Silver Threads Research Articles

Technical study on the early twentieth century’s embroidered women waistcoat in Gyalrong Tibetan area in Sichuan, China

In the early twentieth century, traditional handicraft was challenged by the latest technology in China. It is reflected by ethnic costumes combining new and old, as in the waistcoat of this study. This waistcoat made at Gyalrong Tibetan area in Sichuan, China, displays unique local features in terms of its brilliant colors and comprehensive craftsmanship. This study employs techniques such as optical microscopy, infrared spectroscopy, scanning electron microscope and high performance liquid chromatography-mass spectrometry to investigate various aspects of this waistcoat, including its fabrics and dyes. The results showed that the waistcoat was primarily made of cotton and silk, with a bamboo paper layer, and that silk as well as twisted gold and silver threads were employed for the embroidery. Various embroidery techniques were applied, with patterns, color combinations, and characteristics being consistent with those of Tibetan and Shu (蜀) embroidery. In terms of dyeing technology, a wide range of colors were achieved through multi-step dyeing processes using natural dye stuffs like pagoda bud, and synthetic dyes like magenta. These findings indicates that modern technologies were well integrated into traditional garment manufacture in the early twentieth century in China.

Struktur Pertunjukan Tari Tor Tor Naposo Nauli Bulung dalam Acara Pesta Perkawinan di Sawah Mudik Kabupaten Pasaman Barat

The purpose of this study is to reveal and describe the structure of Tor Tor Naposo Nauli Bulung dance performance at a wedding ceremony in Sawah Mudik, West Pasaman Regency. This type of research is qualitative research with descriptive methods. The researcher's own research instruments and aids such as pens and cameras. Primary data and secondary data were used in this research material. Data were collected through literature study, observation, interviews and documentation. The stages of data analysis are data collection, data presentation and conclusions. The results proved that the structure of the Tor Tor Naposo Nauli Bulung Dance performance at the wedding party in Sawah Mudik consisted of movement, floor patterns, music, clothing, makeup and performance venues. Tor Tor dance consists of four movements, namely: Pangurdot movement, Pangegal movement, Pangeal movement and Pangurdot movement. The floor pattern of the Tor Tor Dance is round and straight. Musical instruments use traditional musical instruments such as gondang, flute and trumpet. Tor-tor dance clothes with the head facing outward, the outside is a typical and traditional fabric of the Batak tribe. The dominant colors of the outer fabric are red, black and white, decorated with various gold or silver threads. Tor-tor dance makeup wears beautiful makeup. The place where the tor-tor marriage contract dance performance takes place in front of the bride's house, where a special tent has been set up for the performance of the tor-tor dance, The use of Tor-tor dance in the Jorong Sawah Mudik community is as a means of entertainment, a sign of respect for elders, so that all people know that the bride and groom have been released and are not on the members of naposo nauli bulung (young men), bow down and beg for affection to the person who is le.

Multi-Analytical Techniques for the Study of Burial Clothes of Polish King Sigismund III Vasa (1566-1633) and His Wife Constance Habsburg (1588-1631).

The subjects of this research are the burial clothes of Polish King Sigismund III Vasa and his wife Constance, which were woven and embroidered with silk and metal threads. Fragments of the textiles underwent spectroscopic, spectrometric, and thermogravimetric analyses. The hydrofluoric acid extraction method was improved to isolate various classes of dyes from the textile samples that had direct contact with human remains. High-performance liquid chromatography, coupled with diode array and tandem mass spectrometry detectors with electrospray ionization (HPLC-DAD-ESI-MS/MS) facilitated the detection and identification of colorants present in the textiles. Cochineal, indigo-, madder-, orchil-, and tannin-producing plants were identified as the sources of dyes used. Scanning electron microscopy with an energy-dispersive X-ray detector (SEM-EDS) was employed to identify and characterize the silk fibers and mordants and the metal threads. The presence of iron, aluminum, sodium, and calcium in the silk threads suggests their potential use as mordants. The analysis of the metal threads revealed that most of them were made from flattened gilded silver wire, with only a few being cut from a sheet of metal. Typical degradation mechanisms of metal threads were shown, resulting from both burial environment and earlier manufacturing process, and the use of the textiles in clothing, i.e., a significant loss of the gold layer was observed in most of silver gilt threads, caused by abrasion and delamination. The results of the thermal analysis confirmed the presence of silk and silver threads in the examined textiles.

