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Relevant bibliographies by topics / Medieval Embroidery

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Academic literature on the topic 'Medieval Embroidery'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Medieval 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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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could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents.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.

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Pritchard, Frances. "English Medieval Embroidery: Opus Anglicanum." Textile History 48, no. 2 (July 3, 2017): 286–87. http://dx.doi.org/10.1080/00404969.2017.1379762.

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Labarge, Margaret Wade. "Stitches in Time: Medieval Embroidery in its Social Setting." Florilegium 16, no. 1 (January 1999): 77–96. http://dx.doi.org/10.3138/flor.16.008.

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Embroidery was an important decorative element in medieval art, known to exist but often overlooked. The surviving examples of the extraordinarily beautiful works created by the elegant stitches of a multitude of mostly unknown embroiderers over the centuries tend to be casually admired but intellectually overlooked. This survey does not deal with the techniques and methods of medieval embroiderers, but endeavours to draw attention to the place of embroidery as an overlooked component of medieval social history.

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Petroviciu, Irina, Emanuela Cernea, Iolanda Turcu, Silvana Vasilca, and Ina Vanden Berghe. "Natural Dyes in Embroideries of Byzantine Tradition, the Collection of Embroidered Aëres and Epitaphioi in the National Museum of Art of Romania." Heritage 7, no. 6 (June 11, 2024): 3248–75. http://dx.doi.org/10.3390/heritage7060153.

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The medieval textiles collection of the National Museum of Art of Romania (MNAR) has been in place since 1865 and nowadays preserves about 1000 medieval and pre-modern weavings and embroideries. These extremely valuable objects, dated between the 14th and the 19th centuries, are mainly religious embroidered garments and veils with special significance in the Byzantine li-turgy. Ecclesiastical embroideries of Byzantine tradition are characterized by a complex technique: metallic threads with a silk core, metallic wires and coloured silk threads are couched over padding on layers of silk and cellulosic supports so as to create relief through light reflection. The silk sup-ports and the sewing threads are coloured, mainly in red, blue, green and yellow hues, and analytical investigations of the dyes used in embroideries preserved in the MNAR, in the Putna and Sucevița Monasteries, have been released in previous studies by the corresponding author. The present work continues the approach with research into dyes in about 25 aëres and epitaphioi from the MNAR collection. Considering their privileged function in the liturgical ritual, these luxurious pieces embroidered with silver, gilded silver or coloured silk threads and decorated with pearls, sequins or semi-precious stones are the most faithful description of the stylistic and technological evolution of the art of post-Byzantine embroidery in the Romanian provinces. The data resulting from the present research will improve the knowledge regarding this topic. Dye analysis was performed by liquid chromatography with diode array detection, while fibres were characterized by infrared spectroscopy (with attenuated total reflectance) and optical microscopy. The biological sources identified—carminic acid-based dyes, redwood, dyer’s broom, weld, indigo-based dyes––will be discussed in correspondence with their use in the embroidery technique: support, lining and embroidery threads, together with other sources previously reported on Byzantine embroideries in Romanian collections, and in similar objects preserved at Holy Mount Athos.

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Kristjánsdóttir, Steinunn, and Guðjón Þór Erlendsson. "Ólöf the Rich and a Cloth from Svalbarð, Iceland." Religions 14, no. 4 (April 21, 2023): 559. http://dx.doi.org/10.3390/rel14040559.

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About fifteen illustrated cloths have been preserved from medieval times in Iceland. One of them is an antependium from Svalbarð church on Svalbarðsströnd. The embroidered iconography on it is believed to depict the story of John the Apostle, who was the patron saint of the Svalbarð church. Upon closer inspection, the cloth appears to have been cut from a larger cloth, most likely a wall-hanging, in order to be used as an antependium. Moreover, the story that is embroidered on it seems to be related to secular people, because none of those appearing on it have halos around their heads, but halos are generally used in iconography to differentiate sanctified people from seculars. In this article, this discovery is discussed, and a theory that the embroidery shows the story of the most prominent woman of medieval Iceland, Ólöf the Rich, is proposed.

