Fiber, Textile, and Weaving Arts Commons^™

The Conversion Of Chinese Court Robes Into Japanese Festival Hangings, Gloria Granz Gonick

Textile Society of America: Symposium Proceedings

Decorated silken robes historically worn in China to garb the emperor and his family were disassembled and resewn in Japan into hangings for Kyoto's Gion Festival during the 16th to 18th centuries. The twenty robes, which were converted into coverings for festival carts called yama and hoko, include silk tapestry weaves (kesi), brocades, and embroidered examples. Eleven date from the Ming Dynasty (1368–1644) and nine from the early to mid Qing Dynasty (1644–1911). This distribution contrasts with other world collections of Chinese imperial robes, in which Qing Dynasty examples are far more numerous. In addition to the …

Raphael’S Acts Of The Apostles Tapestries: The Birth Of The Tapestry Reproduction System, Marjorie Durko Puryear

Textile Society of America: Symposium Proceedings

As a younger fiber artist at the beginning of my teaching career, I rarely found European tapestries of the 16th through 18th centuries to be more than copies of paintings in a woven mask. The weaver's hand and spirit were only apparent in finite details which were resplendent with meticulous hatching, shading, and delicate slit work, unchanged from the Medieval past. But it was against my art school training to separate art concept from process. I wasn't ready to accept that the weavers were not the artists, and that tapestry was in fact an industry.

More recently, my point of …

Ottoman Silks And Their Legacy, Diane Mott

Textile Society of America: Symposium Proceedings

During the late Middle Ages and the early Renaissance, luxury silks of Asia that had for centuries trickled into Europe began to enter in large numbers, fueling an appetite for the rich and exotic that was to have a lasting effect on Western textile design. In turn, expanded trade with the Levant carried Western designs and advances in weaving eastward. The Ottoman Empire, standing at the thresholds of Europe and Asia, was perfectly poised to transmit these East-West currents. Weavers in manufactories in the successive Ottoman capitals of Bursa and Istanbul, the western outposts of the Asiatic silk routes, absorbed …

Charmingly Quaint And Still Modern: The Paradox Of Colonial Revival Needlework In America, 1875–1940, Beverly Gordon

Textile Society of America: Symposium Proceedings

Despite the self-conscious modernism of the early 20th century, American needlework was filled with images of flower baskets, cozy cottages, spinning wheels, and women in hoopskirts. It was dominated by seemingly old-fashioned and "quaint" techniques, such as cross stitch, patchwork, crewel, and rug hooking. In an era with teeming cities, radio, and cars pouring off the assembly line, needlework came to stand for a romanticized, seemingly simpler and nobler American past. And in an era when women were winning the vote and re-entering the professional work force, needleworkers, in turn, became identified with the domestic homebody of the past. In …

Ancient Andean Headgear: Medium And Measure Of Cultural Identity, Niki R. Clark, Amy Oakland Rodman

Textile Society of America: Symposium Proceedings

From the earliest recorded periods of southern Andean history, distinctive clothing styles have served to identity specific socio-cultural groups and provide clues about cultural origins. Unique environmental conditions, especially present along the arid Pacific coast of South America, have allowed the preservation of a vast archive of usually perishable material. From the far south coast of Peru to the northern desert regions of Chile, textiles, and especially headgear forms were worn to distinguish between the diverse populations who established permanent settlements along the narrow river valleys linking highland regions and the coast.

The south central Andes region has always known …

(Re-)Fashioning Identity: Late Twentieth-Century Transformations In Dress And Society In Boliva, Elayne Zorn

Textile Society of America: Symposium Proceedings

The members of most of Bolivia's large indigenous ethnic groups, such as the nearly 22,000 people of ayllu Sakaka of northern Potosi, continue to wear a distinctive daily dress. Such dress nationally and internationally is emblematic of the Sakaka's separate, and to many inferior, identity as Indians. To the wearers also, or perhaps fundamentally, such dress marks a division between clothed indigenous humans (runa) and naked foreign outsiders (q'ara). This interpretation coincides with hegemonic non-Indian evaluations of Indian separateness, but reverses the hierarchy.

Yet most members of these large indigenous ethnic groups, whom I refer to …

Contact, Crossover, Continuity: Proceedings Of The Fourth Biennial Symposium Of The Textile Society Of America (1994) [Entire]

Textile Society of America: Symposium Proceedings

Preface 7

Contact, Crossover, Continuity: Fiber and Garment

Featured Paper: Ancient Near Eastern Fibers and the Reshaping of European Clothing Elizabeth J. W. Barber 9

Wreath and Cap to Veil and Apron: American Modification of a Slavic Ritual Patricia Williams 19

Panel: Textile Transformations and Cultural Continuities in West Africa

Akwete-Igbo Weavers as Entrepreneurs and Innovators at the Turn of the Century Lisa Aronson 31

What’s in a Name: The Domestication of Factory Produced Wax Textiles in Cote d’Ivoire Kathleen E. Bickford 39

Technology and Change: The Incorporation of Synthetic Dye Techniques in Abeokuta, Southwestern Nigeria Judith Byfield 45

The …

Felting: A Medium Of Visual Expression, Deborah Mcmahon Osterholtz

Graduate Work – Art

The purpose of the weaver and the place of the craftsperson through history has developed from being purely utilitarian to a medium of personal visual expression. Early man used weaving as a functional craft building structures and making cloth to protect himself from his environment. Medieval weaving was artistic and utilitarian, it was used as decoration and insulation in housing. With the advent of new architectural advances of the Renaissance weaving was no longer required to function as housing insulation. During this time, with the growing emphasis on painting and the development of chemical dyes, weavers turned to new colors …