DOCSLIB.ORG

Wearable Arts of Japan Seattle Art Museum Author(S): Sarah Loudon Source: Art Education, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wearable Arts of Japan Seattle Art Museum Author(S): Sarah Loudon Source: Art Education, Vol National Art Education Association Instructional Resources: Wearable Arts of Japan Seattle Art Museum Author(s): Sarah Loudon Source: Art Education, Vol. 49, No. 6, Art Education Reform and New Technologies (Nov., 1996), pp. 25-32 Published by: National Art Education Association Stable URL: http://www.jstor.org/stable/3193620 . Accessed: 13/02/2011 12:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=naea. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to Art Education. http://www.jstor.org INSTRUCTIONAL WEARABLE A ARTS Si , l t4 ? OF 'O JAPAN kw#; SEATTLE ART MUSEUM KatsushikaHokusai, Japanese (1760-1849). Five Beautiful Women. Edoperiod, early 19th century. Gouache, ink, silk, scroll. 34"Hx 13 1/2"W.Margaret E. Fuller Purchase Fund. SeattleArt Museum. Photo credit: Susan Dirk. WEARABLEARTS OF JAPAN SEATTLE ART MUSEUM INTRODUCTION andfront overlap. The basicshape and construction are shared Japanis knownfor a high levelof accomplishmentin the withother traditional garments, including the twocoats and areasof craftand decorative arts. In fact, traditionally in Japan coverletshown here. There is some variationin the proportions the distinctionbetween fine arts and decorative arts was not of kimono-for instance,in the lengthand width of the madeas it was in the West.Many of Japan's best known sleeves-however, the standardconstruction is a greatcontrast paintersalso worked in ceramics,lacquer design, and textiles. to the emphasison varietyof shaping,tailoring, and garment Participantsin chanoyu(tea ceremony) devote attention to constructionin Westernclothing. For kimonos, the design ceramics,bamboo utensils, landscape design, lacquerware, and interestcomes firstfrom the designof the fabricitself and textilesas well as to the hangingscrolls that are part of the secondfrom the wayit is wornand combined with other items teahouseenvironment. Textiles are the focusof this resource, to createan ensemble.The long straightexpanse of clothon beginningwith a paintingto introducekimonos, their design the backof kimonosand other traditional garments sometimes andhow they areworn. Three textiles (a man'sjacket, a servesas a surfacefor a compositionpainted in dyes:the coverlet,and a farmer'scoat) are shown with discussion of their relationshipbetween Japanese textiles and painting is designand social background. introducedby the secondexample. Kimonois a relativelyrecent term (19thcentury) for the The Japanesetextile collection of the SeattleArt Museum is traditionalJapanese garment, floor length and long-sleeved, exhibitedboth at the downtownlocation and at the Seattle thatis wornwith a sash knownas a obi.Although kimono refers AsianArt Museum. Selections from this collectionare included to bothmen's and women's garments, the men'skimono is in the travelingexhibition Beyond the Tanabata Bridge: A seldomworn in Japan today. On special occasions in TextileJourney in Japan. contemporaryJapan, women wear kimonos in a fairlystandard waycompared with the varietyof traditionalclothing of the GOALS past. 1.To examineand compare the designof severalexamples The kimonois remarkablefor its simplicityof construction. ofJapanese textiles and to analyzethe relationshipbetween the A boltof fabricin the standard14" width is cut intoa few surfacedesign of the textiles(the two-dimensional design) and rectangularsections (nothingwasted!), and sewn togetherwith the garmentconstruction (the three-dimensional design). a few straightseams. Two very long sectionsare joined 2. To discussexamples of Japanese textiles as social togetherup the centerof the backand are left open down the indicatorsand distinguish items that were madefor personal front.The otherrectangular sections form the sleeves,collar use fromitems made for a livelihood. Five Beautiful Women KatsushikaHokusai (1760-1849), Edo