Ancient Textile Technology

There is noticeable disagreement among scholars of the LXX Psalter regarding its place of origin/translation. One group, citing similarities with Kaige and names characteristic of the Hellenistic Levant (baris and pyrgobaris), leans towards Palestine, or even Jerusalem itself; The other side rejects this view, pointing instead to numerous terms borrowed from the Egyptian environment (lakseutērion, anafora). To join this discussion, it is valuable to research terms deeply rooted in material culture, or even better, those related to specific crafts, such as textile production. This study gathers all textile-related terms found in the Hebrew version of the Psalter, characterizes them accordingly, and presents the equivalents selected by the Greek translator. The Greek textile proved to be largely general; however, two of them, diploïs and schoinisma, when compared with literary sources and Egyptian documentary papyri, allowed to tip the scales in favor of Egyptian provenance. Ultimately, however, caution was given against drawing too far-reaching conclusions, given the scarcity of source material on textile terms in the LXX Psalms.

his paper explores the history and decline of weaving and cotton production in Malta and Gozo, tracing its origins, flourishing phases, and eventual disappearance under colonial and industrial pressures. Although the exact date of its introduction remains uncertain, weaving became a central craft in Malta’s rural economy, with cotton cultivation and export regulated by local authorities as early as the 14th century. The industry reached its peak in the 18th century, employing entire families, particularly women, in spinning, weaving, dyeing, and related processes. Cotton varieties grown locally, such as Gossypium hirsutum, G. religiosum, and later G. barbadense, supported both domestic and export markets. However, by the early 20th century, competition from large-scale mechanised production abroad, combined with economic shifts under British rule, led to the collapse of the trade. Weaving survived in Gozo longer than in Malta, often maintained as household craft rather than a commercial pursuit. Beyond its economic role, weaving embodied social cohesion, gendered labour divisions, and local identity. Today, with traditional methods largely extinct, weaving survives only in isolated practices, yet remains culturally significant as a marker of heritage and a potential attraction for cultural tourism.

This study shows the combination of digital image code and its impact on the links between heritage and modernity. The study shows that using the digital image code to convert cultural heritage into digital images enable to access this heritage and opens up new opportunities for designers and artists to give modern touches to cultural heritage. The use of modern technologies can help stimulate creativity and innovation, and transform cultural heritage into new artistic creations. However, care must be taken to strike the appropriate balance between preserving heritage elements and transforming them into modern works of art, without losing the important links between past and present.
Appearance of digital graphics color, painting and drawing changed the industries of the image-based in many sectors. After Effects become common like using pencils still moving-image design and manipulation processes can be accessible to every designer add using the internet became an indispensable platform for interactive visual designs.
In Graeco-Roman times in the Fayoum region, a portrait was placed over the face of a deceased. These mummy portraits show inter-individual diversity.
A custom specific to the Ancient Egyptian Graeco-Roman period, found in numerous burials of that period, while the rest of the body was wrapped in linen according to the typical ancient Egyptian.
This represents some kind of Egyptian religious with Greek influences called "Graeco-Egyptian syncretism phenomenon"
the use of digital coding in fashion fabric design is an exciting and rapidly evolving field that has the potential to transform the way we think about textiles and fashion. As technology continues to advance and new tools and techniques are developed, it is likely that we will see even more innovation and creativity in this space.

After publishing my book: The Shroud is Authentic with TAU Editrice, I turned to those I could identify as my friends, whom we might call 'authenticists'. However, since I have a strong scientific and philosophical background and what I say is never definitive, I also turned to those we might consider my enemies and call "deniers". However, I don't fit in with either group. The authenticists are adamant. They now embrace the thesis that the image on the Shroud could not have been formed by natural causes and instead opt for a supernatural cause. Jesus, upon rising, emitted a flash of light comparable to a supernova. However, this powerful light lasted for an infinitely brief fraction of a second, resulting in the selective scorching of the linen body. This is also because, as Jesus rose and vanished from within the shroud, the cloth fell in on itself vertically.

