Academic literature on the topic 'Artistic textiles'
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Journal articles on the topic "Artistic textiles"
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Žukauskienė, Odeta. "Textile as a medium of thought in the art of Monika Žaltauskaitė-Grašienė (Žaltė)." SPHAIROS 13 (2022): 143–62. https://doi.org/10.53630/sphairos.2022.5.
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The article discusses the textile approach in the artwork of Monika Zaltauskaite-Grasiene, developing a cross-analysis of her work. The article explores the conceptual metaphors of her jacquard weaving work and reveals inter- textual connections with literature, philosophy, and art history, focusing on textile mediality and the relational interplay with contemporary humanities. Zaltauskaite-Grasiene creates an ontology of textiles, dealing with the medium specificity. In her multidisciplinary works, textiles are perceived as a medium of thinking that encompasses all the textures that surround us. In her artistic practice, shrouds, drapery, and folds as the ambiguous artistic agents meet new theoretical discourses that seek to overcome binary thinking. This article examines textile metaphors that express the fragile materiality of our being, multiple identities, the process of change and new environmental sensibility. Keywords: textile art, philosophy of textile, concept of the fold, textiles, weaving, shrouds, cloth, drapery, Monika Zaltauskaite-Grasiene.
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Feng, Bin, Hai Lian Deng, and Li Ping Yang. "Analysis of Computer-Aided Design Software Used in Home Textiles of Digital Design." Applied Mechanics and Materials 751 (April 2015): 293–97. http://dx.doi.org/10.4028/www.scientific.net/amm.751.293.
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This paper will discuss computer-aided design software use in textile design, from the development of computer-aided design applications and home textiles design, software is the core of computer-aided design in textile design, graphic combined with three-dimensional software, building the systematic of home textiles design and computer-aided design to enhance the artistic beauty of textile design. Secondly, introduce the two-dimensional and three-dimensional software application in fabric pattern and textile design. We can see the convenience of computer-aided design, which combines technology and art in one. And from the comparison of plane and solid software, both proposed to build a systematic mutual, for textile design, which is based on the performance requirements and the effect of artistic design, and the theoretical analysis of consumer purchase intention and behavior; and discussing from the beauty of color、 formal and spatial three aspects of computer-aided design to enhance the artistic beauty of textile design.
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Kremer, Danielle. "Artistic connections." Fashion Highlight, SI1 (July 14, 2025): 266–74. https://doi.org/10.36253/fh-3314.
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In an era dominated by tidal waves of visual stimuli across various digital platforms, we find ourselves scrolling and swiping incessantly. Images flicker momentarily before disappearing, stored away in unseen databases. When we consider imagery related to fashion, particularly printed textiles, we observe that these pieces also showcase a multitude of visuals but, unlike their digital counterparts, printed textiles are permanently situated within a specific time and place. This permanence highlights a stark contrast with the rising tide of fashion waste, revealing the fleeting nature of our throwaway culture. Print lies at the core of the waste crisis in today's fashion landscape. Alarming statistics surrounding fashion production and waste underscore the issue; printed garments are disposed of just as swiftly as digital images are scrolled into oblivion. Wearing printed art is both majestic and powerful, yet contemporary fashion seems to be out of sync with this value. This research delves into the illustrious chintz, a motif that has maintained its appeal over centuries and has been cherished in the realm of fashion. An exploration of this motif and its applications on fabric reveals concepts of artistry, upcycling and the appreciation of printed pieces as heirlooms. This paper draws on historical lessons that could inform our modern approach to print design in fashion today, creating a bridge between textile artistry and fashion design while fostering deeper connections with garments through interaction with established print techniques.
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Chudi - Duru, Chika. "Overview of Textile Arts/Design in Habitable Places: A Beauty to Behold in the Built Environment." Journal of Design Studio 7, no. 1 (2025): 55–71. https://doi.org/10.46474/jds.1626498.
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Textiles can be categorized into utilitarian and aesthetic. Utilitarian textiles are used for practical purposes. In contrast, aesthetic textiles focus on artistic expressions like textile installations for artistic and educational purposes in built environments. However, many people often overlook the use of textile installation art as decorative elements in their surroundings. Textile installations have come to pose some challenges to the conventional 2D textile design in that they are found in most art exhibitions and museums. Nevertheless, this has brought forth results in designs which are unexpected. In line with this, they are used to decorate the built environment. This paper is predicated on the fact that these installations have not been sufficiently practiced and paid attention to by artists and designers in Nigeria. Therefore, this study highlights the new and innovative ways in which textiles have been showcased by textile artists, sculptors and some painters who have begun to dim the boundaries between textile design and other aspects of art. It looks at the relationships between textiles and the environment, new technologies and techniques that artists are adapting to transform an environment aesthetically and instructively using textiles. It also looked at the shift of some textile artists/designers from concentrating on surface design to manipulation of form and structure of a fabric and how that manipulation can result in larger 3D designs which can be used to enhance the built environments. This is qualitative research. It employed the use of desk methodology. It utilized observations and photographs as research instruments. It found out that some Nigerian artists of various specializations now adapt textiles to their art works and it documented such works. This study concludes by suggesting that various ways in which textile art could be used as decorations in the built environment should be researched into, practiced, appreciated and encouraged in Nigeria to aid its sustainability.
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Andriiashko, Vasyl, Mykola Bilyk, and Valentyna Kostiukova. "Emergence and development of the Kyiv school of artistic textiles in the XX century." History of science and technology 12, no. 1 (2022): 69–87. http://dx.doi.org/10.32703/2415-7422-2022-12-1-69-87.
