History of Silk Painting

Total Page：16

File Type：pdf, Size：1020Kb

History of Silk Painting History of silk painting Silk is a beautiful gift from nature that has been cultivated for over 3,500 years. Ancient coloring and resist techniques were developed to embellish the woven cloth of silk and cotton that came from India and China. Gutta is probably the most recent development in the history of resist techniques, but the origin of the craft remains something of a mystery. Gutta involves the use of application of a starch-like substance to control the flow of paint on silk. There are lots of unanswered questions about how the craft spread to other parts of the world. The earliest development of silk and silk painting took place in India around the second century CE, and it was shortly after that similar techniques were developed in China. Japanese art was heavily influenced by Chinese culture. The earliest complex art from Japan came between the seventh and eighth centuries. In the ninth century CE the Japanese became more culturally independent with its art, along with the spread of Buddhism. This is also around the time they discovered methods of silk production and silk painting. Early Japanese silk paintings were done with black ink or paint, and were generally monochromatic. Entering the 14th century Japanese artists began using a range of pigment, adding color to paintings. Between the 16th and 18th centuries silk painting began to spread from its origins in East to the West. Silk painters from France and Hungary reported that their teachers acquired skills of the craft in France from members of the Russian Tsar’s family. During the Bolshevik Revolution, members of the Tsar's family dispersed throughout Europe. Many fled to Paris, bringing with them the secrets of silk painting using the substance called Gutta, and introduced the process to Western Europe. Gutta is one of several linear barrier resists currently used in the process of painting on silk and cotton. In the 1920’s, hand-painted silk designs began to appear in haute couture of France. The French loved the sensuous hand painted silk and in the 1920's, turned the gutta-serti technique into a very profitable industry. It wasn’t until the 1970’s that silk painting really began to be popularized by artists in North America and it has been gaining popularity as a textile art ever since. The gutta techniques eventually became a valuable asset to the surface design and textile industries as designs could be developed on silk and then printed on commercial fabric. Adapted by Mary Pendergrass from "Introduction To Silk Painting” by Jackie Shaw .

