TRC Blog: Textile Moments

Visiting the Silk Road I

Banner for the conference "Silks from the Silk Road". Photograph: Shelley Anderson

Banner for the conference "Silks from the Silk Road". Photograph: Shelley Anderson

TRC volunteer Shelley Anderson writes: There were many textile moments on a recent visit to China, where I attended the symposium “Silks from the Silk Road: Origin, Transmission and Exchange”, organized by the China National Silk Museum in collaboration with, among others, the Danish National Research Foundation’s Centre for Textile Research (CTR). The symposium opened with a weaver weaving damask silk on a large hook-shaft pattern loom, with a connecting rod. This sophisticated loom was built based on the remains of four model looms, made from wood and bamboo, uncovered in a Chinese tomb in 2012. This remarkable discovery included baskets of silk threads and dyes, and several wooden figurines that represent weavers. The artifacts have been dated to the Han dynasty, or late second century BCE. It’s a “truly exceptional” find, said CTR Director Marie-Louise Nosch. “It’s unique because finding organic matter so well preserved is rare. It bridges many gaps in our knowledge, as until now we did not know what type of looms were used. This shows the high technology of Han China, and will become a landmark in archaeology and textile research.”

Beautiful examples of silk fragments and textile tools were also on display in a special exhibition in the West Lake Museum (Hangzhou, China), where the symposium took place. Silk was a vital part of early Chinese economy, and the economies of other cultures that lived along the Silk Road. It was durable and light-weight, unlike dried fruits or gold, which were also traded up and down the Silk Road, along with jade, furs, spices and other commodities. You could buy camels, horses, slaves or servants with bolts of silk; soldiers’ salaries were paid in silk and debts settled with the textile.

One highlight of the exhibition for me was Yingpan Man. This richly dressed corpse was discovered in the abandoned city of Yingpan in 1995. Yingpan was an important Silk Road trading centre until it was destroyed by Genghis Khan’s troops. The arid desert atmosphere mummified the corpse and preserved the textiles he was buried in. And what textiles they are! He has a long double weave red woolen robe over purple silk trousers, another light yellow silk robe, and felt socks. He wears a funerary mask with a gold diadem, and a miniature silk caftan of embroidered damask silk had been placed on his chest. The motif of his red robe (of bulls and naked putti) leads some scholars to believe it was produced in the eastern part of the Roman empire. DNA tests, his brown hair and height (he is over six feet tall), and the non-Han Chinese custom of a funerary mask, point to European ancestry.

Shelley Anderson, 30 October 2015

   

The Mayflower, Loara Standish, and the City of Leiden

Monument in Leiden along the Vliet, marking embarkation point of the Pilgrim Fathers leaving Leiden for Plymouth, and hence to America, in 1620.

Monument in Leiden along the Vliet, marking embarkation point of the Pilgrim Fathers leaving Leiden for Plymouth, and hence to America, in 1620.

I have lived on and off in Leiden for more than forty years, and regularly take groups of foreign friends and colleagues through this beautiful town. Perhaps it helps that my office is right in the centre of town, along the magnificent Rapenburg canal. When doing so, I always tell people about the (English) Pilgrim Fathers who in the early seventeenth century fled to Leiden and lived here for some time before boarding the Mayflower and sailing to America. I show them the places where they lived, and died. I also show them the various plaques in Leiden dedicated by American descendants to commemorate the stay of their ancestors (real or imaginary) in my town.

Two weeks ago I walked with one of my colleagues along the canals. I noticed a new monument, marking the spot where in 1620 some 102 Pilgrim Fathers boarded a boat to take them to the nearby North Sea, and ultimately to America. The monument also bears the names of the families that were involved. I spotted one name in particular: Standish. I had been looking for references to that man for some time. I knew he was one of the Englishmen who stayed in Leiden and left for America. He was called Myles Standish, and he eventually became the military commander of the new colony, a function he held until his death in 1656. He is, you will be thrilled to know, the main character, although highly romanticised, of Longfellow's narrative poem, The Courtship of Myles Standish (1858).

But what has this to do with textiles? Myles Standish was the father of Loara Standish, who was born in America and died before 1655. Around 1640 she made a sampler which has become the oldest extant example in the USA (for more information, click here). It is now kept in the Pilgrim Hall Museum, Plymouth, Massachusetts. It is embroidered on fine linen (c. twenty threads per cm) using blue, green, pink and red silk thread. It is 60 x 18.5 cm in size. The sampler is decorated with bands of stylised flowers (roses and carnations), acorns and intertwined ‘s’ designs. Stitched at the
bottom is:

"Loara Standish is my name Lorde guide my hart that I may doe thy will also My hands with such Convenient skill as may Conduce to virtue void of Shame and I will give The glory to thy name."

Loara Standish is believed to have died young, but exactly when is unknown. She lies buried, as far as can be ascertained, in the Myles Standish Burial Ground, Duxbury, Massachusetts, USA. The sampler was kept in her brother Josiah’s family until it was donated to the Pilgrim Hall Museum in Plymouth, Massachusetts in 1844.