period, early 19th century, Hanging scroll, ink and color on paper,34" x 131/2",Seattle Art Museum 56.246, Margaret E. FullerPurchase Fund OBJECTIVE prolificartist and not onlycreated many series of Studentswill examine a paintingfor visual information about landscapeprints but was also a painterof scrollsand folding traditionalJapanese women's clothing. screens. The womenshown in this hangingscroll have individuality BACKGROUND not so muchfrom their facial features as fromtheir posture, KatsushikaHokusai (1760-1849) is best knownin the U.S. activities,and clothing. Although they overlap,the womendon't for his woodblockprints, in particularthe famousprint of the seem to noticeone another,and they arenot placed in a defined largewave with Mt. Fujiin the distance.He was an incredibly setting.The topwoman pauses to thinkwhile writing a poem. IART EDUCATION / NOVEMBER 1996 INSTRUCTIONAL 0 I The secondwoman bends overher flowerarranging. The third womanis arranging.The thirdis decoratedwith bush clover, womanwears the hat of a shrinepilgrim. The fourthappears to one of seven autumngrasses andcommon fall motif. The fourth be a courtesan.The fifthreads a book,perhaps a storyof the is wearingseveral layers of cherryblossoms in differentcolors womenfloating above her. foran exuberantspring outfit. The bottomwoman is wearinga Hokusaiput a lot of careinto painting the women'skimonos. lightweightfabric for summer wear (althoughits darkcolor A woman'skimono conveyed a lot abouther; it reflectednot maynot seem summeryto us). onlyher individualtaste, but alsoher class,marriage status, Allkimonos are decorated with allover repeated patterns. age, the seasonand the formalityof the occasion.Sumptuary Whatdifferent ways of wearingthe kimonosdo you notice? lawsprohibited common people from wearing luxurious Lookat the obis,and you can see thatthey aretied in different fabrics,brilliant colors, and elaborately patterned garments ways,including the womanin cherryblossoms who has her obi reservedfor the elite. tiedin front.Now look for bits of liningsand undergarments thatshow some contrast,primarily in red.These detailsof their DISCUSSION ensembles,as well as the differentpatterns, were how these Whatdo these womenhave in common,and what shows womenshowed their individuality while all wearing similarly theirindividuality? Clearly these womenenjoyed leisure time cutkimonos. forpursuits of writingpoetry (top), flower arranging (second The purchaseof kimonofabric was an importantand major fromtop), and reading a book (bottom).They enjoyedwearing expensefor these women.Women bought bolts of kimono finekimonos, and judging from the widehanging sleeves, were fabricand sewed them up themselves.Sewing up the garment not concernedwith a lot of housework,cooking, or sports. tookno greatskill, as a coupleof cuts andstraight seams did Theirkimonos show attentionto detailsin the fabric.You the trick. canenjoy the patternsand imagine the heavyweight of the Traditionally,chairs were not used inJapan; people sat on brocadeof one comparedwith the gauzylight feel of another. the flooron tatamimats. In this painting,you can see howtheir Eachhad its ownseason of wear,determined by its warmthbut clothingwas designedto be seen eitherwhile sitting on the alsoby its motif;the toppattern of irisgrowing by the waterwas floor,with their wide sleeves andhems spreadaround them, or forwear in Maywhile iris arein bloom.The secondis a fall whilestanding. The effectwould not be the samewhile sitting ensemble,signaled partly by the fallchrysanthemums the on a chairor at a table! Coat (hanten) Showaperiod, ca. 1930-40,Silk cloth with freehand paste-resist decoration (yuzenzome), 36 5/8"x 50 3/8",Seattle Art Museum 89.163, Gift of Virginia and Bagley Wright OBJECTIVES canbe achievedwithin the colors,and the numberof colors. Studentswill: 1) analyzea textiledesign and its relationship The processis time-consuming,requires great skill, and has withpainting; 2) discussa textilecreated by an urban alwaysbeen expensive. professionaltextile artist. DISCUSSION BACKGROUND Here'sanother traditional garment, a coatfor a man. This coatwas an urbanmerchant's garment. As merchants Althoughit is shorterthan a kimono,the constructionis becamewealthier, their clothing resembled more the textiles similar.The designis of a pairof mandarinducks on a pondin wornby the elite,and this jacket was madewith the yuzenzome the snow.The backof the coatis shownhere (as they are techniqueon silk.The yuzen technique is the textiletechnique usuallyshown in museumsand in books)because the main most closelyrelated to paintingand was developedby fan designis on the back.Due
