Hand-woven Cloths in Thailand and Neighbouring Countries

Mrs. Sumal Thomas

Among the garments which play important roles in the clothing of Thai people from the past to the present

"Pha Nung” (garment worn on lower part of the body) is one of the most important part because men and women of all ranks,

from the king, court officials, government servants to commoners, use Pha Nung as part of their clothing. Pha Nung is also an indicator of social status and official organizations.

Pha Nung in Thailand may be categorized by production method into 2 groups namely, hand-woven type and printed type. Both types of Pha Nung have their distinguished beauty, and each type has interesting story to be studied. This research, however, will focus on hand-woven cloths that have several outstanding weaving techniques, for instance, Yok, Chok and Mat Mi. These beautiful hand-woven cloths are made in all regions of Thailand where each locality has its own identity which is worth studying.

 

The culture of wearing Pha Nung or wrap skirt is found to exist in several countries in the region, for instance, Cambodia, Myanmar, Laos, etc. thus it is interesting to study about hand-woven cloths in Thailand along with those which are produced neighbouring countries’.
Pha Nung : Observation of the Hand-woven Cloths in Thailand and Neighbouring Countries
Pha Nung in Thai Clothing

From studies on Thai clothing from the past to the Rattanakosin period, it is found that Pha Nung (cloth worn around lower part of the body, wrap skirt) plays the most important role in the clothing of Thai people both men and women and in all levels in the society. It can be said that every person must wear Pha Nung, be it at home, at work or at ceremonial occasions. Factor which indicates the time and place of the use of Pha Nung is the features of the cloth, i.e. its materials and weaving method, for instance, special kind of materials or sophisticate and complex weaving methods would render elaborate cloths suitable for special occasions. The garment for a woman’s upper part of the body is chest band, Sabai (a piece of cloth draped over the chest, covering one shoulder and leaving a long tail behind), or blouse, depending on the fashion of the time. As for a man, the chest may be left bare or covered with a piece of cloth hung over the shoulders, or a shirt as suitable.

In Thai society, Pha Nung is not only an important part of the garments, it also an indicator of rank and organization in civil work. In the past, for instance, the king would give Pha Som Pak (a kind of Pha Nungs) to officials as symbol of rank. Civil servants wore Pha Nung which indicated their ranks and groups, comparable to present day uniforms. There were several kinds of Pha Som Pak, which, after a person was given or granted a specific kind of Pha Som Pak, he could order the weaver to make him more cloths of the same design for his daily use. The cloths of rank included Som Pak Pum and Som Pak Kruai Choeng, which was the cloth of highest rank to be worn by court officials of high ranks e.g. Somdet Chaophraya wore Som Pak Riu. Som Pak Lai was worn by lowest ranked officials, for instance, head of department or permanent secretary of department. Another type of Som Pak is Som Pak Long Chuan, which has coloured stripes at base and plain middle part with different colours from the base, usually made of silk (if inserted with golden threads, the cloth is called "Yok Thong Long Chuan). Som Pak Long Chuan was worn by officials of "Luang” rank, for instance, the page, who wore Long Chuan in the audience of the king.

Pha Nung : Hand-woven Cloths in Thailand

As mentioned earlier that Pha Nung plays important roles in the garments of Thai people, both males and females, since the long past as seen in evidences of carvings in ancient monuments or ancient objects, and in mural paintings in many old temples e.g. the mural paintings of Wat Phumin, Nan province, that depict the clothing style that has Pha Nung as an important part. The style of wrapping, however, may vary according to the date, for instance, the style of "Kroai Choeng” is the wrapping of the cloth over trousers and each end of the cloth is draped, one end in front of the body, from the waist downward, and the other end at the back of the body, the folding of Pha Nung in several layers make the cloth raised up above the knees, and the waist is fastened by another piece of cloth. This style of wearing is similar to those seen in ancient Khmer sculptures, however, nowadays, the style is no longer used.

From documents and literatures about garments, it has been discovered that there are 2 main production methods of Pha Nung, that is, weaving and printing. This research will concern only the weaving method.

