Hand Weaving

‘KNOT+ED’ was an event facilitated by the Sir James Fletcher Museum to bring together and share the traditional knowledge and practices of indigenous Taiwanese and Māori weavers. The purpose of the event was to encourage the sustainability of cultural knowledge by creating a platform for engagement with current and future generations. This booklet is a compilation of the key techniques and material uses of Tayal, Bunun and Māori traditional weaving skills, including the spiritual and symbolic meanings embodied and embedded within the weaving practices discussed.

Woven textiles of Thailand are especially evident for their intangible cultural heritage, which contributes to the Soft Power of Thailand through various means, i.e. the national identity and branding. However, in the recent decades, a number of weaving communities have been declining as a sequence of the expansion of industrialization and globalization for trade of mass produced goods. Few young people are being trained in traditional weaving, whereas experienced weavers are over forty years of age. Indigenous knowledge of traditional weaving is likely to be lost in the near future, if there is no immediate action happened to reinforce their cultural adherence and continuity. Designers are encouraged to design for cultural revitalization. The author utilises research and educational activities to letting the young generation engaged in design for cultural revitalization. A co-creation project was implemented with the weaving communities of Long district, Phrae province because of the erosion of indigenous knowledge about woven textiles. These communities wanted to reinforce and revival their indigenous knowledge of woven textiles by developing some tools, which they could use to exchange knowledge with other people. They preferred a booklet of traditional textile patterns and a card game. It was agreed to explore a vintage collection of a type of traditional skirts, known locally as ‘sin tin chok’, which are exhibited in the ‘Komol Phaboraan Museum’. This design process lasted eight months, involving fieldwork and data collection, booklet design and design of a card game. The research group included the principal researcher, a specialist in game design and five undergraduate students. This design process embraced people within the district (i.e. textile masters, experienced weavers, villagers) and outside the district/province (i.e. undergraduate students, school children, teachers, potential users and tourists). Co-creation through design process can enable knowledge exchange between engaging actors that does not limit to indigenous knowledge about woven textiles. Their knowledge exchange may expand to other knowledge domains, such as local history and languages, and digital technology.

Woven textiles of Thailand are especially evident for their intangible cultural heritage, which contributes to the Soft Power of Thailand through various means, i.e. the national identity and branding. However, in the recent decades, a number of weaving communities have been declining as a sequence of the expansion of industrialization and globalization for trade of mass produced goods. Few young people are being trained in traditional weaving, whereas experienced weavers are over forty years of age. Indigenous knowledge of traditional weaving is likely to be lost in the near future, if there is no immediate action happened to reinforce their cultural adherence and continuity. Designers are encouraged to design for cultural revitalization. The author utilises research and educational activities to letting the young generation engaged in design for cultural revitalization. A co-creation project was implemented with the weaving communities of Long district, Phrae province because of the erosion of indigenous knowledge about woven textiles. These communities wanted to reinforce and revival their indigenous knowledge of woven textiles by developing some tools, which they could use to exchange knowledge with other people. They preferred a booklet of traditional textile patterns and a card game. It was agreed to explore a vintage collection of a type of traditional skirts, known locally as 'sin tin chok', which are exhibited in the 'Komol Phaboraan Museum'. This design process lasted eight months, involving fieldwork and data collection, booklet design and design of a card game. The research group included the principal researcher, a specialist in game design and five undergraduate students. This design process embraced people within the district (i.e. textile masters, experienced weavers, villagers) and outside the district/province (i.e. undergraduate students, school children, teachers, potential users and tourists). Co-creation through design process can enable knowledge exchange between engaging actors that does not limit to indigenous knowledge about woven textiles. Their knowledge exchange may expand to other knowledge domains, such as local history and languages, and digital technology.

