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Home / All of the Following Except Are Examples of Fiber Arts

All of the Following Except Are Examples of Fiber Arts

Arts and crafts that utilise plant, animal, or synthetic fibers to construct applied or decorative objects

Textile arts in ancient Arab republic of egypt

Farsi Silk Brocade. Western farsi Textile (The Golden Yarns of Zari - Brocade). Silk Brocade with Gilt Thread (Golabetoon). Pattern and Design: Paisley Left and Right (Bote Jeghe), With Chief Repeating Motif (Farsi Paisley).

Material, painted silk, 45 × 29 1⁄2 in. (114.3 × 74.93 cm), Qing Dynasty, China, mid-18th century, LACMA textile collection

Cloth arts are arts and crafts that use plant, creature, or synthetic fibers to construct practical or decorative objects.

Textiles accept been a primal part of human life since the beginning of culture.[1] [ii] The methods and materials used to make them take expanded enormously, while the functions of textiles have remained the same, there are many functions for textiles. Whether it be clothing or something decorative for the firm/shelter. The history of textile arts is also the history of international trade. Tyrian majestic dye was an important trade good in the ancient Mediterranean. The Silk Road brought Chinese silk to India, Africa, and Europe, and, conversely, Sogdian silk to Red china. Tastes for imported luxury fabrics led to sumptuary laws during the Eye Ages and Renaissance. The Industrial Revolution was shaped largely by innovation in textiles technology: the cotton gin, the spinning jenny, and the power loom mechanized product and led to the Luddite rebellion.

Concepts [edit]

The word textile is from Latin texere which means "to weave", "to braid" or "to construct".[1] The simplest textile fine art is felting, in which brute fibers are matted together using heat and moisture. Most textile arts brainstorm with twisting or spinning and plying fibers to brand yarn (called thread when information technology is very fine and rope when it is very heavy). The yarn is then knotted, looped, braided, or woven to brand flexible fabric or cloth, and textile can be used to brand clothing and soft effects. All of these items – felt, yarn, material, and finished objects – are collectively referred to as textiles.[3]

The textile arts besides include those techniques which are used to embellish or decorate textiles – dyeing and printing to add color and blueprint; embroidery and other types of needlework; tablet weaving; and lace-making. Construction methods such as sewing, knitting, crochet, and tailoring, likewise as the tools employed (looms and sewing needles), techniques employed (quilting and pleating) and the objects fabricated (carpets, kilims, hooked rugs, and coverlets) all autumn under the category of cloth arts.

Functions [edit]

From early times, textiles have been used to cover the human body and protect it from the elements; to send social cues to other people; to store, secure, and protect possessions; and to soften, insulate, and decorate living spaces and surfaces.[4]

The persistence of aboriginal material arts and functions, and their elaboration for decorative effect, can be seen in a Jacobean era portrait of Henry Frederick, Prince of Wales by Robert Peake the Elder (above). The prince's capotain hat is made of felt using the most basic of textile techniques. His clothing is made of woven textile, richly embroidered in silk, and his stockings are knitted. He stands on an oriental rug of wool which softens and warms the floor, and heavy curtains both decorate the room and block common cold drafts from the window. Goldwork embroidery on the tablecloth and curtains proclaim the condition of the home'due south possessor, in the same manner that the felted fur hat, sheer linen shirt trimmed with reticella lace, and opulent embroidery on the prince'southward clothes proclaim his social position.[5]

Textiles every bit art [edit]

Traditionally the term art was used to refer to whatever skill or mastery, a concept which altered during the Romantic catamenia of the nineteenth century, when art came to be seen as "a special kinesthesia of the man heed to exist classified with faith and science".[6] This stardom between craft and fine art is practical to the textile arts as well, where the term fiber art or textile art is at present used to describe textile-based decorative objects which are non intended for practical employ.[7] [8]

History of found utilize in textile arts [edit]

Natural fibers have been an important attribute of homo society since 7000 B.C.,[9] and it is suspected that they were first used in ornamental cloths since 400 B.C. in Republic of india where cotton fiber was first grown.[10] Natural fibers have been used for the past 4000 to 5000 years to make fabric, and plant and animal fibers were the merely fashion that clothing and fabrics could be created up until 1885 when the first constructed cobweb was made.[nine] Cotton wool and flax are ii of the almost common natural fibers that are used today, but historically natural fibers were made of virtually parts of the plant, including bark, stem, leaf, fruit, seed hairs, and sap.[10]

Flax [edit]

Linen (flax) cloth that was used in mummification.

Flax is believed to exist the oldest fiber that was used to create textiles, as it was institute in the tombs of mummies from equally early every bit 6500 B.C.[ten] [9] [eleven] The fibers from the flax are taken from the filaments in the stalk of the plant, spun together to create long strands, and then woven into long pieces of linen that were used from anything from bandages to habiliment and tapestries.[11] Each fiber's length depends on the elevation of the leaf that it is serving, with ten filaments in a bundle serving each leaf on the plant. Each filament is the same thickness, giving it a consistency that is ideal for spinning yarn.[9] The yarn was best used on warping boards or warping reels to create big pieces of cloth that could be dyed and woven into unlike patterns to create elaborate tapestries and embroideries.[10] 1 example of how linen was used is in the picture of a bandage that a mummy was wrapped in, dated between 305 and 30 B.C. Some of the bandages were painted with hieroglyphs if the person being cached was of importance to the community.

