Reverse Appliqué

R21: This is a reverse appliqué piece cut from a white cloth and folded into quadrants to make the piece symmetrical. The reverse appliqué cucumber seed motif is sewn onto hemp cloth.  Due to repetition in the pattern, the cucumber seeds look like flower petals. The L shape motifs involve simple quadrant corners. The repetition of blue and pink dotted lines represents yu choy flowers, but the pink and blue stitches on the cucumber seeds motifs are for decoration only. This type of paj ntaub was made specifically to sell to tourists.


By Cha Lee Mee, 2005, 30x30 cm
Photo by Noah Vang, item at the Hmong Archives

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R22: This piece is done with appliqué technique, imitating the form of reverse appliqué. Each motif of hearts and single steps is sewn onto a colorful batik background. Each heart has a
secondary heart appliqué, which surrounds the primary heart. The center hearts are enclosed with another border of appliqué that resembles an elephant’s foot motif, or a clover. Each
motif is decorated with white seeds in running stitches. A purple border surrounds the work of the appliqué, followed by purple, white, and green borders, and then purple mountains and more white and green appliqué as the most outer border.

 

Sold by Khoua Yang, 2005, 38x37 cm
Photo by Noah Vang, item at the Hmong Archives

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R23: This piece involves reverse appliqué in a geometric design. The purple cloth was folded, cut, and handsewn onto the gray cotton background. The motif depicted is a spiral, and is somewhat similar to a snail motif. The spiral designs have leading lines, which create the illusion of diamond shapes. The frames were created using appliqué.

 

By Phia Lao, 1983, 18x18 cm
Photo by Noah Vang, item at the Hmong Archives

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R24: This piece displays a maze motif in a non-traditional manner. It is probably a commercial work, made specifically for an individual. Although it appears to involve reverse appliqué, it actually was created using appliqué techniques. Each appliqué line was cut and sewn onto the black background cloth, creating the illusion of diamonds.  


By Chia Yang, 1988, 27x27 cm
Photo by Noah Vang, item at the Hmong Archives

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R25: This piece was created using both appliqué and reverse appliqué. The maroon square was cut into a spiral to produce this chev motif, and sewn onto a gray background as appliqué. The chev motif is half of a snail motif. The Hmong people called it lub qwj yeeg (snail). Some people interpreted as the circle of life. It has a start and it has an end.


By an unknown artist from the Xiong clan, Laos, 2007, 8x9 cm
Photo by Noah Vang, item at the Hmong Archives

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R26: The methods used in this artwork include appliqué and reverse appliqué. The pink hemp cloth was cut into a chev motif centered on an incomplete snail motif, and stitched with plain blanket embroidery onto a black monk’s cloth.


By Cha Xiong, Laos, 2005, 11x11 cm  
Photo by Noah Vang, item at the Hmong Archives

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R27: The methods and techniques used for this paj ntaub are both appliqué and reverse appliqué. There are four incomplete snail motifs which resemble spiral designs. Each reverse appliqué is cut and sewn as appliqué onto a hemp background. The Night Market in Luang Prabang, Laos, abounds in clothing, pillowcases, duvet covers, wall hangings, and other products for tourists, using this and the two figures motifs. Sometimes it is also called the Lao number one, which, although only a simple swirl, it resembles.


By unknown artist, Laos, 2006, 41x40 cm
Photo by Noah Vang, item at the Hmong Archives

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R28: The colors used in this paj ntaub piece are black, purple, red, gray, and white. It is both appliqué and reverse appliqué, with the lines individually cut and sewn onto the background. The motifs are incomplete snails, which resemble spiral designs and the Lao number one. The black is used as a border in this item found in many color combinations and sold at the Night Market in Luang Prabang, Laos.

 

By Lao Mee Yang, Laos, 2005, 44x41 cm
Photo by Noah Vang, item at the Hmong Archives

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R29: The main motif featured in this reverse appliqué is unidentifiable. It was probably influenced by a Chinese or European maze motif. The motifs at the corners depict inverted ram’s horns. Flower emblements were used as decorations on this paj ntaub.


By Lou Xiong, 1998, 56x55 cm
Photo by Xai S. Lor, item at the Hmong Archives

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R30: As seen on this tapestry, there are two figures, typically cut from joss paper and used in traditional shaman rituals to represents souls. However, these figures are cut from cotton cloth and sewn as reverse appliqué. Sometimes shaman will advise their patients to stitch these figures on the back of a jacket or shirt and use them as amulets to ward off bad spirits. These figures, however, are common in the Night Market in Luang Prabang, Laos, where they appear in many color combinations to decorate pillowcases, duvet covers, wall hangings, and many other items for the tourist trade.


By Lao Mee Yang, Laos, 2005, 44x41 cm
Photo by Noah Vang, item at the Hmong Archives

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