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1
Wang, Ping, Tian Tian Li, and Ji Huan He. "Determination of the Del Zone in Tearing of Textiles Using an Ancient Chinese Algorithm." Advanced Materials Research 796 (September 2013): 183–86. http://dx.doi.org/10.4028/www.scientific.net/amr.796.183.
Повний текст джерелаАнотація:
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 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
Повний текст джерелаАнотація:
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 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
Повний текст джерелаАнотація:
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 (November 5, 2019): 148–63. http://dx.doi.org/10.12697/sv.2019.11.148-163.
Повний текст джерелаАнотація:
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, and Can Erkey. "The Role and Applications of Aerogels in Textiles." Advances in Materials Science and Engineering 2022 (September 17, 2022): 1–22. http://dx.doi.org/10.1155/2022/2407769.
Повний текст джерелаАнотація:
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.
6
Simpson, Elizabeth, Mary W. Ballard, G. Asher Newsome, and Brendan Burke. "King Midas’s Textiles: Dyeing and Weaving Technology in Ancient Phrygia." Textile Museum Journal 50, no. 1 (2023): 4–31. http://dx.doi.org/10.1353/tmj.2023.a932848.
Повний текст джерелаАнотація:
Abstract: Many civilizations have left behind evidence of wonderful textiles exhibiting advanced weaving techniques and a variety of colors. It has been the task of textile historians, weavers, technologists, and chemists to investigate the extant finds. For ancient Phrygian textiles of the ninth–eighth centuries bce, this approach has been upended. The colorants in the largest royal burial at Gordion, Tumulus MM (for “Midas Mound”), were biologically disassociated from the textiles they once colored, which had degraded inside the tomb. Some years earlier, a fire had engulfed the City Mound at Gordion, carbonizing the textile remains, which survive only in shades of gray. Little was preserved of the beautiful textiles for which the Phrygians had been famous. New instrumental analyses have revealed a fuller picture of the Gordion textiles, answering many questions about their original colors and fabrics. While Tumulus MM produced inorganic yellow ochre (goethite) as the source for the “dye” used for the golden-hued cloth from the tomb, the remaining dye palette was largely organic: orange, reds, and purple achieved with madder and mordant/auxiliaries, and indigo with goethite for green. A structure on the City Mound yielded charred textile fragments featuring geometric patterns, recalling the inlaid designs on the fine wooden furniture from Tumulus MM. An adjacent group of workshops contained loom weights, spindle whorls, knives, and needles, indicating large-scale textile production at the site. Taken together, this new evidence provides unparalleled insight into the all-but-lost Phrygian textile industry and the sophisticated design sense and complex technical skills of the makers.
7
Spantidaki, Stella, and Christina Margariti. "Archaeological textiles excavated in Greece." Archaeological Reports 63 (November 2017): 49–62. http://dx.doi.org/10.1017/s0570608418000054.
Повний текст джерелаАнотація:
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).
8
De Caro, Giannini, Lassandro, Scattarella, Sibillano, Matricciani, and Fanti. "X-Ray Dating of Ancient Linen Fabrics." Heritage 2, no. 4 (November 18, 2019): 2763–83. http://dx.doi.org/10.3390/heritage2040171.
Повний текст джерелаАнотація:
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.
9
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 (November 4, 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.
Повний текст джерелаАнотація:
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
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 (November 4, 2016): 130–46. http://dx.doi.org/10.12697/sv.2016.7.130-146.
Повний текст джерелаАнотація:
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.
11
Taieb, Amine Haj, and Hela Mnejja. "Design of Microencapsulated Nigelle Sativa Oil Impregnated in Textile Structure." Journal of Engineering Research and Reports 25, no. 5 (July 5, 2023): 81–87. http://dx.doi.org/10.9734/jerr/2023/v25i5913.
Повний текст джерелаАнотація:
Textiles have been used for protection from solar radiation since the time of ancient civilizations. Textile structures render unique characteristics required for sun screening apparel such as pliability, good mechanical strength, softness, esthetics, and other engineered properties. However, textiles as such may not be able to provide effective protection and theyshould be treated with ultraviolet (UV) blocking agents to ensure that the fabrics deflect the harmful UV rays. Several UV blocking agents are being developed to add or improve the UV protection function of textiles. There are opportunities for health and well-being by using cosmetotextiles in which substances that enhance skin appearance, or vitamins can be absorbed by the skin.
