In-Between Textiles is a decentred study of how textiles shaped, disrupted, and transformed subjectivities in the age of the first globalisation. The volume presents a radically cross-disciplinary approach that brings together world-leading anthropologists, archaeologists, art historians, conservators, curators, historians, scientists, and weavers to reflect on the power of textiles to reshape increasingly contested identities on a global scale between 1400 and 1800. Contributors posit the concept of “in-between textiles,” building upon Homi Bhabha’s notion of in-betweenness as the actual material ground of the negotiation of cultural practices and meanings; a site identified as the battleground over strategies of selfhood and the production of identity signs troubled by colonialism and consumerism across the world. In-Between Textiles establishes cutting-edge conversations between textile studies, critical cultural theory, and material culture studies to examine how textiles created and challenged experiences of subjectivity, relatedness, and dis/location that transformed social fabrics around the globe.
- Cover
- Table of Contents
- Acknowledgements
- 1. Subjectivities In-Between Early Modern Global Textiles
- Beatriz Marín-Aguilera and Stefan Hanß
- Part I. Unhomeliness, Mimicry, and Mockery
- 2. Māori Textiles and Culture
- Adaptation, Transformation, and Manifestation in Early Aotearoa
- 3. Contesting Images
- The Archaeology of Early Modern Textiles, Clothing, and Closures from Puritan New England
- 4. “A Few Shreds of Rough Linen” and “a Certain Degree of Elegance”
- Enslaved Textile-Makings in Colonial Brazil and the Caribbean
- Part II. The Material Enunciation of Difference
- 5. Textiles, Fashion, and Questions of Whiteness
- Racial Politics and Material Culture in the British World, c.1660–1820
- 6. Abolitionism and Kente Cloth
- Early Modern West African Textiles in Thomas Clarkson’s Chest*
- 7. Dressing in the Deccan
- Clothing and Identity at the Courts of Central India, 1550–1700
- 8. “Rags of Popery”
- Dressing and Addressing the Material Culture of Disrupted Faith in Early Modern England
- Part III. Identity Effects In-Between the Local and the Global
- 9. Globalising Iberian Moorishness
- Japanese Visitors, Chinese Textiles, and Imperial Cultural Identity
- 10. Tornasol Techniques as Cultural Memory
- Andean Colonial Practices of Weaving Shimmering Cloth, and Their Regional Forebears
- 11. In-Between the Global and the Local
- Silk in Seventeenth- and Early Eighteenth-Century Russia
- 12. African Cotton: Cultural and Economic Resistance in Mozambique in the Mid-Eighteenth Century
- Luís Frederico Dias Antunes
- Part IV. Material Translation and Cultural Appropriation
- 13. Mediating Mediterranean Cultures
- Silk Embroidery and the Design of the Self in Early Modern Algiers
- 14. The Material Translation of Persian and Indian Carpets and Textiles in Early Modern Japan
- 15. Globalisation and the Manufacture of Tablet-Woven Sanctuary Curtains in Ethiopia in the Eighteenth Century
- Michael Gervers and Claire Gérentet de Saluneaux
- 16. Cochineal and the Changing Patterns of Consumption of Red Dyes in Early Modern European Textile Industries
- Archives, Libraries, and Museums (Abbreviations)
- Select Bibliography
- Index
- List of Illustrations
- Figure 1.1 Left (a): Dalmatic, fourteenth-century Italy/Germany, Iranian cloth. © Victoria & Albert Museum, 8361-1863. Right (b): Tlingit armour with seventeenth- and eighteenth-century Chinese coins. Museum Purchase, 1869. Image © President and Fellows o
- Figure 1.2 Peter Paul Rubens, Portrait of Nicolas Trigault in Chinese Costume, Antwerp, 1617. Drawing, 44.6 × 24.8 cm. © The Metropolitan Museum of Art, 1999.222.
- Figure 1.3 Dutch-style pattern of Indian calicoes (top left) in a Japanese pattern book, no date. © National Diet Library, Tokyo, Ms. 1 v (わ753-2), Kowatari sarasa fu.
