, 1912.
A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta (city), Indonesia.
Bambang Oetoro demonstrates batik painting technique in the first batik gallery in Amsterdam, 1977.

Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.
Thin wax lines are made with a tjanting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called batik tulis.
For batik prada, gold leaf was used in the Yogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them.

Industrialization of Technique

Batik cap (copper block stamp) as a method to apply wax on fabrics

The application of wax with a tjanting tool is done with great care and therefore is very time-consuming. As the population increased and commercial demand rose, time-saving methods evolved. Other methods of applying the wax to the fabric include pouring the liquid wax, painting the wax with a brush, and putting hot wax onto pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric. The tjanting is used like a pen on the cloth.
The invention of the copper block (cap) developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a tjanting.
Batik print is the common name given to fabric that incorporates batik pattern without actually using the wax-resist dyeing technique. It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.

Furniture Craft Plans

2012-06-22T17:52:00.003-07:00

Furniture Craft Plans Review Help You To Make Amazing Wooden Furniture And Other Wood Craft Projects

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Ivory Carving

2012-01-09T05:18:00.000-08:00

Ivory

11th century elephant tusk, Italy, musée du Louvre.

carved ivory in Sa'dabad Palace, Iran

Ivory is a term for dentine, which constitutes the bulk of the teeth and tusks of animals, when used as a material for art or manufacturing. Ivory has been important since ancient times for making a range of items, from ivory carvings to false teeth, fans, dominoes, joint tubes^{[citation needed]}, piano keys and billiard balls. Elephant ivory has been the most important source, but ivory from many species including the hippopotamus, walrus, mammoth, sperm whale, and narwhal has been used. The word ultimately derives from the Ancient Egyptian âb, âbu "elephant", through the Latin ebor- or ebur.

The use and trade of elephant ivory has become controversial because it has contributed to seriously declining populations in many countries. In 1975 the Asian elephant was placed on Appendix One of the Convention on International Trade in Endangered Species (CITES) which prevents international trade between member countries. The African elephant was placed on Appendix One in January 1990. Since then some southern African countries have had their populations of elephants "downlisted" to Appendix Two allowing sale of some stockpiles.

Ivory has availed itself to many ornamental and practical uses. Prior to the introduction of plastics, it was used for billiard balls, piano keys, Scottish bagpipes, buttons and a wide range of ornamental items. Synthetic substitutes for ivory have been developed. Plastics have been viewed by piano purists as an inferior ivory substitute on piano keys, although other recently developed materials more closely resemble the feel of real ivory.

The chemical structure of the teeth and tusks of mammals is the same regardless of the species of origin. The trade in certain teeth and tusks other than elephant is well established and widespread, therefore "ivory" can correctly be used to describe any mammalian teeth or tusks of commercial interest which is large enough to be carved or scrimshawed (Crocodile teeth are also used).

Uses

Ancient Greek ivory pyxis with griffins attacking stags. Late 15th century BCE, Ancient Agora Museum in Athens

Main article: ivory carving

Both the Greek and Roman civilizations practiced ivory carving to make large quantities of high value works of art, precious religious objects, and decorative boxes for costly objects. Ivory was often used to form the white of the eyes of statues.

The Syrian and North African flacid elephant populations were reduced to extinction, probably due to the demand for ivory in the Classical world.

The Chinese have long valued ivory for both art and utilitarian objects. Early reference to the Chinese export of ivory is recorded after the Chinese explorer Zhang Qian ventured to the west to form alliances to enable for the eventual free movement of Chinese goods to the west; as early as the first century BC, ivory was moved along the Northern Silk Road for consumption by western nations.Southeast Asian kingdoms included tusks of the Indian elephant in their annual tribute caravans to China. Chinese craftsmen carved ivory to make everything from images of deities to the pipe-stems and end-pieces of opium pipes.

The Bull Leaper, an ivory figurine from the palace of Knossos, Crete, 15th century BCE

The Buddhist cultures of Southeast Asia, including Myanmar (Burma), Thailand, Laos and Cambodia traditionally harvested ivory from their domesticated elephants. Ivory was prized for containers due to its ability to keep an airtight seal. Ivory was also commonly carved into elaborate seals utilized by officials to "sign" documents and decrees by stamping them with their unique official seal.

In Southeast Asian countries where Muslim Malay peoples live, such as Malaysia, Indonesia and the Philippines, ivory was the material of choice for making the handles of magical kris daggers. In the Philippines, ivory was also used to craft the faces and hands of Catholic icons and images of saints.

Tooth and tusk ivory can be carved into a vast variety of shapes and objects. A small example of modern carved ivory objects are small statuary such as okimono, netsukes, jewelry, flatware handles, furniture inlays, and piano keys. Additionally, warthog tusks, and teeth from sperm whales, orcas and hippos can also be scrimshawed or superficially carved, thus retaining their morphologically recognizable shapes.

Ivory usage in the last thirty years has moved towards mass production of souvenirs and jewellery. In Japan the increase in wealth sparked consumption of solid ivory hankos - name seals - which before this time had been made of wood. These hankos can be carved out in a matter of seconds using machinery and were partly responsible for massive African elephant decline in the 1980s when the African elephant population went from 1.3 million to around 600,000 in ten years.

Consumption before plastics

Men with ivory tusks, Dar es Salaam, c. 1900.

Before plastics were invented, ivory was important for cutlery handles, musical instruments, billiard balls, and many other items. It is estimated that consumption in Great Britain alone in 1831 amounted to the deaths of nearly 4,000 elephants. Ivory can be taken from dead animals — Russians dug up tusks from extinct mammoths — however most ivory came from elephants who were killed for their tusks. For example in 1930 to acquire 40 tons of ivory required the killing of approximately 700 elephants. Other animals which are now endangered were also preyed upon, for example, hippos, which have very hard white ivory prized for making artificial teeth. One item in particular that devastated the elephant herds in Kenya in the first half of the 20th century was the demand for Elephant tusk ivory for piano keys.

Availability

Ivory has always been a highly valuable material for carving.

Main article: Ivory trade

Owing to the rapid decline in the populations of the animals that produce it, the importation and sale of ivory in many countries is banned or severely restricted. In the ten years preceding a decision^[when?] by CITES to ban international trade in African elephant ivory the population of African elephants declined from 1.3 million to around 6000. It was found by investigators from the Environmental Investigation Agency (EIA) that CITES sales of stockpiles from Singapore and Burundi (270 tonnes and 89.5 tonnes respectively) had created a system which increased the value of ivory on the international market, rewarded international smugglers and gave them the ability to control the trade and continue smuggling new ivory.

Since the ivory ban some southern African countries have claimed their elephant populations are stable or increasing and argued that ivory sales would support their conservation efforts. Other African countries oppose this position stating that renewed ivory trading puts their own elephant populations under greater threat from poachers reacting to demand. CITES allowed the sale of 49 tonnes of ivory from Zimbabwe, Namibia and Botswana in 1997 to Japan.

