Technique : Mudmee fabric weaving using the natural dye colors
Making process (in detail) :

1. Pattern design
   Kru Surachote derives the original patterns from the ancient Hol fabric pattern from museums and the antique fabric books, such as Pha Lai Yang, Pha Yok, Pha Poom, and creates Pha Hol Som Pak Poom by remaining the same components of “Pha Som Pak”, with the embroiled end of the fabric, previously used among the courtiers in the Royal court of Siam. This is to preserve the ancient fabric patterns through the Mudmee fabric weaving process, namely “Pha Hol”. After the pattern design process, next is writing the pattern on the graph paper to be used as a model for the Mudmee process.
2. Warp silk yarn dyeing
   “Hol” in Khmer-Surin language specifically refers to Pha noong (lower garment) created from the tie-dyed weft silk yarns but the mono-color warp silk yarns. For Pha Hol Som Pak Poom, the warp silk yarns are dyed in a single black color from rambutan peels and mud. The warp silk yarn dyeing process is as follow:

• Mince approximately 8 kilograms of rambutan peels (per 1 kilogram of silk yarn). Then boil with water for 2 hours, in the ratio of fresh rambutan peels: 1 / water: 2, to extract the dyeing color until it turns dark brown.
• Dye the bleached and cleaned Mai Noi (tiny silk yarns) in hot water with the extracted color from rambutan for about 2 hours.
• Rinse the dyed Mai Noi and desiccate.
• Dye Mai Noi with mud for 7-8 hours until the yarns turn black. Rinse all the silk yarns from mud and twitch on the rail for further sun-dry process.
• Boil rice flour and arrowroot flour with little vegetable oil to make the yarns smooth and glossy. Stir well then leave to cool it down. Cover the completely sun-dried Mai Noi with the mixed solutions, twist until it is damp, twitch on the rail until it is completely dry.
• Spin the finished dyed Mai noi into the tube for warp weaving. The warp weaving of Pha Hol requires 1 Kilogram of Mai Noi to gets the finished 1 meter wide and 14-meter long Pha Hol fabric.

3. Weft silk yarn preparing
   Pha Som Pak Poom fabric is woven by using various colors of the weft threads in each line. “Mudmee” technique is used to create patterns on the fabric. The different colored wefts are made by tie-dyeing each group of silk (so called ‘lam’) according to the drawn graph and then dyeing it with natural dyes to create different colors before weaving into the fabric per these following steps:
   1. Khon Mee : Divide the bleached silk yarns into groups for tie-dyeing process, called “Khon Mee”. it is to circle the silk yarns around Lak Khon Mee (a stick) to the left and right to the specified number of silk yarns. Then tie the silk yarns into 1 lam and further tie the next lam until it reaches the numbers per pre-designed in the graph paper. Each tier of the pattern uses different lams of silk yarns according to the size of such patterns. All lams in one tier are called 1 hua.
   2. Mudmee : Tie the silk yarns according to the designed pattern in the graph paper by using the non-absorbing to color materials such as banana rope or plastic rope to cover the dye color from the tied yarn area. Where the natural silk yarn color is needed, the area is covered and the further resist-dyeing follows the same process for red, yellow, green, blue or black.
4. Weft silk yarn dyeing :
   The natural dyeing colors are used for each lam of weft silk yarn dyeing, resulting in the beautiful patterns on the woven fabric. 3 rounds of dyeing are required for Hol cloth making, which create 5 main colors:  red, yellow, green, blue and black per these following processes:
   1) Red pigment dyeing (Stick lac) : The first weft silk yarn dyeing to dye the silk yarns in red.

