Relevant bibliographies by topics / Embroidery history

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Embroidery history'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Embroidery history"

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Baykaoglu, Nursel, and Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 85–92. http://dx.doi.org/10.18844/gjae.v10i1.4793.

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Forming one of the most important branches of our culture and traditional arts, embroidery was born by sewing in a decorative way and it is worth mentioning that it is as early as humanity. Embroidered clothing on the sculptures excavated and the narration that the daughter of Noah in Hebrew history wears an embroidered belt shows that this branch of art goes back to earlier times. Hand embroidery, which is the products of intelligence, skill and subtle wit, has reached the current time by preserving its value. Out of a great many embroidery techniques reaching large public masses, a technique
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Liao, Jiangbo, Chunguang Ren, and Xiaoming Yang. "Research on Grass Cloth Art Embroidery of Characteristics and Handmade." Asian Social Science 12, no. 9 (August 25, 2016): 44. http://dx.doi.org/10.5539/ass.v12n9p44.

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<p class="a"><span lang="EN-US">Grass cloth is made of ramie fiber. Grass cloth art embroidery is based on the evolution of folk Ma embroidery in China. The paper through trace Chinese ramie and Ma embroidery of the history, show the origin of grass cloth art embroidery. By visited Yuzhou grass cloth embroidery workshop in Jiangxi province, reveal the key technology about grass cloth art embroidery of handmade, sum up grass cloth art embroidery of characteristics. Research shows that grass cloth art embroidery used grass cloth as embroidered bottom to integrate calligraphy and pain
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Kargól, Marta. "Restoring the Memory of the Forgotten Dutch Embroidery Designer Nellie van Rijsoort." Costume 55, no. 1 (March 2021): 74–96. http://dx.doi.org/10.3366/cost.2021.0183.

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In 1932, Nellie van Rijsoort (1910–1996), the Dutch embroidery maker and designer, opened her atelier in Rotterdam. Among her clients were prestigious fashion stores in the Netherlands as well as wealthy middle-class customers. After the Second World War, van Rijsoort left Rotterdam and continued her career in Melbourne in the rapidly developing fashion network of Australia. Today, samples of embroidered fabrics and fashion drawings by Nellie van Rijsoort are part of the collections of the Museum Rotterdam and the National Trust of Australia in Melbourne. These collections provide insight into
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Kamali, Fattaneh Jalal, and Batool Hassani Sa'di. "Role of Iranian Traditional Needlework in People's Social and Family Life: A Study of Pateh Embroidery in Kerman." Modern Applied Science 11, no. 1 (December 15, 2016): 253. http://dx.doi.org/10.5539/mas.v11n1p253.

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The aim of this study is to investigate the role of Iranian traditional needlework in people's family and social life with an emphasis on the art of Pateh embroidery. In this article, the history of textile industry, the history of clothes, different sewing styles and how they have been influenced by each other, are studied. According to the "History of Iranian Textile Industry", a book written by Mehdi Beheshtipour, textile industry in Iran dates back to 7000 years ago.Tabari book of history states that this industry goes back to 4000 years ago. Excavations in Shoosh show that burlap weaving,
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Mamarajabov, Gayrat Abdulkhakimovich, and Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (June 28, 2021): 53–57. http://dx.doi.org/10.37547/history-crjh-02-06-12.

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The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, diversity and regional differences, in turn, they complement each other. The word kashta comes from the Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch of the applied arts of the Surkhandarya oasis. Among the embroidery item
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Muxtar Aliyeva, Kubra. "EMBROIDERED CARPETS BY SHAKHLA ASKEROVA TRADITION AND MODERNITY IN THE CARPETS OF AZERBAIJAN." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 6–16. http://dx.doi.org/10.36719/2663-4619/67/6-16.

