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Described by generations of foreign ethnographers and collectors as "ship cloths" because of the predominance of a ship motif, they were said to represent the "ship of the dead." In Sumatra these cloths are also called ''sesai balak'' ("big wall").〔Gittinger,Mattiebelle. Splendid Symbols, Textiles and Tradition in Indonesia. The Textile Museum, Washington. 1979. Library of Congress Catalog No.79-50373 P. 88〕 No convincing field data were ever collected from 19th century weavers or traditional owners about the iconography. Since then, there has been great loss of Lampung traditional knowledge. The history of these ships cloth is obscure and the reasons for both their original use and their decline remain conjectural. . The factors that are presumed to have caused this include the abolition of slavery in 1859, the decline in the pepper trade and changing marriage traditions. Two lesser known forms are the ''tatibin'' and the ''tampan maju''. The ''tatibin '' are similar in design to the single ship palepai but are smaller, not exceeding 1.5 M. The ''tampan maju'' beaded and also shorter than the large cloths. Only 3 examples of ''tampan maju'' are known to exist. ==Design elements== No two Palepai are identical, however their designs fall into four main groups. 1. A large ship stretching the entire length of the cloth as is seen in the image above. 2. Two large red ships, an example of which can be seen in the Textile Arts Collection. 3. Two or three rows of stylized human figures extending along the length of the cloth. Powerhouse Museum Collection 4. Four or more discrete panels. These panels are usually of the same composition, an example of which is in the collection of the Art gallery of New South Wales. As little is known about the meaning of the design elements of the ships cloth we have to conjecture from ethnographic parallels. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Palepai, Sumatran ships cloth」の詳細全文を読む スポンサード リンク
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