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Journal articles on the topic 'Embroidery'
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1
Yang, SuJeang. "The Relationship and Development of Joseon Embroidery and Lu-Embroidery of Shandon : Focusing on Embroidered Dwelling by a Mountain Stream at the National Museum of Korea." Korean Journal of Art History 315 (September 30, 2022): 75–117. http://dx.doi.org/10.31065/kjah.315.202209.003.
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This study aims to fill the gaps in the history of Korean embroidery by examining Luembroidery of Shandong, an area closely related to the Korean peninsula in history, geography, culture, and custom. Unlike Gu-embroidery of Jiangnan that gained renown in the late Ming dynasty, Lu-embroidery’s relations to Korea could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents. Needlework in Lu-embroidery style, made or brought to Korea in the late Joseon period represent the literary preferences of the ruling class at the time and also hold diverse information on localized embroidery in Joseon, including Ahn Joo-embroidery, closely associated with Shandong.</br>Kkonsa existed since the ancient times, but was eclipsed in popularity by p’unsa, used in painted embroidery in medieval period in East Asia. It regained dominance again during the Yuan dynasty. In the late Yuan period, Lu-embroidery reached another golden age as Shandong Lu-embroidery employed kkonsa, a type of twisted embroidery thread rather than p’unsa, a type of silk thread, and as new techniques of more diversity and refinedness were developed. Shandong Lu-embroidery is also called uiseonsu, meaning embroidery for clothes, as kkonsa was widely used as being suitable for more sturdy costumes. In Nopakchiplam, it is recorded that new types of embroidery threads were used in Joseon as well. Conclusively, this study compared the Lu embroidery style works at the National Museum of Korea and the works of Ming-Qing period, and examined how kkonsa were used in Joseon. The iconography and style of embroidered Lotus Pond and Waterfowl and narrative figure paintings, and the use of Joseon royal style two-strands Jeonggumsa, royal embroidery, folk embroidery and Ahn Joo-embroidery were all considered for more comprehensive understanding.
2
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 called ‘German Embroidery’ was encountered in the researches carried out in the city of Kahramanmaras and its towns in the years 2013–2014. According to the information obtained from the source people in the research carried out in the city of Kahramanmaras, German Embroidery dating back to earlier times is not produced today; however, we are likely to find pillows, clothes and dresses embroidered with German Embroidery in houses. In the current paper, embroidery samples were determined in order to unveil this technique that was embroidered on any kind of cloth with a plain surface and it was aimed to make the embroidery alive and to promote it by analysing the way of embroidering. Keywords: Embroidery, ornament, technique, traditional.
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Larkin, Alison. "Replicating Captain Cook's Waistcoat: Exploring the Skills of a Named Embroiderer during the Eighteenth Century." Costume 51, no. 1 (March 2017): 54–77. http://dx.doi.org/10.3366/cost.2017.0005.
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This article discusses a project to replicate an unfinished waistcoat believed to have been embroidered in the late 1770s for Captain James Cook by his wife, Elizabeth. The intention was to explore the techniques of embroidery used during the eighteenth century, and to replicate a garment belonging to a major historical figure. The original waistcoat was embroidered on Tahitian tapa cloth with a linen backing. The embroidery used silk and metallic thread and silver-plated spangles, employing chain stitch, long-and-short stitch and tambouring. The replica was completed using materials closely approximating those available in the 1770s, and constructed using eighteenth-century methods. The project has shed light on the skills and abilities of a known amateur embroiderer of the late eighteenth century, in addition to providing insight into the tastes and physical characteristics of an important historical figure.
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Brovarets, Tetiana. "“Oh, My Thoughts, My Thoughts…”: Olena Pchilka’s and Lesia Ukrainka’s Contributions to Epigraphic Embroidery." Kyiv-Mohyla Humanities Journal, no. 8 (December 24, 2021): 147–62. http://dx.doi.org/10.18523/kmhj249198.2021-8.147-162.
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The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print origin. Most of them were folkloric (or folklorized) texts. What is more, Olena Pchilka to some extent provided her own comment on epigraphic embroidery in approving Lesia Ukrainka’s rushnyk (embroidered runner) containing the inscription “Oh, my thoughts, my thoughts, woe is with you! Love one another, brethren, love Ukraine” (devoted to Taras Shevchenko). In modern embroidery, embroideresses reproduce the citation with new connotations of these words, thereby continuing the epigraphic embroidery tradition. The author illustrates the folklorization of oft-cited lines from Taras Shevchenko’s poetry with examples of epigraphic embroidery from her own Interactive Index of Folklore Formulas (Epigraphic Embroidery).
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İntiqam qızı Məmmədova, Şəhla. "About medieval embroiders and embroidery craft in Azerbaijan." SCIENTIFIC WORK 69, no. 08 (August 23, 2021): 26–31. http://dx.doi.org/10.36719/2663-4619/69/26-31.
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Embroidery is the craft of decorating fabric or other materials using a needle to apply thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on caps, hats, coats, blankets, dress shirts, denim, dresses, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn color. Embroidery can be classified according to what degree the design takes into account the nature of the base material and by the relationship of stitch placement to the fabric. The main categories are free or surface embroidery, counted embroidery, and needlepoint or canvas work. Embroidery was an important art in the Medieval Islamic world and in Azerbaijan, too. The article dedicated to the medieval embroidery of Azerbaijan. It was given some information about this part of weaving craft. Key words: weaving, embroidery, textile, archaeology, ethnography
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Dutta, Anirban, and Biswapati Chatterjee. "Development of prediction model through linear multiple regression for the prediction and analysis of the GSM of embroidered fabric." Research Journal of Textile and Apparel 24, no. 1 (January 11, 2020): 53–71. http://dx.doi.org/10.1108/rjta-07-2019-0033.
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Purpose The purpose of this paper is to establish the regression equation based upon a set of samples prepared through structured design of experiment and form a prediction model for prediction of the areal density gram per square meter (GSM) of the embroidered fabrics and study the influence of basic input parameters. Design/methodology/approach Embroidery samples are prepared taking input parameters as GSM of the base fabric, linear density of the embroidery thread and stitch density of the embroidery design. Three levels of values are identified for each of the input parameters. Taguchi and Box-Behnken experiment design principles are used to prepare two sets of samples. Linear multiple regression is used to determine the prediction equations based upon each of the two sets and the combined set as well. Prediction equations are statistically verified for the prediction accuracy. Also, surface curves are prepared to study the influence of embroidery parameters on the GSM. Findings It is found that all the three prediction models developed in this study can predict with a very satisfactory level of accuracy. However, the regression equation based upon the data set prepared according to Taguchi experiment design is emerged as the prediction model with highest level of prediction accuracy. Corresponding equation coefficients and several three-dimensional surface curves are used to study the influence of embroidery parameters and it is found that the stitch density is the most influential input parameter followed by stitch length and the GSM of base fabric. Research limitations/implications This can be used to assess the GSM of embroidered fabrics before starting the actual embroidery process. So, this model can help the embroidery designers significantly to pre-estimate the GSM of the embroidered fabrics and select the design parameters accordingly. Also, this model can be a useful tool for estimation of thread consumption and thread cost in embroidery. Practical implications The input parameters used here are very basic parameters related to design and materials, which can be easily available. And also, a simple linear multiple regression is used to make the prediction equation simple and easy to use. So, this model can help the embroidery designers or garment designers to select/adjust the embroidery parameters and thread parameters accordingly in the planning and designing stage itself to ensure that the GSM of embroidered fabrics remains within desirable range. Also, this prediction model developed hereby may be a very useful tool for estimation of the consumption and cost of embroidery threads. Originality/value This paper presents a very fundamental study to reveal the effect of embroidery parameters on the GSM, through development of regression equations. It can help future researchers in optimizations of input parameters and forming a technical guideline for the embroidery designers for selection of the design parameters for a desired GSM of embroidered fabric.
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Dai, Srilian Laxmiwaty, and Irma e. Charisma Hatibie. "Strategi Pemasaran Sulaman Karawo Di Destinasi Pariwisata Gorontalo." JURNAL DESTINASI PARIWISATA 9, no. 1 (June 30, 2021): 14. http://dx.doi.org/10.24843/jdepar.2021.v09.i01.p02.
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This research analyzes Karawo embroidery's developmentas one of Gorontalo's cultural heritagesat Gorontalo tourist destinations. Culture is an identity of a region that becomes a heritage through generations. Culture also becomes a crucial part in the tourism industry because it is interesting for tourists curiosity about new and unique things. On the other side, tourism is also an industry to preserve culture.Therefore, it is essential to figure out the development position of Karawo embroideryso thatKarawo can be existed to develop Gorontalo tourism industry.This descriptive qualitative research employs Product Life Cycle Theory. This research aims to identified development position Karawo embroidery and formulate its marketing strategy in Gorontalo tourist destination. Based on research, the position of Karawo embroidery is in the growth stage. Based on that result, the strategies that can be formulated to improve Karawo marketing in Gorontalo touristdestination are;(1) making advertisement and strengthening the merk, (2) expanding the distribution, (3) increasing product quality through creativity dan innovation, (4) decreasing the product cost, and (5) doing such a big promotion.