We are indebted to various sources for our knowledge of the pre-Roman Iron Age textile production on the territory of Austria (800-15 BC), such as well-preserved textiles, grave finds, textile tools, archaeological evidence in settlements and depictions of textile producers and their products.
We can find evidence of their activities in each settlement, where they lived and worked. Spindle whorls, loom weights and needles in graves may indicate that the deceased who were accompanied by these tools were textile workers, and furthermore point to a special social status these persons occupied in their communities. Particularly during the early Iron Age  predominantly women have textile tools in their graves, sometimes even being accompanied by tool sets (e.g. spindles and knifes or spindles and needles). Depictions of textile work, such as on the Sopron Urn and the Bologna tintinnabulum, illustrate different stages of the textile production process from spinning to weaving.
The two case studies of Hallstatt and Dürrnberg demonstrate that textile production in Iron Age Austria was organised in different ways, providing diverse archaeological evidence concerning the producers, consumers and traders of textiles.

The contribution of this thesis to the existing field of tiraz textile studies is that it
has tried to overcome the existing rift between historians and textile specialists,
in approaching the subject in a more unified way, which takes into account the
interrelationship between production, administration and use. Historians have
traditionally worked on the textile industry and administration from the point of
view of Arabic literary sources, while textile specialists focused on the material
evidence of fabrics and their manufacture.

Rather than relying on one collection, as most previous authors have done,
samples from all the major museum collections are examined here and have
been arranged in a database of 1823 items, which made it possible to analyse
the properties of textiles taxonomically. By using taxonomic analysis both
material and historical information could be combined and emerging trends
tested against the historical evidence of literary sources. A major discovery here
has been how the textile evidence reflects administrative changes in control of
the textile industry and the wider administrative relationship between Egypt and
Iraq under the Abbasids.

While there is agreement by both textile specialists and historians that tiraz
textiles were produced for court consumption, neither considered the question
why tiraz textiles were used in burials, from which most surviving tiraz textiles
have in fact been recovered archaeologically. This thesis approaches this
subject by considering both material and literary evidence and suggests that
tiraz textiles were regarded as a source of blessing for the deceased because of
their caliphal association recorded in their inscriptions.

|| EG = Egyptology || CO = Coptology || AA = Archaeoastronomy || TH = Theology || AN = Anthropology || || HRAPH = Helleno-Roman Archaeology/Philology, History || AT = Ancient Textiles || FOR = Forensics || || MEA = Middle Eastern Archaeology || CT = Cultural Technology || INF = Informatics || [VII]