Load more

Recommended publications
  • Y Técnicas(II)
    diccionario de materias y técnicas (II) Stefanos K. Kroustallis Stefanos K. Kroustallis Es doctor en historia y diplomado en restauración y conserva- ción de bienes culturales. Su campo de investigación científica se ha centrado en el estudio de las fuentes de la tecnología ar- tística –de la Antigüedad a la Edad Media– y, especialmente, en el estudio de la escritura e iluminación del libro manuscrito. A parte de su actividad investigadora, el autor también ha desa- rrollado su actividad profesional como documentalista, así como restaurador de documento gráfico. Fotografías: IMAGEN CUBIERTA: Broche visigodo. Museo de Calatayud, n.º inv.: 00809 (Foto: Nora Guinda Larraza). IMAGEN SUPERIOR: Chaquetilla marsellés. Museo del Traje CIPE, n.º inv.: CE000978 (Foto: Lucía Ybarra Zubiaga). Diccionario de Materias y Técnicas (II. Técnicas) Tesauro para la descripción y catalogación de bienes culturales Stefanos K. Kroustallis DIRECCIÓN GENERAL DE BELLAS ARTES Y BIENES CULTURALES Y DE ARCHIVOS Y BIBLIOTECAS MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE SUBDIRECCIÓN GENERAL DE MUSEOS ESTATALES Catálogo de publicaciones del Ministerio: www.mecd.gob.es Catálogo general de publicaciones oficiales: publicacionesoficiales.boe.es Edición 2015 Autor: Stefanos K. Kroustallis Dirección: Reyes Carrasco Garrido María Carrillo Tundidor Coordinación: Emilia Aglio Mayor Alejandro Nuevo Gómez Colaboración técnica: Sara Sánchez Hernández Fotografías: Centro Andaluz de Arte Contemporáneo, Colección Municipal Dispersa y Emita de San Antonio de la Florida, David Izquierdo,
    [Show full text]
  • Rezerve Boyalı Tekstillerin Gelenekten Modern Tekstil Tasarımları Ve Uygulamalarına Dönüşüm Süreci
    YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ KIŞ 2017, SAYI 17: 87-101 WINTER 2017, ISSUE 17: 87-101 YEDİ: SANAT, TASARIM VE BİLİM DERGİSİ Rezerve Boyalı Tekstillerin Gelenekten Modern Tekstil Tasarımları ve Uygulamalarına Dönüşüm Süreci Gülcan Batur ERCİVAN* ................................................................................................................ Özet Bu çalışmada geleneksel rezerve boyalı tekstiller iki grupta sınıflandırılmış ve uygulama teknikleri detaylı olarak açıklanmıştır. Bunlardan ilki olan fiziksel rezerve boyama tekniklerinde, kumaş yüzeyine ya da ipliğine (ikat) fiziksel yolla yapılan bağlama, sıkıştırma, bükme ve dikiş gibi yöntemler kullanılmaktadır. İkincisinde ise, kumaş yüzeyi bölgesel olarak balmumu, kil, nişasta ya da mısır unu gibi bir rezerve maddesi kullanılarak kapatılır. Bu makalede, rezerve boyama teknikleri iki farklı açıdan incelemektedir. Rezerve boyama teknikleri dünya genelinde pek çok kültürde görülen bir desenlendirme yöntemidir. Ancak coğrafyalara göre kumaşlar, rezerve maddeleri ve uygulama yöntemleri değişmektedir. Bu durum bir tekniğin birden fazla isimle anılmasına sebep olmaktadır. Bu nedenle bu makalede her bir teknik, farklı bölgelerdeki yerel isimleri ve uluslararası genel adlarıyla birlikte verilmektedir. Ayrıca, Kuzey Amerika’da 1960’lı yıllarda Hippi akımı gibi gençlik hareketlerinin simgeleri olarak önem kazanan bu desenlendirme yöntemlerinin geleneksel kullanımlarından modern yaşamın simgelerine dönüşümü ve bugünün kumaş endüstrisindeki yerleri değerlendirilmektedir. Anahtar
    [Show full text]
  • The Textile Museum Thesaurus
    The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................