Nilai-Nilai Motif Songket Bengkalis Dalam Perspektif Pendidikan

Bengkalis is also one of the districts with quite a lot of immigrant communities as a result of which there is a lot of cultural mixing. And there are not a few people who follow the culture brought by migrants, so that it can trigger the songket weaving craft to be less appreciated by the local community. This research will discuss 5 songket weaving motifs which are quite familiar among the people, especially the people of Bengkalis. Which aims to find out what educational values are contained in it. The research method used is descriptive qualitative method. Data collection techniques used in this research are observation, interviews and literature or documentation studies. While the selection of informants using purposive sampling technique. The Bengkalis Malay songket woven fabric has a variety of woven motifs or patterns ranging from flora, fauna, nature and others. These motifs have meanings that describe how the perspective of human life. In Riau, it has four weaving centers, namely in Indragiri Hulu, Rokan Hilir, Bengkalis and Siak. Each of these areas has a different basic motive. In the Bengkalis area, there are about 90 typical Malay motifs. In this study, five motifs that are well known among the public will be discussed, namely the bamboo shoots, ducks returning home, sentorak, elbow clouds and ants along. Riau Malay woven fabric is a fabric made by the handicrafts of the Malay people, which is done by the process of weaving threads interspersed with woven gold or silver threads with a certain variety of woven motifs or patterns. The variety of motifs and patterns of woven fabrics in Bengkalis is very diverse. And in each of these motifs there is a very close relationship between humans and nature, both animals and plants. For the Malays, the pattern is not only a mere decoration, but also used as a symbol or symbol that contains a certain meaning and philosophy which contains the noble values of the local culture

Seventh-Eigth Centuries Finger-Rings Discovered in Transylvania

Finger-rings of the 7th–8th century discovered in Transylvania were yielded only by cemeteries, both of inhumation and biritual. The inhumation burial grounds where finger-rings were identified include those of Gâmbaș/Cetățuie or Cimitirul reformat/further Gâmbaș 12, Sâncrai3 and Teiuș4. In biritual cemeteries, finger-rings were found in the burial grounds of Bratei 25 and Sibiu/Gușterița6. The few cemeteries with finger-rings is linked to the small number of burials which contained objects of respective type, and concurrently, with the small number of finger-rings. The Avar cemeteries count a total of five burials with finger-rings among the grave goods, their number amounting to eight exemplars. In the biritual cemeteries mapped in Transylvania, two cremations yielded each a single finger-ring and just one inhumation which contained a single finger-ring. Typologically, finger-ring types are few as well. They come down to two main groups, namely plain finger-rings and finger-rings with ornaments in the upper part of the ring hoop. Plain rings are represented by simple hoops made of iron, bronze or silver threads or thin bars. To the second group belong finger rings of thin sheet, with an ornament in the upper part in the shape of round spheres or round or oval plates. The small number of Avar cemeteries and graves from Transylvania in which finger-rings were found may be the result of various causes. It is very likely that finger-ring wearing was not fashionable in the Avar communities of Transylvania. A second element that may be taken into consideration to interpret the few such artefacts at the level of the archaeological sites from the Transylvanian Plateau is related to the assertion of social standing of those buried with finger-rings as well. The typological identity of the finger-rings from Transylvania (type B), together with the few items and graves where these were discovered may be interpreted as the display of ethnic identity of finger-ring bearers. Lastly, another interpreting acceptable for the finger-rings present in the Avar cemeteries of Transylvania is that of magical object playing an apotropaic role.

Development of Gold and Silver Threads in Pandai Sikek Weaving: Maintaining the Sustainability of the Local Heritage

Development of Gold and Silver Threads in Pandai Sikek Weaving: Maintaining the Sustainability of the Local Heritage

Moda, statut social sau atribut etnic. Inele pentru deget din secolele VII-VIII descoperite pe teritoriul Transilvaniei

Finger‑rings of the 7th–8th century discovered in Transylvania were yielded only by cemeteries, both of inhumation and biritual. The inhumation burial grounds where finger‑rings were identified include those of Gâmbaş/ Cetăţuie or Cimitirul reformat/further Gâmbaş 12, Sâncrai 3 and Teiuş 4. In biritual cemeteries, finger‑rings were found in the burial grounds of Bratei 25 and Sibiu/ Guşteriţa 6. The few cemeteries with finger‑rings is linked to the small number of burials which contained objects of respective type, and concurrently, with the small number of finger‑rings. The Avar cemeteries count a total of five burials with finger‑rings among the grave goods, their number amounting to eight exemplars. In the biritual cemeteries mapped in Transylvania, two cremations yielded each a single finger‑ring and just one inhumation which contained a single finger‑ring. Typologically, finger‑ring types are few as well. They come down to two main groups, namely plain finger‑rings and finger‑rings with ornaments in the upper part of the ring hoop. Plain rings are represented by simple hoops made of iron, bronze or silver threads or thin bars. To the second group belong finger rings of thin sheet, with an ornament in the upper part in the shape of round spheres or round or oval plates. The small number of Avar cemeteries and graves from Transylvania in which finger‑rings were found may be the result of various causes. It is very likely that finger‑ring wearing was not fashionable in the Avar communities of Transylvania. A second element that may be taken into consideration to interpret the few such artefacts at the level of the archaeological sites from the Transylvanian Plateau is related to the assertion of social standing of those buried with finger-rings as well. The typological identity of the finger‑rings from Transylvania (type B), together with the few items and graves where these were discovered may be interpreted as the display of ethnic identity of finger-ring bearers. Lastly, another interpreting acceptable for the finger‑rings present in the Avar cemeteries of Transylvania is that of magical object playing an apotropaic role.

