SILK Textile Research Project
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Eastern and Western Look at the History of the Silk Road
Journal of Critical Reviews ISSN- 2394-5125 Vol 7, Issue 9, 2020 EASTERN AND WESTERN LOOK AT THE HISTORY OF THE SILK ROAD Kobzeva Olga1, Siddikov Ravshan2, Doroshenko Tatyana3, Atadjanova Sayora4, Ktaybekov Salamat5 1Professor, Doctor of Historical Sciences, National University of Uzbekistan named after Mirzo Ulugbek, Tashkent, Uzbekistan. [email protected] 2Docent, Candidate of historical Sciences, National University of Uzbekistan named after Mirzo Ulugbek, Tashkent, Uzbekistan. [email protected] 3Docent, Candidate of Historical Sciences, National University of Uzbekistan named after Mirzo Ulugbek, Tashkent, Uzbekistan. [email protected] 4Docent, Candidate of Historical Sciences, National University of Uzbekistan named after Mirzo Ulugbek, Tashkent, Uzbekistan. [email protected] 5Lecturer at the History faculty, National University of Uzbekistan named after Mirzo Ulugbek, Tashkent, Uzbekistan. [email protected] Received: 17.03.2020 Revised: 02.04.2020 Accepted: 11.05.2020 Abstract This article discusses the eastern and western views of the Great Silk Road as well as the works of scientists who studied the Great Silk Road. The main direction goes to the historiography of the Great Silk Road of 19-21 centuries. Keywords: Great Silk Road, Silk, East, West, China, Historiography, Zhang Qian, Sogdians, Trade and etc. © 2020 by Advance Scientific Research. This is an open-access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/) DOI: http://dx.doi.org/10.31838/jcr.07.09.17 INTRODUCTION another temple in Suzhou, sacrifices are offered so-called to the The historiography of the Great Silk Road has thousands of “Yellow Emperor”, who according to a legend, with the help of 12 articles, monographs, essays, and other kinds of investigations. -
Textile Industry Needs Christopher D
The Journal of Cotton Science 21:210–219 (2017) 210 http://journal.cotton.org, © The Cotton Foundation 2017 ENGINEERING & GINNING Textile Industry Needs Christopher D. Delhom, Vikki B. Martin, and Martin K. Schreiner ABSTRACT lthough the immediate customer of the gin is Athe cotton producer, the end user of the ginned The immediate customers of cotton gins are lint is the textile mill, retailers, and eventually the the producers; however, the ultimate customers consumer. Thus, it is essential for the ginner to are textile mills and consumers. The ginner has satisfy both the producers and the textile industry. the challenging task to satisfy both producers and Consequently, the ginner needs to be aware of the the textile industry. Classing and grading systems needs of the textile industry. are intended to assign an economic value to the The intent of the cotton classing and grading bales that relates to textile mill demands and the system is to assign an economic value to the bale that quality of the end product. International textile documents its properties as it relates to the quality of mills currently are the primary consumers of U.S. the end product. Since the last edition of the Cotton cotton lint where it must compete against foreign Ginners Handbook in 1994, the customers of U.S. origins. International textile mills manufacture cotton have changed radically, shifting from primar- primarily ring-spun yarns, whereas domestic mills ily domestic to international mills. International mills manufacture predominantly rotor spun yarns. Pro- have been accustomed primarily to hand-harvested ducers and ginners must produce cottons to satisfy cotton that has been processed at slow ginning all segments of the industry, i.e., domestic and in- rates. -
Reflecting Noble Luxury and Refinement, New Lightweight Wool Materials Are of Key Interest to Designers, Retailers and Bespoke Tailors
Reflecting noble luxury and refinement, new lightweight wool materials are of key interest to designers, retailers and bespoke tailors. Beyond demanding perfected fits and wool’s signature aesthetic, discerning consumers expect emotional, sensorial tactility in garments. Responding to luxury market demands, leading Italian and English spinners and weavers are introducing exclusive fine-micron yarns and fabrics, derived from rare Australian merino. Stylesight explores Baruffa Group’s finest wool yarns for first-class sweater knits, cut-and-sew jersey, and wovens. Vogue Australia December 2012 / Elizabeth Debicki in wool, on location at Haddon Rig, a Merino wool farm in New South Wales. With seductive, magnetic charm, lighter weight but often still densely constructed wovens and knits are key on men and women's runways and at textile trade shows. Wool—traditionally a winter fiber—evolves with cutting-edge superfine qualities from 150s and 180s up to 250s. Offering noble refinement and unique trans-seasonal possibilities, wool moves beyond its pastime connotations. Gossamer knits / Posh mesh / Lightweight jerseys / Dense, hefty yet lightweight wools Finest wool Fabrics F/W 13 Dormeuil Limited Edition - finest wool yarns Zegna Baruffa Lane Record Bale - finest wool fabric Loro Piana Borgosesia Finest wool Fabrics Taylor & Lodge Meticulous fiber selection from choice breeds, along with revolutionary spinning and weaving technologies, is core to new noble wool productions. Wools characterized by strength, elasticity, fluidity, low pilling and -