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The article deals with one traditional kind of decorative and applied art of Azerbaijan about carpet weaving, which has an ancient history. The carpets, hand-woven by folk craftsmen at home, consisted of pile carpets, woven using two technologies - symmetric and asymmetric knot, and pileness carpets were created using 11 technologies. But in addition to traditional types of carpet weaving in Azerbaijan, folk embroidery also developed in different regions of Azerbaijan. They are also different from each other both in composition and in technology. The article talks about how the lovers of the c
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Li, Yuhang. "Embroidering Guanyin: Constructions of the Divine through Hair." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 131–66. http://dx.doi.org/10.1163/26669323-03601005.

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Hair embroidery was a particular technique practiced by lay Buddhist women to create devotional images. The embroiderers used their own hair as threads and applied them on silk to stitch figures. This paper will analyze the religious connotation of hair embroidery, the ritual process and the techniques for making hair embroidery in the Ming (1368-1644) and Qing (1644-1911) dynasties. By tracing its appearance in both literary texts and actual surviving objects, this essay will ask how and in what circumstances human hair was applied to embroidery? What was the significance of transferring one’
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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writi
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Salles, Claire. "Mots en cheveux. Hériter de l’histoire genrée de la broderie à travers l’écriture." Cahiers ERTA, no. 24 (2020): 10–25. http://dx.doi.org/10.4467/23538953ce.20.015.13217.

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Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writi
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Tyagi, Ruchi. "Meerut Embroidery Cluster: A Case Study." South Asian Journal of Business and Management Cases 1, no. 2 (December 2012): 185–202. http://dx.doi.org/10.1177/2277977912459445.

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This study tries to integrate marketing, backward–forward linkages and agency support to handicraft cluster in Meerut. The cluster has a large artisan base and opportunities of large domestic market and export potential. However, it lacks transportation facility, an organized infrastructure, networking, production line approach and designer input. There is a need for technological upgradation. The case throws light on the development of embroidery, presenting a broad view of Indian embroidery history with its diversity and the turning point in embroidery with the advent of new technology. The
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Dissertations / Theses on the topic "Embroidery history"

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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroid
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Geuter, V. R. "Women and embroidery in seventeenth-century Britain : the social, religious and political meanings of domestic needlework." Thesis, Aberystwyth University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244595.

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Gibson, Heather. "Embroidered history and familiar patterns textiles as expressions of Hmong and Mennonite lives /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 65 p, 2007. http://proquest.umi.com/pqdweb?did=1253509741&sid=1&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.

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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these a
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Sparr, Anna. "Danska silkesbroderade linnedukar : Kulturarv och nationell identitet uttryckt med nål och tråd." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-368937.

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This study investigates copies of silk-embroidered linen cloths from the 16th and 17th century, created by the Danish Handcraft Guild during the period 1928–1980. The originals are most often embroidered with stem stitches in red silk with motives generally based on contemporary graphic prints. The Danish Handcraft Guild was founded in 1928 with ambitions to bring to life national textile traditions. The aim of the study is to find out which aspects of the historical textiles that were adopted in the copies, and possible reasons for these choices. Based on this case-study, the usage of histori
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Robinson, Elizabeth. "Women and needlework in Britain, 1920-1970." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/47fc4d88-eea0-e510-6d8f-0bfcc950f7cc/7/.

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This thesis addresses needlework between 1920 and 1970 as a window into women's broader experiences, and also asserts it as a valid topic of historical analysis in its own right. Needlecraft was a ubiquitous part of women's lives which has until recently been largely neglected by historians. The growing historiography of needlework has relied heavily on fashion and design history perspectives, focusing on the products of needlework and examples of creative needlewomen. Moving beyond this model, this thesis establishes the importance of process as well as product in studying needlework, reveali
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Trouton, Lycia Danielle. "An intimate monument (re)-narrating 'the troubles' in Northern Ireland the Irish Linen Memorial 2001-2005 /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.113223/index.html.

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Crenn, Julie. "Arts textiles contemporains : quêtes de pertinences culturelles." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30054/document.

