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Journal articles on the topic 'Artistic textiles'

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1

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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2

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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3

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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5

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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6

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.
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8

Abbas, Nadia, and Dong Guo. "Decorative Symbolism of Islamic Motifs: Aesthetic and Cultural Analysis of Calligraphy in Mughal Textiles." European Journal of Theoretical and Applied Sciences 3, no. 3 (2025): 208–15. https://doi.org/10.59324/ejtas.2025.3(3).19.

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One of the world's most renowned periods of creative and artistic development was the Mughal Empire (1526–1857), when Islamic art flourished and was inspired by indigenous cultures. Among its artistic legacy, Islamic calligraphy on textiles is a vital form of aesthetic expression. This study explores Islamic calligraphy's decorative symbolism and aesthetic dimensions within Mughal-era textiles. Drawing upon historical references and visual analyses, the research examines how calligraphic elements were integrated with traditional Islamic motifs, such as floral and geometric patterns, to reflect cultural, religious, and political ideals. The paper also highlights the unique material techniques, design philosophies, and cross-cultural influences that shaped the visual language of Mughal textiles. By comparing Mughal calligraphic practices with those of other Islamic empires, including the Ottoman and Safavid dynasties, this study provides a comprehensive understanding of the role of calligraphy in textile art. The findings contribute to broader discussions of Islamic art heritage and its continuing influence in contemporary design.
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9

Shirokovskikh, Margarita S. "The Painting on Fabric: History, Technology and Role in the Development of the Leningrad School of Artistic Textiles." Vestnik of Saint Petersburg University. Arts 15, no. 1 (2025): 93–116. https://doi.org/10.21638/spbu15.2025.106.

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The painting on fabric (or the batik technique) became firmly established in the educational process and creative practice of artists at the turn of the 20th–21st centuries. However, in Russian art history there are no publications that reflect the specifics of the spread of this technique in Europe, the USA and Russia. This article is devoted to the peculiarities of the use of painting on fabric in textile factories and its role in the development of the Leningrad school of artistic textiles. This article is about the peculiarities of using fabric painting in textile factories and its role in the development of the Leningrad school of artistic textiles. The purpose of the article is to summarize information about the applying of batik in the textile industry and art workshops. The article not only describes the historical stages of the introduction of batik into artistic practice, but also introduces into scientific circulation new data related to previously unpublished works of Leningrad textile artists. The author shares the concepts of “fabric painting”, “direct painting on fabric”, “hot batik”. It was revealed that in the USSR the most common term was “fabric painting,” which, on the one hand, reflected the hand-made nature of the technique, and on the other, emphasized that painted curtains and panels belonged to the sphere of monumental and decorative art. It has been established that the assortment has changed from small products to monumental curtains; from household items to art exhibits. It is shown that the evolution of artistic painting on fabric influenced educational programs in universities and technical schools; batik became a part of the art exhibitions and interiors of public buildings throughout the USSR. Based on the archival sources, Soviet periodicals and interviews with artists, the author concludes that painting on fabric was one of the main directions in which Leningrad textiles developed in the 1950–1980s.
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10

Журавель-Змєєва, Л. С. "ПРОФЕСІЙНА ДІЯЛЬНІСТЬ ТВОРЧИХ МАЙСТЕРЕНЬ ТЕКСТИЛЬНОГО СПРЯМУВАННЯ В УКРАЇНІ ХХІ СТОЛІТТЯ: ДОСЛІДЖЕННЯ ТЕНДЕНЦІЙ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (4 січня 2019): 77–82. https://doi.org/10.5281/zenodo.2532032.

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The purpose of the articleis to consider the main areas of activity of modern individual and group art textile workshops on the territory of Ukraine. The task of the work is to determine the fundamental principles of their development and the problems of the implementation and functioning of creative workshops in the field of artistic textiles. Theoretical, general philosophical, comparative, analytical-descriptive, comparative-typological, search-comparative methods were used. As a result of the work on the basis of the analysis of previous publications in the field of textile creative workshops a the history of development, decay and revival of textile activity on the territory of Ukraine from the end of the 20th century to the present time has been studied. A comparative description of the principles of the activity of design studios, creative studios and creative workshops is offered, the distinction between these concepts was made and the key differences were singled out. The creative activity, the thematic and technical characteristics of artistic works, principles and ideas of functioning, promotion, and popularization of some of the largest modern textile workshops, associations of masters and textile brands are considered. Their common and distinctive features are described line of their products and products of individual design including purely artistic objects, things of small-scale production and of commercial direction, representing workshops in the artistic and consumer markets. The scientific work describes the creative work and principles of product distibution on examples master’s activity of the creative workshops “Fira” and “Tekstylni vizii” (Textile Visions) as relatively small associations of artists, general principles of their work, ways and methods of cooperation. The “Maisternia teplykh podarunkiv” (Workshop of warm gifts) is presented, as an example of a group workshop on the basis of which the main postulates of the association of artists of the same direction, the motives and the concept of the creation of small-scale addressless products are shown. Another example of a group workshop is the “Loskutnyi tekstyl” (Patchwork Textile) workshop, but it is based not on the principles of related work, but on the joint promotion and sale of products, where the association does not affect the formation of the art object, but helps in its distribution. Special attention is paid to family workshops, where several generations of masters often work together, as well as different options and directions for the development of such workshops are also considered. As an example of a family studio which passed, the “Palitra tepla” (Palette of warth) studio has been taken to the category of social and organizational project. The individual creative work first united the textile artist and her husband in their common creative activity and later encouraged them to continue organizational activities and hold artistic events, master classes, shows and so on, with the participation of masters of various directions. As a variant of a successful rebirth of a family creative workshop in to a full-fledged all-Ukrainian brand you can consider the family workshop “TELIZHENKO”. A striking example of the classic version of the family artistic workshop is the “Kondratiuk” workshop, for whom the artistic value is of primary importance and the commercial component remains a side effect. “Kondratiuk” is, moreover, a family studio where the family couple embody artistic ideas and work on request, creating tapestries or sculptures for a specific project, interior needs or customer’s wishes. Also, the article mentions the activity of Olga Piligina’s individual workshop, where the craftswoman presents her own works, takes orders, conducts exhibitions and educational activities. The creative and teaching activities of the workshop of Maria Furdi are focused on folk tradition and machine-weaving. The article also deals with the important educational work of the Association “Tkatstvo Ukrainy” (Weaving of Ukraine) under the leadership of Daryna Aleksieienko, who groups around herself both professional masters and beginners. The article deals with projects, exhibitions, fairs and other educational, promotional, artistic events in which workshops take part and organize, methods of advertising and advanced areas of work. The principles and methods of work of associations of masters and various unions are described, the general principles of the implementation business idea of such creative groups are shown. The scientific work reflectsthe general concepts of the activities of group workshops, their principal difference from the individual workshops, the analysis of their ideas, problems and potential activity directions, and the goals of the Ukrainian group textile workshops. The most important principles of work of group workshops and their business ideas, exhibitions, artistic, public-organizational and educational activities are shown. The primary problems of artists of modern author’s textile and textile workshops were considered, priorities and directions of their work were determined, prospect of further advacement on the national and international arena, and further development of textiles as a genre of art in the world art space of artistic textiles were determined. In conclusions the author of the research inumerates disadvantages, negative thematic and practical features in Ukraine’s textiles, artists’ adherence to tradition and little acguaintance of Ukrainian contemporary artists, with the works of foreign ones shows the existing striking difference between the domestic and foreign art textile. The author gives prognoses concerniry possible ways solving problems and challenges faced by the creators of modern artistic textiles in Ukraine, and the activities of creative textile workshops. The issue of international cooperation, communication, exchange of experience and knowledge and co-operation of masters through electronic resources, joint creative activity through the Internet and computer technologies are raised. The possibility of joint international projects on artistic are considered textiles with the participation of domestic and foreign authors.
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Maydanets-Barhylevych, Olena. "Formation and Development of the Kyiv School of Art Textiles: Traditions and Innovations." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 158–65. http://dx.doi.org/10.32461/2226-0285.1.2021.238613.