The aim of this article is the diffusion of Nigella Sativa oil encapsulated and impregnated in textile structures for the children of the moon.
12
Simion Beldean-Galea, Mihail, Florina-Maria Copaciu, and Maria-Virginia Coman. "Chromatographic Analysis of Textile Dyes." Journal of AOAC INTERNATIONAL 101, no. 5 (September 1, 2018): 1353–70. http://dx.doi.org/10.5740/jaoacint.18-0066.
Повний текст джерелаАнотація:
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.
13
Appolinaire, Kaji. "Challenges of the modernization and industrialization of the manufacture of Ndop fabric from Cameroon." Journal of Textile Engineering & Fashion Technology 9, no. 5 (September 13, 2023): 120–22. http://dx.doi.org/10.15406/jteft.2023.09.00344.
Повний текст джерелаАнотація:
The Ndop fabric is part of the material witnesses of Cameroonian living culture like the Faso Dan Fani of Burkina Faso, like the shuka of the Massai of Kenya and Tanzania. These symbolic fabrics have a highly significant cultural and heritage dimension in their community. The promotion of these traditional African garments and the modernization of ancestral manufacturing techniques have for several decades contributed to the development of the continent's textile industry. The proliferation of ancient and modern traditional styles testifies the impact of the industrialization of the sector on the economy and on local cultures. These transformations certainly bring added value to the economy, but they have a strong impact on the value and cultural dimension of the fabric. In a global context where it is necessary to develop this sector of the local African textile industry, it is necessary to find means and possibilities which promote the emergence of African fashion by giving pride of place to the conservation and preservation of originality of these fabrics which are elements of the national cultural heritage. The decline in the symbolic and cultural value of these fabrics prompts profound reflections on the manner and means of its production and of its current use.
14
Bhattacharya, Dr Sumanta. "Study on Exhaustion Behaviour of Red Chili on Cotton Fabric." International Journal for Research in Applied Science and Engineering Technology 9, no. 11 (November 30, 2021): 1022–29. http://dx.doi.org/10.22214/ijraset.2021.38964.
Повний текст джерелаАнотація:
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.
15
Harini, N., and N. Santhi. "Challenges and opportunities in product development using natural dyes." Scientific Temper 14, no. 01 (March 25, 2023): 211–15. http://dx.doi.org/10.58414/scientifictemper.2023.14.1.26.
Повний текст джерелаАнотація:
Dyeing is a crucial textile technology procedure and one of the most enjoyable Textile Arts. Dyeing is an ancient art form that predates our civilization. All over the world the coloring of textile material is done with bleached fabric using natural and synthetic dyes. Coloring with natural materials is now commonly used as a supplement to hand spinning, knitting, and weaving. This study aims to compare the effluent properties of synthetic and natural dyes. Additionally, a product was created utilizing natural dyes because they are safe for the environment.This research article compares effluent parameters for natural and artificial dyes used for dyeing cotton fabrics, with a focus on fastness attributes, because while colouring the textile materials not all dyes are transfer, around 10-15% of dyes will remains in dye bath itself. When this effluent discharge, it is intensely colorful and aesthetically unpleasant and it will produce environmental problems.
16
Wang, Ping, Chun-Hui He, Yan Zhang, Fu-Juan Liu, and Zhu-Xin Zhao. "Application of an ancient Chinese algorithm to stab performance of woven fabrics." Thermal Science 20, no. 3 (2016): 819–22. http://dx.doi.org/10.2298/tsci1603819w.
Повний текст джерелаАнотація:
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.
17
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, no. 1 (2022): 84–98. http://dx.doi.org/10.17721/2519-4801.2022.1.07.
Повний текст джерелаАнотація:
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.
18
Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.
Повний текст джерелаАнотація:
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.
19
Shen, Hui, Yan Zhu, and Xiao Luo. "Application of Micro-Damaged Testing Methods in the Analysis of Ancient Silk Material." Advanced Materials Research 175-176 (January 2011): 299–302. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.299.
Повний текст джерелаАнотація:
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.
20
Martínez García, María Julia. "That highly prized textile fiber: wool as a magical and medicinal remedy." Journal of Textile Engineering & Fashion Technology 9, no. 3 (May 29, 2023): 69–76. http://dx.doi.org/10.15406/jteft.2023.09.00336.
Повний текст джерелаАнотація:
The subject of this paper is the exploration and study of wool fiber beyond the production of fabrics and the manufactures associated with it. We want to try a step forward in the research of the complex world of certain textile fibers applications, such as wool, in the practice of medicine and ancient magic. Pure wool was considered a natural and traditional remedy for the prevention of inflammations and irritations of the skin. These applications were already known and practiced in Antiquity. For ancient cultures, wool possessed, and medical and magical virtues, as well as pharmacological qualities.
21
An, Boyeon, Seonghee Pak, and Ryangmi Lee. "A Scientific Analysis of Rusty Textiles from the Gaya Period Excavated at No.63 Tomb Gyodong, Changnyeong." Journal of Conservation Science 38, no. 6 (December 31, 2022): 675–83. http://dx.doi.org/10.12654/jcs.2022.38.6.09.
Повний текст джерелаАнотація:
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.
22
Malagon-Mancebo, Massiel. "THE INFLUENCE OF CARIBBEAN COLONIES ON EUROPEAN WOMENS FASHION AT THE END OF THE XVIII CENTURY AND BEGINNINGS OF XIX." Temas Americanistas, no. 51 (2023): 393–432. http://dx.doi.org/10.12795/temas-americanistas.2023.i51.17.
Повний текст джерелаАнотація:
Neoclassical fashion defined its diaphanous look by seeking to revive the style of the ancient Roman civilization, and the marble statues of ancient Greece; further influenced by the excavation of Pompeii in 1738 and its archeological developments in 1748. The attitudes towards voluminous and pompous fashions had changed, however the acceptance of the new modern and much more revealing silhouette did not occur without challenges. For neoclassical fashion to be accepted it needed a foundation to make it plausible, and it needed a pioneer to wear and deem it ‘appropriate’. This study builds a comprehensive analysis of some of the relationships France, England and other European countries built with their colonies in terms of textile manufacturing, imports and exports, and most importantly cultural appropriation. This study seeks to analyze how those colonies gave them new fashion perspectives, to develop the neoclassical fashions, we recognize from that period. In addition, this study will analyze the powerful influence of Josephine Bonaparte and other important female figures from neoclassical France, in perpetuating and expanding the use of these fabrics and styles; most importantly Josephine’s Caribbean background and her possible preference for lighter fabrics due to her birth on the island of Martinique, and how that influenced her sophisticated and cosmopolitan approach to fashion.
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Avella, Alessandra. "Vestimenta drawing in use by the Romans." Convergences - Journal of Research and Arts Education 15, no. 30 (November 30, 2022): 135–45. http://dx.doi.org/10.53681/c1514225187514391s.30.163.
Повний текст джерелаАнотація:
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, no. 4 (October 2000): 613–45. http://dx.doi.org/10.2307/2694419.
Повний текст джерелаАнотація:
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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Строков, А. А., Г. А. Камелина, and А. А. Мамонова. "Textile from the Early Medieval Cemeteries in the Crimea." Краткие сообщения Института археологии (КСИА), no. 268 (June 10, 2023): 339–56. http://dx.doi.org/10.25681/iaras.0130-2620.268.339-356.
