Artículos de revistas sobre el tema "Ancient textile fabrics"
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1
Wang, Ping, Tian Tian Li y Ji Huan He. "Determination of the Del Zone in Tearing of Textiles Using an Ancient Chinese Algorithm". Advanced Materials Research 796 (septiembre de 2013): 183–86. http://dx.doi.org/10.4028/www.scientific.net/amr.796.183.
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Resistance of tear is an important characteristic of textile materials, especially for fabrics used for personal protective equipment. In this study, a constant force is applied to tear the fabric specimens to obtain the del-zone theoretically. The strain-stress curve for a single yarn is obtained from experiment, and the del-zone is determined by an ancient Chinese algorithm. This combination of ancient Chinese algorithm and actual tearing behavior of woven fabrics provides a noval analysis approach of tearing performance of textile product theoretically.
2
Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective". Studia Vernacula 11 (5 de noviembre de 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
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This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”.
The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
3
Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective". Studia Vernacula 11 (5 de noviembre de 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
Texto completoResumen
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”.
The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
4
Kaljus, Astri. "Reconstructing fabrics used in the clothing of “Kukruse Woman” from the late 12th century: A craftsperson’s perspective". Studia Vernacula 11 (5 de noviembre de 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
Texto completoResumen
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved experts from various fields in studying the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the grave of the “Kukruse Woman”.
The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that, when it came to weaving the fabrics, other archaeological textile finds that date back to the same period had to be relied on to a degree. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, the yarn used was from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
Keywords: woollen fabric, reconstructing clothing, archaeological textile finds, weaving
5
Azam, Farooq, Faheem Ahmad, Zeynep Ulker, Muhammad Sohail Zafar, Sheraz Ahmad, Abher Rasheed, Yasir Nawab y Can Erkey. "The Role and Applications of Aerogels in Textiles". Advances in Materials Science and Engineering 2022 (17 de septiembre de 2022): 1–22. http://dx.doi.org/10.1155/2022/2407769.
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Textiles have been used for clothing purposes since ancient times. However, due to their functional properties, their importance—as well as their use in various fields such as filtration, protective clothing, and medical applications—increased over time. Properties of the textile fabrics depend mostly on the fiber type, fabrication technique, and structure. Moreover, fabric porosity is one of the properties that provide comfort, increased thermal insulation, and filtration capability to the end products. The porous structure of woven, knitted, and nonwoven fabrics has been used for many years to get the desired porosity. Usually, macroporous structures are achieved using these types of textiles. Electrospinning is used to produce nanoporous textile fibrous web, but its poor mechanical properties and low production rate limit its use. Aerogels are solid materials with ultrahigh porosity at the nanoscale with low density and good thermal insulation properties, due to which they are considered potential insulation materials today. On the other hand, pure aerogels are sometimes brittle and have poor mechanical properties. Thus, they cannot be directly used in various applications. Consequently, textile reinforced aerogel composites have been developed, which could provide flexibility and strength to aerogels and impart nanoporous structure to textiles. This review summarizes conventional techniques to produce the porous structure in textiles followed by the modern techniques to develop a nanoporous structure. Further, different mechanisms to synthesize textile reinforced aerogel composites are discussed to get a nanoporous structure for filtration and thermal insulation applications. The porosity, mechanical properties, and thermal insulation of textile reinforced aerogel composites are also highlighted. In the end, we give a conclusion that not only summarizes the literature, but also includes recommendations for the researchers.
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De Caro, Giannini, Lassandro, Scattarella, Sibillano, Matricciani y Fanti. "X-Ray Dating of Ancient Linen Fabrics". Heritage 2, n.º 4 (18 de noviembre de 2019): 2763–83. http://dx.doi.org/10.3390/heritage2040171.
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We propose a new method for dating ancient linen threads by inspecting their structural degradation by means of wide-angle X-ray scattering. X-ray dating of a textile sample can be performed nondestructively and on a submillimeter area, e.g., 0.2 0.5 mm2, exploiting new table-top X-ray micro-sources. A theoretical formula is derived for dating linen samples directly from wide-angle X-ray scattering measurements. Our preliminary results show that X-ray dating results are in agreement with other dating sources, such as the radiocarbon method and historical records, if some conditions are satisfied. Indeed, this new dating method can be applied only to threads not older than about thirty centuries because of the saturation of the structural degradation with age. Moreover, the method can be applied only on textiles in which cellulose degradation is mainly due by natural aging arising from thermal, hydrolytic, photolytic, photochemical, and oxidative processes. Analyses can be repeated several times on the same sample, which remains unaltered for other complementary characterization procedures. The proposed X-ray dating of some ancient linen fabrics opens the way to explore limits and potentialities of this new approach and to further develop a new dating method, alternative to the existing ones for specific applications in archeological studies.
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Spantidaki, Stella y Christina Margariti. "Archaeological textiles excavated in Greece". Archaeological Reports 63 (noviembre de 2017): 49–62. http://dx.doi.org/10.1017/s0570608418000054.
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This paper offers an account of the archaeological textiles excavated in Greece, consideration of the challenges one has to deal with when studying such materials and a discussion of ways to overcome them. A complete list of archaeological textiles excavated in Greece is not within the scope of this paper, since such comprehensive studies have been published previously (Spantidaki and Moulhérat 2012; Moulhérat and Spantidaki 2016) and, of course, the corpus of such textiles is continuously expanding.The study of textiles is an emerging and fast-growing field of Greek archaeology (Gleba 2011). The number of archaeologists and conservators working with and studying archaeological textiles is steadily increasing, thus raising the general awareness of textiles and expanding the corpus of known ancient fabrics. In recent years, several research projects have investigated ancient Greek textiles, such as those conducted by the Centre for Textile Research at the University of Copenhagen (for example Textile Economies in the Mediterranean Area), several funded by Marie Skłodowska Curie Action grants and some by European Research Council grants (for example Production and Consumption: Textile Economy and Urbanisation in Mediterranean Europe 1000–500 BCE hosted by Cambridge University).
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Kaljus, Astri. "12. sajandi lõpu Kukruse „memme“ rõivakangaste rekonstrueerimise lugu käsitöölise vaatenurgast / Reconstructing Fabrics Used in the Clothing of “Kukruse Woman” from the Late 12th Century: a Crafter’s Perspective". Studia Vernacula 7 (4 de noviembre de 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.
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This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
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Kaljus, Astri. "12. sajandi lõpu Kukruse „memme“ rõivakangaste rekonstrueerimise lugu käsitöölise vaatenurgast / Reconstructing Fabrics Used in the Clothing of “Kukruse Woman” from the Late 12th Century: a Crafter’s Perspective". Studia Vernacula 7 (4 de noviembre de 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.
Texto completoResumen
This article focuses on the reconstruction of fabrics based on archaeological finds. When a woman’s grave from the late twelfth century AD (Kukruse Burial VI) was unearthed at Kukruse in eastern Estonia, archaeologists involved scientists from various fields in the study of the materials that were found in the grave – from natural scientists to textile researchers. A set of clothing was reproduced from what was found in the “Kukruse Woman” grave.The grave that served as the basis for this study featured plentiful amounts of jewellery and bronze embellishments, but textile remains were extremely scarce. It was for this reason that when it came to weaving the fabrics some reliance had to be placed on other archaeological textile finds that dated back to the same period. The aim was to achieve a visual resemblance to the historic fabric. When weaving the woollen fabrics, use was made of yarn from the wool of an ancient Estonian sheep breed, the native Kihnu type, which was spun in a way that is customary for contemporary woollen mills. In order to obtain the required shade of blue, synthetic dyes were used on the yarn. The tools used met the needs of a modern weaver and increased the efficiency of the work. This article interprets handicraft skills on the basis of the crafter’s personal experience, primarily from a weaver’s perspective. Reconstructing an ancient fabric includes not only reproducing the item itself, but also the process of studying and recreating inherited skills that had since been lost.
10
Simion Beldean-Galea, Mihail, Florina-Maria Copaciu y Maria-Virginia Coman. "Chromatographic Analysis of Textile Dyes". Journal of AOAC INTERNATIONAL 101, n.º 5 (1 de septiembre de 2018): 1353–70. http://dx.doi.org/10.5740/jaoacint.18-0066.