In 2007 eBay, under pressure from the International Fund for Animal Welfare, banned all international sales of elephant-ivory products. The decision came after several mass slaughters of African elephants, most notably the 2006 Zakouma elephant slaughter in Chad. The IFAW found that up to 90% of the elephant-ivory transactions on Ebay violated their own wildlife policies and could potentially be illegal. In October 2008, eBay expanded the ban, disallowing any sales of ivory on eBay.

A more recent sale in 2008 of 108 tonnes from the three countries and South Africa took place to Japan and China.The inclusion of China as an "approved" importing country created enormous controversy despite being supported by CITES, the World Wide Fund for Nature and Traffic. They argued that China had controls in place and the sale might depress prices. However, price of ivory in China has sky-rocketed. Some believe this may be due to deliberate price fixing by those who bought the stockpile echoing the warnings from the Japan Wildlife Conservation Society on price-fixing after sales to Japan in 1997, and monopoly given to traders who bought stockpiles from Burundi and Singapore in the 1980s.

Despite arguments prevailing on the ivory trade for the last thirty years through CITES, there is one fact that virtually all informed parties now agree - poaching of African elephants for ivory is now seriously on the increase.

The debate surrounding ivory trade has often been depicted as Africa vs the West. However, in reality the southern Africans have always been in a minority within the African elephant range states. To reiterate this point 19 African countries signed the "Accra declaration" in 2006 calling for a total ivory trade ban and 20 range states attended a meeting in Kenya calling for a 20 year moratorium in 2007.

Ivory cover of the Codex Aureus of Lorsch, c. 810, Carolingian dynasty, Victoria and Albert Museum

In Asia, wild elephant populations are a fraction of what they were in historic times, and poaching of elephants is continued. Elephants are now close to extinction in China, Viet Nam, Laos PDR, Cambodia and Indonesia. Instances of theft of even domestic elephants for their ivory have been recorded in Myanmar.

Alternative sources

Section through the ivory tooth of a mammoth

Trade in the ivory from the tusks of dead mammoths has occurred for 300 years and continues to be legal. Mammoth ivory is used today to make handcrafted knives and similar implements. Mammoth ivory is rare and costly, because mammoths have been extinct for millennia and scientists loathe to sell museum-worthy specimens in pieces, but this trade does not threaten any living species.

Some estimates suggest that 10 million mammoths are still buried in Siberia.

A species of hard nut is gaining popularity as a replacement for ivory, although its size limits its usability. It is sometimes called vegetable ivory, or tagua, and is the seed endosperm of the ivory nut palm commonly found in coastal rainforests of Ecuador, Peru and Colombia .

Some Ivory carving from indonesian North sumatera ( Batak )

medecine box ( sahang ) north sumatera

Long : 46 cm
wight : 2kg
material : ivory
moderen repro
hand carving
motive primitive

Famille rose ceramics

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Famille rose

Delftware plate, faience, Famille Rose, 1760-1780

Famille rose (known in Chinese as Fencai (粉彩) or Ruancai (軟彩, simplified 软彩), meaning 'soft colours', and later as Yangcai (洋彩), meaning 'foreign colours') was introduced during the reign of Kangxi (1654–1722), possibly around 1720. It used mainly pink or purple and remained popular throughout the 18th and the 19th centuries.

Famille rose enamel ware allows a greater range of colour and tone than was previously possible, enabling the depiction of more complex images, including flowers, figures and insects.

It is made by drawing a sketch on the shaped clay, which is then covered with 'glassy white' (bo li bai), an opaque white enamel (lead arsenate), and painted in detail with the mixture of pigment and oil, before firing.

Qing period Chinese export porcelain with European figure, Famille Rose, first half of 18th century
Jingdezhen soft paste porcelain flower holder, "Famille Rose", 1736-1796, Qianlong period
Saint-Cloud soft paste porcelain flower holder, "Famille Rose", 1730-1740

Blue and white wares

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Blue and white wares

Kangxi period (1662 to 1722) blue and white porcelain tea caddy

Main article: Blue and white porcelain

Following in the tradition of earlier qingbai porcelains, blue and white wares are glazed using a transparent porcelain glaze. The blue decoration is painted onto the body of the porcelain before glazing, using very finely ground cobalt oxide mixed with water. After the decoration has been applied the pieces are glazed and fired.

It is believed that underglaze blue and white porcelain was first made in the Tang Dynasty. Only three complete pieces of Tang blue and white porcelain are known to exist (in Singapore from Indonesian Belitung shipwreck ), but shards dating to the 8th or 9th century have been unearthed at Yangzhou in the Jiangsu province. It has been suggested that the shards originated from a kiln in the province of Henan. In 1957, excavations at the site of a pagoda in the province Zhejiang uncovered a Northern Song bowl decorated with underglaze blue and further fragments have since been discovered at the same site. In 1970, a small fragment of a blue and white bowl, again dated to the 11th century, was also excavated in the province of Zhejiang.

In 1975, shards decorated with underglaze blue were excavated at a kiln site in Jiangxi and, in the same year, an underglaze blue and white urn was excavated from a tomb dated to 1319, in the province of Jiangsu. It is of interest to note that a Yuan funerary urn decorated with underglaze blue and underglaze red and dated 1338 is still in the Chinese taste, even though by this time the large-scale production of blue and white porcelain in the Yuan, Mongol taste had started its influence at Jingdezhen.

Starting early in the 14th century, blue and white porcelain rapidly became the main product of Jingdezhen, reaching the height of its technical excellence during the later years of the reign of the Kangxi Emperor and continuing in present times to be an important product of the city.

The tea caddy illustrated shows many of the characteristics of blue and white porcelain produced during the Kangxi period. The translucent body showing through the clear glaze is of great whiteness and the cobalt decoration, applied in many layers, has a fine blue hue. The decoration, a sage in a landscape of lakes and mountains with blazed rocks is typical of the period. The piece would have been fired in a saggar (a lidded ceramic box intended to protect the piece from kiln debris, smoke and cinders during firing) in a reducing atmosphere in a wood-burning egg-shaped kiln, at a temperature approaching 1350 °C.

Distinctive blue-and-white porcelain was exported to Japan where it is known as Tenkei blue-and-white ware or ko sometsukei. This ware is thought to have been especially ordered by tea masters for Japanese ceremony.

Tang Dynasties Porcelain

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Tang Dynasties Porcelain

The Tang period firmly established the following dominant porcelain production trend: Greenwares in the South and White wares in the North of China (南青北白). Yue (越） and Xing （邢） wares represented the best green and white ware respectively. However, it must be noted that some greenwares were also produced in Northern China kilns. So far no kiln that produced white wares during the Tang period was found in Southern China.