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The purpose of the article is to outline – based on analyzing the development of the Kyiv School of Decorative Arts in context of the historical and artistic process of the XXth to XXIst centuries – the main principles of specialization Art Textiles on the ground of the Mykhaylo Boychuk Kyiv State Academy of Decorative and Applied Arts and Design. The methodology consists of applying an art history approach to historical and artistic analyses of works of artistic textiles, as well as the systematic consideration of peculiarities of the Kyiv School of Decorative Arts. The scientific novelty lies in the substantiation of a phenomenon of the Kyiv School of Art Textiles, creative-pedagogical and scientific-methodological means in teaching students, themes of diploma theses as an important component in preserving ethnic memory, and national-cultural identity. Conclusions. The results of the study highlight the features of the artistic language of the Kyiv School of Textiles, the specifics of scientific and pedagogical methods used in the Academy, as well as the creative guidelines of the teaching staff. Defined are prospective trends of development and strengthening of the Department of Art Textiles and Costume Modelling, principles of comprehending the conventional art and its transformation into the newest stylistic forms to meet today’s requirements. The scientific research gives an idea of ​​the current state of decorative art and artistic textiles, and the creative contribution of the scientific and pedagogical staff of the ATCM Department in the context of the integration of Ukrainian art into the European cultural space.
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12

Freeman, Na’ama. "Printed Textiles from Kinngait Studios." Public 32, no. 63 (2021): 122–25. http://dx.doi.org/10.1386/public_00063_4.

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Printed Textiles from Kinngait Studios, curated by Roxane Shaughnessy of the Textile Museum of Canada in consultation with independent curator Nakasuq Alariaq, examines the legacy of newly-discovered textile prints from Kinngait Studios and their contribution to art history on both national and global scales. The exhibition shares and preserves a little-known history, drawing connections to contemporary Inuit artistic production and centers Inuit voices in telling this story. At its core, Printed Textiles fromKinngait Studios highlights the powerful way in which visual language can inspire intergenerational connections and jump-start new conversations between artists, community members, and the public at large. This review was prepared in partial completion of a masters-level course, and as such, the author did not have the capacity to consult with members of Kinngait community. In future writings, the author hopes to consult and collaborate alongside community members.
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13

Dobie, Madeleine. "Following the Threads: Reading Eighteenth-Century Texts and Textiles against the Grain." L'Esprit Créateur 64, no. 4 (2024): 97–115. https://doi.org/10.1353/esp.2024.a949903.

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Abstract: This article traces a multidirectional circulation between eighteenth-century texts and cotton textiles and contemporary literary and artistic fabrications . It juxtaposes dehumanizing depictions of colonial textile production in works including the Encyclopédie to a historical study in which a cotton sack once owned by an enslaved woman occupies the center of the narrative, and to changing approaches to the history of textiles on the part of museum curators and designers. It concludes by turning to a recent novel by a Togolese-Canadian writer in which bioengineered cotton production in contemporary Africa is interwoven with the history of slavery and the cultural politics of museums.
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YUAN, XING, and N. CHUPRINA. "ECOLOGICAL DESIGN CONCEPT OF TEXTILE PRODUCTS: A STUDY ON BROCADE WEAVING MATERIALS OF THE CHINESE ETHNIC MINORITY YAO." Art and Design, no. 4 (December 15, 2024): 51–61. https://doi.org/10.30857/2617-0272.2024.4.4.

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Purpose of this study is to identify the principles of environmental feasibility that were applied in the design and reflected in the artistic style of textiles of the Chinese Yao ethnic minority; as well as in the formation of the means of their implementation in modern clothing design. Methodology. Through field research, the paper substantiates that the brocade textiles of the Chinese Yao ethnic minority embody ecological principles, such as the use of natural, degradable materials, resource conservation, and elimination of excess textiles. Also the work uses the methods of systematic generalization and classification, as well as the analysis of literary and scientific data to generalize the composition and diversity of artistic styles of traditional and modernized brocade textile patterns. Results. The ecological concept is an important principle followed by the Chinese Yao ethnic minority in the design and decoration of textiles. They apply its principles throughout the process of pattern making and brocade weaving, including cotton thread production, dyeing, embroidery, and garment design. Natural patterns such as octagonal floral and zoomorphic fish patterns were found to be preferred. A set of design cases from modern Chinese design brands and the textile company Hainan Lizhiyun Cultural Communication, which use the ecological concept in the development of fashionable clothing models for various purposes, was analyzed. It is characterized that traditional ethnic brocade textile elements and ecological principles are combined with modern creative design to bring new visual and design properties and achieve harmonious coexistence with the environment. Scientific novelty. The principles of environmental awareness in traditional and modern textile design of the Chinese Yao ethnic minority are identified. It is justified that it is based on the experience of adaptation to the natural environment and skillful application of ecological principles in the development and production of brocade textile products. It has been found that the ecological principles embedded in the traditional means of development of textile brocade products of the Yao ethnic minority have an inspiring influence on modern clothing design. It is emphasized that this is in line with the UN's advocacy of low-carbon and environmentally friendly production development, and therefore encourages the application of environmentally-oriented practices during the development of textiles and the design of textile products. Practical significance. As a result of the research, the main typical examples of textile patterns and colors of traditional Chinese ethnic Yao brocade, used in modern clothing design, were characterized. In addition, by combining the traditional ethnic patterns of Yao brocade with creativity, more creative design solutions can be created and cultural elements and connotations can be introduced into modern clothing design.
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Lukovskа, O. "Ukrainian textile art: international cooperation." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 125–32. http://dx.doi.org/10.33838/naoma.27.2018.125-132.