Keywords:Strategy, Karawo Embroidery, Tourist Destination
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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 painting of theme, turn to the artistic decoration of style. However, grass cloth art embroidery fine works mainly by copying the ancients paintings, so that lack creativity. Inheritance and development of grass cloth embroidery, it needs to develop their own original works.</span></p>
9
Qi, Yan, Xue Rong Fan, and Rong Rong Cui. "Lu Embroidery Patterns on Costumes in Shandong Province." Advanced Materials Research 821-822 (September 2013): 717–20. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.717.
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Lu embroidery, one of the famous embroideries in Shandong province of China, is the earliest recorded Chinese embroidered species found in historical documents of China. Lu embroidery patterns on costumes have a wide range of subjects; their folk contents coagulate plenty of folk emotions. The motifs of Lu embroidery patterns on costumes express the totemism and the nature worship. They are the rites of passage and spiritual religious expressions. The cultural connotations in Lu embroidery patterns on costumes can inspire current designs, provide useful references for contemporary fashion designers and promote the development of embroidery costume markets.
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RIPKA, Galyna, and Iryna ZASORNOVA. "METHOD OF ESTIMATING THE EFFECT OF CONTOURS EMBROIDERED ELEMENT ON PHYSICAL AND MECHANICAL PROPERTIES OF FABRICS." HERALD OF KHMELNYTSKYI NATIONAL UNIVERSITY 299, no. 4 (October 2021): 187–91. http://dx.doi.org/10.31891/2307-5732-2021-299-4-187-191.
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Computer embroidery is one of the modern types of garment decoration. But in our country this industry is insufficiently studied. Instead, today there are entire associations of embroidery companies abroad, periodicals are published, special schools operate, international conferences are held, and Internet conferences on computer embroidery are organized. The article discusses the issues of improving the quality of applying an embroidered element to a textile material in order to increase the competitiveness of garments in the domestic market of goods and services. It was found that during machine embroidery, the most vulnerable point is the border of the “fabric-embroidery” system. If the embroidered pattern along the contours of the edge is characterized as a “straight line”, then the maximum value of the destruction of the samples at the warp occurs with tatami stitches, and weft with tatami stitches and zigzag. When the pattern is embroidered in the form of a circle, the destruction already occurs not only along the perimeter of the “arc line”, but also in the middle. If the embroidered pattern is a rectangle with wavy edges, in contrast to the straight and arc border lines in the system “fabric-embroidery”, the process of destruction occurs within, starting from the upper and then the lower contours. There is also a decrease in rupture characteristics at (S), (Z), and (T) –stitches. When studying the effect of embroidery needles on the physical and mechanical characteristics of textile materials, it was experimentally established that this process should be attributed to the destructive, the degree of which depends on their number, as well as the step and type of stitches. This is evidenced by the increase in the values of the coefficient of air permeability of the samples of materials and the decrease in the breaking indicators in comparison with the initial values. Thus, the research and their analysis shows that the degree of change in rupture characteristics, as a control indicator, primarily depends on the contour of the edge of the pattern, as well as the type of computer embroidery weave, but the greatest influence of these factors occurs when the geometry of the system boundary ” fabric-embroidery “is a straight line, and the smallest – a wavy line that does not contradict the mathematical model, the conclusions of which were used in the design of the embroidered element for children’s clothing (pants).
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RIPKA, GALYNA, and IRYNA ZASORNOVA. "METHOD OF ESTIMATING THE EFFECT OF CONTOURS EMBROIDERED ELEMENT ON PHYSICAL AND MECHANICAL PROPERTIES OF FABRICS." Herald of Khmelnytskyi National University 301, no. 5 (October 2021): 196–200. http://dx.doi.org/10.31891/2307-5732-2021-301-5-196-200.
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Computer embroidery is one of the modern types of garment decoration. But in our country this industry is insufficiently studied. Instead, today there are entire associations of embroidery companies abroad, periodicals are published, special schools operate, international conferences are held, and Internet conferences on computer embroidery are organized. The article discusses the issues of improving the quality of applying an embroidered element to a textile material in order to increase the competitiveness of garments in the domestic market of goods and services. It was found that during machine embroidery, the most vulnerable point is the border of the “fabric-embroidery” system. If the embroidered pattern along the contours of the edge is characterized as a “straight line”, then the maximum value of the destruction of the samples at the warp occurs with tatami stitches, and weft with tatami stitches and zigzag. When the pattern is embroidered in the form of a circle, the destruction already occurs not only along the perimeter of the “arc line”, but also in the middle. If the embroidered pattern is a rectangle with wavy edges, in contrast to the straight and arc border lines in the system “fabric-embroidery”, the process of destruction occurs within, starting from the upper and then the lower contours. There is also a decrease in rupture characteristics at (S), (Z), and (T) –stitches. When studying the effect of embroidery needles on the physical and mechanical characteristics of textile materials, it was experimentally established that this process should be attributed to the destructive, the degree of which depends on their number, as well as the step and type of stitches. This is evidenced by the increase in the values of the coefficient of air permeability of the samples of materials and the decrease in the breaking indicators in comparison with the initial values. Thus, the research and their analysis shows that the degree of change in rupture characteristics, as a control indicator, primarily depends on the contour of the edge of the pattern, as well as the type of computer embroidery weave, but the greatest influence of these factors occurs when the geometry of the system boundary ” fabric-embroidery “is a straight line, and the smallest – a wavy line that does not contradict the mathematical model, the conclusions of which were used in the design of the embroidered element for children’s clothing (pants).
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Emaputra, Andrean, Meidilin Oxriane Montho, and Risma Adelina Simanjuntak. "Design of ergonomic chair for the embroidering processes of the bag making (case study: CV. Pinus Bag’s Specialist)." SHS Web of Conferences 189 (2024): 01010. http://dx.doi.org/10.1051/shsconf/202418901010.
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Physical activities related to work activities in production operators are jobs that need attention—operator activity on a CV. Pinus Bag’s Specialist engaged in convection, especially in the embroidery process, is done using a machine; the design will be sent from the computer to the embroidery machine monitor. The operator on duty would set the fabric to be embroidered, thread the needle, frequently change the thread, and correct the twisted thread. Meanwhile, the risk level of the embroidery workers has not been evaluated, and no unique chairs have been designed for it. Then, this study will assess the risk level of employees working in the embroidery department and create ergonomic chairs that are comfortable, durable, and robust. The risk level of workers is assessed using REBA. It uses anthropometric data from 2 workers who work in the embroidery section at CV. Pinus Bag’s Specialist, Yogyakarta, Indonesia. The anthropometric data come from buttocks-popliteal length (seat length), popliteal height (chair height), hip width in the sitting position (chair base width), and side shoulder width (chair back width). And shoulder height in the sitting position (backrest height). After that, the chair is designed with the help of the application. The study indicates that most of the work activities in the embroidery process require corrective action. In addition, the chair design used for the embroidery process is adjustable, comfortable, durable, and strong. The seat height is adjustable with an operator and an embroidery table. Ultimately, the embroidered chair reduced work risk from medium to work postures with low work risk.
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Zhelezniak, Mykola, and Oleksandr Ishchenko. "THE ENTRY "EMBROIDERED CLOTHING" IN ENCYCLOPEDIAS OF UKRAINE AND WORLDWIDE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 42–47. http://dx.doi.org/10.17721/1728-2659.2023.34.08.
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In the article, the nature of the information about Ukrainian embroidered clothing (like embroidered shirts) from encyclopedias is researched. The encyclopedic aspect of the study of embroidery is proposed for the first time. Encyclopedias are an important source base that preserves and disseminates knowledge about the people, their history, culture, language, etc. And at a time when the information space is full of misinformation, encyclopedias assembled by professional editorial teams are considered as a reliable source base. But whether these ones are able to attract the attention of a mass reader also depends upon how interesting and useful their content is. Embroidered clothing as the subject of our study can be indicative in the context of the raised issue, because it is an integral element of Ukrainian folk clothing, has a special meaning, symbolism, sacramental features, therefore, information about it is relevant for Ukrainians. And the fact that because of the Russian-Ukrainian war Ukraine is now being discovered by the world and being interested in its history and culture, information of this kind is also relevant for non-Ukrainian readers. In encyclopedias, information about embroidered clothing is most often included in entries about embroidery that is, usually not represented by an item "Vyshyvanka" (embroidered clothing / shirt). We suggest that in encyclopedias, embroidery is described primarily as an object of embroidery art. In encyclopedias, other aspects of embroidered clothing related to their non-artistic functions (protective, ceremonial, patriotic, etc.) are covered much less. We also studied out that Ukrainian encyclopedic content about embroidered clothing usually has a local context and lacks a global one. This fact can contribute to the formation of the reader’s idea that embroidered shirts are an exclusively Ukrainian historical and cultural phenomenon. Although encyclopedias popular in the world show that embroidered clothes are characteristic of many populations. According to the top encyclopedias worldwide, embroidery traditions in Ukraine are not singled out as an original local phenomenon.