    [Show full text]
  • A Semi-Trapezoidal Tunic with Curved Warp Borders; the Pica-Tarapaca Complex of North Chile (900-1450A.D.) and Strategies of Territorial Control
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 Abstracts Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons "Abstracts" (2008). Textile Society of America Symposium Proceedings. 286. https://digitalcommons.unl.edu/tsaconf/286 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. Abstracts A A Semi-Trapezoidal Tunic with Curved Warp Borders; The Pica-Tarapaca Complex of North Chile (900-1450A.D.) and Strategies of Territorial Control Carolina Agüero During the time in the Andes known as the Late Intermediate Period (900-1450 AD), the Tarapacá region was socially integrated with societies that articulated resources from different areas through numerous strategies of exploitation. Dispersed settlements in the region suggest methods of habitation like those known to llama caravan traders. 1 Although it has been explained how, in this period, the Pica-Tarapaca Complex controlled the territory, it has not been studied how the inhabitants of the area understood their common identity. It might be assumed that if identity is recognized as one aspect of sociopolitical connection, then affiliation with the Pica-Tarapaca Complex would be expressed in specific aspects of material culture, in this case, in a shared textile technology. A type of semi-trapezoidal tunic with curved borders is a garment style known to have been used in the Pica-Tarapaca region during the Late Intermediate Period.
    [Show full text]
  • Obiko Art Wear Archive Project
    TEXTILE ARTS COUNCIL FINE ARTS MUSEUMS OF SAN FRANCISCO OBIKO ART WEAR ARCHIVE PROJECT Feather collar by K.Lee Manuel “Electra” 1988. Photo: David Reese The Obiko ArtWear Archive documents and celebrates the work of Bay Area clothing and jewelry designers whose work was showcased at Sandra Sakata’s renowned boutique, Obiko. In the 1970s- through the 1990s, one-of-a-kind Art Wear blossomed in a culture that embraced global design. The influence of Asian and African ethnic costume and textile techniques is particularly evident in the aesthetic of this remarkable era. The archive includes a collection of designers’ work, four fashion shows, oral histories, photos and memories. The Textile Art Council hopes that the archive will be a great discovery and resource for future generations. © 2014 Textile Arts Council Fine Arts Museums of San Francisco, all rights reserved | Design: Nancy Rosenblum, Frisco Graphics OBIKO ART WEAR ARCHIVE PROJECT TABLE OF CONTENTS 1. Acknowledgements 2. History 3. Designers 4. Audio Interviews 5. Videos OBIKO ART WEAR ARCHIVE PROJECT ACKNOWLEDGEMENTS Jean Cacicedo Ana Lisa Hedstrom Thank Yous OBIKO ART WEAR ARCHIVE PROJECT | ACKNOWLEDGE- MENTS JEAN CACICEDO The hand-crafted garments and accessories that emerged in late 1960s and 1970s America played a significant role in our cultural identity. One-of-a-kind wearables emerged on both the east and west coasts, drawing on an anti-fashion street style approach. Two seminal galleries, Julie:Artisans in New York City and Obiko in San Francisco, provided a showcase for this work. I began my career on the east coast in the late 60s during an extraordinary time consumed by nationwide political protests and self expression.
    [Show full text]
  • Identificação E Análise Dos Processos De Estamparia Ancestrais Tatiana
    XI Semana de Extensão, Pesquisa e Pós-Graduação - SEPesq Centro Universitário Ritter dos Reis Identificação e Análise dos Processos de Estamparia Ancestrais Tatiana Laschuk1 1. Introdução A indústria de estamparia têxtil atual se utiliza de um arsenal de processos de estamparia, que engloba desde processos antigos, como a serigrafia, até processos contemporâneos, como os processos de estamparia digital. Entretanto, para se chegar a esses processos utilizados na indústria têxtil, muito se evoluiu no que se relaciona a tecnologias, substratos têxteis e químicos, bem como às técnicas. Tais tecnologias são o resultado do aperfeiçoamento de técnicas e métodos de estamparia que evoluíram ao longo dos anos, sendo que os processos de estamparia ancestrais exercem forte influência sobre os processos utilizados atualmente. Além da influência dos processos de estamparia ancestrais sobre os industriais, os mesmos influenciam fortemente as técnicas manuais de estamparia utilizadas no cenário têxtil atual, que, apesar de serem minoria em comparação aos processos industriais, têm ganhado espaço sobre as superfícies têxteis. A utilização de técnicas manuais estimula o estudo e a reinvenção dessas técnicas manuais de trabalho, bem como o resgate de técnicas manuais já fundamentadas. Segundo Treptow (2009), os trabalhos manuais agem como potencial estratégia de diferenciação de produtos no mercado, em oposição aos produtos produzidos em série. É sobre a influência dos processos ancestrais de estamparia na estamparia manual contemporânea que o presente projeto de pesquisa versa, estabelecendo-se a seguinte pergunta: como o estudo sobre as técnicas empregadas nos processos de estamparia ancestrais podem contribuir para o desenvolvimento de técnicas manuais de estamparia atualmente? Para responder a essa pergunta, o presente projeto de pesquisa docente, em andamento, no Centro Universitário Ritter dos Reis, intitulado “A Influência dos Processos de Estamparia Manuais Ancestrais sobre a Estamparia Contemporânea”, foi estruturado em quatro etapas: 1.