- Figure 1.4 Anon., petticoat panel, India (Coromandel Coast?), eighteenth century (third quarter). Cotton, painted resist and mordant, dyed. Total view and detail. © The Metropolitan Museum of Art, New York, 1992.82.
- Figure 1.5 Aelbert Cuyp (circle), VOC Senior Merchant with His Wife and an Enslaved Servant, c.1650–1655. Oil on canvas. © Rijksmuseum, Amsterdam, SK-A-2350.
- Figure 1.6 Anon., Bankoku sōzu (萬國総圖), Nagasaki, 1671. Total view and detail. © Bayerische Staatsbibliothek Munich, Cod.jap. 4.
- Figure 1.7 Aboriginal Australian bag (twine, wool, human hair) containing pituri, South Gregory?, nineteenth century. © The Trustees of the British Museum London, Oc1897,-.635.
- Figure 1.8 Andrés Sánchez Galque, Portrait of Don Francisco de Arobe and His Sons Pedro and Domingo, Quito, 1599. 92 × 175cm. Museo Nacional del Prado, Madrid, P04778. © Photographic Archive Museo Nacional del Prado.
- Figure 1.9 Reza Abbasi, Young Portuguese Man, 1634. Watercolour, ink and gold on paper, 14.6 × 19.1cm. Detroit Institute of Arts, 58.334. © Wikimedia Commons/Detroit Institute of Arts.
- Figure 1.10 Anon., Portrait of a Portuguese Gentleman, c.1600. Ink, watercolour and gold on paper, 14 × 11.5cm. Museum of Fine Arts, Boston, 14.661. Photograph © 2022 Museum of Fine Arts, Boston.
- Figure 1.11 Anon., Young Man in Portuguese Dress, Iran, mid-seventeenth century. Ink, watercolour and gold on paper, 31.1 × 18.4cm. © The Metropolitan Museum of Art, New York, 55.121.23.
- Figure 2.1 Example of customary Māori garment. Korowai (cloak). Unknown weaver, 1820–1880, New Zealand. Purchased 2001. Te Papa (ME022703).
- Figure 2.2 (a) kākahu rāranga from Canterbury Museum, Christchurch, New Zealand, E109.7; (b) detail of hiki join, Kaitorete assemblage, 2010.64; (c) carbonised rāranga fragment showing possible hiki join, Kaitorete assemblage, 2010.64.
- Figure 2.3 Maps of the geographic distribution of Celmisia semicordata and Freycinetia banksii, and Puketoi Station artefacts made from them: bundle of wharawhara. Copyright Tūhura Otago Museum, Dunedin, New Zealand, D24.577B; Pukoro, Tūhura Otago Museum,
- Figure 3.1 John van der Spriett, Increase Mather, 1688. © Massachusetts Historical Society, Artwork 01.175.
- Figure 3.3 1629 Seal of the Massachusetts Bay Colony. Public Domain.
- Figure 3.2 Anonymous, Mrs. Elizabeth Freake and Baby Mary, late seventeenth century. Image © Worcester Art Museum, Gift of Mr. and Mrs. Albert W. Rice, 1963.135.
- Figure 3.4 Tatted silk lace recovered from the Katherine Nanny Naylor residence. Image courtesy of Joseph Bagley.
- Figure 3.5 Woven bag attributed to Caleb Cheeshahteaumuck. © President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, PM# 90-17-50/49302.
- Figure 3.6 Wool sash attributed to Metacom. © President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, PM# 90-17-10/49333.
- Figure 3.7 Stone button mould. © President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, PM# 24-7-10/94279.
