Lacemaking has gone all organic this month. Here at Adventures HQ I have been captivated by the lace art work of Hungarian artist Agnes Herczeg. Herczeg
Het thema van de Landelijke Weefdag van Weefnetwerk in november is dit jaar Zwart-Wit + …. Een tijd terug kregen alle docenten van Weefnetwerk een mailtje met de vraag wie het leuk zou vinden…
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If I want to try out a band pattern or just weave something quickly I usually set up the warp and thread it onto my heddle at the same time. This isn’t the
Archaeological Museum of Aiani/Αιανή (Official website; Ministry of Culture; Greek Museums Portal; Wikipedia), Kozani, Greece. Ancient Aiane (Pleiades; PECS; Ministry of Culture; Wikipedia)
Our Baby Wolf loom is the most uncompromising small loom available today. It has all the advantages of portability while maintaining the best big loom features. If compactness and portability are what you are looking for, you’ll be interested in this thoughtfully engineered loom. The weaving width of the Baby Wolf is 26″. You have your choice of 4 or 8 shafts (also called harnesses), or the 4 Now-4 Later model. The X-frame design is exceptionally stable and can be folded to a depth of 18″. The adjustable beater allows the position of the shuttle race to be raised or lowered if necessary. The Baby Wolf employs a friction brake on the warp beam that lets you advance the warp smoothly.
De nieuwe trend rond DIY is weaving ofwel weven. Naast het breien, haken, macramé is er nu ook weven. Hier kun je ideeen vinden om met waving aan de slag t
explore Jan 15, 2009 # 124 blogged: pillepalles-verden.blogspot.com/2009/05/woodwoolstool-ins... inredningsbloggen.blogg.se/2009/june/wood-wool.html artmind-etcetera.blogspot.com/2009/06/flickr-favorites_23... stipje.blogspot.com/2009/06/woodwoolstool.html deco-marce.blogspot.com/2009/07/deco-crochet.html inspiracionhechaamano.blogspot.com/2009/09/las-sillas-de-...
Looking at their impressive work, it’s hard to believe Sydney sisters Lauren and Kassandra Hernandez, otherwise known as Crossing Threads,…
In her second book on takadai braids, Makiko Tada details four different flat braids of the ryuko (dragon/tiger) design, all done with 50 bobbins on the takadai braiding stand. I worked my first on…
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Eine der frühesten kulturellen Errungenschaften der Menschheit ist die Fähigkeit, aus pflanzlichen und tierischen Fasern einen haltbaren Faden herzustellen. Damit wurde eine Vielzahl weiterer Verwe…
knitGrandeur: Art Project
The Conference of Northern California Handweavers (CNCH) was in Oakland this past weekend. I had heard of the show, but hadn't been able to...
Garn: 70% uld 30% bambus Indtagning i top 8 på hver omgang
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Left: Reproduction of the Ladies in Blue fresco from Knossos. Center: Priest King fresco restored. Right: reproduction of a woman carrying an ivory pyxis from Tiryns Minoan male and female dress, from mir-kostuma.com The most spectacular scenes of the daily lives of Minoans is seen in their fresco art. Many frescoes are so vivid and full of energy that you can't help but feel an affinity for them. From these scenes we are given accurate and colorful depictions of how the Minoans viewed themselves. It is truly remarkable that such woven works of art survived, as any and all elaborate dresses seen in frescoes have long since disintegrated. One great example of fashion, class, and culture is the Theran Naval Fresco. Nobles are shown in robes, commoners in tunics, and rustics in sheepskin, alluding to three general occupation based groups in society. Whoever could afford bronze or copper razors used them, and tweezers were used as well. Minoan fashion was in a constant state of flux, constantly changing year to year through a localized version of our now global fashion industry. Long hair was common: men, woman, nobles, and bull keepers wore it, whereas those who kept short hair were either soldiers or those who needed it for practical reasons due to their work. Everyone wore jewelry, if they could afford it. Depictions of the lower classes are surprisingly common, and while details of their clothing are not seen so visibly in frescoes, metalworkers made statuettes