" Silk Discovery and Analysis of the Characteristics and Types of Syrian Silk"

Total Page:16

File Type:pdf, Size:1020Kb

العدد الثالث عشر تاريخ اﻹصدار: 2 – 11 – 2019 ISSN: 2663-5798 www.ajsp.net " Silk discovery and analysis of the characteristics and types of Syrian silk" Seba Razouk College of Textile Engineering/ Taiyuan University of Technology Email: [email protected] (Taiyuan city/Shanxi province/China) Professor: 姜中华/Jiang Zhong Hua 94 Arab Journal for Scientific Publishing (AJSP) ISSN: 2663-5798 العدد الثالث عشر تاريخ اﻹصدار: 2 – 11 – 2019 ISSN: 2663-5798 www.ajsp.net Abstract: The search for silk textiles since its discovery eliminates its industry in this study, the silk discussed, where it used by kings and emperors, the physical and chemical properties as well as its importance in Chinese trade, carried out through the so-called "Silk Road." Even to the Middle East, specifically Syria, where we discuss the silk trade between China and Syria and its role in the Silk Road. Moreover, what Syria has added to the natural silk fabric? Also, How can we preserve the Syrian heritage and the Damascus silk industry? Through this study, we emphasize the importance of the heritage and cultural history of peoples. If we go between the past and the present, and that means to convince our culture, customs, and traditions that make us distinct, then the conclusion applies to our heritage and civilization to benefit from it commercially. Keywords: Jacquard, twill damask, silk, damask. 1-An introduction: German sociologist Norbert Elias believes that "culture is what makes a nation different from another nation, a dimension that expresses the same nation and its characteristics, and is not subject to the classification of the highest and the lowest. Moreover, civilisation is the dimension that makes disparities between nations diminish and reflect the general behavior and successes of humanity. In other words, culture is the property that makes nations different from each other, and civilisation is the link between nations ". Through our understanding of culture and civilisation, we can preserve our traditions and heritage and spreading our civilisation. Among the most important civilisations and oldest in the world is Chinese civilisation, historically regarded as the dominant civilisation in East Asia and has been adopted in all areas. It also received many civilisations through the "Silk Road," which was dedicated to trade, economy and exchange of cultures, religions, and commodities of various kinds, and worth of mentioning is the silk fabric. The appearance of silk is a significant step in the history of the economy and the history of Chinese civilisation. It has influenced the civilisations and development of many countries. 95 Arab Journal for Scientific Publishing (AJSP) ISSN: 2663-5798 العدد الثالث عشر تاريخ اﻹصدار: 2 – 11 – 2019 ISSN: 2663-5798 www.ajsp.net Because of the presence in China to study, we have seen many aspects of heritage and civilisation that still exist in various fields. The Chinese continue to care about their heritage, keep their traditions, and pride themselves in them; this they do either through the establishment of museums that preserve their heritage in civilisation or the streets. Hence the idea of research aimed at preserving our heritage, because it has not sufficiently documented. Also, through the research on silk fabrics, we have come to the understanding that the use of Silk in Syria has not well documented, although Syrian silk internationally known since the Silk Road to this day. Therefore, the research aimed to add a study to emphasise the importance of handicrafts and traditional crafts, which Syria is famous for and maintains. The research depends on the documentary approach based on many references and comparison. Emphasising the importance of heritage and civilisation in enhancing the role of countries globally, whether in economic terms, as in silk or civilisation through its transmission and spread and absorption of its importance and trying to develop it in the spirit of national culture. 2-The secret of Chinese silk and leaking methods: The secret of the silk industry has entered into myth and ancient tales, the oldest dating back to 2500 BC, when the Empress (Tsumeng) who was called the name "witch of Greater China" wife of Emperor (Hoon) and is said to have written the oldest book in the world, after the book "The Dead pharaohs." Through a committee that has reviewed and studied the content, the name of "Empress Tsuming Group" and contains more than a thousand prescription to treat various diseases, in addition to the secrets of some Chinese industries, including the secret of the discovery of 1silk which stated that, "I had a great crush on butterflies in Kasuri Gardens, and one day I found a bunch of these butterflies I took in the hope of using them in the pharmaceutical industry, but it happened after some hot water poured into the cocoons. Moreover, each of them seems fragile thread and tried again and again to grab the tip of this thread, so we managed to pull for three meters without interruption, and then realised the relationship between this cocoon, the worm that manufactures, and the threads surrounding the body such as coffins. Large worms and mulberry leaves as food, so we got large 96 Arab Journal for Scientific Publishing (AJSP) ISSN: 2663-5798 العدد الثالث عشر تاريخ اﻹصدار: 2 – 11 – 2019 ISSN: 2663-5798 www.ajsp.net numbers of cocoons. Then used hot water and certain types of oils, and got silk yarns and since that day I monopolised the manufacture of silk fabrics.) Al-Qayyim, Ali.2012,No. 2. Page 13 ). Despite all the various measures taken by the ancient masters of China to preserve the secrets of the art of silkworm culture and the technology of silk industry, these secrets have leaked out of China in different ways and by various quarters. Which threatened the monopoly of China's art industry and its economic resources important and large, and the stories of diversion of the silk industry as follows: Lesnosius wrote: "Well, I have not come to the secret of his industry, but its origin is probably vegetative, and I gather that the Chinese somehow collect certain leaves of foliage, which are very smooth. This glossy fabric is way unknown to us.” (Irene, David M.1986). The Western Region Book of the Tang Dynasty (618-907) reported that the Zhuyasadu Chuisadana in Zhutian, now Xinjiang, was unaware of the cultivation of mulberry trees, silkworm culture, and the technology of the silk industry. The king recognised this skill and experience in the importance of commercial silk and wished to transfer this vital art industry to his country to benefit economically and in various fields of life. The Chinese king received the delegates who told him about their mission, that the knowledge of the secrets of mulberry trees, silkworms and cocoons from his country falls under severe penal sanctions. The resentment of King Choisadana. The discontent of King Choisadana, who tried to rethink how he could learn the art of silk industry. He had a smart idea that would achieve his goal and his distant goals through a royal marriage project. Chuisadana sought the hand of a Princess of the Eastern Princesses of China, in the most exquisite literary, selected and elegant phrases, accompanied by the most precious, luxurious and rare royal gifts, which contributed to the approval of the Oriental Princess's marriage project. The King of Chuisadana then entrusted a delegate to prepare everything necessary for the reception of the Eastern Princess, and to inform her secretly that he was not in Chuisadana, and that it was desirable to carry with her or her belongings several silkworm eggs. (Page14, VOL2, 2012. Folklore) The Eastern Princess responded to this request and trusted the delegate to help her travel to the Kingdom of Chisadana. She put several silkworm eggs secretly in her head. When her convoy passed through the border control and inspection center of her country, it was natural that no one dared to 97 Arab Journal for Scientific Publishing (AJSP) ISSN: 2663-5798 العدد الثالث عشر تاريخ اﻹصدار: 2 – 11 – 2019 ISSN: 2663-5798 www.ajsp.net search it. For the first time, the secrets of the art of silkworm culture and the silk industry outside China\\ leaked to the original home. There are those who say that the silk industry was leaked out of China, following a soft, thin love story between a young Chinese princess called "Zoho" and a Syrian merchant from Antioch, revealing the secret of the industry, but the story is closer to the precision that says that a Chinese trader had known a Syrian girl from the city of Antioch about 1400 AD, and married her, and was able to know the secret of this industry and published in the Syrian coast and the countryside of the provinces of Idlib, Hama, and Homs, Some families produce natural silk, and make unusual tissue and tissue pieces. (Page14, VOL2, 2012. Folklore) the Silk-often referred to as "The Queen of Textiles" is the most durable natural fibre lustrous, smooth, inherent Affinity for dyes, vibrant colours, having high absorbent and lightweight qualities excellent drape and elastic properties. Historically this is the highly desired fibre which has been used extensively for apparels. Home furnishings and upholstery. Because of its lustrous look silk is always in vogue and cost highly. People love to dress in silk during the festive season and their family functions. China is the first to discover this remarkable fibre incidentally in about 2500B.C. For many years China alone used to produce silk fibre and was producing this delicate fabric, as the demand developed the secret was stolen out of China and eventually a large silk industry developed in Europe, Spain, Italy, France, India, Syria.
Recommended publications
  • Textile Society of America Newsletter 25:2 — Spring/Summer 2013 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2013 Textile Society of America Newsletter 25:2 — Spring/Summer 2013 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 25:2 — Spring/Summer 2013" (2013). Textile Society of America Newsletters. 66. https://digitalcommons.unl.edu/tsanews/66 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 Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textile VOLUME 25 n NUMBER 2 n SPRING/SIMMER, 2013 Society of America New TSA Program: Textiles Close Up CONTENTS First event in this new series: For our inaugural workshop, is it…The installation is enrap- participants will join curator and turing, as intricately patterned 1 Textiles Close Up Indonesian Textiles TSA member Dr. Ruth Barnes as the Indonesian textiles and 3 From the President at the Yale University for an exclusive day-visit to the Borneo carvings that fill it.” 4 TSA News, TSA Study Tours Art Gallery Yale University Art Gallery, New After the gallery tour, par- Haven, CT, and its rich collec- ticipants will gather for an à-la- 7 TSA Member News MAY 16, 2013 tion of textiles from Indonesia. carte luncheon at the Union 9 In Memoriam: Irene Good The small-group visit begins at League Café.