- Figure 4.1 In this stylised view from the French West Indies, the men and woman preparing tobacco for drying wear the stripped-down version of the enslaved work uniform. Tobacco processing, from Jean Baptiste Labat, Nouveau voyage aux isles de l’Amérique
- Figure 4.2 These untitled sketches and watercolours by William Berryman depicting sixteen Jamaicans, drawn between 1808 and 1816, show the limited palette of colours and garments worn by enslaved vendors and porters. Library of Congress, Prints and Photog
- Figure 4.3 In this watercolour of a Twelfth Night (Day of the Kings) procession, the rich costumes of the queen and accompanying musicians and dancers illustrate black Brazilians’ striking festive dress. “Cortejo da Rainha Negra na festa de Reis,” from Ca
- Figure 4.4 This composite sugar plantation scene was sketched by a British Royal Navy surgeon and one-time Barbados resident circa 1807. In the right foreground enslaved field labourers wear the minimal slave outfit, while the couple in the cross-sectione
- Figure 5.1 Chintz fragment, c.1600–1800, dyed in two shades of red and two shades of blue and painted in yellow and green for the European market. Rijksmuseum, Amsterdam (RMA), BK-1998-63. Public Domain.
- Figure 5.2 Dress (England), manufactured by Bromley Hall (United Kingdom). Cotton; H × W (height of centre back; shoulder width; waist circumference): 142.2 × 30.5 × 71.1cm (56 × 12 × 28in.). Cooper Hewitt. Museum purchase from Au Panier Fleuri Fund, 1960
- Figure 5.3 Jean Laurent Mosnier, Margaret Callander and Her Son, James Karney, 1795. Yale Center for British Art, Gift of Lowell Libson and Spink-Leger Pictures in honour of Brian & Katina Allen, B2001.6. Public Domain.
- Figure 5.4 William Kay (active from 1795), Seamstresses, St Kitts, Caribbean. Yale Center for British Art, Paul Mellon Collection, B1981.25.2639. Public Domain.
- Figure 5.5 Muslin dress, c.1800, woven in a geometric design in white cotton by Brown, Sharp & Co. of Paisley, Scotland. © CSG CIC Glasgow Museums Collection, E.2013.7.
- Figure 6.1 Textiles from West Africa in the Clarkson Chest. © Wisbech and Fenland Museum, 1870.13. Photograph by Sarah Cousins.
- Figure 6.2 Left: Detail of an eighteenth-century cloth sample woven with a supplementary warp. Wisbech and Fenland Museum, 1870.13.S. Right: Detail of a late twentieth-century cloth sample with a supplementary warp, woven by Ben Hiamale, Anlo-Afiadenyigba
- Figure 6.3 Ghanaian weaver producing a cloth with a supplementary warp, Anlo-Afiadenyigba, Volta Region, Ghana, 2017. © Screenshot video by Malika Kraamer.
- Figure 6.4 Table with information on the cloth in the Clarkson Chest and its characteristics.
- Figure 6.5 Alfred Edward Chalon, Thomas Clarkson with His Chest, 1790. Watercolour painting, 44.3 × 35.2cm. © Wilberforce House Museum/Bridgeman Images, KINCM:1980.840.
- Figure 6.6 Kwame Kusi Boateng weaving a kente cloth, Bonwire, Ashanti Region, Ghana, 2018 © Photograph by Malika Kraamer.
- Figure 7.1 Sultan Ibrahim ‘Adil Shah II Playing the Tambur, ascribed to Farrukh Beg. India, Bijapur, c.1595–1600. Ink, opaque watercolour, and gold on paper, folio: 42.3 × 26.5cm. Naprstkovo Muzeum Asijskych, Africkych a Americkych Kultur, Prague, A.12182
- Figure 7.2 Malik ‘Ambar. India, Ahmadnagar, early seventeenth century. Ink, opaque watercolour, and gold on paper, folio: 30.5 × 21.1cm. Museum of Fine Arts, Boston, 26.8. Photograph © 2022 Museum of Fine Arts, Boston.
- Figure 7.3 Khanzah Humayun and Sultan Husain Nizam Shah. Folio from the Ta‘rif-i Husain Shahi. India, Ahmadnagar, c.1565. Bharat Itihas Sanshodhak Mandal, Pune. Photo © Antonio Martinelli (Paris).
- Figure 8.1 Whalley Abbey chasuble, back. Burnley, Towneley Hall Museum and Art Gallery. Photograph courtesy of Towneley Hall Museum and Art Gallery.
- Figure 8.2 Chasuble associated with the Duke of Norfolk; rose-pink outer face and brown-black inner face (UCI.645). Photograph courtesy of the trustees of Ushaw Historic House, Chapels & Gardens.
