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Ge Jia textiles: jackets

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images and text © Andrew Dudley
Jpeg 68K 30 J7 The wax resist on this Ge Jia Jacket is executed on a bought piece of heavy and course machine-made (yangbu) cloth and is probably mid 20th Century. This jacket was bought by Andrew without sleeves or lower back panels. Often, the women selling their textiles will want to keep a part of the piece as a connection with the past and because the piece was made as a labour of love and they are desperate not to give it all up. So, jackets are sometimes sold without sleeves, or more usually with lesser quality sleeves. Likewise, baby carriers very rarely come with the original straps/bands. Assuming the jacket is sold in its original condition, dealers will then often cannibalise them in order to maximize profits, so again, good sleeves might be replaced with lesser versions. Also, mothers, grandmothers and even other female relatives might help a girl with her sets of wedding clothes by providing a batik jacket to go with the girls sleeves or the other way round, embroidered sleeves to be put on the girls jacket, and so jackets, even in their original form, could be a combination of more than one generation. One is therefore very lucky to buy a jacket that has not been altered and has been made by a single person.

The wax resist on this Ge Jia Jacket is executed on a bought piece of heavy and course machine-made (yangbu) cloth and is probably mid 20th Century. This jacket was bought by Andrew without sleeves or lower back panels. Often, the women selling their textiles will want to keep a part of the piece as a connection with the past and because the piece was made as a labour of love and they are desperate not to give it all up. So, jackets are sometimes sold without sleeves, or more usually with lesser quality sleeves. Likewise, baby carriers very rarely come with the original straps/bands. Assuming the jacket is sold in its original condition, dealers will then often cannibalise them in order to maximize profits, so again, good sleeves might be replaced with lesser versions. Also, mothers, grandmothers and even other female relatives might help a girl with her sets of wedding clothes by providing a batik jacket to go with the girls sleeves or the other way round, embroidered sleeves to be put on the girls jacket, and so jackets, even in their original form, could be a combination of more than one generation. One is therefore very lucky to buy a jacket that has not been altered and has been made by a single person.

for further photogalleries of Ge Jia textiles see Ge Jia baby carriers and Ma Tang village, Kaili city

There is very little published material on the textiles of the Ge Jia and it is a priviledge to be able to see such a large group of these finely drawn and beautifully balanced textiles which were originally posted on the www.tribaltextiles.info/community forum run from this website. The majority of the textiles are from the collection of Andrew Dudley, with a contribution from Bill Hornaday. (For up-to-date access to Ge Jia threads go to the forum and click on 'Search' - one of the top right hand buttons on the forum screen - and input 'Ge Jia').

We are particularly indebted to Andrew for sharing his considerable knowledge of Ge Jia textiles with us on the forum. He currently lives in Taiwan and has been collecting textiles since 1996. His collection, from south east Guizhou, consists mainly of batik but with some embroidery, predominantly of the Ge Jia, White Collar (Bailing) Miao and Rao Jia. See Ge Jia textiles: baby carriers for another photogallery containing more of the fine Ge Jia textiles from Andrew's (and Bill's) collections which were originally posted on the forum. Contact Andrew or Bill.

If you have any Ge Jia textiles in your own collection, especially any jackets, do share them and add to this on-line resource by joining the forum and posting photos and any information that you have on the textiles.

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Copyright © 2012 Pamela A Cross. The contents of this site, including all images and text, are for personal, educational, non-commercial use only and may not be reproduced in any form without the express permission of Pamela A Cross.
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this page last updated 18 May, 2006