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Fantastic Covers, Ellen Corrigan

Faculty & Staff Research & Creative Activity

Introductory and caption text from “Fantastic Covers,” an independently curated exhibit on display at Booth Library, Eastern Illinois University, October-December 2008. The exhibit featured cover art from a collection of pulp science fiction paperbacks and magazines dating from the 1950s to the early 1970s, housed in the library's Special Collections. Text reformatted from original presentation.

Traditional Textile Materials Of Baekje Kingdom, Mi Young Suh, Kil Soon Park

Textile Society of America: Symposium Proceedings

The purpose of this study is to analyze the traditional textile materials of Baekje including the sorts of material, colors, and patterns. This study is qualitative research using documentary records related with the costume of Baekje and evacuated data such as “Yang-Jikgongdo”, on the wall paintings of Seonwun-temple, Wajeon(tiles), and the relics from King Muryeong's dome and other domes.

The results of study are as follows:

1) Textile manufacturing technology of Baekje which had been developed since Mahan era greatly prospered in Baekje era, and high quality silks, hemp, wool, and leather were used as dress material.

2) Six basic …

11th Biennial Symposium Program, Part 1, Textiles As Cutlural Expressions

Textile Society of America: Symposium Proceedings

No abstract provided.

A Marketplace In Miniature: Norwich Pattern Books As Cultural Agency, Victoria Mitchell

Textile Society of America: Symposium Proceedings

An eighteenth-century book of woven samples can be considered as a seminal link between the production of raw materials in one cultural context and clothing or furnishing in another. In bringing images of such samples from Norwich to Hawaii for a twenty-first century conference on Textiles as Cultural Expressions I am also conscious of mapping an openended dialogue which engages the historical and the contemporary. This perspective is recognized by anthropologist Arjun Appadurai when he says that ‘from a methodological point of view it is the things-in-motion that illuminate their human and social context.

Thus, although consideration of books and …

The Serpentine Essence Of A Chancay Gauze Headdress, Jessica Gerschultz

Textile Society of America: Symposium Proceedings

A small but fascinating Chancay gauze fragment in the collection of the Michael C. Carlos Museum stands out as an exemplary object that embodies the symbolic associations and aesthetic principles of the Peruvian coastline during the Late Intermediate Period (Fig. 1). Its weave structure, production process, iconography, and polychromy unite in reinforcing the protective and regenerative purposes of the original headdress. Consisting of variably spun threads knotted together, its unique discontinuous warp relates to its function in funerary and ceremonial contexts. Significantly, its weaver pushed beyond technical limitations to bring together the laborious techniques of gauze weaving and discontinuous warping …

Chinchorro Twined Shrouds, Vicki Cassman, Nancy Odegaard, Bernardo Arriaza

Textile Society of America: Symposium Proceedings

Twined textile shrouds, beginning at least nine thousand years ago, were an integral and relatively unchanging feature of Chinchorro mummy bundles, though Chinchorro mummification practices dramatically varied through the millennia. Twined mats were used like casings, enshrouding the bodies, like a postmortem amniotic sack made from vegetal fibers. They carried the individuals to the after world protected in the belly of the earth. Chinchorro mummies beginning with the earliest dated individual, known as Acha Man, from 9,000 B.P. through and into to the next cultural phase, Formative 3,000 -1,500 B.P., were enveloped in a reed shroud. The use, materials, structures …

The String Or Grass Skirt; An Ancient Garment In The Southern Andes, Amy Oakland

Textile Society of America: Symposium Proceedings

Introduction to Session and South America

The regions of South America specific to our session concerning extraordinary textiles from the Southern Andes include the dry Pacific coast of southern Peru and northern Chile. Among the earliest inhabited sites of South America are those from the coast near Arica, Chile and the interior desert of the Pampa de Tamarugal. It is here that Chinchorro (9000-3000 B.P.) burials and later Formative (3000-1,500 B.P.) cemeteries of closely related coastal people known as Quiani and Fladas del Morro have been excavated (Fig. 1).

