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Journal articles on the topic 'Embroidery history'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Baykaoglu, Nursel, and Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 85–92. http://dx.doi.org/10.18844/gjae.v10i1.4793.

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Forming one of the most important branches of our culture and traditional arts, embroidery was born by sewing in a decorative way and it is worth mentioning that it is as early as humanity. Embroidered clothing on the sculptures excavated and the narration that the daughter of Noah in Hebrew history wears an embroidered belt shows that this branch of art goes back to earlier times. Hand embroidery, which is the products of intelligence, skill and subtle wit, has reached the current time by preserving its value. Out of a great many embroidery techniques reaching large public masses, a technique called ‘German Embroidery’ was encountered in the researches carried out in the city of Kahramanmaras and its towns in the years 2013–2014. According to the information obtained from the source people in the research carried out in the city of Kahramanmaras, German Embroidery dating back to earlier times is not produced today; however, we are likely to find pillows, clothes and dresses embroidered with German Embroidery in houses. In the current paper, embroidery samples were determined in order to unveil this technique that was embroidered on any kind of cloth with a plain surface and it was aimed to make the embroidery alive and to promote it by analysing the way of embroidering. Keywords: Embroidery, ornament, technique, traditional.

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2

Liao, Jiangbo, Chunguang Ren, and Xiaoming Yang. "Research on Grass Cloth Art Embroidery of Characteristics and Handmade." Asian Social Science 12, no. 9 (August 25, 2016): 44. http://dx.doi.org/10.5539/ass.v12n9p44.

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<p class="a"><span lang="EN-US">Grass cloth is made of ramie fiber. Grass cloth art embroidery is based on the evolution of folk Ma embroidery in China. The paper through trace Chinese ramie and Ma embroidery of the history, show the origin of grass cloth art embroidery. By visited Yuzhou grass cloth embroidery workshop in Jiangxi province, reveal the key technology about grass cloth art embroidery of handmade, sum up grass cloth art embroidery of characteristics. Research shows that grass cloth art embroidery used grass cloth as embroidered bottom to integrate calligraphy and painting of theme, turn to the artistic decoration of style. However, grass cloth art embroidery fine works mainly by copying the ancients paintings, so that lack creativity. Inheritance and development of grass cloth embroidery, it needs to develop their own original works.</span></p>

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3

Kargól, Marta. "Restoring the Memory of the Forgotten Dutch Embroidery Designer Nellie van Rijsoort." Costume 55, no. 1 (March 2021): 74–96. http://dx.doi.org/10.3366/cost.2021.0183.

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In 1932, Nellie van Rijsoort (1910–1996), the Dutch embroidery maker and designer, opened her atelier in Rotterdam. Among her clients were prestigious fashion stores in the Netherlands as well as wealthy middle-class customers. After the Second World War, van Rijsoort left Rotterdam and continued her career in Melbourne in the rapidly developing fashion network of Australia. Today, samples of embroidered fabrics and fashion drawings by Nellie van Rijsoort are part of the collections of the Museum Rotterdam and the National Trust of Australia in Melbourne. These collections provide insight into half a century of history of embroidered fabrics. This article illustrates the largely forgotten career of the embroidery designer. The first part of the article outlines the position and meaning of van Rijsoort's atelier in the fashion networks of the Netherlands and Australia, while the second part provides an analysis of embroidery samples and drawings, which reveal the place and function of embroideries as dress decorations.

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4

Kamali, Fattaneh Jalal, and Batool Hassani Sa'di. "Role of Iranian Traditional Needlework in People's Social and Family Life: A Study of Pateh Embroidery in Kerman." Modern Applied Science 11, no. 1 (December 15, 2016): 253. http://dx.doi.org/10.5539/mas.v11n1p253.

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The aim of this study is to investigate the role of Iranian traditional needlework in people's family and social life with an emphasis on the art of Pateh embroidery. In this article, the history of textile industry, the history of clothes, different sewing styles and how they have been influenced by each other, are studied. According to the "History of Iranian Textile Industry", a book written by Mehdi Beheshtipour, textile industry in Iran dates back to 7000 years ago.Tabari book of history states that this industry goes back to 4000 years ago. Excavations in Shoosh show that burlap weaving, silk weaving and embroidery were forms of art at the time of JamsheedPishdadi. Herodotus says that Xerxes wore embroidered clothes. Marco Polo refers to the art of Kerman's Pateh embroidery in his travelogue. Qajar era is called the renaissance of Iranian needlework. Different styles of needlework have been investigated in previous practical studies with reference to the regionswhere they are common and how they are used. Pateh embroidery is considered as a traditional art in Kerman. This form of needlework has been paid attention to since 1906 from economic, social and cultural perspectives and studied as a profession that can meet people's financial and aesthetic needs.