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Juchnevičienė, Žaneta, Milda Jucienė, Vaida Dobilaitė, Virginija Sacevičienė, and Svetlana Radavičienė. "Analysis on the Conformity between the Closed-Circuit Embroidery Elements of Different Widths and the Digitally Designed Elements." Autex Research Journal 19, no. 3 (September 1, 2019): 250–56. http://dx.doi.org/10.1515/aut-2018-0047.
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Abstract The embroidery process is one of the means of joining textile materials into a system, which is widely applied in the creation of products of special destinations. The development of the functionality of embroidery systems is indissoluble from high-quality requirements for the accuracy of the form of the element. In the embroidery process, the system of textile materials experiences various dynamic loads, multiple stretching, and crushing; therefore, the geometrical parameters of the embroidery element change. The objective of this paper was to analyze the widths of the different square-form closed-circuit embroidery elements and also to perform their analysis with the purpose to evaluate the embroidery accuracy of the embroidered elements. Test samples were prepared in the form of square-form closed-circuit embroidery elements of five different contour widths: 6 mm, 10 mm, 14 mm, 18 mm, and 22 mm. During the investigation, it has been determined that in most cases the contour widths of the five closed-circuit square-form embroidery elements were obtained, smaller than the size of the digitally designed element.
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Kushnarenko, N., A. Solianyk, and M. Shevchenko. "Ukrainian Embroidery as a Type of Document." Visnyk of Kharkiv State Academy of Culture, no. 64 (December 26, 2023): 16–34. http://dx.doi.org/10.31516/2410-5333.064.02.
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The purpose of the article is to determine the general and specific features of Ukrainian embroidery as a type of carrier of documented information.
The methodology. We chose the most adequate among the existing general scientific approaches and methods: informational and communicative, sociocultural, comparative, classificational, and terminological. The information and communicative approach made it possible to consider Ukrainian embroidery as a carrier of social information, a channel of communication that ensures the transmission of information encoded in the symbols of embroidery in time and space. It helped prove that each element of an embroidered document carries a certain information load; to substantiate that Ukrainian embroidery has an informative and communicative function: colourful ornaments are not just patterns, but also meaningful signs-symbols that preserve and transmit national cultural traditions for a long time. The sociocultural approach made it possible to investigate the embroidered document as a means of connecting a person to the spiritual ideals and values of the Ukrainian nation; to understand one’s historical roots, national and cultural identity. Its cognitive abilities contributed to the deepening of ideas about Ukrainian embroidery as a unique artistic product, a phenomenon of the spiritual and material culture of the Ukrainian people. The application of the comparative approach made it possible to carry out a comparative analysis of the main modern concepts of the general classification of the document; determine the essential features of the embroidered document; to reveal the specific features of embroidery in different regions of Ukraine by type of ornament, embroidery technique, colour scheme, origin, distribution and residence. The classification approach made it possible to find out a set of general signs of the division of documents into types; detect their presence or absence in the embroidered document; to enrich the modern classification with specific distinguishing features of the embroidered document. The application of the cognitive potential of the specified methodological approaches made it possible to consider Ukrainian embroidery as a whole, to give it the status of one of the types of the document.
The results. The study of Ukrainian embroidery in the paradigm of documentology significantly enriches the theoretical and methodological foundations of this science, allows to expand the class of authentic documents, to prove the correctness of the definition of the concept of document in the ISO 5127.2017 “Information and documentation” international standard in its broadest sense as “recorded information or a material object, which can be used as a unit in the documentation process”.
For the first time, the concept of “embroidered document” was introduced into scientific circulation, the genetic feature of which was recognized as embroidery as a way of recording information on a material carrier. On the basis of the basic characteristics of the document classification, the specific features and properties of the embroidered document are determined: on the material basis, it is a fabric document; according to the origin of the material basis — natural, artificial, combined; according to the features of recording information on the carrier — manual, mechanical, technetronic, combined; according to the material structure of the information carrier — tape, card, sheet and non-traditional form; according to the nature of the symbolic forms of information recording and transmission — analog (iconic), symbolic (ideographic), textual, combined; according to the technique of applying signs-images — embroidered. The given arguments seem to be sufficient for the conclusion that Ukrainian embroidery fully meets all the basic features of an authentic document as a carrier of important social information, which should take its proper place in the scientific discourse as an object of documentology and cultural studies.
The scientific novelty. The innovation of the research results is that, based on the application of the general document classification, Ukrainian embroidery is presented for the first time as a type of document. A new concept of “embroidered document” was introduced into scientific circulation, its scope and content were defined, common and distinctive features of an embroidered document as a specific means of communication were studied. A new promising scientific direction of documentology has been created, which investigates the patterns of development and functioning of the embroidered document as a type of authentic information carrier.
The practical significance. The results of the research will be useful in practical and educational activities; in fields related to information and documentation; for specialists in decorative and applied art and exhibition activities, museum workers, librarians, etc. The identified specific features of the embroidered document will contribute to the arrangement of its varieties and the establishment of qualitatively new properties.
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CORDUNEANU, IOANA. "Embroidery with a Cause: Ten-year Anniversary of Semne Cusute (Sewn Signs)." Martor. The Museum of the Romanian Peasant Anthropology Review 27 (November 15, 2022): 179–91. http://dx.doi.org/10.57225/martor.2022.27.13.
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The article is presenting the art project Semne cusute (Sewn Signs), focusing on on traditional embroidery’s patterns’ revival, and launched in 2012. It has already reached a community of 44,000 members. It is an enterprise that brings together cultural and artistic actions, embedded as heritage project. During all these years Semne cusute’s activity has been presented to the public by means of exhibitions, and educational workshops. The members of the community embroider to emphasize the need to preserve and teach ancient symbols, but also to coin their country (Romania) on the international map of luxury embroidery, responsible fashion, and European heritage.
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J S, Reshmi, and Sandhya S. "Ahir embroidery of Kutch." Scientific Temper 14, no. 02 (June 6, 2023): 387–90. http://dx.doi.org/10.58414/scientifictemper.2023.14.2.23.
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Ahir embroidery of Kutch is continuous row of embroidered patterns, circular mirrors encircled with stitches which enriches the material. The vibrant colors of the threads and sparkling pieces of mirrors that embellish the surface and it is a sense of royal appeal to each soul and remains in heart. In this paper we will learn about the specialty of Ahir embroidery in kutch , its value and richness. To develop and promote Ahir embroidery in fashion industry
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Yang, sujeang. "The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery." Korean Journal of Art History 311 (September 30, 2021): 45–86. http://dx.doi.org/10.31065/kjah.311.202109.002.
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This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court.<br/>The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery became an early source of influence on change and production of embroidery in the royal court. By the 18th century, embroidered everyday items had spread into the private homes of aristocrats and commoners as part of a luxury trend. Expert producers created masterpieces specifically for viewing, which were collected for this purpose. Decorative embroidered screens were created featuring Taoist hermit and narrative figure paintings, driving artistic growth based on motifs of elegance and appreciation of luxury. Characteristics relating to Gu found in these works include: first, the filling of parts corresponding to Gu-style mixed embroidery and painting with long and short stitches and irregular long and short stitches; second, the development of a type of decorative stitching capable of the same elaborate expression as Gu; third, the replacement of untwisted thread, in which Gu style was used to achieve gradation, with twisted thread; fourth, the tracing of the outlines of all pictorial elements with outline stitch, unlike in Gu, emphasizing neatness; fifth, the use of contrasting complementary colors rather than intermediate colors; and sixth, the production of Taoist hermit paintings such as Banquet at Jade Pond and narrative figure paintings as screens. In sum, it can be said that this series of phenomena developed into a formal idiom in Joseon embroidery, which had become more highly renowned than that of China by the 19th century.
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Park, Su Youn, and Joo-Hyeon Lee. "Machine Embroidered Sensors for Limb Joint Movement-Monitoring Smart Clothing." Sensors 21, no. 3 (February 1, 2021): 949. http://dx.doi.org/10.3390/s21030949.
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In this study, a strain gauge sensor based on a change of contact or network structure between conductive materials was implemented using the handle-machine embroidery technique, and the variables (embroidery shape, embroidery distance, embroidery size, and implementation location) affecting its performance were studied. As a result of Experiment I on the structure of embroidery suitable for joint motion monitoring, the embroidery distance, rather than the embroidery size, was found to have a significant effect on the electric resistance changes caused by elongation. Based on the results of Experiment I, two types of zigzag embroideries, four types of embroideries with few contact points, and two types of embroideries with more contact points (all with short distances (2.0)) were selected for Experiment II (the dummy motion experiment). As a result of the dummy motion experiment, it was found that the locations of the suitable embroidered sensors for joint motion monitoring was the HJP (Hinge Joint Position) in the ‘types without a contact point’ (zigzag) and the LHJP (Lower Hinge Joint Position) in the ‘types with more contact points’. On the other hand, although there was no consistency among the ‘types with few contact points’, the resistance changes measured by the 2CP and 7CP embroidered sensors showed similar figures and patterns, and the HJP location was most suitable. The resistance changes measured by the 4CP and 6CP embroidered sensors exhibited no consistent patterns, but the LHJP locations were more suitable. These results indicate that the location of the HJP is suitable for measuring joint motion in the ‘type without a contact point’, and the location of the LHJP is suitable for measuring joint motion when the number of contact points exceeds a certain limit. Among them, the average resistance change of the 9CP sensor located at the LHJP was 40 Ω with the smallest standard deviation of less than 1, and it is thus considered to have the best performance among all the sensors.
