The double-sided tapis (ceremonial skirt) is from the small region of Telukbetung in Lampung in the very southern tip of South Sumatra, Indonesia.
It has seven registers of text in couched gold-wrapped thread that wrap around the skirt, and as such is one of the most ‘calligraphic’ tapis skirts that we have seen, published or otherwise. It is a type of tapis that is known as a tapis besurat (‘written’ tapis).
The textile remains closed and sewn as a skirt (rather than having been opened for display purposes).
It comprises silk-cotton dyed with natural orange and purple dyes, and is densely embroidered and couched with bands of metallic thread wrapped in gold, applique work including metallic sequins, and lettering work.
The text is in localised Lampung Malay and used old-fashioned Dutch spelling. As is typical, there is no space between words (although there are sentence indicators), it is all in capitals (although upper and lower case D’s are used interchangeably), the same words sometimes are spelt differently, and some of the lettering is not clear, but it appears to read:
SALAMAT PAKAI KAMI BERSOEK SOEKEN / SALAMAT PAKAI KAMI BERMADIN MANA DADA / SALAT PAKAI BERAM /IN MAN MDINADAD APOEN / SELAMAT PAKI KAMAI BERSOEK AHA / INI TAPIS BIKINAN SENDIRI BAROE SOE / TELOK BETONG NE CERI TEMPAT RAMI / TABI ENTJIK TABIK TABIK TOEANT
This approximately translates (where it can be understood) to:
‘Good wishes for the use or wear. We are very happy. Good wishes for the use or wear….where is the chest? Praying with a veil….. Good wishes for happiness. This tapis was made alone just now in Telukbetung. Look for this place…. Goodbye Sir, Adieu, Lord’
The spectacular use of gold-wrapped thread confirms the skirt’s origins from among the Abung people. Noblewomen wore such cylindrical skirts on ceremonial occasions. Or such skirts were worn by brides form wealthy families. The wealth for such ostentations displays was afforded by the lucrative pepper trade with which the south of Sumatra became associated during the colonial era, and which benefited the Abung directly.
The copious use of gilded metallic thread makes the skirt heavy – almost too heavy to be worn comfortably, and so such skirts were worn for only brief periods and for ceremonial occasions.
The example here is fine condition. There are losses here and there, as might be expected, but importantly almost all the test is intact.
References
Brinkgreve, F., & D.J. Stuart-Fox (eds), Living with Indonesian Art: The Frits Liefkes Collection, Rijksmuseum Volkenkunde, 2013.
Maxwell, R., Sari to Sarong: Five Hundred Years of Indians and Indonesian Textile Exchange, NGA, 2003a.
Maxwell, R., Textiles of Southeast Asia: Tradition, Trade and Transformation, Periplus, 2003b.
Totton, M.L., Wearing Wealth and Styling Identity: Tapis from Lampung, South Sumatra, Indonesia, Hood Museum of Art, 2009.
Vanderstraete, A., Magie van de Vrouw: Weefsels en Sieraden uit de Gordel van Smaragd, (The Magic of Women), Wereldmuseum, 2012.