During the Tang Dynasty, porcelains with painted design to enhance their aesthetic beauty were further developed by the Chinese potters. Iron, copper oxides and to a lesser extent cobalt were the pigments used to decorate high-fired wares. The most important contributors were the Changsha potters who used copper/iron oxide to paint green/brown motif. They were also among the earliest to use copper oxide to create high fired copper red decoration. Before Tang, copper oxide was used only for lead glaze green low-fired pottery wares

Interest in painted porcelains appeared to dwindle during the 5 Dynasties. Porcelains with iron-brown decoration for royal use were produced in Yue kilns during the 5 Dynasty but the volume of production was small. Underglaze iron-oxide painted black/brown motif on porcelains finally became a main-stream product for the common folks during the Song Dynasty

Experimental underglaze painting using cobalt on porcelains were initiated by the Gongyi (巩义) [previously called gongxian (巩县)] potters of Henan province. Blue and white wares were produced for the middle east market and interest was short-lived. Production only resumed during the Yuan Dynasty and interestingly, the main market was again the Middle East.

Another important new product was black glaze wares with opacified bluish/white splashes. Th most important kilns producing such wares were Lushan Duandian (鲁山段店）and Jiaxian Huangdao （郏县黄道） in Henan. Some ceramics experts were of the view that it inspired the later purplish/red splashes on Jun wares.

Porcelain wares were important export items during the Tang Dynasty. Xing, Yue and Changsha wares achieved international fame. They were exported via the overland silk road and maritime trade route to West Asia/Middle East and maritime trade route to Southeast Asia. Besides silk, porcelain was the most important trade item through which the foreigners came to know about China.

Yue greenware

Zhejiang was the most important greenware production province since the Shang Dynasty. The transition from proto porcelain to actual porcelain took place there during the late Eastern Han period. By the early 9th century, Yue wares showed marked improvement in quality. By the late Tang period, Yue wares was a major brand with an international reputation. The production centre was at Zhejiang Cixi Shanglin Lake (慈溪上林湖).

The glaze of Tang Yue ware has a jade like quality. The shape of vessels are elegant with clear influence of gold/silver wares of the period. Use of decoration was minimal and usually consisted of carved/incised floral motif.

A good glimpse of the type and quality of Yue wares of this period could be found in the Belitung shipwreck. The Belitung shipwreck is dated to A.D. 826 based on a Changsha bowl with a date of 2nd year of Baoli. The form of the vessels are elegant and potting rather thin, with some showing clear influence of gold/silver wares. Decoration using the curved/incised method was used by then. The glaze has a smooth and fine texture and colour is a pleasant pale grey greenish hue.

It was also around the mid or slightly later 9th century that the term Mise was used to describe the top quality Yue wares. Lu Guimeng (陆龟蒙) (died A.D. 881) in his poem "秘色越瓷" Mise Yueqi (secret colour Yue ware) mentioned that Yue wares were fired in misty and windy autumn and described the colour of yue ware as "green from trees despoiled from thousand peaks". The Yue vessels found in the basement of the Pagoda at the Famen temple (法门寺) represented the highest achievement of the Tang Yue potters .

Yue wares of 5 Dynasties and Early Northern Song period is characterised by decorations executed using finely incised lines. The motifs were varied including human subject, paired parrots or parrots, dragon, flowers and etc. Best examples could be found in the Cirebon shipwreck. The ship carried a large quantity of more than 300,000 Yue vessels and many are decorated with incised motif. It has a bowl with a "戊辰徐记烧" Wuchen Xuji Shao " mark, ie. A.D. 968. (The Northern Song Dynasty commenced from A.D. 960, but Wuyue state only relinquished its sovereignty in A.D. 978).

During the 5 Dynasties, there were also some Yue wares with iron-brown motif being produced. They were mainly made for the wu-yue royal family.

For more information, please read this: Tang/Song Yue ware .

Other important Tang greenware production sites

Two other important celadon production sites were Shouzhou kiln (寿洲窑) in Anhui Province and Hongzhou kiln (洪洲窑) in Jiangxi Province. Both were mentioned in Lu yu(陆羽) in his Treatise on Tea (茶经). Shouzhou kiln produced a form of distinctive yellowish glaze. The glaze tends to be uneven and the paste is whitish, whitish red or reddish. There is a layer of white slip applied on the body before glazing. Such yellow glaze wares were also produced in Henan, Hebei and Shanxi (山西).

Hongzhou kiln located at Feng cheng (丰城) started celadon production during the 6 dynasties. The paste is dark brownish or brownish and coarse. White slip is applied before glazing. The glaze tends to be yellowish brown or a sauce brown colour in tone. Both stopped production by end of Tang period.

Xing white ware

Xing white ware was produced in Hebei Lin cheng£¨ºÓ±±ÁÙ³ÇÏØ£©and neiqiu county (ÄÚÇðÏØ). Xing wares consisted of the fine and coarse type. The fine one has fine grained paste and snow white smooth glaze. The coarse type has more coarse light grayish or buff paste. A layer of white slip was applied and the glaze tends to be grayish white or with tinge of yellow. The most famous Xing ware was the bi base (玉璧底) (solid base with a hole at the centre) bowl commonly know as the samarra type bowl. (It was a popular export ware and found as far as Egypt). Xing ware had a huge market and widely used by the rich and poor. The most common vessels were bowls, plates, hu vases, pillows, guan jars and cover boxes. The bowls were more thinly potted by late Tang and have floral shape.

For more on Xing ware, please read this.

Tang Xing wares

Tang Gongyi white/blue and white wares

Another famous white ware production site in Northern China was Gongyi 巩义 (previously called gongxian (巩县) in Henan. Gongyi kiln also produced the first underglaze blue and white ware. They were experimental in nature and mainly for the overseas market and production volume was small. The motifs were mainly simplified floral or Islamic geometric form. Some blue and white fragments were excavated from kiln in Gongyi Baihe (巩义白河）. 3 known examples were found in the Belitung shipwreck which carried mainly Changsha wares and small quantity of Yue and Xing/gongxian white wares and those with green splashes.

Blue and white dish found in Belitung wreck

Tang White glaze with green splashes/design wares

Some experimental production of lead white glaze wares with green splashes began during the Northern Dynasties. By the Tang Dynasty, there were quite a number of kilns in Henan, Hebei, Shaanxi, Shanxi and Shandong which produced such wares. They were found on vessels such as pillows, bowls, saucers, vases with 5 spouts and etc.

Tang Changsha wares

Changsha kiln ,also termed Tongguan kiln, was a famous Southern China Tang Dynasty kiln. Changsha wares are usually associated with the painted brown and green vessels covered by a straw colour transparent glaze. There were large variety of motifs, such as calligraphy, flowers, fish, children playing, birds, landscape, abstract looking motif and etc . Many of the motifs showed Buddhist and Islamic influence. This was an important development in the history of underglaze painted motifs on porcelain.

