Brocade

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Cope and chasuble; Brocade of Lyon. 19th Century Paris - Cathedrale Notre-Dame - Tresor de la cathedrale - Ornements sacerdotaux -3.JPG
Cope and chasuble; Brocade of Lyon. 19th Century
Silk brocade fabric, Lyon, France, 1760-1770. Brocart de soie francais.jpg
Silk brocade fabric, Lyon, France, 1760–1770.
Detail of hair-sash being brocaded on a Jakaltek Maya backstrap loom. JacaltecBrocade.jpg
Detail of hair-sash being brocaded on a Jakaltek Maya backstrap loom.
Large Yunjin brocade loom, Nanjing, China, 2010 Brocade loom.jpg
Large Yunjin brocade loom, Nanjing, China, 2010

Brocade is a class of richly decorative shuttle-woven fabrics, often made in coloured silks and sometimes with gold and silver threads. [1] The name, related to the same root as the word "broccoli", comes from Italian broccato meaning "embossed cloth", originally past participle of the verb broccare "to stud, set with nails", from brocco, "small nail", from Latin broccus, "projecting, pointed". [2]

Contents

Brocade is typically woven on a draw loom. It is a supplementary weft technique; that is, the ornamental brocading is produced by a supplementary, non-structural, weft in addition to the standard weft that holds the warp threads together. The purpose of this is to give the appearance that the weave was actually embroidered on.

In Guatemala, brocade is the most popular technique used to decorate fabric woven by Maya weavers on backstrap looms.

Ornamental features in brocade are emphasised and wrought as additions to the main fabric, sometimes stiffening it, though more frequently producing on its face the effect of low relief. In some, but not all, brocades, these additions present a distinctive appearance on the back of the material where the supplementary weft or floating threads of the brocaded or broached parts hang in loose groups or are clipped away. [1] When the weft is floating on the back, this is known as a continuous brocade; the supplementary weft runs from selvage to selvage. The yarns are cut away in cutwork and broché. Also, a discontinuous brocade is where the supplementary yarn is only woven in the patterned areas. Artisans worked extremely hard to produce these spectacular works of art. It often took years to make them.

History

China

The manufacture of brocade began during the Warring States period of China. [3] Many products of brocade have been found in tombs of the era. [3] [4] Several distinct styles of brocade have been developed in China, the most famous being Yunjin (Cloud brocade) of Nanjing, Song brocade of Suzhou, and Shu brocade of Chengdu.

Southeast Asia

Songket is a type of brocade in the Malay world (Indonesia, Malaysia, Singapore, Brunei etc.)

Byzantium

Dating back to the Middle Ages, brocade fabric was one of the few luxury fabrics worn by nobility throughout China, India, Persia, Greece, Japan, Korea and Byzantium. Woven by the Byzantines, brocades were an especially desirable fabric. From the 4th to the 6th centuries, production of silk was seemingly non-existent, as linen and wool were the predominant fabrics. During this period, there was no public knowledge of silk fabric production except for that which was kept secret by the Chinese. Over the years, knowledge of silk production became known among other cultures and spread westward. As silk production became known to Western cultures, trade from the East began to decrease. It was discovered by Byzantine historians that in the 6th century a pair of monks brought the secret of sericulture – silk production – to the Byzantine emperor. As a result, Western cultures were able to learn how to breed, raise, and feed silkworms. From this point until the 9th century, Byzantium became the biggest and most central producer for all of the Western world in the production of all types of silk motifs, including brocades, damasks, brocatelles and tapestry-like fabrics. [5]

During the Early Middle Ages, brocade fabrics were only available to the wealthiest of people as the Byzantine emperor charged extreme prices for the fabric. The designs woven into brocade fabrics were often Persian in origin. It was also common to see Christian subjects depicted in the complex weaves of the fabric. When these luxurious fabrics were made into clothing or wall hangings, they were at times adorned with precious and semiprecious stones, small medallions of enamel, embroidery and appliqués. [5]

The Late Middle Ages

Wealthy noblemen and noblewomen dressed in silk brocades from Italy, and velvets trimmed with fur from Germany. During the 14th and 15th centuries, the Court of Burgundy was made known for their continuous fashionable tastes and luxurious dress. [6]

Renaissance Italy

The condotier by Italian Renaissance painter Giovanni Bellini Giovanni Bellini - Portrait of Giovanni Emo - National Gallery of Art, Washington.jpg
The condotier by Italian Renaissance painter Giovanni Bellini