Weaving is one of the most valuable items of material cultural assets, a product of a long-established past.Although the history of the Eflani çember (kerchief) weave dates back to the very early ages, it has gradually decreased because of the development of technology, the change of living conditions and clothing styles. Today, a small number of products are weaved but gradually lose their traditional appearance and are kept alive with products such as tablecloths. In this research, old and new examples of the traditional headscarf of the Eflani district of the Karabük province were studied; the products in Eflani Public Education Center and Saçak Village were examined about their technique, motif, color and composition characteristics. In the direction of the aim of the work, the interviews were made with the weavers and the information and interview forms were applied and video shootings were made during the weaving. Drawings of traditional motifs and compositions of the products from the crates are presented together with original samples. GİRİŞ İnsanların dış etkilerden korumasını, barınaklarının rahat yaşamı sağlayacak ve aynı zamanda ''güzeli arayış'' duygularını karşılayacak bir şekilde döşenmesi gibi önemli gereksinimlerini gideren dokumacılık, en eski sanatlardan biridir (Aytaç,1982:III). Önceleri iklim şartlarından korunmak amacıyla giyinme ve barınmaya yönelik basit araç gereçlerle yapılan ürünler, zamanla süsleme faktörü ve gelişmenin etkileri ile değişik teknikleri de oluşturmuştur. Böylece fonksiyonlarının yanında ürünlerde sanat yönü ön plana çıkmaya başlamıştır (Ortaç,2006:73). İki veya daha çok iplik grubunun çeşitli düzenlerde birbirlerinin arasında geçerek kenetlemesi işlemine ve bu kenetlenme sonucu oluşan ürünlere ''dokuma'' denmektedir (Aytaç,1982:1). Anadolu kadını el dokumacılığını örtünme, kendini veya evini süsleme, çeyiz vb. amaçlarla yürüttüğü gibi, yalıtım amaçlı olarak yer yaygılarında, tarımsal malzemelerin taşınmasında ve saklanmasında, yük hayvanlarının süslenmesinde ve daha birçok alanda kirkitli veya mekikli el dokumalarını kullanmışlardır. Kirkitli dokumalar kadar teknik ve uygulaması daha farklı özellikler taşıyan, farklı tezgâh yapısı gerektiren mekikli dokumalar tüm yurtta teknik, renk, kullanılan araç-gereç, motif ve kompozisyon özellikleri, kullanım alanlarına göre yöresel özellikler göstermekte ve üretildiği bölgede yerel kültürü yansıtan bir yapıya sahip olmaktadır (Başaran,2014:152). Yurdumuzun pek çok yöresinde dokumacılık yüzyıllardır süregelen bir gelenek ve korunması gereken kültürel bir öğedir. Çemberimde gül oya(Çanakkale) halk türküsünde olduğu gibi pek çok kültür öğesinde yer alan çemberin kelime  Doç. Dr. Gazi Üniversitesi Sanat ve Tasarım Fakültesi Tekstil Tasarımı Bölümü, Ankara.  Gazi Üniversitesi Güzel Sanatlar Enstitüsü Yüksek Lisans Öğrencisi, Ankara.

Kültürel kimliğimizin bir parçası olan halı, renk ve desen zenginliğinin yanı sıra üretim ve tüketim biçimi, sosyal ve kültürel işlevi ile kuşaktan kuşağa aktarılarak günümüze kadar gelmiş bir ortak bellek ürünüdür. Halı dokumacılığı zaman içerisinde üretim ve tüketim biçimleri değişse de günümüzde ülkemizin önemli gelir kaynakları arasında yer almaktadır. Halı dokumacılığı özellikle kırsal kesimdeki pasif kadın işgücünün aktif hale getirilerek aileye ek gelir kaynağı sağlanması açısından önemlidir. 2015 yılı itibariyle Türkiye nüfusunun yaklaşık yarısını kadın nüfusu oluşturmakta ve bunların (15+yaş) % 26,7 ‘si istihdam edilmektedir. Ülkemiz halı pazarında dünyada söz sahibi konumundadır. Denizli yöresi de halı dokumacılığının yapıldığı önemli merkezlerden biridir. Araştırma, Denizli’de el dokuması halıcılıkla uğraşan kadınların kullandıkları ekipmanlar ile dokuma kaynaklı bedensel rahatsızlıklarını belirlemek amacıyla planlanmıştır. Araştırma kapsamında Denizli’de faaliyet gösteren üç farklı halı fabrikasında dokuma yapan 61 kadına karşılıklı görüşme yöntemiyle anket uygulanmıştır. Yapılan çalışmada dokuyucu kadınların desen kağıdından kaynaklanan göz rahatsızlıkları, oturma materyalinden kaynaklanan bel ağrısı ve sırt ağrısı, makas kaynaklı el ve parmak rahatsızlıkları olduğu tespit edilmiştir.

The aim of this paper is to discuss what happens when repeating a reconstruction of the same textile. The author of this article is also the craftsperson that made the four reconstructions presented. The original collar reconstructed belonged to Tutankhamun. The collar is circular, woven in a circle. Before the reconstructions, this method of weaving circular shapes had not been described. The first reconstruction focused on the collar. Fifteen years later, three additional reconstructions were made. This time, the focus was to reconstruct the craft, by the use of fewer, simpler tools. Parallel to practical work there was an exploration of how to make documentation. One conclusion in the project is when changing focus from reconstructing a textile to reconstructing a craft, more similarity to the original was achieved.