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5

Mamarajabov, Gayrat Abdulkhakimovich, and Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (June 28, 2021): 53–57. http://dx.doi.org/10.37547/history-crjh-02-06-12.

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The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, diversity and regional differences, in turn, they complement each other. The word kashta comes from the Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch of the applied arts of the Surkhandarya oasis. Among the embroidery items of the population of the oasis are suzana, zardevor, borposh, sandalposh, jainamaz, lolabolish, belars (belt), kettle, bag for salt, bag for spoons, glass bag, brick, towels designed to cover beds.

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6

Muxtar Aliyeva, Kubra. "EMBROIDERED CARPETS BY SHAKHLA ASKEROVA TRADITION AND MODERNITY IN THE CARPETS OF AZERBAIJAN." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 6–16. http://dx.doi.org/10.36719/2663-4619/67/6-16.

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The article deals with one traditional kind of decorative and applied art of Azerbaijan about carpet weaving, which has an ancient history. The carpets, hand-woven by folk craftsmen at home, consisted of pile carpets, woven using two technologies - symmetric and asymmetric knot, and pileness carpets were created using 11 technologies. But in addition to traditional types of carpet weaving in Azerbaijan, folk embroidery also developed in different regions of Azerbaijan. They are also different from each other both in composition and in technology. The article talks about how the lovers of the carpet art of Azerbaijan, moving away from traditional weaving, began to create carpets without looms, in the likeness of embroidery. One of such craftswomen by this type is Shakhla Askerova, a lover of Azerbaijani carpets, for 20 years and now she began to embroider carpets not using traditional technology, that is not on a machine, but with her hands, that is, she created and creates copies of traditional carpet compositions on an ordinary convoy, without changing the color and ornament on the convoy using the "half-cross" technology. Key words: Shahla, half-cross, embroidery, carpet, technology, design, Straume

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7

Li, Yuhang. "Embroidering Guanyin: Constructions of the Divine through Hair." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 131–66. http://dx.doi.org/10.1163/26669323-03601005.

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Hair embroidery was a particular technique practiced by lay Buddhist women to create devotional images. The embroiderers used their own hair as threads and applied them on silk to stitch figures. This paper will analyze the religious connotation of hair embroidery, the ritual process and the techniques for making hair embroidery in the Ming (1368-1644) and Qing (1644-1911) dynasties. By tracing its appearance in both literary texts and actual surviving objects, this essay will ask how and in what circumstances human hair was applied to embroidery? What was the significance of transferring one’s own hair onto an icon? How did hair embroidery combine women’s bodies (their hair) with a womanly skill (embroidery) to make a unique gendered practice in late imperial China?

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8

Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.

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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.

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10

Tyagi, Ruchi. "Meerut Embroidery Cluster: A Case Study." South Asian Journal of Business and Management Cases 1, no. 2 (December 2012): 185–202. http://dx.doi.org/10.1177/2277977912459445.

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This study tries to integrate marketing, backward–forward linkages and agency support to handicraft cluster in Meerut. The cluster has a large artisan base and opportunities of large domestic market and export potential. However, it lacks transportation facility, an organized infrastructure, networking, production line approach and designer input. There is a need for technological upgradation. The case throws light on the development of embroidery, presenting a broad view of Indian embroidery history with its diversity and the turning point in embroidery with the advent of new technology. The case takes up for study Meerut embroidery cluster with objectives of identification of areas of intervention for inclusive growth by integrating marketing with product development and designing.

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11

Bian, Xiang Yang, and Qi Zhang. "The Antique Chinese Embroidery in America and J.C. Morgenthau Co. in the early Twentieth Century." Advanced Materials Research 1048 (October 2014): 160–63. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.160.

