Homespun Weaving
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The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
The Dialogue of Craft and Architecture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning. -
Read Threads of Life. Khadi in Oaxaca Here
www.selvedge.org ISSUE 95 UK £12.50 USA $28.95 RTW £20.50 EUROPE €23 THE FABRIC OF YOUR LIFE THE FABRIC OF YOUR LIFE: HERITAGE 95 MAKE OUR STORIES PART OF YOUR STORY THREADS OF LIFE Khadi in Oaxaca The khadi movement is thriving in the Sierra that made a lasting impression on him. ‘When I first textile industry remains a slow educational process Sur Mountains of Oaxaca, Mexico. In the remote came here everybody had sheep and spun wool on and the long-term goal they plan to achieve. Zapotec village of San Sebastian Rio Hondo, their drop spindles; they wove blankets and women spin organic cotton on the Charkha, the ponchos on backstrap looms. This was part of their Marcos, who’s a spinner and weaver, brought the wooden spinning wheel that was the embodiment tradition’. He remained in San Sebastian and shared first spinning wheel from India. Today, they are made of Gandhi’s vision for a new India. Khadi, the fabric the life of the Ramirez family until this village life by the local master carpenters and the 200 spinners of freedom is woven on backstrap and pedal looms experience took him to India, to Gandhi’s Ashram working for Khadi own their charkha. ‘The spinning with white or pre-Hispanic brown cotton grown on the Sabarmati River. Travelling with Gandhian wheel is five times faster than the native drop on the Pacific Coast. Ponchos and huipiles, the old men in Gujarat, he saw empowered villages spindles and it’s very relaxing. With a spinning wheel indigenous sleeveless tunics worn by women in growing their food, weaving and making their own you are using the left and right brain hemispheres, so Mexico and Central America, are hand-stitched clothes. -
Spinning and Weaving of Flax and Wool
The Museum | The Village Hall | The Research Library | The Museum Shop Spinning and Weaving of Flax and Wool 1 – Flax Plant Linen is made from a plant called flax. The plants were usually harvested in August. The plants were laid out to dry in the sun and then the seed pods were pulled off. The stalks were bound into bundles and soaked in a stream or pond for several days. Then the fibers were taken from the plant, combed and spun into thread on a spinning wheel. Then the thread was woven into cloth. 2 – Wool Wool comes from sheep that were usually sheared in the spring. Men and older boys usually did this job. The wool was combed, washed and rubbed with grease then spun into thread on a spinning wheel and then woven into cloth. 3 – Carding Colonial women and children used cards to straighten out the curly wool of the sheep. A card consisted of a piece of wood with a handle and it had nails or needle like objects driven through the back to the front of the card. They would put in a handful of wool on a card and then use another card to comb the wool back and forth until it was as straight and soft as possible. The wool was then ready for the spinning wheel. 4 – Spinning Wheels Spinning wheels were used to turn the flax and wool fibers into thread. The larger of the spinning wheels is for wool and the small one is for flax. 5 – Loom came from the Pike Haven Foster house. -
The Ancient Art of Spinning a Yarn[I]
The ancient art of spinning a yarn[i] By Sam Kerr Through the ages, in the ancient ‘Classical World’, the exquisite work of hand spinning of animal fur fiber was excelled in, with finesse, principally by women. A delicate art process, the single or double ply yarn was produced by a fine twisting together of the fibers employing deft finger movements.[ii] The hand spinning of yarn from wool fleece (both in Iran and on the Subcontinent) has been continued for millennia by Zarathushtis, mainly for the weaving of their sacred thread, the ‘Kusti / Kushti / Koshti’ [The Avestan word ‘Aiwi-yaaonghana’ (‘aiwi’ is around / surrounding; ‘yaaonghana’ is protection) means ‘surrounding protection / girdle of protection’]. Such was the emphasis given to this domestic art that among the basic household talents expected of an Iranian lady it was placed in very high esteem. As a child I had noted my paternal aunt in Surat always assumed a certain posture when she made preparations for the hand spinning. Sitting upright at the edge of a couch or bed she would cross her right leg at right angle under her left thigh. Watching her carefully I had noticed she would tie the leader and secure the end onto the hook of the spindle. Being right handed she always held the wool fleece in the right hand. Leaving the fibers at the end of the leader loose she would let the spindle hang precariously beneath her right hand suspended by the leader. Swiftly, with the fingers of her left hand, she would then spin the drop-spindle from the shaft in a clockwise direction making the spindle rotate rapidly. -
AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft. -
Crossing the Divide Between Art and Craft
Journal of Undergraduate Research at Minnesota State University, Mankato Volume 10 Article 4 2010 Crossing the Divide between Art and Craft Kristin Harsma Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/jur Part of the Art and Design Commons Recommended Citation Harsma, Kristin (2010) "Crossing the Divide between Art and Craft," Journal of Undergraduate Research at Minnesota State University, Mankato: Vol. 10 , Article 4. Available at: https://cornerstone.lib.mnsu.edu/jur/vol10/iss1/4 This Article is brought to you for free and open access by the Undergraduate Research Center at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Journal of Undergraduate Research at Minnesota State University, Mankato by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Harsma: Crossing the Divide between Art and Craft Crossing the Divide Between Art and Craft Kristin Harsma Minnesota State University Faculty Mentor: Curt Germundson April 6, 2010 Published by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato, 2010 1 Journal of Undergraduate Research at Minnesota State University, Mankato, Vol. 10 [2010], Art. 4 Crossing the Divide Between Art and Craft Kristin J. Harsma (Arts and Humanities) Curt Germundson, Faculty Mentor (Arts and Humanities) Throughout history, various qualities of art have gone in and out of fashion, works declared high art being considered most important. However, there has always been a hierarchy of not only subjects of art but also of media used to create art. -
The Evolution of Craft in Contemporary Feminist Art
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 The volutE ion of Craft in onC temporary Feminist Art Carolyn E. Packer Scripps College Recommended Citation Packer, Carolyn E., "The vE olution of Craft in onC temporary Feminist Art" (2010). Scripps Senior Theses. Paper 23. http://scholarship.claremont.edu/scripps_theses/23 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Evolution of Craft in Contemporary Feminist Art By: Carolyn Elizabeth Packer SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Susan Rankaitis Professor Nancy Macko May 3, 2010 This Senior Project is dedicated to my Grandmother, Gloria Carolyn Reich. Thank you for giving me the invaluable skills that have inspired my art and being the model for woman I strive to become. Thank you also to Professor Susan Rankaitis for inspiring my dedication to this project, and to Professor Nancy Macko for being such a supportive and encouraging advisor, thesis reader, and role model. 2 Women’s art is rooted in a long history of traditional craft practices. It is said that during the times of male-dominated society, if a woman had any brains she would explore her creativity through quilting, clothing design and needlework; creating utilitarian objects for the household to serve her husband and family. Being a part of an extended family lineage of talented and inspired craftswomen has provoked me to analyze the evolution of craft from a domestic practice into a higher form of feminist art. -
The Textile Machinery Collection at the American Textile History Museum a Historic Mechanical Engineering Heritage Collection
THE TEXTILE MACHINERY COLLECTION AT THE AMERICAN TEXTILE HISTORY MUSEUM A HISTORIC MECHANICAL ENGINEERING HERITAGE COLLECTION Textiles are an important part of our everyday lives. They clothe and comfort us, protect our first-responders, Introduction filter the air in our automobiles, and form the core of the fuselage in our newest aircraft. We enjoy their bright colors, wrap up in their warmth, and seldom give a second thought to how they make bicycles stronger and lighter or how they might be used to repair our vital organs. As textiles have changed from the first simple twisted fibers to high-tech smart fabrics, the tools and machinery used to make them have evolved as well. Drop spindles and spinning wheels have given way to long lines of spinning frames. And looms now use puffs of air instead of the human hand to insert the weft thread in a growing length of fabric. During the eighteenth and nineteenth centuries, textile manufacture was the catalyst for the Industrial Revolution in America. It was the leading edge in the transformation from an agricultural to a manufacturing economy and started the move of significant numbers of people from rural areas to urban centers. With industrialization came a change in the way people worked. No longer controlled by natural rhythms, the workday demanded a life governed by the factory bell. On the consumer side, industrialization transformed textiles from one of a person’s most valuable possessions to a product widely available at incredibly low prices. For more than a century, textile mills in Great Britain and the United States dominated textile production and led the industrial revolution in both Europe and North America. -