of everyday worshipers to be left at religious sites. These metal depictions of commoners were a very frequent item found at such sites. Commoners are also seen in seals and in frescoes occasionally, and generally the most common clothing of the period for most people was wool. Modern illustration of Minoan male and female dress An example of a warp-weighted loom seen in Minoan frescoes Leaf shaped bronze razor from funerary building 3 in Arkhanes Crete, made around 1,400 BCE Bronze razor from Phylos, made around 1,200 BCE Bronze tweezers from Crete, made between 3,000-1,000 BCE A diagram of Minoan cosmetic tools Frescoes unintentionally show the artist's ideal self-image through their own aesthetic lens. Because of this, other Minoans are seen with their attractive features elaborated: straight noses, almond eyes, popping eyebrows, long black hair, tan and athletic bodies, and slim waists and legs. Both men and women are portrayed as beautifully perfect, but of course the world is never so kind. Minoan art excludes those who do not adhere to this stereotype, and most people may not have had the money to wear colored cloth with exquisite and complex designs. While the majority of clothing are left out of the picture, the clothing which is seen was manufactured by master craftsmen. Some designs are too complex to be woven, and were probably block printed, embroidered, appliqueed, or put on using a mixture of methods. The Queen's fresco, reminiscent of the ideal female aesthetic found in classical period art Clothing then as now was gendered, and women's clothing was much more elaborate than men's. Women wore dress tops designed similarly to modern t-shirts, but with a long slit from the neck to the navel. This long opening left women two options, one was to have the breasts covered and the other to have them exposed. Women with their breasts exposed is commonly seen in ritual contexts, and presumably it had some uncommon significance. It is presumed that reciprocally then to have the flaps covering yourself was the normal practice, although it should be said that there is no hard evidence detailing the norms, religious customs, or if there was even a difference between the two styles. Women also wore wide belts and embroidered aprons but only in a ritual context, thus these pieces of clothing suffer too from a lack of any information on their actual usage. It was standard for women to wear hats, whereas men would not, and by 1,700 BCE it was fashionable for women to wear tall pointed hats. By this period, men would also wear such hats but only in a ritual context. Woman from the Procession of Ladies fresco at Akrotiri The Saffron Gatherer fresco Detail of the Xeste 3 fresco at Akrotiri A woman in a fresco from the House of the Ladies “Le Parisienne” Minoan fresco from Sanctuary Hall at the Piano Nobile in the palace of Knossos, 1,450-1,350 BCE Reconstruction of part of relief fresco of an elaborate dress from Pseira, Found in Yphantiki kai Yphantres sto Proistoriko Aigaio, Crete University Press, pg 229 Detail of the arm of that dress from the same source Detail of the lower section of that dress from the same source Pre-Temple (2,400-2,100 BCE) female Minoan fashion, by Tadarida Old Temple (2,100-1,600 BCE) female Minoan fashion, by Tadarida Late Minoan (1,600-1,000 BCE) female Minoan fashion, by Tadarida Mycenaean (1,400-1,250 BCE) female fashion, by Tadarida A diagram of women's hair styles from frescoes at Knossos, Thera, and Tiryntha Male gendered clothing was intentionally skimpy, and during the MM and LM periods different variations of loincloths were all the rage. Presumably in the early MM period men would wear codpieces held up with a belt, which throughout the MM period slowly changed as people wrapped cloth around their upper thighs, turning their loincloths into a simple kilt. Eventually, certainly by the LM period, men would sew the middle of the kilt together to create shorts, and throughout the LM period men's shorts were elaborately patterned and included a decorated tassel hung from a sporran (a pouch tied around the waist used as a pocket). Also during the LM period men would forgo the kilt altogether and only wear a codpiece. Detail from the Stiersprung fresco of a bull leaper, 1,600-1,450 BCE Prince of the Lillies fresco