205:, candle nut oil, and wood ash to aid the take-up of the red dye, then hung up to dry in the sun. Ramseyer said that the yarn was left to soak for 42 days and then left to dry for the same time. Gillow states that this is repeated up to 12 times. The threads are wrapped around the dying frame and the pattern is tied into the bundles of thread to form a resist. The bound warp and weft threads are then sent out to the neighboring village of Bug-Bug to be dyed as indigo is forbidden to be used in Tenganan. Once dyed indigo, the threads are put back on the frames and some of the ties are undone to allow the red component of the pattern to be developed. The indigo is also over-dyed by the red to give the characteristic dark rust-brown color. The warp is then laid out on the loom and the cloth is woven in a loose balanced weave. The pattern is carried by both the warp and the weft. Great precision is needed at all stages of the production. Using a pick the weaver adjust the weft with each pass of the shuttle to make sure the alignment of the pattern is precise.
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117:(16-17C). Many of these imported cloths became the inspiration for later locally-made textiles, but one theory is that the Balinese-made cloths were exported to India and copied there for production to Asian markets. Many have unique Hindu motifs such as a bird's eye view of a mandala with a sacred center from which everything radiates. Others feature designs clearly inspired by
185:, composed in 1365 who describes curtains of the king Hayam Wuruk's carriage as being made of Geringsing. The first European to describe geringseng was W.O.J Nieuwenkamp in 1906. He found 2 cloths in a box of textiles that he bought in Tabanan for the Ethnographic Museum in Leiden. After this he discovered where they came from and made a journey to Tenganan.
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is consistent across the range of the designs consisting of red, reddish brown, an eggshell color and a dark blue/black/brown. There are two head patterns or Tumpal, similar to some batik designs leaving a central panel. The pattern can be made of vertically orientated geometric and abstract floral
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are not only capable of keeping impurities and danger out of the village, but also shield and protect humans from baleful influences during rites of passage as they transition from one phase of life to the next. The
Tengananese receive their first geringsing at the hair cutting ritual. His hair is
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The width of the cloths vary, investigations so far have shown seven different widths of which five are still in use. The narrowest cloth are composed of 14 patterned strips, the fringes of which are uncut and worn by boys and men as tubular sashes
302:) to protect from spirits. As a general rule women do not weave if they are menstruating. When the cloths are not being worked on the loom is covered by a white cloth. There are many other strict rituals related to the dying and weaving of
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their land by the king who said that they could have as much land as a man and horse could ride around in a day. The horseman chosen had a magical horse and he encircled a vast tract of land which the king was obliged to grant him.
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in order to protect its magical properties. During the period of the soaking of the un-dyed thread bundles in the candlenut and wood ash water, they are kept in an earthenware jar for 42 days covered with a black and white cloth
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Central field patterns are formed in a different way in that the design has large four pointed stars dividing the cloth into semicircular segments. these segments contain stars, emblems, architectural, elements animals, and
267:) and knotted at the front of the chest or loin height so that the knotted fringe hangs downwards. The other way they are worn is around the neck so that the knot falls forward in the method of wearing called
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Bali kingdom of Pejeng, pre-dating the occupation of Bali by the Hindu
Javanese who arrived at the end of the Majapahit era (15th century). There is a legend that they were
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323:, on which the Tegananese both enters and leaves the world. In the ceremony that admits a boy or girl to the youth association of the village, they are carried in a
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100:. The demanding technique is only practiced in parts of India, Japan and Indonesia. In Indonesia it is confined to the village of Tenganan.
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are regarded as sacred cloths, "ascribed supernatural properties, especially to assist in forms of healing, including exorcism."
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designs. The fear is the potential to sue the people of
Tenganan for copyright breach when they produce one of those designs.
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The cloths are woven on a narrow back-strap looms. The cotton is hand-spun. Before dying the threads are soaked in a bath of
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for the tooth filing ceremony, an essential rite of passage for all
Balinese Hindu. The participants pillow is covered by
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233:). In other cloths the pattern is not only vertical and horizontal, but the repetition is pursued across the diagonal (
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hip sash. These cloths may not be used again and so usually are sold. In the purification of the soul ceremony
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known, not all are still being made. Recently some enterprising
Japanese actually copyrighted some
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the dead person's presence, which is symbolizes by an inscribed palm leaf, is also arrayed in a
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Alfred Buhler. Museum fur
Volkerkunde und SchweizerrichesMuseum fur Volkskunde. Basel. pp.48-72
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giving his warriors gerinsing sashes to protect them in Battle. A later mention is in the poem
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mentioned in the
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clothing, at his parents home where relatives bring symbolic gifts which are placed on a
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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Hauser-Schäublin, Brigitta.; Nabholz-Kartaschoff, Marie-Louise.; Ramseyer, Urs. (1991).
