Academic literature on the topic 'Metal thread embroidery'

Test Results on the Chemical Composition of the Embroidered Veil of the Jagiellonian University Collegium Maius Museum, inv. no. 3846/IVThe article presents test results on the chemical composition of the metal braid around silk thread and sheets used in the embroidery of the Armenian chalice veil stored in the Jagiellonian University Museum. The results show that metal elements were made of high-quality silver sheet.

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.

This study identified material properties through scientific analysis on Jikgeumdan(satin with gold threads) from Donggungbi-Wonsam and the gold threads used in the embroidery. The Donggungbi-Wonsam’s base of gold threads were estimated to have used mulberry fiber’s Korean paper(Hanji) because non-wood-based fibers were observed. The X-ray spectrometer showed that the Tongsuseulan of Donggungbi-Wonsam was a flat gold thread of pure gold and Jikgeumdan of flat silver thread of its Saekdong and Hansam. High sulfur levels were detected in the flat silver thread, which appeared to have formed silver sulfide by either manufacturing process using sulfur or conservation environment. he dragon insignia’s embroidery is also described as two types twisted gold threads; pure gold and alloying-gold and silver. while dragon insignia’s border line is decorated with a twisted gold thread of pure gold. In particular, it was investigated that adhesives such as an animal glue, a protein-based compound by gas chromatography mass spectrometry. Additionally, XRF and Raman spectroscopy analysis on the mixture substances between the metal surface and the base paper of gold threads identified talc and quartz in the gold threads and Seokganju(hematite) in the flat silver threads.

Abstract. Pasuruan is famous for top products of embroidery that are resulted by Small and Medium Industries. The production of embroidery has widely spread in all districts of Pasuruan Regency, particularly in Bangil District. Embroidery refers to ornaments attached on the clothes or other materials made by needle and thread. It also belongs to one of ornamental craft varieties (clothes accessory) which focuses on the beauty and competition of thread colors on the clothes as the media supported by a set of sewing kits (embroidery sewing machine) or computerized-embroidery sewing machine. The ornament of embroidery can use not only thread but also other materials such as metal pieces, pearls, beads, bird feather, and sequins. Planning and designing Embroider Centre are intended for providing a place of production and marketing upon craft products as well as supporting other activities such as the centre of promotion, information, and cultural education, which later on, it can become a tourism potential which is beneficial for developing the local and economy of Pasuruan society. The use of sustainable architecture theme in designing this building is expected to present a certain character or identity of facility and gallery. Besides, sustainable architecture also emphasizes on the surrounding environment such as conserving energy, working climate, respect for site, respect for user, and holistic. The designing process of building architecture was carried out through a series of stages beginning from project identification, precedent study, design program, design concept, and design development.Keywords: Embroidery, Embroidery Centre, Sustainable Architecture Abstrak. Pasuruan ini memiliki produk IKM yang menjadi produk unggulan yaitu bordir. Produksi bordir tersebar luas di seluruh Kabupaten Pasuruan, terutama di Kecamatan Bangil. Bordir merupakan hiasan diatas kain atau bahan- bahan lain dengan jarum jahit dan benang. Bordir juga bisa didefinisikan sebagai salah satu kerajinan ragam hias (untuk aksesoris busana) yang menitik beratkan pada keindahan dan kompetisi warna benang pada medium berbagai kain dengan alat bantu seperangkat mesin jahit (mesin jahit bordir) atau mesin jahit bordir komputer. Selain benang, hiasan untuk sulaman atau bordir dapat menggunakan bahan-bahan seperti potongan logam, mutiara, manik-manik, bulu burung, dan payet. Perencanaan dan Perancangan Sentra Bordir ini memiliki tujuan yaitu sebagai tempat produksi dan pemasaran hasil kerajinan serta adanya aktivitas lain diantaranya adalah pusat promosi, informasi, budaya edukasi sehingga nantinya mampu menjadi potensi wisata yang dapat memberi manfaat bagi pengembangan daerah dan ekonomi masyarakat diKabupaten Pasuruan. Penggunaan tema Arsitektur Berwawasan Lingkungan dalam perancangan bangunan ini diharapkan dapat menampilkan suatu karakter atau identitas dari fasilitas dan galeri itu sendiri, tidak hanya itu Arsitektur Berwawasan Lingkungan juga mengedepankan lingkungan sekitarnya meliputi conserving energy, working climate, respect for site, respect for user, holistic. Perancangan arsitektur bangunan dilakukan melalui serangkaian tahapan mulai dari identifikasi proyek, studi preseden, program rancangan, konsep hingga pengembangan rancangan.Kata Kunci: Bordir, Sentra Bordir, Arsitektur Berwawasan Lingkungan