    [Show full text]
  • Cranes, Dragons, and Teddy Bears Japanese Children’S Kimono from the Collection of Marita and David Paly
    Cranes, Dragons, and Teddy Bears Japanese Children’s Kimono from the Collection of Marita and David Paly OctobER 22, 2016 – MARCH 26, 2017 PORTLAND ART MUSEUM, OREGON Cranes, Dragons, and Teddy Bears Japanese Children’s Kimono from the Collection of Marita and David Paly occasions called for more extravagant measures: eight garments in this group are miyamairi kimono, one-of-a-kind ceremonial wear made for a toddler’s first visit to a Shinto shrine. These mimic the shape of formal adult kimono and feature family crests and pictorial designs created through a combination of tsutsugaki and hand- painting, or hand-painting alone. Of special interest are the three boys’ kimono with omoshirogara, “novelty designs” that came into vogue in the 1910s through 1930s. Dating from an era when Japan was rapidly modernizing, these robes are decorated with machine-printed images of modernity, such as airplanes and teddy bears. Spanning from the mid-nineteenth century to the mid-twentieth century, the kimono and banners in this exhibition evoke the magic of childhood in traditional Japan. The Museum is grateful to Marita and David Paly for so generously sharing their collection. David Paly was also an inexhaustible source of information about Japanese textiles and dyeing techniques. Kimono Construction The basic form of the Japanese kimono has changed little over time. Practical and versatile, it is a garment that celebrates the inherent beauty of cloth, uninterrupted by tailoring. An adult kimono is made from a single bolt of fabric, about 14 inches wide and 38 feet long, which is cut into 17 seven straight pieces.
    [Show full text]
  • Indigo and Its Impact on East Asian Textile Prof
    Indigo and Its Impact on East Asian Textile Prof. Padmini TolatBalaram Visva-Bharati, Saniniketan, India. [email protected] When one thinks of a blue dye, one usually thinks of the Indian indigo, as Indians had mastered the art of dyeing blue using indigo in 3rd millennium BCE when most of the developed countries of today only could use it to dye black as late as in 13th century CE. When Marco Polo visited India, he was surprised to see blue colour achieved by indigo at Colium in State of Travancore. He said “They (Indians) also have abundance of a very fine indigo (ynde).” (cited Tolat, Vol. I 1980: 29) 1. Natural Indigo Plants and the Dye In India, the natural indigo of commerce was extracted from the leaves of species of plants belonging to genus Indigofera. In India about 40 species of Indigofera genus are found, out of which four were commercially exploited for bulk production due to their higher dye content and their suitability to the climates and soil of the place of cultivation. These were Indigoferaarrecta, Indigoferasuffruticosa (I. anil), IndigoferaSumatrana and Indigoferatinctorial (Tolat, 1980, p. 50). From the leaves of these plants, the indigo dye was extracted by steeping the plants in water, beating the liquid obtained after steeping, collecting the settled dye from the vat, and then draining it to make the paste, boiling the paste and compressing it into the cakes and finally drying them to sell in the markets. These indigo dye cakes, which are very light in weight, were transported to various centres in India as well were exported.
