Picking: where the weft or pick is propelled across the loom by hand, an air-jet, a rapier or a shuttle.Shedding: where the warp threads (ends) are separated by raising or lowering heald frames ( heddles) to form a clear space, referred to as the shed where the pick can pass.Weaving can be summarized as a repetition of these three actions, also called the primary motions of the loom. The warp threads are held taut and in parallel to each other, typically in a loom. ) One warp thread is called an end and one weft thread is called a pick. ( Weft is an Old English word meaning "that which is woven" compare leave and left. In general, weaving involves using a loom to interlace two sets of threads at right angles to each other: the warp which runs longitudinally and the weft (older woof) that crosses it. Main articles: Loom and Power loom A Bangladesh Ansar officer weaving on duty. Woven cloth can be plain or classic (in one colour or a simple pattern), or can be woven in decorative or artistic design. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill weave. The way the warp and filling threads interlace with each other is called the weave. A fabric band that meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms. Ĭloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. The method in which these threads are interwoven affects the characteristics of the cloth. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. Other methods are knitting, crocheting, felting, and braiding or plaiting. Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Warp and weft in plain weaving A satin weave, common for silk, in which each warp thread floats over 16 weft threads A 3/1 twill, as used in denim For other uses, see Weaving (disambiguation). Furthermore, it allows scholars to assess textile production on sites where no textiles are preserved.This article is about textile weaving. This new knowledge provides the methodological framework for archaeologists to calculate textile production possibilities from any given loom weight, as long as the weight and thickness are preserved. The thickness of a loom weight, and thus the width of the row of loom weights hanging closely together, defines the width of a fabric and – together with the weight of the loom weight – the thread count and density of the fabric. A series of systematic tests demonstrated that the weight of a loom weight defines what yarn to use and the thread density. The weight and thickness of loom weights are established as the defining functional parameters for the operation of the warp-weighted loom. This paper reviews the functional elements of a loom weight. The function of loom weights, however, has not been investigated and cannot be deduced directly from ethnographical data, since loom weights in antiquity were very different from those used in the twentieth century AD. The function of the warp-weighted loom is well known from ethnographic studies. They represent the only remains of warp-weightedvlooms. Loom weights are common finds in archaeological excavations in Europe and the Near East. In the present volume, in coordination with the Museo Nacional de Etnografía y Folklore (Musef), in La Paz, we decided to remedy this situation by proposing a new focus towards the woven objects located in the museum deposits, centred on making these textiles within the productive chain of weaving, taking into account the social life of the weaving communities of practice in the region, and also the social life of textiles as both objects and subjects. And although there had been certain advances over the past decades within anthropology and the history of art into the study of textiles, this had not produced a renovation of ideas in theory or in practice, applicable to the organisation of textile exhibitions. Neither was there an adequate link, within Bolivian archaeology, between museum collections and national research into textiles, and this discipline is only recently showing an interest in this theme. When we started preparing this catalogue, little work has been done in Bolivia on the museological aspects of textiles from the Andean and Amazonian regions of the country, and still less in a contextualised sense, taking into account the social life of its regions.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |