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Artykuły w czasopismach na temat "Embroidery history"
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Baykaoglu, Nursel, i Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras". Global Journal of Arts Education 10, nr 1 (28.02.2020): 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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Liao, Jiangbo, Chunguang Ren i Xiaoming Yang. "Research on Grass Cloth Art Embroidery of Characteristics and Handmade". Asian Social Science 12, nr 9 (25.08.2016): 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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Kargól, Marta. "Restoring the Memory of the Forgotten Dutch Embroidery Designer Nellie van Rijsoort". Costume 55, nr 1 (marzec 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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Kamali, Fattaneh Jalal, i 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, nr 1 (15.12.2016): 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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Mamarajabov, Gayrat Abdulkhakimovich, i Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT". CURRENT RESEARCH JOURNAL OF HISTORY 02, nr 06 (28.06.2021): 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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Muxtar Aliyeva, Kubra. "EMBROIDERED CARPETS BY SHAKHLA ASKEROVA TRADITION AND MODERNITY IN THE CARPETS OF AZERBAIJAN". SCIENTIFIC WORK 67, nr 06 (21.06.2021): 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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Li, Yuhang. "Embroidering Guanyin: Constructions of the Divine through Hair". East Asian Science, Technology, and Medicine 36, nr 1 (13.08.2012): 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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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture". Cahiers ERTA, nr 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, nr 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.
Pełny tekst źródłaStreszczenie:
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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Tyagi, Ruchi. "Meerut Embroidery Cluster: A Case Study". South Asian Journal of Business and Management Cases 1, nr 2 (grudzień 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.
Rozprawy doktorskie na temat "Embroidery history"
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Wood, Susan, i s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975". RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.
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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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Geuter, V. R. "Women and embroidery in seventeenth-century Britain : the social, religious and political meanings of domestic needlework". Thesis, Aberystwyth University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244595.
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Gibson, Heather. "Embroidered history and familiar patterns textiles as expressions of Hmong and Mennonite lives /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 65 p, 2007. http://proquest.umi.com/pqdweb?did=1253509741&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.
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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
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Sparr, Anna. "Danska silkesbroderade linnedukar : Kulturarv och nationell identitet uttryckt med nål och tråd". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-368937.
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This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of historical originals for copies in relation to general understanding and development of cultural heritage is discussed. From a theoretical viewpoint, material culture is understood as having both physical and practical properties, related to memories and identities of individuals and societies. The study consists of two parts, one explorative study and one text analysis. In the explorative study five original textiles and nine copies are documented and compared. The text analysis deals with 77 texts from the Danish Handcraft Guild journal 1934–1980. The results show that the Danish Handcraft Guild practiced two approaches to historical originals. The mayor one was to find originals suitable for adoption on present-day products, often in simplified versions. A second approach is represented by big copies of silk-embroidered linen cloths. These were made as splendor display objects, related to a fine and noble national history. The tendency in this case-study is that copies of silk-embroidered linen cloths used for exhibitions seem to be closer to the original’s motives than those made for personal use. A conclusion of the study is that copies from historical originals do have potential to gain understanding and to develop cultural heritage. Which collective memory, history and value they convey depends on the context in which they were created, and to the story they mediate.
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Robinson, Elizabeth. "Women and needlework in Britain, 1920-1970". Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/47fc4d88-eea0-e510-6d8f-0bfcc950f7cc/7/.
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This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, revealing the meanings women found in, attached to, and created through the ephemeral moment of making. Searching for the ordinary and typical, it eschews previous preoccupations with creation, affirming re-creation and recreation as more central to amateur needlework. Drawing upon diverse sources including oral history research, objects, Mass Observation archives, and specialist needlework magazines, this thesis examines five key aspects of women's engagement with needlework: definitions of ‘leisure' and ‘work'; motivations of thrift in peacetime and war; emotions; the modern and the traditional and finally, the gendering of needlework. It explores needlework through three central themes of identity, obligation and pleasure. Whilst asserting the validity and importance of needlework as a subject of research in its own right, it also contributes to larger debates within women's history. It sheds light on the chronology and significance of domestic thrift, the meanings of feminised activities, the emotional context of home front life, women's engagement with modern design and concepts of ‘leisure' and ‘work' within women's history.
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Trouton, Lycia Danielle. "An intimate monument (re)-narrating 'the troubles' in Northern Ireland the Irish Linen Memorial 2001-2005 /". Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.113223/index.html.
