Art Of Weaving Research Articles

فن التجهيز في الفراغ من خلال اثراء الابعاد التشکيلية للنسجيات اليدوية المجسمة بأسلوب السلال

توجد علاقة وطيدة بين فن النسيج وفن السلال ،حيث يقوم مجال النسيج علي تعاشق خيوط طولية تسمي خيوط السداء مع خيوط عرضية تسمي خيوط اللحمة،اما فن السلال يقوم ايضا علي تعاشق خيوط السداء مع خيوط اللحمة وهنا تاتي العلاقة بين فن السلال وفن النسيج،حيث يتم توظيف هذه الحرفة بشکل جمالي في المشغولات النسجية لعمل اعمال مجسمة ثلاثية الابعاد يمکن استخدامها في تجهيز الفراغ . وتعتبر صناعة السلال في مصر من الصناعات القديمة والتي لاقت تفوقا من حيث الدقة والجمال والتنوع وخاصه في المناطق الريفية حيث تتوفر موادها الاولية من الخامات وقد اشتهرت بعض المناطق بنصاعة السلال المختلفة لتوافر الخامات بها مثل منطقه رشيد وادکو والفيوم غير ان معظم انتاجها ينحصر غالبا في المقاطف والقفف التي تستخدم في حفظ الطعام او الثياب او الحبوب والقليل من السلال التي غالبا ما تصنع من البوص لأعمال المشتروات .لقد حدث تطور في هذه الصناعة في مجال استخدام السلال لأعمال الديکور والتزيين الداخلي. ومن خلال دراسة الباحثة لخصائص اتجاهات فنون ما بعد الحداثة ( فن التجهيز في الفراغ installation art ) فإن البحث يحاول الإفادة منها في إيجاد مداخل متعددة لإثراء الأبعاد الجمالية والتشکيلية للنسجيات اليدوية بأسلوب نسيج السلال . لذلک القي البحث الضوء علي الابعاد الجمالية والفنية لفن التجهيز في الفراغ وتطبيقاته في مجال النسيج اليدوي للحصول علي نسجيات مجسمة بأسلوب السلال . وکيف يمکن الاستفادة من فکر وفلسفة فن التجهيز في الفراغ لتحقيق مداخل جديدة لإثراء الأبعاد التشکيلية للنسجيات اليدوية بأسلوب نسيج السلال . Research Summary There is a close relationship between the art of weaving and the art of weaving, where the field of weaving is based on the intercourse of longitudinal strings called warp yarns with transverse strings called weft yarns. Aesthetic use of this craft in weaving crafts to create three-dimensional stereoscopic works that can be used in preparing the space. The basketry industry in Egypt is considered one of the old industries, which have achieved excellence in terms of accuracy, beauty and diversity, especially in rural areas where raw materials are available. Which is used for preserving food, clothes or grains, and a few baskets that are often made of fine woven fabric for purchases. There has been an evolution in this industry in the field of using baskets for decoration and interior decoration works. Through the researcher's study of the characteristics of postmodern arts trends (installation art), the research tries to benefit from them in finding multiple approaches to enrich the aesthetic and plastic dimensions of hand weaving in the style of basket weaving. Therefore, the research shed light on the aesthetic and artistic dimensions of the art of processing in space and its applications in the field of hand weaving to obtain stereoscopic tapestries in the style of baskets. And how can we benefit from the thought and philosophy of the art of processing in space to achieve new approaches to enrich the plastic dimensions of handmade weaving in the style of basket weaving٠

Is This Just Fantasy?