Physichochemical and Low Stress Mechanical Properties of Silk Fabrics Degummed by Enzymes
Chapter 9 Physichochemical and Low Stress Mechanical Properties of Silk Fabrics Degummed by Enzymes Styliani Kalantzi, Diomi Mamma and Dimitris Kekos Additional information is available at the end of the chapter http://dx.doi.org/10.5772/53730 1. Introduction 1.1. The silk road Sericulture or silk production has a long and colorful history unknown to most people. For centuries the West knew very little about silk and the people who made it. For more than two thousand years the Chinese kept the secret of silk altogether to themselves. It was the most zealously guarded secret in history. According to Chinese tradition, the history of silk begins in the 27th century BCE. Its use was confined to China until the Silk Road opened at some point during the latter half of the first millennium BCE. The writings of Confucius and Chinese tradition recount that in the 27th century BCE a silk worm's cocoon fell into the tea cup of the empress Leizu. Wishing to extract it from her drink, the young girl of fourteen began to unroll the thread of the cocoon. She then had the idea to weave it. Having observed the life of the silk worm on the recommenda‐ tion of her husband, the Yellow Emperor, she began to instruct her entourage the art of raising silk worms, sericulture. From this point on, the girl became the goddess of silk in Chinese mythology [1]. Though silk was exported to foreign countries in great amounts, sericulture remained a se‐ cret that the Chinese guarded carefully. Consequently, other peoples invented wildly vary‐ ing accounts of the source of the incredible fabric. -
Nomination Form International Memory of the World Register
Nomination form International Memory of the World Register 1.0 Checklist Nominees may find the following checklist useful before sending the nomination form to the International Memory of the World Secretariat. The information provided in italics on the form is there for guidance only and should be deleted once the sections have been completed. Summary completed (section 1) ◻ Nomination and contact details completed (section 2) ◻ Declaration of Authority signed and dated (section 2) ◻ If this is a joint nomination, section 2 appropriately modified, and all Declarations of Authority ◻ obtained Documentary heritage identified (sections 3.1 – 3.3) ◻ History/provenance completed (section 3.4) ◻ Bibliography completed (section 3.5) ◻ Names, qualifications and contact details of up to three independent people or organizations ◻ recorded (section 3.6) Details of owner completed (section 4.1) ◻ Details of custodian – if different from owner – completed (section 4.2) ◻ Details of legal status completed (section 4.3) ◻ Details of accessibility completed (section 4.4) ◻ Details of copyright status completed (section 4.5) ◻ 1 Evidence presented to support fulfilment of the criteria? (section 5) ◻ Additional information provided (section 6) ◻ Details of consultation with stakeholders completed (section 7) ◻ Assessment of risk completed (section 8) ◻ Summary of Preservation and Access Management Plan completed. If there is no formal Plan ◻ attach details about current and/or planned access, storage and custody arrangements (section 9) Any other information -
Opening Essential Questions? Lesson Objectives
Silk Road Curriculum Project 2018-2019 Ingrid Herskind Title of Lesson Plan: Silk Road: Cartography and Trade in Ancient and Modern China Ingrid Herskind, Flintridge Prep School, La Canada, CA Lesson Overview: Students will explore the “Silk Road” trade networks by investigating a route, mapping the best path, and portraying a character who navigated the route. Opening essential questions? How did the Silk Road routes represent an early version of worldwide integration and development? How does China’s modern One Belt, One Road project use similar routes and methodologies as the earlier Silk Road project? How is this modern project different? Lesson Objectives: Students will be able to: Students will also apply skills from the Global Competence Matrix and will: • Investigate the world beyond their immediate environment by identifying an issue, generating a question, and explaining its significance locally, regionally, and globally. • Recognize their own and others’ perspectives by understanding the influences that impact those perspectives. • Communicate their ideas effectively with diverse audiences by realizing how their ideas and delivery can be perceived. • Translate their ideas and findings into appropriate actions to improve conditions and to create opportunities for personal and collaborative action. 1 1 World Savvy, Global Competence Matrix, Council of Chief State School Officers’ EdSteps Project in partnership with the Asia Society Partnership for Global Learning, 2010 1 Silk Road Curriculum Project 2018-2019 Ingrid Herskind Length of Project: This lesson as designed to take place over 2-3 days (periods are either 45 min or 77 min) in 9th Grade World History. Grade Level: High School (gr 9) World History, variation in International Relations 12th grade Historical Context: • China was a key player in the networks that crossed from one continent to another. -