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The article analyzes the aspects of international cooperation in Ukrainian textile art at the end of the XX – the beginning of the XXI century. It is observed that artists have the opportunity to travel to Europe and participate in a variety of art exhibitions, conferences, festivals, symposiums and more. Such cooperation significantly enlives artistic movements and activates creative searches and also motivates experimentation. It is proved that the integration of Ukrainian textile art into European space begins to be of particular importance. Several prominent international textile projects in Ukraine and Poland were a large group of Ukrainian authors of textiles participated were analyzed. It is analyzed that among other international textile projects in Ukraine, where professional art textile is presented, important are The Biennial Art Textile "Scythia" in Kherson, The International Youth Symposium "Arche-Thread-Novo" in Lviv. It is also a collective exhibitions were the textile works are regularly represented – "Autumn Salon", "Impressions of September", "Lviv`s Winter", "Textile Inspiration" in The Lviv Palace of Arts. Among the prestigious international events that are traditionally held abroad, in particular in Poland, is The Textile Arts Festival in Kovary, The International Biennial of Flax Fine Cloth "From krosno to Krosno " and many others. It is noted that the positive feature of projects is an attempt to attract the geography of international participants and to make a rich cultural program. The work presentation of the Ukrainian and foreign participants not only shows a wide range of creativity, but also contributes to the enrichment of national traditions. An analysis of artistic events in Ukraine and Poland demonstrates the importance of international projects. It is proved that the integration of domestic artistic textiles into European space today is very important. It is argued that the article may become a material for further study of the Ukrainian art textile tendencies and creation of artists working in this field.
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Rizhkova, Viktoria V., and Olga V. Ivanova. "PARTICULARITIES OF ARTISTIC DESIGN OF PATTERNS FOR TEXTILES." Technologies & Quality 60, no. 2 (2023): 43–48. http://dx.doi.org/10.34216/2587-6147-2023-2-60-43-48.

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The article deals with the peculiarities of artistic design of patterns for textiles in modern design. A special role is given to the imitation of natural materials. The tools of environmental and artistic design are texture. The role of texture as one of the main means of artistic expression, most clearly reflects the pe- culiarities of structure and surface finish, the peculiarity is emphasized by the significance of modern trends as the basis for the creation of patterns. This article discusses methods of designing drawings executed with the help of prints. Examples of drawings made by different methods and schemes are given.
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Tocarciuc, Alina. "Methods of textiles valorization: from traditional to ecodesign." Akademos, no. 4(67) (March 2023): 150–56. http://dx.doi.org/10.52673/18570461.22.4-67.20.

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In this article, the author aimed to reflect the ways of valorization on traditional textiles at the current stage. The analysis of the degree of implementation of the artistic and technical peculiarities of traditional textiles in new design solutions, led to the identification of these techniques, outlining their theoretical value, and the exemplified projects denote the applicative value of the work. The importance and usefulness of the work is relevant by approaching design solutions (which are exposed to analysis) oriented to eco-design, while the valorization of the artistic values of traditional textiles and the corresponding techniques in this context proves to be optimal.
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Irivike Francisa O, Akpanoko Queen E., and Nwabah N.I. "HARNESSING CLOTHING TEXTILE EDUCATION SKILLS FOR SUSTAINABLE RETIREMENT." Nigeria Journal of Home Economics (ISSN: 2782-8131) 10, no. 7 (2022): 293–98. http://dx.doi.org/10.61868/njhe.v10i7.169.

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Retirement is a must for every government working individual which comes with emotional, psychologicaland financial challenges. To help eradicate or reduce this problem, the writer looked at harnessing clothingand textile education skills for sustainable retirement. Some of the skills highlighted are: artistic and creativeskill, knowledge of fabric, Adaptability, strong communication, knowledge of current fashion understandingcommercial and market strategies, and having your own style. With a good knowledge of these skill theclothing and textile educationist or designer can go into any of these business venture for sustainableretirement: craft, hat making, house hold furnishing knitting, embroidery, tie – dye, tailoring and textiledesign. To this end it is recommended that, the clothing and textile designer should improve on artistic andcreativity, develop a strong communication still, fore case and pay attention to current on any of the businessventure provided by clothing and textiles.
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Nordström, Birgitta. "Dressing the dead body." Approaching Religion 6, no. 2 (2016): 143–55. http://dx.doi.org/10.30664/ar.67599.

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My current research focuses on textiles and rites, especially woven textiles for funerals and moments of loss. What active role can a textile such as an infant-wrapping cloth or a funeral pall play in the mourning process? This article will describe the development and current questions that address 1) the infant-wrapping cloth – the textile that is used to dress, clothe, or cover the dead body with particular attention to the question of infant mortality and the material practices of care. 2) The funeral pall that is used at funerals, draped over the coffin or as a body cover at hospital viewing rooms. One example to be presented is Kortedalakrönika (‘The Chronicle of Kortedala’), a collaborative project, woven for a church in Gothenburg. My work is based in artistic practice but opens up several scientific and existential questions.
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Manhita, Ana, Cristina Costa, Teresa Ferreira та ін. "Rediscovering the materials of Arraiolos tapestries: fibre and mordant analysis by SEM-EDS and μ-PIXE". Microscopy and Microanalysis 14, S3 (2008): 91–94. http://dx.doi.org/10.1017/s1431927608089484.

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Arraiolos tapestries are probably one of the richest artistic Portuguese expressions in terms of textile heritage. It is difficult to date the beginning of the production of rugs in Arraiolos (Southern Portugal), but they were already produced in the late 1600's as they are listed in the inventories of Portuguese aristocratic households in the beginning of the 18th century. Sensitive detection techniques play an increasing role in the chemical investigation of historical objects since the knowledge derived from the chemical composition of materials is of upmost importance for textile conservation and restoration purposes. Textiles deteriorate due to natural causes like heat, radiation, mechanical stress, moisture, microbiological and enzymatic attack. Deterioration of materials causes breakdown of the molecular structure and results in a loss of strength, extensibility and durability, discoloration and fading which affects the appearance of the textiles.
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Nimkulrat, Nithikul. "Crafting Novel Knotted Textiles with Mathematics." Textile Museum Journal 49, no. 1 (2022): 28–49. http://dx.doi.org/10.1353/tmj.2022.a932840.

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Abstract: Textile craft media, such as crochet, needlework, and beadwork, have been utilized by mathematicians as a means of conveying abstract mathematical ideas with tangible objects. The use of textile objects facilitates the understanding of both mathematics and craft and provides textile practitioners with insights into the underlying mathematics. This article aims to shed light on ways in which textile knot practice can be influenced by mathematics and how novel knotted textiles can consequently be designed using mathematical concepts, in particular knot theory and tiling theory (Wang tiling and rhombille tiling). The article presents collaborative artistic research between the author, who is a textile practitioner and researcher, and two mathematicians. Prior to the collaboration, the author’s textile knot practice had evolved around the material expression and form of knotted textile sculptures. All work had been created using one color, one pattern, and one structure. Although the author had wished to incorporate colors in her textile knot practice, she had not tried it. The task of determining what strands and in which combinations they should be used to achieve different color patterns seemed too difficult even for an experienced practitioner like her. Through the application of knot diagrams and tiling notations, a multitude of two-tone knotted patterns and two- and three-dimensional knotted structures are originated. The article concludes that mathematical diagrams and notations have the potential to reveal the nature of textile knots and to be used as design tools to create new knotted textiles.
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Sauro, Clare. "‘This season of cellophane everywhere’: The scintillating cellophane fashions of 1934." Fashion, Style & Popular Culture 9, no. 3 (2022): 291–314. http://dx.doi.org/10.1386/fspc_00133_1.