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Линжи, Б., and Д. Ульзийбаяр. "Khorchin embroidery of Inner Mongolia." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 26–33. http://dx.doi.org/10.46748/arteuras.2024.01.002.

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В статье рассматривается традиция вышивок, получившая развитие у монгольского племени хорчинов и представляющая собой уникальный образец ремесла средневековых и современных монголов. На протяжении длительного периода своего существования она вобрала в себя уникальные особенности среды обитания и образа жизни, а также исторические традиции, культуру и обычаи этого народа. Изучение творческого наследия хорчинов имеет огромное значение для развития и модернизации традиционного искусства монгольской вышивки в современной жизни. Исследуются основные техники выполнения вышивок, типы узоров и их семантика, а также принципы колористической организации, позволяющие достичь редкой по красоте цветовой гармонии изображения ткани. Показано, что традиции, некогда сложившиеся в среде хорчинов, получают развитие в современных народных промыслах, существующих во Внутренней Монголии. The article considers the tradition of embroidery developed by the Mongolian Khorchyn tribe. This is a unique example of the craft of the medieval and modern Mongols. Over the long period of its existence, it has incorporated the unique features of their habitat and way of life, as well as historical traditions, culture, and customs. The study of the artistic heritage of the Khorchins is of great importance for the development and modernization of the traditional art of Mongolian embroidery in modern life. The text discusses the study of embroidery techniques, types of patterns and their semantics, as well as the principles of colouristic organization to achieve a rare beauty colour harmony of the image. It highlights the development of Khorchins' traditions in modern Inner Mongolian folk crafts.

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Lavesa Martín‑Serrano, Asunción. "The Sábana de Santa Eufemia from the cathedral of Ourense. A healing tissue." Cuadernos de Prehistoria y Arqueología, no. 46 (December 17, 2020): 287–99. http://dx.doi.org/10.15366/cupauam2020.46.012.

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This paper is a report of the first archaeological research ever carried out on the so?called “Sábana de Santa Eufemia”. It is a very well?preserved embroidery in white from the reliquary of Saint Euphemia in the Cathedral of Ourense (Galicia, Spain), which is currently kept in the Cathedral Museum. The textile shows a very lavish decoration formed by an array of motifs taken from different cultural traditions. This point leads to think it was made in post?medieval times by someone who was familiar with medieval cloths of honour which were probably part of the Cathedral Treasury.

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Balta, Zizi Ileana, Ioana Demetrescu, Irina Petroviciu, and Mihai Lupu. "Advanced Micro-chemical Investigation of Golden Threads from Romanian Byzantine Embroideries by Micro-Particle Induced X-ray Emission (micro-PIXE)." Revista de Chimie 70, no. 6 (July 15, 2019): 1956–59. http://dx.doi.org/10.37358/rc.19.6.7253.

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In the present study, golden threads from two, apparently identical, medieval epitrachelions considered masterpieces of the Romanian Byzantine embroidery art, were investigated by using Micro-Particle Induced X-ray Emission (micro-PIXE) and optical microscopy. PIXE measurements allowed to accurate identify the elemental composition, distribution of the trace elements, the layered structures (depth profiling) and thicknesses of the gold layer. Useful information for the characterization of the gilded silver threads due to elemental maps concerning the constituent elements spatial distribution in the sample was also obtained.

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Le Luel, Nathalie. "Embroidering the Life of Thomas Becket during the Middle Ages: Cult and Devotion in Liturgical Vestments." Arts 11, no. 4 (July 27, 2022): 73. http://dx.doi.org/10.3390/arts11040073.

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From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church.

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Dissertations / Theses on the topic "Medieval Embroidery"

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Randles, Sarah Elspeth Mary. "The Tristan legend in medieval narrative embroidery." Phd thesis, 2007. http://hdl.handle.net/1885/151346.