Although humans inhabited the coast and highlands of South America for …

Spinning Pattern, Ann Pollard Rowe

Textile Society of America: Symposium Proceedings

Ecuadorian textiles are in general more austere than those of southern Peru or Bolivia, but there are some interesting things if you look carefully enough. The focus of my paper is a woman’s wrap and carrying cloth, locally called a rebozo, from the Salasaca ethnic group in central highland Ecuador (Figs. 1-2).1 It was collected in 1966 by Frances Ruddick, then a Peace Corps volunteer working in Salasaca, and given to The Textile Museum in 2004. It is a large rectangle, 2.23 meters long and 1.02 meters wide, in purple wool with some narrow white cotton stripes, mostly near …

Identification Of Red Dyes In Textiles From The Andean Region, Ana Roquero

Textile Society of America: Symposium Proceedings

Introduction

The identification of dyes and pigments is nowadays very precise by means of different systems of chromatographic analysis. Nevertheless, as the same dye component can be found in different plants and animals, it is important when studying dyes in textiles to consider the geographical and cultural context of both the textile and the possible dyestuffs used historically in the area.

In the case of South American textiles, the major source of bibliographical information about the subject can be found in the Spanish Chronicles from the Americas, produced during the XVI–XVII centuries. Although European textile technology was introduced in the …

Tunics From The Azapa Valley, Late Formative Period. A New Weaving Tradition In The Lower Valleys, Liliana Ulloa

Textile Society of America: Symposium Proceedings

Context

Due to the short distance between the Pacific Ocean and the highest point of the Andes, the area of Arica has been for millennia a frequently used passageway for human groups going between the coast, the valleys, the sierra, the highland and the eastern side of the Andes. (People also moved from north to south along the coastal border.) The Azapa Valley was probably one of the natural roads and several pre-Hispanic archaeological sites are located at the base of the hillsides.

The Formative Period in this area presents two stages: the Early Formative Period (1100-560 BC) (Santoro …

Woven To Shape: A Pre-Columbian Trapezoidal Tunic From The South Central Andes In The Metropolitan Museum Of Art, Elena Phipps

Textile Society of America: Symposium Proceedings

Introduction

Garments used throughout the Southern Andes from the early Pre-Columbian era to at least the time of the Spanish arrival in the sixteenth century, traditionally were constructed of single or multiple webs of rectangular four-selvaged cloth sometimes folded and seamed, but rarely cut to shape. As a result, the drape and style of most garments retained the rigid outlines of their originally constructed rectangular format.

Sometime after the eighth century A.D., along the far south coast of Peru and northern Chile, a different garment style developed. This featured a tunic with wide, curving shoulder, tapered sides, and sometimes bulging …

The Use Of Trapezoidal Tunics With Curved Warp Borders As A Means To Define The Pica Tarapacá Cultural Group Of Northern Chile (900-1200 Ad), Carolina Agüero

Textile Society of America: Symposium Proceedings

Introduction

When the circulation networks implemented by Tiwanaku in the South Central Andes broke down, there began a process of political disintegration that materialized into a series of villagelevel territorial and political units competing for resources – a process with significant social and economic consequences (Schiappacasse et al. 1989).

It has been suggested for the Late Intermediate Period (1000-1450 AD), that the Tarapacá region was united and controlled by a socio-political unit that reformulated the social and geographic landscape. The reformulation incorporated resources from different ecological zones by means of a dispersed settlement pattern and llama caravanning practices, all of …

Expressions Of Power – Luxury Textiles From Early Medieval Northern Europe, Sonja Marzinzik

Textile Society of America: Symposium Proceedings

This paper focuses on luxury textiles from archaeological and non-archaeological contexts in north-western Europe. Select case studies of the 6th to 10th centuries AD, with reference to earlier and later examples, are used to introduce the contexts in which such textiles are found and to illustrate in what manner they accentuated the status of those in power.