Шелковые ткани всегда привлекали исследователей из-за их красоты, многоцветия и узоров. Про льняные и шерстяные изделия этого сказать нельзя. Несмотря на многочисленность таких находок, публикаций на эту тему крайне мало. Данное обстоятельство, вероятно, объясняется невзрачностью самих изделий, а также отсутствием обоснованных критериев для их атрибуции. Основной признак, позволяющий сделать вывод о том, что ткани из шерстяных и растительных волокон являются предметами египетского импорта, и используемый в этой статье,-направление крутки нитей.

В статье рассматривается текстильный материал, обнаруженный экспедицией ЦЕИ РАН в захоронениях некрополя Дэйр-эль-Банат (Фаюмский оазис). Для определения стоимости текстиля разработана специальная шкала, в которой сырье и все этапы производства оцениваются в условных единицах. Такой подход позволяет перевести субъективные впечатления об экономических вложениях некогда живших людей в погребение их родственников и друзей в объективные показатели.

Тысячи фрагментов различных тканей из захоронений, дошедших до наших дней, свидетельствуют о широком использовании текстиля в повседневной жизни египетского общества. Кроме одежды, зачастую сохранившейся не целиком, в погребениях присутствуют фрагменты предметов интерьерного текстиля: завесы, покрывала, наволочки, чехлы для матрасов, постельное белье, скатерти, салфетки, коврики. Завесы в этом списке занимают самое почетное место. Они служили для разделения помещений на зоны, регулирования потоков воздуха и света, украшения домов. Изображения, сотканные на них, а также красные метки могли защищать жилище от различных неприятностей. После смерти завесы сопровождали человека, выступая в роли погребальных пелен. Качество изделий из текстиля, найденных в ходе работы экспедиции Центра египтологических исследований РАН, неоднородно, а значит, при жизни погребенные в некрополе Дейр-эль-Банат имели разный уровень благосостояния. В статье приведены наиболее характерные примеры завес, являющиеся свидетельствами наличия в Египте в эпоху раннего Средневековья текстильных производств различного масштаба. Ключевые слова: ткани, археологический текстиль, убранство дома, «коптские ткани», декоративно-прикладное искусство. В Египте в эпоху поздней Античности применялось множество способов использования тканей в интерьере домов 1. Текстиль дополнял и смягчал архитектурные конструкции и другие элементы декора, такие как аркады, каменные или мозаичные полы, облицовка стен настенная живопись и встроенная мебель 2. Сегодня в домах того времени, известных по археологическим раскопкам, нет тканей. Представить, как выглядели их интерьеры, помогают изобразительные источники, такие как позднеантичные

Красная нить через жизнь и смерть: охранительная функция красного цвета в Египте византийского периода АННОТАЦИЯ. Красный цвет всегда занимал особое место в разных культурах, в том числе в Египте. В византийский период текстиль из погребений может многое «рассказать» о жизни людей, в частности-о восприятии красного цвета. В статье на основе анализа текстильного материала из некрополя Дейр-эль-Банат, полученного в ходе археологических экспедиций Центра египтологических исследований РАН, предпринимается попытка ответить на вопрос: существует ли связь между полом/возрастом погребенного и красным цветом на текстиле, обнаруженном в его погребении? В результате исследования сделан ряд наблюдений и высказаны предположения, что интерьерный текстиль с метками (завесы, покрывала и полотенца) использовался в быту и в дальнейшем вторично-для погребений. Связь пола/возраста с использованием красного цвета вообще и красных меток в частности наблюдается в женской и детской одежде. Результаты проведенного анализа позволили согласиться с уже высказанным ранее утверждением, что метки на одежде имели охранительную функцию. Они защищали самые уязвимые группы населения-детей и женщин. При этом, возможно, красный цвет женской шапочки, имея защитную функцию, также маркировал детородный возраст. Отсутствие красных меток в сочетании с крестами в одном погребении представляется неслучайным и, предположительно, может трактоваться как следующий этап перехода от сложных синкретических верований к христианским. Тем не менее красные метки сохраняются и в исламский период.