This paper presents the collaboration between international's 'pactioners' in textile weaving and fibre artists and textile researchers. A spiral design preserved on a late Roman papyrus from Egypt had to be 'transferred' to the medium textile using historic techniques. Insights and experience gained are presented.

The aim of this study is to specify and to document the characteristics of the Kırşehir prayer rugs that are registered in the inventory of the Museum of the Şeyh Şaban-ı Veli Foundation. It focuses on their techniques, colors, motifs and compositions. The study was carried out using the screening method. Its sample included the 24 prayer rugs that are on display in the museum’s showroom. The dimensions, techniques, motifs and compositions of the rugs were specified. They were photographed, and information forms were prepared. Tables were formed and interpreted based on the assessment of the information forms. The findings indicated that the prayer rugs date to the nineteenth and twentieth centuries. Woolen thread and the Turkish knot were used in the weaving process. With regard to the rugs' composition, the mihrabs were positioned in single direction. The color white was commonly used both in the rugs' backgrounds and the motifs. Their motifs included 51 different types in five categories: geometric, symbolic, floral, objects and animals.
Kırşehir prayer rugs are the most beautiful examples of Turkish culture, and their conservation in the Museum of the Şeyh Şaban-ı Veli Foundation is very important for the preservation of Turkey’s culture.

The career of weaver Gunta Stölzl (1897-1983) spanned almost 60 years, ranging from her position as Meisterin of the weaving workshop at the Bauhaus to leading her own weaving companies in Zurich. What remained constant throughout her oeuvre is her interest in the qualities inherent to the materials. Today, her estate is being cautiously archived and documented. A large part of this estate consists of cards with sample fabrics and the pattern attached to it. By showing the material next to the pattern, Stölzl emphasized the importance of the material’s properties and its structure, that cannot be caught in a paper pattern. She also accentuated the value of experimentation with the materials on the loom, rather than starting from a pattern, an idea that was already developed at the Bauhaus.
This paper examines the theoretical importance of these sample cards for modern weaving theory by relating them to ideas on materials versus form, tactility, and the role of material-specific qualities. To better understand them, they will be compared to Hans-Jörg Rheinberger’s notions of experimental systems ('Experimentalsysteme') and epistemic things ('epistemische Dinge'). Nowadays these sample cards are often requested as exhibition or study material. Thus the paper also reflects on the exhibition value of these cards, as cards that embody a process, rather than being ‘closed’ objects. It will evaluate strategies of display in relation to weaving as a process of experimentation, and these cards as epistemic things.

Recent excavations at the Olduvai Gorge in Tanzania, Africa have revealed new information about some of the earliest hominins, probably Homo habilis, from 2 million years ago. For the purposes of this article, the main point is that these early humans walked 12 km or 7.5 miles to gather specific stones that they used for making Oldowan stone tools and for putting together a toolkit. And these specific stones made up the majority of stones found. They did this for several hundred thousand years. I argue that to do this, they probably had containers or early baskets to help them carry a large collection of stones back to their settlements, since walking that far would have been counterproductive if they only gathered a few stones. Next in this article, I show how very simple carriers could have been from natural plant materials, carriers that might have been like some of the earliest baskets.

Recent excavations at the Olduvai Gorge in Tanzania, Africa have revealed new information about some of the earliest hominins, probably Homo habilis, from 2 million years ago. For the purposes of this article, the main point is that these early humans walked 12 km or 7.5 miles to gather specific stones that they used for making Oldowan stone tools and for putting together a toolkit. And these specific stones made up the majority of stones found. They did this for several hundred thousand years. I argue that to do this, they probably had containers or early baskets to help them carry a large collection of stones back to their settlements, since walking that far would have been counterproductive if they only gathered a few stones. Next in this article, I show how very simple carriers could have been from natural plant materials, carriers that might have been like some of the earliest baskets.