=MU RESUME 30 099 239 30 007 933 AUTHOR Forney, Trudy; and Others TITLE K-12 Art Guide
=MU RESUME 30 099 239 30 007 933 AUTHOR Forney, Trudy; And Others TITLE K-12 Art Guide. INSTITUTION Kansas State Dept. of Education, Topeka. Curriculum Section. PUB DATE 73 NOTE 80p. AVAILABLE FROM State Department of Education, 120 East 10th Street, Topeka, Kansas 66612 (Free) EDRS PRICE MF-$0.75 HC Not Available frog EDRS. PLUSPOSTAGE DESCRIPTORS Age Groups; *Art; Art Activities; Art Appreciation; *Art Education; Art Materials; *Child Development; Curriculum Guides; Educational Objectives; Educational Philosophy; Elementary Education; Fundamental Concepts; Program Descriptions; Secondary Education ABSTRACT The development of students in various art fieldsis the focus of this K-12 art curriculum guide. The philosophyof the art program and the roles of administrator, teacher,and parent are outlined. The underlying school community relationships,and the objective, goals, and purposes of art educationare described. Phases of child development in general and for specificage groups from 4 to 18 years of age are given with the art characteristicsof these age groups and their art program goals. Fundamental art concepts-- color, light and shade, design, and composition-- as well as the basic media, are outlinedas to objectives, materials, and suggested projects. The remainder of the guide followsa format of objectives, materials, working knowledge, concepts, and suggestedprojects in presenting several art techniques. Methods,motivations, and processes are not dictated but are left to the individual teachers. Techniques in the guide include the following: lettering,interior and mural design, paper and paper mache, batik,tie-dying, printing, silversmithing, enameling, stained glass, wood,leather, textiles, ceramics, and sand casting. (Author/KSM) ,` " z :1.11"a4413/"Aas4re sr. -
Current and Future Trends in Yarn Production1
Volume 2, Issue 2, Spring 2002 CURRENT AND FUTURE TRENDS IN YARN PRODUCTION1 William Oxenham, Ph.D. College of Textiles, North Carolina State University ABSTRACT While developments in yarn manufacturing continue to be promoted by machinery makers, spinners are challenged to produce the best quality yarn at an acceptable price. This often results in a compromise, since improved yarn quality can usually only be achieved at a higher processing cost (including raw material selection). An additional difficulty is that the significance of the various attributes of quality change for different yarn’s end uses. While the solution to lowering yarn costs, that has been adopted in recent years has been to create large, almost fully automated spinning mills, this philosophy is presently being questioned, since this significantly reduces flexibility with respect to the fiber and yarn type that can be processed. This is obviously at odds with the current paradigm of customer driven, quick response manufacturing, since this demands inherent flexibility in the successful supplier. This paper reviews the current state of technological innovation in yarn production and examines the relative merits and disadvantages of each system. Some insight will also be given concerning those factors that limit further development of some of these systems. Historical trends in US yarn production have also been surveyed, and the combined information obtained is used as an indicator of the future directions in this key industry. KEYWORDS: Yarn Production, Spinning, Vortex Spinning, Centrifugal Spinning 1. INTRODUCTION shortcomings in certain aspects of yarn and fabric quality (Figure 2). This aspect Research into new technology for yarn cannot be over stressed since while ring formation peaked in the 60’s & 70’s. -
Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker University of Michigan
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker University of Michigan Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Galliker, Julia, "Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204)" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 27. http://digitalcommons.unl.edu/texterm/27 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Terminology Associated with Silk in the Middle Byzantine Period (AD 843-1204) Julia Galliker, University of Michigan In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch (Lincoln, NE: Zea Books, 2017), pp. 346-373. -