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Accompany with the attentions in the international antique collection and auction market on Chinese embroidery, the knowledge of judgment, estimation, and evaluation is urgently needed to restore the historical imagination and the pursuit of aesthetic modernity. Researches of Chinese embroideries are mainly focused on the description of the history, pattern, stitches, styles and genres. Very few researches are about the market requirement and characteristic of collection and auction in the earlier stage. This article studied the auction catalogues and some historical documents of J.C. Morgenthau Co. in the early twentieth century. The situation of the antique market was outlined through classification and the dating records of the Chinese embroideries. We also found that the embroidered paintings had long been given more attention than the other embroidered art the similar as today. Further and more research works are needed for the potential market of the other historical Chinese embroidered art.

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12

Zhang, Yuwen. "Research on the Teaching and Learning of Traditional Gold and Silver Color Embroidery Technique for Out-of-school Education -- Taking the Design of Practical Activities of "Inheritance and Innovation of Gold and Silver Color Embroidery" as an Example." Journal of Educational Theory and Management 2, no. 2 (April 16, 2018): 55. http://dx.doi.org/10.26549/jetm.v2i2.730.

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Gold thread embroidery is a process in which gold and silver platinum paper are wound on a silk thread to form gold and silver threads, which are then discarded into various patterns or contour lines, and then colored lines are used to fasten the pattern lines on the base material. Gold thread mbroidery has a long history as a representative embroidery skill in traditional embroidery techniques. It has complex techniques and deep deposits. Due to the particularity of its materials and techniques, it is faced with many problems in its inheritance in the off-campus education. This paper discusses the problems of the traditional gold thread embroidery techniques for off-campus education, the innovation in the process of teaching, the design of practical activities, and their significance, so that traditional skills can promote the national spirit in the new concept and teaching of off-campus education, inheriting the human civilization, serving the social harmonious and cultural development, thus achieving the goal of education.

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13

Rakhmatova, Nilufar Mustaqimovna. "THE ROLE OF EMBROIDERY AND HOME WORK IN THE DEVELOPMENT OF ENTREPRENEURSHIP IN UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 05 (May 31, 2021): 93–97. http://dx.doi.org/10.37547/history-crjh-02-05-21.

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This article discusses the creation of favorable economic and social conditions for the revival of forgotten traditional handicrafts in Uzbekistan in recent years and the future development of its surviving varieties. In the Soviet era, domestic labor was initially opposed for political and ideological reasons, but later, under the notion of “self-employment,” domestic production was not strongly opposed, but not enough attention was paid to its development.

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14

Labarge, Margaret Wade. "Stitches in Time: Medieval Embroidery in its Social Setting." Florilegium 16, no. 1 (January 1999): 77–96. http://dx.doi.org/10.3138/flor.16.008.

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Embroidery was an important decorative element in medieval art, known to exist but often overlooked. The surviving examples of the extraordinarily beautiful works created by the elegant stitches of a multitude of mostly unknown embroiderers over the centuries tend to be casually admired but intellectually overlooked. This survey does not deal with the techniques and methods of medieval embroiderers, but endeavours to draw attention to the place of embroidery as an overlooked component of medieval social history.

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15

Blanchard, Mary Warner. "Embroidery and Enterprise in Gilded Age America." American Quarterly 54, no. 4 (2002): 661–79. http://dx.doi.org/10.1353/aq.2002.0032.

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16

Huang, I.-Fen. "Gender, Technical Innovation, and Gu Family Embroidery in Late-Ming Shangha." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 77–130. http://dx.doi.org/10.1163/26669323-03601004.

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This paper takes Gu Family embroidery as a case study to discuss the contribution of technical innovation to the construction of gender in late imperial China so as to better understand Guxiu in its technical, social, and artistic contexts. Focusing on the Flowers and Fishes album (dated 1641, Shanghai Museum) by Han Ximeng, I argue that Gu family ladies, such as Han Ximeng, used embroidery as a means to display their individual creativity; and, further, by means of technical innovations, contributed not only to their family finances but also to the art and culture of late Ming Shanghai. While some of the technical innovations that the Gu family ladies achieved were driven by the desire to meet the literati aesthetic of their time, eventually, in the case of Han Ximeng, she went beyond the literati taste for ‘painting-like’ embroidery to assert the special qualities of embroidery. By affirming her own authorship, drawing attention to the feminine medium in which she worked and claiming the significance of her work with a carefully chosen subject, Han subverted the conventions of male painting in subtle ways and demonstrated her subjectivity.

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17

Shigurova, Tat'yana Alekseevna. "Permanent metal jewelry in Mordovian female costumes: ethno-culturological aspect." Культура и искусство, no. 7 (July 2021): 1–16. http://dx.doi.org/10.7256/2454-0625.2021.7.36111.