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The article provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. Both separate Kyiv textile artists’ works and the differences of other schools were analyzed by the comparative method. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. It showed the significance of Kyiv as a major administrative and cultural center of Ukraine in the emergence and development of the textile school. The status of the capital city was the reason why prominent artistic forces concentrated there, creating several outstanding textile artworks intended for various purposes during the 1920–1990s. The ideology of the ruling Communist Party of the Soviet Union, which ordered the artworks for its glorification, had a stimulating impact on the emergence of the school. Analysis of the data allowed us to periodize the stages of emergence and development of the Kyiv school of artistic textiles as an educational institution. Typical features of the Kyiv textile school at different stages of its development in 1920–1990s are as follows: a) The presence of a plot theme, the epic breadth of the depicted scene, and the scale in monumental and decorative textiles; b) The stylization of themes, their conventional interpretation, and two-dimensional images that suggest the absence of perspective and the illusory representation of three-dimensional forms in decorative (non-figurative) large tapestries and decorative stage curtains made in various techniques; c) The preservation of established iconographic compositions created by predecessors, but performed in a new (stylistic and coloristic) interpretation in traditional textiles; d) As for the industrial textiles, the presence of two trends in the artistic design of fabrics: The first is associated with the artists’ focusing on the entire spectrum of the world (primarily European) textile fashion; The second one involves the transformation of traditional popular graphic themes in fundamentally new compositional developments.
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Bogaichuk, Lyudmila, and Zinaida Borysiuk. "Modern textiles and innovations in the training of future specialists in the sphere of decorative and applied arts." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2021, no. 2 (135) (2021): 34–42. http://dx.doi.org/10.24195/2617-6688-2021-2-5.
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The article presents some aspects of teaching and training future specialists in the sphere of decorative and applied arts alongside some issues devoted to the development of their opinion that modern artistic textiles are innovative means of decorative and applied arts and play a significant role in the development of creative competence of textile artists. The need to rethink the history of textiles in Ukraine and analyse the problems of its current artistic and industrial state, especially in the Southern regions, has been grounded. It has been proved that the role of artistic textiles, together with carpet weaving and batik, in the socio-cultural and economic development of Ukraine’s artistic space remains relevant today. Special attention is given to the genetic basis for using Ukrainian textiles (the spiritual component of the ornamental carpet) through the symbolism of which representatives of all segments of the population tried to identify with Ukraine, this basis being an integral component in the development process of the professional competence of future specialists in the sphere of decorative and applied arts. It has been substantiated that one cannot forget the ancient traditions of textile art; it is necessary to revive them in original modern forms, to promote the development of experimental tendencies, to work creatively with textiles while teaching the course "Decorative and Applied Arts", to show how promising it is in its artistic and cultural essence, to provide an analysis of the exhibition activity as a guarantee for the development of creative search, a stimulator to the creative activity of a future specialist in decorative and applied arts. The purpose of the article is to identify the interrelations and interactions of folk and professional art; to outline the role of profession-centred art education in the development of artistic textiles in Ukraine; to analyse experimental tendencies and concepts of Ukraine’s modern professional textiles. The conclusions state that the language and style of the Ukrainian textile art has always depended on traditions and national sources, as well as on the latest trends in Western European Art. The analysis of the existing methodological approaches to teaching future specialists in decorative and applied arts, aimed at searching for new methods of improving the quality of education, and developing their professional competence enables us to assess the idea of innovative learning, teaching and assessment in a new way. An important condition for successful training of future professionals in the sphere of decorative and applied arts is the development of their creative competence, which includes the ability to emotionally perceive the environment, to creatively transform it, the awareness of the culture of peoples and nations in different periods of society development, to master universal human values, including creative values, providing creative self-realisation and self-development.
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A. Srilatha, Bojjapalli Archana, and M. Sai Akshita, N. Greeshma P. Shivani, M. Uma Maheshwari. "Exploring India’s Culture and Heritage — Textiles of India." International Journal of Information Technology and Computer Engineering 13, no. 2 (2025): 1372–77. https://doi.org/10.62647/ijitce2025v13i2pp1372-1377.
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India, a nation with thousands of years of cultural history, is home to a remarkable diversity of traditional textiles that have been passed down through generations. These textiles are not merely pieces of fabric but symbols of local identity, ritual significance, artistic expression, and socioeconomic activity. "Textiles of India" is a web application. It is a digital encyclopaedia of India's textile heritage. It offers an interactive map where clicking on a state reveals a popup with images and a summary of a traditional textile. In-depth content on each textile includes its history, production, cultural relevance, and visual documentation. The project aims to merge technology with tradition, creating an engaging educational tool that helps preserve and propagate India’s textile legacy.
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Su, Miao. "The Application Study of the Fabric Reconstruction in the Design of Home Textiles." Advanced Materials Research 331 (September 2011): 214–18. http://dx.doi.org/10.4028/www.scientific.net/amr.331.214.
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Fabric reconstruction is to redesign the artistic effect of fabrics. The paper centers on the materials and design technique of fabric reconstruction in the home textile design, and explores the diversity and artistic effect of fabric reconstruction using the related design practice as evidence in order to provide the reference to the creative design and study of home textiles.
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Dembitskaya, Alexandra S., and Irina V. Rybaulina. "Geometric ornament in domestic textile design: formation and ways of improvement." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 64 (2022): 316–24. http://dx.doi.org/10.37816/2073-9567-2022-64-316-324.
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The paper identifies and describes the main ways and forms of establishment and development of geometric ornament from the canonical textile ornament to modern textile geometric patterns. The authors trace the most significant historical stages of formation and features of artistic domestic textiles. It is noted that the manufacturing period had a crucial impact on the development of domestic geometric ornament. Industrial technologies made it possible to obtain more complex ornamental compositions on the surface of the fabric compared to the printed pattern of handicraft fabrics. The study also analyzes the impact of constructivism as a new style of the early 20th century, considers geometrized propaganda textiles, which influenced the formation of new views on the creation of artistic techniques for designing geometric ornamental textile patterns and briefly, on separate examples, dwells on the stylistic trends of the middle — the second half of the 20th century, which affected the shaping of artistic and aesthetic concept of designing a modern geometric pattern. The authors pay particular attention to modern methods of designing geometric textile ornaments. It has been determined that a modern geometric ornament combines various design approaches and technologies for its application to fabric, which makes it possible to obtain completely new artistic and figurative solutions and aesthetic features of perception. The paper points out the possibilities of developing the structural organization of geometric ornamental forms in modern domestic textile design.
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Оксана, Шпакович. "15-та Міжнародна трієнале художнього текстилю у Лодзі". ВІСНИК Львівської національної академії мистецтв, № 34 (10 лютого 2018): 270–81. https://doi.org/10.5281/zenodo.1170663.