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Heneha, Roman. "FROM NATIONAL TO INTERNATIONAL: UKRAINIAN ACCENTS IN THE POST-WAR LVIV FASHION IN 1940–1950S." Вісник Львівського університету. Серія історична / Visnyk of the Lviv University. Historical Series, no. 54 (November 3, 2022): 154–68. http://dx.doi.org/10.30970/his.2022.54.11607.
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The author analyzes the use of Ukrainian themes by the Soviet fashion industry in the first postwar decade on the basis of archival materials, periodicals, specialized literature, and historiography. The article reads that a number of Russian fashion designers actively used Ukrainian ethnic elements in their work – cut, embroidery, drapery, etc. At the same time, most of the borrowings were presented as “Russian ornament”, “Russian silhouette” or as the best – “embroidery of the peoples of the USSR”. At the same time, the post-war demand for “Ukrainian culture” led to the popularization of Ukrainian embroidery, a folk style that went far beyond its traditional use. One of the key places where Ukrainian national clothes served as a tribute to fashion and reflected much deeper meanings – was the city of Lviv. An artistic embroidery enterprise known for its products in Europe has been operating here since pre-war times. With the arrival of the Soviets a group of artistic embroidery named after Lesya Ukrainka was organized on the base of this enterprise. It quickly made high profits earning millions. In its work, the group used ancient Ukrainian techniques and styles of embroidery including “Kyiv”, “Podil”, “Poltava”, “Chernihiv”, “Snake” or “Horodok stitch”, “Horodok Crescent”, “Dragging”, and “Yavoriv Smooth”. The embroidered shirts offered by this firm also featured their particular styles called “Ukrainian”, “Chumachka” and “Hutsulka”. The enterprise’s embroidered products including shirts, dresses, scarves, towels, vests, and folk clothing quickly gained popularity both in the USSR and abroad.
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Martsiniv, Yuliia. "Vyshyvanka of Pokuttia and the Elements of Folk Costume: Past and Present (Based on the Expedition to Horodenkivshchyna)." Folk Art and Ethnology, no. 2 (June 30, 2024): 68–75. http://dx.doi.org/10.15407/nte2024.02.068.
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The article is devoted to the study of Pokuttia embroidery as a phenomenon of ethnic culture, in particular in Horodenka region. The peculiarities of techniques, ornaments and color range are defined. There we can see rukavienky, risheni and tserkovani embroidered shirts, pleats, skirts «in wheat» and other interesting clothes. The ornaments mostly include geometric figures, flower and plant patterns. There are also shirts with embroidered Ukrainian symbols, in particular in the village of Khmeleva. Embroidery techniques consist of cross stitch, plain stitch, low stitch and even on hoops. It is observed during the expedition, that despite the proximity of the villages, similar elements and local differences in the embroidery and folk costume of Pokuttia region have been found. The villages of Horodnytsia, Cherniatyn and Toporivtsi are distinguished by interesting features of local clothing. Here you can find white-on-white embroidered shirts, flowery embroidery similar to Bukovyna, pleated skirts, men’s straw hats – bryli. As for wedding clothes, Yaseniv Pilnyi and Kopachyntsi demonstrate richness and uniqueness here. The wedding attire of local residents of these villages differs significantly from the other settlements. The list of women’s festive outfits consists of kapanka, fota, kabat, percale. Original elements of men’s clothing consist of futerko, shapka-baranka (lamb hat) and a white cloth «rantukh», that the bridegroom has presented to the bride. In Yaseniv Pilnyi unique women’s jewelry – sylianki – are preserved to this day. Nowadays local women and girls quite reproduce actively ancient samples of these necklaces. Girls from Horodnytsia are famous for ducats, indicating their status. All these features make Horodenkivshchyna a special ethnographic region, where authentic clothing occupies a leading place. And although Ukrainian embroidery is evolving significantly today, it is interesting to see that, despite modern fashions, ancient patterns of embroidery are still actively preserved and passed down from generation to generation in the Horodenkivshchyna.
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De Bodt, Saskia. "Borduurwerkers aan het werk voor de Utrechtse kapittel- en parochiekerken 1500-1580." Oud Holland - Quarterly for Dutch Art History 105, no. 1 (1991): 1–31. http://dx.doi.org/10.1163/187501791x00047.
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AbstractThe article starts by taking stock of research into North and South Netherlandish professional embroidery in the sixteenth and seventeenth centuries. Such embroidery, which was rarely or never signed, and much of which has been lost, has hitherto been studied largely on stylistic grounds and grouped around noted schools of painting. Classifications include 'circle of Jacob Cornelisz van Oostsanen', for instance, or 'Leiden school/influence of Lucas van Leyden'. The author advocates a more relative approach to such classification into schools. She suggests that only systematic archive research in each location can shed new light on the production of embroidery studios and that well-founded attributions hinge solely on such research. The embroidery produced in Utrecht between 1500 and 1580 is cited as an example. The invoices of Utrecht parish and collegiate churches from circa 1500 to the Reformation record not onlv commissions to painters, goldsmiths and sculptors but also many items referring to textiles, notably embroidery. Together they provide a clear and relatively complete picture of the activities of sixteenth-century Utrecht embroiderers, whose principal customers were the churches. The items in question moreover exemplify the craft of the North Netherlandish embroiderer in that period in general in terms of what was produced as well as of the method and position of these artistic craftsmen, who were less overshadowed by painters than is generally assumed. A brief introduction outlining the organization of professional Utrecht embroiderers, who became independent of the tailors' guild in 1610 and acquired their own warrant, is followed by the analysis of an order from the Buurkerk in Utrecht for crimson paraments in 1530: three copes, a chasuble and two dalmatics. The activities of all those involved in their production are recorded : the merchants who supplied the fabric, the tracers of the embroidery patterns, the embroiderer, the cutter, various silver-smiths and the maker of the chest in which the set of garments was kept. The embroiderer was the best-paid of all these specialists. It is interesting to note that some Utrecht guild-members worked free of charge on these paraments, and that the collection at the first mass at which they were worn was very generous. There were probably political reasons for this: some of the donators, Evert Zoudenbalch and Goerd van Voirde, had been mayors at the time of the guild rebellion in Utrecht, and the Buurkerk was the parish church where the guild altars stood. After this detailed example the author discusses Utrecht embroiderers known by name and their studios,comparing them with a list of major commissions carried out for churches in Utrecht (appendix I). It transpires that in each case one studio received the most important Utrecht orders. This is followed by the reconstruction of three leading figures' careers. First Jacob van Malborch, active till 1525; a contract (1510) with the Pieterskerk in Utrecht regarding blue velvet copes is cited (appendix 11). He is followed by the embroiderers Reyer Jacobs and Sebastiaen dc Laet. Among his other activities, the latter was responsible for repairing and altering the famous garments of Bishop David of Burgundy. Items on invoices arc then cited as evidence that the sleeves of two dalmatics now in the Catharijneconvent Museum, embroidered on both sides with aurifriezes donated by Bishop David, were made by Jacob van Malborch in 1504/1505. This shows that systematic scrutiny of invoices and the results of archive research concentrated on individual embroiderers in a single city, compared with preserved items of embroidery, yield information that can lead to exact attributions to an artist or a studio (figs.4a to c and 5a to c). The Catharijneconvent Museum also possesses a series of figures of saints embroidered by the same hand (fig. 14). Finally, the author points out that a group of embroidered work (previously mentioned by H. L. M. Defoer in the catalogue Schilderen met gouddraad en zyde (1987)) which historical data suggest was done in Utrecht and which was produced in the same period, are almost certain to have come from Jacob van Malborch's studio, despite the lack of archival evidence (figs. 6 to 13).
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Jimoh, K. O., A. A. Adigun, A. O. Ajayi, and A. R. Iyanda. "Automated classification of African embroidery patterns using cellular learning automata and support vector machines." Ghana Journal of Science 62, no. 2 (January 1, 2022): 91–101. http://dx.doi.org/10.4314/gjs.v62i2.9.
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Embroidery is the art that is majorly practised in Nigeria, which requires creativity and skills. However, differentiating between two standard embroidery patterns pose challenges to wearers of the patterns. This study developed a classification system to improve the embroiderer to user relationship. The specific characteristics are used as feature sets to classify two common African embroidery patterns (handmade and tinko) are shape, brightness, thickness and colour. The system developed and simulated in MATLAB 2016a environment employed Cellular Learning Automata (CLA) and Support Vector Machine (SVM) as its classifier. The classification performance of the proposed system was evaluated using precision, recall, and accuracy. The system obtained an average precision of 0.93, average recall of 0.81, and average accuracy of 0.97 in classifying the handmade and tinko embroidery patterns considered in this study. This study also presented an experimental result of three validation models for training and testing the dataset used in this study. The model developed an improved and refined embroiderer for eliminating stress related to the manual pattern identification process.