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Abstract The textile industry uses many raw materials (natural and synthetic dyes and fibers) and different dyeing techniques that can be considered important pollutants with a negative impact on the environment (toxic working conditions, discharged wastewater, and contamination). Although synthetic dyes are intensively used, offer a wide range of colors and hues and properties of adhesion, longevity, and resistance to sunshine and chemical processes, and are cost-effective, they have begun to be restricted by many textile producers because they are nonbiodegradable and have toxic, carcinogenic, and mutagenic effects that generate some imbalances in plant, animal, and human life. Natural dyes of plant and animal origin exhibit very good tolerance to washing, rubbing, and light and are biodegradable and nontoxic; these properties have led to a call for the renewed use of these dyes. Modern analytical techniques (solid-phase extraction, spectrophotometry, HPLC, HPTLC, capillary electrophoresis) with different spectroscopy (UV-Vis, diode-array detection, pulsed amperometric detection) and/or MS/tandem mass spectrometry detectors have an important role in the textile industry in obtaining essential information about dyeing techniques, material origin, historical trade routes of ancient textiles, and environmental pollution. For this purpose, isolation, separation, and quantification methods of natural and synthetic textile dyes from various matrices (ancient and modern fabrics, water, biota, etc.) are presented.
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Wang, Ping, Chun-Hui He, Yan Zhang, Fu-Juan Liu y Zhu-Xin Zhao. "Application of an ancient Chinese algorithm to stab performance of woven fabrics". Thermal Science 20, n.º 3 (2016): 819–22. http://dx.doi.org/10.2298/tsci1603819w.
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Stab damage is a common failure mode for textile products, especially for the geotextiles and geotextile-related products which are widely used in the road, airport, pipeline, and so on. In this paper, an ancient Chinese algorithm is applied to predict the stab area and stab energy of woven fabrics under stabbing load according to the load-displacement performance of the single yarn. This research proposes a novel method to analyze the stab property of the textile products.
12
Bhattacharya, Dr Sumanta. "Study on Exhaustion Behaviour of Red Chili on Cotton Fabric". International Journal for Research in Applied Science and Engineering Technology 9, n.º 11 (30 de noviembre de 2021): 1022–29. http://dx.doi.org/10.22214/ijraset.2021.38964.
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Abstract: Dying is a popular practice in textile industry which is prevalent at all parts of the world from the period of ancient civilization. Initially, natural dyes i.e. dye derived from natural resources like vegetables, flowers, minerals, plants etc. were used. Now-a-days, due to technological and scientific innovations synthetic dyes are processed at large scale in the laboratories as it is still one of the most profitable industry globally. However, the rapid utilization of chemicals in textile industry for production of synthetic dyes causes degradation of environment like soil pollution, water pollution etc. Hence, it is necessary to promote the utilization of natural dyes globally. In this paper, the exhaustion of dye extracted from red chillies, one of the most used vegetables same has been studied on cotton fabrics at different temperatures using UV-Visible light spectrophotometer. The colour strength of the fabric before and after application of soap therein are also studied experimentally. Keywords: Natural dye, red chillies, cotton fabrics, exhaustion of dye, absorption.
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Hotsalo, Kateryna. "The ideas about Ottomans in Italy during the 15th and 16th centuries: the study through textiles". Text and Image: Essential Problems in Art History, n.º 1 (2022): 84–98. http://dx.doi.org/10.17721/2519-4801.2022.1.07.
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The article is an attempt to supplement the knowledge of Italians' ideas about Ottomans during the 15th and 16th centuries, using the preserved antique textiles of both cultures, as well as fabrics' mentions in written and visual sources. Modern technological research methods of ancient textiles make it possible to clarify their attributive data, which in turn contributes to more definite conclusions about artistic exchanges in the field of decoration of expensive textiles. Thus, for example, it turned out that two fabrics from the collection of the Khanenko Museum, which were considered Italian, are the work of Ottoman masters. If the structure of the Italian and Ottoman fabrics of the period under the study are quite different, visually – they are often almost identical. Despite the fact that the trade in Ottoman fabrics was not widespread in Italy during the 15th and 16th centuries, Italian painters and weavers still actively imitated the textile products of the Middle East. Written sources, especially epistolary and inventory, are also filled with references to Ottoman fabrics and "turkish-style" textiles. Since there were few authentic silks from West Asia in the secular space of Italian cities at the time, it is likely that citizens could even associate Ottoman culture with certain types of local textiles that looked like "Turkish". The number and peculiarities of their description in written sources suggest the Italians' enormous interest in Ottoman culture, "cautious concern" for the growing Ottoman Empire, and recognition of its dominance over many Asian peoples. All this took place in spite of the permanent wars between the Venetian Republic and the Ottomans. The entry into Italian fashion of fabrics "in the Turkish style" was lightning fast. However, local authors emphasized the antiquity of this fashion tradition, to some extent rooting the idea of kinship between the two cultures.
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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE". Architecton: Proceedings of Higher Education, n.º 2(70) (29 de junio de 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.
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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.
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Shen, Hui, Yan Zhu y Xiao Luo. "Application of Micro-Damaged Testing Methods in the Analysis of Ancient Silk Material". Advanced Materials Research 175-176 (enero de 2011): 299–302. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.299.
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The ancient silk fabrics are important signs of the development of textile technology. Based on the micro-sampling, this paper discusses the application of micro-damaged testing methods in the analysis of ancient silk materials, which includes the Energy Dispersive X-ray Spectroscopy (EDS) and infrared spectrum (FTIR). By testing the ancient silk, the elementary compositions and the contents of the materials can be obtained by EDS, which provides evidence for the inference of their applications and storage environment. The composition and structure of the materials can be obtained by FTIR, which serves as the basis of the study on the degradation status.
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An, Boyeon, Seonghee Pak y Ryangmi Lee. "A Scientific Analysis of Rusty Textiles from the Gaya Period Excavated at No.63 Tomb Gyodong, Changnyeong". Journal of Conservation Science 38, n.º 6 (31 de diciembre de 2022): 675–83. http://dx.doi.org/10.12654/jcs.2022.38.6.09.
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This study presents the results of an analysis of the rusty textile around the gilt-bronze crown and silver belt discovered during an excavation survey of Tomb No. 63 in Gyodong, Changnyeong, South Korea, in 2020. Microscopic observation was conducted to observe the conservation and weaving states of the textile, and cross/side-sectional investigation was performed for fiber identification. Scanning electron microscopy (SEM) and Fourier-transform infrared spectroscopy were also carried out. The number of layers of the fabric in the gilt-bronze crown could not be determined because of severe fiber degradation. However, the silk fibers in the triangular cross-section of the fabric were confirmed to have twill and plain weave patterns. The fabric around the silver belt featured a round cross-section. SEM and cross/side-sectional investigation revealed that this fabric consisted of wool fibers. Gyodong Tomb No. 63 is an important relic of the Gaya period, which was verified atas a historical sites of the late 5th century, and were identified diagonally patterned fabrics, such as silk twill. This study is significant because we obtained data on ancient wool fibers by performing an extensive examination of the wool tabby that had only been previously described in the literature.
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Avella, Alessandra. "Vestimenta drawing in use by the Romans". Convergences - Journal of Research and Arts Education 15, n.º 30 (30 de noviembre de 2022): 135–45. http://dx.doi.org/10.53681/c1514225187514391s.30.163.
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The study of the Pompeii clothes, representative of the wider Roman culture, is carried out starting from the graphic analysis of the classical iconography of the MANN (National Archaeological Museum of Naples) in comparison with historiographical sources, by means of the representation of the main patterns of women's clothing in use by the Romans and their respective decorative and chromatic motifs, also in relation to the fibres of which the fabrics were made. This study, which also makes use of data obtained from the photogrammetric survey of a selected number of textile finds belonging to the "MANN Textile Collection", provides an unpublished archive of the main clothing patterns, codifying in technical drawings (paper patterns) the unconventional rules that the ancient Romans at that period used to make clothing on the basis of knowledge, practical experience and customs (dressing rituals) specific to the culture of the time. The flat development of each clothing patterns is entrusted to the geometric accuracy of the paper pattern, is proportionate to the anthropometric measurements of the woman of the Roman age (female normotype) and represented to scale.
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Ortman, Scott G. "Conceptual Metaphor in the Archaeological Record: Methods and an Example from the American Southwest". American Antiquity 65, n.º 4 (octubre de 2000): 613–45. http://dx.doi.org/10.2307/2694419.