Is This Just Fantasy? Stacey Alex (bio) Woven in Moonlight Isabel Ibañez Page Street Kids www.pagestreetpublishing.com 400 Pages; Print, $10.99 For its engagement with cultural identity, the history of Latin American colonization, and contemporary Bolivian politics, Isabel Ibañez’s debut novel, Woven in Moonlight, is an exciting addition to the realm of YA fantasy. From page one, Ibañez creates a sense of urgency in the fictional land of Inkasisa with strong, capable women at the wheel. Having been overthrown by the indigenous Llacsans, the formerly elite Illustrians are forced to retreat to a magically protected keep and face starvation. Tension builds between the royal Condesa Catelina and her decoy, Ximena, as Ximena holds the authority to make decisions for which the the Condesa is held responsible and she feels the Condesa is too eager to please the public. Word arrives that their general, Ana, has been taken captive by the Llacsans and can only be saved if the Condesa marries the Llacsan King Atoc. Ximena has just weeks of wedding preparations to impersonate the Condesa in the Llacsan-controlled castle and plan a revolution. What ensues is a masterfully crafted story of a young woman determined to restore power to her people but challenged to reexamine her prejudices and worldview. Ibañez exquisitely incorporates Andean culture, Quechua, and Spanish to build a binary between Illustrians and Llacsans that the protagonist learns to question. The Illustrians pray to the moon goddess, Mama Killa, while the Llacsans worship the earth goddess Pachamama and the sun god Inti. The olive-skinned Illustrians wear white while the bronze skinned Llacsans wear bright colors and repaint the city surfaces with lush greens and murals. Ximena’s potential for bridging this cultural binary grows from affectionate memories [End Page 10] of her Llacsan nanny who taught her the Llacsan art of weaving. The loom, at first used to relay secret messages back to her Condesa, provides her first taste of culture shock with Llacsan norms, and eventually empowers Ximena to fully realize her magical abilities to create animated woolen animals that become her protectors. At a time when young readers are learning to flex and stretch their cognitive muscles, young adult literature often invites them to reshape the categories for understanding the realities that they have inherited. Readers may grapple along with Ximena’s internal struggle as the Llacsan people she meets challenge what she believes about the Llacsan people. Their kindness creates a cognitive dissonance that permits Ximena to recognize multiple cultural histories and the dehumanization caused by colonization. Her Llacsan maid’s Quechua name, Suyana, means “hope” and points to the transformative power of their human connection. Ximena learns that her guard, Juan Carlos, has a Castilian name because he is a mestizo, of both Castilian and indigenous heritage. This discovery works to further disrupt her binary understanding. When confronted by Rumi, a healer, about the mistreatment of Llacsans under Illustrian rule, Ximena clings to her own preconceptions: The Llacsans were never mistreated. It was their choice to stay up by the mountain, their choice to hold on to their old ways and not embrace the future. The Illustrian queen wanted them to assimilate. She wanted a unified country, and they ungratefully protested her rule. While Ibañez expressly draws on the marginalization of indigenous groups in Bolivia, readers in the United States from a wide variety of minoritized groups may hear their histories described in this racist mythology. Ximena steels herself to not care “un pepino” about the Llacsans and focuses instead on finding a magical relic capable of destroying them. Yet, as she is expected to take part in daily life in the castle, she is afforded unique position of an outsider experiencing an insider’s life and point of view. For example, she is asked to imagine what it must have been like for Llacsans to be prohibited from attending school. The elite Illustrians also continue to control the water supply and withhold it from Llacsans, perhaps alluding to the long struggle over natural gas in Bolivia and public rejection of its privatization. Slowly, Ximena begins to realize the role her own people...

Socratic Dialogue as Kairotic Logos

Abstract. The article is dedicated to the Soctatic dialogue as a genre of Ancient philosophical literature, represented by the so-called Socratics. The masterpieces of this type of composition are the dialogues of Plato. A special feature of the following research is that the Socratic dialogue is being treated in the light of one of the most intricate concepts of Ancient Philosophy – kairos. Its meaning is especially obscure since being present in various contexts such as poetry and prose compositions it has no special definition. In the article the concept of kairos is being reconsidered. This new interpretation is based on the original affinity of the kairos with the art of weaving, which, in its turn, is considered as paradigm of the art of interweaving of logoi and dramatic composition

