Maxim Travel Books > Culture > Download Balinese Textiles by Brigitta Hauser-Schaublin, Marie-Louise Nabholz-Kartaschoff, PDF

Download Balinese Textiles by Brigitta Hauser-Schaublin, Marie-Louise Nabholz-Kartaschoff, PDF

By Brigitta Hauser-Schaublin, Marie-Louise Nabholz-Kartaschoff, Urs Ramseyer

Originally released in 1991, in organization with the Museum der Kulturen, Basel.
This electronic variation released 2012

In this fantastically illustrated publication, 3 specialists learn the historical past, creation and makes use of of textiles in Balinese society. Many superb items are offered, their uncooked fabrics and techniques of weaving and dyeing are defined, and the complicated symbolism and formality features of every are defined intimately.

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Additional resources for Balinese Textiles

Example text

This usually consists of prominent triangles composed of vegetable elements (Figs. 13-15). This common motif is frequently called tetumpengan, after the cone-shaped sacrificial offerings of cooked rice {turnpeng), or pucuk rebong after the shape of a young shoot of bamboo. It is still found as a border on many songket cloths, but is nowhere patterned with such refinement and baroque verve as in Buleleng. A typical feature of Buleleng are the pairs of triangles composed into rectangles, which interplay with the contrast between gold threads and a dark red background (Fig.

There, two people are engaged in dyeing the warp and the tied sets of weft threads (Fig. 5); as many as nine young men are busy dabbing on the additional dyes (Fig. 6). The workers, male and female, all come from the lower social classes and are between 14 and 26 years of age. Some have been there since the business began; they started at the age of 15 or 16 and still hold the same jobs today. The looms are operated almost exclusively by women (Fig. 10). Men work on the warping and reeling devices (Fig.

ATBM loom Small ATBM loom Workplace for tyer and stick dyer Bobbin wheel Warping device House post set up a production unit in the precincts of his house compound. He bought the land and built on it with the aid of a bank loan in the 1970s. The layout (Fig. 14) has characteristic Balinese features: it is enclosed by a wall with an entrance gate affording access to the lower compound. The sanctuary is located in the northeast—a direction considered particularly pure and divine. Opposite it, to the southwest, are the kitchen and bathroom.

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