Th. 3e cycle--Etud. germaniques--Paris 8, 1985.

I set about exploring the history of Jambi batik with a view to establishing its nature, characteristics, methods of manufacture and function in its social context. A central aim of the study was to establish an accurate description of batiks from Jambi which could serve as a guide to museum cataloguers. In particular I planned to clarify the position regarding the red batiks. During the course of my investigations, I came across a similar confusion surrounding a group of batiks containing Arabic calligraphy. A further purpose of the study was then to determine which, if any, of these calligraphy batiks were made in Jambi. For those which did, my intention was to discover how they fitted into the social and economic context in which they were produced. This study has challenged a number of assumptions which have been made about batik in Indonesia. I have confronted static models and others which have focussed too narrowly on Javanese techniques and meanings. I have demonstrated the importance of approaching textiles from a perspective which recognises change and diversity. I have tried to emphasise the need to understand the central role of trade and colonial experience in relation to textiles in South-East Asia. I have also shown the need for taking into consideration the wider geographical context, beyond the Indonesian archipelago and beyond the notional boundaries of South-East Asia. Previous studies of Indonesian batik have tended to apply Javanese models to all of Indonesia. Indonesia was viewed with Java as the centre and the other regions as satellites to it: a Java-centric model which has marginalised batiks from Jambi. Finally, I believe I have shown the crucial importance of studying the technical aspects of textiles. Many other studies of textiles in South-East Asia have employed an anthropological perspective focusing almost exclusively on the symbolic to the neglect of the technical. This has resulted in a paucity of information which could help museum curators to identify both how and where the textiles were made. This lack of information made the study of textiles from Jambi, as it must do for many other marginalised places, particularly difficult. I hope that this study has not only revealed this problem, but has gone some way to remedy it.

Univerzita Karlova Filozofická fakulta Ústav pro dějiny umění Diplomová práce Bc. Barbora Žižková Syntéza autorské a lidové textilní tvorby v ÚLUV Synthesis of artistic and folk textile production in ÚLUV 2019 vedoucí práce: prof. doc. PhDr. Marie Klimešová, Ph.D. Děkuji prof. doc. PhDr. Marii Klimešové, Ph.D. za odborné vedení mé diplomové práce, Mgr. Kláře Binderové, PhDr. Heleně Šenfeldové z Etnografického oddělení a PhDr. Haně Pařízkové z Archivu Národního muzea za vstřícný přístup, cenné tipy a konzultace. Děkuji své rodině a především mému muži za podporu a trpělivost. Prohlašuji, že jsem diplomovou práci vypracovala samostatně a výhradně s použitím citovaných pramenů a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze dne 10. 4. 2019 ……………………………. Barbora Žižková Abstract The main objective of my diploma work was to map the history and describe the forms of textile art in the Centre of Folk and Artistic Production (hereinafter referred to as CFAP). This artistic-craft discipline took two forms within the CFAP. The staff tried to find folk creators who maintained traditional techniques and motifs in their works of art, and those original folk creations were then used by textile artists to provide select craftspeople with new, tradition-...

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (67 leaves : col. ill. ; 21 x 30 cm.) in City Campus Collection (T 709.93 CLA)

Orientador: Franco Giuseppe Dedini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T03:41:34Z (GMT). No. of bitstreams: 1 Duarte_AdrianaYumiSato_M.pdf: 12125505 bytes, checksum: 3905d87344e274e166ea8b7f129f87c3 (MD5) Previous issue date: 2013 / Resumo: A presente pesquisa tem como objetivo propor uma linguagem para a técnica artesanal de trançado manual, atividade praticada em diversas regiões do Brasil que utiliza materiais flexíveis para desenvolver produtos como cestos e esteiras, de modo a sistematizar a construção das armações e reafirmar a importância desta atividade para o país nos aspectos sociais, culturais e econômicos. Para tanto, o cenário desta pesquisa é baseado na análise da produção artesanal no Brasil, estudo do trançado manual e suas atividades análogas e a inserção das diretrizes de metodologia e ferramentas de projeto neste contexto. O conhecimento atrelado à prática do trançado manual é transmitido de forma oral e geracional, e em razão disto, está sendo perdido progressivamente. Por este motivo, como consequência da sistematização do trançado, o resgate deste conhecimento também é contemplado na pesquisa. Os resultados da pesquisa indicaram a relação entre o trançado manual e a tecelagem, atividade têxtil que transforma fios em tecidos, transferindo a nomenclatura, representação numérica e gráfica da tecelagem para o trançado manual. Assim, o que se pretende nesta pesquisa é sugerir uma linguagem para o trançado manual, ainda inexistente na área, que permita o desenvolvimento de um banco de dados e, futuramente, novas armações / Abstract: This research aims to propose a language for the artisanal braiding, a handicraft technique practiced in different regions of Brazil that uses flexible materials to develop products like baskets and mats, in order to systematize the construction and to reaffirm the importance of this activity in social, cultural and economic aspects. Therefore, the background of this research is based on the analysis of handicraft production in Brazil, the study of the braiding and its similar activities and the insertion of guidelines from methodology and design tools in this context. The knowledge linked to this practice is transmitted orally and between generations, and because of this, is being gradually lost. For this reason, as a consequence of the systematization of braiding, the rescue of this knowledge is also covered in this survey. The results indicated the relationship between artisanal braiding and weaving, a textile activity that transforms yarn into fabric, transferring the numerical and graphical representation for weaving to braiding. So, what is intended in this research is to suggest a language for artisanal braiding, which is lacking in the area, in order to allow the development of a database and, in future, new patterns / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestra em Engenharia Mecânica

Cette thèse, traitant la problématique du tissage et de son propre univers, cherche à élargir l’espace commun et restreint de la pratique du tissage et ses manifestations. Nous étudions, d’emblée, la technique de tissage traditionnelle, sa structure et sa composition. Les tapis berbères tunisiens sont pour tout chercheur des instruments de déchiffrage d’espaces plastiques porteurs de tant de significations. Ils sont un élément de mémoire culturelle, explicitant notamment le sens et les signes des motifs et des couleurs. Item pour les vêtements, leurs tissus sont un moyen d’identification et un support de communication. Le vêtement devient aussi «langage» à l’instar de la calligraphie. Le point, la ligne et la surface s’expriment en s’entrelaçant autrement. Ces éléments se structurent et se composent par le biais «d’autres chaines» et «d’autres trames», afin de nous proposer une autre facette de «tissu». Celui-ci devient tantôt numérique tantôt métaphorique. L’image numérique est donc le produit de cette nouvelle facette générée par l’usage de l’informatique. La science et la technologie ont procuré à l’art (participatif/hybride) de nouveaux outils plus complexes et plus variés afin de perpétuer l’interprétation des mondes et susciter les interrogations. Elles nous permettent d’accueillir et d’intégrer de nouvelles approches et médiums dans l’univers artistique tels que le mouvement, le son, la vidéo, etc., en créant un nouveau rapport du public à l’œuvre. L’espace public et urbain devient alors une matrice propice pour s’exprimer artistiquement. / This thesis, treating the problematic of weaving and its proper universe looks for widening the common restricted space of the practice of weaving and its manifestations. At first, we studied the traditional weaving technique, its structure and composition. The Tunisian berber carpets are for all researchers an instrument of decoding plastic spaces, which carry many significations. They are an element of cultural memory, notably highlighting the sense and the signs of motifs and colors. Item for the clothes, their tissues are a medium of identification and a mean of communication. The piece of cloth also becomes a “language” just likecalligraphy. The point, the line and the surface entwine to bring out different expressions. These elements are structured and composed through “other channels” and “other wefts” in order to suggest another facet of “tissue”. This latter becomes digital sometimes and metaphorical for other times.Thus, the digital picture is the product of this new facet generated by the use of computer science. Science and Technology have provided to Art (whether participative of hybrid) new tools that are more complex and various aiming at perpetuating the interpretation of worlds and popping up interrogations. They allow us to receive and integrate new approaches and media within the artistic universe such as ; the motion, the sound, the video etc. while creating a new relationship between the audience and the artwork itself. Therefore, the public and urban space becomes a prosperous matrix to thrive artistically.