Weaving has been practiced for very long time in all regions of Thailand. It is noticeable, however, that peoples who are skillful in weaving are mostly those of Laos origin who had immigrated into Thailand in various periods. The groups of Laos people are :

1. Lao Phung Dam (Black-belly Laos) : have settled in the North i.e. Chiang Mai, Lamphun, Lampang, Nan, Phrae, Thoen, Tak and Nakhon Sawan. They are called "Lao Phung Dam” because the men of this ethnic group are usually tattooed from the belly to the knees, making those parts of the body black with the tattoos. The features of Lao Phung Dam can be seen in the mural paintings at Wat Phumin, Nan province.

2. Lao Phung Khao (White-belly Laos) : comprises groups of Laos people who settled in Khorat Plateau and the west of Mekong river. The title "Lao Phung Khao” derives from their features that they are not tattooed. They are divided into 2 groups based on dialect as :

2.1 Lao Wiang Chan (Vientiane Laos) : comprises people who have settled in Udon Thani, Nong Khai, Loei, Khon Kaen, Chaiyaphum, Kalasin, Roi Et, Maha Sarakham, Ubon Ratchathani, Si Sa Ket and Nakhon Ratchasima. There are also those who settled in Prachin Buri province and Amphoe Kabin Buri subdistrict.

2.2 Lao Kao : comprises people who have settled in Lop Buri, Ratchaburi, and Phet Buri, and other several small groups who still preserve their language, traditions and clothing, namely the Lao Song and Lao Phuan.

2.2.1 Lao Song or some time called Lao Song Dam (Laos who wear black), because they always wear black garments, came from the plateau to the east of Luang Prabang and settled in Phichit, Nakhon Pathom, Ratchburai, Phet Buri, to Chumphon in the South, and some settled in Suphan Buri province.

2.2.2 Lao Phuan : came from Phuan town in Laos and settled in Udon Thani, Lop Buri (Ban Mi), Ban Thap Khlo, Thung Pho, Wang Lum, Amphoe Taphan Hin, Phichit province and Phitsanulok province (particularly in Amphoe Bang Rakam) and in Amphoe Dang, which later changed the name to Amphoe Hat Siao (Amphoe Si Satchanalai), which was part of Sawankhalok province that changed to Sukhothai province in 1939. The Lao Phuan dialect is slightly different from that of Lao Wiang Chan.
Laos people who came to settle in regions of Thailand have been mixed with the Thais and become Thai people, however, a skill that can be said to have been handed down in their blood until the present is the skill in cloth weaving. It may be said that the beautiful cloths, both silk and cotton ones, that we see and use today are mostly made by the skill and competency of the Thai-Laos people.

Apart from Thai-Laos people, there are other ethnic groups who are skillful in cloth weaving with unique identity, for instance, the Phu Thai, who are good at weaving the Khit cloth, the most famous of which is the Phrae Wa Khit of Phu Thai in Kalasin province; and the Yonok in the North who are good at weaving the Chok and Yok cloths; the Khmer-Thais who live in the southern part of the Northeast in Surin province are specially competent in weaving Mat Mi silk. Weaving styles of these ethnic groups, although descended from the same root, may have different designs and details based on popularity, beliefs, materials and culture and traditions of each specific group, as well as social change in each locality. These factors affect the features of the cloths that have resulted in the distinguished identity of cloths in each locality. However, at present, it is rather difficult to identify the locality of cloths, which have become somewhat similar.

There are a great variety of hand-woven Pha Nung in Thailand, which are produced in all regions, each of which has its own identity, for instance, Pha Mat Mi of Khon Kaen; Sin (wrap skirt) of Hat Siao; Tin Chok (base of Pha Nung woven by Chok or picking method) of Lap Lae, Hat Siao and Ratchaburi; Pha Yok of Lanna, etc. These cloths have various designs, colours and weaving techniques but all are made by hand. It is said that the most standard designs are Tin Chok because the style has followed the unchanged traditions and patterns, hence the saying "if one can weave Tin Chok, one can weave all other kinds of cloth”.

