Preface

Summary

There exist numerous free-standing figurative sculptures produced in Java between the eighth and fifteenth centuries that feature dress displaying detailed textile patterns. This surviving body of sculpture, carved in stone and cast in metal, varying in both size and condition, remain in archaeological sites and museums in Indonesia and worldwide. The equatorial climate of Java has precluded any textiles from this period surviving. This book argues, therefore, that the textiles represented on these sculptures offer a unique insight into the patterned splendour of the textiles in circulation during this period. Hence, this publication will contribute to our knowledge of the textiles in circulation at that time by including the first comprehensive record of this body of sculpture, together with their textile patterns classified into a typology of styles.

Because of the limited number of inscriptions and texts from this period, it has proved necessary to conduct the research for this book by utilizing empirical methods to examine all the sculptures. The discussion of each statue is supported by photographs and original line-drawings of their textile designs. A close analysis of these drawings establishes that during a brief period in the late thirteenth century the textile patterns carved on the sculptures reached their greatest diversity and complexity.

In considering supporting evidence from Persia, India, Central Asia and China, this book explores the origins of the medieval textile patterns depicted on these sculptures. It also provides some analysis of specific motifs, such as those representing esoteric iconography. As this research necessitated a detailed analysis of all the sculptures representing textiles, it also contributes significantly to other related aspects of concurrent apparel and ornamentation. It is my intention that this catalogue of textile patterns be utilized by future students and scholars in the stylistic dating of sculptures from Java between the eighth and fifteenth centuries.

Note that this publication addresses only the repeat patterns presented on free-standing figurative sculpture that evidentially reflect pliant textiles adorning a human form in the round. The publication does not address the repeat patterns evident on stone temples or architectural features within sculptures, where the rigid patterns may be understood to represent decorative surface elements.