Today’s ikat weavers on Timor, like many foreign scholars before them, seem unaware that asymmetry was once a dominant design principle. Many continue to assert that perfect symmetry has always been the tradition. Yet the historical textiles tell a different story. Ten Hoopen’s groundbreaking findings justify his focus on early specimens, which often display a greater degree of design sophistication than their contemporary counterparts.
It is striking that earlier researchers failed to recognise or report the prevalence of asymmetry in Timorese textiles. In early pieces, asymmetry is not only present but often dominant. This oversight reflects a broader pattern of neglect: textiles have historically been marginalised in Southeast Asian material culture studies, overshadowed by architecture, sculpture, weaponry, and jewellery. The author hopes that his historical investigations help correct this imbalance by demonstrating that these textiles embody far more artistic ingenuity, intellectual depth, and craftswomanship than previously acknowledged.
Peter ten Hoopen began collecting and studying Indonesian ikat in the late 1970s. He has curated two exhibitions of his textiles in Europe and one in Hong Kong, and published five books on the subject, including Ikat Textiles of the Indonesian Archipelago, the first reference work on the subject. His previous publication Noble Virtuosity reveals levels of virtuosity in the work of Sumbanese textile artists that remained overlooked for over a century of Indonesian textile research.