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This paper attempts to unify recent theorizing on cultural meaning in material culture using the notion of conceptual metaphor. Research in several disciplines suggests that conventional metaphorical concepts are central to cultural cognition. Ethnographic studies and psychological experiments indicate that conceptual metaphors are expressed in numerous forms of human expression, including speech, ritual, narrative, and material culture. Generalizations on the nature and structure of metaphor emerging from cognitive linguistic research can be used to develop methods for reconstructing ancient metaphors from archaeological evidence. In a preliminary application, I argue that pottery designs from the Mesa Verde region of the American Southwest were conceptualized as textile fabrics, and suggest that connections between these media derived from a worldview grounded in container imagery. The ability to decipher conceptual metaphors in prehistoric material culture opens up many new avenues for research, including the role of worldview in cultural evolution, and the discovery of cultural continuities between archaeological cultures and historic ethnolinguistic groups.
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Jiamrungsan, Supamas. "The Ancient Technique of Weaving with the Contemporary Art". International Journal of Creative and Arts Studies 4, n.º 1 (1 de junio de 2017): 13. http://dx.doi.org/10.24821/ijcas.v4i1.1951.
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This study is a qualitative research method. The purposes are firstly to trial production of Pha Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is the guidelines for handling core issues of the creation and must start from studying motif of design, focus on techniques the golden fabric is located at weaving with gold threads, called Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok Dok texti le design in making fabric. It is a complex process which requires highly skilled weavers. In researcher’s point of view, for weaving of each fabric-depending on the design and used for similar was weaving 1500 shaft/Ta-kor. Thirdly to invent textile art inspiration from Yok Dok textile design to create new works of art. The results showed that the fabric weave of the operation weave structure on motifs of Yok Dok textile design. This is an outstanding special technique. The contemporary new fabric pattern can be operated by opening and closing of the warp yarn on a draw frame. The new pattern design and process of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that is the process a nd design which is the first method of fabric craft practice use for the manual textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving process by adding a special fabric pattern these characteristics come from the roots and identity of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving alternatives for creating a product and to serve as a guideline for further research. This handicraft highlights the significance continuation and bridge the relationship between classic fabric contemporary. Art to humanity from the ancient world until the present day. In summary the researchers plan to design and c ontemporary Yok Dok, a synthesis between classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai litterateur work which telling design.
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Verma, Himani, Anita Rani, Manisha Gahlot, Alka Goel y Anil Kumar Sharma. "Sustainable dyeing of wool fabric with Talaromyces purpurogenus". Journal of Applied and Natural Science 11, n.º 4 (10 de diciembre de 2019): 796–801. http://dx.doi.org/10.31018/jans.v11i4.2179.
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Natural dyes had been used by human being since ancient times for colouring of various materials including textiles. These were replaced completely by synthetic dyes, continuous use of which created the problem of pollution and environmental degradation. With the development of green technology and increased awareness of sustainability, the use of non-allergic, non-toxic and eco-friendly natural dyes on textiles has become a matter of significant importance. Among the natural sources of colourants, microorganisms such as bacteria and fungi have gained interest in the field of textile coloration. In the present study, the pigment solution yielded from growth of Talaromyces purpurogenus sp. on organic waste was used for dyeing of wool fabric. Under the dyeing conditions i.e. 1:30 M:L ratio, pH 5, 80º C temperature and 45 minutes dyeing time, the percent absorption could reach 57 %, 32%, 36% and 49% respectively. The wool fabric samples dyed with the fungal dye exhibited very good to excellent washing and rubbing fastness properties. The colour pigment obtained from fungal thus offered an opportunity to reduce impact on plant resources for dye source exploration. So it can be concluded from the study that a natural fungal dye could help to sustain the environment and to minimize the over exploitation of natural resources.
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Hang, Yin. "The Conservation Methods of Ancient Lu Embroidery Fabric". Advanced Materials Research 472-475 (febrero de 2012): 3343–46. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.3343.
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As a kind of silk, Lu Embroider is an valuable cultural heritage. This textile adequately approves the advancement of Chinese civilization. At the same time, Lu Embroider is easy decayed. We lack the consciousness of protecting the cultural heritage. In this paper, the reasons and significance of conservation ancient Lu Embroider fabric are introduced. The correspond conservation methods also is presented at the same time.
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An, Weizhu, Sudha Dhingra y Feng Zhao. "Comparison Between Atlas in Xinjiang of China and Patola in Gujarat of India". Asian Social Science 16, n.º 2 (31 de enero de 2020): 45. http://dx.doi.org/10.5539/ass.v16n2p45.
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Ikat is an ancient technique by which colored patterns are formed by tying and dyeing threads before they are woven. Ikat is an ancient resist dyeing technique in which the yarns are tied and dyed according to a specific pattern prior to weaving. This paper focuses on Atlas and Patola, the most famous ikat fabrics in China and India respectively as the research objects. The effort is to provide comparative analysis from the aspects of weaving technology, pattern style, composition characteristics and colors, based on literature and images. Although they are similar in production process, they have very different characteristics due to cultural background, religion, environment and aesthetic tastes of consumers and weavers. Both textiles showcase the local plants, flowers and colour preferences. Islam influences Atlas textiles and hence without animal and figurative pattern. Patola has different patterns for consumers from different religious following. Atlas and Patola are the fabrics of inheritance and represent two different regions and cultures.
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Li, Bin y Qiang Li. "Study on the Relation between the Linked-Pearl Pattern and Weaving Technology in Ancient China". Advanced Materials Research 332-334 (septiembre de 2011): 2093–98. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.2093.
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The linked-pearl pattern on fabric is a key to study on the transformation of the technique from weaving warp-faced patterns to weft-faced patterns in ancient China. However, the previous studies on the linked-pearl pattern on fabric were not very clear, and led to much misunderstanding. Some researchers believed that Chinese weavers did not master the technique of weft-faced patterns until Persian merchants introduced the brocades with a pattern featuring stringed ball into China along the Silk Road. Based on the studies on historical materials and archeological discoveries of the linked-pearl pattern on fabric, we hold that there are positive connections among the linked-pearl pattern, the technique of weaving weft-faced patterns and the draw loom. The dissemination of the linked-pearl pattern prompted the development of pattern design and the wide application of weft-faced pattern on fabric, even the invention of the draw loom which accelerated the development of textile technology in ancient China.
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He, Xiaochun, Yaxuan Xia y Kang Lok Chung. "RESEARCH ON THE INNOVATIVE DESIGN OF TRADITIONAL LIGHTWEIGHT CLOTHING SILK FABRICS GUIDED BY THE CHANGE OF EMOTIONAL BEHAVIOR UNDER THE BACKGROUND OF GUANGDONG, HONG KONG AND MACAO". International Journal of Neuropsychopharmacology 25, Supplement_1 (1 de julio de 2022): A68—A69. http://dx.doi.org/10.1093/ijnp/pyac032.094.
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Abstract Background The construction and development of Dawan district has further promoted the innovative application of cultural resources, brought the long-standing Lingnan culture into the international stage, and become an important carrier and tool to strengthen international cultural exchanges and promote economic cooperation and development. Dawan district. Gauze, as a traditional and ancient manual weaving and dyeing process, has been listed in the national intangible cultural heritage list. It is on the verge of disappearing and in urgent need of rescue. Lightweight business wear is playing an increasingly important role in today's consumer market and has become a cultural image card to convey friendship and mutual assistance. This paper studies the innovative design of light and thin business clothing, and deeply integrates the two elements of shuisha and Lingnan culture, especially the changes of people's emotional behavior towards culture in the process of communication. At present, there is no relevant research report. Topics and Methods Take water yarn as the carrier, transform Lingnan traditional culture into design elements, deeply integrate light and thin business clothing design, explore the new visual expression and process production of traditional water yarn in style, color and pattern, and give new artistic expression to traditional water yarn. The author studies the application status of gauze in related fields of cultural industry, including the advantages and limitations of gauze; Difficulties in design and production; Advantages and limitations of washing gauze clothing style types, styles and patterns. This paper will explain how to overcome the compatibility problem of the combination of light and thin business clothes and washed yarn, and put forward practical solutions from the aspects of fabric and technology. The research methods include creative practice, literature analysis, observation, field investigation and expert discussion. At the same time, the emotional behavior of water conservancy workers in various places was investigated. This study adopts the profile of mood states (POMS), which was compiled by Australian scholars grore and prapavessis in 1992 and revised by Professor Zhu Beili. It is considered to be a good tool to study emotional states. The average reliability of the scale is 0.71, which is in the standard value of 0.60 ~ 0.82. There are 40 adjectives in the questionnaire, which are divided into seven subscales: tension, anger, fatigue, depression, energy, panic and self-esteem. The corresponding score scale of 0-4 was used. The final result (TMD) of the total score of mood state is five negative emotion scores minus two negative emotion scores, plus a constant of 100 for correction. Results The deep integration of “water yarn + Lingnan cultural elements + light business dress” will broaden the design field of water yarn and endow it with new artistic expression to meet the needs of the times. The combination of water yarn and other textile fabrics can improve the problems of single color, thin texture and high cost of water yarn. Through the summary of creative practice, it is found that there has been a new breakthrough in traditional technology and modern design, and found a new research perspective, which provides a theoretical basis for the application of traditional water yarn in fashion design. Conclusion This study is not only conducive to revitalizing local culture, promoting the flow of innovative elements and continuously improving the value of urban culture, but also has practical application value for the inheritance and innovation of intangible cultural heritage, and is ready for transformation. From “China's garment industry” to “China's manufacturing industry”. Acknowledgements This paper is wrote by He Xiaochun and it is a research project of Guangdong Literary & Art Vocational College, Guangdong Province Education Science “13th Five-Year Plan” 2020. Project name: Research on Innovative Design of Traditional Watered Gauze in Light Business wear under the Background of Guangdong, Hong Kong, Macao Greater Bay Area Construction, Project Number: 2020GXJK313).