    [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 Journal of the Walters Art Museum
    THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland.
    [Show full text]
  • Fèisclò2016 Mòr
    THE HARRIS TWEED FESTIVAL FèisClò2016 Mòr AN LANNTAIR - STORNOWAY - ISLE OF LEWIS harristweedhebrides.com Cover photographh © Ian Lawson Cover WOVEN BY HAND IN THE OUTER HEBRIDES OF SCOTLAND 25 North Beach Stornoway Isle of Lewis Scotland, UK HS1 2XQ t: +44 (0) 1851 700 046 e: [email protected] HARRIS TWEED ISLE OF HARRIS Caberfeidh, Tarbert, Isle of Harris, HS3 3DJ Tel: 01859502040 Email: [email protected] Website: www.harristweedisleofharris.co.uk KENNETH MACKENZIE LTD [email protected] Kenneth Mackenzie Ltd is the oldest mill producing the hand woven Harris Tweed fabric established in 1906. Harris Tweed Isle of Harris and Harris Tweed and Recently re-equipped with considerable Knitwear are the continuation of a family tradition. amounts of new machinery the company One of the largest stockists of Harris Tweed offers a limited range of designs for delivery products on the Island providing clothing, from stock thus complimenting the other accessories and a selection of gifts provided by local crafters. Just a few miles away is ‘Clo Mor’ mills who offer a bespoke range of our exhibit centre showing how the cloth has Harris Tweed designs. evolved from traditional uses to high fashion today. THE HARRIS TWEED FESTIVAL Harris Tweed is one of the most desirable textiles in the world. It is a product like no other – uniquely protected by its own act of Parliament ‘The Harris Tweed Act of 1993’ and manufactured by the same artisan skills now as by our island forefathers over a hundred years ago, it is an industry, it is a work of craftsmanship, it is part of our culture.
    [Show full text]
  • Brocade Fabric OS Administration Guide, 8.2.1
    ADMINISTRATION GUIDE Brocade Fabric OS Administration Guide, 8.2.1 Supporting Fabric OS 8.2.1 FOS-821-AG101 28 September 2018 Copyright © 2018 Brocade Communications Systems LLC. All Rights Reserved. Brocade and the stylized B logo are among the trademarks of Brocade Communications Systems LLC. Broadcom, the pulse logo, and Connecting everything are among the trademarks of Broadcom. The term "Broadcom" refers to Broadcom Inc. and/or its subsidiaries. Brocade, a Broadcom Inc. Company, reserves the right to make changes without further notice to any products or data herein to improve reliability, function, or design. Information furnished by Brocade is believed to be accurate and reliable. However, Brocade does not assume any liability arising out of the application or use of this information, nor the application or use of any product or circuit described herein, neither does it convey any license under its patent rights nor the rights of others. The product described by this document may contain open source software covered by the GNU General Public License or other open source license agreements. To find out which open source software is included in Brocade products, view the licensing terms applicable to the open source software, and obtain a copy of the programming source code, please visit https://www.broadcom.com/support/fibre-channel-networking/tools/oscd. Brocade Fabric OS Administration Guide, 8.2.1 2 FOS-821-AG101 Contents Introduction........................................................................................................................................................................................................................18
    [Show full text]
  • A Case Study of Brocade Weaving Community in Varanasi
    Chitrolekha International Magazine on Art and Design (ISSN 2231-4822), Vol. 6, No. 2, 2016 DOI: http://dx.doi.org/10.21659/chitro.v6n2.07 www.chitrolekha.com © AesthetixMS The Decline of Varanasi Silk Handloom Cottage Industry: A Case Study of Brocade Weaving Community in Varanasi Sana Faisal1 Abstract The brocade of Varanasi is the distinct workmanship of the weavers where gold and silver thread is practised on fine silk. Kinkhabs, one of the finest known Varanasi brocades, have more Zari visible than silk. The brocades fabrics are woven in workshops identified as Karkhanas. The weavers are known as Karigars that means craftsmen. In earlier days only silver and golden wire were used, but now it is replaced with duplicate. Bold and complicated floral and foliage patterns are also made with the use of Kalga, Bel, Butis, designs. Banarsi sarees are world famous for this reproduction, Banarsi Zari work comes mainly in pure silk (Katan), organza (Kora), georgette and Shattir. Various types of silk, and other materials are used in contemporary times. This paper tried to explored the main problems of the craftsmen and throw light on an individual capacity and learnt about weaving process of brocade produced by artisans with the help of hand, tools, and machines. The chief features of artefacts are utilitarian, aesthetic, creative, cultural, decorative, functional, traditional, religious and socially symbolic and significant. Keywords: Varanasi Silk, Brocade, Saree, Craft, Varanasi, Zari. Brocade Weaving The city of Varanasi which has historically been called as Banaras is a world famous centre of brocade and Zari works. Varanasi is an international leading silk sari producing centre of India.
