Pidan (textile)

Hol pidan (ហូលពិតាន) refers to a silk hol Khmer pictorial temple hanging,^[2] and pidan transliterates as bitan meaning "extension, curtain, canopy." It is derived from the Sanskrit word vitana, defined as “an awning, canopy or cover.” Inscriptions from the Angkor era reveal a word whose use and description match today’s term pidan. The Khmer dictionary today defines pidan as ‘ceiling’ or "canopy,"^[3] generally that of a vihear (Buddhist worship hall).^[4] Pidan rup duk, meaning "pidan in the style of a boat/ship" ពិតានរបេទក, refers to pidans woven with ship motifs.^[5] Pidan rup preah ពិតានរបេប្រា means "pidan in the holy/deity style" and pidan rup prasat ពិតានរបេសាទ is a "pidan in the temple style."^[6]

Summarize Fact Check

Pidan is produced by an experienced weaver. Because of this and its silken composition, it is fairly expensive.^[1]

Buddhist pictorial depictions on silk weft hol are crafted by weavers to fit within one and a half meters (or just under five feet long) of fabric, or else twice that, the shorter versions depicting illustrated stories and the longer silks repeat icons of the given theme.^[7] Elaborate (and likely older) examples bear a single repeat centered between “partial repeats.” Two to four indistinguishable vertical panels may also showcase patterned icons.

Currently, the body of Buddhist-themed pidans come in three categories: Jataka tales, especially Vessantara Jātaka; the life of Prince Siddhartha (the future Buddha), and the Three Worlds cosmology depictions.^[8] Popular examples of classic figures that represent Jataka are white elephants, horses, the Buddha mounted on a pedestal, a Brahman priest wearing chong kben, and open pagodas with three figures likely representing Prince Vessantara’s family.^[9]

There are two forms of the Prince Siddhartha-category pidans. The first is a lone composition of important events of Siddhartha’s life in a linear fashion, but with stylized and flat figures ignoring traditional perspectives. There are Burmese paintings that utilize a similar composition. The second, and also fewer in number, utilize repeats of classic figures symbolizing (instead of portraying) important events of Siddhartha’s life.^[10]

The third category of the three Buddhist themes is Three Worlds ត្រៃភូមិ (or Trey Phum, derived from Sanskrit) cosmology. This consists of upper, middle, and lower primary realm depictions: the Tusita Heaven (where past mothers of Buddhas reside with bodhisattvas) and Tavatimsa Heaven (for gods), a perfected world desired by humans, and the final destination of the condemned, respectfully.^[11] Some examples of popular Trey Phum pidans motifs are Indra (green of color, and parasol in-hand), no-wall religious halls on clouds, apsaras, praying worshippers, seated Buddha, and waving banners (tung rolok) and crocodile banners (tung krapeu) held in beaks, on pagodas, and on poles - all identifying the upper realm. The middle realm's paradise forest Prei Haembopean is inhabited by composite animals and also the kinnari and kinnara, lions, tigers, elephants, horses, and peacocks. Some of these creatures feature pagodas mounted on their backs. Moon and sun icons may also appear.^[12]

A few antique hol pidan bear a ship motif.^[13] Accompanying these pidans, designated pidan rup duk ពិតានរបេទក (or "pidan in ship style"), are popular figures such as nagas, birds, lobsters, crabs, fish, rays, turtles, sharks, seahorses, elephants (not white), and also crocodile banners and trees-of-life which also appear in Buddhist themed hol pidan.^[14] The three categories are 'archaic ships', 'sailing ships' and 'symbolic ships.'^[15]

Archaic ships contain a middle superstructure, sometimes even three stories high, that houses figures (human, spirit). The ship is adorned with naga finials and may also contain animals. Land-based religious pavilions may also appear, sometimes in three.^[16]

The second category, sailing ships, depict vessels that visited Cambodia over the centuries, including Arab, Chinese, and even European with three sails. Some depict composite ship forms.^[17]

The third, symbolic ships, come in two categories: the first depicts ships in pairs of “stacked layers,” the widest layer being the foundation and rows decreasing in width all the way to the naga-headed top. The motif created is a flower mound (phka ben), or sometimes a stupa.^[18] The second symbolizes a model ship, the motif being either an incense holder or banana tree trunk. Both may support pairs of sprouting stalks or “star-like spot” symbolizing incense or a candle flame.^[19]

Khmer textiles are a tradition dating back for over a millennium. As Cambodia had fallen under the governorship of French Indochina, pidan would begin to die. Then, in 1993, the Ministry of Culture and Fine Arts (Cambodia) revitalized the art of textile making among low-class artisans. This was to noticeable success.^[20] Later, the Artists Association of Cambodia found success funding and keeping some businesses (and by extension the pidan) alive.^[21]