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Petrushevski, Andri. "USE OF THREE DIMENSIONAL PRINTING IN THE PRODUCTION OF TEXTILE PRINT FORMS". Fibres and Textiles 29, n.º 2 (agosto de 2022): 3–9. http://dx.doi.org/10.15240/tul/008/2022-2-001.
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Since the invention of woven fabric, various types of artistic printing on fabric have been used. One of the most ancient and widespread methods is letterpress and gravure printing. Besides printing, it is also widely used in industrial textile production. The creation of industrial printing plates is a very expensive process today. For this reason, for small editions more economical technologies are used, such as silk-screen printing. However, gravure and letterpress methods have several advantages over screen printing. Reducing the cost of production of printing plates of this type will be an undoubted progress. The relief on the surface of the printing plate is a three-dimensional construction. Therefore, it can be formed in the form of a digital three-dimensional model. Modern methods of three-dimensional printing make it possible to form a printed form based on such a digital model, suitable for use in the textile and printing industries. The introduction of this technology will definitely reduce the cost of manufacturing forms for textile printing. The article describes an experiment that confirms this assumption.
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Bhattacharya, Dr Sumanta. "Analysis of Enervation Conduct of Indian Maddar Natural Dye on Silk Fabric". International Journal for Research in Applied Science and Engineering Technology 9, n.º 11 (30 de noviembre de 2021): 1073–81. http://dx.doi.org/10.22214/ijraset.2021.38967.
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Abstract: Dying is a popular practice in textile industry which is prevalent at all parts of the world from the period of ancient civilization. Initially, natural dyes i.e. dye derived from natural resources like vegetables, flowers, minerals, plants etc. were used. Now-a-days, due to technological and scientific innovations synthetic dyes are processed at large scale in the laboratories as it is still one of the most profitable industry globally. However, the rapid utilization of chemicals in textile industry for production of synthetic dyes causes degradation of environment like soil pollution, water pollution etc. Hence, it is necessary to promote the utilization of natural dyes globally. In this paper, the bleached silk fabric was dyed with Indian Madder natural dye at different temperature and the colour strength is measured spectrophotometrically in order to study the effectiveness of the dye. Keywords: Natural dye, bleached silk fabric, Indian Madder, Colour strength
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Wei, Le, Yue Ma, Zhimou Guo, Junjie Ding, Gaowa Jin, An Gu y Yong Lei. "Application of Advanced Analytical Techniques in Organic Cultural Heritage: A Case Study of Ancient Architecture Relics in the Palace Museum (Beijing)". Coatings 12, n.º 5 (5 de mayo de 2022): 636. http://dx.doi.org/10.3390/coatings12050636.
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Multilayer objects with different interfaces are quite typical for architectural heritage, and from them may be inferred the age, production process, and deterioration mechanism through analyzing characteristic compositions with advanced analytical techniques. The Meiwu ceiling in the Hall of Mental Cultivation of the Palace Museum was found to contain many paper-based layers during conservation. Once several surface strata were detached, a colorful layer of printed fabric textile was discovered integrally. Through microscopic observation and micro-attenuated total reflection-Fourier transform infrared spectroscopy (ATR-FTIR) imaging, the overall structure consisted of 11 layers, namely, bast paper, cotton wiring, xuan paper, cotton printed fabric, two yellow board papers, bamboo paper, three wood pulp paper and surface coatings, and starch was considered as an organic adhesive. For identification of the printed fabric’s color palette, ultra-performance liquid chromatography (UPLC) combined with high-resolution quadrupole time-of-flight (QTOF) technology, non-invasive macro X-ray fluorescence (MA-XRF) and desorption electrospray ionization mass spectrometry imaging (DESI-MSI) were applied in situ. Seven industrial synthetic dyes, including auramine O, malachite green, and eosin Y with corresponding by-products, as well as chromium-based pigments considered as dark draft line, were confirmed. By X-ray diffraction (XRD), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS), and micro Fourier transform infrared spectroscopy (micro FTIR, other results showed chalk soil and talc for the outermost coating. According to the synthetic time of industrial dyes and degradation degree of paper, there were at least four occurrences and their specific time periods were speculated.
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Sun, Ying, Zheng Liu, Jeffrey Silberman, Jue Hou y Jian Dai. "Fabric Composition and Wearability Analysis of Zhuanghua". Fibres & Textiles in Eastern Europe 30, n.º 4 (1 de julio de 2022): 9–20. http://dx.doi.org/10.2478/ftee-2022-0033.
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Abstract Zhuanghua is a representative variety of Nanjing Yun brocade, symbolising the highest achievement of ancient Chinese textile technology. It has been widely used as a clothing fabric since its appearance. This paper firstly explored the characteristics of weaving materials, fabric weaves, and fabric weaving of Zhuanghua based on a literature review, manufactory visiting, and a market survey. To preserve the textile application, the permeability, shape preservation property, and appearance preservation property of fabric were tested for wearability. Specifically, six pieces of Zhuanghua satin were selected as the primary samples, along with six pieces of customised plain satin as the matching samples. Influenced by the Zhuangzhi technique, the Zhuanghua satin presented the following features. The thickness and air permeability of the Zhuanghua satin varied between patterned and non-patterned parts. The Zhuanghua satin in the weft direction showed higher tensile strength, stronger stiffness, and weak crease recovery ability. The average weft elongation at break of Zhuanghua satin increased by 25% and the weft flexural rigidity by 3–8 times, while the average weft crease recovery angle decreased by nearly 30°. The performance of anti-fuzzing and anti-pilling was improved, and the grades increased by 1 and 2, respectively. The study is conducive to a more scientific understanding and development of Yun brocade.
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Manning, Sean. "The History of the Idea of Glued Linen Armour". Mouseion 17, n.º 3 (1 de julio de 2021): 491–514. http://dx.doi.org/10.3138/mous.17.3.003.
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Many people have heard that ancient warriors wore armour of many layers of linen cloth glued together. Critics emphasize the lack of archaeological or written evidence for this construction; supporters emphasize that their reconstructions resemble armour in ancient art and pass practical tests. Both present the theory as one that first appeared in the 1970s. This article make two contributions to the debate. It shows how sixteenth-century scholars used a peculiar medieval chronicle to understand the linen armour in ancient texts, and how paraphrases and mistranslations of their theory ultimately lie behind the glued linen of today’s experiments, and it places this debate in the world history of fabric armour and the history of armour scholarship. It proposes that theories about the armour in vase paintings and sculptures should be based on archaeological evidence, types of armour documented in other cultures, or a close study of ancient textile technology, not on simply examining artwork and reading ancient texts.
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Jaroszyński, Adam y Anna Kotłowska. ""Eparchikon biblion" V, 2: Is Thalassai the Same as Byssos?" Studia Ceranea 3 (30 de diciembre de 2013): 39–46. http://dx.doi.org/10.18778/2084-140x.03.03.
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The article examines a kind of fabric described as ‘θάλασσαι’ in The Book of the Prefect (Τὸ ἐπαρχικὸν βιβλίον). The meaning of this term by both editors and commentators of the document has not been satisfactorily explained so far. It appears highly probable, however, that ‘θάλασσαι’, because of the ‘marine’ origin of the word, can be associated with a textile from byssos – the socalled sea silk, made from fibres produced by a mollusc pinna nobilis. The presence of this fabric in numerous ancient sources is indicated, incl. works of Aristophanes, Cicero, Herodotus and Plutarch. Diocletian’s Edict on Maximum Prices, where the price of ‘marine wool’ is at the very high level is also investigated.