    [Show full text]
  • Compression Study on Velvet and Termeh in Iranian Brocade R
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:13, No:2, 2019 Compression Study on Velvet and Termeh in Iranian Brocade R. Moosazadeh and softness. Brocade (Zari in Persian) is an elegant and very Abstract—From ancient times, in some cultures, the way of expensive fabric made of pure silk fibers, and its woofs are choosing the colour and pattern of the fabric, and its decoration, colored silk and braid yarns, which can be golden or silvery. represents a message about their beliefs, traditions and ethnical Braid yarns make the brocade fabrics precious and glittering. origins. Due to the diversity of clothing in the Middle East, two The braid yarn is the same as the gold yarn; its main part is special types of Iranian fabrics have been investigated. The process of knitting with a weaving-loom is always accompanied by passing pure silk and a narrow strip of gold is wrapped around it. To the fibres of the warp in different ways. This study presented the create a braid, the artist needs to turn a wire of gold or silver historical investigation of brocades and explanation about traditional with 10 cm in diameter into thin yarns and wrap it into silk Iranian brocades in terms of fabric, shape, and patterns. Moreover, [2]. the compression results between characteristics of Termeh and velvet have been reported. The aim of the study was to focus on the history III. WEAVING MACHINE of fabric texture in Iran and general information about brocades and Termeh fabrics in expressions of their historical traditions.
    [Show full text]
  • Identifying Woven Textiles 1750-1950 Identification
    Identifying Woven Textiles 1750–1950 DATS in partnership with the V&A 1 Identifying Woven Textiles 1750–1950 This information pack has been produced to accompany two one-day workshops taught by Katy Wigley (Director, School of Textiles) and Mary Schoeser (Hon. V&A Senior Research Fellow), held at the V&A Clothworkers’ Centre on 19 April and 17 May 2018. The workshops are produced in collaboration between DATS and the V&A. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying woven textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the wider public and is also intended as a stand-alone guide for basic weave identification. Other workshops / information packs in the series: Identifying Textile Types and Weaves Identifying Printed Textiles in Dress 1740–1890 Identifying Handmade and Machine Lace Identifying Fibres and Fabrics Identifying Handmade Lace Front Cover: Lamy et Giraud, Brocaded silk cannetille (detail), 1878. This Lyonnais firm won a silver gilt medal at the Paris Exposition Universelle with a silk of this design, probably by Eugene Prelle, their chief designer. Its impact partly derives from the textures within the many-coloured brocaded areas and the markedly twilled cannetille ground. Courtesy Francesca Galloway. 2 Identifying Woven Textiles 1750–1950 Table of Contents Page 1. Introduction 4 2. Tips for Dating 4 3.
    [Show full text]
  • Value Chain Analysis of Varanasi Silk Sarees and Brocade
    INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 04, APRIL 2020 ISSN 2277-8616 Value Chain Analysis Of Varanasi Silk Sarees And Brocade Jagriti Singh, (Dr.) Alpana Srivastava, (Dr.) Maya Kant Awasthi Abstract: The p;aper focuses on value chain analysis of Varanasi Silk Sarees and Brocade making use of the Value Chain model given by Porter (1985). In the process, it also looks into different production models practiced in the industry. The paper takes into consideration both support and primary activities of Porter‘s model. In order to understand the different production models in detail while analysing the value nodes through the value chain, multiple qualitative methods were used (Miles, 1979). In-depth Interviews with key stakeholders and case based research methods were adopted for qualitative data collection. The study identifies and outlines the prevalent three types of value chain models as traditional, contemporary & mixed with respect to the primary activities of the value chain. Findings draw a comparison between various types of value chains prevalent in the industry highlighting the relevant differences among them and suggesting the best suited one in artisans‘ interest. The study states that interventions that can be undertaken through collaboration of Government, Private organizations and NGOs to improve the situation of artisans and contribute towards sustainability of the craft can be achieved by improvements and modifications in design and execution of activities. The suggestions and recommendations were made pertaining to eliminating the involvement of middlemen to reduce the cycle size and increase artisans‘ wages. Government should work towards educating the progressive artisans in e-commerce and linking them to e-commerce portals.