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This article trace the origins of using permanent metal jewelry in traditional clothing of the Mordovian people, as well as characterizes the role of metal products in culture. From the perspective of the currently popular brocade, sparkling fabrics, it seems relevant to refer to the domestic tradition of costume embroidery with metal pendants, beads, pearls that shine in the sun, and to the analysis of peculiarities of of Erzya and Moksha embroidery of the XIX – early XX centuries, known for simple but very effective methods of decorating female costume. The novelty of this work is defined by the absence of special research dedicated to permanent metal décor of the Mordovian costume; the need to determine the ratio between natural and synthetic materials used in embroidery; their interrelation with the traditional norms and aesthetic preferences of the Mordovian people. The object of this research is the traditional Mordovian costume, while the subject is the specificity of including small metal items (pendants, beads, pearls) into embroidery of the elements of festive and ritual clothes of the XIX – early XX centuries. The goal consists in analysis of the tradition of using metal items in embroidery, as well as in cognition of the meanings of this material in folk culture. Analysis is conducted on the new archaeological and ethnographic sources, archival materials on the history of culture and art of the Mordovian region. The author highlights and characterizes various techniques of using sequins in the Moksha and Erzya embroidery of the XIX – early XX centuries, which testify to the complexity of ethnogenesis of the Mordovian people.

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18

Papastavrou, Elena, and Daphni Filiou. "On the beginnings of the Constantinopolitan School of embroidery." Zograf, no. 39 (2015): 161–76. http://dx.doi.org/10.2298/zog1539161p.

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This paper examines Greek-Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery. We are well informed about the artistic production that flourished between the last decades of the seventeenth century and midnineteenth century via preserved artifacts and inscriptions bearing the embroiderers? signature. Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking. In this paper, our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production. The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.

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19

Silberstein, Rachel. "Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress." Costume 50, no. 1 (January 1, 2016): 63–89. http://dx.doi.org/10.1080/05908876.2015.1129859.

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Figural motifs have received little attention in Chinese dress and textile history; typically interpreted as generic ‘figures in gardens’, they have long been overshadowed by auspicious symbols. Yet embroiderers, like other craftsmen and women in Qing dynasty China (1644–1911), sought inspiration from the vast array of narratives that circulated in print and performance. This paper explores the trend for the figural through the close study of two embroidered jackets from the Royal Ontario Museum collection featuring dramatic scenery embroidered upon ‘narrative roundels’ and ‘narrative borders’. I argue that three primary factors explain the appearance and popularity of narrative imagery in mid- to late Qing dress and textiles: the importance of theatrical performance and narratives in nineteenth-century life; the dissemination of narrative imagery in printed anthologies and popular prints; and the commercialization of embroidery. By placing the fashion for these jackets firmly within the socio-economic context of nineteenth-century China, the paper provides a novel way of understanding the phenomena of narrative figures on women’s dress through the close relationship between popular culture and fashion in nineteenth-century Chinese women’s dress.

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20

Pritchard, Frances. "English Medieval Embroidery: Opus Anglicanum." Textile History 48, no. 2 (July 3, 2017): 286–87. http://dx.doi.org/10.1080/00404969.2017.1379762.

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21

Blyzniuk, M., and N. Vakulenko. "ACHIEVEMENTS OF THE ALL-UKRAINIAN CENTER OF EMBROIDERY AND CARPET WEAVING IN RESHETYLIVKA: HISTORICAL MILESTONES AND PROSPECTS." Ukrainian professional education, no. 8 (November 25, 2020): 36–44. http://dx.doi.org/10.33989/2519-8254.2020.8.239446.