The famous locality of Tin Chok production are Amphoe Lap Lae, Uttaradit province, of Lao Phuan ethnic group; Hat Siao, Sukhothai, of Lao Phuan; Suphan Buri and Uthai Thani of Lao Khang and Lao Ka. Tin Chok of Suphan Buri and Uthai Thani, however, are local works which do not have standard designs but the designs are created freely by weavers.

As for the Tin Chok of Lap Lae, it is finer and more elaborate in designs and weaving techniques than those of Hat Siao, but at present, the Hat Siao ones are more popular because of their spectacular colours and designs, whereas the Lap Lae’s Tin Chok use colours of similar density, emphasizing on green and yellow, or brown and black. The Hat Siao’s Tin Chok, on the other hand, use bright and contrasting colours that are visually attractive. The Lap Lae and Hat Siao people are able to weave each other’s style of Tin Chok, but the result still indicates the characteristics of the actual weaver that is not difficult to identify.

As for Mat Mi, it is a method of weaving that require precision in tying the threads or silk to create designs which are based on imagination or memory. Some designs are very delicate, made by repetition of tie-dying to create multi-coloured patterns. In weaving the Mat Mi, precision is necessary in the making of smooth and correct designs. Pablo Picasso, one of the World’s greatest artist once said to Bedrich Forman, "If I am not busy with painting and my interest in earthenware, I must definitely be interested in tying and weaving cloths”.

From research, there are 3 methods of making Mat Mi cloths :

1. Tie-dying the weft yarn only to make designs.

2. Tie-dying the warp yarn only to make designs.

3. Tie-dying both the weft and warp yarns.

All three methods are practiced in almost all countries in the world, in Thailand, however, the Mat Mi is generally done by tie-dying only the warp yarns. Nevertheless, a kind of silk called "Pha An Prom” woven in Surin province is made by tie-dying both the weft and warp yarns. The application of such method is found in only 4 countries namely, Thailand, northern India, Bali in Indonesia and Japan.
Thai people who are skillful in making Mat Mi are mostly descendants of Lao Phuan, Lao Khang, and Lao Ka who live in the Northeast, Uthai Thani province and some are Khmer descendants living in Surin province.

Apart from being the locality of people who are competent in weaving Mat Mi cloths, Northeast Thailand is also suitable for growing mulberry plants which are the only food of the silkworms who are the creators of beautiful silk filaments used in weaving silk cloths. Silk produced in the Northeast are not only used in the region but also sent to other regions, for instance, the North and the South.
Famous localities of Mat Mi production in the Northeast are Roi Et, Chaiyaphum (Ban Khwao), and Surin (Khwao Sinarin). The Roi Et cloths are fine in weaving and selection of the silk, using only the finest silk which resulted in a fabric so fine and tight that it is said to be "able to hold water”. Another form of outstanding woven cloths of Roi Et is the "Pha Yok” which is so beautiful and elaborate that they are renowned, having won awards on national level.

In Surin province, silk of outstanding quality, that is, thin and light, is produced. Such silk is made from the best part of silk filaments from the silk cocoons. The texture of the cloth is tight and fine, made by weaving each strand of silk by hand loom, moreover, the designs are unique, which have derived from the culture of Surin people who are mostly Thai-Khmer, speaking Khmer language, thus the culture and way of life has been influenced by Khmer culture, including the designs of cloths. Such cultural background has made the Surin silk clearly distinguishable from silk from other localities. Places where good quality silk are produced in Surin province are at Ban Khwao Sinarin, Tambon Khwao Sinarin, Amphoe Mueang, Surin province. Villages which are most famous for the silk are the Village No.1 and Village No.2 in Ban Khwao Sinarin.

Amongst the hand-woven cloths of Surin, which comprise Pha Sim Pot, Pha Allun, Pha Chong Sin and Pha Hol, Pha Hol is regarded to be the most difficult to weave, most beautiful and most expensive. Every household in Surin must have Pha Hol for use, even the poorest family, which will be kept and taken out to be worn only in special occasions in life.