Unveiling the indigenous art and craft of bakat and its economic significations

PurposeThe purpose of this paper is to unveil the intricacies of bakat art of weaving; its origin; processes; uses; primary materials and principles used; the profile of the weavers; and its economic significations in the system of production and trade.Design/methodology/approachThe study used a descriptive–qualitative design with 35 key informants using narrative analysis. The unstructured questions listed in the interview guide were used during the interview. Responses were recorded using an audio–video recorder. Coding sheets were used in the actual transcription of data.FindingsThe results showed dependency on the bakat art of weaving with the available resources found in the environment. Its economic significations showed a sustainable impact on the weavers’ life. The bakat art of weaving represented the values of resiliency to hardships, adaptability to changes, passion to craftsmanship, sense of community and family centeredness. Aspiring craftsmen and artists may enhance continuously their craftsmanship for sustainable development with government support through the creation of the School of Living Traditions.Research limitations/implicationsThe study was limited to bakat art of weaving based on the responses of the key informants that were subjected to a point of saturation without sacrificing robustness, brevity, credibility and dependability.Practical implicationsThough the economic side of bakat art of weaving is sustainable within the village, it can create a powerful branding for cultural recognition that would transform the town of Barili into a creative weaving hub in Cebu. This creates the balance of the historical significance of bakat art of weaving and the tourism sector in promoting sustainable development.Social implicationsBakat art rekindled the spirit of consciousness among the majority of the Cebuano public for preservation and promotion.Originality/valueThe study is original because this has not been published.

An Aesthetic Review of New Mothers as the Ultimate Weaver: Achieving a Harmonious Integration of Prevalent Discourses and Lived Experience

ABSTRACTExperiences in new motherhood are influenced by popular sociological discourses and ideologies. The narratives promoted in these discourses may or may not fit with the subjective experience of the mother. Lacking experience in motherhood, the new mother may misguidedly accept these mainstream discourses and ideologies as standard. The process of adapting and blending sociological narratives to fit with lived experience is similar to the art of weaving. This article, an original argument grounded in relevant literature, explores how new mothers can develop a balanced weave of popular social discourse and her subjective experience by: accepting motherhood as a creative process, being aware of the powerful influence of social constructs on her perceptions, and recognizing the influence of her body/biology on her lived experience. The aesthetic narrative of the spider, the ultimate weaver, accompanies the research presented. Complementary art therapy interventions such as weaving, art boxes, and dolls are discussed.

ARQUITECTURA INCA A TRAVES DE SUS TEXTILES PERU– FAUA/UNI

Proponemos una mirada a los textiles incas como soporte planímetro de su territorio e inducir a reflexionar sobre las probables aplicaciones de los textiles incas en arquitectura y poner en evidencia a los ojos de los diseñadores, arquitectos e ingenieros, la hipótesis del valor y aplicación de los textiles incas en la representación planimetría de la tridimensionalidad del mundo material como lo concebían. Ensayar ideas sobre los usos del arte de los telares y su influencia en la arquitectura Inca. Utilizar este conocimiento milenario es un instrumento de inspiración de los futuros arquitectos. Palabras clave.- Arte textil inca, Arquitectura, Revalorar tecnología textil originaria, Reflexión estética textil, Aplicación actual como inspiración. ABSTRACTWe propose a look at incas textiles and planimetric support of its territory an Inducing reflection on the possible applications of textiles in architecture incas, and bring out the eyes of designers, architects and engineers with the hypothesis of the value and application of incas textiles in representing three-dimensional surveying of the material world as conceived. Test ideas about the uses of the art of weaving and its influence on Inca architecture. Use this ancient knowledge an instrument of inspiration for future architects. Keywords.- Inca textile art, Architecture, Textile technology reassessment, Aesthetic reflection textile, Current application as inspiration

Discourse, Dialectic, and the Art of Weaving

This paper explores way in which art of weaving, as it is initially presented in Plato's Statesman, serves to configure both fundamental character of discourse and limit experience of discourse for Plato. The problem that arises in relation to this configuration pertains to possible unity of discourse (and with it acquisition of knowledge). In relation to hermeneutics ofHans-Georg Gadamer and his reading of Plato, it is argued that unity of discourse follows the arithmos structure of logoswith its distinctive dialectical character. It is concluded that this character expresses finitude of knowing in which oppositions remain in tension.