India's Textile and Apparel Industry
Staff Research Study 27 Office of Industries U.S. International Trade Commission India’s Textile and Apparel Industry: Growth Potential and Trade and Investment Opportunities March 2001 Publication 3401 The views expressed in this staff study are those of the Office of Industries, U.S. International Trade Commission. They are not necessarily the views of the U.S. International Trade Commission as a whole or any individual commissioner. U.S. International Trade Commission Vern Simpson Director, Office of Industries This report was principally prepared by Sundar A. Shetty Textiles and Apparel Branch Energy, Chemicals, and Textiles Division Address all communications to Secretary to the Commission United States International Trade Commission Washington, DC 20436 TABLE OF CONTENTS Page Executive Summary . v Chapter 1. Introduction . 1-1 Purpose of study . 1-1 Data and scope . 1-1 Organization of study . 1-2 Overview of India’s economy . 1-2 Chapter 2. Structure of the textile and apparel industry . 2-1 Fiber production . 2-1 Textile sector . 2-1 Yarn production . 2-4 Fabric production . 2-4 Dyeing and finishing . 2-5 Apparel sector . 2-5 Structural problems . 2-5 Textile machinery . 2-7 Chapter 3. Government trade and nontrade policies . 3-1 Trade policies . 3-1 Tariff barriers . 3-1 Nontariff barriers . 3-3 Import licensing . 3-3 Customs procedures . 3-5 Marking, labeling, and packaging requirements . 3-5 Export-Import policy . 3-5 Duty entitlement passbook scheme . 3-5 Export promotion capital goods scheme . 3-5 Pre- and post-shipment financing . 3-6 Export processing and special economic zones . 3-6 Nontrade policies . -
Lee Luna.Pdf (3.311Mb)
RESPONSIBLE SILK – A PLAN OF ACTION FOR EILEEN FISHER A Project Paper Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies in Agriculture and Life Sciences Field of Global Development by Luna H. Lee August 2019 © 2019 Luna H. Lee ABSTRACT For apparel companies, agriculture is connected but often far removed. For EILEEN FISHER, being a socially conscious clothing company does not stop at the finished garment level. The company has been tracing its raw material supply chains for a few years, and is interested in expanding its human rights and environmental sustainability work to include the wellbeing of farmers and the land. In recent years, the company has started engaging suppliers and other external stakeholders at the agricultural level for cotton, wool, and man-made cellulosic. Silk is one of the top five fibers at EILEEN FISHER, representing 8% of its total materials in 2018, but one that is not well studied by the company. Grounded in literature review, this paper examines the different dimensions of the silk agricultural supply chain; the people, the land, and the silkworm. A review of the company’s silk supply chain revealed that 100% of its 2018 silk fiber comes from China, but little is known about its supply chain beyond the yarn spinner level. In collaboration with the company, a survey is conducted with its silk suppliers to trace the origin of silk cocoons within China. Findings indicates that the company’s silk originates from the provinces of Jiangsu and Guangxi. -
Behind the Scenes Behind the Scenes
A Noro aficionado for more than twenty-five years, designer Cornelia Tuttle Hamilton took the trip of a BehindBehind lifetime, traveling to Japan from her home in Sweden thethe ScenesScenes to meet the man by Cornelia Tuttle Hamilton behind the yarn. y relationship with all that is Noro began in the early 1980s. It is obvious that every new day still brings new discoveries of color and I had just returned from a train trip around Europe that I form based largely on an acute observation of nature and its rhythms, M undertook to find direction in my professional life. The outcome seasons, textures and colors. Mr. Noro’s calm dignity and humor were was an ambitious decision to pursue careers in both photography and evident even though we needed an interpreter to communicate. hand-knit design. As fate would have it, the design part of my decision quickly developed and pushed out the photography—at least for the time The Company being. Eisaku Noro was raised in the town of Ichinomiya in Central Japan, a Upon my return to Manhattan I took a sales job at Fiberworks, which region known for its yarn and textile production. Impatient with school, was probably the most avant-garde yarn shop in New York at the time. Noro began working in the yarn industry after his basic education in Owned by crochet designer Judith Copeland, Fiberworks was more a spinning and dyeing was completed. He quickly learned the ropes. gallery than a yarn shop, where handcrafted yarns from Noro lit up the An innovator with an artistic eye even back then, Noro soon became shelves and were featured in artfully displayed handknit garments.