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gerigsing wayang kebo, geringsing wayan putri, gerigsing patelikur isi, gerigsing lubèng
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Back-strap loom with an incomplete weaving showing its protective white cloth
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cloth on their father's right shoulder. In the concluding ceremony of
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which is the initiation, the candidates wear a geringsing and bear a
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The people of
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According to textile expert John Guy, "the ancestry of
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There are rules that constrain both dying and the weaving of
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gerinsing paparé, geingsing enjékan, geringsing battun tuung
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Helmi, Rio. Memories of the Sacred. After Hours publisher
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Portion of a
Geringsing Wayang Putri textile 200 x 40 cm
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Hazzard, C J. 1982. personal observation, illustrated
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743:. London: British Museum Press. p. 127.
718:. London: British Museum Press. p. 129.
684:. London: British Museum Press. p. 120.
659:. London: British Museum Press. p. 119.
553:. London: British Museum Press. p. 130.
497:. London: British Museum Press. p. 117.
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611:Gittinger. M. 1979 Splendid Symbols. pp. 147
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229:motif repeating across the central field (
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235:geringsing cicempaka, geringsing cemplong
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271:. These narrow cloths are also worn as
133:is typically red, neutral, and black.
314:By virtue of their magical qualities
7:
598:Ramseyer, Urs, 1975, "Geringsin" in
578:. Hong Kong: Periplus. p. 193.
165:Geringsing is mentioned in the poem
121:, for example a design known as the
521:, Thames & Hudson, 2009, p. 13
14:
625:. Thames and Hudson. p. 86.
31:Young Women dressed in geringsing
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16:Double ikat woven fabric of Bali
623:Traditional Indonesian Textiles
1120:Kembang goyang (cunduk mentul)
213:There are about 20 designs of
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519:Indian Textiles in the East
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1250:Textile arts of Indonesia
812:Clothing identified with
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169:which tells of the first
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310:Ritual use of geringsing
574:Carpenter, B W (1997).
94:Tenganan Pegeringsingan
84:textile created by the
600:Patola und Geringsing,
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1091:Jewelry and ornaments
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181:by the Buddhist sage
822:Textiles and weaving
816:and still worn today
281:Rules and restraints
804:Indonesian clothing
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814:Indonesian culture
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141:means disease and
129:). The palette of
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621:Gillow J (1992).
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459:Balinese textiles
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189:Weaving technique
123:frangipani flower
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1172:Baju Lamina
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933:Baju Melayu
928:Baju Kurung
539:Guy, p. 96.
530:Guy, p. 96.
517:Guy, John,
321:balé tengah
269:menatangkon
167:Rangga Lawe
115:Spice Trade
92:village of
86:double ikat
1244:Categories
1187:Baru Öröba
1128:Kerongsang
1124:Kelat bahu
979:Rok Rumbia
945:Kain jarik
839:Kain Sumba
829:Geringsing
480:References
353:geringsing
349:geringsing
341:geringsing
337:geringsing
325:geringsing
316:geringsing
295:geringsing
277:by women.
226:geringsing
219:geringsing
215:geringsing
183:Prapancana
159:bequeathed
145:means no.
135:Geringsing
131:geringsing
105:geringsing
76:Geringsing
40:Art Fabric
20:Geringsing
1075:Tengkuluk
988:Selendang
924:Baju Koko
917:Baju Bodo
834:Kain Bali
304:gerinsing
171:Majapahit
155:Majapahit
63:Indonesia
1211:Footwear
1072:(destar)
1066:Suntiang
1034:Kerudung
1013:Blangkon
1003:Headgear
995:Uis Gara
905:Clothing
893:Jumputan
423:See also
90:Bali Aga
45:Material
1223:Sandals
1151:Upawita
1142:Sumping
1131:Pending
852:Songket
363:Gallery
345:(muhun)
149:History
1230:Sepatu
1197:Kawaca
1160:Armour
1139:Subang
1116:Gesper
1112:Giwang
1108:Gelang
1103:Cincin
1079:Tudung
1070:Tanjak
1054:Makuta
1039:Kopiah
1025:Jamang
1018:Caping
1009:Beluko
992:Surjan
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957:Kebaya
937:Beskap
912:Angkin
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274:kemben
203:kemiri
173:king,
139:Gering
119:patola
110:patola
53:cotton
1227:Selop
1135:Sabuk
1083:Udeng
1063:Siger
1029:Hijab
941:Cawat
897:Prada
883:Batik
862:Tenun
857:Tapis
848:Lurik
474:Batik
333:keris
300:gotia
127:Jepun
81:Tenun
78:is a
1059:Peci
1022:Iket
971:Koje
888:Ikat
867:Ulos
745:ISBN
720:ISBN
686:ISBN
661:ISBN
627:ISBN
580:ISBN
555:ISBN
499:ISBN
469:Ulos
143:sing
98:Bali
67:Bali
51:and
49:silk
37:Type
237:).
96:in
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359:.
259:)
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1046:(
789:e
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