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                                <td height="90" align="center" valign="top"><span class="detailpagetitle"><strong><em>Luntaya-acheiq</em> woven silk panel</strong></span><br>
<span class="detailsubtitle">Burmese (Myanmar), Amarapura region, late 19th century<br>
23 x 33.5 in. (58.42 x 85.09 cm), mounted<br>
<a href="mailto:[email protected];?subject=AcheiqLuntaya_W3161-Inquiry">Inquire</a></span></td>
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									<a href="images/textiles/ethnographic/AcheiqLuntaya_W3161_lbox.jpg" data-lightbox="image-atq2"><img src="images/textiles/ethnographic/AcheiqLuntaya_W3161_detail.jpg" width="500" style="padding-right: 15px; float: left;"></a>
                                   Panel from an <i>luntaya-acheiq</i> cloth. Tapestry woven silk with a horizontal band pattern of repeating  wave motifs, tendrils, flowers, zig-zags, and stripes.</p>
<p>
In Burmese, <i>luntaya</i> means &quot;one hundred shuttles,&quot; referring to the small metal or wooden shuttles required to construct the double-interlocking tapestry weave structure. <i>Acheiq</i> is the horizontal wave-like motif purportedly inspired by ripples on the Irrawaddy River. This fundamental<i> </i>element could be embellished upon  to create an endless series of  patterns. </P>
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The everyday clothes of Burmese royalty and laity were, in essence, the same in construction; however, the fabric from which  garments were made  underscored their  difference. Social protocol  demanded the wearing of regal silk <i>luntaya-acheiq</i> at court.  The costliness of these textiles was measured in the material (lustrous raw silk imported from China) and in the  labor, skill, and time invested in their production. In the 19th century, the Amarapura-Sagaing area of Burma was the chief producer of <i>luntaya-acheiq</i> silks.</p>

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