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The article overview report on major original works presented at the 15th International Triennial of Textile Art, held in Lodz (Poland). The author also briefly noted the major art events that take place within the Triennale. The article analyzes the development of artistic textile artifacts in Ukraine and Poland. The role of modern artistic textiles in the decorative art of Ukraine was revealed. By breaking the stereotypes of traditional weaving techniques, the tapestry began to acquire the form of an independent form of art, evolving from two-dimensional forms to spatial three-dimensional woven compositions, using, along with the usual, non-traditional textile materials such as plastic, wood, metal, paper, wire and many others, and lately also processed materials, so-called ecological. The role of the International Textile Triennale in the development of contemporary art of artistic fabric is traced.
Dissertations / Theses on the topic "Artistic textiles"
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Lewis, Erin. "Radiant Textiles : A framework for designing with electromagnetic phenomena." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26256.
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The design of smart, interactive, computational, and electronic textiles involves working with unknown variables that expand the tangible dimensions of textiles. Non-visual concepts such as electromagnetic fields, electrical current, computational code, and the temporal attributes of materials that exhibit dynamic qualities require that textile designers be able to perceive and manipulate domains of the textile that extend beyond its conventional forms of expression. Through these qualities, the textile becomes an interface to otherwise imperceptible phenomena of electromagnetism and thereby opens up to new textile design expressions. However, to do so requires a shift in the understanding of how fundamental textile concepts such as material, form, and expression interrelate to affect the expressive domain of the textile itself. This research aims to describe the material attributes, characteristics, and expressions of electromagnetic phenomena as explored through experimental research methods and suggests ways in which electromagnetic phenomena can be worked with as a design material for smart textiles. Further, it seeks to expand upon conventional design variables of textiles to include its electromagnetic domain. The experiments presented in this thesis suggest a framework for working with magnetic, dielectric, and conductive materials through textile techniques of weaving and knitting. The experiments point to the interrelationship between the textile material, structure, and form, identifying this triad as the key influencers that determine how textile expressions can embrace electromagnetic phenomena. The results of the experimental work are methods that show accessible ways for textile designers to visualize and perceive electromagnetic fields in textiles, such as sensing the impressions of textile structures on the magnetic field using a method of scanned-surface imaging; perceiving electromagnetic fields using textile antennas and spatial exploration, resulting in sonic expression; and kinetic textile behaviours at the yarn level through magnetic interactions. Furthermore, the design possibilities of the materials, methods and tools suggested in this thesis are demonstrated through examples of interactive artefacts, e.g., in the form of ambient energy harvesting forest mobiles and radio-frequency (RF) body extensions. The results suggest the variety of electromagnetic textile expressions that can be created when methods and tools to perceive and manipulate electromagnetic phenomena in textiles are consciously utilized.
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Zhai, Yi. "Échanges artistiques entre l'Iran et la Chine (13e-14e siècle) : textiles et céramiques." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3080/document.
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Le présent travail porte sur les échanges artistiques entre l’Iran et la Chine observés sur le textile et la céramique du 13e au 14e siècle. Les discussions dans cette étude s’appuient sur une analyse des caractéristiques de transferts connus : par exemple, existence de transfert technique, relation entre deux véhicules (textile et céramique) des échanges artistiques et propre intention des Mongols. Trois parties composent ce travail, d’après les différents corpus. Les deux premières se consacrent séparément aux corpus de textiles concernant le textile à fil d’or et celui de céramiques. La première partie comporte un catalogue des spécimens textiles et d’analyser les changements artistiques. Dans la deuxième partie, l’examen scientifique permet d’évaluer l’échange technique potentiel. Dans la dernière partie, deux groupes de motifs (motifs représentant l’autorité et motifs de scène de chasse) sont comparés sur les spécimens textiles et céramiques. Le transfert de ces motifs concrets dévoile des relations culturelles essentielles entre des peuples non-sédentaires (les Khitan, les Jurchen et les Mongols) au nord de l’Asie. En conclusion, les différences entre les échanges artistiques représentés sur le textile et ceux sur la céramique montrent une une contradiction avec l’idée que le textile soit un médiateur de la céramique ilkhanide pour le transfert artistique. Ces différences sont fondamentalement liées avec les charactéristiques de la nature et les qualités sociales de chaque matérial. Dernièrement, l’intention des dominants mongols, comportant des successions culturelles de peuples non-sédentaires, est représentée par les échanges artistiques à l’époque<br>This paper presents studies on the artistic exchanges between Iran and China observed on textiles and ceramics from the 13th to 14th century. It presents detailed analysis of three important characteristics of the artistic transfers : namely the existence of potential technique transfer, the relation between the two materials (textile and ceramic) during the artistic exchange, and the intention of the Mongols, based on existing corpus The first part of paper is devoted to textile corpus, particularly the textile with golden thread, featuring a catalog of textile samples. The second part presents in depth discussions of the ceramic corpus and questions the potential technical exchange of pottery , followed by comparisons based on actual data. The third part presents comparisons of the patterns observed in both textiles and ceramics specimens, suggesting that the transfer of the concrete motifs reveals the essential cultural relations between the non-sedentary peoples (the Khitan, the Jurchen, the Mongols) of northern Asia. The conclusions of the studies are threefold. First, the technical transfer can be only confirmed in the textile domain. Second, the differences of the artistic exchanges between the textile and the ceramic are closely related to the natural characteristics and the social value of each material, which challenges the previous idea that the textile would be considered as the mediator for the Il-khan ceramic during the artistic transfer. The last but not the least, the cultural relationship between the non-sedentary peoples is clearly represented by the artistic exchanges under the domination of the Mongols
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Krull, Eriksen Katrine. "Introducing Plaster : Exploring Artistic Expressions of Natural Dyed Plaster." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14892.
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Introducing Plaster is a degree work in textile design exploring the fusion of natural dyes and plaster, and how this can be applied as a textile design material. The outcome is presented as an experimental investigation, placed in the context of surface and material design. This study derived from a growing interest in how new materials can be implemented into the field of textile design using established textile techniques and methods. Natural dye, texture and flexibility where explored through the method of hands-on-experimentation. The study moved foreword by asking the question: “What happens if?”, and the findings have been analyzed and selected for further development. The final collection consists of five pieces made entirely from plaster, showing another approach to how textile techniques and methods can be developed and adapted to fit materials from another field, for instance: Plaster.
