Paper short abstract:

Over the last century colour mixing in designs and patterning has become the strongest characteristic in densely woven cloth. I will explore how colour plays a central role culturally and how weavers are using new colour to produce individual weaving which is reinvigorating the communal aesthetic.

Paper long abstract:

Over the last century colour mixing in designs and patterning has become the strongest characteristic in densely woven cloth. The Bhutanese are interested in maintaining their cultural heritage because it not only binds disparate ethnicities but also counterbalances the unusual dynamic pace of change. The focus on education, relieving high unemployment, the alleviation of poverty, with greater global participation, has found many Bhutanese in a hardened reality between the traditional and the modern. Set against formidable exposure to western influences and economic pressures, weaving as a primary art form shows resilience.

In 1986 the compulsory wearing of traditional dress in public places was formalised which was a consolidating factor in maintaining its viability. Now both Indian machine woven and handwoven cloth is produced in Bhutanese designs and colours and sold in Bhutan, and also cheaper chemical yarns and dyes are widely available.

The technological impacts from using new colour and yarns, have produced dynamic visual qualities previously unseen in the traditional dress. The new colours provide the visual stimulation to produce endless varieties of new colour "mixes". In densely woven cloth more colour is used and colour contrasts have deepened, resulting in more emphasis on overall patterning and visual movement across the cloth.

In this paper, I present speculation about the use of chemical colour, that is informed by what I do know. I will demonstrate how colour plays a central role within the Bhutanese worldview. I will explore how weavers are using new colour to produce individual weaving and reinvigorate their communal aesthetic.