Повний текст джерелаАнотація:
Статья посвящена изучению текстиля из могильников Чуфут-Кале, Суук-Су и Скалистинский, хранящегося в Государственном историческом музее (ГИМ). В основном это мелкие фрагменты, сохранившиеся на металлических предметах, прежде всего деталях костюма. Несколько фрагментов из Суук-Су были достаточно большого размера и сохранили свою изначальную структуру, а также проколы, след от сгиба, краску, что может говорить о том, что это было какое-то текстильное изделие. Технологический анализ показал, что чаще для производства ткани использовали растительное волокно, но иногда применялась и шерсть. Все фрагменты изготовлены в одной технике - имеют Z-крутку, полотняное переплетение, плотность в среднем 14-16 нитей / кв. см. Радиоуглеродное датирование фрагмента из Суук-Су позволяет отнести этот комплекс ко второй половине VI в. Анализ соотношения изотопов стронция в этом же образце и в фоновых показателях с территории Крыма, а также результаты технологического анализа позволяют предполагать использование древними ткачами местного сырья. This paper explores textile items from the Chufut-Kale, Suuk-Su and Skalistinsky cemeteries that form part of the State Historical Museum collections. In most cases, small fragments adhering to metallic items, in particular, details of clothing, have been preserved. Some fragments from Suuk-Su were rather large, they have retained their initial structure, perforation, fold marks as well as dye suggesting that they are from textile items. The technological analysis shows that plant fibers were more commonly used for making fabrics, however, wool was also used. All fragments are made with the use of the same technology: they have a Z-twist, plain weave, with the average thread count being 14-16 threads per cm. Radiocarbon dating of the Suuk-Su fragment refers this assemblage to the second half of the 6th century. The analysis of the strontium stable isotope ratio in this sample as well as the reference sample datasets from the Crimea and the technological analysis imply that ancient weavers used local raw materials.
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Martí Mestre, Joaquim. "Teles i productes tèxtils del segle XVI. Estudi lexicosemàntic." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, no. 21 (June 22, 2023): 303. http://dx.doi.org/10.7203/scripta.21.26807.
Повний текст джерелаАнотація:
Resum: En aquest treball s’analitzen mots i sentits de mots de l’àmbit tèxtil no enregistrats en els diccionaris històrics. L’estudi es fa a partir de documentació manuscrita inèdita de relacions de béns procedents de protocols notarials valencians de la primera meitat del segle XVI, complementats amb protocols dels segles XIV, XV i XVII. L’estudi confirma la importància d’aquests textos per a la lexicografia històrica. Entre els mots estudiats en aquest treball, trobem arabismes, gal·licismes, tipus lèxics afins amb l’aragonés, mots d’origen toponímic lligats a la procedència de les teles, mots derivats i compostos, així com significats vigents en altres temps, però desapareguts modernament amb els canvis dels hàbits indumentaris i ornamentals.
Mots clau: lèxic. inventaris de béns, País Valencià, segle XVI.
Abstract. This paper analyses textile words and meanings not recorded in historical dictionaries. The study is based on unpublished manuscript documentation of inventories of goods from Valencian notarial protocols of the first half of the 16th century, complemented with protocols from the 14th, 15th and 17th centuries. Among the words studied in this work, we find Arabisms, Gallicisms, words related to Aragonese, derived words, compound words, words from toponyms related to the origin of the fabrics, and ancient meanings that have disappeared in modern times due to changes in clothing and ornamental habits. The study confirms the importance of these texts for historical lexicography.
Key words: Vocabulary, Inventories.,Valencian Country, 16th century.
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Jiamrungsan, Supamas. "The Ancient Technique of Weaving with the Contemporary Art." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 13. http://dx.doi.org/10.24821/ijcas.v4i1.1951.
Повний текст джерелаАнотація:
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, and Anil Kumar Sharma. "Sustainable dyeing of wool fabric with Talaromyces purpurogenus." Journal of Applied and Natural Science 11, no. 4 (December 10, 2019): 796–801. http://dx.doi.org/10.31018/jans.v11i4.2179.
Повний текст джерелаАнотація:
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 (February 2012): 3343–46. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.3343.
Повний текст джерелаАнотація:
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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Platinda, Svetlana, and Teodora Hubenco. "The basil – plant pattern with multiple values and significances." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 135–39. http://dx.doi.org/10.55383/amtap.2022.2.24.
Повний текст джерелаАнотація:
The content of the article refers to the options of expression of the plant motifs and especially of the basil as a plant-symbol Phytomorphic motifs give special originality to traditional national fabrics. In the most ancient wall carpets and rugs the phytomorphic motifs are very stylized, almost not identified and among the flowers and motifs represented, we find the rose, leaf, tree of life, fir branch, and others. One of the most common decorative motifs found in the ornamental composition of woolen carpets is the basil, which has been observed in some samples since the18th-19th centuries. Most plant motifs usually fall into the category of free-drawn or non-geometric forms in traditional textiles, although a specific geometry is required in the case of weaving techniques, except in carpets where the fabric is not staggered.