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Masdupi, Erni, Tri Kurniawati, Halkadri Fitra, and Dini Faisal. "Desain Motif sebagai Brand Strategy Pengembangan Galeri Sulam Pinjaik Patah Kabupaten Agam Sumatra Barat." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 02 (November 3, 2022): 246–56. http://dx.doi.org/10.33633/andharupa.v8i02.5443.
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Abstrak Pinjaik patah atau jarum jahit yang dipatahkan merupakan brand yang cukup dikenal untuk persoalan produk sulaman terawang di Sumatra Barat, khususnya di kabupaten Agam, Nagari Panampuang. Sayangnya, pengembangan motif yang dilakukan masih minim sehingga diversifikasi produk, pembeda produk hasil sulaman pinjaik patah dan hasil produk kompetitor tidak dapat dibedakan. Perlu dirancang sebuah desain motif baru yang berangkat dari picture mark logo galeri sulam pinjaik patah dengan tujuan untuk menciptakan diversifikasi produk dan brand awareness sulaman pinjaik patah. Metode yang digunakan adalah research and development dengan tahapan 1) Potensi dan Masalah; 2) Pengumpulan informasi; 3) Pengembangan model; 4) Validasi model; 5) Uji coba model. Hasil yang didapatkan yaitu perajin sulaman dapat mengaplikasikan desain motif dalam jenis sulaman terawang dan sulaman menggunakan bordir, hanya saja masih diperlukan revisi dan latihan dari perajin sulaman agar dapat menghasilkan motif yang harmonis. Pengembangan desain dan produk sebaiknya difokuskan pada sulaman terawang yang menjadi unggulan sulam pinjaik patah. Kata kunci: brand awareness, desain motif, pinjaik patah, sulaman AbstractPinjaik patah or a broken sewing needle is a well-known brand for embroidery products in West Sumatra, especially in Agam district, Nagari Panampuang. Unfortunately, the development of the motifs is still minimal so that product diversification, the difference between the product of pinjaik patah embroidery and the product of competitors cannot be distinguished. It is necessary to design a new motif design that departs from the picture mark of the Pinjaik Patah embroidery gallery logo with the aim of creating product diversification and brand awareness of Pinjaik Patah embroidery. The method used is research and development which includes five steps like 1) potentials and problems; 2) gathering information; 3) designing; 4) validation and; 5) design testing. The results obtained are that the embroiderer can apply the motif design in the type of overlay embroidery and embroidery using embroidery, it's just that revision and practice from the embroiderer is still needed in order to produce a harmonious motif. Design and product development should be focused on terawang embroidery which is the flagship of pinjaik patah embroidery. Keywords: brand awareness, embroidery, motif design, pinjaik patah
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Yeni, Delfita. "Kreasi Bentuk Bulu Merak sebagai Motif dalam Fashion (Peacock Feather Shape Creations as a Motive in Fashion)." INVENSI 4, no. 2 (August 15, 2019): 144–54. http://dx.doi.org/10.24821/invensi.v4i2.3224.
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AbstrakPenelitian ini bertujuan untuk mengembangkan kreatifitas dalamberkarya seni yang terinspirasi dari bentuk bulu burung merak,bentuk dari bulu merak dibuat dengan teknik sulaman, batik danpayet. Metode yang digunakan dalam proses pembuatan karyamelalui tiga tahapan penciptaan seni kriya. Pertama adalah tahapeksplorasi yang meliputi aktifitas penjelajahan menggali sumber idedengan langkah identifikasi dan perumusan masalah; penelusuran,penggalian, pengumpulan data, referensi, dan analisis data yangmenjadi dasar perancangandan tahap perwujudan karya. Kedua,tahap perancangan berdasarkan hasil analisis data dalam bentuksketsa alternatif dan sketsa terpilih. Hasil karya yaitu baju danselendang yang berfungsi untuk fashion peragaan dan dapatdigunakan untuk acara tertentu. Teknik yang digunakan dalampembuatan karya yaitu dengan menggabungkan teknik sulam rantai,sulam batang, sulam balik, sulam pipih, sulam daun paku, sulamduri, dan sulam rantai bulu untuk bagian sulam, sedangkan padakeseluruhan karya ini menggabungkan sulaman pada kain yang telahdi batik lalu di payet.AbstractThis study aims to develop creativity in the work of art that is inspired bypeacock feathers, the shape of peacock feathers made with embroideredtechniques, batik and sequins. The method used in the process of makingworks through three stages of craft art creation. The first is an exploratorystage that includes exploration activities exploring the source of ideas withthe step of identification and problem formulation; searching, extracting,data collection, reference, and data analysis on which to base the designand stage of the work embodiment. Second, the design phase based on theresults of data analysis in the form of alternative sketches and sketchesselected. The work of shirt and shawl that serves for fashion show and canbe used for certain events. The technique used in making the work is bycombining the technique of embroidery chain, embroidered stems,embroidered, flat embroidered, embroidered nail leaf, embroidery thorns, and embroidery chains for the embroidery section, while in the whole work combine embroidery on cloth that has been in batik then in sequins.
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Xudong, Yang, Chen Yingxue, Wang Tingting, Zhang Yong, and Hu Jiyong. "Effect of Stitch Structure on the Reading Performance of Fabric-Based Embroidered UHF RFID Tags." Fibres and Textiles in Eastern Europe 29, no. 2(146) (April 30, 2021): 48–53. http://dx.doi.org/10.5604/01.3001.0014.6081.
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As the demand for low-cost rapid preparation techniques for RFID (Radio Frequency Identification) fabric tags is increasing, embroidery technologists have attempted to fabricate tag antennas. However, the effects of stitch structures on the performance of tag antennas have rarely been studied. Since the structure of an embroidered stitch is related to the embroidering process parameters and embroidery thread, this study chose a common stitch trace type to prepare two sets of UHF RFID tag antennae by changing the embroidery thread structure and stitch length, and then the electrical and gain properties of these antennas were analyzed. And again, the reading performance of the corresponding tag was evaluated. The results showed that the antennas embroidered with copper/PET wrapped yarns have higher energy transfer efficiency than those with single copper wire yarns. When the stitch length increases from 0.9 to 5 mm, the read range of the embroidered tag firstly increases and then decreases, due to the large embroidering process deviation of the tag antenna geometry, and the optimal stitch length for the read range is 1.7 mm, where the read range is 12.95 m. When the stitch length is 5 mm, the read range is minimum – 9.56 m. In summary, this study determined the embroidered thread structure and the process design of the stitch length in terms of the performance of a fabric-based embroidery antenna for an RFID tag as well as the read range.
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Bahadir Ünal, Zümrüt, and Eda Acar. "Investigation of the Effect of Using Different Interlinings on the Comfort Properties of the Embroidered Surface." Textile & Leather Review 5 (April 26, 2022): 165–79. http://dx.doi.org/10.31881/tlr.2022.20.
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Embroidery is a form of embellishment obtained by processing the figures on various surfaces. It has been done as multi-needle and computer-aided since the 1990s. Embroidery practice is applied with the aim of improving the appearance of the product and separating the product from similar ones. The embroidery process has direct effect on the cost and sale of the product and is used widely in the garment industry. Embroidery applied on the surface is supported by interlining in order to have better quality of the embroidery. In this research, all parame-ters intended for obtaining embroidered surface were kept constant and five different interlining types were ap-plied as variables. Physical and comfort tests were performed for evaluating the comfort features of the embroi-dered surface. According to the findings obtained from the study, the use of water-soluble interlining was found to be appropriate in places that were in direct contact with the skin.
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Bahadir Ünal, Zümrüt, and Eda Acar. "Investigation of the Effect of Using Different Interlinings on the Comfort Properties of the Embroidered Surface." Textile & Leather Review 5 (April 26, 2022): 165–79. http://dx.doi.org/10.31881/tlr.2022.20.
Full textAbstract:
Embroidery is a form of embellishment obtained by processing the figures on various surfaces. It has been done as multi-needle and computer-aided since the 1990s. Embroidery practice is applied with the aim of improving the appearance of the product and separating the product from similar ones. The embroidery process has direct effect on the cost and sale of the product and is used widely in the garment industry. Embroidery applied on the surface is supported by interlining in order to have better quality of the embroidery. In this research, all parame-ters intended for obtaining embroidered surface were kept constant and five different interlining types were ap-plied as variables. Physical and comfort tests were performed for evaluating the comfort features of the embroi-dered surface. According to the findings obtained from the study, the use of water-soluble interlining was found to be appropriate in places that were in direct contact with the skin.
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Banić, Silvija. "Damast i vez iz druge polovine 15. stoljeća na misnom ornatu u Franjevačkom samostanu u Hvaru." Ars Adriatica, no. 1 (January 1, 2011): 117. http://dx.doi.org/10.15291/ars.432.
