 | This article needs additional citations for verification .(January 2017) |
Bruneian art is art from the country of Brunei. Brunei's art includes paintings, jewelry, and clothing.
| | This article needs additional citations for verification .(January 2017) |
Bruneian art is art from the country of Brunei. Brunei's art includes paintings, jewelry, and clothing.
Art in Brunei was not a focus until the early 1950s, Brunei's government then took a stand to support culture. They created a building for artists to sell their works. In 1984, the art market had grown enough that it had to move to a larger space. [1]
Dato Paduka Shofry bin Abdul Ghafor is a local artist. His work is displayed at the Rainforest Gallery, which opened March 2014. [2] Dato is a manager and owner of the gallery. One of his tworks is called Home of Bruneian Art. Behind the art, it describes the painting of everyone's home. The painting is full of purples, burgundy, dark brown, and black.
Another of Dato pieces is Grey Sea. It has the "light and movement of the sea". Dato described it, saying, "As a work of art that is produced in contemporary Brunei, I perhaps can ponder that the absence of a solid object is a reflection of the state of a Bruneian psyche. The cornerstone of our way of thinking lies in the humble surrender to the spiritual and unknowable." [2]
Silver is a popular element for jewelry and utensils. Silver sheets are imported from there. [1] Silversmiths make ornaments, flower vases and gongs (metal disk with a turned rim giving a resonant note when stuck). Another popular utensil is pasigupan, a type of mini pot that has a mandala print and holds tobacco.
Silvercrafting is a means of preserving family traditions and a profitable cottage industry.
Weaving skills have been passed across generations. Brunei produces fabric for making gowns and sarongs. "The weaving and decoration of cloth as well as wearing, display, and exchange of it, has been an important part of Bruneian culture for years (Orr 96)." Weaving became significant in the 15th century. Antonio Pigafetta visited Brunei during his travels and observed how the clothes were made. One example was a Jongsarat, a handmade garment used for weddings and special occasions. It typically includes a hint of silver and gold. It can be used for wall coverings.
The two types of clothing in Brunei are called Batik and Ikat. Batik is dyed cotton cloth decorated through a technique known as wax-resist dyeing. [1] Workers start with plain cotton and draw patterns with melted wax. The cloth is dipped in dye that colors unprotected fabric. Waxing and dyeing continues until the pattern is complete. In the past, only certain people were allowed to wear certain patterns while others had to wear Itak. Batik clothing was limited to royalty in Brunei and Malaysia. [1]
Ikat is made through a similar process as Batik, Instead of dyeing the pattern onto finished cloth, it is created during weaving. The weaver lays out the threads onto to the loom, then measures their length. The thread is then later wrapped in bark and tied up tightly so that when it is dyed, the color cannot reach all the thread. The process is repeated with different dyes. The thread is then strung on the loom. Ikat patterns were often specific to cultural groups, and patterns were passed down from generation to generation. [1]
Tie-dye is a term used to describe a number of resist dyeing techniques and the resulting dyed products of these processes. The process of tie-dye typically consists of folding, twisting, pleating, or crumpling fabric or a garment, before binding with string or rubber bands, followed by the application of dye or dyes. The manipulations of the fabric before the application of dye are called resists, as they partially or completely prevent ('resist') the applied dye from coloring the fabric. More sophisticated tie-dye may involve additional steps, including an initial application of dye before the resist, multiple sequential dyeing and resist steps, and the use of other types of resists and discharge.
Ikat is a dyeing technique originating from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
Kasuri (絣) is the Japanese term for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric, typically referring to fabrics produced within Japan using this technique. It is a form of ikat dyeing, traditionally resulting in patterns characterized by their blurred or brushed appearance.
Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.
The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.
African textiles are textiles from various locations across the African continent. Across Africa, there are many distinctive styles, techniques, dyeing methods, and decorative and functional purposes. These textiles hold cultural significance and also have significance as historical documents of African design.
Resist dyeing (resist-dyeing) is a traditional method of dyeing textiles with patterns. Methods are used to "resist" or prevent the dye from reaching all the cloth, thereby creating a pattern and ground. The most common forms use wax, some type of paste made from starch or mud, or a mechanical resist that manipulates the cloth such as tying or stitching. Another form of resist involves using a chemical agent in a specific type of dye that will repel another type of dye printed over the top. The best-known varieties today include tie-dye, batik, and ikat.
A sampot, a long, rectangular cloth worn around the lower body, is a traditional dress in Cambodia. It can be draped and folded in several different ways. The traditional dress is similar to the dhoti of Southern Asia. It is also worn in the neighboring countries of Laos and Thailand where it is known as pha nung.