    [Show full text]
  • Id Title Publisher Year Subtitle Dep Isbn1 Isbn2
    ID TITLE PUBLISHER YEAR SUBTITLE DEP ISBN1 ISBN2 BOOK NR AUTHOR 1 The women's warpath ucla fowler museum of 1996 Iban ritual fabrics from borneo 15 0-930741-50-1 0-930741-51-x SEA0001 Traude Gavin cultural history 2 Textile traditions of Los Angeles county 1977 15 0-87587-083-x SEA0002 Mary Hunt Kahlenberg Indonesia museum of art 3 Indonesische Textilien Deutsches Textilmuseum 1984 Wege zu Göttern und Ahnen 15 3-923158-05-X SEA0003 Brigitte Khan Majlis Krefeld 4 Walk in splendor ucla fowler museum of 1999 ceremonial dress and the 15 0-930741-72-2 0-930741-73-0 SEA0004 T.Abdullah cultural history Minangkabau 5 Geometrie d'Oriente sillabe, Livorno 1999 Stefano Bardini e il tappeto 5 88 -8347- 010-9 GEN0029 Alberto Boralevi Oriental Geometries antico Stefano Bardini and the Antique Carpet 6 Her-ontdekking van Lamandart 1994 17 90-5276-009-8 90-5276-008-X SNA0001 Brommer,De Precolumbiaans Textiel Bolle,Hughes,Pollet,Sorbe r,Verhecken 7 Eeuwen van weven Nederlands 1992 Bij de Hopi- en Navajo- indianen 17 90-7096217-9 SNA0002 Helena Gelijns, Fred van Textielmuseum Tilburg Oss 8 Bolivian Indian Textiles dover publications, inc. 1981 Traditional Designs and 17 0-486-24118-1 SNA0003 Tamara E.Wasserman, Costumes Jonathan S.Hill 9 3000 jaar weven in de Andes Gemeentemuseum 1988 textiel uit Peru en Bolivia 17 90 68322 14 1 SNA0004 Brommer, Lugtigheid, Helmond Roelofs, Mook-Andreae 10 Coptic Textiles The friends of the Benaki 1971 22 Mag0019 Benaki Museum Museum,Athens 11 Coptic Fabrics Adam Biro 1990 14 2-87660-084-6 CPC0002 Marie Helene Rutschowscaya
    [Show full text]
  • T.C. Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü
    T.C. DOKUZ EYLÜL ÜN İVERS İTES İ GÜZEL SANATLAR ENST İTÜSÜ TEKST İL ANASANAT DALI YÜKSEK L İSANS TEZ İ JAPON TEKST İL BOYAMA VE DESENLEND İRME TEKN İKLER İ ÜZER İNE B İR ARA TIRMA HAZIRLAYAN Gül Menet KIRMIZI Danı şman Yard. Doç. Füsun ÖZPULAT İzmir-2009 ii iii YÜKSEKÖ ĞRET İM KURULU DOKÜMANTASYON MERKEZ İ TEZ/PROJE VER İ FORMU Tez/Proje No: Konu Kodu: Üniv. Kodu: · Not: Bu bölüm merkezimiz tarafından doldurulacaktır. Tez/Proje Yazarının Soyadı: Kırmızı Adı : Gül Menet Tezin/Projenin Türkçe Adı: Japon Tekstil Boyama ve Desenlendirme Teknikleri Üzerine Bir Ara ştırma Tezin/Projenin Yabancı Dildeki Adı: A Research on Japanese Textile Dyeing and Patterning Techniques Tezin/Projenin Yapıldı ğı Üniversitesi: D.E.Ü. Enstitü: G.S.E. Yıl: 2009 Di ğer Kurulu şlar : Tezin/Projenin Türü: Yüksek Lisans: Dili :Türkçe Doktora: Sayfa Sayısı: 105 Tıpta Uzmanlık: Referans Sayısı: 51 Sanatta Yeterlilik: Tez/Proje Danı şmanlarının Ünvanı: Yard.Doç Adı: Füsun Soyadı: Özpulat Türkçe Anahtar Kelimeler: İngilizce AnahtarKelimeler: 1- Pat kapama 1-Paste Resist 2- ablon 2-Stencil 3- Ba ğlama boyama 3-Tıe-dye 4-Balmumu kapama 4-Rozome 5- Ça ğda ş 5-Contemporary Tarih: 20/7/2009 İmza: Tezimin Eri şim Sayfasında Yayınlanmasını İstiyorum Evet Hayır iv ÖZET İnsan kültürünün temelinde bulunan ve tarihin bir bölümünü te şkil eden giysi sosyal kavramlarla, ekonomik şartlarla, teknolojik geli şmeyle, geleneklerle do ğrudan ilgilidir. Giysilerin bir sosyal ileti şim aracı olarak hizmet gördü ğüne, fakat bunların her toplumun kültürel karakteristi ğine göre anlam kazandıklarına inanırlar. Böylece giysiler bir kültürün dü şüncelerine, tavırlarına ve inançlarına do ğru samimi bir bakı ş olu ştururlar.