The reason that Pha Hol is regarded as rare and beautiful is because the weaving method is remarkably difficult that not every person can learn. It is said that, in the past, the person who intended to learn the weaving of Pha Hol must bring flowers, incense sticks and candles to pay respect to the instructor and grandparents before they impart their knowledge on the weaving to that person. The learning also requires great perseverance and patient in order to be successful in learning.

Pha Hol is the best quality silk that is the lightest and has the tightest texture among all types of Surin silk. The designs of Pha Hol is unique, with Khmer influence. The weaving techniques are similar to those of Mat Mi but the tie-dying process is much more detailed and sophisticate than all other kinds of Mat Mi.

Pha Hol has 5 colours : grey, red, white, green and yellow. The red colour is normally used as base colour and other colours are used to make designs. The dye is made from natural materials e.g. wood barks. Pha Hol is usually made to have one side in light colour and the other side in darker colour, which can be worn on both sides. It is said that the best of Pha Hol can be used to gather water because the water will not get through the tightly woven texture of the fabric.

In the North, Pha Nung (Pha Sin in Northern dialect) which is outstandingly beautiful and interesting are those of the Thai Yuan and Thai Lue who live in parts of Chiang Mai, Chiang Rai, Phrae, Nan and the Pha Yok of Lamphun that royal family of the North had presented to the court of Bangkok, which was the kind of Pha Yok made with silver and golden threads.

The Thai Yuan’s Pha Sin has special features that the middle part of the cloth are horizontal stripes of the same size, the cloth is sewn to a plain red cloth at the top (waist) side, or in some localities, another piece of white cloth may be sewn to the other part. The Thai Yuan’s Pha Sin of Amphoe Mae Chaem has black or red colour top, and for the one used in special occasion, the base will be connected with a Tin Chok, which is a band of cloth woven in elaborate designs usually called "Chok Mae Chaem”. The weaving techniques of Thai Yuan’s Tin Chok is normally done from the back side, that is, the back side of the cloth is placed on top of the loom, which is diiferent from the Lao Phuan techniques that work from the front side of the cloth.

Pha Sin Thai Yuan is generally made of cotton, rarely made of silk, because, generally, the Thai Yuan do not rear silkworms.

Pha Sin Thai Yuan in Nan province has 2 sides, the top part and bottom part sewn (like that of Thai Lue’s). There are 2 special kinds of Pha Sin in this group :

1. Sin Tam Tep : woven by Kep Kit Method by using golden threads as weft yarns. The designs are small, and usually is sewn to Tin Chok base made with golden threads, some may not be connected to Tin Chok but to a piece of plain cotton.

2. Sin Chiang Saen : is entirely woven with Khit designs, alternated with horizontal designs. The top part of the cloth usually uses 2 colours of cotton spun together as weft yarns, using red colour as base and other colours as horizontal designs. The name of the cloth indicates that the style is a traditional style of Chiang Saen since the past.

In Phrae province, Sin Ta Manao is popular, characterized by the designs of horizontal stripes made in yellow alternated with dark colours, for instance, black or purple. The special piece of Sin is connected with a Tin Chok, also in yellow colour. Another style if the "Sin Lae” or "Sin Than Kho Khwai”, which is a black cloth with 2 red stripes at end of the cloth.

Apart from the Thai Yuan, another ethnic group in Phrae is the Thai Lue. The mixture of culture between Thai Yuan and Thai Lue has made the style of Pha Sin almost indistinguishable between these 2 ethnic groups. However, it can be noticed that the Thai Lue’s specific techniques are the use of Mat Mi in weaving, that is called "Mat Kan” or "Khat Kan” in Thai Lue dialect, thus the Pha Sin made with Mat Kan designs is called "Sin Kan”.

Another distinguishable feature of the Pha Yok of Thai Yuan and Thai Lue is that the Tin Chok of Thai Yuan’s cloth is different from those of Laos and Thai Lue that the designs are at the top part of the Pha Sin and the base of the cloth is plain red-coloured cloth. The Laos’ Pha Sin has the entire base made of Tin Chok but the base of the Thai Lue’s Pha Sin has no Tin Chok, except those of the Chinese Thai Lue that has small decorative designs of Khit and Chok made at the base of the cloth.
In Nan province, there are 4 outstanding styles of Pha Sin namely Sin Nan, Sin Pong, Sin Ta Lem and Sin Luang.

