Burmese CostumeMyanmar Costume
Myanmar costume and Luntaya Acheik
Hi everyone, I recently written about the resemblances between the great South East Asiatic peoples' suits, but of course they could differ from each other. Nowadays I will speak about the Bamar tribe and the webstil Luntaya Acheik. Bamar make up 68 per cent of Burma's total populace and live mainly in the lowland along the Irrawady rivier.
Bamar are shown in the orange on the chart below, the greens represent the Tai peoples[Shan, Hkamti, Kuen], Der Rost represent the Karen, the lightblue Austroasiatic peoples[Mon, Palaung, Wa], and the light-orange other Tibeto-Burman peoples[Chin, Kachin, Akha, Lisu, Lahu]. Painting on the top of Wat Phumin in Nan county, north Thailand, the murals depict a couple of Burmese enthusiasts who often travelled the area.
Multiple characteristics suggest that the two Bamar are, as well as the man's top hats, and the clothes of the two. Luntaya Acheik technology of loom design is used in the undulating line on both pieces of garment. That was and is very typical of the Bamar people.
This is a picture of the old Bamar costume. There' s a corset, perhaps just a scarf wound around the body, a coat known as an ingyi, tweaked at the lower end and exposed at the bottom, and a scarf wound around the waists, which opens at the front, dragging on the ground and creating a drag behind it.
It' s Ht Tamein. On this photo you can see that the htameine was produced in three parts, which was usual. The corset and the tamein without coat are shown here. This is a portrait of the three-piece construction. Some of the most sought-after htameins have been and still are made using the technology of one hundred shuttle trucks or laces.
This is a close-up of the central part of the htamenein above. Central part is weaved in an extreme delicate, interlocked gobelin weaving, here with the wefts upright. Different colours are interwoven seperately, back and forth. Females are sitting in couples at the weaving machine, and even experienced looms can only weav a few centimetres a week, so this fabric is costly but very well-loved.
To this day, most of us still have at least one pack of liuntaya ageik for particular events. These motifs are weaved in tapes a few centimetres in diameter, thus creating the undulating line shown in the picture at the top of this part. No other technology can achieve this effect.
Below are some more samples of patterns that have been weaved with this technology. Also men were wearing these styles, but less often. This is a part of a man' s paeso that works almost like a sample cloth from the design company Gruntaya Ahaik. The results were gratifying, but could not be mistaken for Lamuntaya Ahaik.
After the transition of the Austro-Hungarian Empire and the entrance into the twentieth centuries, the htameen gave way to the lungia. The Luntaya ageik was still used, but also other kinds of substances. Woman were wearing checks, but soon left them and left them to the men.
Drafts were interwoven with the complementary weaving techniques; or embroidery; or ikat; or even painting. One of the most popular styles was the use of a bracelet. The design was designed in blacks to cover the entire length of the torso from the waistline to the knee, so the closure was wraped up in a way to show it off. The special feature of the Bamar were the spotted tattos on the upper part of the torso, which were executed in scarlet dye and show the monkey dancers and other creatures in canvas.
This is another wall painting showing the visit of Bamar officials to northern Thailand. Men also wear gynaecological coats and a compress up to 9 metres long, wound around the waist, pleated at the front and possibly wound between the feet and around the buttocks. Some of the poohs show the waved line of lluntaya aheik.
He was always bound with pleats at the front. It was made smaller, although it was still bound with a lump or pleat at the front. That' s what they used to call Lonegyi. Luminous colours were less frequently used, men adopted the austere and less extravagant styles considered male by the Brits and other Westers.
At work or during sports, the ends of the longgyi are turned, guided through the feet and stuck into the back of the waistline; this is known as the pao kkadaung Kai. Contrary to Thai, Lao and Khmer wives, Bamira wives don't like it. I' ll end with a series of pictures of this costume, some old, some new, some bride costumes on the basis of the old costume.