Brocades were also an important fabric during the Renaissance, and especially the Italian Renaissance. As wool and silk were the primary fabrics used by Europeans during the Renaissance, and despite the lack of documentary evidence, it is said[ according to whom? ] that due to the increase in complexity of decoration of Italian silk fabrics of the 15th century, there must have been improvements in silk-weaving looms around this time.[ original research? ] The complexity and high quality of luxurious silk fabrics caused Italy to become the most important and superior manufacturer of the finest silk fabrics for all of Europe.[ citation needed ] The almost sculptural lines of the fashions during the Renaissance were paired perfectly with the exquisite beauty and elegance of brocade, damask, and other superior silk textiles. [7]

Modern uses

Brocade fabrics are mostly for upholstery and draperies. They are also used for evening and formal clothing, for vestments, as well as for costumes. In India, Banarasi brocade is extensively used in decorating Banarasi saris, dresses, and dupattas. The use of precious and semi-precious stones in the adornment of brocades is not common, but has been replaced by the use of sequins and beading. Brocade fabrics are now largely woven on a Jacquard loom that is able to create many complex tapestry-like designs using the Jacquard technique. Although many brocade fabrics look like tapestries and are advertised in some fashion promotions as such, they are not to be confused with true tapestries. Patterns such as brocade, brocatelle, damask and tapestry-like fabrics are known as jacquard patterns. [8]

See also

Related Research Articles

<span class="mw-page-title-main">Jacquard machine</span> Control device attached to weaving looms

The Jacquard machine is a device fitted to a loom that simplifies the process of manufacturing textiles with such complex patterns as brocade, damask and matelassé. The resulting ensemble of the loom and Jacquard machine is then called a Jacquard loom. The machine was patented by Joseph Marie Jacquard in 1804, based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728), and Jacques Vaucanson (1740). The machine was controlled by a "chain of cards"; a number of punched cards laced together into a continuous sequence. Multiple rows of holes were punched on each card, with one complete card corresponding to one row of the design.

<span class="mw-page-title-main">Loom</span> Device for weaving textiles

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

<span class="mw-page-title-main">Weaving</span> Technology for the production of textiles

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. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

<span class="mw-page-title-main">Tapestry</span> Form of textile art, traditionally woven on a vertical loom

Tapestry is a form of textile art, traditionally woven by hand on a loom. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall, or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. Most weavers use a natural warp thread, such as wool, linen, or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.

<span class="mw-page-title-main">Poplin</span> Strong, plain-weave fabric with a fine cross-rib

Poplin, also called tabinet, is a fine wool, cotton or silk fabric that has a vertical warp and a horizontal weft. Nowadays, the name refers to a strong material in a plain weave of any fiber or blend, with crosswise ribs that typically give a corded surface.

<span class="mw-page-title-main">Shawl</span> Simple item of clothing, loosely worn over the shoulders, upper body and arms

A shawl is a simple item of clothing, loosely worn over the shoulders, upper body and arms, and sometimes also over the head. It is usually a rectangular piece of cloth, but can also be square or triangular in shape. Other shapes include oblong shawls. It is associated with the inhabitants of the northern Indian subcontinent—particularly Kashmir and Punjab—and Central Asia, but can be found in many other parts of the world.

<span class="mw-page-title-main">Damask</span> Reversible figured woven fabric

Damask is a woven, reversible patterned fabric. Damasks are woven by periodically reversing the action of the warp and weft threads. The pattern is most commonly created with a warp-faced satin weave and the ground with a weft-faced or sateen weave. Fabrics used to create damasks include silk, wool, linen, cotton, and synthetic fibers, but damask is best shown in cotton and linen. Over time, damask has become a broader term for woven fabrics with a reversible pattern, not just silks.

<span class="mw-page-title-main">Crêpe (textile)</span> Any of various fabrics with twisted threads, often crinkled surface

Crêpe, also spelled crepe or crape, is a silk, wool, or synthetic fiber fabric with a distinctively crisp and crimped appearance. The term "crape" typically refers to a form of the fabric associated specifically with mourning. Crêpe was also historically called "crespe" or "crisp".

<span class="mw-page-title-main">Paithani</span> Variety of sari

Paithani is a variety of sari, named after the Paithan town in Aurangabad district from state of Maharashtra in India where the sari was first made by hand. Present day Yeola town in Nashik, Maharashtra is the largest manufacturer of Paithani.