Willem Vogelsang, 28 October 2015

   

Embroidered postcards from World War I

Part of a sheet with embroidered designs waiting to be cut out for the WW I postcards. The war ended in November 1918, before these designs (dated 1919) could be used. TRC collection

Part of a sheet with embroidered designs waiting to be cut out for the WW I postcards. The war ended in November 1918, before these designs (dated 1919) could be used. TRC collection

Since a child, and after listening to my grandfather who actually fought at Ypres ('Wipers,' as my granpa called the place), I have been fascinated by a particular type of silk embroidered postcard that British troops in Wold War I used to sent home from France to their loved ones. Because of the TRC having a series of mini-exhibitions in its workshop it was decided to create a small exhibition about these cards to coincide with the anniversary of the ending of the War on the 11th November. And just last week, the TRC received three panels with series of embroidered designs intended to be used for these postcards. I would like to thank Dr. Ian Collins from St. Albans, England, for his help in acquiring these fascinating items.

This type of card is decorated with a wide variety of designs and messages worked in floss silk in various bright colours. The decoration is worked in small, silk gauze panels with colourful, free style embroidery. These embroidered panels were stuck to a card frame that was embossed with a decorative edging. These cards were a popular form of communication from the early 1900s until the 1950s. They were especially favoured during and just after the First World War. During the war, the range of designs worked was very varied and included obviously military subjects, such as the flags of the allies (notably Belgium, Britain, France, Italy, and the USA), names of regiments, figures of famous generals, and more popular subjects such as Christmas, birthday and New Year best wishes. In addition, many cards included butterflies and flowers, as gentler, more sympathetic images. It has been estimated that up to ten million embroidered cards of this type were produced during this period, mainly in France. Comparable cards were made in Germany, but with different designs!

In the past, various questions have been raised about these cards, especially as to how the cards were decorated, and by whom. There are several possible answers. It has been suggested that the images were hand embroidered by Belgian and French women who had been afflicted by the war. But would they have really been able to hand embroider millions of cards ? Another explanation, and far more likely, is that they were machine made, but this brings us to the question, which type of machine was used? The vast majority of these embroidered postcards were made using what appear to be hand stitches of various kinds, including the back stitch, basket weave stitch, individual cross stitches, herringbone stitch, reverse herringbone stitch (to create a shadow work effect), double running stitch (Holbein stitch), satin stitch, stem stitch, as well as various composite stitches.

A machine that could imitate the appearance of these hand stitches is the hand-embroidery machine that was invented in 1829 by Josué Heilmann in Mulhouse, France. It was developed over the following decades by various engineers and companies in Britain, France, Germany and Switzerland. Basically, this hand-embroidery machine used a pantograph system to transfer the stitches. Each stitch is drawn out on a large scale design and then its position traced by an operator using a point on one arm of the pantograph. A series of needles responds to the movement of the pantograph arm. Each needle has an eye in the middle for the thread, and two sharp ends. The needle is passed backwards and forwards through the ground cloth using a pincer system, so imitating the action and appearance of hand embroidery. Each colour in the design is individually worked (so all the blue parts, for example, are worked, and then the machine is re-threaded with a new colour), until the design is complete. This machine, in various sizes, was used in both domestic and factory settings.

There were both home and factory versions of this machine. Based on surviving examples, it would appear that wide strips (domestic) and very broad sheets (factory) of organza cloth were embroidered. Using hand-embroidery machines it was possible to produce hundreds of images on a sheet in one go. Once embroidered, the strips/sheets were cut up and the individual images were stuck into an embossed card frame. They were then sold to the public, especially the soldiers, at a very high price. The companies making and selling these cards could well have made a considerable profit. Perhaps this is the real reason behind the stories of poor refugee women working all hours to hand embroider these cards in order to feed their desperate families.…... Wouldn't you be more willing to buy such cards thinking you were helping the needy as well?

Source: COLLINS, Ian (2001). An Illustrated History of the Embroidered Silk Postcard, Radlett: Gabrian Antiques.

Digital source, click here

Videos showing early hand-embroidery machines in use:

Gillian Vogelsang, 18 October 2015

PS: On 21 December 2015 we added a PDF catalogue of the postcards that are held in the TRC collection to our website. Click here to download it.

   

Arpilleras from Chile

Example of an arpillera

Example of an arpillera

A workshop on arpilleras was offered recently during a festival on adult education, in Lelystad (the Netherlands). The festival also featured an exhibition of approximately 25 arpilleras, from Chile, Colombia, England, Northern Ireland, Peru and Zimbabwe. Workshop leader Roberta Bacic explained that arpilleras are a South American folk art, which uses colourful appliqués, patchwork and embroidery to depict scenes of everyday life. Small, three-dimensional cloth dolls are a common feature.