Cotton wool [edit]

Cotton wool tapestry that was woven into an intricate pattern in India

Cotton was first used in 5000 B.C. in India and the Eye E, and spread to Europe afterwards they invaded Bharat in 327 B.C. The manufacture and production of cotton spread rapidly in the 18th century, and it rapidly became ane of the most important textile fibers because of its comfort, durability, and absorbency.[ix] Cotton fibers are seed hairs formed in a capsule that grows subsequently the plant flowers. The fibers complete their growth cycle and flare-up to release nigh xxx seeds that each accept between 200 and 7000 seed hairs that are between 22 and 50 millimeters long. About xc% of the seed hairs are cellulose, with the other 10% existence wax, pectate, protein, and other minerals.[9] One time information technology is processed, cotton tin can be spun into yarn of various thicknesses to be woven or knitted into various unlike products such as velvet, chambray, corduroy, jersey, flannel, and velour that tin be used in clothing tapestries, rugs, and drapes, as shown in the image of the cotton fiber tapestry that was woven in Republic of india.[10]

Plant cobweb identification in ancient textiles [edit]

Light microscopy, normal transmission electron microscopy, and almost recently scanning electron microscopy (SEM) are used to report aboriginal textile remains to decide what natural fibers were used to create them.[12] Once textiles are constitute, the fibers are teased out using a light microscope and an SEM is used to expect for characteristics in the textile that testify what plant information technology is made of.[12] In flax, for example, scientists look for longitudinal striations that show the cells of the plant stalk and cross striations and nodes that are specific to flax fibers. Cotton is identified by the twist that occurs in the seed hairs when the fibers are dried to be woven.[12] This knowledge helps us to learn where and when the cultivation of plants that are used in textiles first occurred, confirming the previous knowledge that was gained from studying the era in which different textile arts aligned with from a perspective of pattern.[10] [12]

Future of plants in cloth art [edit]

While plant apply in textile art is even so mutual today, at that place are new innovations beingness developed, such every bit Suzanne Lee'south art installation "BioCouture." Lee uses fermentation to create a plant-based newspaper sheet that can be cutting and sewn only similar cloth- ranging in thickness from thin plastic-like materials upwardly to thick leather-like sheets.[13] The garments are "dispensable" because they are fabricated entirely of plant based products and are completely biodegradable. Inside her project, Lee places a large accent on making the clothing look fashionable past using avant-garde mode and natural dyes made from fruits because compostable clothing is not appealing to most shoppers.[13] In addition, there is a possibility to create designs with the plants past tearing or cutting the growing sheet and allowing it to heal to create a pattern made of scars on the textile.[13] The possibilities to use this textile in fine art installations is incredible because artists would have the ability to create a living art piece, such equally Lee does with her habiliment. Although people may not consider sustainable clothing it is still a big affair going on right at present and likewise big brands are doing it. It is being said past Los Angeles times that by 2025 sustainable clothing will take a big hit,</ref> " Boston-based engineering inquiry firm Lux Research forecasts annual sales of low-complexity leather alternatives, which include fruit- and vegetable-derived materials also equally recycled-material leathers, are likely to hit $i billion past 2025 driven by a combination of consumer demand and technological advances."</ref>

Cloth arts by region [edit]

  • For articles on textile arts by region, see All pages with titles outset with Textile arts of .

List of gimmicky textile artists [edit]

  • Magdalena Abakanowicz
  • Olga de Amaral
  • Caroline Achaintre
  • Alicja (Alice) Kozłowska
  • Anni Albers
  • Carla Freschi
  • Ian Berry[14]
  • Alighiero Boetti
  • Nick Cave
  • Tracey Emin[fifteen]
  • Rodrigo Franzao
  • Sheila Hicks
  • Britta Marakatt-Labba[16]
  • Mascha Mioni
  • María Teresa Muñoz Guillén
  • Martin Nannestad Jørgensen
  • Grayson Perry[17]
  • Erin M. Riley
  • Religion Ringgold
  • Carole Sabiston
  • Judith Scott
  • Kiki Smith
  • Joana Vasconcelos
  • Yoshiko Iwamoto Wada
  • Brent Wadden
  • Pae White
  • Billie Zangewa

[18] [19] [20] [21]

Gallery [edit]

See also [edit]

  • History of wearable and textiles
  • Handicraft
  • Dramatic arts
  • Plastic arts
  • Visual arts
  • Craftivism

Notes [edit]