Changsha bowls found in Belitung wreck

Another interesting decorative techniques involved the application of darkish brown glaze, often over the area of molded decorations luted onto ewers. The molded elements included palm like tree, paired birds, lions, human motif, pagoda and etc.

Another important innovation was the use of copper oxide pigment for high fired porcelain. There were some rare examples of vessels with copper red painted or splashed motif.

The glaze on Changsha ware is either of a straw colour or a creamy yellowish white. The glaze usually have fine crazings over the surface. The glaze ranges from a bright transparent tone to a somewhat cloudy finish. A white slip is usually applied to conceal the coarse body before the glaze is applied on the vessel. The glaze has a tendency to peel off especially from the areas of a vessel painted brown.

For more information on Changsha ware, please read: Changsha wares

Changsha type porcelains were also produced in Qionglai kilns£¨ÚöáÁÒ¤£©in Shichuan.

Tang Black Glaze with splashes

Many kilns of the period also produced black, brownish black and teadust wares. An interesting variation was the addition of splashes of a whitish or whitish blue glaze over the ground glaze. The Chinese called it hua you (花釉)．Many of the Chinese experts believe such wares were the precursor of Song Jun wares. Typical shapes with such glazes included drum, jar and plates. The most famous kilns producing such wares were Lushan Dudian (鲁山段店窑) and Jiaxian Huangdao (郏县黄道窑)． Other kilns which also produced them were Dengfeng Zhudong (登封朱洞窑) and Yuzhou Changzhuang (禹州苌庄窑) and etc.

Yaozhou Celadon and black/Teadust ware

Yaozhou kiln also manufactured black /teadust glaze wares during the Tang Dynasty. There were also some with black glaze motif painted over unglaze body of the vessels.

In Northern China Yaozhou, a striking form of greenware with light bluish/greenish glaze were produced from the 5 Dynasty period. Some were decorated with sharply carved motif in relief .

Liao porcelain wares

Another important production site was in regions ruled by the Liao Dynasty. Famous Liao kilns included Chifeng (³à·åÒ¤£©in Inner Mongolia and Longquanwu kiln £¨ÁúÈªÎñÒ¤£©in Beijing. Besides white wares, they also produced black wares and earthenware sancai. Distinctive white wares were those phoenix head ewers and cockscomb flasks. Those vessels were unique to the Khitan nomadic race.¡¡Chifeng kiln was the official kiln of the Liao Dynasty. On some of the wares, incised characters such as "guan" (¹Ù£©¡¡and "xin guan"¡¡£¨ÐÂ¹Ù£©¡¡were found. The coarser white wares were covered with white slip but the fine ones were without.

5 Dynasties Southern China white wares

The kilns making the earliest white wares in Southern China emerged in Jingdezhen during the 5 Dynasties period. The notable ones are Shengmeiting kiln (Ê¤Ã·Í¤Ò¤£© and shihuwan kiln £¨Ê¯»¢Íä). Both produced greenware and white wares during the 5 dynasty period and switched to Qingbai production during the Northern Song period. Vessels included ewers, dishes, bowl and basins. They were relatively of fine quality.

CHINESE CERAMICS AND PORCELAIN

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CHINESE CERAMICS AND PORCELAIN

Tang Camel The craft of making ceramics and clay vessels is one of the oldest human arts. Pottery is made by cooking soft clay at high temperatures until it hardens into an entirely new substance—ceramics. Early pottery vessels were used primarily for storing liquids, grains and other items. Clay pots were used for cooking and storage. Pottery from Japan dated to 10,000 B.C. is the oldest known in the world. Nine thousand year old sites in Turkey with ancient pottery have yielded mostly bowls and cups.

Potters first fired vessels in hearths, and afterwards in kilns. Kilns are special structures made of bricks or stones in which temperatures of at least 1,050°C can be generated. Firing ceramics at high temperatures improves their durability and impermeability and creates greater opportunities for changing the surface color.

The first pottery vessels were fashioned by hand from lumps of clay. The potter’s wheel was invented in Mesopotamia in 4000 B.C. With a potter’s wheel, a lump of clay can be spun around and round, shaped, usually into a vessel, with the hands and a variety of tools.

To make a pottery vessel, a potter must find the right clay, and purify and cure it to make it usable. Raw clays have traditionally been put into large vats to remove foreign matter such as sand and pebbles. When clay is washed these materials settle to the bottom while the clay remains suspended and is poured off. Clay washed in this manner is known as slip.

Common ways of decorating pottery included printing selected areas, covering the surfaces with a thin slip made of iron-rich red clay, and burnishing (compacting the surface with a hard, tool such as a pebble).

Websites and Resources

Yangshou vessel
3300 B.C. Good Websites and Sources: Pacific Asia Museum pacificasiamuseum.org ; Guide to Chinese Ceramics artsmia.org/art-of-asia ; Tang Horses China Vista ; Jingdezhen chinavista.com ;

Good Websites and Sources on Chinese Art: China --Art History Resources art-and-archaeology.com ; Art History Resources on the Web witcombe.sbc.edu ; Art of China Consortium nyu.edu/gsas/dept/fineart ;Modern Chinese Literature and Culture (MCLC) Visual Arts/mclc.osu.edu ; Asian Art.com asianart.com ; China Online Museum chinaonlinemuseum.com ; Huntington Archive of Asian Artkaladarshan.arts.ohio-state.edu ; Qing Art learn.columbia.edu Museums with First Rate Collections of Chinese Art National Palace Museum, Taipei npm.gov.tw ; Beijing Palace Museum dpm.org.cn ; Metropolitan Museum of Art metmuseum.org ; Sackler Museum in Washington asia.si.edu/collections ; China Page Museum list chinapage.com

Chinese Culture: Cultural China (site with nice photos cultural-china.com ; China Culture.org chinaculture.org ; China Culture Online chinesecultureonline.com ;Chinatown Connection chinatownconnection.com ; Transnational China Culture Project ruf.rice.edu China Research Paper Search china-research-papers.com ; Book: The Culture and Civilization, a massive multi-volume series on Chinese culture (Yale University Press).