Arpilleras are not intended for practical use: the borders are blanket stitched or edged with crochet or a colourful fabric, so that the pictures can be hung on walls. The word arpillera comes from an old Spanish word for burlap, as most of these cloth pictures were originally sewn on a background cloth of burlap or flour sacking. The most famous arpilleras and arpilleristas (the women who make them) are from Chile. “Arpilleras are really an art of poverty,” Roberta explained. “They were originally made from scraps and pieces of used clothing. They were made by poor women working in groups. The conversations the women had while sewing together helped create a sense of sharing and of solidarity.” That solidarity was essential for survival.

In the 1960s there was a cottage industry in Chile of arpilleras depicting happy domestic scenes. These were made from colourful woolen yarns. The military coup of 1973 changed this. Unemployment grew, wool became scarce, and opponents of the Pinochet military dictatorship (1973-1990) began to disappear or be detained. Families of the disappeared (‘desaparecidos’) were banned from many jobs and refused hospital services. Poor women in and around Santiago began making arpilleras in an income-generating project organized by the Roman Catholic Church’s Vicaría de la Solidaridad. Church workers donated clothes as fabric for the appliqués, paid for the finished arpilleras and organized their sale. Many of the women were members of the group Agrupación de los Familiares de los Detenidos Desaparecidos (AFDD), an association for families of people illegally detained and made to disappear by the regime. The women gathered once a week at different workshops and chose a theme to embroider, which they began at the workshop and finished at home. There were rules: torture scenes could not be depicted; the Andes mountains were usually stitched in the background as a symbol of Chile; only one arpillera a week per woman was accepted. If a woman needed more money, she was allowed to make two arpilleras per week. Work was unsigned in order to protect the maker's identity

Over 250 women became involved in the project. The women talked in the workshops about the trauma of missing husbands, sons and daughters as they embroidered the stories of their lives: communal kitchens to feed the hungry; demonstrations in front of police stations or government buildings where women held photographs of their loved ones and demanded information as to where they were; police raids on homes; a family sitting around a table, with an empty chair. The Church smuggled thousands of arpilleras out of Chile for sale elsewhere. The textiles helped raise awareness of the human rights abuses taking place inside Chile. As criticism of Pinochet increased, the government made it illegal to own or publically show arpilleras.

Shelley Anderson, 28 September 2015

   

Nederlands Forensisch Instituut

Gepolariseerde foto van hempvezels.

Gepolariseerde foto van hempvezels.

TRC vrijwilligster en stagiaire, Deandra de Looff, was onlangs enkele dagen te gast bij het Nederlands Forensisch Instituut (NFI) in verband met haar onderzoeksstage. Onder begeleiding van een forensisch onderzoeker heeft zij kennisgemaakt met de verschillende methoden en technieken die worden gebruikt bij forensisch onderzoek. Het bezoek bestond onder andere uit het leren omgaan met een microscoop (met hoge vergroting) en het herkennen van verschillende vezels (synthetische, dierlijke en plantaardige) onder de microscoop. Hierbij wordt gebruik gemaakt van polarisatie om verschillende kenmerken van de vezels (zoals poriën en kristallen bij plantaardige vezels) beter zichtbaar te maken.

Bij polarisatiemicroscopie wordt gebruik gemaakt van twee polarisatiefilters. Als deze gekruist staan zal er geen licht worden doorgelaten, behalve door een optisch actief object, bijvoorbeeld een vezel. Zulke objecten lichten op. Hiermee kunnen vezels en andere monsters worden geïdentificeerd. Ook kan met de microscoop de fluorescentie van vezels worden bekeken.  Bij het NFI wordt ook gebruik gemaakt van een rasterelektronenmicroscoop (Scanning Electron Microscope: SEM) voor het maken van opnames van vezels. Met een rasterelektronenmicroscoop kan een heel hoge vergroting worden verkregen. Dat is handig voor bijvoorbeeld het meten van de doorsnede van vezels.

Het bezoek heeft zich voornamelijk gefocust op microscopie en het herkennen van verschillende vezels onder de microscoop. In de foto's enkele voorbeelden van wat er onder de microscoop wordt gezien.

26 september 2015

   

Page 43 of 53

Search in the TRC website

TRC in a nutshell

Hogewoerd 164, 2311 HW Leiden. Tel. +31 (0)71 5134144 / +31 (0)6 28830428   info@trc-leiden.nl

Opening times: Monday to Thursday: 10.00-16.00 hrs, other days by appointment. Holidays: until 11 August

Bank account number: NL39 INGB 0002 9823 59, Stichting Textile Research Centre

Entrance is free, but donations are always welcome !

TRC Gallery exhibition: 12 - 15 August 2019: Out of Asia: 2000 years of textiles

facebook 2015 logo detail

 

 

Donations

The TRC is dependent on project support and individual donations. All of our work is being carried out by volunteers. To support the TRC activities, we therefore welcome your financial assistance: donations can be transferred to bank account number NL39 INGB 000 298 2359, in the name of the Stichting Textile Research Centre.
 
Since the TRC is officially recognised as a non-profit making cultural institution (ANBI), donations are tax deductible for 125% for individuals, and 150% for commercial companies. For more information, click here
 
Financial donations to the TRC can also be made via Paypal: 
 
 

Subscribe to the TRC Newsletter