• Soak silk yarns in alum water for 1 night. In the meantime, prepare lac water.
• Prepare lac water; a dark red color requires 6 - 7 kilograms of lac per 1 hua (105 lams) of Sompak Poom Mudmee yarns. A lighter red color requires less Lac weight accordingly.
• How to extract lac water: Wash 7 kilograms of stick lac in clean water and leave to drain. Gradually ground the lac with a mortar and pour the grounded lac in a jar. Boil some lac water with 20 liters of water, add Lodh tree leaves, butterfly tree leaves, tamarind tree leaves (as mordants for red pigment). Boil well until the leaves turns pale to get the dark red pigment dyeing color.
• Soak the Mudmee yarns in alum water and leave to dry. Pour finished lac dyeing in a container and soak the dried yarns into the container. Massage the yarns with pestle until they are completely dyed red.
• Boil Mudmee yarns in the dyeing lac water pot until the water is less condensed then aerate the yarns. 3 times more of the dyeing process above is required for more pigment of red.
• Rinse Mudmee yarns with water and soak in alum water. Then rinse well many times to get the desired red pigment. Twist and dry on the rail. The silk yarn in the first dyeing process is red while the tied area is natural silk yarn color.
  2) Yellow pigment dyeing (Garcinia bark and Cockspur thorn tree) : This is the second weft silk yarn dyeing process. First of all, “Obb Mee” (Lom in Khmer language) is done to wrap the weft area designed to be revealed or concealed with plastic rope. For yellow pigment dyeing, the area of natural white silk yarns is untied; indigo blue pigment, concealed; whereas red pigment, wrapped. After Obb Mee process, the yellow pigment dyeing continues per these processes:
• Chop 10 kilograms of Garcinia bark into pieces. Then gradually boil with water until it turns white as milk. Pour in a container and re-boil until it is dissolved into desired amount of liquid.
• Chop 5 kilograms of Cockspur thorn tree. Then gradually boil with water until it turns dark yellow. Pour in a container.
• Boil 20 liters of Garcinia bark water with 2 tablespoons of alum. Then soak Mudmee silk yarns and boil until the water is less condensed. Rinse well and sun-dry. Next, redo the dyeing process by boiling the first dyed silk yarns into 10 liters of Garcinia bark water, 5 liters of Cockspur thorn tree water and 2 tablespoons of alum. Then rinse until the silk yarns are dyed at the desired pigment.
  3) Blue pigment dyeing (Indigo) : This is the last weft silk yarn dyeing process. First of all, remove all plastic rope which obviously reveals the patterns on the dyed yarns. “Obb Mee” process continues for the last time to wrap the weft area designed to be revealed or concealed with plastic rope. For indigo blue pigment dyeing, the area of natural white silk yarns is untied; green pigment, yellow area is untied; black pigment, red area is untied; yellow pigment, yellow area is concealed; red pigment, red area is concealed; whereas white pigment, white area is concealed. Then blue pigment dyeing continues per following processes:
  - “Kor More Khram” technique, the ancient method of dyeing process centennially inherited from the ancestors, is started to prepare indigo blue pigment dyeing. 2 kilograms of indigo element and 2 liters of alkaline water are mixed in the clay container. “Jok Khram” process is regularly done 2 times a day in the morning and evening, that is to scoop up the dyeing liquid to a height of approximately 1 foot and pour back into the container for 4-5 times. Observe the color, smell and bubbles. If it bubbles quickly, add a little alkaline solution. If the bubble is dim and durable, the proportion is just right. On day 3, boil 100 grams of tamarind and 1 liter of water set aside to cool it down. Then mix into the dyeing container to help accelerate the pigment creation. Apply “Jok Khram” process daily and observe the solution until it turns to be blue-green color, light fragrance and blue bubbles. Later, the solution becomes green-yellow or green as banana leaf, condense, dark blue glossy and durable bubbles. It takes approximately 7 days for the indigo blue dyeing solution to perfectly set. Each container of indigo blue dyeing solution can dye only for 2 times, in the morning and evening. Therefore, many containers are prepared to enable several times of dyeing daily. While each container can be used for 2-3 service years.
  - Created by Kru Surachote, the special dyeing technique is applied by leaving the dyeing container in the morning sunlight and manage the dyeing process in the late morning to enhance dyeing adhesion capacity.
  - After the second dyeing process, soak the finished silk yarns in the dyeing container and massage until indigo blue is dyed over the yarns thoroughly.
  - Sun-dry the yarns on the ground covered with coconut leaves. When exposed to the air, Indigo pigment will darken in 2-3 minutes. Repeat the dyeing process several times until the desired pigment is attained.
  - Rinse well the dyed silk yarns. Remove all the ropes and soak the yarns in the alum solution. Rinse again several times until the desired indigo pigment is attained. Twist and dry on the rail.

5. Containing silk yarns into the shuttles :
   After 3 times of weft yarn dyeing, it results in 6 dyeing pigments: white from natural color of silk yarn, red from stick lac, yellow from Garcinia (gamboge) bark and Cockspur thorn tree, blue color from indigo, green from red and yellow pigments, black (shade of tamarind seed) from red and indigo pigments. The color shades of dyeing pigment from natural substances vary at each time which is deemed a charming natural characteristic. Reel 1 hua of finished dyed silk yarns into a bobbin. Put into order before containing into a shuttle for further weaving process.
6. Setting warp yarns into the beater (Fun wee)
   Set the black-dyed warp yarns into the beater (Fun wee) for 42 lobs (40 warp yarns for 1 lob; in total 1,680 warp yarns for 42 lobs) Three twill woven technique is used (resulting in the spiral pattern) Nip the warp yarns off and reel into a bobbin at the other end. Adjust the warps into order and put into the loom.
7. Weaving
   Manage the warp yarns in the heddle. Have the weft yarns spout back and forth to be woven in the beater and repeat until the woven dense fabric is perfectly completed. Reel and adjust the finished woven fabric in the fabric tube.
   Pha Hol Proh Som Pak Poom weaving process starts at the end border of the fabric by having the weft yarns, in the prepared lams, spout back and forth to be woven into one-tier Kruay Choeng pattern, followed by two-tier and three-tier patterns per pre-designed. Next, weave the body part of the fabric with the prepared lams of tie-dyed weft yarns. Decorate with embroidered Kruay Choeng pattern by putting the lams of weft yarns from three-tier, two-tier and one-tier respectively. And Pha Hol Proh Som Pak Poom is flawlessly completed.
   There is also a special technique of weaving; that is to leave the left and right ends of the silk yarns since the tie-dye process. It enables the weavers to adjust the position of the color and pattern, while the pattern is orderly woven and easier to manage the hem of fabric. With this technique, it allows the end border of fabric to be strengthened, not curled and maintaining-friendly.