Evening gown is one type of party dress that is divided according to the time of use, namely late afternoon or late evening. Evening gowns usually have more prominent characteristics than other types of party dress. Both of the model and decoration/garniture. The application of beads as an evening gown decoration is one way to impress a luxurious impression of evening party dress. Beads or in English called "beads" comes from the Middle English bede which means "prayer" (object of Worship). Because at first the beads were associated with occult things in previous religious ceremonies. Beads are usually made of stone, bone, wood, shell, glass, metal, and so on. The technique of stringing beads is known as beading embroidery. Beading embroidery is usually done by stringing beads on fabric using the help of a needle and thread. One of the techniques in making beading embroidery is the Cabochon technique. The term of Cabochon comes from French which means head, this term is often used for gemstones that have been polished so that it has a smooth round shape. In its development, the cabochon is decorated with small beads strung around a large gemstone which is likened to the head or center of this ornament..The study aims to 1) To apply the knowledge obtained from the course milineris accessories and Houte Couture as the basis in making milineris accessoires and garniture on the evening gown. 2) To introduce beading embroidery especially the cabochon technique as one of the alternative for garniture or ornament on the evening gown,and 3) To improve the student’s creativities in making garniture on the evening gown through making beading embroidery with cabochon technique. This kind of study is experimental study. The method used is the PBL (Project Base Learning) method. Namely learning methods that use projects / activities as a medium by conducting exploration, assessment, interpretation, synthesis, and information to produce various forms of learning outcomes.

The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique. In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead. Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools. This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original. My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques. Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction

The aim of this article is to introduce the Estonian goldwork tradition. In folk art, goldwork, or metalwork embroidery, has also been referred to as ‘tinsel embroidery’. It is a form of embroidery which uses different types of metal threads (containing gold, silver, copper, and other metals) and spirals, which are attached to the fabric using a fine thread. In the Estonian context, goldwork is a somewhat rarefied and narrowly-spread handicraft technique. In Estonia, goldwork played an important role in the decoration of church and military textiles. At the request of the Lutheran Church, goldwork was taught at the Department of Textile Design of the State School of Arts and Crafts between 1935 and 1940. In 1937, Aino Schmidt, an alumna of that institution, created several custom-made altar cloths, embellished with goldwork for the Kaarli Church in Tallinn. Rather than being made from velvet, as was typical at the time, the altar frontal and two lectern covers were made from white baize and embroidered with metal studs as well as with golden threads, spirals, and beads. Since the zeitgeist encouraged the young nation state to emphasise its uniqueness, it is understandable that ecclesiastical symbols were presented with simple traditional ornamentation and stylisation. After World War II, Estonia’s territory was incorporated into the Soviet Union, and churches came to be looked on with great disdain, thus the creation of church textiles and goldwork came to a halt. The creation of new textiles for churches resumed once more when Estonia regained its independence. Unfortunately, goldwork is no longer used in the creation of the textiles for the Estonian Lutheran Church and tapestry-weaving techniques are preferred instead. Nowadays there is no educational institution in Estonia where it would be possible to study the art of goldwork. Nor is there any master in Estonia who focuses on goldwork, nor anybody shaped by the local tradition from the beginning of the past century who would be able to teach the art of goldwork. And no instructions survive as to how goldwork was taught at the State School of Arts and Crafts. Since the teachers and the local master had a background in earlier traditions, it might be assumed that these instructions were mainly influenced by the Vienna and St. Petersburg schools. This article therefore mainly draws deliberately on the textiles that Schmidt created for the Kaarli Church in Tallinn; albeit the textiles have been ravaged by time. In addition, it is possible to draw on the knowledge and skills I have acquired while working under the guidance of Tatjana Kolosova (a representative of the English goldwork tradition) in Riga and the nuns at the Mount of Olives Convent of the Ascension of Our Lord in Jerusalem (representatives of the Moscow goldwork tradition). I singled out a pattern fragment where each technique used on the entire altar cloth was present. I paid close attention to the technology of the original artefact during the process of reconstruction. Although I did rely on modern possibilities in a few of the preparatory stages, traditional and time-consuming techniques were used while working on the reconstruction. Although my aim was to study the proper technique during the process of reconstruction and not to imitate the original, I did try to use as much as possible materials that were similar to the original. My so-called hands-on approach allowed me to conduct a more diverse study on old technical solutions, offering an opportunity to learn from the old masters without meeting them in person. The artefacts I examined, and which acted for me as the main means of communication with the past masters, were placed in a larger cultural framework and an overview concerning what is known about these masters has also been included in my study. The present study and reconstruction is an important step towards rediscovering goldwork techniques. Keywords: goldwork, goldwork embroiderer, altar cloth, church vestments, reconstruction