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In 1934, textiles woven with strips of glittering cellophane were the pinnacle of high fashion. This trend has been credited mainly to Elsa Schiaparelli, who worked closely with the French textile manufacturer, Colcombet, to produce some of the most notable textiles of the early 1930s. While Schiaparelli was undeniably prominent in the promotion of cellophane fashions, she was one of many designers utilizing textiles woven with slit cellulose film during this period. The cellophane fashions produced by Schiaparelli and her peers were startling in their modernity and emblematic of the ‘strange glamour’ worn by some of the best-dressed women of the early 1930s. Cellophane fashions were promoted by the French couturiers throughout 1934 and quickly embraced by the American fashion industry. However, despite this initial enthusiasm, the cellophane fashion trend soon subsided as the artistic and intellectual associations of cellophane fashions were replaced with those of practicality and thrift.
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Mannini, Lucia. "Fides Testi’s Use of the Airbrush in Italian Art Textiles in the 1930s." Arts 7, no. 4 (2018): 96. http://dx.doi.org/10.3390/arts7040096.

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The Modernist aesthetic, which spread all over Europe and in the United States in the 1920s and 1930s, found the airbrush decorating technique to be the ideal instrument for expressing the requirements for an extreme synthesis of form. This was considered an essential element of the style, thanks to the areas of uniform color that shaded lighter tones inside basic, often geometric, shapes. The airbrush was used in that period mainly for graphics and for decorating ceramics, but it was also employed in other fields such as textile design. In Italy, the airbrush technique became popular in various artistic sectors including textiles, both for mass production and in the creation of single artistic pieces and in this latter field, Fides Testi was a leading figure.
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Kara-Vasylyeva, Tetyana. "New Research in the field of Textiles." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (2022): 226–28. http://dx.doi.org/10.33625/visnik2022.01.226.

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Lukovska, O. (2017). Khudozhnie tkatstvo Lvova druhoi polovyny XX stolittia: Khudozhni osoblyvosti, tradytsii ta innovatsii [Artistic weaving of Lviv of the second half of the XX century. Artistic features, tradition and novation] [Monograph]. Kyiv: Maister knyh. [In Ukrainian].Lukovska, O. (2018). Arttekstyl Ukrainy u konteksti yevropeiskykh eksperymentalnykh tendentsii druhoi polovyny XX — pochatku XXI st. [Art textiles of Ukraine in the context of European experimental tendencies of the second half of the XX — beginning of the XXI century] [Monograph]. Kyiv: Maister knyh, 2018. 248 s., il. [In Ukrainian].
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Geminiani, Ludovico, Francesco Paolo Campione, Cristina Corti, Moira Luraschi, Sandro Recchia, and Laura Rampazzi. "New Evidence of Traditional Japanese Dyeing Techniques: A Spectroscopic Investigation." Heritage 7, no. 7 (2024): 3610–29. http://dx.doi.org/10.3390/heritage7070171.

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The Japanese textile tradition is renowned for its intricate designs achieved through a variety of dyeing techniques, including kasuri, shibori, and paste-resist dyeing. These techniques are often combined within a single textile, resulting in exceptionally elaborate creations. Our paper delves into the technical aspects and complexities of these methods, highlighting the dynamic interplay between tradition and innovation in Japanese textile production. Our scientific endeavour focused on some textiles dating between the 19th and 20th centuries and belonging to the Montgomery Collection of Japanese folk art. Employing non-invasive techniques such as visible reflectance spectroscopy and ER-FTIR spectroscopy, we uncovered key insights into the materials and methods utilized in the creation of these textiles. Our analysis revealed a diverse array of pigments and dyes, including plant-derived, inorganic, and synthetic variants. These findings illuminate the cultural syncretism between traditional Japanese practices and the adoption of new materials from the West, underscoring the dynamic nature of textile production in Japan. Furthermore, ER-FTIR spectroscopy elucidated the predominant use of cotton as the primary fibre in the textiles, aligning with historical records of Japan’s role as a major producer of cotton yarn. Analysis of white areas within the textiles revealed evidence of resist-paste dyeing techniques, particularly tsutsugaki and katazome, through the absence of dye penetration and the characteristic appearance of white lines. Confirmation of indigo dyeing techniques (aizome) was achieved through ER-FTIR spectroscopy, providing reliable identification of indigo and Prussian blue in various shades of blue present in the textiles. Additionally, the detection of Western-derived dyeing method (utsushi-yūzen) and free-hand painting (kaki-e), offers insights into the diversity of dyeing practices employed by Japanese artisans. The presence of proteinaceous materials and synthetic dyes observed in some textiles has implications for conservation practices, suggesting the need for tailored approaches to ensure the preservation of these culturally significant artifacts. Overall, these scientific results shed new light on the materials, techniques, and cultural contexts underlying Japanese textile production, advancing our understanding of this rich artistic heritage and informing future research endeavours in textile science and conservation.
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Dunnington, Catherine-Laura. "Textiles and the Creative Possibilities of Assemblage Thinking in Early Childhood: A Narrative Look." International Journal for Talent Development and Creativity 11, no. 1-2 (2023): 311–22. https://doi.org/10.7202/1115436ar.

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As textiles continue to feature heavily in discussions of sustainability, and young students continue to be positioned as saviors of the planet, this paper joins the call for assemblage thinking in early years research that decenters humans and foregrounds relationships. What follows is a subset of a larger study, where one preschool classroom engaged with textile themed provocations, and I had the honor of listening deeply to the children. This work borrows from sociomaterialism and artistic listening to consider what themes emerged when I considered child/textile as entangled in meaning making in one senior preschool classroom. I highlight ways in which the themes of connect, know, and perceive all surface in one richly detailed narrative of children making meaning with textiles. Finally, I offer a way in which research can support this kind of assemblage thinking in the classroom, by looking to relationships between themes and how we might represent those relationships in more nuanced, illustrative ways.
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Morozova, Ekaterina V., and Аnzhela V. Shcherbakova. "Evolution of folk art motifs in domestic printed textiles of the 40–60s of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 332–47. http://dx.doi.org/10.37816/2073-9567-2022-63-332-347.