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The sacristy of the Franciscan church of Our Lady of Mercy in Hvar houses a set of liturgical vestments consisting of four parts - two stoles, a maniple and a chasuble. All parts are made from green silk damask, while only the chasuble was decorated with embroidery which forms a Tau cross on the front and a Latin cross at the back of the chasuble. While the cross-arms are filled with a series of large and small knotted rings - the former framing the busts of saints and the latter heraldic features - the strip around the neckline of the chasuble is embroidered with a hunting scene. Although these embroidered details have not been overlooked (a number of photographs have been published and the embroidery has been dated to the fourteenth century), the green damask did not attract attention. This article presents an analysis of this liturgical vestment which starts with a detailed examination of the damask fabric, and continues with its identification, description and comparison with a selection of similar examples. The suggested place of its provenance is Florence and the proposed date is the last quarter of the fifteenth century. These conclusions are followed by the analysis of the embroidered parts, for which a local provenance is suggested. The article confirms that the embroidery has been preserved on its original green silk damask background. On the basis of its construction and the preserved selvedge, it is concluded that the fabric was produced around the same time as the above analysed and dated damask. Due to the fact that it has not been possible to decipher the pattern of the damask underneath the embroidery, a key feature for a more precise dating, the suggested date for this fabric is somewhat wider - the second half of the fifteenth century. The archaic nature of the embroidered saints, which has been the reason for the fourteenth-century date, is interpreted as a possible imitation of an older embroidery.
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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 half a century of history of embroidered fabrics. This article illustrates the largely forgotten career of the embroidery designer. The first part of the article outlines the position and meaning of van Rijsoort's atelier in the fashion networks of the Netherlands and Australia, while the second part provides an analysis of embroidery samples and drawings, which reveal the place and function of embroideries as dress decorations.
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Konzilia, Julian, Jonas Wachter, Matthias Egger, Christoph Waltl, Thomas Fröis, Thomas Bechtold, and Jürgen Feix. "Embroidered Carbon Reinforcement for Concrete." Buildings 13, no. 9 (September 8, 2023): 2293. http://dx.doi.org/10.3390/buildings13092293.
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This research focuses on the manufacturing process and mechanical properties of textile reinforcements fabricated using embroidery technology. The study investigates both 2D and 3D reinforcement products and compares the advantages and possibilities of embroidery technology with other manufacturing methods. A series of tests using carbon reinforcement is conducted, and the results are presented and evaluated comprehensively. The uniaxial tensile tests reveal the characteristic behavior of carbon-reinforced concrete (CRC). Furthermore, the bonding behavior between the concrete matrix and embroidered carbon reinforcement is analyzed utilizing asymmetric pull-out tests, demonstrating that the embroidered reinforcements provide a sufficient bond. In addition to conventional 2D reinforcements, 3D reinforcements were also investigated, which can be efficiently manufactured using the TFP (tailored fiber placement) technology. Through the implementation of stirrup rovings, shear failure loads can be increased significantly. The results suggest that the mechanical properties of the reinforcement are influenced by the manufacturing process, which is particularly evident in the variation between longitudinal and transverse directions. The research highlights the potential benefits of using embroidery technology for textile reinforcement and indicates areas for further research and optimization in the manufacturing process. A pilot project that utilizes the embroidered reinforcement is currently under construction.
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Prihatin, Purwo. "Seni Kriya Sulaman Tangan Tradisional dan Pengrajin Perempuan Nagari Koto Gadang dalam Dimensi Ekonomi, Sosial dan Budaya." Jurnal Ilmiah Universitas Batanghari Jambi 22, no. 2 (July 26, 2022): 1197. http://dx.doi.org/10.33087/jiubj.v22i2.2384.
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This research was motivated by the existence of Minangkabau women's crafts and craftsmen, especially in Koto Gadang who have skills in the field of traditional hand embroidery. This study aims to find out the traditional hand-embroidered craft art of women in nagari Koto Gadang as cultural actors who carry out processes in social activities and craft arts. The research method uses a type of qualitative research, data collection through written sources and literature studies, documentation of cultural artifacts, so that this study can be produced and concluded that the traditional embroidery craft art of Koto Gadang is the embodiment of the expression of aesthetic taste in the form of functional objects and aesthetic objects which in their creation requires ability, experience, and technical skills such as embroidery, terawang, kapalo samek, and suji cair. Traditional embroidery crafts apply ornamental motifs, both flora, fauna and other objects based on nature, become teachers. The traditional embroidery craft art in Koto Gadang as a social product has an impact on the dimension of women's lives in Koto Gadang. The presence of Koto Gadang women and the art of embroidery crafts has become a manifestation of minangkabau women's activities that have produced cultural identity and positively impacted the actors and supporters both the social dimension and the economic dimension.
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Clark, Andrew. "Sleeves Required: Identities of Consumption and Production in Elizabethan Embroidered Dress." Textile Museum Journal 50, no. 1 (2023): 140–49. http://dx.doi.org/10.1353/tmj.2023.a932856.
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Abstract: The English woman’s sleeve in the Cotsen Textile Traces Study Collection at The George Washington University Museum and The Textile Museum provides a fine example of Elizabethan embroidery. The sleeve embodies distinct materials and motifs that invite concentrated research into its origins, social implications, and visibility in art. Its embroidery style is the product of diverse cultural inspirations that traveled across Europe via pattern books and textiles during the Renaissance. Natural world depictions and geometrical designs, as well as the use of metallic threads and spangles, constitute essential elements of this style of embroidery. Depictions of this embroidery style within contemporaneous portraiture also assist in performing a social analysis of a painting’s sitter and their elegant dress within broader Elizabethan society. By examining objects closely within museum collections, scholars can discern the social meanings of Elizabethan embroidered textiles. The ability to view the sleeve at The George Washington University Museum and The Textile Museum speaks to the importance of the accessibility of historical garments. Through careful examination of the embroidered sleeve from the Cotsen collection, this emerging research note will explore these topics in two parts. First, it will introduce the design and material properties of the sleeve. A brief historiography of Elizabethan embroidery will also be provided to establish the origins and detailed characteristics of the style. The second part will analyze the sleeve through the lenses of gender and class in Elizabethan England with the help of portraits of Queen Elizabeth I and Catherine Carey, Countess of Nottingham, which showcase stylistic examples of the sleeve in art.
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So, Hyunsook. "The Empire of Needle and Thread: Imperial Authority and Embroidered Buddha Images in the Tang Dynasty." Korean Journal of Art History 316 (December 31, 2022): 107–33. http://dx.doi.org/10.31065/kjah.316.202212.004.
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This paper studies the function of embroidered Buddha images and how and why they were made during the Tang dynasty when embroidery emerged as a major medium for Buddhist art. More specifically, it focuses on how embroidered Buddha images were ordered to be produced and bestowed on by Tang emperors. As surviving embroidery works are rare, written documents and records provide valuable information for the study of this subject. The popularization of embroidered Buddha images in early Tang was headed by the imperial power. Emperor Taizong, and his successor Gaozong each bestowed a large embroidered image to Shengguangsi 勝光寺 and Cí’ensi 慈恩寺, and ordered to perform ceremonies to honor them. Major Buddhist rituals held in the main street of Chang’an at the time also incorporated several embroidered Buddha images. In the first year of Qianfeng era, during the reign of Emperor Gaozong, a government Buddhist temple was established in each province. Buddha images embroidered in a specific iconography was distributed to each temple, and they were instrumental in establishing a uniform style of Buddhist art throughout the Tang empire. By early- to mid-seventh century, the Tang dynasty brought most of China under its rule, but was still at war with neighboring states. Consequently, colossal bronze statues that required a considerable amount of metal and men’s labor were hard to make. Embroidery was an adequate substitute as it was a form of craft that mainly relied on female labor. Initiated by the imperial power, the embroidered Buddha images became popularized and reached its pinnacle during the 8th century.
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Nasullaevna, Khoshimova Manzura. "NATIONAL CASTLE CLOTHES." Frontline Social Sciences and History Journal 02, no. 05 (May 1, 2022): 23–27. http://dx.doi.org/10.37547/social-fsshj-02-05-04.
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POLAT, Cavit, M. Akif KAPLAN, Kübra Şahin ÇEKEN, and Abdullah GÜMÜŞ. "GELENEKSEL TÜRK DOKUMA VE İŞLEME SANATINDA KULLANILAN BAZI ARAÇ VE GEREÇLERİN TÜRK MODERN RESSAMLAR TARAFINDAN ÇALIŞILMASI." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 22 (September 25, 2021): 57–69. http://dx.doi.org/10.38064/eurssh.268.