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Gambhir, Gagan. "THE MAGICAL TECHNIQUE OF CHAMBA RUMAL". ShodhKosh: Journal of Visual and Performing Arts 2, n.º 2 (27 de septiembre de 2021): 49–53. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.33.
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India is known for its textiles and embroidery all over the world. Indications of cotton fabrics have been found at the site of the Mohen-jo-Daro excavations and the finest muslins and silks are seen represented in the murals of the Ajanta and Bagh caves. The art of embroidery has been practiced since the remote ages in India. At the excavations made at Mohen-jo-Daro, bronze needles have been found which were most probably used for purposes of embroidery. Ancient literature and sculptures also prove the antiquity of the art of embroidery in India.
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Koren, Zvi C. "Chromatographic Investigations of Purple Archaeological Bio-Material Pigments Used as Biblical Dyes". MRS Proceedings 1374 (2012): 29–47. http://dx.doi.org/10.1557/opl.2012.1376.
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ABSTRACTThis article discusses recent scientific research performed by the author in understanding the composition of archaeological purple pigments and dyes from molluskan sources, which were primarily used for the dyeing of royal and priestly textiles, as also cited in the Bible. Towards this end, the high-performance liquid chromatography (HPLC) method has been applied to the qualitative and quantitative multi-component fingerprinting of purple pigments extracted from various Muricidae mollusks inhabiting the Mediterranean waters. The results show that the colorants in these purple pigments belong to three chemical groups: the indigoids (of major importance), the indirubinoids, and the isatinoids. Application of this analytical method to purple pigments and dyes on archaeological artifacts from the ancient Near and Middle East has lead to a number of breakthroughs and discoveries made by this laboratory. These include the following: decipherment of the optimal method by which the ancients practiced purple-dyeing by completely natural means; first HPLC analysis of a raw unprocessed purple archaeological snail pigment and the resulting identification of a dibrominated indirubin in this pigment; discovery of the purple pigment as the sole paint pigment on a 2,500 royal marble jar from the Persian King Darius I; and the discovery that a 2,000 year old miniscule fabric found atop the Judean Desert palatial fortress of Masada belonged to the royal purple mantle of King Herod I and is the first Biblical Argaman dye found in ancient Israel.
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Sarri, Kalliope. "Maria C. Shaw and Anne P. Chapin (with contributions by E.W. Barber, G. Bianco, B. Burke, E. C. Egan and S. Peterson Murray). Woven Threads. Patterned textiles of the Aegean Bronze Age (Ancient Textile Series 22)." Journal of Greek Archaeology 3 (1 de enero de 2018): 431–35. http://dx.doi.org/10.32028/jga.v3i.535.
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Aegean studies and textile research welcome a new book with an original and highly specialized topic. Contrary to previous research that was orientated more to weaving technologies, this volume is devoted to textile design and connects fabric technologies with different expressions of the visual arts. The book focuses first and foremost on a detailed analysis of patterns and in this way it upgrades patterning from a simple decorative medium to an important key for understanding the applied thread technologies, the evolution of design and a series of craft transfers during the Late Bronze Age. Furthermore, it postulates a new research area supplying evidence for intercultural relations between people of the Aegean and the East Mediterranean.
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Srivastava, Ankita y Ankur Saxena. "Pattu Weaving: A Sustainable Fabric Manufacturing Technique". Journal of Sustainability and Environmental Management 1, n.º 2 (26 de mayo de 2022): 299–305. http://dx.doi.org/10.3126/josem.v1i2.45382.
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Sustainability is the need of the hour and the world is now looking for the environment-friendly options while choosing the materials, techniques, processes and disposal systems. In textiles, handloom weaving is considered as the sustainable way of fabric manufacturing. Many ancient crafts clusters are still existing and re-inventing themselves to create sustainable products. The craft of ‘Pattu weaving’ is one of them which is known as a traditional weaving technique. Pattu weaving is a traditional craft using extra weft weaving technique which is widely practised by the weavers in India. The study has reviewed the materials, tools, techniques and processes used in this craft, along with the challenges and opportunities for the upliftment of the craft. A comparative study of traditional and contemporary materials, colour palette, motifs and product range of the craft are also covered in this paper. Major part of the information and images have been collected during craft research documentation activity while visiting the craft cluster at Bhojasar and Karwa villages in Rajasthan where Pattu craft has been practiced by the weavers since ages. Along with this, secondary research has also been included in this document to strengthen the study.
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Foxhall, Lin. "The fabric of society: recognising the importance of textiles and their manufacture in the ancient past". Antiquity 91, n.º 357 (junio de 2017): 808–11. http://dx.doi.org/10.15184/aqy.2017.76.
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Nakamura, Toshio, Takako Terada, Chikako Ueki y Masayo Minami. "Radiocarbon dating of textile Components from Historical silk costumes and other cloth products in the Ryukyu Islands, Japan". Radiocarbon 61, n.º 6 (14 de octubre de 2019): 1663–74. http://dx.doi.org/10.1017/rdc.2019.105.
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ABSTRACTIn our research on traditional clothing and accessories in the Ryukyu Islands of Japan, we have collected cloth fragments from traditional Ryukyuan costumes and other fabric products for radiocarbon (14C) dating. In this study, the cloth samples from historical costumes of noro priestesses (two samples), men and women from high-status families (five samples), and non-costume cloth products (seven samples), belonging to the traditional hereditary religious system of the ancient Ryukyu Kingdom, which lasted from approximately the 14th century AD to 1829 were analyzed. One extra sample originated from a silk shawl known as a Manila shawl. The oldest among the 15 samples dates back to the mid-15th century, but some newer ones belong to the unclear calibrated age range of AD 1650–1950. The measured dates are very consistent with the historical record, suggesting that acetone and acid-alkali-acid treatments are an adequate cleaning method for radiocarbon dating of silk and cotton samples produced in the late Middle Age and later.
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El-Deeb, Nahla Ahmed Hamdy. "The Aesthetic and Plastic Values for the Concept of Synthesis through the Ages and the Variables of Material and Designing the Hanging Textile". European Journal of Sustainable Development 9, n.º 4 (1 de octubre de 2020): 281. http://dx.doi.org/10.14207/ejsd.2020.v9n4p281.
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Synthesis means intermarriage and compatibility between more than one raw material in a single artwork. Interacting with its various properties and sources to reach a balance between expressive and technical aspects within the framework of the technical and technical capabilities of that raw material. By adding raw materials, they are woven with textured structures or by the new method developed through the art of gluing or collage and the art of assembly through deletion and addition within the scope of plastic treatments of the textile surface or by using both the traditional and the new method combined to merge between Woven materials and added media on the surface of the artwork. The research deals with synthesis through the ages (the ancient Egyptian - Coptic - Islamic - popular) and some schools of modern art (Cubism - Dada - Pop Art) and some pioneers in plastic art in Egypt (Munir Kanaan - Ahmed Nawar - Farghali Abdul Hafeez - Zainab Sabra).
Research Problem: - To what extent can the aesthetic and plastic values be benefited from the different treatments of natural and synthetic textile materials for the concept of synthesis?
Research Aims: - Revealing the aesthetic, plastic, and artistic values of the synthesis method throughout the ages to find new approaches to teaching manual fabric. - Create innovative aesthetic values and formulations on the surface of the tissue sphere. The current research provides a program consisting of 3 teaching entrances that depend on a number of key and sub-concepts proposed for the concept of synthesis through art education.
Keywords: The Aesthetic - Plastic Values - The Concept of Synthesis – Variables of Material and designing - Hanging Textile
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Jurjiu, Emilia. "Reconstituirea unui brâu țesut în bâte aflat în expoziția permanentă a MET". Anuarul Muzeului Etnograif al Transilvaniei 33 (20 de diciembre de 2019): 18–22. http://dx.doi.org/10.47802/amet.2019.33.02.