    [Show full text]
  • TAILORED SUIT the Tailored Suit Is a Garment for Women Consisting of A
    69134-ECF-T_259-356.qxd 8/23/2004 2:37 PM Page 259 T TAILORED SUIT The tailored suit is a garment for jackets and asserted equality between the sexes, suggest- women consisting of a jacket and a skirt, most often made ing the future of the tailored suit. Throughout the nine- of the same fabric. This name for the garment appeared teenth century, jackets matched with skirts or pants were in the fashion press around 1885. It owes its name to the worn as a kind of manifesto for the emancipation of particular manner in which it is made. Produced for women, and the costume thereby acquired a nefarious women by tailors who specialized in the making of men’s reputation. A few major female representatives of non- garments, it came to prominence at a time when the norm conformism and radicalism, such as George Sand, Flora was to differentiate men’s and women’s clothing by Tristan, Amelia Bloomer, and Emmeline Pankhurst, gave means of very specific techniques, forms, fabrics, colors, it an almost political character. and designs. The fashion spread almost everywhere in Around 1850, the walking suit appealed to an urban Europe and the United States thanks to the fame of the society fascinated by nature and open space. This outfit English company Redfern, whose style was made popu- made up of a jacket and a skirt that did not cover the an- lar by famous women, notably Queen Victoria. The kles, in the age of crinolines and corsets, was the last Parisian branch of the company, established on the rue avatar before the emergence and the success of the tai- de Rivoli at the end of the nineteenth century, con- lored suit.
    [Show full text]
  • Modro-Belo Okraševanje Tekstilij
    SI 78 Nina Čuk, Zala Mavrić, Alenka Pavko Čuden Univerza v Ljubljani, Naravoslovnotehniška fakulteta, Oddelek za tekstilstvo, grafi ko in oblikovanje, Snežniška 5, 1000 Ljubljana Modro-belo okraševanje tekstilij: potencial medpredmetnih povezav v osnovni šoli Blue and White Decoration of Textiles: Potential of Cross-Curricular Links in Elementary School Strokovni članek/Proff essional Article Prispelo/Received 9-2019 • Sprejeto/Accepted 9-2019 Izvleček Tehnike modro-belega okraševanja tekstilij imajo kljub različni zgodovini, razvoju in vzorčnim učinkom skup- no lastnost: družba jih želi znova obuditi in vključiti v vsakdanje življenje na različnih področjih uporabe. Eden od načinov za njihovo implementacijo in prenos na mlajše generacije je načrtovanje medpredmetnih povezav v osnovnošolskem izobraževanju, ki temelji na raznolikosti teoretičnih osnov, veščin, materialov in postopkov, potrebnih za modro-belo okraševanje tekstilij. V članku so opisane in komentirane nekatere pre- proste tehnike modro-belega okraševanja tekstilij, ki so lahko temelj medpredmetnih povezav in so izvedlji- ve v okviru obveznih in izbirnih predmetov osnovnošolskega izobraževanja. Ključne besede: modro-bele tekstilije, tekstilne tehnike, medpredmetne povezave, osnovnošolsko izobraževanje Abstract Despite diff erent history, development and pattern eff ects, the techniques of blue and white textile decoration have a common feature – society namely wants to reawaken and integrate them into daily life in diff erent application fi elds. One way to implement and transfer them to younger generations is to design cross-curricular connections in elementary education, based on the diversity of theoretical backgrounds, skills, materials, and procedures re- quired for blue and white textile decorating. The paper describes and comments on some simple techniques of blue and white textile decoration that can form the basis of cross-curricular connections and are feasible within the ob- ligatory and elective subjects of elementary education.
    [Show full text]