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The article describes the origins and prospects of the All-Ukrainian Center for Embroidery and Carpet Making in Reshetylivka, Poltava region. Its creation contributes to the implementation of state policy in the field of culture and provides the basis for the revival and preservation of embroidery and carpet weaving traditions as the oldest artistic craft. There is a problem of public awareness of the elements of intangible cultural heritage. The reason is the lack of information sources, communication technologies, and educational activities on relevant topics, as well as insufficient motivation to study these issues. It is emphasized that at the present stage of development of society in the world cultural space, there are significant changes associated with the comprehensive process of globalization, under the pressure of which languages disappear, traditions are forgotten and lost, weakened local cultures are on the verge of extinction. Traditional branches of Ukrainian culture contribute to the preservation of national identity, are a consolidating factor in the development of the nation, as well as an essential component of economic development. It is emphasized that due to the efforts of talented people, who make up the cultural center of Reshetylivka, the technology of «white-on-white embroidery» in 2017 was included in the National Register of Intangible Cultural Heritage of Ukraine, and «traditions of plant carpet weaving» of Reshetylivka was also included in the National Register of Intangible Cultural Heritage of Ukraine in 2018. On October 3, 2018, in accordance with the Resolution of the Cabinet of Ministers of Ukraine № 987, the state non-profit institution «All-Ukrainian Center of Embroidery and Carpet Making» was established in Reshetylivka on the basis of a former factory; this center of embroidery and carpet weaving is a cultural, educational, artistic, and research institution of culture, which belongs to the sphere of management of the Ministry of Culture of Ukraine. In the future, it is planned to study the history of famous Ukrainian families, dynasties, individual masters of embroidery, carpet weaving, weaving, publishing periodicals, scientific works on folk arts and crafts of embroidery and carpet heritage; participation in the training of scientific staff, in particular, craft researchers, museum specialists, culturologists, technology teachers; production of products and souvenirs decorated with artistic and national embroidery (clothing, interior, and ceremonial fabrics, hats, table and bedding accessories), manufacturing of carpets and artistic weaving products.

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22

Myzelev, Alla. "Handcrafting revolution: Ukrainian avant-garde embroidery and the meanings of history." Craft Research 3, no. 1 (May 4, 2012): 11–32. http://dx.doi.org/10.1386/crre.3.1.11_1.

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23

Lanszki-Széles, Gabriella. "Egyházi öltözékek, miseruhák Gölle és Kisgyalán községekben a 18–21. században." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 305–20. http://dx.doi.org/10.26080/krrmkozl.2020.7.305.

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The paper was written about the church attires of the two villages of Outer-Somogy County from the 18th to the 21st century, taking into account ecclesiastical art and lo-cal history aspects. During the Counter-Reformation period, Baroque art was destined to conquer believers in the Catholic religion. A good example of this is the more than 250-year-old mass chasuble, which is a latent applied art value in Gölle. This chasuble bears several common similarities with the mass dresses from Maria Theresa ‘s embroidery workshop: it is very richly embroidered with scotch, its pattern and color are also similar. During the 19th-20th centuries not only aris-tocratic women but also peasant women embroidered mass chasubles. In these villages one can find mass chasubles with Matyo, Kalocsa and Buzsák patterns. In the case of Kis-gyalán village, we could also form a picture of the time and way of making the chasubles. The changes in the motif on the mass dresses can be well traced in the photos, from the 18th to the 21st century.

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24

Brückmann, Patricia C. "‘Without any Letter’: Some History Outside the Library." Recusant History 30, no. 1 (May 2010): 60–66. http://dx.doi.org/10.1017/s0034193200012632.

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In her recent study of the Bayeux tapestry, Suzanne Lewis argues persuasively that we cannot use only the simple Latin tags on this long embroidery (it is not a tapestry) to come to know its story. The more we attend to the exceptionally detailed images, the more we see ambiguity and complexity. Why does Harold have two hands on reliquaries for oath-taking? Why does he look in one direction while a ship leaves in the other? Why does the Fable of the Fox and the Crow appear three times?

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25

KUTSYR, Tetiana. "HORODOK AS THE CENTER OF FOLK EMBROIDERY: HISTORY, CURRENT STATE, DEVELOPMENT PROSPECTS." Ethnology Notebooks 154, no. 4 (August 22, 2020): 797–805. http://dx.doi.org/10.15407/nz2020.04.797.

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Savriev, Jasur Fakhriddinovich. "The History Of Construction Of The Mirzachorbog Palace And Problems And Solutions In The Repair Process In The Years Of Independence." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 367–77. http://dx.doi.org/10.37547/tajssei/volume02issue11-62.

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During the reign of Karman, the second capital of the Bukhara Emirate, the emir of Bukhara Abdulahad Khan was one of the favorite corners of the emir, which was built during the reign of Karmanada and his son Sayyid Alimkhan, the Palace of Mirzachorbog Amir was studied among the squares with its beauty, amazing architecture, graceful embroidery ganchkor and an architectural structure. Reconstruction of the palace, as well as restoration of dilapidated parts of the building, prevention of the dilapidated state of Mirzachorbog, looting by negligence is one of the most pressing problems today.