Links in this Website: CHINA'S EARLIEST CULTURES Factsanddetails.com/China ; EARLY CHINESE ART Factsanddetails.com/China ; CHINESE ART FROM THE GREAT DYNASTIES Factsanddetails.com/China ; SHANG DYNASTY (2200-1700 B.C.) AND XIA DYNASTY Factsanddetails.com/China ; ZHOU (CHOU) DYNASTY (1100-221 B.C.) Factsanddetails.com/China ; HAN DYNASTY (206 B.C.-A.D. 220) Factsanddetails.com/China ; TANG DYNASTY (A.D. 690-907) Factsanddetails.com/China ; SONG DYNASTY (960-1279) Factsanddetails.com/China ;YUAN (MONGOL) DYNASTY (1215-1368) MING DYNASTY (1368-1644) Factsanddetails.com/China ; QING (MANCHU) DYNASTY (1644-1911) Factsanddetails.com/China ; CHINESE JADE Factsanddetails.com/China ; CHINESE CERAMICS AND PORCELAIN Factsanddetails.com/China ; CHINESE PAINTING Factsanddetails.com/China ;CHINESE CALLIGRAPHY Factsanddetails.com/China ; CHINESE CRAFTS Factsanddetails.com/China ; COLLECTING, LOOTING AND COPYING ART IN CHINA Factsanddetails.com/China

Early Pottery in China

The earliest examples of clay pottery found in China date back to 6000 B.C. These clay vessels—some of them with painted flowers, fish, human faces, vaginas and geometric designs—were created by the "Yangshao Culture," (named after village near the confluence of the Yellow, Fen and Wei rivers where the artifacts were found).

Beginning around 3500 B.C., the Lungshnanoid Culture (named after a village in Shandong province where the artifacts were found) produced white pottery and "eggshell-thin" black pottery. Multi-colored and burnished black pottery appeared in Neolithic times in settlements along the upper, middle and lower reaches of the Yellow and Yangtze River.

Advancement in firing techniques lead to new types of pottery such as high-fired stoneware and glazed stoneware developed during the Shang (1766-1122 B.C.), Zhou (1122-221 B.C.), Qin (221-206 B.C.) and Han (206 B.C.— A.D. 220) dynasties.

Ancient Chinese Ceramics

Cermaic black pottery cup,
Liungshan Culture 2600 2000 B.C. Chinese ceramics is famous for its exquisite forms, shapes, finishes and delicate use of color. Early in China’s history it was raised above utilitarianism to a fine art. Great works of art were patronized by the imperial court and the upper classes and sought after outside of China in Europe and other places.

A fine white pottery was made during the Shang Dynasty. Many vessels were similar in size and shape to bronze vessels made during the same period. Scholars believe the bronze vessels were likely copies of ceramic vessels.

Many great works of pottery and ceramic art came from the Han Dynasty (206 B.C.— A.D. 220). Lovely vessels and objects were buried with dead and have been excavated by archeologists and looters. The first use of glazes on Chinese pottery dates back to this period. Beautiful figures, particularly of animals, were created during Six Dynasties period (A.D. 220-587).

Tang Horses

Tang horses are among the most famous works of Chinese art. Made from ceramic, some are glazed in blue, green amber and have elaborate saddle blankets and tasseled bridles. Other are made of unglazed ceramic and thereby look more modern like a Rodin statute. The horses are often in frantic positions: with their heads raises and nostrils flared, or twisting around to get at something on their backs. Many had a grooved channel running the length of the arched neck, where a real horsehair mane was placed, and had a hole in their rear for a horsehair tail. Most are only around 15 inches tall.

Chinese art specialist J.J. Lally told the New York Times, "Tang horses are the most widely popular image of Chinese art because they are immediately accessible to everyone. You don't have to read the Tang dynasty was a moment in Chinese art when there was a strong move toward realism and strong decorative impulse. Horses imported from the Near East were precious. In Tang China, the horse was the emblem of wealth and power. They are meant to embody rank and speed."

The Chinese used horses as far back as the Shang dynasty (1600 to 1100 B.C.) but these were mainly strong, draft animals. Later they began importing horses from Central Asia and Middle East. By the Tang dynasty horses were favorite subjects of not only artists but also poets and composers. The inspiration for the many of Tang horses were Tall horses, the heavenly horses from Central Asia introduced to China in the first century B.C.

Varieties of Tang Horses

Some of the most treasured Tang horses were glazed in cobalt blue. Gallery owner Khalil Rizk told the New York Times, "Only 5 percent of Tang horses have blue glaze. Cobalt was put on during the last firing. Cobalt was a treasured commodity imported from the Middle East; it was more valuable than gold. Its use means the horse was for someone of the highest rank.”

Describing a relatively ordinary Tang horse that sold for $266,500 at a Christie's auction, Wendy Moonan wrote in the New York Times, "Unglazed, it had its head lowered toward its left foreleg, which was slightly raised.”

One extraordinary glazed Tang pieces depicts a kneeling man with a horse's head. The expression on the horse's head is sensitive. Tang artist also made some extraordinarily beautiful ceramic animals, including a glazed earthenware camel carrying a troupe of musicians.

The highest price ever paid for ceramics and/or a Chinese work of art was $6.1 million for a Tang dynasty horse sold by the British Rail Pension Fund to a Japanese dealer at Sotheby's in London in December 1989. Collectors like Tang horses because they can be dated with some certainty using thermoluminescnece testing.

Porcelain in China

Porcelain is a type of pottery made from kaolin, a fine whitish clay composed of quartz and feldspar, that becomes hard, glossy and nearly transparent when it is fired in a kiln. The word "porcelain" reportedly is derived from the Italian word porcella, meaning little pig, or possibly from a similar word meaning female pig genitals. The name was given first to a smooth, white, cowrie shell, and then to the smooth, white finish on porcelain pottery. The term “porcelain” was used in Marco Polo’s writings. Porcelain pieces can be dated by their inscribed reign marks.

True porcelain is made of fine kaolin clay and feldspar, also known as petuntse or Chinese stone. It is white, thin and transparent or translucent. Before it is shaped the kaolin is mixed, filtered and vacuum pressed into slabs for aging.

Blue and white porcelain has traditionally been made from kaolin clay mined near Jingdezhen, a town in southern China, and mixed with a particular kind of cobalt imported from Persia. Other kinds of porcelain include underglaze red, underglaze blue, copper red (used for imperial ceremonies), "sweet-white," peacock blue and celadon green.

History of Porcelain in China

Tang celadon The Chinese made the earliest known porcelain around A.D. 700 and held a global monopoly on its production for over a thousand years. Chinese porcelain didn't reach Europe until the 14th century and the art of making porcelain wasn’t developed in Japan until the 16th century and in in Europe until the 17th century.

Porcelain evolved step-by-step from 5,000-year-old painted pottery through a process of refining materials and manufacturing. A greenish glaze applied to stoneware was developed in the early Han (206 B.C. to A.D. 220) dynasty. A glaze that resembled the sort used on porcelain was made in the early Sui dynasty.

Celadons evolved during the Six Dynasties period (A.D. 220-589). It is green porcelain made with a slip and glaze, sometimes with incised and inlaid decorations. It is associated with both China and Korea.

Proto-porcelain evolved during the Tang dynasty. It was made by mixing clay with quartz and the mineral feldspar to make a hard, smooth-surfaced vessel. Feldspar was mixed with small amounts of iron to produce an olive-green glaze.

In China, porcelain was produced to be enjoyed on three levels: aesthetic, technical and symbolic. The ways the painted subject on porcelain interact often portrayed a meaning beyond the symbols. A five-claws dragon superimposed on tangerines and pomegranates, for example, links the royal family with fertility (pomegranates) and prosperity (tangerines).