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The art of weaving and embroidery is one of the important traditional arts with a long history in Anatolia. The art of embroidery, in which patience and elegance is embroidered, and its centuries-old history, which is a kind of silent message of the society, has been the subject of many fields. One of these areas is Turkish painting art. It is seen that traditional arts of weaving and embroidery were studied by a few painters as a subject in the modernization process of Turkish painting. Modern Turkish artists have portrayed these issues in two different approaches, such as naturalist and cubist-constructivist. In this study, it was aimed to evaluate the ways in which some traditional tools and tools such as looms, tenter, kirmen, kirkit were used in embroidery and weaving with traditional approaches from the eyes of artists such as Malik Aksel, Turgut Zaim, Nurullah Berk, Maide Arel who created quite original paintings in the works of modern Turkish painters.
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Wolk, Nurit, and Michal Bat Or. "The Therapeutic Aspects of Embroidery in Art Therapy from the Perspective of Adolescent Girls in a Post-Hospitalization Boarding School." Children 10, no. 6 (June 20, 2023): 1084. http://dx.doi.org/10.3390/children10061084.
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This phenomenological qualitative study explored the experiences of adolescent girls with emotional disorders from post-hospitalization boarding schools who embroidered in an art therapy open studio group. A Youth Participatory Action Research approach and the bioecological model were used to shed light on the therapeutic process of embroidery. Through a thematic analysis of the focus groups and interviews with 13 participants, we identified five themes specifically related to embroidery: (a) control versus release/freedom; (b) calmness that comes from the repetitive action and focus; (c) the experience of being exceptional versus conventional; (d) the “stitch through time” experience, which involves a dialogue with the past, present, and future through embroidery; and (e) the overt-latent layers of consciousness. The findings suggest that embroidery has therapeutic benefits for this population and supports psychological development. This study reveals that embroidery, whose threads are intricately embedded in society and culture, and may provide a unique and meaningful activity for young people in post-hospitalization boarding schools and enables a social and cultural exploration of self and community. Limitations of this study and recommendations for further research are also discussed.
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Kusharenko, Natalia, and Alla Solyanik. "The semantic component of Ukrainian embroidery as a type of document." Вісник Книжкової палати, no. 10 (October 25, 2023): 31–41. http://dx.doi.org/10.36273/2076-9555.2023.10(327).31-41.
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Based on the application of a documentary approach to the study of Ukrainian embroidery as a means of social communication, it is proved that this phenomenon can be considered in the status of an embroidered document. The peculiarities of the semantic component of embroidery, which is established by its functional purpose and sphere of everyday life, is reflected in the varieties of signs-symbols, their graphic and color spectra, types of ornament, and the specifics of its material and constructive embodiment. It has been proven that the study of the origin and specific properties of the semantic, signative, and temporal components of an embroidered document is a promising direction of modern documentary studies.
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Dewi, Aisyah Ratna, Heri Soeprayogi, and Sri Wiratma. "SULAM MOTIF FLORA DAN FAUNA DITINJAU DARI WARNA DAN KOMPOSISI." Gorga : Jurnal Seni Rupa 9, no. 1 (June 28, 2020): 187. http://dx.doi.org/10.24114/gr.v9i1.18792.
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AbstrakPenelitian ini bertujuan untuk mengetahui ketepatan siswa dalam memilih warna dan komposisi yang sesuai pada karya sulam teknik sulam bebas dengan motif flora dan fauna. Adapun populasi yang digunakan dalam penelitian ini adalah seluruh siswa kelas VIII-7 SMP Negeri 16 Medan dengan sampel 3 karya siswa dengan teknik Cluster Random Sampling. Metode penelitian yang digunakan adalah deskriptif kualitatif dengan mendeskripsikan karya sulam yang diteliti dan dinilai berdasarkan unsur seni rupa yang telah ditentukan yaitu warna dan komposisi. Secara keseluruhan kemampuan siswa SMP Negeri 16 medan dalam praktik menyulam dikatakan Cukup Baik. Siswa sudah memiliki kemampuan dalam menyatukan motif-motif yang akan disulam dan hasil sulamnya pun rata-rata sudah mendekati kategori cukup.Kata Kunci: sulam, warna, komposisi.AbstractThis study aims to determine the accuracy of students in choosing the right color and composition in the embroidery work of free embroidery work of free embroidery techniques with flora and fauna motifs. As for the population used in this study were all students of class VIII-7 junior high school 16 terrain with a sample of 3 students’ work using a random sampling technique. The research method used is descriptive qualitative by describing the work of embroidery that is examined and assessed based on predetermined fine art elements, namely color and composition. As a whole the ability of 16 field students in the field of embroidery is said to be quite good. Students already have the ability to unify the motif to be embroidered and results of embroidery are on average already close to the sufficient category. Keywords: embroidery, color, composition.
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Zhou, Jun Rong. "The Optimization of the Beam of High-Speed Computerized Embroidery Machine." Applied Mechanics and Materials 470 (December 2013): 381–84. http://dx.doi.org/10.4028/www.scientific.net/amm.470.381.
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The beam of embroidery machine vibrates more intensely and breakage rate goes higher when the spindle rotates at 850rpm and then the quality of product reduces drastically. One high-speed computerized embroidery machine with 20 heads manufactured by a company in Jiangmen was studied for the problem mentioned above. Dynamic performance analysis was conducted to the beam by analytical experiment and computation based on FEM through ANSYS. One improvement solution was proposed and theoretical verification to the optimized beam was processed. It provides a reference for the improvement on embroiderys structure and the development of new model in the future.
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Tahir, Hasan Riaz, Benny Malengier, Sanaul Sujan, and Lieva Van Langenhove. "Embroidery Triboelectric Nanogenerator for Energy Harvesting." Sensors 24, no. 12 (June 11, 2024): 3782. http://dx.doi.org/10.3390/s24123782.
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Triboelectric nanogenerators (TENGs) are devices that efficiently transform mechanical energy into electrical energy by utilizing the triboelectric effect and electrostatic induction. Embroidery triboelectric nanogenerators (ETENGs) offer a distinct prospect to incorporate energy harvesting capabilities into textile-based products. This research work introduces an embroidered triboelectric nanogenerator that is made using polyester and nylon 66 yarn. The ETENG is developed by using different embroidery parameters and its characteristics are obtained using a specialized tapping and friction device. Nine ETENGs were made, each with different stitch lengths and line spacings for the polyester yarn. Friction and tapping tests were performed to assess the electrical outputs, which included measurements of short circuit current, open circuit voltage, and capacitor charging. One sample wearable embroidered energy harvester collected 307.5 μJ (24.8 V) of energy under a 1.5 Hz sliding motion over 300 s and 72 μJ (12 V) of energy through human walking over 120 s. Another ETENG sample generated 4.5 μJ (3 V) into a 1 μF capacitor using a tapping device with a 2 Hz frequency and a 50 mm separation distance over a duration of 520 s. Measurement of the current was also performed at different pressures to check the effect of pressure and validate the different options of the triboelectric/electrostatic characterization device. In summary, this research explains the influence of embroidery parameters on the performance of ETENG (Embroidery Triboelectric Nanogenerator) and provides valuable information for energy harvesting applications.
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Ab. Rahman, Norhayati Ab Rahman, and Maizira Abdul Majid. "PERANAN DAN SUMBANGAN NIK RAHIMAH NIK IDRIS DALAM BIDANG SULAMAN KELINGKAN." Jurnal Pengajian Melayu 32, no. 1 (April 22, 2021): 69–88. http://dx.doi.org/10.22452/jomas.vol32no1.5.
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The ‘kelingkan’ embroidery is a traditional Malay art passed on from generation to generation. The art received the highest recognition from female nobility and aristocrats who wore it to important events in olden times. However, the art of embroidering ‘kelingkan’ faces extinction due to a decrease in demand from the community because of its high cost and shortage of skilled ‘kelingkan’ embroiderers. Moreover, there is a lack of reference materials and documentation of ‘kelingkan’; hence it is not widely known today. This paper, therefore, aimed to introduce a prominent ‘kelingkan’ practitioner from Kelantan named Nik Rahimah Nik Idris. The research delved into her role and contribution towards ‘kelingkan’ embroidery, specifically in Kelantan and Malaysia in general. Researchers conducted a literature review and then fieldwork to interview ‘kelingkan’ embroiderers. The results were then evaluated through content analysis. Findings showed that Nik Rahimah is indeed an important figure in the art of ‘kelingkan’ as she was a royal embroiderer, ‘kelingkan’ demonstrator, expert and promoter of the art in Malaysia and abroad. As such, she has made a significant contribution in upholding and preserving the art of ‘kelingkan’ embroidery. Keywords: role, embroiderer, kelingkan, Kelantan.
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Varyvonchyk, Anastasiia. "Ukrainian Traditional Embroidery in Clothes of the 50s of the Twentieth Century." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 236–43. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246844.
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The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.
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Brovarets, Tetiana. "Folklorism and Folklorization of Epigraphic Cross-Stitch Papers by the Bucha Artist Liubov Panchenko." Folk art and ethnology, no. 3 (September 30, 2023): 115–22. http://dx.doi.org/10.15407/nte2023.03.115.