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Brown, Bronwen. "Art of Embroidery: History of Style and Technique2001457Lanto Synge. Art of Embroidery: History of Style and Technique. Woodbridge: Antique Collectors’ Club 2001. 352pp, ISBN: 1 85149 359 X £45.00." Reference Reviews 15, no. 8 (August 2001): 43. http://dx.doi.org/10.1108/rr.2001.15.8.43.457.

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28

Câmara, Maria Benedita Almada. "Madeira embroidery: A failed collective brand (1935–59)." Business History 53, no. 4 (July 2011): 583–99. http://dx.doi.org/10.1080/00076791.2011.574693.

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29

Baker, Claire A. "An experiential investigation into the embroidery practices of the Chernobyl Babushka." Clothing Cultures 6, no. 1 (March 1, 2019): 17–34. http://dx.doi.org/10.1386/cc_00002_1.

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This article contextualizes and personalizes a cohesive and cogent line of enquiry into the textile practices of the Babushkas of Chernobyl through empirical research centred upon observing, recording and gathering testimonies and histories in the field. Chernobyl, as place (or rather non-place), is the site of the world’s worst nuclear accident of 1986. Post-accident, 91,200 people were evacuated from areas around Chernobyl and it is now deemed to be uninhabitable. At the time of this research, there were 128 people remaining, their legacy the declining remains of a forgotten community, with a loss of their strong textile heritage. The ‘Embroidery as a Language’ project was implemented in order to discover how a common interest, i.e. embroidery, within the context of action research methodology could be used to encourage stronger connections and understandings between transnational communities and as a consequence promote the sharing of relevant and new information about regional embroidery, in turn preserving the past and taking it forward into the future. Alongside building an archive, the preservation of their history through personal experiences and narratives is paramount and this article reflects the focus on the self-settlers of Chernobyl and their embroideries as an ongoing initiative and an experiential poignant investigation that has developed over the past four years and during my ten separate visits to the Chernobyl Exclusion Zone.

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Chattaraj, Durba. "Globalization and Ambivalence: Rural Outsourcing in Southern Bengal." International Labor and Working-Class History 87 (2015): 111–36. http://dx.doi.org/10.1017/s0147547915000022.

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AbstractStudies of globalization in India have focused on high-tech industries, such as call centers in urban areas. But a widespread effect of the globalization of India's economy is the growth of “rural outsourcing”—the expansion of urban-based industries into the countryside. Rural outsourcing links to longer histories of decentralized manufacturing in India. This ethnography of the decentralized industry of sari embroidery in Southern Bengal shows that workers are ambivalent toward it. Among villagers who participate in the embroidery industry, I found three scales of ambivalence: ambivalence toward the product; toward the production process; and finally, toward the politics of this form of decentralized production. Ambivalence is not a transient or uncertain position of confusion or ambiguity. Rather, it is a widely-held expression of the dual and contradictory positions that workers and contractors hold in relation to the industry. I argue that the “frictions” of globalization find expression not just in resistance or contestation, but also in articulated positions of ambivalence toward globalization processes.

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Villella, Peter B. "Indian Lords, Hispanic Gentlemen: The Salazars of Colonial Tlaxcala." Americas 69, no. 1 (July 2012): 1–36. http://dx.doi.org/10.1353/tam.2012.0060.

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In 1773, a Mexico City expert in gold embroidery named don José Mariano Sánchez de Salazar Zitlalpopoca petitioned for a license to operate his own shop and take on apprentices. As handling precious metals was politically and economically sensitive, such professions were by law exclusive, open only to those of proven character, standing, and reputation—qualities understood to be inherited by blood. Thus, to establish his sufficiency for the license don José called forth witnesses to his family's honor, reputation, and good lineage.

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Wilson, Verity. "Wang Yarong: Chinese folk embroidery. 160 pp. London: Thames and Hudson, 1987. £7.95." Bulletin of the School of Oriental and African Studies 51, no. 3 (October 1988): 598–99. http://dx.doi.org/10.1017/s0041977x00117112.

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Gordon, Beverly. "Girlhood Embroidery: American Samplers and Pictorial Needlework, 1650-1850. Betty Ring." Winterthur Portfolio 29, no. 2/3 (July 1994): 191–94. http://dx.doi.org/10.1086/496660.