    [Show full text]
  • Chapter 14 Supplementary Brocading in the Warp and the Weft
    Chapter 14 Supplementary Brocading In The Warp And The Weft xtra warps or wefts, known as supplementary orbrocaded threads, can add spots of color to a cloth, or even continuous patterning, but usually in stripes or rows rather than throughout the cloth. Having a bee, a Eflower, or some other motif appear sporadically in this way keeps the cost of production down, while adding elements of additional color. If the brocaded image is produced in the weft, the motif can be repeated but executed in different colors each time it is woven. Besides having supplementary threads that run selvedge to selvedge, you can also brocade a jacquard or dobby fabric by having the extra threads work in isolated areas of the cloth. One of the characteristics of a brocaded thread is that it is not essential to the integrity of the woven cloth. Often the extra thread (whether in the warp or weft direction) floats on the face and the back of the cloth, and is not tacked in with the ground cloth. There are also several ways to tack the supplementary threads so that their floats are not too long, including cutting them away between motifs. Supplementary brocading in the warp or the weft can be done on any type of cloth. Many cultures that make brocaded fabrics do weft brocading on plain weave grounds. You are probably familiar with brightly embellished fabrics from Guatemala, woven 14-1 Discontinuous Weft Brocade from Nebaj, Guatemala on backstrap looms where the sett of the cloth is warp-faced, the structure is plain weave, and the discontinuous brocading is in the weft direction.
    [Show full text]
  • I – Traditional Textiles of India – Sfda 1301
    UNIT – I – TRADITIONAL TEXTILES OF INDIA – SFDA 1301 1 Introduction : The term 'Textile' is a Latin word originating from the word 'texere' which means 'to weave' Textile refers to a flexible material comprising of a network of natural or artificial fibers, known as yarn. Textiles are formed by weaving, knitting, crocheting, knotting and pressing fibers together. Textile Museum is that specialized category of museum which primarily preserves different types of textile and textile products. Indian textile enjoys a rich heritage and the origin of textiles in India traces back to the Indus valley Civilization where people used homespun cotton for weaving their clothes. Rigveda, the earliest of the Veda contains the literary information about textiles and it refers to weaving. Ramayana and Mahabharata, the eminent Indian epics depict the existence of wide variety of fabrics in ancient India. These epics refer both to rich and stylized garment worn by the aristocrats and ordinary simple clothes worn by the common people. The contemporary Indian textile not only reflects the splendid past but also cater to the requirements of the modern times. The rich tradition of textile in India has been favored by a number of factors. The favorable factors leading to the extensive growth of textile tradition in India follows. Easy availability of abundant raw materials like cotton, wool, silk, jute and many more Widely prevalent social customs Variety of distinct local culture Constructive geographic and climatic conditions Each and every region of India contributes in creating a myriad of textile tradition. The hilly region of the country produces a rich variety of woolen textiles.
    [Show full text]
  • West African Textiles
    WEST AFRICAN TEXTILES BARROW HALL GALLERY March 4—April 3 9 a.m.—5 p.m. WEST AFRICAN TEXTILES Exhibit curated by José Blanco and Jennifer Regan with assistance from Dr. Patricia Hunt-Hurst, Raúl Vázquez -López, and students from TXMI 4580: World Textiles (Jessica Baker, Allie Bashuk, Lauren Fylstra, Sara Idacavage, Rachel Jack, Ashley Scruggs, Kim Stober, Danielle Walsh). Unknown maker Light teal and brown two piece female outfit, Burkina Faso Cotton, synthetic embroidery On loan from Dr. Karim Traore This female outfit represents the colorful and flamboyant prints of modern African fashion which contrast the hand woven designs of traditional African dress. It is interesting to note that the modern print of the ensemble is not a traditional African design and resembles the art deco style of the early twentieth century. The pattern is created by a wax-printing process that has been copied by the Europeans. Interestingly, English wax-printed fabrics have become prestigious items in Nigeria costing more than the local outputs of the region. The fabric is inscribed with the words “Guaranteed English Wax” therefore verifying the quality of the print. The second interesting feature of this ensemble is the colorfully embroidered collar around the neckline of the caftan that appears to be industrially made. The decorative elements of the ensemble indicate that it is probably intended for special occasions. Unknown maker Teal Kampala fabric with white and orange print, Nigeria Cotton brocade On loan from Dr. Akinloye Ojo This piece is similar to Kampala textiles created in Uganda. The material is likely a damask weave created with a synthetic fiber.
    [Show full text]