THE RULE OF REASON IN PLATO'S STATESMAN AND THE AMERICAN FEDERALIST

The Federalist, written by “Publius” (Alexander Hamilton, John Jay, and James Madison) in 1787-1788 in defense of the proposed constitution of the United States, endorses a fundamental principle of political legitimacy: namely, “it is the reason of the public alone, that ought to control and regulate the government.” This essay argues that this principle—the rule of reason—may be traced back to Plato. Part I of the essay seeks to show that Plato's Statesman offers a clearer understanding of the rule of reason than his more famous Republic, and it also indicates how this principle gave rise to the ideal of constitutionalism, which was adopted and reformulated by Aristotle, Polybius, and Cicero, as well as moderns including Locke and Montesquieu. Part II argues that The Federalist agrees with Plato when it argues that popular sovereignty must be tempered by the rule of reason. A proper distance should be maintained between the people and the actual exercise of power in order that political decisions be based on reason rather than passion. The people must therefore act through a federal system divided between national government and state governments, and these governments must themselves possess separated powers which control each other by means of checks and balances. Indeed, federalism itself may be viewed as a modern counterpart of Plato's “art of weaving,” which unites naturally disparate and opposed parts of the city-state into a concordant whole. In declaring, “If men were angels, no government would be necessary,” The Federalist concedes that politics is the art of the possible. But statesmanship is not an exercise in pragmatism devoid of principles. Here “Publius” shares Plato's vision of politics as a “second sailing,” that is, an attempt to approximate the ideal of rational governance as far as possible in ordinary politics.

Weaving Plaids Based on (a ± b)2

The mathematical basis of weaving designs can be explored by middle-grades students from a variety of traditional perspectives—symmetry, reflections, number patterns, and ratios. However, one unique interaction between weaving pleasing designs and mathematics that was explored in the 1940s and 1950s by Ada K. Dietz offers students a different perspective on the interactions between mathematics and the art of weaving.

Winnie the Weaver

Winnie the Weaver Wilma P. Elkins Winnie Day Spring, summer, fall, or winter, no matter what the season, Winnie Day could be found at her loom weaving beautiful cloth for towels, coverlets, baby bibs, aprons, pillow tops, drapes, skirt material ... the list goes on. For more than seventy years, the rhythmic movement ofthe treadles to form the pattern, the sound of the shuttle as it pressed the threads together to form the cloth, could be heard from her home on Sam's Branch, a narrow valley in the beautiful hills of Knott County in southeastern Kentucky, where Winnie and her family have lived since 1921. Winnie Pigman was born on October 20, 1901, at Ivis, Kentucky, the seventh of ten children of Wilburn and Mary Belle Smith Pigman. Wilburn was a farmer and a teacher, Mary Belle a homemaker and weaver. She was taught how to weave by her mother, Susannah Hamilton. Allen H. Eaton, in Handicrafts ofthe Southern Highlands, lists Mary Pigman of Ivis, Kentucky, as one of the native weavers who gave indispensable help in the early days of the revival of handicrafts. The author, a Bereagraduate, is a retired teacher/educator now living in Lexington, Kentucky. She is a niece of Winnie Day. 39 Winnie followed in the footsteps ofher grandmother and mother and became a true artist in weaving. She was a quiet child who could often be found watching her mother work at her loom. Her formal education was at Jones Chapel and at Mallie, both small schools in Knott County. She enjoyed her school work and playing with her friends at school. At the end of the school day she helped with the chores, of which there were many for a large family living on a small farm. Also, she spent time at the loom learning to weave. By age ten, she had begun to help in the making of the woven products which were used at home as needed and were also sold to supplement the family income. Her loom was built for her by her brother, Dewitt Pigman. When Winnie was seventeen she went to Berea to develop more skills. Berea was then and remains today a center for handicrafts with emphasis on woven cloth products. At Berea she did weaving at Fireside Industries . (Years later, daughter Pauline attended Berea College and wove at Fireside Industries.) Her teacher was Anna Ernberg, a Swedish lady who was brought to Berea to revive the art of weaving and crafts at Berea College. Mrs. Ernberg marveled at the skill and talent Winnie displayed in her work. Not only was she an expert weaver, but she was adept at the preparation process: the carding of wool, the spinning, the dyeing (she often used natural products such as walnut hulls and sumac for making dyes), dressing the loom, and making the bobbins. She admits that she wasn't especially fond of the preparation process; her interest was in making the cloth. Later, the thread—woolen, cotton, or linen— could be bought commercially. Winnie could look at an object or a picture, then make a pattern to use in the designs. While at Berea, she came upon a picture of a pine tree which she thought would make a pretty design on her towels and scarves. She developed the pattern which became her signature on many pieces of her work. During her stay at Berea, the weaving was done at the Log Palace, later officially named the Log House, which Berea College still uses as sales rooms for Berea arts and crafts. Following her stay in Berea, Winnie Pigman returned to her home in Knott County, where she continued weaving along with her mother and her sister, Una, who later taught weaving for many years at the Hindman Settlement School. Lester Day and Winnie Pigman were married on April 9, 1921, and moved to the house on Sam's Branch; her loom moved with them. Along with the usual duties of a housewife and later the mother of four children—two sons, Astor and Sam, and two daughters, Pauline and Mary—she continued her weaving and marketed from her home, from 40 Hindman Settlement School, Caney Junior College...

