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Wearing Wealth and Styling Identity
Tapis from Lampung, South Sumatra, Indonesia
Mary-Louise Totton

Hood Museum of Art



Contents

• Foreword - Brian P. Kennedy
• Acknowledgments
• Introduction – Mise en Scène
• TAPIS AS TRIBUTE: ANCIENT ORIGINS AND COSMOPOLITAN REFLECTIONS
• Lampung Province, Sumatra
• Early Art and Aesthetics
• Textiles as Artistic Commodities with Commercial and Political Networks
• Tapis as High-Value Textile Tributes and Gifts of Prestige
• Tapis as Signifier: Past and Recent Past
• MATERIALS AND TECHNIQUES OF TAPIS CREATION
• Tapis Construction
• Secondary Embellishments
• Appliqué and Associated Additions
• Cermuk: Specialty Appliqué of Mirrors or Mica
• Cucuk: Couching of Gold, Silver, and Other Materials
• Dyestuffs
• Ikat and Tapis Inuh
• Suji, Sulam: Embroidery of Bast, Cotton, and Silk
• Supplementary Weft and Needleweaving
• Unusual Omissions
• TAPIS IN CONTEXT AND COMMUNITIES
• Ancient Motifs
• Language
• Adat
• Margas
• One Marga with Fifteen Hundred Years of History
• Weddings
• Internal and External Models
• Tapés, Tapésarassas, Taffatsjelas, Tapé Chinde . . . and Tapis?
• Pepperland
• Some Political and Tapis Distinctions
• American Interests
• Personal Not Pepper Adornments
• Weaving and Unweaving
• COLLECTIBLE, ART GENRE, COMMODITY, AND ICON
• Historical Backup
• Colonial Collecting
• Modernity and New Visions of Tapis
• Commodification of Tapis
• Tapis Business: Bridal Traditions and Beauty Pageants
• Pepperland Has Become Tapis Land
• Siger, a Local Symbol of Hegemony
• Tapis and Identity
• VISUALIZING POWER AND WEALTH
• Second Skins: Cultural Constructions
• Art Composed of Cloth
• Trade Wealth Iconography
• Conclusion
• Notes
• Selected Bibliography
• Glossary
• Index              

Wed, 15 Nov 2017 15:06:08 -0500