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c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang
				
Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square  ...
c. 1900 Sumatran Embroidered Ceremonial Food or Sireh Cover (Tutuik)

Origin: Sumatra, Minangkabau, Padang

Technique: Handspun silk (base), plied silk thread (embroidery), natural (mengkudu) dye, plain weaving, satin stitch embroidery, drawnwork

Description: An exquisite square textile made by the Minangkabau for ceremonial occasions, embroidered with multicolored silk roosters, ducks, flowers and plants. The naturally dyed red cotton base is divided into squares by sets of fine white pinstripes, supplemented towards the edges by green and blue pinstripes to create a wide border. Across the outer triangles of each quadrant, the 3 cm wide squares contain sparkling figures embroidered in purple, white, yellow, pink, violet, green, orange-brown, and azure silk thread, usually in a single color but occasionally in 2 colors. The spiky, angular style in which they are executed gives the figures great charm and liveliness. Of special note is the festive line of drawnwork triangles along the edge of the cloth. Executed with great delicacy of workmanship and design, this is a small, beautiful gem characteristic of the exceptional quality of Minangkabau weaving.

Context: The Minangkabau people are the original inhabitants of Sumatra, and their society is deeply rooted in traditions coming from different sources that layered over each other in the course of history. Known for the finest embroidery and supplementary weaving in Sumatra, the Minangkabau absorbed and transformed Chinese materials and weaving techniques. Chequered and embroidered food or sireh covers of this kind are one of their distinctive traditions, made by Chinese Minangkabau in Padang descended from 16th century immigrants. In the technique of drawnwork decorating all four edges of the textile, a band of threads parallel to the edge is removed, leaving on each edge a band of unwoven threads perpendicular to the edge. These unwoven threads serve as warps for embroidery, which is needled in as colour blocks (Summerfield, Walk in Splendour, 164-5). Small square textiles of this kind were used to cover (penudung) the bridegroom’s gifts which are usually carried on a tray (tampan). Illust. Djumena, Batik dan Mitra, 24; Kain Adat 28, fig. 28.

Condition: The textile is in excellent condition and has been very carefully kept. There is some loss of the delicate silk (almost always the case in these pieces), so that a few figures have practically vanished, but this does not detract from the overall beauty of the textile, and there are no stains, holes, or tears. The red cotton is light, fine, with a warm rich tone and slightly crisp with age; the silks are all still glossy, with vivid colors and a bright, gleaming sheen.

Dimensions: 59 cm x 53 cm.











price:  On request