Prehistoric textiles: the development of cloth in the Neolithic and Bronze Ages with special reference to the Aegean

This pioneering work revises our notions of the origins and early development of textiles in Europe and the Near East. Using innovative linguistic techniques, along with methods from palaeobiology and other fields, it shows that spinning and pattern weaving began far earlier than has been supposed. Prehistoric Textiles made an unsurpassed leap in the social and cultural understanding of textiles in humankind's early history. Cloth making was an industry that consumed more time and effort, and was more culturally significant to prehistoric cultures, than anyone assumed before the book's publication. The textile industry is in fact older than pottery--and perhaps even older than agriculture and stockbreeding. It probably consumed far more hours of labor per year, in temperate climates, than did pottery and food production put together. And this work was done primarily by women. Up until the Industrial Revolution, and into this century in many peasant societies, women spent every available moment spinning, weaving, and sewing. The author, Elizabeth Wayland Barber, demonstrates command of an almost unbelievably disparate array of disciplines--from historical linguistics to archaeology and paleobiology, from art history to the practical art of weaving. Her passionate interest in the subject matter leaps out on every page. Barber, a professor of linguistics and archaeology, developed expert sewing and weaving skills as a small girl under her mother's tutelage. One could say she had been born and raised to write this book. Because modern textiles are almost entirely made by machines, we have difficulty appreciating how time-consuming and important the premodern textile industry was. This book opens our eyes to this crucial area of prehistoric human culture.

Woven Fiber Optics

In this paper we describe how the art of weaving can be applied to fiber optics in order to produce precisely controlled reproducible image guides and image dissectors. As examples of the types of device for which woven fiber optics are applicable, we describe a 3:1 interleaver for use with a cathode-ray tube to produce color images, and a high speed alpha numeric output device. The techniques of weaving fiber optics are discussed in sufficient detail in order to allow for further work. Although, in principle, one might be able to weave glass optical fibers, all the work described here made use of plastic optical fibers 0.25 mm in diameter.

The Land of Natural Affirmation. Pre-Buddhist Japan

T HE spirit of the Japanese people prior to the entry of Buddhism can be characterized as a mode of 'natural' affirmation, insofar as there was no systematic philosophical basis for the existing affirmative attitude. One of the notable features of this early affirmation was the conception of the continuity of life as expressed in the belief that the present world (Ashiharanakatsukunil or the Yamato country) and all other mythological worlds were connected both spatially and qualitatively. There was no concept of a supernatural world totally distinct from the existing life. The early concept of the land of the gods, Takamagahara-or the 'heaven' of the ancient period2 was not the actual description of a supernatural world for in its portrayal we can find all the elements of the existing Yamato country. The Kojiki, in the myth of the disappearance of the Sun goddess, presents the following accounts of the land of the gods: Then Susano-O-no Mikoto saying, 'I won', broke down the dikes of the rice field of Amaterasu-O-Mikami and filled up the irrigation ditches. Also he splashed the ceremonial refectory with defilement. . . Amaterasu-O-Mikami, living in her purified palace ordered the weavers to make a robe to be dedicated to a god....3 Here we find a description of rice cultivation, the existence of ceremonial harvest rites, palaces and the art of weaving. The next narration occurs after the Sun Goddess, offended by her brother's outrages hid in a cave and the gods sought gifts as a means to please her: [One god] gathered all the longsinging birds of Tokoyo and made them cry, also collecting the hard stones [used as anvils] from the river Ameno-yasu. He collected the iron from Ameno-Kanayama and called a blacksmith, ordering Ishikoridome-no Mikoto to make mirrors and also ordered Tamanoyano Mikoto to make crescent shaped jewels [jewels].4 In this account we can discern the existence of an iron industry and the creation of common commodities such as mirrors and

The Art of Weaving

The Art of Weaving

“THE ART OF WEAVING”

“THE ART OF WEAVING”