The Andean textile tradition once spanned from the Pre-Columbian to the Colonial era throughout the western coast of South America, but was mainly concentrated in Peru. The arid desert conditions along the coast of Peru have allowed for the preservation of these dyed textiles, which can date to 6000 years old. Many of the surviving textile samples were from funerary bundles, however, these textiles also encompassed a variety of functions. These functions included the use of woven textiles for ceremonial clothing or cloth armor as well as knotted fibers for record-keeping. The textile arts were instrumental in political negotiations, and were used as diplomatic tools that were exchanged between groups. Textiles were also used to communicate wealth, social status, and regional affiliation with others. The cultural emphasis on the textile arts was often based on the believed spiritual and metaphysical qualities of the origins of materials used, as well as cosmological and symbolic messages within the visual appearance of the textiles. Traditionally, the thread used for textiles was spun from indigenous cotton plants, as well as alpaca and llama wool.
A photo blanket is a large, rectangular piece of fabric displaying images, pictures, or designs, often with bound edges, used as a blanket or decorative object. Historically photo blanket were made of thick cloth depicting people, objects, and symbols intended to tell a story or reveal historical events.
A Sambalpuri sari is a traditional handwoven bandha (ikat) sari wherein the warp and the weft are tie-dyed before weaving. It is produced in the Sambalpur, Balangir, Bargarh, Boudh and Sonepur districts of Odisha, India. The sari is a traditional female garment in the Indian subcontinent consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles.
T'nalak, is a weaving tradition of the T'boli people of South Cotabato, Philippines. T'nalak cloth is woven exclusively by women who have received the designs for the weave in their dreams, which they believe are a gift from Fu Dalu, the T'boli Goddess of abacá.
The national costume of Indonesia is the national costume that represents the Republic of Indonesia. It is derived from Indonesian culture and Indonesian traditional textile traditions. Today the most widely recognized Indonesian national costumes include batik and kebaya, although originally those costumes mainly belong within the island of Java and Bali, most prominently within Javanese, Sundanese and Balinese culture. Since Java has been the political and population center of Indonesia, folk costume from the island has become elevated into national status.
Balinese textiles are reflective of the historical traditions of Bali, Indonesia. Bali has been historically linked to the major courts of Java before the 10th century; and following the defeat of the Majapahit kingdom, many of the Javanese aristocracy fled to Bali and the traditions were continued. Bali therefore may be seen as a repository not only of its own arts but those of Java in the pre-Islamic 15th century. Any attempt to definitively describe Balinese textiles and their use is doomed to be incomplete. The use of textile is a living tradition and so is in constant change. It will also vary from one district to another. For the most part old cloth are not venerated for their age. New is much better. In the tropics cloth rapidly deteriorates and so virtue is generated by replacing them.
The textiles of Sumba, an island in eastern Indonesia, represent the means by which the present generation passes on its messages to future generations. Sumbanese textiles are deeply personal; they follow a distinct systematic form but also show the individuality of the weavers and the villages where they are produced. Internationally, Sumbanese textiles are collected as examples of textile designs of the highest quality and are found in major museums around the world, as well as in the homes of collectors.
Boro (ぼろ) are a class of Japanese textiles that have been mended or patched together. The term is derived from the Japanese term "boroboro", meaning something tattered or repaired. The term 'boro' typically refers to cotton, linen and hemp materials, mostly hand-woven by peasant farmers, that have been stitched or re-woven together to create an often many-layered material used for warm, practical clothing.
Odisha Ikat, is a kind of ikat known as Bandhakala and Bandha, a resist dyeing technique, originating from Indian state of Odisha. Traditionally known as "Bandhakala"', "Bandha", '"Bandha of Odisha", it is a geographically tagged product of Odisha since 2007. It is made through a process of tie-dying the warp and weft threads to create the design on the loom prior to weaving. It is unlike any other ikat woven in the rest of the country because of its design process, which has been called "poetry on the loom". This design is in vogue only at the western and eastern regions of Odisha; similar designs are produced by community groups called the Bhulia, Kostha Asani, and Patara. The fabric gives a striking curvilinear appearance. Saris made out of this fabric feature bands of brocade in the borders and also at the ends, called anchal or pallu. Its forms are purposefully feathered, giving the edges a "hazy and fragile" appearance. There are different kinds of bandha saris made in Odisha, notably Khandua, Sambalpuri, Pasapali, Kataki and Manibandhi.
A tanmono is a bolt of traditional Japanese narrow-loomed cloth. It is used to make traditional Japanese clothes, textile room dividers, sails, and other traditional cloth items.
Tenun is an artful Indonesian technique of making a fabric by weaving different colours of threads. Tenun belongs to one of the typical Indonesian cultural arts produced by hand skills using traditional looms. The word Tenun itself has a high meaning, historical value, and technique in terms of colors, motifs, and types of materials and threads used and each region has its own characteristics. In addition, Tenun is also one of Indonesia's original cultural heritages that is still maintained and preserved to this day.
Meisen is a type of silk fabric traditionally produced in Japan; it is durable, hard-faced, and somewhat stiff, with a slight sheen, and slubbiness is deliberately emphasised. Meisen was first produced in the late 19th century, and became widely popular during the 1920s and 30s, when it was mass-produced and ready-to-wear kimono began to be sold in Japan. Meisen is commonly dyed using kasuri techniques, and features what were then overtly modern, non-traditional designs and colours. Meisen remained popular through to the 1950s.