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The paper deals with design features of drawings using motifs of folk art at domestic enterprises producing printed textiles. Domestic textiles of the post-war years may be roughly divided into three periods. The patterns of the first post-war years and the beginning of the 1950s keep a stylistic unity with the pre-war period. Most of the drawings associated from our perspective with the image of the 60s were created in a rather short period of 1956–1965 and expressed themselves in bright rich ornaments. In the last four years, there has been a gradual evolution of textile patterns towards the organic plastics of Art Nouveau and “refinement” of forms, which create uniform filling of the fabric`s plane. The restoration of the textile industry began even before the end of the war. Since 1944, the unaffected enterprises resumed producing printed textiles for the population. In the first post-war years, drawings with the use of folk motifs most often represented an imitation of embroidery and weaving. The end of the 1950s and the beginning of the 1960s came to be a time of radical changes in a social and political life of the USSR. The artistic design of textiles comes under the influence of ideas of “international style”, the experimental search for unofficial art of the time, and international contacts. The motifs of folk art receive a figurative and emotional interpretation.
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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.

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Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.
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Shirokovskikh, Margarita Sergeevna. "Morphology and mythology of Leningrad textiles." Studia Slavica et Balcanica Petropolitana, no. 2(34) (2023): 169–86. http://dx.doi.org/10.21638/spbu19.2023.209.

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The article is devoted to the Leningrad artistic textiles, created in the 1960s–1990s. It is well known, that tapestry was actively developing during this period, however, this article discusses both original and industrial designs, which were represented by printed and shaft weaving fabrics, and textile haberdashery. Unique and industrial textiles have evolved with varying degrees of intensity, while fabrics and scarves remain the least explored area of design practice. In most cases, patterns for scarves had a souvenir design. The author gives data on the main industrial enterprises which produced them, points to the inseparable connection with the Leningrad school of textiles, which was based at the department of textiles at the Vera Mukhina Leningrad Higher School of Industrial Art. Emphasis is placed on the fact that the development of tapestry in the Leningrad school of textiles became possible after the opening of internships in Czechoslovakia, Hungary, and Latvia. The experience of learning about modern European tapestry formed two main trends in Leningrad: traditional and relief-plastic. In each of them were created outstanding works. This article provides information about tapestries and curtains made in the Leningrad Decorative and Applied Arts Factory and Research Experimental Workshops. The scale and high quality of the works are noted, the prominent artists who worked by the «order of the state» (goszakaz) are listed.
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Tsurkan, K. "MODERN UKRAINIAN PROFESSIONAL TEXTILES: NEW MEANS OF ARTISTIC IMAGERY." Zaporizhzhia Historical Review 4, no. 56 (2021): 181–90. http://dx.doi.org/10.26661/zhv-2021-4-56-22.

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Ademtsu, James Tetteh, Richard Acquah-Goulbourne, and Aidam Kokui Yayra. "Clothing and Accessories as a form of Artistic Expression." Asian Journal of Advanced Research and Reports 18, no. 8 (2024): 169–75. http://dx.doi.org/10.9734/ajarr/2024/v18i8719.

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This study explores how clothing and accessories serve as forms of artistic expression in Ghana, investigating their role in self-expression, cultural identity, and social communication. Using a mixed-methods approach, including surveys (N=500) and in-depth interviews (N=20) with Ghanaian adults aged 18-60, the research reveals that 88% of participants consider clothing a form of art. Key findings include gender differences in the importance attributed to clothing for self-expression, age-related variations in the use of traditional textiles, and the complex interplay between global clothing trends and local cultural practices. Thematic analysis of interviews identified the use of traditional Ghanaian textiles and symbols in contemporary clothing, the influence of globalization, and the role of clothing in asserting personal and cultural identity. This research contributes to the literature on clothing as artistic expression, emphasizing its cultural specificity in the Ghanaian context.
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Reimann, Daniela. "Shaping Interactive Media with the Sewing Machine." International Journal of Art, Culture and Design Technologies 1, no. 1 (2011): 12–21. http://dx.doi.org/10.4018/ijacdt.2011010102.

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In the context of converging media technologies, the concept of mobile media embedded in wearable material was introduced. Wearable Computing, Fashionable Technology, and Smart Textile are being developed at the intersection of media, art, design, computer science, and engineering. However, in Germany, little research has been undertaken into Smart Textile in education1. Those activities are not realized at school in the context of artistic processes in general MINT2 education in classroom settings. In order to research the interplay of electronic textiles and wearable technology, hard and software tools, such as Arduino LilyPad, a programmable board designed for stitching into clothing and flexible applications are scrutinized. In the project, contemporary media art projects in the field of Fashionable Technology are explored to inspire interdisciplinary technology education. The project described in this paper engages girls in technology and engineering by integrating artistic processes as well as a more playcentric approach to technology and engineering education.
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Khalil, Muhammad Wasil. "Sustainable performance in advance warehousing and quality assurance through SAP: a case of Artistic Milliners." South Asian Journal of Operations and Logistics 3, no. 2 (2024): 247–64. http://dx.doi.org/10.57044/sajol.2024.3.2.2440.

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Artistic Milliners is the name of Pakistan's rising textile industry. They started their journey about half a century ago, and now Artistic Milliners have become one of the leading manufacturers and the biggest exporter of household textiles and clothing. Artistic Milliners are most concerned with evaluating the new and unique methods of warehouse management processes. The best aspect of this study is that the essential purpose is to study the old and conventional methods in the field and to fulfil new times. The most challenging job of all these workers, who don't want to adjust, is to create and enforce the techniques. My research project aims to research and apply modernized methods in warehousing management in the current practice of Artistic Milliners. Fundamentally, research is focused on quantitative analysis to recognize the impacts of study variables. The consistency and methodology of the analysis are based on a single case study. Sampling methods are used based on a probabilistic process. All data was obtained from primary sources, and Artistic Milliner's officials collected organized interviews. The finding concludes that Artistic Milliners must implement the new developments for a warehouse management system with the ability to incorporate and develop the production. It will train downstream and upstream workers to boost performance.
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Breu, Marlene R., and Ronald T. Marchese. "Armenian Religious Textiles in Istanbul." Journal of Interdisciplinary Studies 13, no. 1 (2001): 175–96. http://dx.doi.org/10.5840/jis2001131/210.

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This essay examines extant religious textile artifacts in the Armenian churches of Istanbul. The churches are not only social links, but also repositories for highly perishable material expressions of religious life, which enhanced the community. The pieces, most of which were donated to individual churches by the resident Armenian community, feature intricate designs and rich embellishment. They exhibit a remarkable level of technical sophistication and skill both within the professional artisan class and the lay community, especially Armenian women. The textiles are significant in the study of late Byzantine and Ottoman art, and the movement of Amtenians in the Diaspora The Armenian Orthodox Apostolic Church has long been an anchor of a minority people, and the caretaker of its artistic expression. It continues as an important link between the religious, cultural, and civil life of Armenians in Istanbul and all Turkey,
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Mitran, Elena Cornelia, Irina Mariana Sandulache, Lucia Oana Secareanu, et al. "Assessing the presence of pesticides in modern and contemporary textile artifacts using advanced analysis techniques." Industria Textila 72, no. 02 (2021): 138–43. http://dx.doi.org/10.35530/it.072.02.1828.