Song Dynasty Porcelain

Some of the most beautiful porcelain ever produced was made during the Song dynasty (960-1279), when world-famous monochrome porcelains, including celedon, were produced. Celadon is green porcelain made with a slip and glaze, sometimes with incised and inlaid decorations. It is associated with both China and Korea.

Wonderful crazed or cracked glazed pottery, produced by the shrinking and cracking of the glazes due to rapid cooling, appeared during the Song period. The earliest pieces with this kind of glazing were probably made by accident in the firing process but later was developed into an art form that had a great impact outside of China, influencing the famous tea ceremony ceramics of Japan.

Ching-te Chen in the Chiang-shsi province (present-day Jiangdezhen in Jiangxi Province) became the seat of imperial ceramic making under Emperor Chen Tsung around A.D. 1000. Porcelain from the imperial plant here was regarded as the best and was reserved for imperial use.

Ju ware, a kind of celadon from the Northern Song dynasty that ranges in color from blue to green, is the rarest of all forms of porcelain. Only 65 pieces of it exist and 23 of them are possessed by the National Palace Museum in Taipei.

Yuan Porcelain

In the Yuan Dynasty (1279-1368) floral motifs and cobalt blue paintings were made under a porcelain glaze. This was considered the last great advancement of Chinese ceramics. The cobalt used to make designs on white porcelain was introduced by Muslim traders in the 15th century.

The blue-and-white and polychrome wares from the Yuan Dynasty were not as delicate as the porcelain produced in the Song dynasty. Multi-colored porcelain with floral designs was produced in the Yuan dynasty and perfected in the Qing dynasty, when new colors and designs were introduced.

The world record price paid for an art work from any Asian culture is $27.8 million, paid in March 2005 for a 14th century Chinese porcelain vessel with blue designs painted on a white background. The vessel contains scenes of historical events in the 6th century B.C. and has unique Persian-influenced shape. Only seven jars of this shape exist in the world. The buyer was Giuseppe Eskenazi., the renowned dealer of Chinese art, acting on behalf of a client. The previous record for porcelain was $5.83 million paid for a14th-century blue-and-white porcelain vessel called the pilgrims vessel in September 2003.

Ming Porcelain

Ming Dynasty (1368-1644) ceramics were known for the boldness of their form and decoration and the varieties of design. Craftsmen made both huge and highly decorated vessels and small, delicate, white ones. Many of the wonderful decorations and glazes—peach bloom, moonlight blue, cracked ice, and ox blood glazes; and rice grain, rose pink and black decorations—were inspired by nature.

In 1402, the Ming Emperor Jianwen ordered the establishment of an imperial porcelain factory in Jingdezhen. It's sole function was to produce porcelain for court use in state and religious ceremonies and for tableware and gifts.

Between 1350 and 1750 Jiangdezhen was the production center for nearly all of the world's porcelain. Jiangdezhen was located near abundant supplies of kaolin, the clay used in porcelain making, and fuel needed to fire up kilns. It also had access to China's coast, which was used for transporting finished products to places in China and around the world. So much porcelain was made that Jingdezhen now sits on a foundation of shards from discarded pottery that over is four meters deep in places.

Ming Porcelain Exports

From the beginning production at the Ming porcelain factories in Jingdezhen were oriented towards the export market. The factories produced coffee cups and beer mugs centuries before these drinks became popular in China. They also produced plates with Arabic and Persian motifs and place setting emblazoned with European coats of arms.

The porcelain trade was so lucrative that the porcelain making processes were closely guarded secrets and Jingdezhen was officially off limits to visitors to keep spies from uncovering these secrets. Over three million pieces were exported to Europe between 1604 and 1657 alone. This was around that the same time that the word "china" began being used in England to describe porcelains because the two were so closely associated with each other.

Pere d’Entrecolles, a Jesuit missionary from France, secretly entered Jingdezhen and described porcelain making in the city in letters that made their way to Europe in the early 1700s. He described a city with a million people and 3,000 kilns that were fired up day and night and filled the night sky with an orange glow. He learned the process but confused the clays.

Around he same time that d’Entrecolles was describing porcelain-making in Jingdezhen, Germans working independently in their homeland discovered the secret to making porcelain Large scale porcelain production began in the West in 1710 in Meissen, Germany.

Chinese porcelain dominated the world until European manufacturers such as those in Messen, Germany and Wedgewood, England began producing products of equal quality but at a cheaper price. After that the Chinese porcelain industry collapsed as many industries have done today when underpriced by cheap Chinese imports.

Qing Porcelain

Qing dynasty (1644-1912) porcelain was famous for its polychrome decorations, delicately painted landscapes, and bird and flower and multicolored enamel designs. Many of the subject had symbolic meanings. The work of craftsmen reached a high point during the reign of Emperor Kangxi (1662-1722)

During a rebellion in 1853, the imperial factory was burned. Rebels sacked the town and killed some potters. The factory was rebuilt in 1864 but never regained its former stature. With the end of the Qing dynasty in 1912, the long history of Chinese porcelain making drew to a close.

Satsuma ware

2012-01-08T04:24:00.000-08:00

Satsuma ware

A Satsuma ware bowl from the Meiji or Taishō period (19th-early 20th century)

A modern Satsuma ware pictorial button depicting a rooster. (courtesy of Peach State Button Club)

Satsuma ware (薩摩焼 satsuma-yaki), sometimes referred to as "Satsuma porcelain", is a type of Japanese earthenware pottery. It originated in the late 16th century, during the Azuchi-Momoyama period, and is still produced today. Although the term can be used to describe a variety of types of pottery, the best known type of Satsuma ware has a soft, ivory-colored, crackled glaze with elaborate polychrome and gold decorations.^{[citation needed]}

Satsuma ware originated when the Shimazu prince of the Satsuma domain in southern Kyūshū abducted skilled Korean potters after Toyotomi Hideyoshi's Japanese Invasions of Korea to establish a local pottery industry. After display at the international exhibition in Paris in 1867, it proved popular as an export to Europe.

Production of Satsuma pottery is no longer limited to one area of Japan. In fact, you will find three major yakis or kilns, which includes a famous one in Kyoto. Satsuma was and still is made from brown clay, and the pottery today retains the cream colored body and crackled gaze. Many pieces include a trademark deep blue color, calls "Goso blue". Experts share that you can tell where a particular piece of Satsuma pottery was made by certain characteristics.

For example, the Satsuma that is made in Kyoto will be lighter in body color, which was close to the color of cream whereas the Satsuma made in Kyushu is darker in tone. All Satsuma pottery has what is called 'crackle', which are fines lines crisscrossing the pottery in a random matrix pattern, the result of the glazing and kiln firing process. Satsuma pottery made in Kyushu has more pronounced crackle that is darker.