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An, Weizhu, Sudha Dhingra, and Feng Zhao. "Comparison Between Atlas in Xinjiang of China and Patola in Gujarat of India." Asian Social Science 16, no. 2 (January 31, 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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He, Xiaochun, Yaxuan Xia, and 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 (July 1, 2022): A68—A69. http://dx.doi.org/10.1093/ijnp/pyac032.094.
Повний текст джерелаАнотація:
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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Li, Bin, and Qiang Li. "Study on the Relation between the Linked-Pearl Pattern and Weaving Technology in Ancient China." Advanced Materials Research 332-334 (September 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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Petrushevski, Andri. "USE OF THREE DIMENSIONAL PRINTING IN THE PRODUCTION OF TEXTILE PRINT FORMS." Fibres and Textiles 29, no. 2 (August 2022): 3–9. http://dx.doi.org/10.15240/tul/008/2022-2-001.
Повний текст джерелаАнотація:
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, no. 11 (November 30, 2021): 1073–81. http://dx.doi.org/10.22214/ijraset.2021.38967.
Повний текст джерелаАнотація:
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, and 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, no. 5 (May 5, 2022): 636. http://dx.doi.org/10.3390/coatings12050636.
Повний текст джерелаАнотація:
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, and Jian Dai. "Fabric Composition and Wearability Analysis of Zhuanghua." Fibres & Textiles in Eastern Europe 30, no. 4 (July 1, 2022): 9–20. http://dx.doi.org/10.2478/ftee-2022-0033.
Повний текст джерелаАнотація:
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, no. 3 (July 1, 2021): 491–514. http://dx.doi.org/10.3138/mous.17.3.003.
Повний текст джерелаАнотація:
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, and Anna Kotłowska. ""Eparchikon biblion" V, 2: Is Thalassai the Same as Byssos?" Studia Ceranea 3 (December 30, 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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Majid, Abdul, and Widya Dina. "Cultural Studies and Symbolism of Tapis Cloth Motifs in the Culture of Lampung People." Enigma in Cultural 1, no. 1 (November 9, 2023): 1–4. http://dx.doi.org/10.61996/cultural.v1i1.16.
Повний текст джерелаАнотація:
The traditional textile art in Lampung, Indonesia, holds significant cultural significance and is imbued with intricate symbolism. The images found on Tapis cloth not only showcase aesthetic appeal but also encompass profound cultural teachings, spiritual values, and symbolism that profoundly influence the lives of the Lampung people. Tapis cloth patterns embody diverse cultural elements such as mythology, spiritual convictions, a symbiotic connection with the environment, ethnic heritage, equilibrium, safeguarding, and the pursuit of prosperity. Tapis fabric serves as a means of conveying ancient narratives, commemorating cultural legacies, and preserving unique cultural individuality.
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Gambhir, Gagan. "THE MAGICAL TECHNIQUE OF CHAMBA RUMAL." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (September 27, 2021): 49–53. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.33.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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Ribarović, Vana. "Old and new terminology describing fabrics of the women's traditional dress of Split." Portal, no. 14 (December 29, 2023): 197–207. http://dx.doi.org/10.17018/portal.2023.11.
Повний текст джерелаАнотація:
Prilikom pregleda zapisa u muzejskoj dokumentaciji Etnografskog muzeja Split, prije provedbe konzervatorsko-restauratorskih radova na nekoliko predmeta koji su dijelovi svečane ženske splitske narodne nošnje, uočeno je da su pri inventarizaciji, kod opisa temeljne tkanine, korišteni termini lokalnog govora i tadašnjeg standardnog jezika koji su danas nejasni. Cilj rada je objasniti i prevesti termine zatečene u dokumentaciji referirajući se na stručnu terminologiju dostupnu na više svjetskih jezika u rječnicima međunarodne organizacije Centre International d’Etude des Textiles Anciens (CIETA), relevantnu stručnu literaturu na hrvatskom jeziku i rječnike hrvatskog jezika. Važnost dokumentacije i njezina neodvojivost od predmeta, osobito u muzejskom kontekstu, podrazumijeva da ona bude razumljiva i izvan muzejskog kruga.
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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 (January 1, 2018): 431–35. http://dx.doi.org/10.32028/jga.v3i.535.
