GENERAL DESCRIPTION
Between the outer frame and indigo blue inner bands composed of precisely spaced and well executed repetitive patterns, the pictorial center of this tampan contains a riotous array of barely decipherable symbols, geometric conventions, and the bold rendering of otherwise familiar motifs. Its central creature, the human figures, and several of the more enigmatic details seem more animated than those found on most other tampan. Normally, the execution of motifs similar to these is more mathematically precise, sharper edged, seemingly stiffer, and more predictable. This is in part due to the physical properties of the supplementary weft technique, which makes it inherently difficult to convey a perfectly curving line or a sense of flowing movement.
The unconventional arrangement of these motifs, and the fact that some of the secondary designs and minor animal forms are not fully realized, could suggest that this tampan was created by an inexperienced weaver still learning her craft. However, the overall result may also simply represent the mindset of a singularly original artist, more intent on conveying the main elements of her story than overly concerned with its surrounding details. While its exact function and narrative have been forgotten, the imagery on this tampan remains fresh and vibrant.
Adapted from
Steven G. Alpert, "Ceremonial cloth (tampan)," in Eyes of the Ancestors: The Arts of Island Southeast Asia at the Dallas Museum of Art, ed. Reimar Schefold in collaboration with Steven Alpert (Dallas: Dallas Museum of Art; New Haven and London: Yale University Press, 2013), 100-101.
NOTES
Catalogue essays
Artist/designers
Cultures
Geography
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Historical periods
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RELATED OBJECTS
PROVENANCE
n.d.: Mrs. Djody Munir, Jakarta, Indonesia
Until 1983: Steven G., Alpert, Dallas, Texas, purchased from above
1983: Dallas Museum of Art, purchased from above [1]
Notes:
The main source for this provenance is the Pacific American Corp. document titled "Dallas Museum of Art: The Steven G. Alpert Collection of Indonesian Textiles" in the Collections Records file labeled Steven G. Alpert—Indonesian Textiles. Exceptions and other supporting documents are noted.
[1] See pages 1-4 of the correspondence between Harry S. Parker and Pacific American Corp. dated October 5, 1983, in the Collections Records file labeled Steven G. Alpert—Indonesian Textiles.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1983.75
Category
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General Description
Between the outer frame and indigo blue inner bands composed of precisely spaced and well executed repetitive patterns, the pictorial center of this tampan contains a riotous array of barely decipherable symbols, geometric conventions, and the bold rendering of otherwise familiar motifs. Its central creature, the human figures, and several of the more enigmatic details seem more animated than those found on most other tampan. Normally, the execution of motifs similar to these is more mathematically precise, sharper edged, seemingly stiffer, and more predictable. This is in part due to the physical properties of the supplementary weft technique, which makes it inherently difficult to convey a perfectly curving line or a sense of flowing movement.
The unconventional arrangement of these motifs, and the fact that some of the secondary designs and minor animal forms are not fully realized, could suggest that this tampan was created by an inexperienced weaver still learning her craft. However, the overall result may also simply represent the mindset of a singularly original artist, more intent on conveying the main elements of her story than overly concerned with its surrounding details. While its exact function and narrative have been forgotten, the imagery on this tampan remains fresh and vibrant.
Adapted from
Steven G. Alpert, "Ceremonial cloth (tampan)," in Eyes of the Ancestors: The Arts of Island Southeast Asia at the Dallas Museum of Art, ed. Reimar Schefold in collaboration with Steven Alpert (Dallas: Dallas Museum of Art; New Haven and London: Yale University Press, 2013), 100-101.
Fun Facts
Archival Resources
Web Resources
Notes
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Mrs. Djody Munir, Jakarta, Indonesia
Until 1983: Steven G., Alpert, Dallas, Texas, purchased from above
1983: Dallas Museum of Art, purchased from above [1]
Notes:
The main source for this provenance is the Pacific American Corp. document titled "Dallas Museum of Art: The Steven G. Alpert Collection of Indonesian Textiles" in the Collections Records file labeled Steven G. Alpert—Indonesian Textiles. Exceptions and other supporting documents are noted.
[1] See pages 1-4 of the correspondence between Harry S. Parker and Pacific American Corp. dated October 5, 1983, in the Collections Records file labeled Steven G. Alpert—Indonesian Textiles.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1983.75
source file
object_notes_4_c-0100.xml.nores