Spinning Yarns, Telling Tales About Textiles
News for Schools from the Smithsonian Institution, Office of Elementary and Secondary Education, Washington, D.C. 20560 SEPTEMBER 1980 Spinning Yarns, Telling Tales about Textiles Textiles Tell Stories: The "Age of Homespun" and in regard to spinning, weaving, and other aspects of Other Tales textile making. This exchange of ideas led to a great Consider, for example, the piece of cloth shown in many improvements and innovations in all the various figure 1. This piece of hand-loomed, plaid linen is aspects of textile making over time. Some of the most from the Age of Homespun-a period of American important of these developments are explained in the history lasting from colonial times up until the Civil next section of this article. Bull mummy-wrapping (from Egypt) War. During the Age of Homespun many of the necessi ties of life-including textiles-were made in the Textiles From Scratch: Fiber to Cloth home. This was especially true in remote rural areas, Traditionally the making of a piece of cloth involved .7l",;;;,;i1_ where practically every farm had its own plot of flax first the selection of an appropriate natural fiber. (For i.liIi!i,~;':;\';_-- a discussion of natural fibers, see the article on page (as well as its own flock of sheep) and there was a m1i'<!Si~ 4.) The fiber was then harvested and made ready for 1\ wool wheel and a flax wheel in every kitchen. -iW:Mii\ii\_ spinning into thread or yarn. After spinning, the yarn en@! The making of cloth for clothing and bedding de manded an enormous amount of time and energy was usually either knitted or woven into cloth. -
The Old Creamery Quilt Shop
The Old Creamery Quilt Shop Open Monday – Friday 10-5 Saturday 9-4 (320) 749-2420 Website - www.oldcreameryquiltshop.com Follow us on Facebook – 120 Superior Street the old creamery quilt shop Randall, Mn 56475 2017 October 2017 It is the end of September and in Minnesota the fall colors are in peak form, soon to be replaced by falling leaves. Pumpkins are on doorsteps, Halloween is on display in stores. With much cooler temperatures looming on the horizon, it’s time once again to dust off the sewing machine. Fall is a great time to cozy up to your machine and spend some time crafting on chilly autumn days! Find fabrics that are rich in color and patterns with autumn motifs, and you will have a sensational time sewing projects perfect for the fall season. We have continued to improve our new classroom by purchasing new sewing machines available for your use. If you are taking a class and wish to use one of our machines, please call to reserve one to ensure there are enough machines set up. Creamery Classes… Please see the website for supplies needed for each class Knitting Block of the Month 2nd Monday of every month The Great American Aran Afghan Fee: $12.50 for the book “Fly The Coop” Quilt, 57” x 57”, Oct. 12 and 26 from 10:00 to 1:00, Nov. 4 from 9:30 to 2:30, Fee: $45 plus kit This is a three session class using the “Fly The Coop” kit featuring fabrics. The first two sessions will feature instructions on the two main blocks in this quilt and the last session will instruct you on the border blocks and will include plenty of sewing time. -
Bible Word List and Reading Plan
A Bible Word List Daily Reading & Plan A list of words in the Authorised (King James) Version describing terms no longer in everyday use, or now used with a different meaning. Also, a course for reading through the whole Bible once in two years, the Psalms and the New Testament twice. B IBLE W ORD L IST AND D AILY R EADING P LAN Trinitarian Bible Society William Tyndale House, 29 Deer Park Road London SW19 3NN, England Bible Word List and Daily Reading Plan Product Code: BWL2 ISBN 978 1 86228 148 6 © 1993, 2016 Trinitarian Bible Society William Tyndale House, 29 Deer Park Road London SW19 3NN, England Registered Charity Number: 233082 (England) SC038379 (Scotland) 10M/12/16 A BIBLE W ORD L IST HIS list gives brief explanations of words in the Authorised Version describing unfamiliar Tobjects, animals and plants, weights, measures and money, and words no longer in every- day use, or now used with a different meaning. If the English word is used in more than one sense, or stands for more than one Hebrew or Greek word, the list refers to passages where the word is used with each meaning. In most cases the list gives all the places where the word is found. An asterisk * means that the word is used in other passages with its normal mean- ing, or with one of the meanings given. This is not a complete list of unfamiliar or archaic words. We would recommend that the reader use a good English language dictionary to aid in understanding words which this list does not define.