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Pozzi-Escot, Rustha-Luna. "Tisser des liens. Enjeux, formes et fonctions de pratiques artistiques participatives textiles." Electronic Thesis or Diss., Pau, 2024. http://www.theses.fr/2024PAUU1146.
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Cette thèse en recherche - création trouve son origine dans une expérience personnelle de conception et développement d'une pratique artistique textile de type participatif : l'atelier ROPA. L'expérience s'est inscrite dans la lignée des pratiques artistiques contemporaines dont l'essence réside dans la délégation par l'artiste du processus de création à des spectateurs devenus participants. Bien que la grande majorité des pratiques participatives se concentrent sur le cours même des actions ou activités conduites, certaines d'entre elles donnent lieu à des productions tangibles, comme ce fut alors le cas. Au-delà de cette expérience, l'étude a pour but d'interroger plus largement les pratiques textiles basées sur la création « avec les autres ». Il s'agit de rendre visibles leurs formes et fonctions, mais aussi de mettre en évidence les différentes dimensions sociales et culturelles qui les sous-tendent. A cela s'ajoutent des questions liées au choix du textile et, plus particulièrement, des vêtements recyclés comme matériau artistique.Le texte présente d'abord le développement du projet d'atelier participatif ROPA, à Bordeaux, entre 2011 et 2016. Il expose ensuite l'expérience collective online«Faire le point», menée pendant la pandémie de COVID-19 entre les mois de juillet et août2020. Ces deux expériences illustrent des approches différentes des thématiques textiles participatives: la première, développée sur une longue période de temps, trouve sa fin dans la réalisation de sculptures textiles tandis que la seconde, réalisée en un temps limité, aboutit à un résultat immatériel, prenant la forme d'un récit.Au travers de ce prisme, nous essayerons de comprendre ce qui est en jeu d'une manière générale dans l'art participatif, un type d'expression artistique qui soulève des questions sur le rôle de l'artiste, sa mission sociale, son engagement politique, et qui établit une nouvelle relation avec le public.A partir de la relation triangulaire entre artiste, public et œuvre d'art, l'interrogation porte sur la pertinence de la matière textile utilisée par l'artiste, au regard des traditions et des formes de transmission des savoir-faire en Europe et en Amérique latine (en particulier en France et au Pérou). Il s'agit de considérer l'évolution des pratiques artistiques dans des contextes sociaux, politiques, historiques, économiques et culturels qui appellent à de nouvelles formes de participation.La spécificité du recours aux vêtements usagés comme matériau ouvre un éventail d'analyses et de questionnements sur le vêtement, qui vont de sa signification dans l'univers de la mode - où il possède sa propre économie - à sa valeur en tant que porteur de la mémoire du corps, de ses fonctions sociales à son importance culturelle ou son poids symbolique. Ces perspectives anthropologiques, sociologiques et philosophiques trouvent aujourd'hui un nouvel écho dans le contexte d'une réflexion sur le développement durable et les questions environnementales<br>This research-creation thesis has its origins in a personal experiment in designing and developing a participatory textile art practice: the ROPA workshop. This experiment was in line with contemporary artistic practices whose core resides in the artist's delegation of the creative process to the spectators-participants. Although the participatory practices usually focus on the development of actions or activities, some of them do result in tangible productions, as was the case here. Going beyond this experience, the study aims to take a broader examination at textile practices based on creating “with others”. The attempt is not only to make their forms and functions visible, but also to highlight the various social and cultural issues that underlie them. Added to this are questions surrounding the choice of textile and, more specifically, recycled fabrics as a material.The text first presents a collective textile art practice developed in the ROPA participatory workshop in Bordeaux between 2011 and 2016. It then relates an “online” collective textile experiment called “Faire le point”, carried out during the COVID-19 pandemic, between July and August 2020. These two experiments illustrate different approaches to contemporary participatory textile art: the first one was developed over a long period of time and finalized with the creation of textile sculptures, while the other, carried out in a limited time, led to an immaterial narrative result.Through this prism, we will try to understand what is involved in participatory art in general, a type of artistic expression that raises questions about the role of the artist, his social mission, his political commitment and establishes a new relationship with the audience. Relying on the triangular relationship between artist, public and artwork, we examine the relevance of the textile medium used by the artist in relation to the traditions and transmission of a know-how in Europe and Latin America (particularly in France and Peru). The question is about the evolution of artistic practices in social, political, historical, economic and cultural contexts that call for new forms of participation.The specific use of worn clothing as an artistic material opens up a range of analysis and interrogations about the clothing in general, from its meaning in the fashion world - where it has its own economy - to its value as a bearer of the body's memory, from its social functions to its cultural importance or its symbolic significance. These anthropological, sociological and philosophical perspectives find a new echo in the context of sustainable development and environmental issues
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Mcclure, Kathryn Raeburn. "Development of new extraction methods for analysis of natural and synthetic organic colourants from historical and artistic matrices." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/29168.
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Abstract:
In this thesis, an innovative approach for the extraction and clean-up of natural and synthetic
textile dyes based on a recently developed ammonia extraction protocol and a novel
Dispersive Liquid-Liquid Microextraction (DLLME) is presented. The thesis builds upon recent
research highlighting the benefits of the ammonia-based extraction protocol for efficient
extraction and preservation of the glycosyl moieties present in some types of natural dyes.