“Pha Som Pak Poom” is one of the “Pha Som Pak” fabrics. According to the historical record from Ayutthaya period to the early Ratanakosin, it is restricted for use among the courtiers and the government officials. “Pha Som Pak” is the wrapping cloth with delicately detailed pattern. Kruay Choeng tiers are patterned at its end border to identify the status, titles, and ranks of the wearers from King, courtiers into the army officials. The fabric is usually made with extra width compared with the lower garment in general on purpose of wearing as the hip wrapping cloth around one’s waist ( chong kraben). There are 3 types of Pha Som Pak as follow:

1. Pha Som Pak Lai It is the fabric with printed pattern, or drawn and colored pattern. Sometimes it is called Pha Lai or Pha Lai Yang. Designed by artisans in the royal court of Siam, the pattern was later transferred to Indian artisans to copy the pattern through printing or color drawing. It is used as the wrapping cloth for the formal royal ceremonies where full-dress uniform is required.
2. Pha Som Pak Yok The supplementary wefts (brocade) are added in weaving process, namely ‘Yok’. The fabric is both domestically woven by the Royal artisans and imported from overseas such as India, China and Persia. It is used as the wrapping cloth for the formal royal ceremonies.
3. Pha Som Pak Poom It is a hand-woven fabric with the tie-dye process of the weft yarns, and then is woven against the ground-dyed warp. create a variety of colorful patterns. It is used as the lower body cloth bestowed by the King as insignia of ranks for court or government officials holding noble titles, during audience with the king or as the uniform.
   Pha Som Pak or Pha Poom is the Thai-Khmer ethnic group’s unique ancient hand-woven fabric in Surin province. Its exquisite and elegant patterns is made of a resist-dyeing technique, resulting in the splendid woven fabric with 2 tier or 3 tier end borders. For some fabric, per the long-inherited ancient wisdom, the supplementary Kruay Choeng is added with the upper and lower Sang wian as well as the pattern in the middle of the cloth. This complex process requires a highly expertise artisan skill while a long production time is involved to produce each of Pha Som Pak Poom. That is undoubtably why it is rare for this fabric existence.
   Pha Som Pak Poom was earlier produced and imported from Cambodia into the royal court of Siam. The ancient Pha Som Pak Poom was initially a narrow textile which requires two pieces of fabric to be stitched together, so called “Plaw” to enhance the extra width and length compared with the lower garment in general on purpose of wearing as the hip wrapping cloth around one’s waist. The patterns on Pha Som Pak Poom identifies the status, titles, and ranks of the wearers such as Som Pak Cherng Poom, Som Pak Long Juan, Som Pak Poom Dok Lek, Som Pak Poom Dok Klang, Som Pak Poom Dok Yai, Som Pak Poom Thong Nak, etc.
   Pha Som Pak Poom was no longer used in the reign of King Rama V onward.
   Historically, Pha Som Pak Poom or Pha Poom is a type of fabrics woven from grouping various color of silk yarns, tie-dyeing process and then resist-dyeing called Mudmee technique. Moreover, another South Isaan of Thailand’s Mudmee silk fabric weaving influenced by Khmer culture is called “Hol weaving”. The finished woven fabric is called “Pha Hol”. Hol weaving assumingly is a very ancient weaving because it is found in Cambodia, where originated Mudmee silk weaving in this region. Both anciently and presently, Hol weaving process is probably used to make Pha Poom as it is used in every weaving source all through Cambodia. Therefore, the hypothesis positive that the weaving and using Pha Poom in Thailand is partly influenced by Cambodia. Furthermore, the provinces in Cambodia also delivered the woven fabric to the Royal court. Pha Som Pak Poom weaving process nowadays is called Pha Mudmee or Pha Hol.
   Initially, Pha Hol was originated from “Pha Som Pak Poom” making. It was bestowed by the King as insignia of ranks for court or government officials holding noble titles. The patterns were intended to indicate the status, titles, and ranks of the wearers. Later, Pha Hol was involved in the Buddhist ordination ceremony, titled as Pha Hol Proh (Pha Hol Phu Chai). The fabric components, in which embroiled end parts were supplanted for men costume, were similar to Pha Poom popularly worn in the Royal court of Siam. Pha Hol Saraei (Pha Hol Sottri) was followingly created by designing a fish pattern or a stripe pattern to replace the original pattern of Pha Hol Phu Chai’s pattern believed to be restricted to wear among the nobles.
   Currently, Pha Som Pak Poom or Pha Poom is seldom recognized as it is the long-existed ancient fabric since the Ayutthaya period. It is tremendously rare at present while there are only few artisans inherited this weaving knowledge and this wisdom is at risk to be soon vanishing.
   Surachote Tamcharoen, the National Craft Master 2016, the 3rd generation of Hol cloth inheritor, and the son-in-law who continuously enhances his expertise in Surin’s Mudmee weaving as well as natural dyeing techniques, is strongly determined to preserve “Pha Som Pak Poom” wisdom accordingly the original ancient handicraft to the next generations.
   Therefore, he studied the original old fabric patterns from the museum and the antique cloth book and revived Pha Som Pak Poom by remaining the ancient Hol cloth weaving technique. The natural dye colors from the local area were also used while he adjusted the weaving method to weave a single piece of fabric. (Pha Som Pak Poom was initially a narrow textile which requires two pieces of fabric to be stitched together, so called “Plaw” to enhance the width and length of the fabric to the general wrapping cloth on purpose of wearing as the hip wrapping cloth). The complete details of the ancient Pha Som Pak Poom generally consist of:
   Tong pha (body part) is the main decorative and most outstanding part in the middle of the cloth.
   Chor taeng tong (the inner border) is motifs in various patterns, and sizes surrounding the 4 side of Tong pha.
   Sang wian (the outer border) is the upper and lower area in vertical line along Tong pha. Its pattern is the narrow stripes from one fabric side to the other end.
   Kruay Choeng or Choeng pha (the end parts), is the area at the end border, next to Chor taeng tong, decorated with Kruay Choeng pattern. It is academically called “Choot Lai Na Kradan”; a large motif lines in the middle flanked by a vertical line, perpendicular to Sang wian. Outer part features the pattern in the cone shape, alternately arranged horizontally. The sharp tip of Kruay Choeng is outward the end border of Choot Lai Na Kradan pattern, namely ‘ Kruay Choeng pattern’, consisting of 1 tier, 2 tier, 3 tier or in some fabric, supplementary Kruay Choeng pattern is added.
   In addition, Surachote also using a special technique of weaving; that is to leave the left and right ends of the silk yarns since the tie-dye process. It enables the weavers to adjust the position of the color and pattern, while the pattern is orderly woven and easier to manage the hem of fabric. With this technique, it allows the end border of fabric to be strengthened, not curled and maintaining-friendly.