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Wilton-Ely, J. ""Gingerbread and sippets of embroidery": Horace Walpole and Robert Adam." Eighteenth-Century Life 25, no. 2 (April 1, 2001): 147–69. http://dx.doi.org/10.1215/00982601-25-2-147.

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Wood, Susan. "Women’s work or creative work? Embroidery in New South Wales high schools." History of Education 38, no. 6 (November 2009): 779–89. http://dx.doi.org/10.1080/00467600903325267.

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Adler, Melissa. "Eros in the library: Considering the aesthetics of knowledge organization." Art Libraries Journal 44, no. 2 (April 2019): 67–71. http://dx.doi.org/10.1017/alj.2019.6.

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Privileging the aesthetic aspects of knowledge organization through a feminist historical lens may open possibilities for reimagining a library's space. This paper reveals the history of a relatively unknown figure in the history of knowledge organization. I will suggest that we might regard Pamphila, a miscellanist who lived in Greece during the 1stcentury, as a ‘radical cataloguer’ who introduced a method associated with weaving and embroidery. Her organizational method privileged beauty and pleasure, along with historical accuracy and usefulness.A version of this paper was presented as a keynote speech for the annual conference of ARLIS UK & Ireland in July 2018. The author would like to thank the coordinators for their hospitality and feedback.

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Ward, Barbara McLean. "The Subversive Stitch: Embroidery and the Making of the Feminine. Rozsika Parker." Winterthur Portfolio 23, no. 2/3 (July 1988): 193–96. http://dx.doi.org/10.1086/496380.

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Cristiani, Emanuela, and Dušan Borić. "8500-year-old Late Mesolithic garment embroidery from Vlasac (Serbia): Technological, use-wear and residue analyses." Journal of Archaeological Science 39, no. 11 (November 2012): 3450–69. http://dx.doi.org/10.1016/j.jas.2012.05.016.

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Sharpe, Pamela, and Stanley Chapman. "Women's employment and industrial organisation: commercial lace embroidery in early nineteenth-century Ireland and England." Women's History Review 5, no. 3 (September 1, 1996): 325–51. http://dx.doi.org/10.1080/09612029600200121.

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Alinazarova, Dildora. "Restoration And Development Of Periodic Printing In Andijan." American Journal of Social Science and Education Innovations 02, no. 12 (December 31, 2020): 345–52. http://dx.doi.org/10.37547/tajssei/volume02issue12-59.

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Andijan region is the cradle of traditional Uzbek art and folk crafts. It was here that the world-famous potters, masters of applied arts, gold embroidery, the production of natural fabrics and many other crafts were created and developed. This article analyzes the problems of periodicals that were raised in the Soviet period on the pages of the newspapers Andijan Pravda, Andijonnoma. On the basis of primary sources, a number of problems of the periodical press of the period under study are revealed and recommendations are given for the introduction of new materials on the history of the Andijan press.

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Thunder, Moira. "Capturing Understanding of Women’s Embroidery Designs: A Methodology for Research and a Critique of Cataloguing Databases using the Example of Women’s Embroidery in Nineteenth-Century Britain." Textile History 45, no. 1 (April 14, 2014): 68–98. http://dx.doi.org/10.1179/0040496914z.00000000038.

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Learner, Mary. "Embroidering the New Science." Nuncius 35, no. 3 (December 14, 2020): 685–717. http://dx.doi.org/10.1163/18253911-03503002.

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Abstract An unruly object of seventeenth-century experimental science is the metal needle, an instrument that begins Robert Hooke’s Micrographia (1665) but also was the essential tool used in women’s embroidery work. This article follows traces of the needle through the historical record and florilegia – a genre that bridged botanical and artistic studies – to argue that needlework provided a way of seeing that facilitated the development of empiricism. Using evidence from the works of Isabella Parasole, Elizabeth Isham, and Maria Sibylla Merian, I show how the needle surfaces in scenes of scientific illustration, thereby resituating natural histories and the scientific process of ordering minute organisms.

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Kerlogue, Fiona, and Dagmar Pospíšilová. "Narrative designs in artworks from Burma/ Myanmar in the Náprstek Museum collections." Annals of the Náprstek Museum 41, no. 2 (2020): 71–91. http://dx.doi.org/10.37520/anpm.2020.008.