The Shimzu family introduced the world to their beautiful earthenware pieces at the Paris International Exposition of 1867. Attracted by their fine craftsmanship and gorgeous designs, Satsuma porcelain was an instant hit and their debut at the Paris International Exposition created a demand for the pottery in Europe. It was not long before a strong export market developed.

Old Satsuma pottery retains great value and antiques are highly prized. If you are shopping for antique Satsuma porcelain, be sure to consult and expert to make sure you are truly getting what you paid for! The first Korean potters made simple but elegant clay pottery that was used in the highly structured Japanese tea ceremony. The pieces tended to be small, which is why they were used as incense burners and boxes, jars for water, and vases for use in the Ikebana, the Japanese art of floral arrangement.

The first vessels were characterized by a cream-colored body, covered by a glaze, usually yellow in color. The potters of Satsuma began using decorative approaches to their art in response to competition from Imari porcelain. Imari porcelain was also made on the island of Kyushu, in the Arita area. Near the end of the 18^th century, tot wanting to lose consumers to the Imari potters, a famous Japanese potter named Ninsei learning the Imari techniques. He in turn taught the Satsuma artists how to decorate their plain pottery using different colors of enamel as well as gold.

Satsuma porcelain of today displays strong, thickly applied colors. Popular patterns originally included floral designs, geometric patterns as the ever popular phoenix and dragon designs. With the advent of the 19^th century, landscapes and life-like figures became more common.

The characteristics of the body are sometimes helpful in determining where a piece of Satsuma was made. The products of Kyoto often show a lighter creamy-white body whereas the Satsuma from Kyushu bears a somewhat darker tone and stronger crackle lines in the glaze.

Celadon glaze

2012-01-08T04:18:00.000-08:00

Celadon

Chinese Longquan Celadon from Zhejiang, Song Dynasty, 13th century, Musée Guimet in Paris

Chinese name

Traditional Chinese

青瓷

Simplified Chinese

青瓷

[show]Transcriptions

Korean name

Hangul

청자

Hanja

靑瓷

[show]Transcriptions

Japanese name

Kanji

青磁

Hiragana

せいじ

[show]Transcriptions

Celadon is a term for ceramics denoting both a type of glaze and a ware of a specific color, also called celadon. This type of ware was invented in ancient China, such as in the Zhejiang province. Celadon has since been spread to various regions in Asia, such as Northern Thailand.

Etymology

The term "celadon" for the pottery's pale jade-green glaze was coined by European connoisseurs of the wares. One theory is that the term first appeared in France in the 17th century and that it is named after the shepherd Celadon in Honoré d'Urfé's French pastoral romance, L'Astrée (1627), who wore pale green ribbons. (D'Urfe, in turn, borrowed his character from Ovid's Metamorphoses.) Another theory is that the term is a corruption of the name of Saladin (Salah ad-Din), the Ayyubid Sultan, who in 1171 sent forty pieces of the ceramic to Nur ad-Din Zengi, Sultan of Syria.Yet a third theory is that the word derives from the Sanskrit sila and dhara, which mean "stone" and "green" respectively.

Celadon glaze

Korean Celadon openwork incense burner with kingfisher glaze from the Goryeo Dynasty. National Museum of Korea, Seoul.

Celadon glaze refers to a family of transparent glazes, many with pronounced (and sometimes accentuated) cracks in the glaze produced in a wide variety of colors, generally used on porcelain or stoneware clay bodies. Celadon glazes have such popularity and impact that pieces made with it are often referred to as "celadons."

Celadon glazes can be produced in a variety of colors, including white, grey, blue and yellow, depending on several factors: 1) the thickness of the applied glaze, 2) the type of clay to which it is applied, and 3) the exact makeup of the glaze. However, the most famous shades range in color from a very pale green to deep intense green, often meaning to mimic the green shades of jade. The color is produced by iron oxide in the glaze recipe or clay body. Celadon are almost exclusively fired in a reducing atmosphere kiln as the chemical changes in the iron oxide which accompany depriving it of free oxygen are what produce the desired colors. As with most glazes, crazing (a glaze defect) can occur in the glaze and, if the characteristic is desirable, is referred to as "crackle" glaze.

The Longquan kiln sites in China were especially well-known internationally. Large quantities of Longquan celadon was exported throughout East Asia, Southeast Asia and the Middle East in 13th-15th century. Large celadon dishes were especially welcomed in Islamic nations.

Some of the world's most coveted and admired masterpieces of ceramics art were produced in Korea during the Goryeo and Joseon dynasties. During this time, Inlaid technique known as "Sanggam", where potters would engrave semi-dried pottery with designs and place black or white clay materials within the engraving, was invented in Korea and then spread to China and Japan.^[4]^[5]^[6]^[7]^[8]

"Korean celadon" is often referred to as "Goryeo celadon," which is usually a pale green-blue in color. The glaze was developed and refined during the 10th and 11th centuries during the Goryeo period, from which it derives its name. Korean celadon reached its zenith between the 12th and early 13th centuries, however, the Mongol invasions of Korea in the 13th century and persecution by the Joseon Dynasty government destroyed the craft.

Korean Celadon ceramic inlaid designs, known as "Sanggam", with the artisan engraving an inlaid design of a crane on the left and another artisan scraping off excess clay slip used to fill in the engravings on the right. Goryeo Celadon Kiln site, Gangjin.

Traditional Korean celadon ware has distinctive decorative elements. The most distinctive are decorated by overlaying glaze on contrasting clay bodies. With inlaid designs, known as "Sanggam" in Korean, small pieces of colored clay are inlaid in the base clay. Carved or slip-carved designs require layer of a different colored clay adhered to the base clay of the piece. The layers are then carved away to reveal the varying colors. Modern potters, with modern materials and tools, have attempted to recreate Korean celadon techniques.

Since about 1420 the Counts of Katzenelnbogen have owned the oldest European import of celadon, exhibited in Kassel in the Landesmuseum.

Japanese imported southern China kiln techniques in early 17th century. Nabeshima ware took celadon with enamelware. Kyoyaki (Kyoto Ceramics) also learned celadon technique in 18th century. Famous potter Aoki Mokubei (1767–1833)^{[citation needed]} made celadons that paid conscious homage to Chinese wares. This was especially so for late Ming period celadon with their bright greens, in a departure from traditional Japanese taste in Chinese celadon which favored a blue glaze.

Gallery

Chinese celadon with cut-out and engraved decoration, 10th century.
Celadon from Yaozhou, Shaanxi province, 10th-11th century, Song Dynasty.
Longquan Warmer, Chinese Song Dynasty, 12th Century.
A Ming Dynasty Longquan celadon from Zhejiang, 14-15th century, now housed in the Smithsonian in Washington, D.C.
Celadon urine bottle 251 CE. Nanjing, China.
Korean Pressed Celadon Goryeo Period, Nantoyōsō Collection, Japan.
National Museum of Korea, Seoul.
Cheongja unhak sanggam mun maebyeong, the 68th national treasure of South Korea.
Japanese Kyoyaki Celadon 19th century, Nantoyōsō Collection, Japan.
Wanda Golakowska, ceramic ware covered with celadon glaze, Poland, 2nd half of 20th century, private collection.