This state-of-the-art extraction technique requires the use of a clean-up step to purify and preconcentrate the dye molecules for analysis. This clean-up step has never before been
investigated or developed, and current methods rely upon traditional Liquid-Liquid Extractions
(LLE), which are not well suited to the very small quantities of materials available for the
analysis of artefacts of cultural heritage. The novel DLLME protocol presented by this thesis
was developed in order to improve the recovery of natural dyes for analysis, and is also the
first clean-up protocol to be developed for the analysis of synthetic textile dyes from cultural
heritage matrices. Whilst a clean-up system has never before been applied to synthetic dyes
within cultural heritage, pre-concentration and pre-treatment protocols are frequently reported
for analysis of the same type of dyes used in food colourants. For this reason, this research
adapts a DLLME method from the analysis of edible products, and combines this with the
state-of-the-art ammonia extraction method reported in literature. DLLME protocols for both
natural and synthetic dyes were developed and optimised first on known analytical standards,
considered representative of the possible structures of natural dyes and synthetic azoic acid
dyes respectively. The extraction recoveries of a variety of disperser and extraction solvents
were analysed using HPLC coupled with targeted mass spectrometry. The optimised
conditions were then coupled with the ammonia based extraction to ensure coherence of the
methods. The results showed significant improvements in the recovery of natural dye analytes
compared to current methods, as well as increased precision and efficiency. For synthetic
dyes, results showed adequate recovery of analytes and allowed the ammonia-based
extraction method to be applied successfully for the first time. After optimisation, the protocol
for synthetic dyes was applied successfully to 15 samples (11 fibres, 4 powders) of suspected
azo dyes from the Azienda Coloranti Nazionali e Affini (ACNA) synthetic dye collection housed
at Sapienza University of Rome’s Museum of Chemistry. The novel protocol was performed
after preliminary Raman screening to obtain some introductory information about the unknown
samples in the collection. After application of the novel protocol, the samples were identified
through untargeted analysis by HPLC-HRMS.
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Brunton, Jennifer. "Cultural narratives and the historical subject : Annie Garnett, her diary, life and works." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301817.
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This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.
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Crawford, Fiona. "When you go looking for me, I am not there : description by absence." Thesis, Federation University Australia, 2020. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/176302.
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When women don’t have access to public voices, their stories may be told through symbols and sewing, publicly viewed but understood only by an audience of intimates. My research builds upon my May 2016 residency in Assisi, Italy, and explores description through absence. Punto Assisi, an embroidery tradition predating the Renaissance, is still practised by women of Assisi. Uniquely, the subject matter is empty of detail. The negative space in Punto Assisi work can be seen as echoing the absence of information about the makers. Invisible and indispensable, women and their work have provided the fabric of human society throughout history, yet the names and faces of female artists and artisans are rarely documented. This embroidery style resonated with my interest in women's work and how ubiquitous and anonymous it is. Based on the concept of drawing with thread to manifest content, I explore description through absence, and honour the unknown makers of this art. Studio practice revealed insight into materiality, imagery, form design and palette. The haptic process of sewing gave insight into a universality of the experience of making, a connection crossing time, place and culture. The experience of the maker is highly individual and takes place in diverse contexts. The maker and their experience may be unknown, except to self, however the outcome, the product or the artwork may be indexical of a place, time or the maker, known or unknown. As such, unknown women makers have a presence in their works. The negative space in the uncoloured linen yields a presence and materiality that allows us to engage with what isn’t there. Absence is made material. Materiality, memory, narrative, and identity are themes emerging from this project. In my contemporary application of the style constraints yielded creative freedom. In absence, I found description.<br>Master of Arts (Visual and Performing Arts) (Research)
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Hester, ElizaBeth. "Vadie Williams, Folk Artist: Drawnwork as a Reflection of Personal Identity in Rural Kentucky." TopSCHOLAR®, 1989. https://digitalcommons.wku.edu/theses/2491.
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This study focuses on Vadie Conner Williams, an individual folk artist, and the drawnwork she has created throughout her lifetime. Included is a description of her rural farm background, her needlework skills and her creative process. The study also examines the significance of drawnwork to Williams and determines how she has adapted her work to satisfy her personal needs as well as the needs of her customers. Based on tape recorded interviews and a close examination of her work, the study concludes that drawnwork is an integral part of Williams's everyday life; it is an indicator of her beliefs and a source of identity within her community.
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Бабина, Юлианна. "Традиции и современность в творчестве дизайнера Натальи Вавилиной". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10193.
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Исследованы биография и творчество известного в республике Молдова и за ее пределами художника, дизайнера, архитектора и педагога Натальи Вавилиной. Материалом для исследования послужили многочисленные авторские работы мастера и труды студентов, созданных под ее руководством.<br>In this article the author presents the biography and works of the famous, in the Republic of Moldova and beyond, artist, designer, architect and teacher, Natalia Vavilina. The material for this study was the author's numerous works and the works of students created under the guidance of this talented designer.
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Michaud, Kathryn. "Tisserand de rêve = Dream-weaver /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1989. http://theses.uqac.ca.
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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1989.<br>Programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
Books on the topic "Artistic textiles"
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Tani, Tetsuo. Senshoku no bi: Iro to katachi = The Artistic texture of textiles : its colors and forms. Niigata-shi Bijutsukan, 1988.
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Ploeg, F. van der. 2019 Rijswijk: Textiel Biënnale = Textile Biennial. Museum Rijswijk, 2019.
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(Russia), Gosudarstvennyĭ Ėrmitazh, ред. Ispanskiĭ stilʹ: Steklo i khudozhestvennyĭ tekstilʹ XVI-XIX vekov v sobranii Ėrmitazha : katalog vystavki = Spanish Style : Sixteenth- to Nineteenth Century Glass and Artistic Textiles in the Hermitage Collection : Exhibition Catalogue. Izdatelʹstvo Gosudarstvennogo Ėrmitazha, 2022.
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Kalimerovi, Marussia. Textile design: L'ispirazione artistica dalla terra d'Orpheo. De Luca, 2010.
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Pylyp, Roman Ivanovych. Khudoz︠h︡ni︠a︡ vyshyvka ukraïnt︠s︡iv Zakarpatti︠a︡ XIX - pershoï pol. XX st. (typolohii︠a︡ za pryznachenni︠a︡m, khudoz︠h︡nimy ta lokalʹnymy osoblyvosti︠a︡my) = The Art of embroidery of Ukrainian of Trancarpathia in the XIX and first half XX century (Functional typology, artistic and local features). PP "Povch R. M.", 2012.
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Di︠a︡kiv, Solomii︠a︡. Stefanii︠a︡ Shabatura: Z︠h︡ytti︠a︡, okrylene stremlinni︠a︡m dukhu. Vydavnyt︠s︡tvo Ot︠s︡iv Vasylii︠a︡n "Misioner", 2021.