Ewish center of lacemaking in Sasov of Eastern Galicia of the second half of the 19th - the first third of the 20th century: history and artistic features

Jewish center of lacemaking in Sasov, founded in the mid-nineteenth century by Marcus Leib Margulis. In process of research were used archive materials, sources of the first third of twentieth century, particular works of Peter Kontny, publications in periodicals and works of leading researchers of Jewish textiles. The sources of research are art objects of Jewish lacemaking from museum and private collections. It was founded that in village of Sasiv in period of the heyday of production in the second half of nineteenth century, was working near 250 masters, who made elements of ritual costumes. The main assortment of products was Atara for Thales, men's kippah, women's shabbat hats and bibs. Technique of making lace of the Sasov center is called “Spanier Arbeit”. The origin of the term is quite controversial today; it also is associated with the definition of “Spanish Work” and with Yiddish terminology “wickerwork”. Lace of Sasov belongs to the braded type of silver threads with flat cross section – tinsel. The article analyzes the artistic features of Atara – rectangular “crown”, “collar" which was sewn to the prayers veil of the thallas in the part which covered the head. The tradition of performing atars has a long history that is confirmed by different miniatures of medieval books, portraits of Jews in ritual costumes, as well as saved samples. The decoration of atara is dominated by plant ornament, usually in Baroque style. The images of roses, sunflowers, pomegranates, rosettes have a deep symbolic meaning in Jewish culture and appeals to biblical and Talmudic texts as well as oral tradition. High skills of making the lace and their artistic features indicate the professionalism of cell masters. Preserved monuments are unique examples of decorative art of Galician Jews.

PENDAMPINGAN DAN PELATIHAN PEMANFAATAN MEDIA E-COMMERCE PADA PENGRAJIN TAPIS LAMPUNG DI DESA RAJABASA LAMA KECAMATAN LABUHAN RATU KABUPATEN LAMPUNG TIMUR

ABSTRAK Tapis cloth is a traditional clothing of the Lampung tribe in the form of a sarong made of woven cotton yarn with motifs such as natural, flora and fauna motifs. Tapis cloth is made of woven cotton yarn with a willing motif or decoration, silver thread or gold thread with an embroidery system. The materials used are sanwos or woven fabrics, cotton threads and gold or silver threads, and pempek. Community Service Activities carried out by the STAI Darussalam PKM Team in Lampung were carried out in Rajabasa Lama Village, Labuhan Ratu District, East Lampung Regency, which is one of the typical Lampung filter fabric craftsman villages that still uses traditional manufacturing techniques. Which so far, is still marketed traditionally at a fairly low price. This causes less than optimal marketing. The research approach used in this community service is participation-based research known as Participatory action research (PAR). Community Service Activities, starting from FGDs, Training and Assistance in the Utilization of E-Commerce, which are carried out are not only limited to carrying out one of the Tridharma of Higher Education, but together with community groups can provide the widest possible benefits to the community, namely the results of filter crafts from the village. Rajabasa Lama can be better known by the wider community so that it can increase sales results and can contribute to improving the community's economy.

Silver Thread-Based Microfluidic Platform for Detection of Essential Oils Using Impedance Spectroscopy

Essential oils (EOs) have a long tradition of use in the medical and cosmetic fields based on their versatile properties, including fungicidal, antiparasitic, and bactericidal effects. Nowadays, with the development of industry and electronics, EOs are increasingly being used in the agricultural and food industries; health industries, including pharmacy and dental medicine; and as cosmetic enhancements. The purpose of this study is to develop a compact and portable platform for the detection of EO type and the concentration levels using knitted silver threads. The method is based on measuring the variation in values of the electrical parameters of the silver threads using electrochemical impedance spectroscopy (EIS). The impedance of the solutions applied on the testing platform was measured in the frequency range from 1 Hz to 200 kHz. The platform was tested using three types of essential oils: tea tree; clary sage; and cinnamon bark oil. Increasing the concentration of essential oils resulted in increasing the electrical resistance of the platform, decreasing the capacitance, and consequently increasing the impedance. The proposed cost-effective platform can be used for the fast determination of the type and quality of essential oils.