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This article gives an overview of material from Burma/Myanmar in the collections of the Náprstek Museum, with a focus on three types: lacquerware, silverware, and embroidery. Examples from the collection are linked by their use of narrative scenes as devices to embellish the surfaces, especially scenes from the life of the Buddha and scenes from the stories of his previous lives. Historical scenes are often depicted on lacquerware from Bagan. Techniques employed to decorate the objects are very much the same today as they were when the majority of the items discussed were made, that is in the 19th century.

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Zhang, Xiyue, Yajuan Li, Jing Lin, and Yanjun Ye. "The Construction of Placeness in Traditional Handicraft Heritage Sites: A Case Study of Suzhou Embroidery." Sustainability 13, no. 16 (August 16, 2021): 9176. http://dx.doi.org/10.3390/su13169176.

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Traditional handicrafts are rooted in the idea of the place, and their revival can trigger a construction of place in terms of physical buildings and cultural ambience. This study focuses on traditional Suzhou embroidery and analyses the effect of its revival on the construction of placeness and sustainable development within its specific social context. The results showed that (1) reviving traditional handicrafts triggers changes to local public spaces, the reshaping of local architecture, and the development of a cultural landscape; (2) The revival of the handicraft in terms of local activities is reflected in increased efficiency and creativity and in the stable inheritance of skills. The traditional farming lifestyle of Zhenhu has been transformed, leading to better quality of life and social networks; (3) The revival of Suzhou embroidery has updated the place through renovating its image. The local residents’ awareness of the benefits of their handicrafts has also increased, and their increased dependence on place will strengthen their belongingness and attachment to it. These local changes exert positive impact on the realization of sustainable goals by boosting decent work and economic growth, ensuring environmental sustainability, building sustainable cities and communities, and enhancing community stability and cultural diversity. Thus, the revival of handicrafts can guide a place to refocus on local economic growth and cultural development towards sustainable development, bringing about an organic inheritance of its history and the reinforcement of placeness.

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Ellis, Margaret. "The Hardwick wall hangings: an unusual collaboration in English sixteenth-century embroidery." Renaissance Studies 10, no. 2 (June 1996): 280–300. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00360.x.

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Ellis, Margaret. "The Hardwick Wall Hangings: An Unusual Collaboration in English Sixteenth-Century Embroidery." Renaissance Studies 10, no. 2 (June 1996): 280–300. http://dx.doi.org/10.1111/1477-4658.00208.

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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (March 27, 2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.

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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.

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van Elk, Martine. "Female Glass Engravers in the Early Modern Dutch Republic." Renaissance Quarterly 73, no. 1 (2020): 165–211. http://dx.doi.org/10.1017/rqx.2019.492.

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This essay explores glass engravings by Dutch authors Anna Roemers Visscher, Maria Tesselschade Roemers Visscher, and Anna Maria van Schurman. I place these engravings in their rich contemporary contexts, comparing them to other art forms that were the product of female pastime. Like embroidery, emblems, and alba amicorum, engraved glasses combined text and image, transforming each glass into an object that fulfilled key social and cultural functions. Above all, engraving glasses allowed women to forge new self-representations, specifically through their use of play to question binary oppositions and moral certainties.

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Akimov, Zhaxylyk Makmutovich, and Bakyt Uzakbaevna Syzdykbaeva. "CHARACTERISTIC OF ETHNIC TOURISM RESOURCES OF KAZAKHSTAN IN THE LIGHT (IN THE VIEW/BASED ON) OF THE HISTORICAL AND CULTURAL HERITAGE OF THE KAZAKH PEOPLE." Bulletin of Toraighyrov University. Humanities series, no. 3.2020 (October 14, 2020): 80–95. http://dx.doi.org/10.48081/plcq8623.

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The Kazakh nation has come a long way with numerous tribes and nations taking part in its formation process. The nation takes a prominent place in the history of Eurasia as one of the most ancient ethnic groups with the rich culture that participated in its development. The article discusses the development of national ethnographic tourism, taking into account the historical and cultural heritage of ethnic Kazakhs. Authors identified historical and national ethnographic cultural resources describing the Kazakh yurt and the national craft, such as felt production, weaving mats, embroidery, art crafts, a variety of motifs of ornamental art. The article considers the current state of cultural heritage in the view of the country’s potential and state programs on the historical and cultural heritage preservation.

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Fong, Grace S. "Female Hands: Embroidery as a Knowledge Field in Women's Everyday Life in Late Imperial and Early Republican China." Late Imperial China 25, no. 1 (2004): 1–58. http://dx.doi.org/10.1353/late.2004.0007.

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