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Bajkó, Anikó. Bajkó, Anikó: [készült Bajkó Anikó "Emlékeztető" kiállítása alkalmából : Szent István Király Múzeum, Székesfehérvár 2003. Szent István Király Múzeum, 2003.
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Koumis, Matthew, 1964 Mar. 27-, ed. Art textiles of the world. Telos Art Pub., 2009.
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Koumis, Matthew, 1964 Mar. 27-, ed. Art textiles of the world. Telos Art Pub., 2009.
Find full textBook chapters on the topic "Artistic textiles"
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Nieto-Galan, Agustí. "Artisans and Artists in Dyeing and Printing." In Colouring Textiles. Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-017-1081-7_5.
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Rodríguez Peinado, Laura. "Ornamental Transfers in Textile Production in Almohad and Nasrid Periods." In Artistic and Cultural Dialogues in the Late Medieval Mediterranean. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53366-3_11.
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Schneider, Arnd. "Copy and Creation: Potters, Graphic Designers, Textile Artists." In Appropriation as Practice. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983176_4.
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Gaulithy, Marc-Arthur, Christine Nantchouang Ngomedje, Prisca B. Pange-Ibinimion, and Ivan Coste-Manière. "Sustainable Fashion: African Visual Artist’s Contribution to the New Paradox Discussion—Case of El Anatsui as a Sustainable Thinking Agent." In Sustainable Textiles: Production, Processing, Manufacturing & Chemistry. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0874-3_10.
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Boyd, Candice P. "Creating the ‘Finding Home’ Exhibition." In Exhibiting Creative Geographies. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6752-8_3.
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AbstractAfter considering the nature and role of creative co-production in research contexts, Boyd describes the processes involved in producing artworks for the ‘Finding Home’ exhibition based on research findings from the Engaging Youth in Regional Australia (EYRA) Study. Commencing with work produced by some of the study’s participants, Boyd moves on to discuss the commissioning of a set of textile works and a contemporary Aboriginal artwork for the exhibition. The chapter is interwoven with a description of Boyd’s own artworks as an artist-geographer, produced in response but also in sympathy with the rest of the exhibition as it emerged. The chapter concludes with some first-hand reflections on curating a research exhibition.
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Żchowska, Marta. "Between realism and artistic convention:." In Textiles in Ancient Mediterranean Iconography. Oxbow Books, 2022. http://dx.doi.org/10.2307/j.ctv2npq9bb.16.
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Reimann, Daniela. "Smart Textile as a Creative Environment to Engage Girls in Technology." In Advances in Media, Entertainment, and the Arts. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch016.
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In the context of the convergening media technologies, the concept of mobile media embedded in wearable material was introduced. The terms of Wearable Computing, Fashionable Technology, and Smart Textile became key words at the intersection of media, art, design, computer science, engineering and the shaping of technology by the users themselves. Though media artists and designers explore wearable computing for some time now, only little research has been undertaken into Smart Textile in education in Germany (e.g., the after school workshop program held at DiMeB at the University of Bremen). However, Smart Textile is not common at school, especially not in the context of artistic processes in general MINT (MINT is a German acronym for the subjects of Mathematics, Computer Science, and Technology) education in classroom settings. In order to research the interplay of electronic textiles, wearable technology, hard and software tools, such as the Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications, are scrutinized. In the research project, contemporary media art works in the field of Fashionable Technology are explored to inpire interdisciplinary technology education form an artistic perspective. A learning-through-design-approach using electronic media for sewing, hacking the traditional model of technology education (Reimann, Daniela, Fütterer Werner, Biefang, & Sebastian, 2010). In the paper, the conceptual framework for the research project “Artistic approaches to Engage Girls and Young Women in Technology and Engineering in Education at School and University (Acronym: IBP-GirlsLab)” is presented. It aims to engage girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education in order to engage girls in shaping technology, is discussed.
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Reimann, Daniela. "Smart Textile as a Creative Environment to Engage Girls in Technology." In Wearable Technologies. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5484-4.ch036.
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In the context of the convergening media technologies, the concept of mobile media embedded in wearable material was introduced. The terms of Wearable Computing, Fashionable Technology, and Smart Textile became key words at the intersection of media, art, design, computer science, engineering and the shaping of technology by the users themselves. Though media artists and designers explore wearable computing for some time now, only little research has been undertaken into Smart Textile in education in Germany (e.g., the after school workshop program held at DiMeB at the University of Bremen). However, Smart Textile is not common at school, especially not in the context of artistic processes in general MINT (MINT is a German acronym for the subjects of Mathematics, Computer Science, and Technology) education in classroom settings. In order to research the interplay of electronic textiles, wearable technology, hard and software tools, such as the Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications, are scrutinized. In the research project, contemporary media art works in the field of Fashionable Technology are explored to inpire interdisciplinary technology education form an artistic perspective. A learning-through-design-approach using electronic media for sewing, hacking the traditional model of technology education (Reimann, Daniela, Fütterer Werner, Biefang, & Sebastian, 2010). In the paper, the conceptual framework for the research project “Artistic approaches to Engage Girls and Young Women in Technology and Engineering in Education at School and University (Acronym: IBP-GirlsLab)” is presented. It aims to engage girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education in order to engage girls in shaping technology, is discussed.
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Delgado, M. J., and I. D. Almeida. "Towards artistic children’s education with textiles: A K10 challenge." In Textiles, Identity and Innovation: Design the Future. CRC Press, 2018. http://dx.doi.org/10.1201/9781315100210-79.
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Yaniv, Bracha. "Annotated Plates of Representative Textile Objects in the Synagogue." In Ceremonial Synagogue Textiles, translated by Yohai Goell. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764180.003.0006.
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This chapter includes a section of plates in which ceremonial objects are illustrated and documented according to the communities in which they were used. It highlights the plates of textile that typically represent the ceremonial artistic concept of each community. It also describes the wrap from Rome that consists of fourteen pieces of undyed linen of various widths with linen strips that are embroidered with a pattern of vines. The chapter looks at a wrap from Rome that was stored in Museo Ebraico di Roma, which is made of seven pieces of rectangular fabric arranged symmetrically on each side of the central panel, which depicts the giving of the Torah on Mount Sinai. The chapter analyses the embroidery of two pieces of fabric to the right and left of the central panel of the wrap with the name of the donor, Joseph Samuel Sarina.