- Figure 8.3 Green velvet fragment with the outline of an appliqué motif of Virgin and Child surrounded by an embroidered nimbus. Church’s name withheld by request.
- Figure 9.1 Anonymous, “Haist el Schvgo de Kainna” [It is called the Game of Canes]. Códice de trajes, 1r. Courtesy Biblioteca Nacional de España, RES/285.
- Figure 10.1 Detail of a fine headcloth (ch’uqaña) from the late colonial period, with a structural shot effect from the contrasting warp and weft colours. © Musef, La Paz, register 452. Photographed by Denise Y. Arnold, in the ILCA Collection.
- Figure 10.2 Man’s mantle (llaquta) from Killpani, in Potosí, showing a variegated effect through changes in the natural fibre tones of the dark brown plain areas. © Casa Nacional de la Moneda, Potosí, MCM-ARQ 0397. Photo in the ILCA Collection.
- Figure 10.3a Thick felted or plush mantle with a variegated effect through the natural fibre tones, from the Late Intermediate Period site (AD 1000–1420) of Killpani in Potosí. © Casa Nacional de la Moneda, Potosí, register MCM-ARQ 0400. Photo by Elvira E
- Figure 10.3b Detail of the head opening of a closed tunic fragment from Finca Carma, in Potosí, from the Late Intermediate Period, with speckling from the warp-thread spin effect in the greyish stripes. © Casa Nacional de la Moneda, Potosí, register MCM-A
- Figure 10.3c The spin effect of a thread with contrasting black and white strands, as applied in the greyish stripes of Fig. 10.3b. © Photo by Denise Y. Arnold, in the ILCA collection.
- Figure 10.4a A late colonial miniature open tunic (unku), probably from the Titicaca lakeside area, with a tornasol effect by contrasting the warp and weft colours in the main pampa, and an additional shot effect in the lateral pink strips by combining wa
- Figure 10.4b Detail of a late colonial woman’s overskirt (ñañaka), from northern Pacajes, with several applied shot effects. © Musef, La Paz, register 293, Cat. 94. Photo by Gabriela Escobar, in the ILCA Collection.
- Figure 10.5a A colonial ceremonial wayllasa from Pampa Acora, near Chucuito, with a shot effect in the wide stripes by the warp count. © Museo Nacional de Arqueología, La Paz, MNA 82-027, etiqueta blanca, no. 11. Photo by Denise Y. Arnold, in the ILCA col
- Figure 10.5b Detail of design bands in a late colonial or early republican mantle from Sica Sica (north Pacajes), with skull designs and a speckled termination. © Musef, La Paz, register 363, Cat. 97. Photo by Gabriela Escobar, in the ILCA Collection.
- Figure 10.5c Detail of a provincial Tiwanaku belt-bag with a band of skull designs showing their speckled termination. © Museo Arqueológico y Antropológico, San Miguel de Azapa, Arica, Chile, register Az-6 T.4 No. 12028.1. Photo by Denise Y. Arnold, in th
- Figure 11.1 Maiden’s festive costume. Russia, second half of the eighteenth century. Courtesy of The State Hermitage Museum, St Petersburg, inventory number ERT-13037. Photograph © The State Hermitage Museum. Photo by Leonard Kheifets, Alexander Lavrentye
- Figure 11.2 Chasuble, with images of Majnun being comforted by animals. Sixteenth-century Persian silk; seventeenth-century shoulder piece embroidered in Russia. Courtesy of The State Hermitage Museum, St Petersburg, inventory number IR-2327. Photograph ©
- Figure 11.3 Dutch-style oak chair with brocade upholstery made in Russia, early eighteenth century. Courtesy of The State Hermitage Museum, St Petersburg, inventory number ERMb-6. Photograph © The State Hermitage Museum. Photo by Leonard Kheifets, Alexand
- Figure 11.4 Peter I’s dressing gown from Chinese damask made by Russian and Dutch masters in the first quarter of the eighteenth century. Courtesy of The State Hermitage Museum, St Petersburg, inventory number ERT-8343. Photograph © The State Hermitage Mu
- Figure 13.1 Tenchifa towel, detail. Algiers, eighteenth century. © Musée du quai Branly – Jacques Chirac.