L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives s’entremêlent. La pertinence culturelle étant entendue ici comme une reconstruction critique et théorique d’une histoire par l’appropriation de matériaux et/ou de techniques textiles spécifiques. Nous avons opté pour un travail thématique afin d’analyser au mieux ce que nous appelons la scène textile globale. Une première partie propose l’analyse des travaux d’artistes réfléchissant sur l’histoire et la culture noire. Nous étudierons une sélection d’oeuvres mettant en lumière deux traumas : l’esclavage et le colonialisme, ainsi que leurs répercussions actuelles sur la culture et la société. Ainsi les travaux de Faith Ringgold, Yinka Shonibare, Hassan Musa et Maria Magdalena Campos-Pons seront analysés afin de parler de problématiques comme « l’hybridité culturelle », la créolisation, la situation de l’art contemporain africain ou encore la représentation du corps noir dans l’art. Une seconde partie est axée sur les notions d’exil, de diaspora et de l’inconfort induit par le nomadisme, le statut « entre-deux ». Les pratiques de Mona Hatoum, de femmes artistes arabes comme Lalla Essaydi, Shadi Ghadirian ou Ghazel, ainsi que les travaux de Kimsooja, Janine Antoni et Ana de la Cueva nous permettrons d’entrer au coeur d’une scène artistique dont les enjeux critiques nous portent à réfléchir sur la mondialité, dans ses aspects positifs (enrichissement, échange, dialogue) comme négatifs (uniformisation, standardisation, perte des spécificités locales). Grâce au vecteur textile, chacun de ces artistes appréhende le monde et la société d’une manière à la fois poétique, critique et politique. Une troisième partie est dédiée aux artistes (majoritairement des femmes) ayant choisi l’utilisation de techniques textiles traditionnelles comme la broderie, le tissage ou la tapisserie. Avec l’explosion de la scène féministe depuis les années 1970 jusqu’aux travaux actuels, la broderie n’est désormais plus considérée comme un loisir typiquement féminin, mais comme une véritable arme politique. Une arme dirigée vers le machisme, le patriarcat ou encore les inégalités liées au genre. Dans ce cadre, les pratiques d’artistes comme Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, permettront d’aborder la broderie dans l’art contemporain de manière diversifiée et hétérogène. À travers ces différentes analyses, nous observons la déconstruction de la hiérarchie des arts et le fait que l’art textile contemporain apparaît comme un art engagé et pertinent, proposant des perspectives de réflexions riches en lien avec les problématiques du monde actuel. / The study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as “cultural hybridity”, creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the “in-between” status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the explosion of the feminist scene during the 1970s until current works, embroidery is henceforth no more considered as a typically feminine leisure, but as a real political weapon. A weapon steered towards the male chauvinism, patriarchy or gendered disparities. In this frame, the practices of such artists as Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, will allow to approach the embroidery in contemporary art in a diversified and heterogeneous way. Through these various analyses, we observe the deconstruction of art hierarchy and that contemporary textile art appears as a committed and relevant art, proposing perspectives of rich reflections in connection with the actual issues of our world.

No description available.

Dans le cadre du projet de « maintenir ou accroître l'habitabilité du monde » (Ezio Manzini, 1991), nous interrogeons la manière de penser l’habiter par le design, qui rencontre de notre point de vue la question des enveloppes de l'homme, artificielles versus biologiques, matérielles versus virtuelles. Le cas de l’habit, hypothétique enveloppe habitable dérivée du vêtement, première architecture selon Gottfried Semper et le « principe du revêtement », retient tout particulièrement notre attention. Le sujet est abordé par une théorisation située à partir d’un projet expérimental personnel de conception et fabrication d’enveloppes textiles, qui attesta d’une rationalité et d’une expansivité tout à fait singulières. Son étude est conduite par une méthode poïétique, au sens de Paul Valéry, qui combine une étude herméneutique des productions, une exégèse de la nature systémique de la démarche (programme et émergences), ainsi qu’une exégèse complémentaire du travail technique en actes (facture et irrégularités). La transdisciplinarité inhérente à la problématique est ainsi envisagée à partir de la pensée de l’art textile de Semper, la pensée poétique et épistémologique de Valéry, et la pensée esthétique complexe issue des sciences du vivant. La construction théorique nous emporte à suggérer, en regard de l’habitabilité, la perspective d’un nouveau paradigme, la textilité. / In context of the project intended to « maintain or increase the habitability of the world » (Ezio Manzini, 1991), we question the way of thinking the dwelling by design, which meets, according to us, the question of human envelopes, artificial versus biological, material versus virtual. The case of the habit, hypothetical inhabitable envelope derived from garment, primary architecture according to Gottfried Semper and the “theory of clothing”, particularly focuses our attention. The subject is approached by a situated theorizing from a personal experimental project of conception and manufacture of textile envelopes, which demonstrated a rationality and expansiveness quite singular. The study is leaded by a poïetic method, as defined by Paul Valéry, combining an hermeneutical study of production, an exegesis of the systemic nature of the process (program and emergences), and an additional exegesis of the technical work through the acts (craft and irregularities). The inherent transversality of the problem is thus considered with means of the thought of textile art of Semper, the poetic and epistemological thought of Valéry, and the complex aesthetic thought outcome from of the life sciences. The theoretical construction takes us to suggest, in comparison with the one of habitability, the way to a new paradigm of textility.