Conference papers on the topic "Artistic textiles"
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Ермолаева, М. И. "FREE PAINTING ON FABRIC AND EMBROIDERY IN EARLY ARTWORK OF ZOYA LENDENSKAYA-BOLSHAKOVA." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.10.
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Санкт-Петербургский художник по текстилю Зоя ЛенденскаяБольшакова с единомышленниками-выпускниками кафедры художественного текстиля Санкт-Петербургской государственной художественно-промышленной академии имени А. Л. Штиглица (бывшее ЛВХПУ им. В. И. Мухиной) основала успешное творческое объединение, известное сегодня как Гильдия Текстильщиков Санкт-Петербурга. Зоя Ленденская-Большакова — плодовитый художник-экспериментатор, она мастерски использует в своем творчестве традиционные текстильные техники, тонко передавая с помощью них свой внутренний мир. St. Petersburg textile artist Zoya Lendenskaya-Bolshakova with like-minded people – graduates of the Department of Artistic Textiles of the St. Petersburg Stieglitz State Academy of Arts and Design (formerly Leningrad V. Mukhina Higher School of Art and Industry) founded a successful creative association, known today as the St. Petersburg Guild of Artists on Textiles. Zoya LendenskayaBolshakova is a prolific experimental artist; she skillfully uses traditional textile techniques in her work, subtly conveying her inner world.
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Мокина, А. Ю., and Е. А. Химичева. "SYNTHESIS OF MATERIALS AND TECHNIQUES IN MODERN ARTISTIC TEXTILES AND COSTUME." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.20.
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Авторы выявляют роль современной тенденции использования синтеза техник и материалов в художественном текстиле и костюме, прослеживая процессы трансформации ткачества, вышивки и моделирования текстильной среды. В данной статье предлагается рассмотреть проблему взаимодействия и слияния декоративно-прикладного искусства, текстильного дизайна и новых форм моделирования. В статье исследуются возможности интеграции традиционных техник обработки текстильных материалов при создании текстильных произведений и научно-технических новаций в современном текстиле и костюме. Основной результат — новые возможности ассоциативно-образной передачи авторской идеи через синтез в художественном текстиле и арт-костюме. The authors identify the role of the modern trend of using synthesis of techniques and materials in artistic textiles and costume, tracing the processes of transformation of weaving, embroidery and modeling of the textile environment. This article proposes to consider the problem of interaction and fusion of decorative and applied arts, textile design and new forms of modeling. The article explores the possibilities of integrating traditional textile processing techniques in the creation of textile works and scientific and technical innovations in modern textiles and costume. The main result is new opportunities for associative and figurative transmission of the author's idea through synthesis in artistic textiles and art costumes.
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Винникова, М. Н. "FOUR-HEDDLES WEAVING IN MODERN BELARUSIAN ARTISTIC TEXTILES." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.07.
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Ручное ткачество на четырех ремизках — древний и традиционный для Беларуси вид домашнего ремесла. Рассматривается проблема его сохранения, использования и развития в современном художественном текстиле. Four-heddles hand weaving is an ancient and traditional type of home craft for Belarus. The problem of its preservation, usage and development in modern artistic textiles is considered in the article.
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Likhacheva, V. M. "THE INTERACTION OF GRAPHICS AND COLOR IN THE ARTISTIC TEXTILES." In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_238.
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Краснова, А. Н., and А. Е. Третьякова. "MAIN PROBLEMS IN CLEANING METHODS IN RESTORATION OF HISTORICAL ART TEXTILES." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.15.
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Очистка исторического художественного текстиля является сложной задачей, т. к. текстиль по структуре неоднороден и разнообразен, в его поры забивается много загрязнений при «жизни» и последующем хранении. К художественному текстилю помимо ковров, гобеленов, шпалер, обивки мебели и др. видов интерьера, одежды и аксессуаров, археологических находок можно отнести холсты, используемые под живопись. Необходимо учитывать наличие окраски или рисунка на текстильных полотнах для подбора оптимального режима удаления загрязнений, сохраняющего цвет и структуру реставрируемого материала. Cleaning historical artistic textiles is a difficult task, because textiles are heterogeneous and diverse in structure, and many contaminants are clogged in its pores during “life” and subsequent storage. In addition to carpets, tapestries, trellises, upholstery of furniture and other types of interiors, clothing and accessories, archaeological finds, art textiles include canvases used for painting. It is necessary to take into account the presence of a color or pattern on textile fabrics in order to select the optimal mode of removal of contaminants that preserves the color and structure of the restored material.
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Лысенкова, О. О. "THE ATRICAL TEXTILE SOUVENIR." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_123.
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В статье рассматривается комплексный подход к проведению учебного задания по созданию проекта сувенирного платка или палантина на тему театров Санкт-Петербурга для студентов 4 и 5 курсов кафедры художественного текстиля СПГХПА им. А. Л. Штиглица; подчеркивается актуальность создания молодыми художниками проектов текстильных аксессуаров на тему «Театральный Петербург», соответствующих высокому культурному уровню и имиджу Северной столицы. The article considers a comprehensive approach to the educational task of creating a project souvenir scarf on the theme of theaters in Saint Petersburg for students of the 4th and 5th course of the Artistic Textiles Department of the St. Petersburg Stieglitz State Academy of Art and Design; emphasizes the importance of young artists creating textile accessories projects on the theme of “Theatrical Petersburg”, corresponding to the high cultural level and image of the Northern Capital.
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Бандорина, К. В. "MODERN DESIGN TRENDS: THE INFLUENCE OF NEURAL NETWORKS ON THE AESTHETICS OF ART TEXTILES." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.03.