- Figure 13.2 The pomegranate pattern on a bniqa headdress. Algiers, seventeenth century. © Musée du quai Branly – Jacques Chirac.
- Figure 13.3 Door curtain made of three panels and silk ribbons. Algiers, early eighteenth century. © Musée du quai Branly – Jacques Chirac.
- Figure 13.4 The chromatic scheme of Algiers embroidery on a linen stole. Algiers, detail, late eighteenth century. © Musée du quai Branly – Jacques Chirac.
- Figure 13.5 The Algiers purple on a linen stole, detail. Algiers, eighteenth century. © Musée du quai Branly – Jacques Chirac.
- Figure 14.1 Carpet, India, eighteenth century. Collection of Mr. Kojiro Yoshida (Kyoto Living Craft House Mumeisha). After Kokka 1505 (2021), pl. 5.
- Figure 14.2 Kyoto Gion Festival. © The author (17 July 2013).
- Figure 14.3 Coat made for Toyotomi Hideyoshi, Kōdai-ji Temple. © Kōdai-ji Temple.
- Figure 14.4 Tokugawa Yoshikatsu sitting on an Indian carpet, 1866. © The Tokugawa Institute for the History of Forestry.
- Figure 14.5 Ito Jakuchu, Mosaic Screens of Birds, Animals, and Flowering Plants (detail), late eighteenth century. © Idemitsu Museum of Arts.
- Figure 15.1 Two eighteenth-century Ethiopian tablet-woven silk hangings in the British Museum. Left: upper figural portion; entire length 520 × 60cm (BM, 1868.10-1.22). Right: section of a geometrically patterned example with hanging straps; entire length
- Figure 15.2 Tri-panelled eighteenth-century figurative Ethiopian tablet-woven silk hanging in the Royal Ontario Museum (Toronto), measuring 535 × 212cm (reg. no. 926.26.1). © Courtesy of the Royal Ontario Museum.
- Figure 15.3 Tri-panelled eighteenth-century figurative Ethiopian tablet-woven silk hanging with figurative and geometric patterning from the monastery of Abba Gärima (Tǝgray Province, Ethiopia), measuring 410 × 212cm. © Michael Gervers.
- Figure 15.4 Tri-panelled eighteenth-century Ethiopian tablet-woven silk hanging with geometric patterning from the monastery of Abba Gärima (Tǝgray, Province Ethiopia), measuring 375 × 198cm. Conserved by Eva Burnham of Montreal, Canada. © Michael Gervers
- Figure 15.5 Claire Gérentet weaving a 230cm section of the Ethiopian tablet-woven hanging in the British Museum as seen in Fig. 15.1, using 346 tablets on an improvised tension loom. © Jacques Mérigoux.
- Figure 15.6 Four-panelled tablet-woven curtain made of cotton which hangs in situ in the Ethiopian church of Gäbrǝʾel Wäqen (Tǝgray Province, Tämben region, Ethiopia). © Michael Gervers.
- Figure 15.7 Table indicating the number of tablets required for weaving each of the panels which comprise the three large hangings extending across the entire width of the church of Gäbrǝʾel Wäqen (Tǝgray Province, Tämben region, Ethiopia). Table prepared
- Figure 16.1 Fragment of loom width of gold-brocaded crimson silk velvet cloth with asymmetric pomegranate vine design. Crimson pile warps dyed with lac dye, alternated with beige pile warps dyed with brazilwood (originally crimson). Italy, last quarter of
- Figure 16.2 Compound weave silk fragment in twill with geometric pattern of yellow stars alternated by rosettes and small roundels enclosing a stylised flower on a crimson background. Crimson wefts of the background dyed with American cochineal. Southern
- Figure 16.3 Cape of silk lampas with point repeat pattern of large flowers and fruits on crimson background. Crimson wefts dyed with American cochineal. France, probably 1720–1730, 108 × 146cm. © Rijksmuseum Amsterdam, no. BK-1998-7.
Text
Audio
Adobe DRM
Login to your account