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L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives
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Winther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.

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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual mal
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.

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Books on the topic "Embroidery history"

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Warner, Pamela. Embroidery: A history. London: B.T. Batsford, 1991.

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English embroidery. London: Bell & Hyman, 1985.

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Chasu: Embroidery. Sŏul-si: Mijinsa, 2010.

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Chasu: Embroidery. Sŏul-si: Mijinsa, 2010.

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Gu xiu: Gu's embroidery. Shanghai Shi: Shanghai wen hua chu ban she, 2011.

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Margaret, Bolger, Moss Beryl Patten, and Weaver Cynthia, eds. The Watts book of embroidery: English church embroidery, 1833-1953. 2nd ed. London: Watts & Co, 1998.

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Museum of Arts and Design (New York, N.Y.), ed. Pricked: Extreme embroidery. New York: Museum of Arts & Design, 2007.

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Arts and crafts embroidery. Atglen, PA: Schiffer Publishing, 2013.

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18th century embroidery techniques. Lewes [England]: Guild of Master Craftsman, 2012.

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Art of embroidery: History of style and technique. Woodbridge. England: Antique Collectors' Club, 2001.

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Book chapters on the topic "Embroidery history"

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Kuang, Yanghua. "Embroidered Textiles in China." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1–9. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-3934-5_9887-1.

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Kuang, Yanghua. "Embroidered Textiles in China." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1609–15. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_9887.

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Hachad, Naïma. "Carolle Bénitah’s Photo-Embroidery." In Revisionary Narratives, 159–91. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0005.

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In ‘L’enfance marocaine’ (2009), Carolle Bénitah scans, reframes, and embroiders over black and white family photographs from her childhood in Morocco in the 1960s and 1970s. Chapter 5, analyzes Bénitah’s photo-embroideries, using theories on family photography and its ability to capture traumatic shifts that shape postmodern mentalities, as developed by Roland Barthes ([1980]1981), Marianne Hirsch (1997), Patricia Holland (1991), and Annette Kuhn ([1995] 2002). In tandem with these theorists, I draw on Sam Durrant’s analysis of the postcolonial narrative as a mode of mourning and an action partly meant to come to terms with traumatic historical events, and Mireille Rosello’s notion of ‘reparative mourning’ in her study of the reparative in postcolonial narratives. I read Bénitah’s images as a postmodern narrative that testifies to a fragmented subjectivity, situated at the intersection between public and private history and memory—the artist’s personal story against the backdrop of the twentieth-century history of Morocco and its Jewish community. The chapter analyzes spatial, temporal, visual, and cultural hybridity as a way of working through history while also engaging with transnational feminist strategies women use to undo gender hierarchies naturalized and perpetuated by photography and the family photograph.
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"L’ introduction du Cantique des Cantiques dans la Bible historiale : de l’ écriture de l’ histoire à la pensée littéraire dans la traduction biblique." In The Embroidered Bible: Studies in Biblical Apocrypha and Pseudepigrapha in Honour of Michael E. Stone, 899–912. BRILL, 2017. http://dx.doi.org/10.1163/9789004357211_046.

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Conference papers on the topic "Embroidery history"

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TZENG, Chi-Shyong, Yu-Fu CHEN, and Shyh-Bao CHIANG. "Embroidery patterns of the Qing Dynasty robes." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-01_011.

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Kimmer, C. J., and C. K. Harnett. "Combining Strings and Fibers With Additive Manufacturing Designs." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59569.

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High tensile strength cables, low-resistance motor windings, and shape memory actuators are common examples of technical fibers used in robots and other electromechanical assemblies. Because properties like tensile strength, crystal structure, and polymer alignment depend strongly on processing history, these materials cannot be 3D printed with the same properties they have on the spool. Strings and fibers are inserted in mechanical parts at the end of the manufacturing process for these assemblies. When the fibers take complex paths, the installation is often done by hand. This activity can d
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