Malaysia, Sarawak, Saribas region, 1950 or earlier
Cotton, silk, supplementary weft wrapping (sungkit)
A long solid red centrefield decorated at the ends in detailed silk sungkit, depicting two rows of finely worked spirits at one end, and one row at the other. Each set of spirit figures has a distinct design, and is framed by narrow bands of stars and triangles that make the cloth sparkle. The side stripes in red, white, yellow, black and red-brown add a lively effect. Finished with long, twisted fringes (some of the red fringes in the centre have been cut, as is customary).
Context: Pua belantan is a type of cloth made in the Saribas region with a specific required design format, motifs and colour that have been part of its ritual efficacy for a long time, and which this example follows closely. It is used ritually – to receive or carry trophy heads, to make offerings at shrines, and to carry a newborn child at his or her birth rites, especially for the first ritual bath.
Very fine cotton, densely woven, with a slightly stiff hand. The silk sungkit colours have lightened a little on the front side but are still clear. Some general wear at the ends, but overall very good.
Length: 169 cm including fringes. Width: 42 cm.
Indonesia, West Timor, Amanatun Utara, Ayotupas area, 3rd quarter of 20th century
Handspun cotton base, natural indigo, commercial cotton and dyes, discontinuous supplementary weft wrapping (buna), alternating warp-faced float weave (sotis)
A showpiece textile made from 4 panels, carrying in the outer 2 panels an extraordinary graphic design of red / white buna anthropomorphs, whose strong lines stand out in a riot of dense colors. Set in a field of multicoloured square diamonds, the figures have more delicate, interesting head-like extensions, and are filled out by rectangles with internal diamonds in contrastive colors, that also run in columns that mark off each design block. a remarkably sparkling effect is created by the use of many colours and the variations on the diamond form. Particularly interesting is the way the red / white reverse from one design block to the next, creating a photo negative effect.
The inner 2 panels have a red / black striped central section, followed by a striped section of plain pinstripes and simple red / yellow sotis figures that contrast nicely with a narrow band of buna rectangles. Thus the skirt displays the weaver's mastery of 2 different weaving techniques, and their complementary effects.
The main figure with outspread legs adapts old motifs with spindly, stepped legs found on 19th C skirts from Belu, especially Malaka (adjacent to Ayotupas). It has a stronger, more dramatic effect than the typical water-bugs illustrated on most Ayotupas skirts. This is the only instance of this bold, graphic style of expressing the old anthropomorphic figure that I have come across.
Excellent condition, with no stains, holes or tears. The skirt has an extremely fresh appearance, and seems to have been kept carefully as a special piece and rarely used. The natural indigo base is a rich deep color, and has a nubbly, closely woven texture. The supplementary colors are all vivid and clear.
Length 141 cm. Width 53 cm (unopened).
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