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Crenn, Julie. "Arts textiles contemporains : quêtes de pertinences culturelles". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30054/document.
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L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives s’entremêlent. La pertinence culturelle étant entendue ici comme une reconstruction critique et théorique d’une histoire par l’appropriation de matériaux et/ou de techniques textiles spécifiques. Nous avons opté pour un travail thématique afin d’analyser au mieux ce que nous appelons la scène textile globale. Une première partie propose l’analyse des travaux d’artistes réfléchissant sur l’histoire et la culture noire. Nous étudierons une sélection d’oeuvres mettant en lumière deux traumas : l’esclavage et le colonialisme, ainsi que leurs répercussions actuelles sur la culture et la société. Ainsi les travaux de Faith Ringgold, Yinka Shonibare, Hassan Musa et Maria Magdalena Campos-Pons seront analysés afin de parler de problématiques comme « l’hybridité culturelle », la créolisation, la situation de l’art contemporain africain ou encore la représentation du corps noir dans l’art. Une seconde partie est axée sur les notions d’exil, de diaspora et de l’inconfort induit par le nomadisme, le statut « entre-deux ». Les pratiques de Mona Hatoum, de femmes artistes arabes comme Lalla Essaydi, Shadi Ghadirian ou Ghazel, ainsi que les travaux de Kimsooja, Janine Antoni et Ana de la Cueva nous permettrons d’entrer au coeur d’une scène artistique dont les enjeux critiques nous portent à réfléchir sur la mondialité, dans ses aspects positifs (enrichissement, échange, dialogue) comme négatifs (uniformisation, standardisation, perte des spécificités locales). Grâce au vecteur textile, chacun de ces artistes appréhende le monde et la société d’une manière à la fois poétique, critique et politique. Une troisième partie est dédiée aux artistes (majoritairement des femmes) ayant choisi l’utilisation de techniques textiles traditionnelles comme la broderie, le tissage ou la tapisserie. Avec l’explosion de la scène féministe depuis les années 1970 jusqu’aux travaux actuels, la broderie n’est désormais plus considérée comme un loisir typiquement féminin, mais comme une véritable arme politique. Une arme dirigée vers le machisme, le patriarcat ou encore les inégalités liées au genre. Dans ce cadre, les pratiques d’artistes comme Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, permettront d’aborder la broderie dans l’art contemporain de manière diversifiée et hétérogène. À travers ces différentes analyses, nous observons la déconstruction de la hiérarchie des arts et le fait que l’art textile contemporain apparaît comme un art engagé et pertinent, proposant des perspectives de réflexions riches en lien avec les problématiques du monde actuelThe study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as “cultural hybridity”, creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the “in-between” status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the explosion of the feminist scene during the 1970s until current works, embroidery is henceforth no more considered as a typically feminine leisure, but as a real political weapon. A weapon steered towards the male chauvinism, patriarchy or gendered disparities. In this frame, the practices of such artists as Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, will allow to approach the embroidery in contemporary art in a diversified and heterogeneous way. Through these various analyses, we observe the deconstruction of art hierarchy and that contemporary textile art appears as a committed and relevant art, proposing perspectives of rich reflections in connection with the actual issues of our world
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Winther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.
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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.
Pełny tekst źródłaKsiążki na temat "Embroidery history"
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Warner, Pamela. Embroidery: A history. London: B.T. Batsford, 1991.
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English embroidery. London: Bell & Hyman, 1985.
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Chasu: Embroidery. Sŏul-si: Mijinsa, 2010.
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Chasu: Embroidery. Sŏul-si: Mijinsa, 2010.
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Gu xiu: Gu's embroidery. Shanghai Shi: Shanghai wen hua chu ban she, 2011.
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Margaret, Bolger, Moss Beryl Patten i Weaver Cynthia, red. The Watts book of embroidery: English church embroidery, 1833-1953. Wyd. 2. London: Watts & Co, 1998.
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Museum of Arts and Design (New York, N.Y.), red. Pricked: Extreme embroidery. New York: Museum of Arts & Design, 2007.
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Arts and crafts embroidery. Atglen, PA: Schiffer Publishing, 2013.
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18th century embroidery techniques. Lewes [England]: Guild of Master Craftsman, 2012.
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Art of embroidery: History of style and technique. Woodbridge. England: Antique Collectors' Club, 2001.
Znajdź pełny tekst źródłaCzęści książek na temat "Embroidery history"
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Kuang, Yanghua. "Embroidered Textiles in China". W Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1–9. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-3934-5_9887-1.
