User:Ayang26/Hmong textile art

Religion (and Death?) (new section)
In traditional Hmong culture, the women prepare traditional funeral textiles adorned with Paj Ntaub for their close relatives such as their parents, in-laws, and spouse. This is typically done well in advance of their relatives' death and are gifted to them as a token of filial endearment. These special textiles consist of a funeral robe, known as a tsho laus or khaub ncaws laus, a large sailor collar called a dab tsho laus attached to the back of a White Hmong woman's funeral robe, a separate funerary pillow square called a noob ncoos for the Blue and Green Hmong, and a pair of slippers called khau noog in the Hmong language RPA.

It is believed in traditional Hmong culture that dressing the deceased in these Paj Ntaub textiles allow them to be recognized by their deceased ancestors in the spirit world. The symbolic meaning behind specific motifs and patterns seen on funeral textiles have a variety of interpretations, however, conventions are generally held about the size, cut, and colors used for them by each Hmong clan or subgroup. Regardless of these diverse interpretations, the textiles are used very practically to care for the body of the deceased. For example, in the White Hmong funeral tradition, the large sailor collar known as a dab tsho laus is sometimes used to support the head of the deceased while transporting their body to the burial site. In the Blue and Green Hmong funeral tradition, the funerary pillow square, known as a noob ncoos, acts as a cushion for the head of the deceased.

Batik (adding to section)
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Batik is a resist-dyeing technique in which hot wax is applied to cloth to create a pattern. The cloth is then dyed, typically using a single color (traditionally indigo), and the wax is removed. The waxed areas of the cloth resist the dye and the desired pattern remains.

Traditional Hmong batik, known as Paj Ntaub nraj ciab/cab thiab raus nkaj in the Hmong language RPA , is created using white hemp fabric, beeswax, indigo dye, and a tjanting tool, known as dlabcab (in the Hmong language RPA), which has a triangular copper nib that holds and releases the melted wax. Aesthetically, Hmong batik is similar to other Hmong visual design and often features bold and contrasting geometric designs. These designs are '''achieved by holding the handle of the tjanting tool with the copper nib positioned closer to the wrist which allow the creation of straight strokes. To reveal the designs, the fabric is soaked in indigo dye several times and left to dry before being boiled in water to melt off the wax. This technique is utilized by Blue and Green Hmong to create decorate''' skirts, baby carriers, and other typical Hmong textiles but is not seen amongst White Hmong.

Gender and Paj Ntaub (adding to section)
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According to tradition, Hmong girls begin to learn the skills required to produce Paj Ntaub from their mother, grandmother, or older sister as early as three years old and go on to master hundreds of complex patterns. Skill in Paj Ntaub is highly valued in traditional Hmong culture and is used to signify desirable feminine traits like industriousness, creativity, and discipline and often plays a significant role in terms of courtship and marriage prospects. The creativity and skill of Paj Ntaub design was also traditionally linked with the embroiderer's own fertility. '''When Hmong women get married and join their husband's household, they learn and adopt the new Paj Ntaub techniques and traditions of their husband's clan from their mother-in-law and other female relatives. In doing so, the Paj Ntaub tradition of that clan is maintained.'''

Although the labor intensive production and decoration of Hmong clothing and Paj Ntaub were the exclusive responsibility of women and older girls, this did not release them from other extensive responsibilities involving domestic chores, child care, and farm work. Because of this, sewing would often be done late into the night or during breaks between other responsibilities.

'''Not only do Hmong women make Paj Ntaub, but they also receive them as dowry gifts from their mother. Most often, these Paj Ntaub, such as a an embroidered sash, come as a part of the traditional wedding outfit ensemble.'''

Symbolism and Language (adding to section)
Other editors' contribution: (bolded are my contributions).

Paj Ntaub is often highly symbolic and the colorful, geometric designs function in a multitude of ways including as abstract representation, religious talisman, group identification, and many argue as a codified visual language. Historically, the Hmong people were a primarily oral culture until the development of the Hmong RPA in the 1950s. According to popular legend however, the Hmong long ago had a powerful written language that was outlawed and destroyed by Chinese rulers and lost to time. As a result of this loss, the Hmong then codified their language and hid words as symbols in the Paj Ntaub designs sewn into the folds of skirts. Many scholars and researchers have attempted to decode the symbolism behind Paj Ntaub motifs, however, there is no consensus on a singular meaning behind any of the motifs because there are a variety of different names and interpretations attributed to the them because of the diasporic nature of the Hmong people. Although Paj Ntaub should not be understood strictly as a visual alphabet, many examples and interpretations of codified symbolism in Paj Ntaub exist. '''One example of this codified symbolism can be found in the Hmong cross, in the form of singular or combined x's or +'s, that are used in Paj Ntaub to decorate the back of the White Hmong women's sailor collar called a dab tsho in the Hmong language RPA. An interpretation of this cross symbol is that it acts as a protective ward for the back, which is considered the most vulnerable part of the body, against malevolent spirits. Other interpretations argue that the crosses don't inherently hold symbolic value but instead work together to form a larger Paj Ntaub design that, from afar, resembles eyes and can fool malevolent spirits into thinking that there are always a pair of eyes watching from the back.'''