| In this chapter we will examine more closely
a few examples of the textile design of those peoples which were not
directly influenced by Hinduism or Buddhism, or were only influenced
by them to a slight degree. This form of decorative art, which can
be regarded as Indonesia's most varied and attractive artistic achievement,
has several different characteristic features. Since, tradition was
particularly strong, the original character of their work has been
preserved in an. Extremely pure torm. But Java and Madura, for example,
will, not be dealt with in his chapter, since the most important of
method textile design, i.e. batik, development much later, and deserves
a chapter to itself.
I shall deal later with the question of the technical processes
and dyes used. But some examples of bamboo work will be discussed
here, since these are intimately connected with our subject.
On fabrics made everywhere between Sumatra and the eastern islands
motifs are to be found which have a remarkable affinity with one
an-other and which arc composed o~ the same elements. The most characteristic
of these elements is the key-shaped figure, combined with other
geometrical figures, amongst which the rhomb occurs most frequently.
The key-shaped figure most probably developed in the following manner.
From the straight line, which with the dot is the most simple basic
form, there developed honk- and key-shaped figures. Two of these
key-shaped figures may then have been combined to form double key-shaped
figures of various types.
Two motifs may also be combined to form, for example, the rhomb-
and key-shaped figure shown in the fig.
The key-shaped figure may perhaps also have developed as a simplification
of the spiral-shaped figure introduced along with the Dong-Son style.
This is implied, in particular, by |