Sin Nan is distinguished with its wide stripes made with no more than 3 alternating colours, for instance, black, red, pink, purple. Thread colour may be either light or dark but the base of Pha Sin or "Tin Sin” must be red colour and the large stripe directly adjacent to the Tin Sin (base of the Pha Sin) must be of single colour which may be dark blue or purple, alternated with silver or golden threads throughout the remaining parts. The cloth may be made with golden threads or black thread that give the fabric a beautiful, glittering look.

Sin Pong is made in tiny stripes alternated with silver or golden threads, then the design is connected with single colour stripe before proceeding to tiny stripes in alternating colours. The alternating weave is called "pong” hence the name "Sin Pong”. The design of Sin Pong is rather similar to Sin Ta Lem but Sin Ta Lem is woven with silver or black threads alternated in small and large stripes, the alternating colour is the same throughout the piece, for instance, red, green, brown base alternated with small stripes, etc.

Sin Luang is the cloth that the designs are made by picking threads by hand, similar to flowing water or animal designs, for instance, rabbit. The Luang (picking threads) design is alternated with large stripes.

The weaving design of coloured stripes which is called "Lai Muk” is similar in weaving techniques to Lai Khit of the Northeast, but are called in different names. The design is called "Lai Khit” in the Northeast but is called "Lai Muk” in Nan, with as variety of the designs e.g. Muk Dok Bua, Muk Dok Pao, Muk Lai Dok Mak, Muk Lai Khao Lip, etc.

Sin Nan and Pha Lai Muk are local cloths that people have woven and used for a long time before the design of Lai Nam Lai (flowing water design), which was created in later period, circa 80 – 100 years ago. The design is believed to have been developed from the Thai Lue’s cloth, following historical evidence that, when Nan was powerful, the Lord of Nan would bring the Lue people from the North. The mural paintings at Wat Phumin in Nan were also painted by artists of Lue school, as seen in the designs of Pha Sin in the paintings that are all Sin Lue style.

Pha Lai Nam Lai (flowing water design cloth), which is adapted from the design of Thai Lue’s cloths, in early period used silver threads or black treads alternated with the zigzag or the "water” part of the design, alternated with animals design to make it distinguishable from the Thai Lue’s cloth. Some pieces have Lai Sin Pong alternated with the flowing water design.

The weaving of Pha Lai Nam Lai has been developed continuously. From document in Nan Cultural Centre, it is recorded that Mrs. Khankaeo, a member of Tha Lo Housewife Group, Tambon Fai Chaeng, Amphoe Mueang Nan, has developed a new design which was named "Lai Nam Lai Sai Rung” (rainbow flowing water), made by applying the original Lai Nam Lai with several "rainbow” colours, alternated with various Lai Muk designs e.g. Muk Lai Dok Mak, Muk Lai Khao Dip, etc.
At present, Pha Lai Nam Lai has been developed from the original long stripes, wavy designs that look like flowing water to create several varieties, for instance, the design which is made to look like shooting rockets called "Lai Charuat” (rocket design); the flowing water design connected at centre, in which small radius lines are added that makes the design look like a flower or a spider, is called Dok Mai or Mang Mum (flower or spider) design; the design that places flowing water design in layers with pointed top is called "Lai That” (stupa design); there is Lai Kab, using threads of several colours woven in layers, and Lai Bai Mit (blade design) which is done by inserting threads of several colours into the fabric which look like thin blades, called Lai Bai Mit (blade design) or Lai Mit Kon (razor design), etc. The adaptation of Lai Nam Lai as mentioned is specialized by Women Weaving Group of Nan Province who produce the cloths which are called "Pha Lai Nam Lai Mueang Nan” (Nan’s flowing water designs cloths).