Painting of two male servants at Knossos Servant with a blue vessel fresco at Knossos EM (codpiece) and MM (kilt/shorts) male fashion, by Tadarida A diagram of Minoan male loincloth styles A man from Knossos wearing hat, made around 1,400 BCE or earlier, now at Herakion Museum, from pg 69 of The Arts in Prehistoric Greece by Sinclair Hood The most brilliant example of male fashion from Crete is not actually from the island proper. It is a painting on the wall of a tomb in Egypt. It shows various Minoans bearing gifts for the Pharaoh in celebration of the recently departed Egyptian adviser Rekhmire. He had died around 1,450 BCE and was the Grand Vizier to multiple Pharaohs, he was well liked and respected among the local aristocracy. The fact that foreign Cretans felt obliged to celebrate the life of a Grand Vizier is testament to the connection between Egyptian aristocracy and Minoan aristocracy. The Egyptian artist or artists who were tasked with painting the procession scene were put in a serious bind: they had to paint those gift bearing Minoans presumably before they had even arrived, and the artist/s had not seen a Minoan in some time. The artist/s made a professional decision and painted Minoans as they had remembered them: wearing cod pieces with a particular hem line. When the Minoans actually arrived, their fashion had changed! Kilts had become all the rage and no one wore cod pieces anymore. The Egyptian artist/s were able to quickly fix this mistake before the tomb was sealed, simply painting kilts over top of the old cod piece. Reconstruction of the frescoes from the tomb of User on the left, and Rekhmire on the right, depicting Cretan envoys and their clothing Minoans bringing tribute to Egypt, in the tomb of Rekhmire. It is interesting to note their typical Cretan style done in an Egyptian manner. Also note the fantastically elaborate shoes Detail of the shoes of the Cretan envoys, by the author. While the tomb was made in the late 1,400s BCE, Cretans were known for exporting elaborate shoes by at least the 19th century BCE. King Zimri-Lim of Mari gave King Hammurabi of Babylon a “pair of leather shoes in the Caphtorian [Cretan] style”, but Hammurabi returned them. The tablet which describes this event gives no reason for Hammurabi's ill manners, but only a few years later he conquered Mari and killed Zimri-Lim Various styles of Minoan shoes, all of which are Minoan except for B which is Hittite The procession from Keftiu at the tomb of Rekhmire, by A. R. Burns The procession from Keftiu continued, at the tomb of Rekhmire, by A. R. Burns The recording of gifts from Keftiu by the Egyptian officals, at the tomb of Rekhmire, by A. R. Burns Another fascinating painting from the tomb of Rekhmire, an elephant being brought as tribute. It is unknown whether this was either a small Syrian or Asian elephant (which existed in Mesopotamia until around 700 BCE), or simply a miniaturized drawing of a normal sized elephant References The Minoans, by Rodney Castleden http://amzn.to/1EaVS2X
So far, one type of pickup stands out as my favorite way to create fancy patterns. It is most commonly know these days as "Baltic-Style" pickup. I learned it back in the 1970's from Helene Bress' book, Inkle Weaving. She refers to it as "Basketweave Background". Evelyn Neher in her book, Inkle, calls it "Speckled" the term which I have adopted and used over the years. It is also sometimes called, supplementary warp technique, European, Latvian, Scandinavian or Sami pickup. So many names, such a great technique! #1 Turquoise and red pattern/ brown and tan background/ pick and drop/ pattern in border/ tan weft shows in brown background area. At the bottom of the page, I'll give you a threading chart for setting up your loom to weave this technique and a helpful link to a tutorial on how to chart patterns and do the picking. The term "pickup" could be a bit misleading, since often it is necessary to pick AND drop threads out of their normal sequence. These patterns look different on the front and back sides. Some photos here show both sides. Click on photos to enlarge them and see more details. Here are some cool variations that you can use with this technique. Examples are given on this page for most of them: Pick only OR pick and drop Single color background/ single color pattern Single color background/ multiple color pattern [See #3, #4, #12] Multiple color background/ single color pattern [See #8, #10] Multiple color background/ multiple color pattern [See #1] For pick and drop patterns -same color weft (will not show) OR contrasting weft (will show as spots where the weft is dropped) [See #1, #13 for contrasting weft] Plain borders to help accentuate the pickup design OR other patterns in the border areas Continuous pattern along the length of the band OR individual motifs with plain weave in between [See #7 for motifs with plain weave in between] Several pattern motifs can be mixed, mingled or varied along the length of the band, change it up as you go [See #14 for alternating small and large diamond motifs] Pattern area can be small OR the entire width of the band Pattern area can be centered OR off to one side Lettering/ words can be incorporated [See link at bottom of page] #2 Red background/ Brown pattern/ pick and drop /pattern in border/ same color weft The pattern at each end is different from that of the central portion of the band. #3 White background/ three colors in pattern/ pick only/ plain borders #4 Tan background/ three colors in pattern/ pick only/ pattern in border #5 Two color background/ one color pattern/ pick and drop/ same color weft/ plain borders. Brown zig-zag line is where pattern threads were dropped, gold zig-zag line is where pattern threads were picked. Background has contrasting color stripe up the center. #6 Black background/ red pattern/ pick and drop/ same color weft/ single stripe in border #7 Maroon background/ pink pattern/ pick and drop/ patterned border/ same color weft/ area between motifs #8 Two color background/ single color pattern/ pickup only/ simple stripe border #9 Black background/ red pattern/ pickup only/ small pattern area with wide patterned border #10 Two color background/ single color pattern/ pick and drop/ asymmetrical landscape pattern #11 Yellow background/ red pattern/ pick and drop in asymmetrical pattern/ patterned border/ same color weft Unusual example as the red pattern threads were picked on one half of the band and dropped on the other. Photo shows back and front. #12 Dark green background/ two color pattern/ pick and drop/ same color weft #13 Single color background/ single color pattern/ pick and drop/ contrasting color weft/ border pattern #14 Single color pattern/ two color background/ pick only/ plain borders/ This one has diamond motifs which alternate between small and large versions. For this technique, there is always one pattern thread between two background threads. Here is a simple warping draft for a single color background/ single color pattern/ plain borders. If the pattern needs to be centered and symmetrical (typical for these types of patterns), there will be an odd number of pattern threads. For example in the draft below, there are 13 pattern threads, 7 in one row and 6 in the other. This is used in the very popular Celtic Knot pattern, for which you can find the pattern here, thanks to Tracy DeGarmo. In this blog post I shared two of my pickup designs with warping drafts and pickup pattern charts. Lady Edyth Miller of the Compleatly Dressed Anachronist Blog has done a fine job of describing how to chart the pickup pattern, how to read the chart and how to execute the technique here: http://edythmiller.blogspot.com/2014/02/baltic-style-pickup-inkle-weaving.html For weaving lettering See PDF tutorial from Anita Apinis-Herman HERE. Two books I would recommend are; Sami Band Weaving by Susan J. Foulkes And Norwegian Pick-Up Bandweaving by Heather Torgenrud
Traditional Latvian belts are precious artefacts, which are worn with pride as a part of the national costumes. The amazing variety of colors and patterns in the hand-woven belts reflect different …
I started in the world of data processing in 1969 when I took my first FORTRAN class at the University of Utah, and learned the basics of programming a Univac 1108. My very first run spit out ̶…
Sydney-based artist Michelle Robinson weaves textured fibers in vibrant hues into playful, bright wall-hangings and accessories.
Asistimos al Festival Intramurs de arte urbano en Valencia, de la mano de Cervezas Alhambra, para descubrir Arquicostura, de Raquel Rodrigo.