Garment-integrated thermoelectric generator arrays for wearable body heat harvesting

Wearable thermoelectric generator arrays have the potential to use waste body heat to power on-body sensors and create, for example, self-powered health monitoring systems. In this work, we demonstrate that a surface coating of a conducting polymer poly(3,4-ethylenedioxythiophene) (PEDOT-Cl), created on one face of a wool felt using a chemical vapor deposition method was able to manifest a Seebeck voltage when subjected to a temperature gradient. The wool felt devices can produce voltage outputs of up to 120 mV when measured on a human body. Herein, we present a strategy to create arrays of polymer-coated fabric thermopiles and to integrate such arrays into familiar garments that could become a part of a consumer’s daily wardrobe. Using wool felt as the substrate fabric onto which the conducting polymer coating is created allowed for a higher mass loading of the polymer on the fabric surface and shorter thermoelectric legs, as compared to our previous iteration. Six or eight of these PEDOT-Cl coated wool felt swatches were sewed onto a backing/support fabric and interconnected with silver threads to create a coupled array, which was then patched onto the collar of a commercial three-quarter zip jacket. The observed power output from a six-leg array while worn by a healthy person at room temperature (ΔT = 15 °C) was 2 µW, which is the highest value currently reported for a polymer thermoelectric device measured at room temperature.

A Scientific Analysis of Gold Threads Used in Donggungbi-Wonsam(Ceremonial Robe Worn by a Crown Princess, National Folklore Cultural Heritage No.48)

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.

Perkembangan Pembuatan Tenun Melayu Siak : Suatu Tinjauan Historis

The siak weaving is a cultural heritage of Riau Malay. The motifs on the Siak Tenun have certain philosophical meanings. In addition, in the manufacturing process, there has been a development both from the materials and tools used. The study in this paper aims to describe the development of Siak weaving techniques based on the categories of materials and tools used from time to time. The method used in this study is the historical method with heuristic, verification, interpretation, and historiography stages. The result of the study is that the making of Siak Weaving has developed in terms of the materials and tools used. In terms of materials, at the beginning of its development using materials from silk, gold, and silver threads. However, since 1950 the weavers began to use cotton threads along with the high prices of silk, gold, and silver threads. Furthermore, in terms of tools, in 1764 the first weaving tool used was the tumpu loom. The tools used for the manufacture of Siaik weaving are increasingly developing, since 1990 it has been replaced by non-machine weaving tools (ATBM). The development of the Siak Tenun making tool to increase production output and shorten processing time. From the results of the study, it can be concluded that changes in the weaving production equipment affect the impact, including the number of workers, budget efficiency, quality, and quantity of production.

IDENTIFIKASI KAIN TAPIS LAMPUNG MENGGUNAKAN EKSTRAKSI FITUR EDGE DETECTION (CANNY) DAN KLASIFIKASI PROBABILITY NEURAL NETWORK (PNN)

Tapis fabric is a Lampung tribe women's clothing in the form of a sarong made of woven cotton threads with a sugi motif or decoration, silver thread or gold thread with an embroidery system. Lampung tapis is the result of woven cotton threads with motifs, silver threads or gold threads and becomes the typical clothing of the Lampung tribe. Tapis fabric can be distinguished by shape and pattern, each type has its own special characteristics. This study aims to identify the tapis fabric using Edge Detection feature extraction and Probability Neural Network (PNN) classification. Experiments were carried out using 525 images data, 450 images became training data, while the other 75 images became test data consisting of 3 types of filters Bintang Perak, Gunung Beradu, and Sasab. The results of the experiment are quite good. The smoothing value applied to the PNN has an effect on the accuracy.

Золотные нити из плитовых могил XIV в. на плато Эски-Кермен

This paper presents the results of the study of metal threads found in the fourteenth-century burials in slabbed graves located atop of the plateau of Eski-Kermen. The inductively coupled plasma mass spectrometry determined the metal of the threads in question as high-grade silver. The results of scanning electron microscopy of the surface morphology of the artefacts allowed the one to suggest a variant of reconstruction of the sequence of technological operations in the manufacture of the metal threads in question. The feature of all the metal threads under study is very even outer and inner surface and stable thickness and width of the metal band. In all cases, gold inclusions were stretched in the mass of metal along the long edge of the bands. Cast metal was flattened into a thin band. Parallel scratches along the butt end of the threads suggest that rolled out metal was cut with a tool with a thin, sharp blade leaving scratches along the course of the blade. Semi-finished products were wound onto an organic core. The threads found in the slabbed graves atop of the plateau of Eski-Kermen were spun silver threads wound onto a silk core. Technologically, these threads correspond to the products of Mediterranean workshops. The location of the metal threads in the burial indicates that they were used in the embroidering of the collar and neck.

