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Current exhibition

Special Exhibition
The Fabric of Life: Asian Textiles from the National Palace Museum Collection
Exhibition overview
Textiles are woven into the fabric of our lives, in clothing, everyday items, and home decor. This exhibition showcases select Asian textile artifacts from the Museum collection, organized around three themes: “Covering and Containing”, “Decorating and Identifying”, and “Protecting and Blessing”. These themes explore the textiles’ practical functions, social significance, and symbolic meanings, highlighting their diverse roles across time and space. This exhibition also features a learning zone that introduces basic fiber materials and crafting techniques through actual examples, enlarged illustrations, and tactile exhibits. In consideration of visually impaired audiences, a booklet with both regular text and Braille is provided. Additionally, the "Wedding Attire" section, aligned with the annual theme of the NPM Asian Art Festival, showcases wedding garments from across Asia to reveal ceremonial traditions as well as people’s wishes for a better life.
 
* Special thanks to the National Museum of Prehistory for generously loaning Taiwanese indigenous textile artifacts, which has greatly enriched the content of this exhibition.
 
I. Covering and Containing
Textiles are produced using various fibers and techniques, and serve multiple practical functions. They can be used to wrap the body, providing coverage and protection. They can also be employed to cover spaces, enhancing appearance and coziness, thereby creating a specific atmosphere. Moreover, they are capable of containing items, offering proper storage and convenience for carrying around.
 
II. Decorating and Identifying
Textiles often play an important role in decoration and identification within societies. Through the use of various materials, techniques, forms, colors, and patterns in fabrics and garments, people not only enhance their appearance and showcase their personal style and aesthetic taste, but also provide rich visual information that signifies the wearer’s social status and identity.
 
III. Protecting and Blessing
Across many cultures, textiles are imbued with spiritual symbolism and function. Some people believe that certain textiles possess magical powers, capable of warding off misfortune and illness, and safeguarding individuals as they pass through important stages of life, such as birth, coming of age, marriage, and death. In addition, the decorative patterns on textiles often carry auspicious meanings, representing blessings and hopes for a brighter future.
 
Wedding Attire: Okinawan
In modern Okinawan weddings, couples can choose between Western attire, traditional Japanese kimonos, and unique local traditional costumes. These outfits are inspired by the ancient ceremonial attire of the Ryukyu nobility. The colors and patterns of the costumes no longer signify social status but mark special occasions such as graduation photos or wedding banquets.
The groom typically wears a hachimachi hat and a wide-sleeved monochromatic robe, gathered in front with a broad belt. The bride’s hair is styled in a traditional Okinawan bun (karaji) adorned with a long hairpin (jiifaa). She wears a vibrant bingata-like robe, known for its colorful and elegant design, bringing a bright, warm island touch to the ensemble
Exhibition Information
  • Event Date 2024-11-16~2025-02-16
  • Location 3F S304
Uzbekistan, 19thcentury
Embroidered hanging (suzani)
The suzani, an embroidered textile, is an essential item in Central Asian dowries. It can take the form of wall hangings, bed covers, prayer rugs, etc., and serves as a key decoration in the new couple’s bedroom. This particular suzani boasts intricate floral and leaf patterns in vibrant silk embroidery. Symmetrical designs divide the fabric into a central field and border, with chain stitching used for outlines and details. Warm reds, oranges, and yellows, accented by light blue, contrast with the earthy cotton background. Specific plants are not usually depicted in suzani embroidery. Here, the essence of a garden is evoked through symmetrical, repeating patterns that convey a sense of orderly beauty.
Türkiye, Ottoman dynasty, late 19th to early 20th century
Woman' s robe (üçetek entari)
This elegant uçetek entari features a three-panel skirt with high side slits, a small standing collar, and long sleeves slit to the elbow. Typical of 19th-century Ottoman fashion, it was made from silk brocade with alternating wide and narrow vertical stripes. The wide bands display floral patterns accented with red and yellow silk threads, to vibrant effect. Gold-thread lacework tassels adorn the front opening and cuffs, enhancing the garment’s refined appearance.
Tangkhul people, India–Myanmar border|19thcentury to 20th century
Headdress and neck ornament (lahupa or ya-khat)
To the Tangkhul, a Naga tribe who live on the India-Myanmar border, the hornbill, with its tiger-like call, is the king of birds. Its feathers are highly prized and are used to adorn warriors. This warrior-only headdress features twelve black-and-white hornbill tail feathers arranged in a fan, each representing a Tangkhul ancestor. In the past, only decorated headhunters could wear this headdress, but today it is part of traditional male ceremonial attire.
Kerala, India, late 19th to early 20th century
Ceremonial wooden carved headdress
This fan-shaped headdress, made from intricately carved wooden pieces and weighing about 4 kg, is used in local religious rituals in Kerala, India, and is known as Poothan and Thira. These rituals honor the goddess Bhadrakali. During the ceremony, the Thira (representing the goddess) wears this large headdress with an additional arc of colorful fabric. The Poothan (Shiva’s lieutenant) wears an exaggerated mask and vibrant clothing. Male dancers, representing these deities, perform energetic dances during the annual Pooram festival to bless the villagers and ward off evil spirits.
Rajasthan, India, 20th century
Ceremonial cloth (par or phad painting)
The par or phad of Rajasthan is a meters-long ceremonial cloth depicting the life of Pabuji, a deified local hero. Crafted by the Joshi clan, the composition of this par centers on Pabuji’s court, surrounded by relatives’ dwellings and enemies’ realms at the edges, and it resembles an epic map rather than a chronological narrative.
 
Fourteenth-century nobleman Pabuji is celebrated in folk epics. Believers of Pabuji are primarily semi-nomadic people, and the wandering bards known as bhopas carry a ritual cloth par to conduct nocturnal rituals for devotees. The cloth serves as a sacred medium for worship, with followers offering homage during bhopa performances.
 
The bhopa narrates Pabuji’s deeds while playing the ravanhattha (a stringed instrument). An assistant illuminates the corresponding scenes with an oil lamp. These ceremonies, blending devotion and entertainment, typically last all night.
Nagaland, India, 19th century
Man's ceremonial shawl
The Chang are a minority tribe living in the mountainous region of Nagaland, India, and belong to the Naga people. This deep-blue cotton body cloth, reserved for warriors, features neatly arranged circles made from white cowrie shells. The circles are believed to be connected to traditional headhunting culture. Some say the circles represent skulls, while others believe they symbolize the moon, which signifies abundance and is considered a good omen for night raids. When a warrior passes away, this type of cloth is hung at his grave to commemorate his achievements.
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