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Sprang is an ancient textile method without knots, worked on a set of threads that have been arranged on a frame. This technique used by people for thousands of years was almost forgotten since the beginning of the industrial revolution. The peculiarity of this type of braiding is that you have a mirror image and for every row of work, you can have two rows of fabric. It is possible to create a variety of interesting patterns and the pieces that are created have sideways that can stretch. Some methods were used and then abandoned, but this one keeps coming back. Sprang is an ideal technique for making human clothing. We tried to create a replica sash that was made in Ţinutul Pădurenilor (Pădureni Land) using a circular warp sprang. There is a center line of symmetry around which on one side we have threads in Z twist and on the other side in S twist. The sash grew out from that middle line. It was done in interlinking technique that gives it a great elasticity.
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Rana, Md Bipul, Md Zahid Hasan, Md Azharul Islam, Md Rokonuzzaman, Shahjalal Khandaker y M. Mahbubul Bashar. "Printing Effects of Different Natural Colourants on Cotton Fabric". Textile & Leather Review 5 (30 de julio de 2022): 280–95. http://dx.doi.org/10.31881/tlr.2022.30.
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Natural colourants were widely employed in the ancient world to colour cotton garments. With the revolution of synthetic dyes, natural dyes have lost their position in respect of some performance. However, nowadays the demand for sustainable and eco-friendly products is increasing worldwide due to the awareness of ecological balance. The purpose of this study is to utilize natural colourants in printing on cotton fabric. In this regard, the colourants were extracted from myrobalan fruit, pomegranate peel and catechu, which were eventually applied to the fabric by screen printing technique. The print paste was prepared with carboxymethyl cellulose (CMC) as a natural thickener and polyvinyl alcohol (PVA) as a synthetic thickener. The stability of the print paste was studied with respect to time elapse by viscosity measurement. The depth of shade and colour fastness of the printed fabric were measured. K/S value was evaluated with respect to the stability of print paste. The viscosity was changed slightly in both the CMC and PVA thickener with respect to the stability of the print paste. The washing fastness grades for colour staining wash ranged from 4 to 5, rubbing fastness grades of dry rubbing also ranged from 4 to 5, wet rubbing fastness was 3/4 to 4/5 as well as perspiration fastness grades in alkaline, and in acidic it was 3/4 to 5. Thus, myrobalan fruit, pomegranate peel and catechu have shown excellent performance in printing on cotton textiles, which could be an alternative to the synthetic counterpart.
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Koltsova, Tatiana Mikhailovna. "Handicraft workshop of the Shenkur Holy Trinity maiden monastery of the 18th century". Secreta Artis 5, n.º 2 (6 de diciembre de 2022): 30–57. http://dx.doi.org/10.51236/2618-7140-2022-5-2-30-57.
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The article is devoted to previously unknown works of pictorial embroidery of the synodal period. The artworks represent the local cultural center of the Russian North and are published for the first time. In the first half and the middle of the 18th century, a unique gold-embroidery workshop, which reached a high artistic level, was formed in the Shenkur Holy Trinity Convent on the Vaga river. The creation of liturgical fabrics in the monastery was carried out not only by nuns, but also by so-called “belitsy”, women who lived in monastic cells without being tonsured, as well as residents of the city of Shenkursk. Mother Superior Euphemia (1727- 1749) and her sister Xenia were famous craftswomen, they embroidered on multi-colored fabrics with gold, silver and silk threads. Shrouds of Christ, intercessions of the Holy Virgin and epigonations made in the Shenkur Monastery are featured in several museum collections, mainly in the North. The handicraft workshop existed in the monastery for only a short period of time: from the beginning of the 18th century until the closing of the monastery in 1764. The Vaga craftswomen created their works on the basis of the ancient Russian gold embroidery tradition. The identification and attribution of liturgical fabrics enabled one to uncover distinctive features of Shenkur products: idiosyncratic technologies, rare iconography and peculiar style dating back to the art of the Baroque era. Liturgical clothing and epigonations made by the Vaga craftswomen were ordered and purchased for the bishops' councils of Arkhangelsk and Kholmogory, they are present in the collections of Nikolo-Korelsky, Antoniev-Siya and Solovetsky monasteries. Correspondingly, Shenkur church textiles and fabrics were used in the churches of the Vologda diocese. The article offers an unprecedented systematization of a completely new unexplored layer of museum objects. A number of conclusions are drawn on account of unknown written and visual sources found in museums and archives of the country. The second half of the nineteenth century saw the revival of women's handicraft in the Shenkursky Monastery. The article is illustrated by works found in the museum collections of the Arkhangelsk region, primarily the Arkhangelsk Museum of Local Lore. The scope of the study includes a completely new significant range of cultural monuments belonging to North Russian tradition. The results can be widely used in identifying and attributing works of pictorial embroidery.
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Liu, Kaixuan, Jiayu Zhao y Chun Zhu. "Research on Digital Restoration of Plain Unlined Silk Gauze Gown of Mawangdui Han Dynasty Tomb Based on AHP and Human–Computer Interaction Technology". Sustainability 14, n.º 14 (16 de julio de 2022): 8713. http://dx.doi.org/10.3390/su14148713.
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In 1972, the Plain Unlined Silk Gauze Gown unearthed from the Mawangdui Han Dynasty tomb in Changsha, Hunan Province, China, received attention from various fields such as archeology, cultural relics conservation, textile and costume because of its light texture and exquisite craftsmanship. However, due to it being unearthed decades ago and imperfect preservation measures being used, it has been increasingly damaged by the influence of the external environment. Therefore, there is an urgent need to carry out archeology, restoration and protection of the Plain Unlined Silk Gauze Gown. In this paper, the Plain Unlined Silk Gauze Gown is taken as the research object, and the costume pattern is obtained through 3D interactive pattern-making technology. Then virtual simulation technology is used to digitally restore the Plain Unlined Silk Gauze Gown in combination with the fabric, color and pattern of the costume. Finally, the Analytic Hierarchy Process (AHP) and the fuzzy comprehensive evaluation method are introduced to evaluate the virtual simulation effect of the costume. The results show that the virtual simulation effect of the Plain Unlined Silk Gauze Gown is very good. From the results of the costume restoration, the AHP captures the uncertainty in the process of costume virtual simulation evaluation, quantifies the judgments with weights, reduces the subjectivity of the evaluation process, and provides a scientific and effective method for evaluating the virtual simulation effect of ancient costumes.
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Dumamika, Tione Afifaya y Mochammad Sigit Ramadhan. "PENGAPLIKASIAN TEKNIK BLOCK PRINTING DENGAN MATERIAL KAYU BEKAS KEBAKARAN HUTAN KALIMANTAN BARAT PADA PAKAIAN READY TO WEAR". Gorga : Jurnal Seni Rupa 10, n.º 2 (3 de noviembre de 2021): 277. http://dx.doi.org/10.24114/gr.v10i2.27154.