Weaving Patterned Bands: How to create and design with 5, 7, and 9 pattern threads. by Susan J Foulkes This is my latest book. Weaving Patterned Bands: How to create and design with 5, 7, and 9 pattern threads. Hardcover: 152 pages Publisher: Schiffer; 1 edition (July 28, 2018) Language: English ISBN-10: 0764355503 ISBN-13: 978-0764355509 Dimensions: 7 x 10 inches 'Narrow bands woven in colorful patterns are a centuries-old part of Baltic craft tradition. The double slotted heddle makes patterned band weaving quicker to learn and easier to do, and this is the first book that offers beginners instructions for using it. The craft doesn't involve bulky equipment―all you need can be stored in a shoe box! Learn how to weave these beautiful bands step by step, from the simple 5 pattern threads to the more complex 7 and 9 patterns. Color photographs illustrate the instructions for learning to weave. More than 140 patterns are included, along with principles for planning your own unique designs for contemporary uses such as straps, belts, bracelets, and even handfasting bands. The breathtaking range of colorful bands woven in Sweden, Finland, Russia, Estonia, Latvia, Lithuania, and Norway are explored and offer additional inspiration.' USA In the USA, You can order this book through the Woolery. https://woolery.com/weaving-patterned-bands.html UK In the UK, you can order it through ABE books. https://www.abebooks.co.uk/ and from the Braid Society. https://thebraidsociety.wildapricot.org/Books-for-sale Sweden In Sweden, you can order this book though Stoorstalka. https://shop.stoorstalka.com/en/products/books/ Here is another wonderful book about patterned bands. Three-Color Pickup for Inkle Weavers: a modern look at an Ancient Baltic-Style Technique. by Annie MacHale http://aspinnerweaver.blogspot.com/ It is available from Taproot Video https://taprootvideo.com as a PDF or in book format It is designed for experienced band weavers and introduces a fascinating technique - three colour pickup. This is the first time that this technique has been explained for modern weavers. You will need to have experience in band weaving and pickup techniques before trying these lovely patterns. Annie has provided 100 patterns so you can imagine the amount of work that has gone into producing this book. It is an important addition to any inkle weavers library. Here are two books about plain weave narrow bands. In Celebration of Plain Weave. by Annie MacHale http://aspinnerweaver.blogspot.com/ Annie's enthusiasm for inkle weaving is infectious. The book has over 100 patterns in the most glorious colour combinations for 39, 59 and 79 warp threads. I could hardly wait to try one of her patterns. The layout of the book is very user friendly and the patterns are large and clear to read. The book is available as a downloadable PDF. Check out my review on my blog. https://durhamweaver64.blogspot.com/2019/05/a-new-band-weaving-book.html Another excellent book about plain weave warp-faced bands. Making Inkle Braids An introduction to weaving inkle braids Steve Kennett https://www.sussexspinner.co.uk/ Book is available from his site. self published, Steve Kennett, 2017 The book starts with an introduction to inkle looms and basic instructions. It then progresses to warping for patterns, then pick up and drop down for patterning with some ideas for use. He also looks at the pros and cons of using different types of yarn. The book is clearly illustrated with diagrams and photographs. STOP PRESS! These three books are now in print. See my blog for April 2020. jnjissjkot ja lahtat Samiska band fran Arvidsjaur, Arjeplog och Mala (2000) published by Sameslojdstiftelsen Sámi Duodji ISBN 91-631-0499-7 To weave and to braid; Sámi bands from Arvidsjaur, Arjeblog and Malå, by Edit Svakko This lovely book has patterns for the distinctive Sámi bands woven in Arvidsjaur, Arjeplog and Mala in Sweden. Look at the instructions for weaving with the Sigga heddle on my blog to see how these bands are woven. Girjjit Samisks vavmonster Karesuando, Jukkasjarvi och Gallivare (1999) ISBN 91-630-9564-5 This is a beautifully produced book of band patterns for traditional Sámi bands woven in Karesuando, Jukkasjarvi and Gallivare in Sweden. Girjjit Samisks vavmonster Karesuando, Jukkasjarvi och Gallivare (1999) ISBN 91-630-9564-5 Handwoven Tapes by Susan Faulkner Weaver ISBN 978-0-7643-5196-9 2016 This is a lovely informative book giving many traditional band patterns from the USA. There is a wealth of background information about these humble examples of the weavers craft. Schiffer Press 2016 208 pages ISBN 978-0-7643-5196-9 Traditional Finnish Decorative Bands by Theodor Schvindt in English ISBN 978-952-5774-88-7 1903 and 2015 This little book is charming. It was originally published in 1903 and has 159 band designs in colour. All the illustrated