Copy Link

Recommended publications

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.
[Show full text]
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
[Show full text]
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.
[Show full text]
=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.
[Show full text]
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.
[Show full text]
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.
[Show full text]
Seritechnics
SeriTechnics Historical Silk Technologies Edition Open Access Series Editors Ian T. Baldwin, Gerd Graßhoff, Jürgen Renn, Dagmar Schäfer, Robert Schlögl, Bernard F. Schutz Edition Open Access Development Team Lindy Divarci, Samuel Gfrörer, Klaus Thoden, Malte Vogl The Edition Open Access (EOA) platform was founded to bring together publication ini tiatives seeking to disseminate the results of scholarly work in a format that combines tra ditional publications with the digital medium. It currently hosts the openaccess publica tions of the “Max Planck Research Library for the History and Development of Knowledge” (MPRL) and “Edition Open Sources” (EOS). EOA is open to host other open access initia tives similar in conception and spirit, in accordance with the Berlin Declaration on Open Access to Knowledge in the sciences and humanities, which was launched by the Max Planck Society in 2003. By combining the advantages of traditional publications and the digital medium, the platform offers a new way of publishing research and of studying historical topics or current issues in relation to primary materials that are otherwise not easily available. The volumes are available both as printed books and as online open access publications. They are directed at scholars and students of various disciplines, and at a broader public interested in how science shapes our world. SeriTechnics Historical Silk Technologies Dagmar Schäfer, Giorgio Riello, and Luca Molà (eds.) Studies 13 Max Planck Research Library for the History and Development of Knowledge Studies 13 Editorial Team: Gina PartridgeGrzimek with Melanie Glienke and Wiebke Weitzmann Cover Image: © The British Library Board. (Yongle da dian 永樂大典 vol.
[Show full text]
French Silk Varieties in Eighteenth Century
Asian Social Science; Vol. 17, No. 1; 2021 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education French Silk Varieties in Eighteenth Century Jialiang Lu1 & Feng Zhao1,2 1 School of Fashion and Art Design, Donghua University, Shanghai, China 2 China National Silk Museum, Hangzhou, China Correspondence: Feng Zhao, China National Silk Museum, Hangzhou, China. Tel: 86-139-5806-6182. E-mail: [email protected] Received: December 6, 2020 Accepted: December 19, 2020 Online Published: December 30, 2020 doi:10.5539/ass.v17n1p53 URL: https://doi.org/10.5539/ass.v17n1p53 Abstract The design of French silk was very exquisite. Which has formed a clear specification and strict classification system even teaching materials in Eighteenth Century. Based on the existing material objects and teaching materials, this paper systematically sorts out the variety system of French silk fabrics, makes a detailed classification of varieties, and analyzes the political factors of the prosperity and development of French silk industry in the 18th century. 1. Preface The history of silk in France was not very long, but it indeed reached the peak of the world and was extremely glorious. Especially around the 18th century, which can be divided into four periods. For starters, the country supported silk industry by making policies under king Louis XIV's reign, and then, lots of technique innovations appeared during the reign of king Louis XV. What’s more, flourishing period of silk in France started when Louis XVI succeeded. However, it was the French Revolution that made a huge decline of silk industry.
[Show full text]
The Origin and Historical Background of Ottoman and Italian Velvets
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Sumiyo Okumura Dr. [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Okumura, Sumiyo Dr., "Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets" (2016). Textile Society of America Symposium Proceedings. 1008. https://digitalcommons.unl.edu/tsaconf/1008 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Velvet and Patronage: The Origin and Historical Background of Ottoman and Italian Velvets Dr. Sumiyo Okumura Velvets are one of the most luxurious textile materials and were frequently used in furnishings and costumes in the Middle East, Europe and Asia in the fifteenth to sixteenth centuries. Owing to many valuable studies on Ottoman and Italian velvets as well as Chinese and Byzantine velvets, we have learned the techniques and designs of velvet weaves, and how they were consumed. However, it is not well-known where and when velvets were started to be woven. The study will shed light on this question and focus on the origin, the historical background and development of velvet weaving, examining historical sources together with material evidence.
[Show full text]
Historical Silk Technologies
Max Planck Research Library for the History and Development of Knowledge Studies 13 Dagmar Schäfer, Giorgio Riello, and Luca Molà: Introduction. Seri-Technics: Historical Silk Technologies In: Dagmar Schäfer, Giorgio Riello, and Luca Molà (eds.): Seri-Technics : Historical Silk Technologies Online version at http://www.mprl-series.mpg.de/studies/13/ ISBN 978-3-945561-45-4 First published 2020 by Max-Planck-Gesellschaft zur Förderung der Wissenschaften, Max Planck Re- search Library for the History and Development of Knowledge under Creative Commons Attribution- ShareAlike 4.0 International License. https://creativecommons.org/licenses/by-sa/4.0/ Printed and distributed by: epubli / neopubli GmbH, Berlin https://www.epubli.de/shop/buch/102619 The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Chapter 1 Introduction. SeriTechnics: Historical Silk Technologies Dagmar Schäfer, Giorgio Riello, and Luca Molà Textile production is, as historian of technology and philosopher Lewis Mumford observed in his 1934 Technics and Civilisation alongside mining the sector that historically gen erated “the greatest number of improvements.” 1 Silk holds a particularly visible place in this history: as a luxury item coveted by elites and rulers since early times, silk inspired “creative minds throughout its history.”2 This fiber and the wide variety of eponymous cloth were for hundreds of years at the center of scholarly discussions on nature, technical innovation, commercial interests, and consumers’ concerns. Observing the worm, the Song Chinese politician Shen Gua (1031–95), for instance, pondered nature’s transformative powers, while the Italian painter Leonardo da Vinci (1452–1519) discussed the mechanics of silk throwing machines.
[Show full text]
Silk and Silkworms Dr
Silk and Silkworms Dr. Marian Goldsmith, Professor, URI February 25, 2015 Summary by Emily Huber Silk is one of the most expensive fibers. Due to its cost and the tedious production process, it is considered a luxury textile. A presentation by Professor Marian Goldsmith, a biologist, divulged the details of silk worms and silk production. She began the presentation with a brief history of silk production. Silk originated in China in the year 4900 B.C. According to myth and legend, princess Hsi-Ling-Shih discovered silk fiber when a cocoon fell into her cup of tea and began to unravel. For 3,000 years silk production was considered a national secret, at pain of death if exposed. Eventually, the trade spread along the Silk Road. Sericulture developed in Japan, Korea, and India. The “secret” spread to Constantinople, and then Europe. There are many types of silkworms, some of which were naturally selected and some of which were bred for specific traits. The most common domesticated silkworm is the bombyx mori. Silk produced by wild silk worms is referred to as “Tussar” or “Eri” silk. The cocoons are procured in nature, rather than in a factory, a laboratory, or a farm. What makes the bombyx mori unique is that the adult moth cannot fly. This makes the breeding process easier as they are generally sedative and are less likely to escape. The life cycle for the bombyx mori begins with the mating process. The moth then lays eggs. The bombyx mori produces significantly more eggs than wild variations due to human selection.
[Show full text]
Historic Resource Study Appendices
National Park Service <Running Headers> <E> U.S. Department of the Interior Northeast Region History Program “AN INCORPORATION OF THE ADVENTURERS” A History of the Society for Establishing Useful Manufactures, Paterson “Silk City” and its People, and the Great Falls of the Passaic River EDITH B. WALLACE, M.A. HISTORIC RESOURCE STUDY PRESENTED TO THE PATERSON GREAT FALLS NATIONAL HISTORICAL PARK IN PARTNERSHIP WITH THE ORGANIZATION OF AMERICAN HISTORIANS/ NATIONAL PARK SERVICE “AN INCORPORATION OF THE ADVENTURERS” A History of the Society for Establishing Useful Manufactures, Paterson “Silk City” and its People, and the Great Falls of the Passaic River HISTORIC RESOURCE STUDY BY EDITH B. WALLACE, M.A. PRESENTED TO THE PATERSON GREAT FALLS NATIONAL HISTORICAL PARK IN PARTNERSHIP WITH THE ORGANIZATION OF AMERICAN HISTORIANS/NATIONAL PARK SERVICE NORTHEAST REGION HISTORY PROGRAM NATIONAL PARK SERVICE U.S. DEPARTMENT OF THE INTERIOR DECEMBER 2019 Cover Illustration: Thomas Whitley, oil painting of the Nail Factory, circa 1835. Passaic County Historical Society. “AN INCORPORATION OF THE ADVENTURERS”: A HISTORY OF THE SOCIETY FOR ESTABLISHING USEFUL MANUFACTURES, PATERSON “sILK CITY” AND ITS PEOPLE, AND THE GREAT FALLS OF THE PASSAIC RIVER HISTORIC RESOURCE STUDY Edith B. Wallace, M.A. Presented to Paterson Great Falls National Historical Park In Partnership with the Organization of American Historians/National Park Service Northeast Region History Program December 2019 Recommended by: May 12, 2020 Shaun Eyring, Chief, Cultural Resources Division, Northeast Region Date Recommended by: May 12, 2020 Darren Boch, Superintendent, Paterson Great Falls National Historical Park Date Cover Illustration: Thomas Whitley, oil painting of the Nail Factory, circa 1835.
[Show full text]