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The examination of contemporary textiles continuously offers amazing perspectives of the past for anyone who explores them. The ethnographic textile pieces are complex, both from the perspective of the component materials and regarding the techniques used for their manufacture. The action of conserving the cultural and artistic patrimony is firstly a matter of scientific research and then of technical execution. However, the possible health effects on the personnel, which are directly involved in the actions of sampling, conservation or restoration of the textile art objects, must always be taken into consideration. Textile objects can be contaminated with various toxic residues (e.g., pesticides). When investigating archaeological, modern and contemporary textiles it is very important to maintain the integrity of the artifacts, as they cannot be replaced, and the consumption or damage of even a small part of them for analytical purposes should be undertaken only if the data cannot be obtained differently. For determining the presence of pesticides in the samples they must be subjected to processes such as: extraction, enrichment of samples, isolation, identification, and quantification. Given the above, the most common methods of extraction and determination of pesticides present in textile artifacts were briefly discussed. Punctually, the analytical techniques used in the case of three selected pesticides (malathion, methoxychlor and permethrin) were evaluated
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Mitrofanova, N. Yu. "Typological Model of Textiles as a Kind of Applied Arts." Art & Culture Studies, no. 3 (September 2023): 294–317. http://dx.doi.org/10.51678/2226-0072-2023-3-294-317.

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The first theoretical interest in textiles as a type of applied arts arose in the 19th century. Since then, textiles have been the subject of research by individual specialists who have considered it from different points of view: as a technological product, a handicraft item, an artistic artefact, etc. However, a systematic, holistic view on textiles as a cultural phenomenon has not yet been formed. There is a lack of research that would include and take into account their natural essence, qualitative characteristics, range of purposes, and development of forms and types. The purpose of this study is to identify and substantiate the diversity of textiles in the process of their evolution. This goal can be achieved by using the system-categorical method of “a series of information criteria”. This method has been tested in various scientific fields, but has not yet been widely used in the field of artistic activity. The object of study is presented in it as a series of information criteria, each expressing one of its qualitative characteristics. The article presents a visual typologized model of the object through a constructive scheme composed of a series of information criteria, which consistently reflects the qualities of textiles arising from their purpose. As a result of the study, it has become possible to determine the logical sequence in which the types of textiles emerged, qualitatively describe and justify the existing forms, as well as research and develop new, previously unidentified forms and the corresponding options of their application.
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 Цветкова, Н. Н. "АБСТРАКТНЫЕ ГЕОМЕТРИЧЕСКИЕ ФОРМЫ В СОВРЕМЕННЫХ ТЕКСТИЛЬНЫХ АРТ-ОБЪЕКТАХ И ИНСТАЛЛЯЦИЯХ". Terra artis. Art and Design, № 2 (10 вересня 2022): 110–16. https://doi.org/10.53273/27128768_2022_2_110.

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Использование абстрактных геометрических форм в произведениях современного художественного текстиля (арт-объектах и инсталляциях) представляется актуальным приемом. Художественный текстиль первой половины ХХ в. развивался параллельно с новыми авангардными живописными тенденциями. В настоящее время вопросы взаимного влияния абстрактной живописи и декоративного оформления в художественном текстиле рассматриваются искусствоведами, однако этой проблеме все еще уделяется недостаточно внимания. Во второй половине ХХ в. текстиль вышел с плоскости в пространство. Появились скульптуры, арт-объекты и инсталляции из мягких материалов. В настоящее время использование абстрактно-геометрических форм как в плоских, так и в объемно-пространственных произведениях художественного текстиля остается одним из популярных способов самовыражения художника. Применение абстрактно-геометрических форм в текстильных арт-объектах и инсталляциях второй половины ХХ — начала ХХI в. на примере крупномасштабных работ и текстильной миниатюры — актуальная задача исследования. Using abstract geometric shapes in modern art textiles (art objects and installations) seems to be a trendy technique. In the first half of 20th century art textiles developed in parallel with new avant-garde painting trends. Although the mutual influence of abstract painting and textile arts is being addressed by art historians, more attention needs to be paid to this problem. In the second half of the 20th century textiles shifted from plane to volume with the emergence of soft sculpture, three-dimensional textile art objects and installations. Currently, abstract geometric shapes are used both in two- and three-dimensional works of textile art and remain characteristic of artistic self-expression. The present article seeks to discuss how abstract geometric shapes has been used in textile art objects and installations from the second half of the 20th century to the early 21st century and to provide examples of modern large-scale textile works and textile miniatures.
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Dospěl Williams, Elizabeth. "Gems in Cloth and Stone: Medium, Materiality, and the Late Antique Jeweled Aesthetic." Textile Museum Journal 45, no. 1 (2018): 22–39. http://dx.doi.org/10.1353/tmj.2018.a932727.

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Abstract: In The Jeweled Style: Poetry and Poetics in Late Antiquity , Michael Roberts argues that color, opulence, repetition, and variety epitomized the period’s aesthetics, a phenomenon he terms the “jeweled style.” Although Roberts did not consider textiles in his analyses, this article argues that fabrics participated in the same trends, perhaps even serving as intermediaries in the transfer of motifs between actual gemstones and architectural decoration. The first part of the article shows how Roberts’s definition of the jeweled style fits in larger art historical discussions about late antique aesthetics and visuality. The bulk of the article presents examples of tapestry-woven textiles from the fourth through eighth centuries that depict gems and jewelry in woven form. Many tunics, for example, depict gemstones along their collars; furnishing textiles, too, frequently include representations of gems and jewelry, most notably at the edges of fabrics or as part of woven renderings of architectural structures like columns and arcades. On the most basic level, these woven gemstones reflect the broad popularity of the jeweled aesthetic among a wide social spectrum and in a variety of contexts, especially in fabric furnishings. More particularly, the popularity of jeweled motifs in textiles points to a sophisticated appreciation for artistic bravura, as weavers pushed against the limits of the textile medium to transform yarns into precious stones. Lastly, the article argues that a focus on textiles with jeweled designs points to the interrelatedness of ornamental motifs in late antique jewelry, textiles, and architectural décor, an observation which in turn highlights compelling aesthetic connections between the adorned human body and the built environment.
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Ignat'kova, Angelina Dmitrievna. "Textile plot drawings of the 1920s and 1930s: substantive and formal aspects." Культура и искусство, no. 10 (October 2024): 31–52. http://dx.doi.org/10.7256/2454-0625.2024.10.71166.

