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PostPosted: Fri Aug 27, 2004 7:37 pm 
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Location: Los Angeles, CA
There have been quite a few tampans on the forum lately, but I don't remember any with purely zoomorphic imagery. I have always been drawn to them. Has anyone read any good articles on this type of Tampan?



Bill


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PostPosted: Sat Aug 28, 2004 2:33 am 
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Bill

I can't give you any help on your question but what a fascincating piece! There are so many different images in the weaving. I am not sure that one should say 'hidden' in the weaving since many are very vivid and I am sure if one was more alert and in tune with the environment of the weaver then the other images would, in fact, jump out.

It is like a large doodle which has been translated into weaving. I can appreciate very well why this piece found its way into your collection as I would have been very drawn to it also. It is one of the most immediately appealing (to me) tampans that I have seen.

I think it is particularly interesting in that, although the bottom of the weaving is almost (but not quiet) symetrical, the top half is not and that gives it a extra liveliness and feeling of spontaneity. All of this is, of course, modern western comments based on the immediate appearance of the design and nothing to do with the background culture of the weaver and the source of the designs incorporated into the weaving.

That is one of the attractions of the tampan - that they appeal on more than one level. You do not need to know anything about their background to be drawn to them. However, once attracted then there is the compulsion to understand what was in the weaver's mind when executing the weaving and the why, what and how of the designs especially when these appear to be people or animals or an amalgam of both.

Thanks for sharing such a scrumptious piece with us!

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Pamela

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PostPosted: Sat Oct 02, 2004 10:23 pm 
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Hello All:

This is one that has been in my collection for a number of years. As for literature on the zoomorphic motifs, it sould abound. I'll chech my references and get back to you later. The size is roughly 81 x 85 cm, atypically large for this type of Tampan, I've been told. Dates from mid to late 19th century. Best to all. Richard


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Richard
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PostPosted: Tue Oct 05, 2004 3:11 am 
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Richard

Thanks - a very interesting design. (I have reduced your photo to 600 px in width which PLEASE is the maximum width for posting photos on the forum so that they are easy to view. I also cut it down a little so that the one that you posted and Bill's are more similar in how they are seen. Forgive me for editing but I value the resource which is created on the forum and like to make it work as well as possible. We are so fortunate in the contributions and sharing.)

What is so fascinating in your tampan is not only the 'top level' design but all the detail in the background which is so complex both in imagery and also weaving. A good piece to live with as the complexities are there to be continually 'unwrapped'. I suppose that is one of the reasons that tampans - especially good ones - are so attractive to international collectors.

I look forward to your future comments on the imagery after you have checked your references!

best wishes,

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 Post subject: zoo logic?
PostPosted: Wed Oct 06, 2004 8:24 am 
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Location: Chiang Mai, Thailand
Greetings All-
These are both really quirkily-designed pieces. It would be very interesting to know more about the imagery, but unfortunately I'm not able to answer that.

Rather, I'm curious whether anyone can shed light on why some of these float the supplementary wefts of the main images on the front, as in Bill's, making the main images positive; or on the back, as on Richard's, where the main images become negative. How does one tell which is the front or back? Usually, I consider it the side with the most details showing, and when the wefts predominantly float on one side, it tends to obscure the details. I do find that the border elements sometimes give a clue, but isn't it curious that the weavers play with positive and negative like this.

Here's one with not only the main imagery in wild silk supplemental floating wefts, but with Frogmen(!). Sandie are you there?


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Susan Stem

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 Post subject: more froggies!
PostPosted: Sun Oct 10, 2004 5:19 am 
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Gee Susan,

You have more frogiges on your tampam than I have on my tampam! Both in the upper part of the textile (2) and more abstract on the bottom! But the frogmen in the upper frame off your textile, as in mine, have their hands and fingers pointed downward, which is very unusual, and may be characteristic of a particular village or weaver. Actually, if one compares the dyes in both our cloths, they may have originated in the same area of South Sumatra, or be done by the same weaver!

As for Richard's tampam...wow! Having looked at Bill's tampam for a while, I'm wondering if the main motif is in fact calligraphic, with portions of the Koran worked into the overall design, a favored technique of weaving in Islamic areas, but rarely seen in tampam.

I will check out froggies with hands downward instead of upright, as found in most T'ai textiles, and report back. Interesting feature indeed.

Cheers to all,
Sandie


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PostPosted: Sun Oct 10, 2004 12:04 pm 
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Susan

It is difficult to judge - not being able to see the other side of your tampan - but, to me, it looks as if yours is photographed on the back as the dark threads look very long as if they are the supplementary threads across the back of the weave and there should be more detail on the other side. Is it possible to see a photo of the reverse side?

If you go into 'edit' on your post you would be able to add the second photo to appear with your message right above the first photo.

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Pamela

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 Post subject:
PostPosted: Tue Dec 21, 2004 11:10 pm 
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Location: USA
Hello All,

I'm finally started to get caught up on what I promised to do. "Ship Cloths of the Lampug South Sumatra, a research of their design, meaning and use in their cultural context" has a chapter on the symbolic meaning of the motifs and includes a discussion on zoomorphic motifs. This book is by Toos van Dijk and Nico de Jonge. Pushished in 1980 by Galerie Mabuhay in Amsterdam. This one might be hard to come by but is a good resource. More references later. Best Richard


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