The period under discussion saw fundamental change in the transition from Late Antiquity to a number of Germanic successor states of the Roman Empire and in the firm establishment of Christianity north of the Alps. These sociopolitical transformations found their reflection in material …

A Comparative Study Of Andongpoh And Musam Korean Hemp: The Production Of Two Distinct Qualities Of Hemp Cloth, Minsun Hwang

Textile Society of America: Symposium Proceedings

It is said that Korean hemp was already in use in BCE 2333 and that by the 7th century it had become one of the primary fibers used. Today, Koreans manufacture hemp cloth for shrouds, funerary costumes, and everyday summer-wear. There are two types of Korean hemp cloth: Andongpoh (Seang-neang-ii), which is produced in Andong County and adjacent areas; and Musam (Ik-neang-ii), which is produced in eleven different regions throughout Korea. The majority of hemp fabric production in Korea is Musam, and in Boseong County, in southern Korea, there is a particularly long history of Musam hemp …

A Poem Is A Robe And A Castle: Inscribing Verses On Textiles And Architecture In The Alhambra, Olga Bush

Textile Society of America: Symposium Proceedings

Medieval Persian poet Farrukhi Sistani writes, “I left Sistan with merchants of fine robes/ The robe I bore was spun within my heart/ And woven from my soul.” To write in these terms is to weave a text. Another poem of the qasida type by Nasir-i Khusraw varies the analogy, “I shall make a castle of my qasida and within it / Create gardens and porticoes from its verse.” A poem, then, is both a robe and a castle.

Jerome W. Clinton brings these and other samples together to examine “metaphors of craft,” the better to understand the construction of …

Textiles Recorded: Fashion Reconstructed Through Aztec Codices, Jennifer E. Siegler

Textile Society of America: Symposium Proceedings

The historical documentation of the use of textiles during the Aztec empire as tribute offerings and sumptuary laws indicates the elevated role of textiles at the time. Yet, further research is warranted on the artistry of these textiles. This is difficult because the climate of central Mexico is not conducive to preserving fiber materials; fortunately, the rich manuscripts of this region preserve many images of textiles created during the Aztec empire. Early colonial manuscripts, many of which are copies of pre-conquest manuscripts no longer extant, preserve images of textiles from the pre-conquest period. These manuscripts provide invaluable information regarding the …

Kākahu As Cultural Identity, Christina Hurihia Wirihana

Textile Society of America: Symposium Proceedings

Discussion will begin with my interpretation of this whakatauaki (proverb.) I liken the centre shoot of the flax bush to the kaitiaki (guardian of weaving knowledge) referencing the creation of Kākahu, the traditional cloak and customary dress of Maori people. Nurture this (the flaxbush) and it will flourish for many generations. The sustanibility of the flaxbush will ensure a constant supply of natural fibres required to create Kākahu.

The kaitiaki will inspire the singing birds and witness the weavers nimble fingers engaging the aho (weft thread) and whenu (warp thread), when forming the kaupapa or foundation of a Kākahu. …

Trade Cloth On American Whaleships, 1820-1870 “Liberty With A Roll Of Calico”, Susan J. Jerome

Textile Society of America: Symposium Proceedings

Artifacts tell an important story. While researching this topic for my master’s thesis, I discovered twenty-two cloth-covered books in museum collections. Dirty, stained, and sometimes badly faded, the fabric had been overlooked, assumed to be sail cloth.

Cotton, most of it brightly-printed, plain weave fabric, had been sewn around the covers of books purchased on shore just as we see in this picture. Several other images of the cloth covering these books will be shown. These are the fabrics that went to sea, procured from slop chests and sewn by hand onto leather or cardboard-bound journals and account books. These …

Prosperity, Longevity, And “Happily Ever-After”: Symbolism And The Sophistication Of Implication In Japanese E-Gasuri (Picture Ikat) Textiles, Ann Marie Moeller