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The article examines the uniqueness of the narrative design in domestic textiles of the 1920-1930s. Subject of the study: substantive (figurative-thematic) and formal (means of artistic expression) aspects of narrative compositions of domestic printed fabrics of the 1920-1930s. Object of the study: samples of domestic printed fabrics of the 1920-1930s with narrative designs. The purpose of the article is to identify and analyze the substantive and formal aspects of narrative designs of domestic printed fabrics of the 1920-1930s. In achieving this goal, the author examines the figurative and thematic components of narrative designs of fabrics (the embodiment of the history and ideology of the post-revolutionary period, features of the display of national themes, intergenre interaction in narrative scenes). Particular attention is paid to the means of artistic expression, in particular the methods and forms of subject and conventional depiction. The methodology of the conducted research is based on the understanding of the category of "artistic style", developed in the domestic philosophy and theory of art (V.P. Bransky, V.G. Vlasov, E.N. Ustyugova), as a certain substantive and formal integrity formed in the context of its historical era. The author used the methods of formal-stylistic, iconographic, cultural and historical analysis. The novelty of the study lies in the attempt to highlight the formal and substantive aspects of the organization of the artistic integrity of the plot patterns of domestic printed fabrics of the 1920-1930s, which has both theoretical significance (use of the proposed methodology in further studies of the history of textiles) and practical value (use of the results in modern practice of fabric ornamentation; in the field of training textile designers). The main conclusions of the study are as follows: 1) plot compositions constitute a significant part in the art of fabric ornamentation of the studied period, being a figurative reflection of the era; 2) narrative drawings had a dual character: a combination of thematic unity of narrative compositions and the diversity of the formal character of the drawing; 3) in new subjects of textile drawings it is possible to identify characteristic substantive features that connect them with fine art; 4) formal features are characterized by a variety of artistic approaches in solving common themes associated with new subjects, which allows us to note the simultaneous coexistence of the traditions of realism and avant-garde trends in the style of narrative drawings.
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Brustureanu, Cornelia. "RELATION BETWEEN ART, DESIGN AND CRAFT: THE IMPORTANCE OF LEARNING ARTISTIC TECHNIQUES TEXTILE IN THE FORMATION OF FUTURE FASHION DESIGNERS." Review of Artistic Education 28 (April 1, 2024): 195–200. http://dx.doi.org/10.35218/rae-2024-0024.

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This study started from the idea that knowledge of visual elements and aesthetics of textile arts, understanding contemporary textile techniques, is a form of reflective learning in which the practice (for example: physical actions in the fabric of the technique, touching and feeling the materials) can lead to the deepening of the creative process, contributing to the creation of an aesthetic that is not only visual, but also deeply material and even technical. This way of integrating the knowledge and values of art into fashion design in an experimental and reflexive manner can be a creative factor, therefore the analysis focused both on the idea of how fashion can be transformed through different ways of making textiles and on understanding the importance of knowing them.
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Huang, Xinyi, Sarah Kettley, Sophia Lycouris, and Yu Yao. "Autobiographical Design for Emotional Durability through Digital Transformable Fashion and Textiles." Sustainability 15, no. 5 (2023): 4451. http://dx.doi.org/10.3390/su15054451.

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To promote a resilient user-product relationship for sustainable fashion, design methods for emotional durability are required. Digitally transformable fashion design can be seen as a practical approach that enables dynamic, sensory, experiential, and emotional interaction. Literature shows that features of transformable fashion and textiles, such as versatility, perceived quality, biomorphic forms, and aesthetics, can induce emotional durability in users. However, mainstream works are conducted from function-oriented and technology-led perspectives, neglecting the significance of fashion design as a creative and affective role. To fill the gap, we present exhaustive accounts of two autobiographical design projects as case studies: Pneum-Muscle, a body-worn pneumatic wearable, and E-coral, an artistic interactive textile installation. We utilised the first-person soma design method to facilitate the iterative design and unfold the emotional connection between the user and the materials. We contribute technology-embedded fashion design strategies to inspire novice fashion designers, which involve dynamic draping, ambiguous cutting, and sewing technique-based pneumatic systems. Design guidelines generated can shed new light on the artistic use of technologies, somatic design, and the emotionally durable design approach.
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Хан-Магомедова, В. Д. "Textiles without Borders. Modern Artistic Trends in Textile Art in Russia as Examplified by the Inter-Regional Artistic and Environmental Project “The Other Textile: Another Text/Another Style”." Terra artis. Art and Design, no. 2 (July 1, 2023): 92–101. http://dx.doi.org/10.53273/27128768_2023_2_92.

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Межрегиональный художественно-экологический проект «Другой текстиль: другой текст/другой стиль», объединяет художников-единомышленников, работающих с экологическими материалами природного происхождения и вторичной переработки. Авторы создают произведения, меняющие привычное представление о текстиле. Каждый из участников не просто уникален своим творчеством, но и ярок нестандартным многогранным подходом к текстилю, отношением к искусству. Они ломают стереотип восприятия художественных материалов, выявляя их новые свойства, изобретая авторские технологии на стыке разных направлений декоративного искусства. Сохранить традиции можно только дав им свободу, сделав современными, позволить меняться согласно движению времени и появлению новых технологий. Наравне с художниками концептуального текстиля из разных стран, отечественные авторы создают актуальные произведения, основываясь на аспектах национальной культуры, сохраняя историческую основу в традиции текстильных техник: ткачества, вышивки, плетения. Выставка, на которой один материал показан через другой, где ткань оказывается стеклом, металлом, глиной, лыком, травой, дает большой творческий потенциал для развития текстильного направления в искусстве. The inter-regional artistic and environnemental project “The Other Textile: Another Text, Another Style” brings together like-minded artists working with natural and recycled ecological materials. The artists create items that change the traditional views of textile. Each of the participants is unique in the art they create and remarkable in their unconventional, multi-faceted approach to textiles and attitude towards art. They dispel the stereotypes of the perception of art materials, revealing their new properties and inventing original technologies at the intersection of different directions of decorative art. Traditions can only be preserved by giving them freedom, making them modern, allowing them to change with the flow of time and the emergence of new technologies. Along with conceptual textile artists from various countries, Russian artists create topical works based on aspects of national culture, keeping the historic foundation in the tradition of textile techniques: weaving, embroidery, netting. The exhibition where one material is shown through another one, where fabric turns out to be glass, metal, clay, bast fibre or grass offers a great creative potential for the development of the textile direction in art.
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Катерина, Кусько. "Переживання простору і часу у творчості Терези Барабаш". ВІСНИК Львівської національної академії мистецтв, № 34 (10 лютого 2018): 244–58. https://doi.org/10.5281/zenodo.1170650.

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The article examines artistic creativity of young Ukrainian artist Teresa Barabash in diachronic and synchronous aspects, range of her innovative propositions, means of artistic expression in her works, environmental and plastic embodiment of ideas. Her artistic work is fruitful, including victorious participance in 15 International Triennale of Tapestry in Lodz. Trying to learn space and time, Teresa attracts means of weaving, arrangement of paper, methods of multimedia art, lend-art, affirming integration nature of modern art.
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Muzna Matloob. "Symbolism and Aesthetics: Analyzing Mughal Motifs in Art and Architecture." PERENNIAL JOURNAL OF HISTORY 5, no. 1 (2024): 129–43. http://dx.doi.org/10.52700/pjh.v5i1.186.