bands are in the National Museum of Finland in Helsinki which I visited in 2014. It has been translated into English. It has only 32 pages but a wealth of band details. The colours are not accurate reproductions of the originals to avoid expensive printing costs so only six colours have been used. There is also a similar book about tablet woven bands. This book is available from http://www.salakirjat.com/ They are very efficient and the book arrived very quickly. Reflections from a Flaxen past - for the love of Lithuanian weaving by Kati Reeder Meek ISBN 0-9700648-0-2 This beautiful book has some glorious pictures of traditional Lithuanian costumes. I will be reviewing this book next month. (June 2019) It is available from http://store.vavstuga.com/category/books.html Moraband by Barbro Wallin in Swedish. ISBN: 978-01-978632-5-4 2012 This beautifully illustrated book is published by the Zorn Museum in Mora, Sweden. It is in Swedish but the band patterns are clearly set out. Barbro has carefully recorded the bands that she has woven over many years. The bands are woven on a Swedish band loom using coloured heddles to choose the pattern threads. The bands use a threading which has three background threads in between each pattern thread. As the band loom is not easily available outside of Sweden, I made a YouTube video showing how these bands can be woven using an inkle loom or a backstrap and rigid heddle. The book is available from the Zorn Museum and Stoorstalka. Esti Kirivööd by Piia Rand in Estonian. ISBN: 978-9949-9363-2-8 2013 This is a well designed and illustrated book. The photographs showing how to set up a rigid heddle and backstrap and an inkle loom are very clear and easy to follow even without an English translation. All the bands are from the Museum in Tartuu. Each band has a clear graphed pattern accompanied by a photograph of the front and back of the original band from the museum. All the bands are constructed from the familiar 'Baltic' threading which has two background threads in between each pattern thread. All these bands can be woven using a double slotted heddle. Lapilised Vööd by Merike Freienthal and Veinika Västrik In Estonian ISBN: 978-9949-9363-0-4 2012 This is another well designed and illustrated book in Estonian. These bands have a supplementary warp thread which makes the pattern. The photographs show how to set up an inkle loom, a backstrap with heddles and a four shaft loom. The pattern threads are raised and lowered in groups. The background threads weave tabby. In the book, each band has a weave pattern and is illustrated with a photograph of the front and back of the original band. Here is one of the patterns which I wove on my four shaft table loom. Both sides of this band are identical. Band on page 111. Woven in wool. These two Estonian books are available online from Apollo store. Gjord av din hand in Swedish ISBN 978-91-982042-0-9 2014 Vav Kompaniet in Boras, Sweden have just written their first book called Gjord av din hand. It is in Swedish and beautifully illustrated with a variety of craft projects. It is available from their online shop. Norwegian Pick-up Band Weaving by Heather Torgenrud in English Schiffer Publishing 2014 176 pages hardcover. Lots of beautiful illustrations and band patterns. Very clear instructions for weaving. Virumaa Seelikud by Kersti Loite in Estonian ISBN 978-9949-33-310-3 2013 ISBN 978-9949-33-310-3 112 pages hardcover. Lots of beautiful illustrations of skirts and other striped material from the museum collection. There are close up pictures of the stripes which would enable reproductions to be made. This book is a treasure trove of ideas for designing stripes. Patterned Sashes: The Common Cultural Layer by Anete Karlsone, Latvijas Nacionalais Kulturas Centrs, 2014 ISBN 978-9934-528-09-5 In Latvian with a few pages in English. Patterned Sashes: The Common Cultural Layer by Anete Karlsone, Latvijas Nacionalais Kulturas Centrs, 2014 ISBN 978-9934-528-09-5 Out of Print Books The following books are out of print but it is useful to know the details in case second hand copies are available. Lithuanian Sashes by Anastazija Tamosaitiene and Antanas Tamosaitis, Toronto:Canada, 1988, ISBN 0-9191187-04-8 Although this is out of print, The Lithuanian Folk Art Institute in Toronto has a few copies for sale. Here is the link: https://ltfai.org/lithuanian-sashes-book/ Sámi band weaving Haugen, A (1987) Samisk Husfild I Finnmark Haugen, A (1987) Samisk Husfild I Finnmark, Oslo, Norsk Folkemuseum ISBN 82-529-1073-4 This book was reprinted a few years ago but again out of print. It has band patterns and knitting patterns and has a wealth of detail about Sámi costume in Norway. Latvian Band Weaving Latvian Belts by Aleksandra Dzervitis and Lilija Treimanis. This glorious book is a treasure trove of Latvian woven band patterns.