  1. ^ a b Gillow & Sentance 1999, pp. 10–11.
  2. ^ Barber 2008, pp. 42–70.
  3. ^ Kadolph 2007.
  4. ^ Jenkins 2003, pp. 1–6.
  5. ^ For general give-and-take of fabric techniques in this era and their significance, see Arnold 2018 and Arnold 2009, every bit well equally Hearn 2010, throughout.
  6. ^ Gombrich, Ernst (2005). "Press argument on The Story of Art". The Gombrich Archive. Archived from the original on February 14, 2008. Retrieved Jan eighteen, 2008.
  7. ^ Pantelić, Ksenija (December 23, 2016). "Fiber Fine art and Its Scope". Widewalls . Retrieved October 23, 2019.
  8. ^ Lunin, Lois F. (Bound 1990). "The Descriptive Challenges of Fiber Art". Library Trends. The Board of Trustees, University of Illinois. 38 (four): 697–8. CiteSeerX10.1.1.190.6501.
  9. ^ a b c d e f kozłowski, R.M.; Mackiewicz-Talarczyk, Chiliad. (2012). Handbook of Natural Fibres. pp. 1–8. doi:x.1533/9780857095503.1. ISBN9781845696979.
  10. ^ a b c d e f Birrell, Verla Leone (1959). The textile arts, a handbook of fabric structure and design processes:ancient and modernistic weaving, braiding, press, and other cloth techniques. New York: Harper & Brothers, Publishers. hdl:2027/mdp.39015006754272.
  11. ^ a b Maier, Ursula; Schlichtherle, Helmut (November 1, 2011). "Flax cultivation and textile production in Neolithic wetland settlements on Lake Constance and in Upper Swabia (south-west Germany)". Vegetation History and Archaeobotany. 20 (6): 567–578. doi:10.1007/s00334-011-0300-8. ISSN 0939-6314.
  12. ^ a b c d Ryder, M. L.; Gabra-Sanders, Thea (1985). "The Application of Microscopy to Textile History". Textile History. 16 (2): 123–140. doi:10.1179/004049685793701061.
  13. ^ a b c Hemmings, Jessica (2008). "Grown Fashion: Animal, Vegetable or Plastic?". Textile. 6 (iii): 262–273. doi:10.2752/175183508X377627.
  14. ^ "Artist creates works in denim". BBC News. May 23, 2018. Retrieved July 9, 2018.
  15. ^ Cripps, Charlotte (March 15, 2010). "Stitches in fourth dimension: Quilt-making as contemporary art". The Independent . Retrieved July 9, 2018.
  16. ^ "Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen)". Retrieved October 25, 2018.
  17. ^ Freyberg, Annabel (November one, 2008). "Grayson Perry: spinning a yarn". The Telegraph. ISSN 0307-1235. Archived from the original on 2022-01-12. Retrieved July ix, 2018.
  18. ^ Gottesman, Sarah (October 31, 2016). "x Cloth Artists Who Are Pushing the Medium Forward". Artsy . Retrieved July 9, 2018.
  19. ^ Lin, Amy (December 25, 2016). "Famous Cobweb Artists to Follow". Widewalls . Retrieved July 9, 2018.
  20. ^ Pitcher, Joe (Dec 9, 2013). "Spotlight on five gimmicky textile artists". TextileArtist.org . Retrieved July nine, 2018.
  21. ^ Bell, Kirsty (May xviii, 2015). "New yarns | Tate". www.tate.org.uk. Archived from the original on July 9, 2018. Retrieved July ix, 2018.

References [edit]

  • Arnold, Janet (2018). Queen Elizabeth'south Wardrobe Unlock'd. Leeds: W South Maney and Son Ltd. ISBN978-0-901286-xx-viii.
  • Arnold, Janet (2009). Patterns of Fashion: the cut and construction of apparel for men and women 2000 (Revised edition 2006 ed.). Macmillan. ISBN978-0-89676-083-7.
  • Barber, Elizabeth Wayland (2008). Women's Piece of work: The Showtime xx,000 Years . W. W. Norton. ISBN978-0-393-03506-iii.
  • Barber, Elizabeth Wayland (1992). Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean. Princeton University Press. ISBN978-0691002248.
  • Gillow, John; Sentance, Bryan (1999). World Textiles. New York: Bulfinch Press/Piddling, Chocolate-brown. ISBN0-8212-2621-v.
  • Hearn, Karen, ed. (2010). Dynasties: Painting in Tudor and Jacobean England 2000–2007 . New York: Rizzoli. ISBN978-0-8478-1940-9.
  • Jenkins, David, ed. (2003). The Cambridge History of Western Textiles. Cambridge, Great britain: Cambridge University Press. ISBN0-521-34107-8.
  • Kadolph, Sara J., ed. (2007). Textiles (10th ed.). Pearson/Prentice-Hall. ISBN978-0-13-118769-half dozen.

Further reading [edit]

  • Lowengard, Sarah (2006). The Creation of Color in Eighteenth-century Europe. Columbia University Press.
  • Watt, James C.Y.; Wardwell, Anne E. (1997). When silk was gilded: Central Asian and Chinese textiles . New York: The Metropolitan Museum of Art. ISBN978-0870998256.

External links [edit]

  • Antique textile design archive – Andre Heget
  • Gimmicky Textile Artists – TextileArtist.org
  • Pennsylvania Folklore: Woven Together – video on cloth arts

mulquinwoudde.blogspot.com

Source: https://en.wikipedia.org/wiki/Textile_arts