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Spanning from 16th to 18th of imperial rule in the Indian subcontinent, the Mughal Empire is an indelible mark on artistic expression through its meticulous cultivation of motifs in various mediums, including art, architecture, manuscript illumination, textiles and decorative arts. This paper examined the symbolism reflected in the Mughal art and architecture. Through a multidisciplinary approach drawing from art history, cultural studies and material culture analysis, this study examined the diverse typologies of Mughal motifs, which included the study of flora and fauna imagery on Mughal monuments, illustrated manuscripts, textile and costumes. By analyzing their aesthetic qualities, symbolic meanings attributed to floral motifs and historical contexts, this research seeks to unravel the complex layers of cultural synthesis and exchange that characterize Mughal art. Through a comprehensive exploration of primary sources, scholarly literature and visual analysis, this paper examined the motifs in shaping the artistic identities, cultural narratives and aesthetic sensibilities in the Mughal Empire and beyond.
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Vryzidis, Nikolaos. "Ottoman textiles and Greek clerical vestments: prolegomena on a neglected aspect of ecclesiastical material culture." Byzantine and Modern Greek Studies 42, no. 1 (2018): 92–114. http://dx.doi.org/10.1017/byz.2017.22.

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This article discusses a neglected aspect of Greek ecclesiastical material culture: the wide use of Ottoman textiles after the conquest of Constantinople. My discussion will touch upon Greek archival sources before analysing three different types of textiles: aniconic silks and velvets; Ottoman figural production for the Christian market; and embroidery of the Byzantine tradition featuring Ottoman motifs. These categories represent three different points of contact between Ottoman aesthetic and Greek ecclesiastical material culture. If the use of aniconic textiles expresses the employment of court aesthetic, then the figural silks represent the weaving industry's response to a Christian demand for such products. Finally, the Byzantine-tradition embroideries discussed constitute evidence of artistic confluence.
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López, Beatriz Elena Arias, Berit Bliesemann de Guevara, and Berena Torres Marín. "Textiles para la paz en el posacuerdo en Colombia." Latin American and Latinx Visual Culture 4, no. 4 (2022): 88–97. http://dx.doi.org/10.1525/lavc.2022.4.4.88.

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In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.
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REABENCHI, E., and A. SIMAC. "CREATIVE APPROACHES IN TEXTILE DESIGN AS AN EFFECTIVE METHODS OF INDIVIDUAL EDUCATION OF STUDENTS." Art and Design, no. 2 (August 8, 2024): 65–72. http://dx.doi.org/10.30857/2617-0272.2024.2.6.

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Purpose: we aim to examine the effectiveness of individual work in the professional training of future fashion designers through the creative and technological appropriation and application of modern textile design, identification and systematization of modern models of organizing the independent work of university students. Methodology: comparative-historical and typological methods, a method of formal analysis and, partially, figurative and stylistic, were used to study the subject of research. Results: the article describes the experience and results of the implementation of the curriculum "textiles design" for students of Fashion Design. The method basic of artistic literacy through methods are analyzed and systematized, stimulating the development of critical and creative thinking of future specialists in product creating. The main reasons for the insufficient efficiency of students independent work in the theory and practice of higher education were identified. The application methods had a best impact on the process of formation and development of student’s professional artistic thinking. Scientific novelty consists in the fact that the authors used the methods of individual study in creative realization like a structure for the study and understanding of the modern visual language for the creation of textile design, for formation and development of the professional artistic thinking of the Fashion/ textile design students. Practical significance. Researching the cultural connotations of costumes provides valuable educational opportunities for designers and students to deepen their understanding of cultural history, symbolism, and aesthetics. By engaging in scholarly inquiry and critical analysis, designers can develop a nuanced understanding of cultural contexts and apply this knowledge to their creative practice.
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Hotsalo, Kateryna. "The ideas about Ottomans in Italy during the 15th and 16th centuries: the study through textiles." Text and Image: Essential Problems in Art History, no. 1 (2022): 84–98. http://dx.doi.org/10.17721/2519-4801.2022.1.07.

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The article is an attempt to supplement the knowledge of Italians' ideas about Ottomans during the 15th and 16th centuries, using the preserved antique textiles of both cultures, as well as fabrics' mentions in written and visual sources. Modern technological research methods of ancient textiles make it possible to clarify their attributive data, which in turn contributes to more definite conclusions about artistic exchanges in the field of decoration of expensive textiles. Thus, for example, it turned out that two fabrics from the collection of the Khanenko Museum, which were considered Italian, are the work of Ottoman masters. If the structure of the Italian and Ottoman fabrics of the period under the study are quite different, visually – they are often almost identical. Despite the fact that the trade in Ottoman fabrics was not widespread in Italy during the 15th and 16th centuries, Italian painters and weavers still actively imitated the textile products of the Middle East. Written sources, especially epistolary and inventory, are also filled with references to Ottoman fabrics and "turkish-style" textiles. Since there were few authentic silks from West Asia in the secular space of Italian cities at the time, it is likely that citizens could even associate Ottoman culture with certain types of local textiles that looked like "Turkish". The number and peculiarities of their description in written sources suggest the Italians' enormous interest in Ottoman culture, "cautious concern" for the growing Ottoman Empire, and recognition of its dominance over many Asian peoples. All this took place in spite of the permanent wars between the Venetian Republic and the Ottomans. The entry into Italian fashion of fabrics "in the Turkish style" was lightning fast. However, local authors emphasized the antiquity of this fashion tradition, to some extent rooting the idea of ​​kinship between the two cultures.
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Balta, Zizi Ileana, Ioana Demetrescu, and Mihai Lupu. "Scientific Investigation of Metal Threads from Medieval Gold Brocaded Velvets by Modern Microanalytical Techniques." Revista de Chimie 71, no. 5 (2020): 222–28. http://dx.doi.org/10.37358/rc.20.5.8130.

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This study�s aim was to bring to light part of the hidden secrets of some important and valuable historical textiles beautifully adorned with precious metal threads, medieval gold brocaded velvet fragments and court vestments, which are preserved in the treasury collections of some of the most important monasteries and museums in our country. These precious metal thread textiles, includes historical and artistic information, as well as important scientific data regarding the materials and techniques used, their origin, provenience and dating, information that being revealed, have harmoniously blended and intertwined.
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Ziyoda, M. Saidova. "Principles of Development of Uzbek Folk Applied Decorative Art." INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND ANALYSIS 05, no. 06 (2022): 1328–30. https://doi.org/10.5281/zenodo.6637427.

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The article analyzes the principles of development of Uzbek folk arts and crafts ganch carving, ceramics, carpet weaving, doppi embroidery, artistic embroidery, and textiles. The wonderful works of folk decorative art created in the territory of our country have not only reached us, but also their production traditions have been passed down from generation to generation and developed by skilled craftsmen. The wood, plaster and marble carvings, embroidered pottery, colorful textiles and embroidery, national costumes, jewelry, which have been preserved so far, have a general character and reflect the specifics of each region.
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