Hungarian artist Agnes Herczeg blends incredibly intricate lace art with knotty wooden pieces of wood and it looks ethereal. Her carefully crafted figures are a calming celebration of our connection with mother nature and the juxtaposition of the looseness of the lace and the solidity of the wood is the link that holds everything together.
At Fine Cell Work, we use only the best quality yarns and cloth in our production. Linen cloth is used in some of our best selling items such as our lavender bags, our Shakespeare range and of course, our popular pineapple collection. If you have ever bought one of our embroidered products then you are probably familia
Hello all Today i am going to write about the costume of the region of Kapsai, somewhat of a sister region to Zanavykia. Kapsai is south of Zanavykia, between Lithuania Minor and Dzukija, bordering on Poland to the south. This corner of Poland historically had a sizeable Lithuanian community, and actually i am not familiar with any Polish costume native to this corner of Poland. Here is a map showing the Kapsai region. This map shows Dzukia extending to the south of Kapsai. Different maps do not agree as to the exact extent of the various regions, Dzukia in particular. Kapsai has perhaps the most colorful and impressive costume of LIthuania. Sometimes artists mix pieces from different regions in their drawings. When this is the case, they almost always depict an apron from the region of Kapsai. Here is the most prominant of the Lithuanian costumes on display in a museum in Moscow. A good representation of the Kapsai costume. Here are a couple of prints from V. Palaima representing the Kapsai costume. A couple of images from Jurkuviene. An example from Glemžaitė front and rear. And a couple of photos from Tamošaitis. , The most evident differences between this and the Zanavykian costume is that the bodice has a different cut, generally being much longer, and the apron has horizontal ornament. Starting with the chemise, It has the usual Lithanian cut, tunic type with narrow shoulder tabs. It was ornamented with overshot weaving, hemstitching, broderie anglaise [which was exceptionally popular in this region] or other embroidery. The embroidered chemises tend to have shoulder pieces which have been widened. Here is a closeup of the costume from the Russian museum. Overshot weaving in white and ecru on a lower sleeve. Hemstitching on lower sleeve and shoulder piece. Broderie Anglaise on a shoulder piece. Cross stitch on a chemise. You will notice that the upper sleeve is gathered into the shoulder as in Zanavykia, and the tulip and rue plant are major motifs. The skirt is most commonly woven with vertical stripes on a dark background, as in Zanavykia, sometimes solid stipes, and sometimes the stripes have ornamental motifs woven in.But plaid and solid color skirts, perhaps with spot motifs woven in, are more common than in Zanayvkia as a result of influence from neighboring Dzukija. Again, as in Zanavykia, the apron takes center stage. Peruse the images in the posting. Horizontal arrangement is distinctive for this region. Sometimes the upper part is left unornamented or made from a cheaper material, because the bodice covers it. The sash is wide, with very ornamental motifs, it is tied either under or over the bodice. Tulip motifs are often prominant, and the supplemental weft fringes are well in evidence. The bodice varies somewhat, but tends to be longer than anywhere else in Lithuania, resembling the kersetka of eastern Ukraine. It is made either of home woven or bought material. Some examples flare more widely. Here is a back view of one example, and two different patterns. The headpieces greatly resemble those of Zanavykia, kerchiefs with or without front pieces, galloons, netted caps with front pieces. The beaded headbands are apparantly not found in Kapsai. Here is an image of a somewhat different type of karuna found in Kapsai. This is a headress called pakalke, similar to the karuna, but without points and higher. A linen kerchief with woven ornament and attached frontpiece. Necklaces of amber, coral or glass beads complete the costume. Thank you for reading, i hope you have found this interesting and possibly inspiring. Jurkuviene treats this costume together with the one from Zanavykia in her article.on Suvalkija. http://ausis.gf.vu.lt/eka/costume/cost_suvalkija.html Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004
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