Corrosion and Microstructural Studies on Gilded Silver Threads from Sumptuous Textiles from the Era of Augustus the Strong

Abstract Gilded silver thread was used in the baroque era in the manufacture of sumptuous fabrics for princely garments as well as in the interior decoration of the Royal State Apartments. In this work, gilded silver threads from sumptuous fabrics from the era of Augustus the Strong (1670 – 1733) were studied with the aim of examining the microstructure and the chemical composition of the silver threads and the gilding. In addition, the metal threads were examined with regard to occurring corrosion phenomena as well as corrosion mechanisms.

“You will bear witness for us”: Suppressed Memory and Counterhistory in Marsha Forchuk Skrypuch’s “Hope’s War” (2001)

Marsha Forchuk Skrypuch’s historical novels and picturebooks for young readers have gained significant commercial and critical recognition in North America. Interestingly, Ukraine, her grandfather’s homeland, has remained the central theme in her works ever since the publication of the picturebook Silver Threads in 1996. The author of this essay argues that by telling the suppressed, untold stories, hence bringing attention to the next-generation memory of the traumatic experiences of Ukrainian Canadians, Skrypuch puts them on the landscape of Canadian collective and cultural memory and challenges the false generalizations attributed to Ukrainians and Ukrainian Canadians in North America after the Second World War. After briefly outlining the history of Ukrainian immigration to Canada, and explaining the roots of the negative stereotypes attributed to Ukrainians, the author analyzes Hope’s War (2001), Skrypuch’s first Ukrainian-themed novel, and shows that by highlighting the unexpected similarities between the experiences of the protagonist’s grandfather, who during the Second World War was a member of the UPA, and the anxieties of contemporary teenagers, Skrypuch evokes empathy in mainstream and diasporic readers and enables the formation of next-generation memory.

Penerapan Metode Filter Gabor Untuk Analisis Fitur Tekstur Citra Pada Kain Songket

Songket is a traditional Malay and Minangkabau woven fabric in Indonesia, Malaysia and Brunei. Songket is classified in the brocade woven family. Songket is hand woven with gold and silver threads generally worn at official occasions. The purpose of this study is to analyze the texture of songket fabric by using gabor filters. The results of the study stated that the texture output that appeared was strongly influenced by the magnitude of the frequency parameter values and the orientation of the image degrees. The greater the frequency value given, the results of the test use look brighter and blurry. Therefore the frequency value on the middle scale (f = 0.176) is considered the most appropriate for texture analysis. In addition to the frequency of orientation parameters are also able to show a tendency towards the texture in a certain direction. From the appearance of this fabric texture, the area suspected of having a good texture on the songket cloth.

Surface Investigation of Metal Threads and Solid Metals of Ottoman Textiles in the Topkapi Palace Museum

ABSTRACTWe analyzed 53 historical textile samples from a collection of caftans and brocades dating between the sixteenth and nineteenth century in the Topkapi Palace Museum (TPM) by scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX). Data were collected on the type, dimensions, elemental composition, and level of corrosion. The technique is presented in this work as an efficient and micro-destructive tool for the characterization of the structure of historical metal threads. SEM-EDX analysis for different energies was performed on a selection of gold and silver threads belonging to the historical textiles. The results were interpreted via laboratory prepared samples of gilt Ag and sulfur reacted Ag at different thicknesses for Au and Ag2S layers respectively. A series of Au–Ag alloys for different Au/Ag ratios were prepared for comparative analysis. The threads were made of metal strips wound around a silk core. Metal wires and flat strips were also used. The use of differential energies allowed for differentiating strips and wires made of homogeneous silver and gold alloys from the ones coated with a thin gold layer. Analysis of EDX data revealed that the Au film thickness was very thin (10–60 nm). Formation of Ag2S layers over the thin Au film as thick as 1.5 µm was taking place. Formation of thinner Ag2S layers over non-gilt Ag suggested different reaction mechanisms for gilt and non-gilt cases.

Advanced Micro-chemical Investigation of Golden Threads from Romanian Byzantine Embroideries by Micro-Particle Induced X-ray Emission (micro-PIXE)

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.