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Kuang, Yanghua. "Embroidered Textiles in China". W Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1609–15. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_9887.
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Hachad, Naïma. "Carolle Bénitah’s Photo-Embroidery". W Revisionary Narratives, 159–91. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0005.
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In ‘L’enfance marocaine’ (2009), Carolle Bénitah scans, reframes, and embroiders over black and white family photographs from her childhood in Morocco in the 1960s and 1970s. Chapter 5, analyzes Bénitah’s photo-embroideries, using theories on family photography and its ability to capture traumatic shifts that shape postmodern mentalities, as developed by Roland Barthes ([1980]1981), Marianne Hirsch (1997), Patricia Holland (1991), and Annette Kuhn ([1995] 2002). In tandem with these theorists, I draw on Sam Durrant’s analysis of the postcolonial narrative as a mode of mourning and an action partly meant to come to terms with traumatic historical events, and Mireille Rosello’s notion of ‘reparative mourning’ in her study of the reparative in postcolonial narratives. I read Bénitah’s images as a postmodern narrative that testifies to a fragmented subjectivity, situated at the intersection between public and private history and memory—the artist’s personal story against the backdrop of the twentieth-century history of Morocco and its Jewish community. The chapter analyzes spatial, temporal, visual, and cultural hybridity as a way of working through history while also engaging with transnational feminist strategies women use to undo gender hierarchies naturalized and perpetuated by photography and the family photograph.
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"L’ introduction du Cantique des Cantiques dans la Bible historiale : de l’ écriture de l’ histoire à la pensée littéraire dans la traduction biblique". W The Embroidered Bible: Studies in Biblical Apocrypha and Pseudepigrapha in Honour of Michael E. Stone, 899–912. BRILL, 2017. http://dx.doi.org/10.1163/9789004357211_046.
Pełny tekst źródłaStreszczenia konferencji na temat "Embroidery history"
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TZENG, Chi-Shyong, Yu-Fu CHEN i Shyh-Bao CHIANG. "Embroidery patterns of the Qing Dynasty robes". W 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-01_011.
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Kimmer, C. J., i C. K. Harnett. "Combining Strings and Fibers With Additive Manufacturing Designs". W ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59569.
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High tensile strength cables, low-resistance motor windings, and shape memory actuators are common examples of technical fibers used in robots and other electromechanical assemblies. Because properties like tensile strength, crystal structure, and polymer alignment depend strongly on processing history, these materials cannot be 3D printed with the same properties they have on the spool. Strings and fibers are inserted in mechanical parts at the end of the manufacturing process for these assemblies. When the fibers take complex paths, the installation is often done by hand. This activity can dominate the process time, increase its human labor and reduce its social sustainability [1]. This paper applies the non-traditional approach of machine embroidery to insert sheets of patterned fibers in layered additive manufacturing processes such as 3D printing and lamination. Fibers are aligned with features in laser-cut or printed parts without the manual labor of hand threading. We demonstrate that water-soluble stabilizer materials originally designed for textiles can hold hard mechanical parts in a machine embroidery hoop with enough strength and rigidity to withstand sewing through pre-existing holes in the part. Alignment to within 250 microns has been demonstrated with a sub-$300 consumer embroidery machine. Case studies in this paper include a cable-driven mechanism, a soft-to-hard electronic connection, and an electromechanical sensor. Process-compatible and commercially available materials that can be embroidered include conductive threads, shrinking threads, water-soluble threads and high tensile strength fibers. The biggest hurdle for a user interested in this automated fiber installation process is linking the existing design file with an embroidery machine file. There is a much larger user base for 2D and 3D computer-assisted design (CAD) software than for expensive and proprietary embroidery digitizing software. We take the route chosen by the laser cutter industry, where the user produces a CAD file in their preferred editor, and makes annotations that communicate where and how densely to stitch. Translation software scans the file for a particular line style and generates stitch coordinates along it. Development is done in Jupyter/iPython notebooks that allow end-users to inspect, understand, and modify the conversion code. The intent is for users of existing planar fabrication technology (whether laser, printed circuit board, or micro/nano) to apply this method to their own CAD files for a versatile and straightforward way to put advanced materials in their devices without adding manual labor. This general approach can solve a class of assembly problems relevant to underactuated tendon-driven robotics and other electromechanical systems, expanding the range of devices that can be put together using automation.