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Развитие художественной образности объектов современного дизайна находится под влиянием регулярно обновляющихся трендов, меняющихся в связи с потребностями общества. Влияние цифровой промышленной революции имеет несколько векторов воздействия на проектную деятельность как дизайнера, так и художника. Актуальной тенденцией, выражающей данный тренд, является использование нейросетей и программ с искусственным интеллектом в процессе создания художественного образа предмета и даже арт-объекта. Цель данного исследования — определить, какие из художественно-выразительных средств цифрового тренда останутся в постоянной практике создания дизайн- и арт-объектов текстиля, а какие являются краткосрочным явлением в формате эксперимента. The development of artistic imagery of modern design objects is influenced by regularly updated trends that change in connection with the needs of society. The impact of the digital industrial revolution has several vectors of impact on the design activities of both the designer and the artist. The actual trend expressing this phenomenon is the use of neural networks and programs with artificial intelligence in the process of creating an artistic image of an object and even an art object. The purpose of this study is to determine which of the artistic and expressive means of the digital trend will remain in the constant practice of creating textile design and art objects, and which are a short-term phenomenon in the experimental format.
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Лихачева, В. М. "WORK EXPERIENCE ON THE “TEXTILE SOUVENIR” TASK AT THE DEPARTMENT OF ART TEXTILES." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_116.
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Опыт взаимодействия педагога и студентов рассматривается в рамках задания «Текстильный сувенир». Определяется место и роль задания в системе учебной программы для бакалавриата по направлению 54.03.01 профиля «Дизайн текстиля». Рассматривается методика работы над проектной частью и техники выполнения в материале текстильных сувениров. В статье подчеркивается определяющая и направляющая роль педагога и наставника в руководстве курсовыми и дипломными работами студентов-выпускников кафедры художественного текстиля. The experience of interaction between a teacher and students is considered as a part of the “Textile souvenir” task. The place and role of the task in the system of the curriculum for bachelor degree in the 54.03.01 training direction of the Textile Design Profile is determined. The methodology of work on the design part and techniques of execution in the material of textile souvenirs are considered. The article emphasizes the defining and guiding role of the teacher and mentor in the management of course and diploma works of graduate students of the Artistic Textiles Department.
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Цветкова, Н. Н. "THE SECOND WORLD WAR AND THE GREAT PATRIOTIC WAR IN THE ART TEXTILES OF THE XX–XXI CENTURIES." In Месмахеровские чтения — 2025. Crossref, 2025. https://doi.org/10.54874/9785605245896.2025.11.10.
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События Второй мировой и Великой Отечественной войны многократно отражены в произведениях художественного текстиля ХХ в. разных стран: Франции, Польши, СССР. В творчестве современных российских художников эта тема обретает новое звучание. Выставки 2020-х гг. — «Подвигу блокадного Ленинграда посвящается», «День Победы», «Мир и война в искусстве» — демонстрируют актуальность этой темы в современном художественном текстиле. The events of the Second World War and the Great Patriotic War are repeatedly reflected in the works of artistic textiles of the twentieth century from different countries – France, Poland, the USSR. This theme finds a new meaning in the work of modern Russian artists. Exhibitions of the 2020s – “Dedicated to the Feat of Besieged Leningrad”, “Victory Day”, “Peace and War in Art” demonstrate the relevance of this topic in modern art textiles.
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Куралесова, Н. В., and З. А. Ленденская-Большакова. "EXHIBITION PROJECT “BASKET AS ART” OF THE SAINT PETERSBURG TEXTILE ARTISTS GUILD (22.04.22–19.06.22, SAINT PETERSBURG)." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.16.
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В 2022 г. состоялся выставочный проект Гильдии Текстильщиков Санкт-Петербурга «Корзина как искусство» в рамках Международного фестиваля художественного текстиля. Целью проекта стало исследование корзиноплетения с древнейших времен и до наших дней, выявление точек соприкосновения с ткачеством, трансформация традиционных форм корзины в художественное произведение декоративно-прикладного искусства. В рамках проекта состоялся конкурс «Корзина как искусство», анализ результатов которого представлен в статье. In 2022, the “Basket as Art” exhibition project by the St. Petersburg Textile Artists Guild took place as part of the International Festival of Artistic Textiles. The aim of the project was to study basket weaving from the ancient times to the present day, to identify points of contact with weaving, the transformation of traditional basket shapes into a work of decorative and applied art. Within the framework of the project, the “Basket as Art” competition was held, the analysis of the results of which is presented in the article.
Reports on the topic "Artistic textiles"
1
Wences, Isabel. Feminismos, opresiones y voces entretejidas del Sur. Mujeres indígenas y desafíos filosóficos-políticos. Fundación Carolina, 2023. http://dx.doi.org/10.33960/issn-e.1885-9119.dt77.
Full textAbstract:
A través de la innovación teórica, la práctica política, la intervención social, la creatividad epistémica y la resistencia democrática muchas voces del Sur han emergido, en las últimas décadas, con fuerza y han entretejido estrategias para resistir a diferentes despojos y opresiones. El objetivo central que recorre este trabajo es escuchar las voces de mujeres indígenas —activistas, intelectuales, artistas, poetas, juristas, universitarias— con la finalidad de prestar atención a desafíos filosófico-políticos que ellas plantean y que se reflejan en innumerables luchas colectivas, podios de denuncia y constelaciones transnacionales. Para afrontar esta tarea se sigue como hilo argumental la exposición de distintas opresiones (patriarcal, de cuerpos y territorios y mediante el extractivismo cognitivo) y los desafíos para resistirlas (la “despatriarcalización” dentro de las tramas comunales, la producción de lo común y el reconocimiento de una espiritualidad y de transmisión epistémica a través de los textiles). La narración se acompaña de tres estrategias analíticas. Por un lado, una aproximación conceptual; por otro lado, una mirada contextual e histórica; y, finalmente, una escucha de prácticas y luchas.
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A Legacy of Gods: Textiles and Woodcarvings. Inter-American Development Bank, 1998. http://dx.doi.org/10.18235/0006397.
Full textAbstract:
Fifty-six 20th century Mayan objects in fabric and wood from private collections and the permanent collection of the IDB, including photo enlargements of watercolors of indigenous costume by Carmen de Lind Pettersen on permanent exhibition at the Ixchel Museum of Indigenous Clothing in Guatemala City. Textiles included huipiles for daily and ceremonial use, sashes and wraps. Woodcarvings by anonymous artists included masks, toys and religious figurines.