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Books on the topic "Medieval Embroidery"

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Swain, Margaret H. Scottish embroidery: Medieval to modern. London: Batsford, 1986.

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Norton, Elizabeth. Embroidery in Anglo-Saxon England. Lancaster: Elizabeth Norton, 1995.

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Franzén, Anne Marie. Prydnadssömmar under medeltiden. Stockholm: Kungl. Vitterhets historie och antikvitets akademien, 2012.

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Brakel, Justine J. Bijdrage tot de geschiedenis van de laat-gotische goudborduurkunst in de zuidelijke Nederlanden: De groene kazuifel van de St.-Petruskerk te Leiden. Sint-Niklaas [Belgium]: Culturele Kring Boudelo, 1995.

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Krefeld, Deutsches Textilmuseum, and Fachhochschule Köln. Zentrum zur Erforschung antiker und mittelalterlicher Textilien, eds. Reiche Bilder: Aspekte zur Produktion und Funktion von Stickereien im Spätmittelalter. Regensburg: Schnell & Steiner, 2010.

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Salazar, Kim Brody. The new Carolingian modelbook: Counted embroidery patterns from before 1600. Albuquerque, NM: Outlaw Press, 1995.

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Beer, Richard de. Middeleeuwse borduurkunst uit de Nederlanden. Utrecht: Museum Catharijneconvent, 2015.

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Statens, historiska museum (Stockholm Sweden). Skatter i textilkammaren =: Textile treasures. Stockholm: Statens historiska museum, 1987.

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Gagliardi, Giannino. Il piviale di Ascoli. Ascoli Piceno [Italy]: G.G. Editore, 1990.

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Andreevna, Mai︠a︡sova Natalii︠a︡, Gosudarstvennye muzei Moskovskogo Kremli︠a︡, and International Congress of Byzantine Studies (18th : 1991 : Moscow, Russia), eds. Medieval pictorial embroidery: Byzantium, Balkans, Russia : catalogue of the exhibition XVIIIth International Congress of Byzantinists, Moscow, August 8-15, 1991. Moscow: The Moscow Kremlin State Museums Publishers, 1991.

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Book chapters on the topic "Medieval Embroidery"

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Papastavrou, Elena. "Osmosis in Ottoman Constantinople: The iconography of Greek church embroidery." In Medieval and Post-Medieval Mediterranean Archaeology, 205–30. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.mpmas-eb.5.120559.

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Randies, Sarah. "‘The Pattern of All Patience’: Gender, Agency, and Emotions in Embroidery and Pattern Books in Early Modern England." In Authority, Gender and Emotions in Late Medieval and Early Modern England, 150–67. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137531162_9.

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"medieval embroidery." In The Fairchild Books Dictionary of Textiles. Fairchild Books, 2021. http://dx.doi.org/10.5040/9781501365072.09998.

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Sanders, Andrew. "Medieval Literature 1066—1510." In The Short Oxford History of English Literature, 28–82. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198711575.003.0003.

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Abstract Strictly speaking, the Bayeux Tapestry, which provides the most vivid pictorial record of the events leading up to the conquest of England by the Normans, is not a tapestry at all. The 70-metre long embroidery, known in the Norman cathedral city of Bayeux as ‘the tapestry of Queen Matilda’, is equally unlikely to be the painstaking work of the wife of William the Conqueror. Long before the Conquest, and long after it, England was famed for the intricacy and brilliance of its needlework. The great narrative hanging was probably the result of a celebratory, and possibly enforced, commission to English needle women to mark both the Norman victory of rn66 and the consecration of the cathedral at Bayeux in 1077 by its bishop, William’s half-brother Odo. After the conquest Odo had been rewarded by William with large estates in England and with the title Earl of Kent. He later acted, with some ruthlessness, as the King’s viceroy in the north of England. Odo’s periodic and prominent appearances on the tapestry as William’s counsellor, as the blesser of food at a banquet on English soil before the battle of Hastings, and as the armed wielder of a great wooden staff in the battle itself (clerics were forbidden to carry swords), suggest that he at least would not have found it inappropriate to decorate his new cathedral with an embroidered commemoration of his brother’s famous victory.