Reference :

• Institute for the Promotion of Thai Arts and Crafts (Public Organization). 2022. The descendants of craftsmen, arts and crafts teacher, National craftsmen master of the year 2016. Bangkok.
• Institute for the Promotion of Thai Arts and Crafts. (Public Organization) n.d. “Handicrafts, types of Hol cloth”. www.sacit.or.th. Accessed June 2023, 9. https://www.sacit.or.th/uploads/items/attachments /a72805672a5c12f86c22eb67eb8bf7b8/_83845c9be065648a743d7bbbab03e21e.pdf
• Institute for the Promotion of Thai Arts and Crafts. (Public Organization) n.d “The Wealth of Southern Isan Wisdom Hole Handicraft Community and silverware in Surin Province”. www.sacit.or.th. Accessed June 2023, 9. https://archive-api.sacit.or.th/documents/media/book/media-book-KXLKthv7Ev.pdf
• Institute for the Promotion of Thai Arts and Crafts. (Public Organization) n.d “Som Pak Poom Khmer-Thai cloth From the Royal Court to the Commoners”. www.sacit.or.th. Accessed June 2023, 9. https://archive-api.sacit.or.th/documents/media/book/media-book-YdsvR8PxC5.pdf.
• Institute for the Promotion of Thai Arts and Crafts. (Public Organization) n.d “Sacit Poom, an ancient cloth wisdom that is almost lost”. www.sacit.or.th. Accessed June 2023,9.
• https://www.sacit.or.th/uploads/items/attachments/. f1b4a1e8b4c12f7c7f2e390c76b4cc12/_0398814b6091fbf9e7b45ac174b4efef.pdf
• Surachote Tamcharoen, Interview by We View Go Co., Ltd. 2023. (25 March).

• We will Go Co., Ltd.
• Knowledge Promotion and Dissemination Department Office, Handicraft Value Promotion Institute, Promotion of Thai Arts and Crafts (Public Organization)

Date of last data recording: 30 June 2023