Rather than treating redistribution as an undifferentiated economic function, scholars currently recognize that multiple forms may occur simultaneously. In this Forum Article, I focus on one such form in detail, specifically, the redistributive system that financed the production of prestige goods at the Palace of Nestor at Pylos. I employ * I offer many thanks to the organizers and participants of the colloquium "Redistribution in Aegean Palatial Societies," held at the 2009 Annual Meeting of the Archaeological Institute of America in Philadelphia, for their spirited conversation and insights into the complexities of redistribution. I also express my gratitude to Emma Blake for her thoughtful comments on earlier drafts of this essay and to the anonymous reviewer for the AJA who made numerous helpful suggestions that improved the fi nal version. All errors and misinterpretations, however, are entirely my fault. 1

Identifying a braid is a challenge, and some of the reasons are considered here by examining one example. Braids are often described by technique, yet how reliable is this form of nomenclature? Arguing for caution when diagnosing any historic braid, Carey provides evidence of the ambiguity that can surround technique, based on her field research with the Iu Mien in Asia.

Il volume, che raccoglie 40 saggi aventi come argomento principale la Preistoria e la Protostoria, si configura come un omaggio all'illustre figura del Professore Enrico Atzeni, già Ordinario dell'Università degli Studi di Cagliari e studioso di fama internazionale, scomparso nel dicembre del 2023. L'opera si si articola in quattro sezioni, volte a ricalcare, in forma necessariamente compendiaria, le principali tematiche e piste di ricerca perseguite nel corso degli anni da Enrico Atzeni: le Produzioni materiali delle facies del Neolitico e dell'Eneolitico, i Sistemi simbolici e le pratiche funerarie e cultuali nei contesti preistorici della Sardegna e del Mediterraneo, i Processi di transizione tra Eneolitico ed età del Bronzo, le Architetture, il paesaggio e la cultura materiale nella Sardegna e nel Mediterraneo protostorico. Gli Autori tracciano un quadro ricco e variegato delle fasi pre/protostoriche della Sardegna e dell'intero Mediterraneo, nell'ottica del sentito e doveroso tributo a colui che "indagando il passato", ha fornito un fondamentale e imprescindibile contributo alla ricostruzione del nostro antico passato.

Il presente contributo si propone di integrare la documentazione finora edita sui reperti ceramici del Bronzo recente documentati nel 1983-84 nel corso di uno scavo d’emergenza effettuato presso la borgata del Rimedio, frazione del Comune di Oristano. I reperti furono rinvenuti associati agli strati di frequentazione e di abbandono di un nuraghe complesso parzialmente messo in luce dall’indagine archeologica, nuraghe che nella tradizione orale viene denominato “Nuracraba”.
I reperti ceramici diagnostici sono complessivamente 151 e provengono da strati intatti sia della frequentazione di ambienti e strutture (Torre A, S1, S2, C1, D1), sia della successiva fase di abbandono. Gli aspetti tipologici della produzione ceramica possono essere ascritti alla cosiddetta facies della ceramica decorata “a pettine” che nel corso del Bronzo Recente caratterizza i contesti ceramici nuragici della Sardegna
centro-settentrionale, sebbene alcuni elementi formali siano presenti anche in contesti della Sardegna meridionale, che appaiono contraddistinti nello stesso periodo dalla ceramica “grigio-ardesia”.
La fase del Bronzo Recente rappresenta nel sito la prima fase di frequentazione, a cui seguono una seconda fase nuragica del Bronzo Finale - Primo Ferro e le successive fasi storiche di età punica, romano-repubblicana, romano-imperiale e moderna.