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Block printing is a technique of producing images repeatedly on a surface that produces original and unique work because it was done manually. However, as time goes by, block printing is still less well known and less developed in Indonesia. In addition to the newly used wood, block printing plates can be replaced by various alternative materials, such as wood from forest fires. Unfortunately, wood from forest fires often has no selling value and can only be used as charcoal or firewood by the surroundingcommunity. This research aims to find a solution to utilize and increase the value of unused forest fires wood into block printing plates. The author was inspired to use forest fires wood as a block printing plate to increase the artistic and economic value of wood and give a new image to the surface of textiles and fashion products. This research was carried out using qualitative research methods in the form of observations made by observing the condition of wood from forest fires directly; literature studies areobtained from several journals, books, and articles; also, experiments consisting of initial, advanced, and selected experiments. The products produced from this research are sheets of cloth and a collectionof ready-to-wear clothing.Keywords: block printing, wood residue, fashion. AbstrakBlock printing adalah teknik memproduksi gambar secara berulang pada suatu permukaan yang menghasilkan karya orisinil dan unik, karena dilakukan secara manual. Tetapi seiring berjalannya waktu, block printing masih kurang dikenal dan kurang berkembang di Indonesia. Bahan untukmembuat plat cetak block printing dapat diganti dengan berbagai material alternatif, seperti kayu bekas kebakaran hutan. Kayu bekas kebakaran hutan seringkali sudah tidak memiliki nilai jual dan hanya dapat dijadikan arang atau kayu bakar oleh masyarakat sekitar. Tujuan dari penelitian ini yaitumendapatkan solusi untuk memanfaatkan dan meningkatkan nilai kayu bekas kebakaran hutan yang sudah tidak terpakai menjadi plat cetak block printing. Berkaitan dengan hal tersebut, maka penulis terinspirasi untuk menggunakan kayu bekas kebakaran hutan sebagai plat cetak block printing agar dapat menaikkan nilai seni dan ekonomi kayu, juga dapat memberikan image baru pada permukaan tekstil dan produk fashion. Penelitian dilakukan dengan metode penelitian kualitatif berupa observasi yang dilakukan dengan cara mengamati langsung kondisi kayu bekas kebakaran hutan, studi literatur mengenai topik penelitian didapatkan dari beberapa jurnal, buku, dan artikel, dan eksperimen yang terdiri dari beberapa percobaan eksplorasi awal, lanjutan dan terpilih. Produk yang dihasilkan dari penelitian ini berupa lembaran kain dan koleksi pakaian ready to wear.Kata Kunci: block printing, kayu bekas, fashion. Authors:Tione Afifaya Dumamika : Universitas TelkomMochammad Sigit Ramadhan : Universitas Telkom References:Adi, S. P., Susanti, N., & Panggabean, M. N. R. (2020). Cetak Tinggi dan Pengaplikasiannya (I. G. N. T. Marutama & M. K. M. Saat (eds.); 1st ed.).Surakarta: UNS Press.Dumamika, Tione Afifaya. (2021). “Pengaplikasian Teknik Block Printing dengan Material Kayu Bekas Kebakaran Hutan”. Hasil DokumentasiPribadi: 1 Januari s.d 30 Oktober 2021, Kalimantan Barat.Eskak, E., & Sumarno. (2016). Peningkatan Nilai Tambah pada Cacat Batang Kayu dengan Kreasi Seni. Dinamika Kerajinan Dan Batik, 33(2),133–144.Ganguly, D., & Amrita. (2013). A Brief Studies On Block Printing Process In India. Man-Made Textiles in India, 41(6), 197–203.Kafka, F. J. (1973). Batik, Tie Dyeing, Stenciling, Silk Screen, Block Printing: The Hand Decoration of Fabrics. USA: Dover Publications.Kementerian Lingkungan Hidup dan Kehutanan Republik Indonesia. (2018). Mengubah Limbah Kayu Hutan Rawa Gambut Bekas Kebakaran Menjadi Arang Kompos dan Cuka Kayu. www.menlhk.go.id (diakses tanggal 24 April 2021).Lestari, S. B. (2014). Fashion sebagai Komunikasi Identitas Sosial di Kalangan Mahasiswa. Ragam Jurnal Pengembangan Humaniora, 14(3), 225–238.Media Indonesia. (2019). Olah Limbah Kayu, Solusi Atasi Pembakaran Lahan. www.mediaindonesia.com. (diakses tanggal 24 April 2021).Needleman, D. (2018). The Ancient Art of Jaipur Block Printing, and What It Means to India. https://www.nytimes.com/2018/05/18/t-magazine/block-print-jaipur-india.html (diakses tanggal 1 Mei 2021).Puspitawati, S., & Ramadhan, M. S. (2019). Pengaplikasian Teknik Block Printing Dengan Inspirasi Motif Dari Kebudayaan Suku Baduy. ATRAT: Jurnal Seni Rupa, 7(3), 205–214. https://jurnal.isbi.ac.id/index.php/atrat/article/download/925/695Qodriyatun, S. N. (2014). Kebijakan Penanganan Kebakaran Hutan dan Lahan. Info Singkat Kesejahteraan Sosial, VI(06), 9–12.Rahman, D. (2017). Seni Grafis Indonesia Kembali ke “Jalan Masif”. Brikolase, 9(2), 90–97.Rohani. (2017). Meningkatkan Kreativitas Anak Usia Dini Melalui Media Bahan Bekas. Jurnal Penelitian Dan Pengembangan Pendidikan Anak Usia Dini, 5(2), 137-145. https://doi.org/10.30870/jpppaud.v4i2.4653.Safitri, R., & Rachmat, G. (2016). Studi Kelayakan Kayu Bekas Landasan Peti Kemas sebagai Elemen Interior Lepas. ATRAT: Jurnal Seni Rupa, 4(3). 243-252.SiPongi Karhutla Monitoring Sistem. (2020). Rekapitulasi Luas Kebakaran Hutan dan Lahan (Ha) Per Provinsi Di Indonesia Tahun 2016-2021. www.sipongi.menlhk.go.id (diakses tanggal 20 Oktober 2020).The Kindcraft. (2020). Introduction to Indian Block Printing: Anokhi Museum in Jaipur India. www.thekindcraft.com (diakses tanggal 22 Desember 2020).Trisnawati, T. Y. (2016). Fashion sebagai Bentuk Ekspresi Diri dalam Komunikasi. Jurnal The Messenger, 3(2), 36-43. https://doi.org/10.26623/themessenger.v3i2.268.Waddell, G. (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production. Journal of Chemical Information and Modeling, 53(09), 00-00.
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Al-Gaoudi, Hanaa A. y Nermin M. Aly. "The Characterization of Some Ancient Egyptian Funerary Linens from the Twenty-First Dynasty Discovered in the Bab El-Gasus Excavation". Journal of Egyptian Archaeology, 12 de julio de 2021, 030751332110223. http://dx.doi.org/10.1177/03075133211022364.
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The ancient Egyptians had a distinct and flourishing textile industry with diverse characteristics. The developments in archaeological textile studies over the last few decades have assisted in identifying the techniques used in the manufacture of fabrics and demonstrated the complexity of this ancient industry. The ancient Egyptians are well-known for the production of linen fabrics of varying structures and purposes for everyday use by different social classes. The Bab El-Gasus tomb at Deir El-Bahari, the tomb of the priests and priestesses of Amun, is one of the most important excavations for this subject as within the tomb several types of funerary linen textiles from the Twenty-First Dynasty (1070–945 BC) were discovered. This paper aims to characterize some of these linen pieces that were preserved and displayed at the Egyptian Museum in Cairo. The pieces are of high-quality linen, were decorated, and retain their original colours. Investigations were carried out to study their main textile characteristics such as thread diameter, twist direction, thread count and weave type, in addition to characterizing the diagnostic features of the textiles such as fringes, selvedges, self-bands, hues, decoration and their state of deterioration. A Dino-Lite portable digital microscope was used to examine the linen textiles. There were various significant findings and the study revealed some of the distinctive characteristics and versatility of ancient Egyptian textiles, offering new insights for the textile production techniques used at that time.
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"APPLICATION OF ORIGINAL WOVEN SURFACE DESIGNS ON THE CLOTHING". Idil Journal of Art and Language 9, n.º 72 (30 de agosto de 2020). http://dx.doi.org/10.7816/idil-09-72-06.
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Woven fabrics date back to the ancient ages and have been extensively used particularly in apparel, home textile, and other industries. The selection of yarn and knitting technique are among the important factors in fabrication of woven fabric surfaces with high aesthetical value. Particularly color selection for yarn used in fabrication of woven fabrics has a significant effect on the appearance of the final product. The ever-increasing quality of life brings about the need for new and different looks among individuals. In this work, the course of development and fabrication for a simple woven fabric has been studied, and the obtained products were used in apparel designs. In this context, first the theme was determined, and then pattern designs and patterns were woven in 25*25 cm size. The woven fabrics were used as detail on different parts of outfits designed under the theme “steet fashion”. Also, two of the designs were chosen and manufactured as final-products. Accordingly, different and modern designs were introduced by bringing the obtained woven surfaces together with dresses. Keywords: woven design, plain weave, fabric design, clothing design
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Grávalos, M. Elizabeth y Rebecca E. Bria. "Prehispanic Highland Textile Technologies: A View from the First Millennium AD at Hualcayán, Ancash, Peru". Latin American Antiquity, 4 de junio de 2021, 1–19. http://dx.doi.org/10.1017/laq.2021.30.
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The exceptional preservation of perishable artifacts on the arid west coast of the Andes has led to an abundance of knowledge on prehispanic textile production. Yet comparatively little of this knowledge is based on highland examples due to their poor preservation in the moist environment of the Andean sierra. Systematic excavations in 2011–2012 at the archaeological complex of Hualcayán in highland Ancash, Peru, revealed surprisingly well-preserved textiles and cordage from four partially looted machay-style tombs. In this article we provide an overview of textile forms, production techniques, and iconography from a sample of 292 textile and cordage fragments, equaling 20% of Hualcayán's assemblage. This work contributes to a better understanding of ancient Andean weaving in general and interregional interaction during the Early Intermediate period and Middle Horizon (ca. AD 1–1000) in particular. Significantly, we document variability in cotton yarn and a general uniformity in camelid yarn and weaving techniques in the overall sample. These findings, in combination with similarities in weaving techniques and style between coastal examples and Hualcayán's fabrics, suggest a coastal–highland relationship.