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Lee, Christina. "Embroidered Narratives." In Feminist Approaches to Early Medieval English Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721462_ch02.

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This essay discusses the significance of embroidery in the culture of Early Medieval England. Largely the work of women, such objects have been understudied in the cultural, religious and economical history of the period. The essay argues that this omission is partly based in gender stereotypes which have favored some material culture over these remains. The essay discusses some of the remaining artefacts, as well as the significance of textiles as objects in gift-giving contexts.

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"Early medieval embroidery production in the British Isles." In The Lost Art of the Anglo-Saxon World, 101–40. Oxbow Books, 2019. http://dx.doi.org/10.2307/j.ctv138ws2t.9.

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Sykes, Katharine. "Speculum of the Other Woman." In Symbolic Reproduction in Early Medieval England, 143–89. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191933325.003.0005.

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Abstract This chapter explores the ways in which monastic households in the tenth and eleventh centuries adapted the rhetoric of spiritual maternity that had been developed in the seventh and eighth centuries to new ends. In contrast with scholarship that views similarities between hagiographical accounts of early female saints as evidence of the transmission of fragmentary knowledge via maternal genealogies, I suggest that these patterns help to shed light on practices of embroidery, forgery, and mimicry in the tenth and eleventh century that were designed to reinforce a community’s claims to the lands and relics of a virginal founder figure.

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"Cypriot Gold Thread in Late Medieval Silk Weaving and Embroidery." In Deeds Done Beyond the Sea, 121–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315576220-16.

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Coatsworth, Elizabeth. "8 “A formidable undertaking”: Mrs. A. G. I. Christie and English Medieval Embroidery." In Medieval Clothing and Textiles 10, 165–94. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782042778-012.

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Phillips, Sarah. "The pig in medieval iconography." In Pigs and Humans. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199207046.003.0032.

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Representations of the pig can be found in a wide variety of visual material worldwide, and throughout time. The term ‘pig’ is used here as a general term to cover all domestic and wild forms of Sus scrofa (where relevant and possible precise distinction between these forms will be specified). The images that exist, vary in terms of the form or shape of the pig, the representation of its characteristic features according to sex (male–boar vs female–sow), form (domestic or wild), age (adult pig or piglet), or physical characteristics (i.e. snout, tusks, tail, trotters, hair and hide coloration, razorback, and bristles). A visual appreciation of different living forms can be found in works such as Burnie (2001) or Buczacki (2002). This chapter is concerned with the creation and use of visual images of the pig. It offers a selection of materials dating in range from the medieval to the early modern period and will cite selected examples to represent continuity or change in the use of images where appropriate. The materials providing representations of the pig include (but are not exclusive to) illuminated manuscripts, prints and posters, engravings and drawings on either parchment or paper, canvas paintings, stained and painted glass, wood carvings, embroidery and textiles, stonework, moulded or cast metal, ceramic wares, and figurines. Exclusive porcine works discussing this iconography include those by Foster (1977), Ryba (1983), Brochier (1988), Bonera (1991), and Lawson (1995). In addition to depictions of pigs, functional and decorative and artistic uses were also found for the inedible body parts of real pigs such as the tusks appearing in visual cultural materials reflecting the precious value of the animal by some people. The main approach of this paper is thematic in order to emphasize how visual representations of the pig have had associations with filth, shame, lust, fantasy, care and consumption, inspiration, and human identity. Many assumptions have been made about the relative importance of the sources of inspiration drawn upon for the creation of particular images or motifs in the surviving media, and the availability of these to their creators (for a discussion on the practice of artistic transmission during the Middle Ages, see Scheller 1995).

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