Textile Society of America: Symposium Proceedings

This paper explores the elegant indirectness that certain e-gasuri patterns exhibit while using traditional symbols to express familiar Japanese sayings and concepts. E-gasuri is the Japanese word for fabrics patterned with pictures created with the ikat resist dying technique. Kasuri essentially means ikat. Kasuri becomes gasuri in the compound word e-gasuri. E means picture. The ikat technique of dying threads before they are woven produces images with blurred outlines. This blurred appearance is a treasured aspect of the e-gasuri aesthetic. E-gasuri is usually (but not exclusively) associated today with indigo resist dyed blue and white cotton and …

Weaving Cloth From Tosa-Washi (Japanese Paper From Kochi In Shikoku, Japan): Connection And Expansion Of Area And People, Yuka Matsumoto

Textile Society of America: Symposium Proceedings

Preface

Tosa-washi (Japanese paper from Kochi Prefecture in Shikoku, Japan) has been made in Kochi since the tenth century and Tosa-washi which was the first product of Tosa region was supplied to the Edo shogunate in the Edo period of the seventeenth century. The manufacture of Tosa-washi has been placed on the traditional industry of Kochi until now. It was specified in The Traditional Craftwork of the country in 1976, and specified in The Important Intangible Cultural Asset of the country in 2001. This study focuses on the creative activities of two craftswomen who weave washi-textile called shifu using Tosa-washi, …

Iowa Or Dye! Natural Dyes As American Craft And Horticulture, Sara J. Kadolph

Textile Society of America: Symposium Proceedings

Natural dyes are colorants derived from specific items found in the natural environment: plants, insects, animals, and minerals. A natural material that produces a dye is called a dyestuff. For example, the dye, madder, is extracted from madder dyestuff, the roots of a sprawling perennial, Rubia tinctorum. Many natural dyes require a mordant to permanently bond with a fiber. Mordants are usually chemical salts such as ferrous sulfate or aluminum potassium sulfate that form a bridge between the dye and the fiber. Natural dyes can be processed in several ways, including one or more water based extractions of the …

Sea Snail Purple In Contemporary Japanese Embroidery, Takako Terada

Textile Society of America: Symposium Proceedings

Introduction

Purple dye

Sea snail purple, also known as Shellfish purple, Tyrian purple, Royal purple, Ancient purple or Murex purple, abbreviated to purple in this text, is a pigment obtained from the secretion of the hypobranchial glands of certain species marine mollusks (Fig. 1). The milky secretion from the glands includes a purple precursor which can be applied directly onto textiles (Fig. 2), where the final pigments are formed in the presence of oxygen and sunlight (Fig. 3). The main chemical constituent of the purple pigment was discovered by Paul Friedländer in 1909 to be 6,6′- dibromoindigo.

Purple dye in …

Norwegian Natural Dyeing: Art, Craft, Gender And Innovation - Natural Dyes As A Tradition In Norway, Mette Biering

Textile Society of America: Symposium Proceedings

As you may know, Norway is located far north in Europe. We have a cold climate with a short summer, during which nature almost explodes. The country is sparsely populated, and because only 2 per cent of the land is suited for farming, Norwegians never supported themselves exclusively from growing crops. Multi-tasking and trading have always been necessary to survive “on top of the globe.”

Despite the short summers, sources for all the rainbow colors can be found in nature. Plants, trees, bark, lichen, shrubs, mushrooms, seaweed and even purple snails (Nucella lapillus), are something the old Norsemen and women …

Social Cohesion And Cultural Expressions: The Case Of The Sacred Textiles In The Armenian Orthodox Churches Of Istanbul, Marlene R. Breu, Ronald T. Marchese

Textile Society of America: Symposium Proceedings

Prologue

The social and cultural history of Armenians is long; indeed one cannot fully appreciate its parameters without deeper investigation. This paper reports on a segment of Armenian history— the sacred historical textiles housed in the Armenian Orthodox Churches of Istanbul, Turkey. These artifacts had never before been studied, although a select few objects produced in Istanbul have been published in books devoted to the Armenian collections in Jerusalem, Etchmiadzin (Armenia), and the Sis collection from Anatolia currently in Beirut, Lebanon. Illuminated manuscripts receive the greatest attention among the historical Armenian religious artifacts, followed by stone, metal and wooden objects. …

