In Focus

Among the most distinctive of all Lampung textiles are the large multicolored tampan and longer ship cloths depicting boats (pale­pai) from the area around Kalianda. Numerous examples of tampan from Kalianda have survived. Often they combine varying hues of maroon-red, indigo, tan, and white dyed yarns on a neutral ground.

Nearly all the tampan in the Museum’s collection are of a large size. In contrast, the scale of this cloth is comparatively small. Perhaps this reflects its specific function, or the skill level of the weaver, as there are a number of anomalies in the tampan’s design and execu­tion. The outer frame and inner bands of indigo blue are composed of repetitive patterns that are precisely spaced and well executed.

This tampan is from an area east of Semangka Bay on the south coast of Lampung. Its large size reflects both its importance and its ceremonial function. The overall story line may refer to an event of mythic or even historical origin, or may simply allude to status-raising ceremonies, alliances, or marriage.

Given its perfect condition, deep colors, excellent use of negative space, and unusual pictorial qualities, this tampan is an excep­tional example of the genre. In contrast to 1983.72, here the primary designs, except for the topmost center motif, are symmetrically aligned. Within these designs are carefully placed argyle patterns, smaller diamond shapes, rosettes, and dots.

The tampan in the Dallas Museum of Art collection of Indonesian textiles can roughly be divided into two basic types: tampan darat and tampan pasisir.

This exquisite dagger (pattei) comes from northern Siberut (Berisigep) and was said to have been made in headhunting times more than a century ago. It has an iron blade that was obtained by barter from Sumatran traders as a blank and then ground into shape. Such blades are also used to tip spears. Unlike many of the other ethnic groups represented in the Dallas Museum of Art's collections of island Southeast Asian art, Mentawaians did not forge their own metal.

This superb shield (koraibi) made from lightweight wood was acquired in 1968 from an elderly shaman of the Siriottoi clan, Matsebu, who had inherited it from his father as part of the latter’s headhunting equipment. He had kept the shield because of its incised drawings of hands that had been carved over the shield’s original designs.