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PostPosted: Tue Oct 05, 2010 5:55 pm 
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I agree with Susan that this thread has morphed into a really good one with a good breadth!

I was very interested in her comments about Miao versus Yao in Hainan. Funnily enough, only on Saturday at the first Textile Society London antique textile fair, I picked up wax resist skirt marked 'Miao' and said 'No, Yao'. It was one of the Mun Yao Lantien skirts. There was quite an argument and then the 'Miao' skirts in Hainan were mentioned. I had to agree that literature says these are Miao although they are quite different from other Miao skirts. I am, therefore, very receptive to the 'Yao' ID!

Chris, thank you so very much for brightening up my Monday! I roared with laughter at the thought of a farang in a taxi giving chase to a venerable lady in headscarf on bike! You showed admirable restraint although not quite true dedication to the cause of textile identification!

Larry, I loved the horse at the end of your link for Susan!

Thanks to all for great and enriching contributions and to Iain for setting us off on this excellent discussion. I feel that we haven't yet got to the root of your original question as to ID of the very interesting head scarf you posted and pointed to on Chris' website but it has been a very good meander along the way. I am not giving up hope as these things have a way of getting resolved over time as we or others broaden our experience.

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Pamela

http://www.tribaltextiles.info
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PostPosted: Thu Oct 07, 2010 3:21 pm 
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Location: Chiang Mai, Thailand
Wonderful horses Larry! Of course, felt textiles are 'horses of a different color' (sorry...) compared to woven ones.

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http://www.tribaltrappings.com
http://tribaltrappings.blogspot.com/


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PostPosted: Sat Oct 09, 2010 3:10 am 
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I'll see if I can answer some of the technical questions raised on this thread. Most of the Scandinavian overshot patterns shown here are possible with 4-harness counter-balanced looms, with sheds created by six combinations of these harnesses: 1-2, 2-3, 3-4, 4-1, and 1-3, 2-4. Six treadles would be sufficient to open these standard sheds.

Looms on which the harnesses can be operated separately can open many more different sheds. Treadles can be tied up in innumerable combinations, or can be tied to individual harnesses.

With any of these loom-controlled patterns, much of the designing is determined in the way that the threading is done initially; then through different treadling sequences a multitude of pattern variations are possible.

Of course in much Southeast Asian brocade weaving, pattern sheds have been picked by hand, and this can be done on the simplest of two-harness loom set-ups. There is no limit to the number of pattern sheds possible and patterns can be extremely complex. In most cases the hand-picked pattern sheds are "saved" by the weaver with pattern rods, so that after a short distance, a pattern sequence can be reversed. In the simplest of arrangements, the pattern rods are inserted in the warp behind the harnesses. In elaborate Tai/Lao brocade weaving pattern rods or cords are inserted in a vertical sequence suspended above the warp.

Best wishes,
Marla Mallett


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PostPosted: Sat Oct 09, 2010 11:12 pm 
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Marla, that is great! I was sure you could provide that information and very much hoping you were hovering around waiting and willing to do so.
Many thanks.

Larry


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PostPosted: Thu Nov 04, 2010 2:09 pm 
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Back to the finely woven head scarves from S W China.....

Martin Conlan and I have finally made some email contact despite over-zealous spam checkers! I attach an image from Martin of a Dong head scarf from Congjiang - it is so very similar to the one which Iain first showed and also on Chris Buckley's website. Martin says: "I haven't had any of the brown ones which may well be from Rongjiang area ("Yongjiang")." Martin also commented that the Dong head cloths that Susan Stem posted probably originated from the (Dong) Liping area.


Attachments:
File comment: Dong headcloth from Congjiang
Dong-CongjiangW.jpg
Dong-CongjiangW.jpg [ 109.68 KiB | Viewed 3929 times ]

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PostPosted: Fri Jun 28, 2013 6:31 am 
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Here another example of these little headscarves/bands. Cotton and silk. Measuring 24cm x 72cm and then 9cm fringes. This piece shows signs of wear in line with being worn as a wrap.

Going through my notes made from the seller this piece was also described as being 范本(fan ben). This translates as model/ template/ example. Each of the 21 'detail' strips are different and it may be possible that these pieces also serve as weaving templates for future reference. This 'template' idea is known amongst Miao women who use bend hmub - a cloth showing mastered embroidered patterns and motifs - to teach their daughter(s).


Attachments:
HSF.M.10.02a.JPG
HSF.M.10.02a.JPG [ 247.79 KiB | Viewed 2562 times ]
HSF.M.10.02b.JPG
HSF.M.10.02b.JPG [ 204.67 KiB | Viewed 2562 times ]
HSF.M.10.02c.JPG
HSF.M.10.02c.JPG [ 209.82 KiB | Viewed 2562 times ]
HSF.M.10.02d.JPG
HSF.M.10.02d.JPG [ 168.44 KiB | Viewed 2562 times ]
HSF.M.10.02e.JPG
HSF.M.10.02e.JPG [ 200.92 KiB | Viewed 2562 times ]
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 Post subject: last images of headscarf
PostPosted: Fri Jun 28, 2013 6:38 am 
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and the last images.


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HSF.M.10.02f.JPG
HSF.M.10.02f.JPG [ 191.49 KiB | Viewed 2562 times ]
HSF.M.10.02g.JPG
HSF.M.10.02g.JPG [ 201.02 KiB | Viewed 2562 times ]
HSF.M.10.02h.JPG
HSF.M.10.02h.JPG [ 187.39 KiB | Viewed 2562 times ]
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 Post subject: Re: Headscarf origins?
PostPosted: Fri Jun 28, 2013 8:46 am 
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That is really interesting, Iain, that the headscarf is also a pattern template. When one finds one with all different patterns it seems so amazing so it is satisfying to know that it can be a double-purpose weaving. This particular style headcloth is very fine - I have a couple and love them, especially the very muted hues.

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http://www.tribaltextiles.info
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