In the South, there are several communities who produce hand woven cloths, for instance, Pha Tho Phumriang, made of both cotton and silk. Since the past, the people of Phumriang, Amphoe Chaiya, Surat Thani province, have been skillful in weaving Pha Mai Yok (silk woven with Yok techniques). They are the people of Malay race who migrated into Thailand from Kedah since Rattanakosin period, the same as the weavers who are specialized in Pha Yok weaving in Nakhon Si Thammarat.

The weaving techniques of Muslim-Thais in Phumriang are similar to other ethnic groups in other localities, but the designs which are delicate and beautiful, are unique. The weaving is done in the family, each family has 3 - 4 hand looms placed under the house, which is built on high stilts. It is noticeable, however, that Phumriang people only weave cloths but do not rear silkworms, therefore, the silk used is either imported from Japan or bought from Bangkok. The designs are mostly alternated with silver or golden threads in Thai style floral designs, which are delicate and beautiful.
Another place which is famous for its Pha Yok is Nakhon Si Thammarat, but the weaving is not much practiced nowadays.

In Central Thailand, the Tin Chok of Ratchaburi province is beautiful, comparable to those of Hat Siao or Lap Lae.

Hand-woven Cloths in Neighbouring Countries

Hand-woven Cloths in Cambodia

Traditional garments of both men and women of Cambodia comprise the Sompot cloth, which is a kind of hand-woven cloths made by Cambodian women. The use of Sompot cloth is considered national garment, and in the royal court of Cambodia, Sompot is worn according to the colour of the day.

High-ranked officials wear Pha Hol with shirts fastened with golden buttons, in ceremonies, the cloth is worn in Chong Kraben (loose-end piece of cloth worn by wrapping like trousers) style. Pha Muang is worn when going to temple.

Sompot cloths are made of both cotton and silk, some of the materials are local, some are imported from other coutries. The weaving techniques vary by region. There are several styles of Sompot, the ones for daily use are made of low-cost materials, which are imported from Japan, as for cloths used in special occasions, local fibres are used.

The design of Sompot is usually horizontally arranged. The luxurious cloths are woven with silver and golden threads. The most elaborate and ancient type of cloths is Pha Hol, one of the Mat Mi types made by tying only the weft yarn. Pha Hol which are renowned for their quality and texture are those woven in Koh Sautin, Prek chang Kran (Kampong Cham) and Teuk Chor.

It is found that cloths from northern Cambodia are not only high quality with harmonized colours, the weavers of the north are complimented that they are competent in making fine, elaborate and beautiful designs. The delicate Mai Mi designs are rarely found in other regions of the country. It is noticeable that Pha Hol is also produced in Malaysia.

Another interesting point is that Pha Hol has specific designs for men and women, that is, the large designs are for men, designs of trees, flowers are for women. Recently, however, Pha Hol has been used only as women’s garment.

Hand-woven Cloths in Malaysia

Cloth weaving in Malaysia has been influenced by both China and India. Evidence is the record in Chinese archives of the 10th century A.D. about the attire of the king of Sumatra that the king wore silk with flower designs. It is also recorded that in 15th century, the emperor of China sent silk, velvet and fine satin embroidered with golden threads and garments embroidered with dragon designs to the king of Sumatra as presents. As for cloths from India, they were used only in royal court.
Cloths in Malaysia are mostly produced in Kelantan and Terengganu, where the cloths woven with silver and golden threads, following the Indian fashion, are famous. Weavers in Malaysia mostly came from Sumatra.

Hand-woven Cloths in Myanmar

Pha Nung, or Longeji, is an important part of the garments of the people of Myanmar, both men and women. Men’s Longeji is made in grid design, and those of women have base design and small designs scattered throughout the piece of cloth. Designs vary by locality.

The Myanmar people weave cloths with hand looms, found in almost every house in rural area. Cotton is more popular than silk, which may results from the belief that in obtaining the silk, silkworms must be killed which is considered sinful by Buddhist belief. People who rear silkworms are making sinful career as hunters and fishermen, and must go to hell after they die. For this reason, silkworms are not generally reared except in Prom town in middle Irrawaddy area, where silkworms are reared by a hill tribe called the Yabeins, which means "silk grower”. The silk produced by the Yabeins are used in weaving cloths with elaborate designs called "Check”, which are popular for making skirt for wedding and cloths for ceremonies. The weaving is all done by hand loom.