The Piscinortu region, located in the north-eastern area of the San Sperate (SU) municipal territory, has brought
archaeological evidences that suggest a first anthropic frequentation of this place starting from the Late Neolithic. During
the Middle Bronze Age, the local communities organized themselves through a settlement system consisting of several
housing areas, located along a large strip of land adjacent to the southern and south-eastern zone of the wooded area. This
present paper displays unpublished data about the territorial organization of this small region and also some aspects of the
material culture, more specifically about the pottery repertoire

This paper represents a summary of the investigations initiated by Professor Atzeni between the 1950s and 1990s compared with the results of the latest investigations by the SABAP of Cagliari, in 2021. The new research carried out confirms the hypotheses put forward by the Professor, integrating and modifying them thanks to the new methodologies applied and the new data that have emerged.

Il volume, che raccoglie 40 saggi aventi come argomento principale la Preistoria e la Protostoria, si configura come un omaggio all'illustre figura del Professore Enrico Atzeni, già Ordinario dell'Università degli Studi di Cagliari e studioso di fama internazionale, scomparso nel dicembre del 2023. L'opera si si articola in quattro sezioni, volte a ricalcare, in forma necessariamente compendiaria, le principali tematiche e piste di ricerca perseguite nel corso degli anni da Enrico Atzeni: le Produzioni materiali delle facies del Neolitico e dell'Eneolitico, i Sistemi simbolici e le pratiche funerarie e cultuali nei contesti preistorici della Sardegna e del Mediterraneo, i Processi di transizione tra Eneolitico ed età del Bronzo, le Architetture, il paesaggio e la cultura materiale nella Sardegna e nel Mediterraneo protostorico. Gli Autori tracciano un quadro ricco e variegato delle fasi pre/protostoriche della Sardegna e dell'intero Mediterraneo, nell'ottica del sentito e doveroso tributo a colui che "indagando il passato", ha fornito un fondamentale e imprescindibile contributo alla ricostruzione del nostro antico passato.

In Sweden, a large-scale expansion of hydropower took place during the second half of the 20th century. The expansion was preceded by archaeological surveys which discovered a very large number of previously unknown settlement sites in the northern parts of the country. However, soon after their discovery, these sites came to be drowned by water due to dam constructions and water regulations. Even a number of contemporary, fully functioning farms and villages were flooded and the people who lived there were forced to leave their homes. At other places special settlement communities were raised to provide housing for those who worked on the hydropower expansion. When a power plant construction was completed, these communities were abandoned and the workforce moved to the next location. As a whole, the hydropower expansion ties well into ancient flood myths about how something old must perish in order for something new to be created.

Dress as a universal human phenomenon plays a fundamental role in personal perception. As a powerful tool in communication on a nonverbal level, it is a visible expression of a person's identity. 2 But how does dress communicate? The communication properties of dress have been widely recognized by scholars, but it was French semiotician Roland Barthes who proposed that clothes can be understood as a system of signs that form a type of language. 3 This semiotic approach to dress studies was questioned by American anthropologist Grant McCracken, who argued that clothing, unlike language, cannot communicate new messages, since it lacks a grammatical structure, but instead is a closed "conservative code" revealing a certain and unchanged message. 4 Thus, even though he rejects dress as a language metaphor, he stresses dress's cultural values. Although it is no longer considered a language, dress serves as a nonverbal communication tool, 5 a system of signs helping one navigate social interactions and situating one within a group or society. 6 Some authors even argue that dress frequently precedes verbal communication in forming an individual's identity. 7 However, the message dress conveys is very specific to a given culture or group, and the awareness of this condition seems to be the predicate to comprehending dress's meaning. Thus dress, which by its outward appearance aims to communicate many messages, may be perceived on various levels and lead to numerous understandings of its inward significance. But equally important is how dress is defined. The concept of dress as "an assemblage of modifications to the body and/or supplements to the body, " proposed by American anthropologists Mary Ellen Roach-Higgins and Joanne B. Eicher, is currently the most influential in the conceptual framework of dress studies. 8 This very broad and neutral definition of dress allows for cross-cultural research. It changes the focus from material things-garments that clothe the body-to the body itself and all possible experiences connected with dressing and adornments, including a phenomenological approach to the dressed body. The body seems, then, to be central, 9 and the meaning of a piece of clothing changes the moment it is worn, for it becomes associated with its wearer. Having established the basic definition of dress and the way it communicates, the crucial questions for the present volume are what dress communicates and, most relevant here, how an inward significance of dress manifests in outward appearance. As in the present day, the selection of clothing and its layers in the ancient world constituted a way of affirming and construing not only individual identity but also group identity, which can