Sarung Bang Biru, Tubular Skirt Cloth

2012-01-08T04:13:00.000-08:00

Sarung Bang Biru, Tubular Skirt Cloth
Lasam, North Coast, Java, late 19th century
Technique: Tulis / handdrawn batik on commercial cotton, seam opened
Dimensions: 3' 5" x 86" ( 1.05 x 2.18 m )
#10641

Desscription: A beautifully drawn flowering tree with stalks of rice and birds.
Condition: Very good, a few small native repairs

Lasem Textile

2012-01-08T03:50:00.000-08:00

Sarung / Woman's Skirt Cloth
Lasam, Java, Indonesia, circa 1920
Technique: Tulis / hand-drawn batik on commercial cotton
Dimensions: 6' 5" x 3' 5 1/4" ( 1.96 x 1.05 m )
#13073

Design: In the baden (body) red and blue floral sprays with a small bird are set against a finely worked diamond grid background.
In the kepala (head) the typical diamond and triangular divided center is filled with lovely drawn birds and small flowering plants.
Condition: Excellent

Detail:

West Sumatra Traditional Textiles

2012-01-07T23:28:00.000-08:00

West Sumatra Traditional Textiles

Songket - Pandai Sikek Minangkabau.

12"x 61" Silk shoulder cloth or runner brocaded with gold

Songket - Pandai Sikek Minangkabau.

12"x 61" Silk shoulder cloth or runner brocaded with gold

Minangkabu Songet .

30"x 77" Indigo cotton and silk with gold brocading
Indigo cotton and red silk with gold brocading. This lovely queens's head cloth is from the Tanah Datar area of West Sumatra around Sangayang. Late 19th or early 20th century. In the photo below you see one end; the other is identical. The textile is in very good condition. $1850

Ceremonial Shoulder Cloth (Slendang), Indonesia, Sumatra, Payakumbuh District, Minangkabau people, 1900-1930, Metallic foil-wrapped thread; supplementary weft brocaded patterning (songket) on plain weave silk ground



		Minangkabau people Woman's head cloth [tengkuluak] 19th century west Sumatra Indonesia cotton, silk, natural dyes, gold thread supplementary weft weave 246.0 (h) x 103.0 (w) cm .


		Shoulder or waist cloth [kain sandang?] early 20th century Western mountain region west Sumatra Indonesia cotton, natural dyes, metallic thread supplementary weft weave 64.0 (h) x 163.0 (w) cm .


		Minangkabau people Woman's head cloth [tengkulok] 19th century west Sumatra Indonesia silk, cotton, gold thread supplementary weft weave 249.0 (h) x 83.0 (w) cm .


		Minangkabau people Woman's head cloth [tengkulok] 19th century west Sumatra Indonesia silk, cotton supplementary weft weave, discontinuous weft 230.0 (h) x 97.0 (w) cm .


		Minangkabau people Shoulder cloth [selendang kerenci] west Sumatra Indonesia cotton, dyes 34.6 (h) x 275.2 (w) cm .


		Minangkabau people Woman's head cloth [tengkulok] 19th century west Sumatra Indonesia silk, silver thread supplementary weft weave 230.0 (h) x 97.0 (w) cm .


		Minangkabau people Woman's ceremonial skirt cloth 19th century west Sumatra Indonesia silk, gold thread supplementary weft weave 91.0 (h) x 124.0 (w) cm .


		Minangkabau people Shoulder cloth or man's skirt cloth 19th century Solok district west Sumatra Indonesia silk, gold thread weft ikat, supplementary weft weave, interlacing 206.0 (h) x 77.0 (w) cm .


		Minangkabau people Woman's head or shoulder cloth [tengkuluak or kain sandang] c.1880 west Sumatra Indonesia silk, cotton, gold thread, natural dyes supplementary weft weave 141.5 (h) x 78.5 (w) cm .


		Minangkabau people Ceremonial shoulder cloth [selendang] 19th century Sijunjung west Sumatra Indonesia silk, gold thread, dyes weft and warp ikat, supplementary weft weave 206.0 (h) x 77.0 (w) cm .


		Minangkabau people Ceremonial shoulder cloth [selendang] 19th century Pandai Siket west Sumatra Indonesia silk, gold thread, silver thread, gold gimp supplementary weft weave 56.0 (h) x 204.0 (w) cm .


		Minangkabau people Ceremonial shoulder cloth 19th century Pandai Siket west Sumatra Indonesia silk supplementary weft weave 237.0 (h) x 47.0 (w) cm .


		Minangkabau people Shoulder cloth 19th century west Sumatra Indonesia cotton, silk, gold thread, bast fibre, sequins supplementary weft weave, applique 172.0 (h) x 59.0 (w) cm .


		Minangkabau people Man's waist cloth and woman's head or shoulder cloth [samping, tengkuluk, sandang or selendang] 19th century west Sumatra Indonesia silk, metallic thread, natural dyes warp and weft compound ikat, supplementary weft weave, bobbin lace 100.0 (h) x 249.0 (w) cm .


		Minangkabau people Ceremonial sash 19th century west Sumatra Indonesia silk, gold thread supplementary weft weave 24.0 (h) x 334.0 (w) cm .

Minangkabau people
Woman's head or shoulder cloth
[tengkuluak or kain sandang]
c.1880 west Sumatra Indonesia
cotton, silk, natural dyes, gold thread
supplementary weft weave
270.3 (h) x 76.5 (w) cm .

Minangkabau people
Pitalah
west Sumatra Indonesia
cotton, dyes, gold thread
74.0 (h) x 167.0 (w) cm .

Minangkabau people
Woman's head or shoulder cloth
[tengkuluak or kain sandang]
19th century west Sumatra Indonesia
silk, cotton and gold thread
supplementary weft weave
164.0 (h) x 61.0 (w) cm .

Minangkabau people
Shoulder cloth
[selendang]
early 20th century west Sumatra Indonesia
silk, gold thread
embroidery, couching
70.0 (h) x 46.0 (w) cm .

Minangkabau people
Ceremonial shoulder cloth
[kain selendang]
c.1980 west Sumatra Indonesia
silk, metallic thread
supplementary weft weave
33.0 (h) x 157.5 (w) cm .

Minangkabau people
Cover for ceremonial objects
c.1900 west Sumatra Indonesia
silk
batik, embroidery
59.0 (h) x 54.0 (w) cm .

Balai-Cacang

Gunung

Muara-Labu

Size 207x60 cm