Повний текст джерелаАнотація:
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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Begum, Afreen, and Vankar Shree. "Color palette from natural dyeing with Rubia dye (Indian Maddar)." Tekstilna industrija 71, no. 1 (2023): 31–38. http://dx.doi.org/10.5937/tekstind2301031b.
Повний текст джерелаАнотація:
Among the natural dyes, one of the most appealing coloration on Textiles comes from Rubia dye. From ancient times this dye has been used. Rubia is one of the species of the Rubiaceae family. The common madder, covers the members such as Rubia tinctorum (common madder), Rubia peregrina (wild madder), and Rubia cordifolia (Indian madder). Figure-1 shows the picture of Rubia cordifolia. It is a source of red pigment which was of economic importance in Asia, Europe, Africa and Mediterranean in the past. The Indian madder plant has 3-4 colorant moleculesmanjisthin, purpurin and pseudopurpurin and negligible amount of alizarin. These molecules can form dye-mordant-fabric complexes easily due to appropriately placed functional groups such as - hydroxy and enones. The colorant molecules belong to the class of Anthraquinone dyes. The chelation with the metal ion of the conventional mordants or rare earth (RE) mordants is very facile. Rare earth ions have high positive charge and large ionic radii and this ionic nature of the RE+3 ion forms complexation with oxygen atoms of the dye molecules can take place. It has been observed that there is an increase in K/S value as compared to conventional mordants. This can be attributed to coordination effect of the RE mordant. The colorant molecules are capable of forming intensely colored metal complex with the RE salts. Color palette with Rubia dye are derived from the different metal salts used in the dyeing process. Ecofriendly special auxiliaries add brightness to the dyed fabrics.
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Yastrebova, Olga M. "Persian and Russian Names of Textiles Imported to Russia from Iran in the First Half of the 17th Century, as Listed in the Inventories of Goods and Diplomatic Gifts." Vestnik of Saint Petersburg University. Asian and African Studies 15, no. 1 (2023): 22–42. http://dx.doi.org/10.21638/spbu13.2023.102.
Повний текст джерелаАнотація:
The question of the origin and ways of borrowing into the Russian language of the names of oriental fabrics, which were imported in large quantities into Russia in the 17th century, has been attracting attention of scholars for a long time, but synchronous bilingual Persian Russian sources were hardly involved in the study of this issue. The article examines a number of such sources stored in the Russian State Archive of Ancient Acts: these are lists of goods and gifts brought from Safavid Iran by trade and diplomatic representatives of Shah Safi I (1629–1642), accompanied by a Russian translation and stored in f. 77 “Relations between Russia and Persia”. The study of these materials makes it possible to determine the range of fabrics imported on behalf of the Shah, to clarify the meaning and scope of use of a number of Russian and Persian terms, as well as the time of penetration of some borrowed Iranisms into the Russian language. The terms borrowed from Persian and other foreign languages were previously correlated by researchers with specific samples of textiles stored in museum collections. Thanks to this, having established synchronous lexical correspondences, it is possible to more accurately determine what kind of fabrics with what technological features were designated by Persian terms, the definitions of which in the explanatory dictionaries of the Persian language are often contradictory.
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Srivastava, Ankita, and Ankur Saxena. "Pattu Weaving: A Sustainable Fabric Manufacturing Technique." Journal of Sustainability and Environmental Management 1, no. 2 (May 26, 2022): 299–305. http://dx.doi.org/10.3126/josem.v1i2.45382.
Повний текст джерелаАнотація:
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, no. 357 (June 2017): 808–11. http://dx.doi.org/10.15184/aqy.2017.76.
Повний текст джерела
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Nakamura, Toshio, Takako Terada, Chikako Ueki, and Masayo Minami. "Radiocarbon dating of textile Components from Historical silk costumes and other cloth products in the Ryukyu Islands, Japan." Radiocarbon 61, no. 6 (October 14, 2019): 1663–74. http://dx.doi.org/10.1017/rdc.2019.105.
Повний текст джерелаАнотація:
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, no. 4 (October 1, 2020): 281. http://dx.doi.org/10.14207/ejsd.2020.v9n4p281.
Повний текст джерелаАнотація:
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