Published in Artlink, Vol 29:2, 2010.
The phenomenon of talented, entrepreneurial Papua New Guinean women has largely escaped attention. The skillfully knotted bilum (netted bag) is part of the persona of PNG women - ranging from a treasured personal possession, a wedding gift, infant's cradle,  a shopping bag, or a delivery van propelled by womanpower. In the past decade, bilum fashion has taken off in PNG and local trendsetters are being noticed overseas.

CRETAN WEAVING and EXPERIMENTAL STUDIES
                  “CRETAN BLANKET ”
Experimental Approach  to a local technique in Anatolia



ABSTRACT

Weaving culture is one of the most moving continous and permanent elements of
social relationship.
Traditional weaving creates an unpredictable relationship network within Anatolia. This weaving knowledge occurred in historical process is commonly distributed very fast and creates a permanent knowledge. Because of this a weaving sample and the knowledge of a traditional weaving technique can reach from east to west and north to south.
Today the samples found in archives create other social relationships and social phenomenons. In this article, there are objective examples of a connection between Mersin, Izmir and Crete Island. Technical experiments have been carried out to introduce a traditional weaving technique known as Cretan Weaving / Cretan blanket / Sedefli blanket /Beledonya Blanket. There has been made several trials to introduce this weaving technique.In subject to this research.we have found two samples woven with this technique in Izmir and when we review further we have found four in Mersin.Our analysis and comparisons show this technique's original side in order to remind this patterning technique to create a public area if found in other regions.
Aim is to contribute an accurate archieving of basic knowledge of cultural values and to create geographical signs of data by determining the original and decisive feature of one textile technique.This patterning conception will create proposals by designers' advises for new system formation.
The research result will be presented with images and comparison table which is based on weaving analysis.
Key Words
Traditional weaving, Cretan, Mersin, cultural value,pattern, weaving draft trials, geographical sign

This exhibition highlights the need to develop wider awareness of
first nation cultural practice. Traditional skills are counterpointed
with a contemporary vision. The work lends itself to the
contemplation of materials, experience and process incorporated
in a single piece. Lea Taylor privileges our need to make, store,
carry, decorate or accessorise; for functional or ritualised ways.
Natural materials many of us skate over, never noticing their
intrinsic beauty or symbolic power, are woven intuitively. Each
stitch represents a journey, reference to place, totem or traditional
technique. Art has a power to transcend and educate through
engaging or challenging us to look at what is different to our
own life experience. Lea Taylor’s work provides opportunities for
learning, reflection and wonder from her transformation of humble
materials we are fortunate enough to share.

Доклад посвящен обзору основных типов тканей уис и их функций в современной культуре батаков каро (о. Суматра, Индонезия). Окрашенные индиго темно-синие ткани, представленные в батакских коллекциях МАЭ РАН (Кунсткамеры), сегодня почти вышли из употребления. Современный репертуар уисов составляют ткани в красных, пурпурных и других тонах, причем за каждым из приблизительно 20 типов закреплены определенные цвета, композиция и функции. Как и внешний вид уиса, его роли в культуре каро претерпевают постоянную эволюцию.

The paper provides a review of the major types of uis textiles and their functions in the modern culture of the Karo Batak of North Sumatra, Indonesia. Naturally dyed blue textiles represented in the Batak collections of the Museum of Anthropology and Ethnography (Kunstkamera) have all but gone out of use. The modern repertoire of uis includes red, purple and other textiles, each of the approximately 20 types associated with particular colours, design and functions. Both the designs of uis and its roles in the Karo culture are undergoing constant change.

Why is yarn diameter and "sett" related to the square root of yarn measure? Beginning weavers often get confused about the relationship between yarn measures (yarn sizes), the corresponding yarn diameters and "sett" (yarns per inch or cm) and their effect on fabric weight and thickness.
Here I present a greatly simplified description which might help beginners overcome their initial confusion.