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Smith, Gregory D., Victor J. Chen, Amanda Holden, Negar Haghipour y Laura Hendriks. "Combined, sequential dye analysis and radiocarbon dating of single ancient textile yarns from a Nazca tunic". Heritage Science 10, n.º 1 (2 de noviembre de 2022). http://dx.doi.org/10.1186/s40494-022-00811-5.
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AbstractThe accessioning of ancient textiles into museum collections often requires objective information regarding the object’s appropriateness and authenticity before purchase or gift acceptance. In the case of colored fabrics, the identification of dyestuffs consistent with the attributed time period and culture builds confidence and reduces the chances of the object being a simple forgery or fake produced using modern materials. Moreover, this information adds to the technical, cultural, and conservation knowledge regarding the object. Increasingly, chronometric age estimates in the form of radiocarbon dating are also needed to establish the object’s age or to further prove the materials match the purported date range of the textile. Each of these analyses consumes a small sample of the object, and typically they are conducted separately by different laboratories on individual sample yarns. This report demonstrates for the first time the sequential, combined analysis of dyes by liquid chromatography-diode array detection-mass spectrometry and radiocarbon dating of the same residual dye-extracted sample. The chemicals and solvents used in various dye extraction protocols are shown not to contaminate the extracted yarns for radiocarbon dating purposes. The approach was used in the authentication study of an ancient Nazca tunic made from natural fibers (wool) and dyes (indigoids, anthraquinones, and flavonoids) shown to have most likely been produced between 595 and 665 CE.
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Zarembo, Liene y Skaidrīte Romančuka. "Creative use of traditional patchwork motif in the Patchwork & Quilt workshop". Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, 28 de septiembre de 2013, 205. http://dx.doi.org/10.17770/amcd2013.1263.
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Contemporary quilters use a wide range of Patchwork and Quilt designs and styles, from ancient and ethnic to post-modern futuristic patterns. Unusual quilting designs have increasingly become popular as decorative textiles. During the late 20th century, art quilts became popular for their aesthetic and artistic qualities rather than for functionality. Patchwork & Quilt as a form of art is very popular throughout the world. Patchwork & Quilt technology is based on stitching together, tufted fabric pieces with decorative embroidery patterns and variations on the theme of the artist's intentions. The larger design is usually based on repeat patterns built up with different fabric shapes. Patchwork is most often used to make quilts, but it can also be used to make bags, wall-hangings, warm jackets, cushion covers, skirts, waistcoats and other items of clothing. Some textile artists work with patchwork, often combining it with embroidery and other forms of stitchery. Traditional patchwork – blankets and pillows include such familiar themes as Log Cabin, Star, Pineapple, Scrap-Quilts, Bargello etc. Traditional patchwork has identifying names based on the arrangement of colors and shapes. A unique form of patchwork quilt is the Crazy Quilt. Crazy quilting was popular during the Victorian era (mid-late 19th century). The crazy quilt is made up of random shapes of luxurious fabric. The patchwork pieces are stitched together forming "crazy" or non-repeat, asymmetric compositions. Fancy embroidery embellishes the seam lines between the individual, pieced shapes. Traditions of Latvian Quilt continues at Quilt Latvian Society. Inspired by the world, Latvian artists creatively extend the style and technique-specific boundaries. Patchwork & Quilt is a process that continues to evolve and improve the selection of fabrics and innovative technological solutions and means of artistic versatility. The aim of the work – To study traditional 19th century patchwork motif and to explore the usage of Crazy Quilt motif in contemporary patchwork. Material and Methods. This paper analyses the contemporary textile artists’ quilts and traditional 19th century Crazy Quilt motif. Conclusions. The research explores traditional 19th century patchwork motif, summarizes and analyses most common visual and technological features of Crazy Quilt motif. As a result of the research, and on the basis of personal experience, authors offer the Crazy Quilt practical training (workshop) objectives and terms of reference to ensure patchwork technique practical and artistic components. Applying both – traditional and contemporary patchwork sewing techniques and combining them with textile techniques such as embroidery, crochet, textile printing and different painting techniques, there is scope for costume decoration process. The Workshop’s content is suitable for students and participants who are interested in patchwork, quilting and everything in the diverse world textile arts in the 21st century, for beginners and intermediate makers. Participants can use a Crazy Quilt for design idea and learn the easy ways how to draw chosen designs and combine patterns to create a contemporary quilt and costume elements. As a result, students obtain new knowledge, self-experience in traditional textile techniques and motivation to study textile technology.
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Mehta, Rakhi. "EVOLUTION OF INDIAN TEXTILE DESIGN : A STUDY OVER TIMESPAN". IARS' International Research Journal 10, n.º 2 (29 de agosto de 2020). http://dx.doi.org/10.51611/iars.irj.v10i2.2020.146.
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Indian Textile Designs has a rich vocabulary and are well known all over the world for their rich variety, grace, beauty, elegance and skilled craftsmanship. These designs are used by the craftsmen’s in weaving, embroidery, wall paintings, printing, etc. Indian designs are the references of rich culture, traditions and heritage. Over the millennium beautiful designs has not only blossomed into an intricate art but has also been consumed in recent times by overwhelming phenomenon of modernization in the form of mass production and mechanization in textile world. The rich and intricate designs have rightly called ‘Exquisite poetry in colorful fabrics’. The natural forms are woven in a highly embellished and stylized manner. A unit of a pattern or the smallest unit of a design is a motif. Often inspired by nature, architecture, culture, or religion, etc. The motifs on traditional Indian textiles are all distinct and mostly very colorful, intricate, bold and symmetrical. After assimilating the essence of a pattern, a weaver, an embroiderer or an artist implements his own interpretation of it. Since ancient time many kings ruled our country, these designs are often representation of the different styles from an era gone. Thus a stem can evolve into a flower or an animal/bird form. Decorative motifs like a leaf, fruit, flower, branch, bud, creeper, animal, bird or a tree never break the symmetry of the pattern or designs. Indian craftsmen’s always gave serious consideration to the proper utilization of the space between the motifs in a pattern. To maintain correlation and harmony between the patterns, certain geometrical patterns, textures and effects were used. The most common being checks, strips, dots, etc.
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B, Jeyanthi, Karpagam Chinnammal S y Karthikselvam R. "Development of Therapeutic Cushion Using Chrysopogon Zizanioides (Vetiver) and Bamboo Fabric". Research Journal of Textile and Leather, mayo de 2020, 23–27. http://dx.doi.org/10.46590/rjtl.2020.010104.
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Textile is the key component of every human life from birth to last rights. In the recent decade, textile sectors have shown tremendous growth through improved technology from raw materials to product design and manufacturing process. These extraordinary developments provide a path to find an innovative solution to the medical sector especially in the field of therapeutic textiles. This project is a small initiative to confer a solution for particular workforce such as truck drivers who are suffering from hemorrhoids disease. The main aim was to find an innovative therapeutic textile solution for this ailment based on ancient method of herbal treatment.
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Peng, Xi y Jiu Zhou. "Double-faced shading effect digital jacquard fabric with a weft-backed and warp-wadded structure". Textile Research Journal, 26 de septiembre de 2022, 004051752211259. http://dx.doi.org/10.1177/00405175221125943.
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Jacquard fabric produced by a weft-backed and warp-wadded structure is a traditional figured fabric in ancient China. However, it cannot express multi-color on the face of fabric due to the restriction of the woven structure produced in the traditional manner. At present, researchers focus more on archaeological discoveries and cultural relic replication of jacquard fabrics with a weft-backed and warp-wadded structure, but neglect research on expanding the color gamut through structural innovation. To achieve rich colors and a double-faced shading effect on jacquard fabric, this paper proposes a design principle and method for the weft-backed and warp-wadded structure under the layered-combination design mode. Four structural models of the weft-backed and warp-wadded structure are combined with full-color shaded weaves, and the effectiveness of the color shading effect is verified through a fabric specimen experiment. The results show that the average lightness difference ranges from 0.80 to 1.48, the color difference ranges from 1.67 to 3.03, and the variance ranges from 0.21 to 1.27 on both sides of the fabric specimens. The resulting fabric achieves a full-color shading effect of four mixed colors and high color purity on both sides. In addition, the color shading effect is stable and ideal. The results of this study are expected to have tremendous benefits for the creation of new jacquard fabrics that will be applied to apparel and home textiles.