<i>Songket</i> Traditional Maritime Southeast Asian woven fabric

Songket or sungkit is a tenun fabric that belongs to the brocade family of textiles of Brunei, Indonesia, Malaysia, and Singapore. It is hand-woven in silk or cotton, and intricately patterned with gold or silver threads. The metallic threads stand out against the background cloth to create a shimmering effect. In the weaving process the metallic threads are inserted in between the silk or cotton weft (latitudinal) threads in a technique called supplementary weft weaving technique.

<span class="mw-page-title-main">Selvage</span> Narrow edge of a woven fabric parallel to its length

A selvage or selvedge is a "self-finished" edge of a piece of fabric which keeps it from unraveling and fraying. The term "self-finished" means that the edge does not require additional finishing work, such as hem or bias tape, to prevent fraying.

Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.

<span class="mw-page-title-main">Silk in the Indian subcontinent</span> Overview about silk in the India subcontinent

Silk In India, about 97% of the raw mulberry silk is produced in the Indian states of Karnataka, Andhra Pradesh, Tamil Nadu and West Bengal. Mysore and North Bangalore, the upcoming site of a US$20 million "Silk City", contribute to a majority of silk production. Another emerging silk producer is Tamil Nadu in the place in where mulberry cultivation is concentrated in Salem, Erode and Dharmapuri districts. Hyderabad, Andhra Pradesh and Gobichettipalayam, Tamil Nadu were the first locations to have automated silk reeling units.

The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.

<span class="mw-page-title-main">Lampas</span>

Lampas is a type of luxury fabric with a background weft typically in taffeta with supplementary wefts laid on top and forming a design, sometimes also with a "brocading weft". Lampas is typically woven in silk, and often has gold and silver thread enrichment.

<span class="mw-page-title-main">Byzantine silk</span> Silk woven in or distributed via the Byzantine Empire

Byzantine silk is silk woven in the Byzantine Empire (Byzantium) from about the fourth century until the Fall of Constantinople in 1453.

Eolienne is a lightweight fabric with a ribbed (corded) surface. Generally made by combining silk and cotton or silk and worsted warp and weft, it is similar to poplin but of an even lighter weight.

<i>Game of Thrones Tapestry</i>

The Game of Thrones Tapestry is a hand-crafted tapestry, woven by hand on a jacquard loom, with additional embroidery. The tapestry tells the entire story of the television show, Game of Thrones. It consists of seven 11-metre-long panels and one 10.5-metre panel. The eight panels depict scenes from each episode and include images of crew at work. The tapestry was commissioned by HBO and Tourism Ireland, the tourism bureau of Northern Ireland where HBO filmed much of the series.

<span class="mw-page-title-main">Brocatelle</span> Silk-rich fabric with heavy brocade designs

Brocatelle is a silk-rich fabric with heavy brocade designs. The material is characterized by satin effects standing out in relief in the warp against a flat ground. It is produced with jacquard weave by using silk, rayon, cotton, or many synthetic yarns.

<span class="mw-page-title-main">Swivel weave</span> Decorative weave

The swivel weave is a weaving technique that incorporates a decorative element into the fabric by using small shuttles that insert additional weft thread around selected warp threads, while the main weft thread forms the fabric's structure. This method differs from the plain weave, which lacks this decorative aspect.

References

  1. 1 2 Wikisource-logo.svg One or more of the preceding sentences incorporates text from a publication now in the public domain :  Chisholm, Hugh, ed. (1911). "Brocade". Encyclopædia Britannica . Vol. 4 (11th ed.). Cambridge University Press. pp. 620–622.
  2. brocade: EtymologyOnline
  3. 1 2 Ye, Lang; Fei, Zhengang; Wang, Tianyou, eds. (2007). China: Five Thousand Years of History and Civilization. Hong Kong: City University of Hong Kong Press. p. 410. ISBN   978-962-937-140-1.
  4. Sullivan, Michael (1999). The Arts of China (4th ed.). Berkeley: University of California Press. ISBN   0-520-21876-0.
  5. 1 2 Tortora, Phyllis G. (2009). Survey of Historic Costume. New York: Fairchild Books. p. 110.
  6. Tortora, Phyllis G. (2009). Survey of Historic Dress. New York: Fairchild Books. pp. 147–148.
  7. Tortora, Phyllis G. (2009). Survey of Historic Dress. New York: Fairchild Books. pp. 183–184.
  8. Collier, Billie J. (2009). Understanding Textiles. Upper Saddle River, N.J.: Pearson Prentice Hall. p. 303.

Further reading