Local silk of Myanmar in checker designs are popular foe making garments to be worn in ceremonies. The texture of the cloth is so tight and hard that it has to be soaked in water and pounded before the first use, as well as passing several washes until the cloth is softened. The quality of the cloth is beautiful colour and durability, popular to be used for making women’s Longeji.

Apart from those, the wealthy Myanmar people prefer the Mat Mi silk imported from Chiang Mai, Thailand. The cloth is imitated by the Myanmar people by making a kind of Longeji Mat Mi in the style of Pha Sin from Bangkok called "Bangkok Longeji”. The cloth woven by the Myanmar people is made with double threads, usually in greyish-blue, amber yellow and greyish-green colours, which are very popular among Myanmar women.

Hand-woven Cloths in Laos

Pha Nung of Laos men is the Patoi, similar to that of the Thais, worn in Chong Kraben style. The Laos people weave their own cloths in almost every household, using hand loom. Women also wear Patoi, made of cotton in general occasions but silk in special occasions. The designs are stripes, with dark red or dark brown base. If the Pha Nung is made of silk, the base is also silk woven with golden and silver threads insertion, beautiful ones of which are very expensive.

In the areas on the river banks, women are skillful in silk weaving with exquisite designs called Pha Sompot. The housewives are competent in weaving cloths for use in the household.

All of these are only a part of the story of hand-woven cloths made in regions of Thailand studied in order to learn about the characteristics of weaving in Thailand. From the study, it has been noted that there are certain relationships between the weaving in Thailand and in neighbouring countries namely, Laos, Cambodia, Malaysia and Myanmar. The aspects of relationship are as follows :

1. The blood relation among the peoples who immigrated from neighbouring countries, whose ancestors of several groups have brought along their weaving techniques, for instance, the Lao Phuan, Lao Khang, Lao Ka from Laos, Thai Yuan, Thai Lue from Myanmar, Khmer in Surin and Malay from Kedah or present day Malaysia.

Blood relation among peoples who came from other countries has resulted in the similarity in clothing and weaving culture.

2. There are similarities in certain weaving techniques among Asian countries, or some techniques appear in various places worldwide, for instance, the Mat Mi techniques which comprise 3 methods : tie-dying only the weft yarns, tie-dying only the warp yarns, and tie-dying both yarns. The tie-dying of only one group of yarns is the easier and more popular method that is generally found worldwide. As for the method of tie-dying of both yarns, which is difficult, complex and require high expertise, however, it is interesting the Mat Mi of this type is also found in Thailand in Surin province, called Pha An Prom.

Mat Mi cloths are also found in Myanmar, Lao, Cambodia, Indonesia and Japan.
3. Natural dyes used in dying come from the same species of plants, for instance, indigo used for dying to make blue colour is also used in Cambodia.

4. Some documents mention that the weaving art of Thailand and sericulture were spread to Cambodia. The document is the Journal of Zhou Da-Guan, written circa 13th century, in which it was recorded that the Cambodian did not know how to rear silkworms, they only knew how to weave cotton using simple loom whereas the Siamese knew how to rear silkworms and weaving silk. Some of the Siamese who immigrated into Cambodia brought the mulberry leaves and silkworms along with them. Furthermore, although cotton was woven in Cambodia, most of the cloths used were imported from Thailand and Champa.

5. The integration between cultures of 2 adjacent countries is easily occurred, especially in the past that the border lines between states and towns were not clearly specified as in the present. Kingdoms in the past rapidly expanded or shrank, forcing the people in small towns which are buffer zones to adapt themselves for survival, for instance, cultural influence from Cambodia extended into the area of Surin province and has affected the way of life, culture and career of the Surin people.

6. It has been found that weaving is imitated between Thailand and neighbouring countries, for instance, Thai people weave in the styles that imitate those of Laos, Cambodia, and there are evidences that even Myanmar has imitated the Pha Sin of Thailand as a result of cloth trading between Thailand and those countries, which all have their own weaving artisans.