Mud And Dirt: Australian Soil As Self-Expression, Di Mcpherson

Textile Society of America: Symposium Proceedings

Australia is a vast and ancient land of desert and mountain ranges that have been sculpted by the forces of nature resulting in a huge range of colored muds, dirts, soils and ochres. The aborigines used and continue to use, colored clays and ochres to decorate their ceremonial artifacts, bodies, caves and bark paintings. They use yellow and red obtained from ochres including ironstone and limonite, black from charcoal or manganese ore and white from pipeclay or gypsum. After grinding these finely, the aborigines mix them with water and a natural fixative of gum or resin is added if necessary. …

Eats, Shoots, And Weaves, Lisa Lee Peterson

Textile Society of America: Symposium Proceedings

“I assume you’re Buddhist?” My face twisted in bewilderment. I didn’t immediately know how to answer this question.

It was Good Friday 1982, the day I first met my in-laws-to-be. My future brother-in-law and his wife had driven to the family farm in northern Indiana, ostensibly to observe the spring ritual with family, but really to observe me. My soon-to-be father-in-law raised his wine glass in a toast “to all of us who celebrate this Easter season.” He then turned to me and dropped his bombshell, “I assume you’re Buddhist?”

My mother’s maternal grandfather was one of the founding fathers …

Embroidering The Golden Chersonese: Metallic Thread Needlework In The Malay Peninsula, Hwei-Fe’N Cheah

Textile Society of America: Symposium Proceedings

Historians emphasize the diversity and fluidity of Malay world identity and culture, questioning the very meaning of “Malayness.” A summary glance at early twentieth century examples of metallic thread needlework reveals the “mixed and many” Malay embroidery styles. While these styles have been associated with different regions, the relationships between them have not been examined closely. This paper assesses examples of late 19th and early 20th century embroideries from four regions in the Malay peninsula. Although not comprehensive, it highlights two particular features of peninsular Malay embroideries – the use of glass and the ways in which plant forms are …

Field Of Flowers: Mughal Carpets And Treasures, Michael Schuster

Textile Society of America: Symposium Proceedings

In mid-seventeenth century South Asia, the taste for naturalistic floral sprays reached an apogee of artistic expression. During the reign of the Mughal dynasty (1526-1857), the aesthetic style pervaded the arts of South Asia. Its influence has been strong ever since; it continues to be prevalent in South Asian design today and has had an impact on aesthetic traditions of the West and China. The current exhibition illustrates this distinctive Mughal idiom and reveals the continuity of the artistic tradition in contemporary India and Pakistan. For many, the arts developed during the Mughal Empire are synonymous with taste, luxury, and …

Catching The Light, Catching The Waves: The Suzani Collection Of Doris Duke At Shangri La In Honolulu, Hawai‛I, Carol Bier

Textile Society of America: Symposium Proceedings

Introduction: Doris Duke’s Shangri La and Her Suzani Collection

In 1935 tobacco heiress Doris Duke married James H. R. Cromwell and together they embarked on a year-long voyage around the world for their honeymoon. Returning home eastwards, their last port of call was Honolulu before they were to establish themselves in West Palm Beach, Florida. They found they enjoyed Honolulu, so they stayed much longer than planned. They bought a spot of land on Black Point, east of Diamond Head, and ultimately never settled in Florida.

Here, in the next couple of years, they built a house they soon dubbed …

“Pride And Practicality”, Barbara Kawakami

Textile Society of America: Symposium Proceedings

Aloha! Today, I would like to take you on a vicarious journey back to the good ole’ plantation days through “Textiles As Cultural Expressions.” More than anything, clothing reflected the pride and keen sense of practicality with which the immigrants endured their hardships. This was nowhere more apparent than in Hawaii at the turn of the century, where new immigrants from China, Portugal, Spain, Japan, Korea, Philippines and other countries came to work on the sugarcane and pineapple plantations. Each ethnic group was easily distinguished by their native costumes.

From 1885 to 1924, more than 200,000 Japanese immigrants came to …