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The artist Liubov Mykhailivna Panchenko (1938–2022) from Bucha, whose death was caused by the genocide organized by the russian occupiers in Bucha and shocked the Ukrainian public in the spring of 2022, is known primarily as a Sixties artist. The heyday of her talents occurred during the period of totalitarian pressure, which significantly hampered the artist’s career: the achievements of a bright personality who consistently opposed the Soviet government were naturally suppressed. However, some of her creative works based on Ukrainian folklore were not only published in the Soviet magazines, but also became firmly rooted in folk culture – at the turn of the second and third millennia. For example, these include Liubov Panchenko’s embroidery patterns based on Ukrainian song folklore plots. The patterns she developed can be classified as epigraphic embroidery schemes because they contained a verbal component - the opening lines of these songs. The song lines offered by the artist later became verbal formulas of epigraphic embroidery. Hence, the article is aimed at the demonstration of Liubov Panchenko’s contribution to the development of Ukrainian epigraphic embroidery of the mid to late 20th century to the early 21st century. The relevance of the study is determined by two important aspects at once: 1) as today very few people make parallels between the artist’s name and the embroidery schemes developed by her, it is necessary to trace the contribution of Liubov Panchenko to specific topics that were widely spread in folk culture; 2) as the phenomenon of epigraphic embroidery was typical primarily for the late 19th century through the first half of the 20th century, there is a need to highlight the development of the tradition of embroidering verbal folklore in the period between the just mentioned time period and the present (in recent years there have been trends towards the revival of this phenomenon). The results of the conducted research have shown that Liubov Panchenko’s epigraphic embroidery schemes went through a logical path of development of the author’s works, which were built on folklore (the basis was taken from oral song folklore), and later were folklorised (fixed in embroidered verbal folklore). The prospects for further study of this topic seem to us, in particular, to trace the features of modern folklore transformations of the plots embroidered according to the schemes of Liubov Panchenko.
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Kaur, Jasminder. "GANGAVATARAN THEME ON CHAMBA RUMAL." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 224–31. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.83.
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The needle art or embroidery was the famous time pass of Indian woman folk. Many of these home-grown techniques have taken a place in the larger canvass of Indian art. Chamba rumal of Himachal Pradesh is one of them. It is narrative theme & technique, and commands a special place in the Indian embroidery world. Chamba rumal is embroidered on off white cotton cloth with untwisted silk threads. Although we find two styles of embroidery in the Chamba valley, the classical one is the style famous in the art world with the name of Chamba Rumal. The classical style of the embroidery was developed under the patronage of Royal families of the Himachal Pradesh. This embroidery style and Pahadi painting developed parallel to each other. This is the reason that the scenes depicted on these Rumals have striking similarity with Pahadi paintings. There are many examples showing the alikeness and similar theme between Chamba rumals and Pahadi Paintings. A Chamba rumal with Gangavartaran theme alike to the Pahadi painting is in the collection of Bharat Kala Bhavan museum in Banaras Hindu University. This has the depiction of the famous story of Holy river Ganga’s flow from heaven to the earth on the request of King Bhagirath who did much of penance & austerities to bring Ganga on earth to get salvation for his forefathers.
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Martinez-Estrada, Marc, Bahareh Moradi, Raúl Fernández-Garcia, and Ignacio Gil. "Embroidery Textile Moisture Sensor." Proceedings 2, no. 13 (November 21, 2018): 1057. http://dx.doi.org/10.3390/proceedings2131057.
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In this work, two embroidered textile moisture sensors are presented. The sensors are based on a capacitive interdigitated structure embroidered on a cotton substrate with an embroidery conductor yarn composed by 99% pure silver plated nylon yarn 140/17 dtex. In order to evaluate the sensor sensitivity, the impedance of the sensor has been measured by means of a LCR meter from 20 Hz to 20 kHz on a climatic chamber with a sweep of the relative humidity from 25% to 65% at 20 °C. The experimental results show a clear and controllable dependence of the sensor impedance with the relative humidity. Therefore, this dependence points out the usefulness of the proposed sensor to develop wearable applications on health and fitness scope.
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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, silk weaving and embroidery were forms of art at the time of JamsheedPishdadi. Herodotus says that Xerxes wore embroidered clothes. Marco Polo refers to the art of Kerman's Pateh embroidery in his travelogue. Qajar era is called the renaissance of Iranian needlework. Different styles of needlework have been investigated in previous practical studies with reference to the regionswhere they are common and how they are used. Pateh embroidery is considered as a traditional art in Kerman. This form of needlework has been paid attention to since 1906 from economic, social and cultural perspectives and studied as a profession that can meet people's financial and aesthetic needs.
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Karoieva, Tetiana, and Valentyna Hrebenova. "Men’s Shirt in the Assortment of Embroidery Industry of Post-War Ukraine (1945–1949)." Folk Art and Ethnology, no. 2 (June 30, 2024): 58–67. http://dx.doi.org/10.15407/nte2024.02.058.
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The purpose of the article is to characterize the functioning peculiarities of the embroidery industry of post-war Ukraine (1945–1949) exemplified by men’s embroidered shirts produced by artistic artels in Vinnytsia. The archival fund of the Vinnytsia Interregional Artistic Industrial Union serves as the primary source base for the research. It is emphasized in the published work on the fact that after the Second World War because of the lack of money for the restoration of all industrial production, the Soviet government has relied on the manual labour of cooperative artisans to ensure the production of widely used items. In particular, the embroidery industry has to produce clothes. The dynamics of production volume growth, assortment, cost and geography of distribution of men’s shirts is shown within one regional union of artistic artels. Several factors contributing to their popularity in the USSR are revealed: a) since the planned economy in Ukraine has a fixed specialization in the embroidery industry, therefore its products are distributed throughout the Soviet Union; b) the annual production volume is quite significant; c) simplicity of cut and its cost-effectiveness have made shirts competitive against factory-produced goods; d) using precious fabrics (silk and marquisette) has made embroidered shirts prestigious; e) the aesthetic appeal and brightness of the products have diversified men’s wardrobe; f) the trendsetting role of Mykyta Khrushchev has influenced the party-Soviet nomenclature elite, as well as affluent individuals who can afford prestigious items. Men’s embroidered shirts are more popular at this stage than women’s.
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Plechko, Antonina, and Olena Denysevych. "BELIEFS ABOUT MIDDLE POLISSYA EMBROIDERY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 13(81) (May 26, 2022): 316–20. http://dx.doi.org/10.25264/2519-2558-2022-13(81)-316-320.
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The article deals with the specifics of the current state of existence of Central Polish beliefs about embroidery. Using the example of dialect texts collected by Field Research, the authors consider the symbolism of ornaments of Central Polish embroidery: plant, animal and geometric symbols; methods and objects of embroidery. To achieve this goal, analyze and summarize the materials of modern research on embroidery; to carry out a semantic analysis of ideas about folk embroidery in the traditional culture of Middle Polessya, the following tasks were set: to carry out a systematic description of the nomination of cultural texts related to folk embroidery, recorded in the middle Polissya dialect; to single out the material of the thematic group under study, to identify the main lexical and semantic groups; to determine the main motives that form the cultural texts of Middle Polissya beliefs about embroidery. The characteristic motifs of Central Polissya embroidery are determined: the motif of worship of the four elements, the motif of worship of plants, the motif of worship of animals, in particular birds. The material of the studied thematic group of vocabulary of Middle Polissya vyshyvka is classified, the main lexical and semantic groups (LSG) are identified: LSG names of persons engaged in embroidery; LSG names of attribute features of embroidery; LSG names of symbols of embroidery ornaments; LSG names of embroidery methods; LSG names of embroidery objects; LSG names of ritual actions related to embroidery and the like. The most extensive are three LSGs: within the LSG names of attribute features of embroidery, smaller subgroups of nomenclatures are distinguished: lexical-semantic MicroGroup (LSMG) names of colors of threads for embroidery, LSMG names of qualitative characteristics of embroidery; in LSG names of symbols of embroidery ornaments, there are also subgroups: LSMG names of plant symbols of embroidery, LSMG names of animal symbols of embroidery, LSMG names of geometric symbols of embroidery, etc. LSG names of ritual actions related to embroidery has a system of subgroups: LSG names of the embroidery process, LSG names of prohibitions related to embroidery.
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Slavinska, Alla, Oksana Syrotenko, Iryna Zasornova, and Oleksandr Zasornov. "CAPSULAL APPROACH TO SIGNIFICANCE OF ETHNIC EMBROIDERY IN FORMATION OF MODERN WARDROBE." International Conference on Technics, Technologies and Education, ICTTE 2019 (2019): 396–404. http://dx.doi.org/10.15547/ictte.2019.06.025.
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The problem of capsular method in forming of modern clothes on the basis of ukrainian basic embroidery was investigated. Theoretically proved composition of geometrical ornaments in combinations of tunes of the ornament. The schemes of transformations in modifications of variants of reports of ukrainian national embroidery were created. The investigation of isomorphic filling using the technique “cross” in ornaments in the style “modern” according to zones of usage was carried out. The capsules of representative clothes according to folk ornaments were developed. The algorithms of scaling the ornaments are created with the help of schemes of setting the ornament. As examples such pieces of clothes were used: dress, woman costume, family embroidered blouse.