The term sekonmandi appears to refer to a group of villages in the Kalumpang area where this style of warp ikat weaving originates. Working on the backstrap loom restricts the width of the cloth that can be woven; the larger textiles from this region are therefore assembled from multiple parts.

Claw and ball feet (or ball and claw) termination mainly used on cabriole legs in the first half of the 18th century (though earlier examples occur), representing a bird's or dragon's claw clutching a ball. It derives from an oriental symbol of evil in the world — the dragon's claw grasping a pearl.

This beaded sleeveless jacket features a dynamic stylized figure posed squatting with upraised arms and splayed legs. Such beings, called kahle'tau, are considered to be helpful.

The complex angular patterns of this textile—diamond shapes with hooks—can be interpreted as stylized human torsos with four limbs that represent many generations of ancestors. Such textiles were used in ceremonies surrounding the death of honored persons.

The textile ground for this exceptional ceremonial skirt consists of abstract patterns enclosed in narrow bands. The designs were ikat-dyed, a process in which the yarns are resist-dyed before weaving.

The primary motif of this striking hinggi is the skull-tree (andung). The motifs refer to headhunting, which was a widespread practice in Indonesia before its suppression by Dutch colonial officials.

In beadwork, the mythical dragon-serpent (aso) often merges like a chameleon with the background.

Careful looking reveals a series of arrowlike human figures with angled limbs as the basis for the geometric design of this textile.

The intensity of this blanket is a result of its deeply dyed colors and densely packed geometric designs.