The Armenian Veil of the Jagiellonian University Museum RepertoryThe Jagiellonian University Museum stores an Armenian liturgical veil made of thin cotton fabric decorated with silk and metal thread embroidery. Before the veil came into the possession of the Museum in 1945, it had been stored in Schlesisches Museum für Kunstgewerbe und Altertümer in Wrocław which had previously purchased it from dr Dorothea Willers in 1936. The analysis of the inscription on the fabric gave the following results: the veil was a gift from townsfolk, probably from Chars (Moush province), for St John the Baptiser Monastery in Moush (in Taron, an ancient Armenian province). For Armenians the Monastery used to be one of the most frequently visited pilgrimage sites before it was destroyed during genocide in 1915. Some of its possessions were moved to Ejmiatsin and later to Moscow. There they got dissipated after the October Revolution and have never returned to their rightful owners. The veil shows the following iconography: an image of light ray-crowned Agnus Dei typical for Armenian chalice veils, Salvor Mundi image of enthroned Christ, images of St Stephen and St John the Baptiser widely worshipped in the Armenian Church, and St Hripsime. The form is typical for Eucharist-themed Christ images (the chalice and Arma Christi symbols). Stylistically, the embroidery reflects the Eastern Armenian art characteristic in its decorative and ornamentation qualities. There are formal parallels between the veil and Armenian chalice veils from the 19th century, which allows to date the Jagiellonian Museum veil at that century.

This article illustrates and describes in detail a fine central European chasuble of the late c17 which, together with two dalmatics, ‘The Fetternear Vestments,’ were bequeathed to the Diocese of Aberdeen, in 1921 by the Leslie family, many of whom had been distinguished soldiers on the continent and especially in the Empire. After some contextual discussion of the alleged origins of the Leslie family and of their success in Imperial service, the article examines the traditional belief that the vestments, now at the Blairs Museum, Aberdeen, were made for Count James Leslie (c.1621-1694) partly out of Turkish textiles captured in 1683 at the Siege of Vienna. Detailed analysis of the embroidery on the chasuble, especially of the use of metal thread and ‘plate,’ demonstrates that the gold work is indeed of Turkish origin, the rest of the needle work central European, and thus makes the case that this extraordinary hybrid object is indeed a votive vestment made for the Catholic Leslies partly from captured Turkish work.

In this paper I investigate the emotional benefits of textile crafts in general and embroidery in particular. How can embroidery be used to express love and care for others? Can embroidery be used as a therapeutic tool? Using my own embroidery project Flower heart as a starting point, my research goes into craft as a manifestation of love, from handmade gifts in the 18th century to contemporary art, and crafting as a therapeutic medium, from rehabilitation of soldiers after WW1, to a recent study on 92 Finnish craft makers. My material is based on research on (textile) craft, research on occupational therapy, interviews with contemporary embroidery artists Michelle Kingdom, Alexandra Drenth and Willemien de Villiers, as well as my own experiences with the project Flower heart. My conclusions are that there are many emotional benefits to textile crafts. Our crafts can comfort us from sorrow, help us deal with pain, both physical and mental, make us connect to one another, provide meaning to our lives, anchor us in the present and live on long after we are gone as a manifestation of our lives and our love.