A recent article has provided a broad yet incomplete overview, particularly concerning the presence and characteristics of the blood detected on the Turin Shroud. The study ignores the three distinct blood types described in various papers, prompting hypotheses regarding their origin in relation to the Passion and Death of Jesus Christ. This article also fails to address other significant and innovative aspects, such as the selective radioactivity of the Relic, which may explain the unreliability of the 1988 C-14 radiocarbon dating results. Neutron radiation could have induced a nuclear transformation of nitrogen, leading to an enrichment of C-14 in the Turin Shroud’s flax, thereby affecting the dating outcome. Additionally, the most recent hypotheses regarding the formation of the body image, as well as the effects of ultraviolet analysis conducted on photographs of the Relic, are either presented in a biased manner or entirely omitted. Finally, the article’s questionable conclusions regarding the relationship between science and faith are critically examined. This paper does not seek to provide an exhaustive integration of all overlooked or underestimated research from the recent study. However, it aims to address some significant gaps by presenting additional evidence suggesting that the Turin Shroud is the burial cloth that wrapped Jesus Christ after his death and Resurrection.

Статья посвящена круглой ажурной застежке из клада украшений поволжско-финского женского костюма, найденного в 2021 г. на селище Абакумлево 3 (Суздальский р-н Владимирской обл.). Застежка, как и весь комплекс предметов клада, – на данный момент не типичная находка на территории Суздальского Ополья. Авторами проведен технологический анализ украшения и осуществлен обзор близких по облику изделий с поволжско-финских памятников. Изучены особенности формирования восковой модели и определен состав металла
застежки. Обзор ажурных застежек со сходными структурой и отдельными орнаментальными элементами показал, что формирование облика застежки из Абакумлевского клада относится к концу IV – началу V в. н.э., а все конструктивные элементы находят аналогии в первую очередь в украшениях рязано-окской археологической культуры. Нагрудные застежки, зафиксированные к северу и северо-востоку от основного ареала названной культуры, могут рассматриваться как маркеры направлений перемещения населения Среднего Поочья, активно воздействующего на окружающее родственное поволжско-финское население.

and Anna Grossman from the Biskupin Archaeological Museum. Katarzyna Żebrowska was our talented photo-reporter and assistant. Textile production techniques and fibers used in the Bronze Age Aegean constituted the main reference area. We used copies of actual Aegean artefacts such as spindle whorls replicated in the Biskupin Archaeological Museum and loom weights modelled by students of the Institute of Archaeology, as well as two warp-weighted looms of Scandinavian type. A certain type of a warp-weighted loom was unquestionably used in the Aegean, however its exact construction and dimensions are unknown. We discussed (less) and practised (more) the benefits of exploratory/experiential experiments in gaining the initial "body knowledge" of textile crafts. The basic functional parameters of textile tools, namely spindle whorls and loom weights, were also deliberated. We started our "hands-on experience" with two main classes of fibers: wool and flax. The unique natural properties of both fibers were presented. We had an opportunity to see the difference between unwashed, washed, combed and carded wool from the Wrzosówka sheep bred on

Color terms show a remarkable variation in their possible lexicalization patterns across different languages. In the literature, the interest has been especially to describe the color lexicon of a certain language and to determine whether it may abide or not by Berlin and Kay’s universal evolutionary sequence, e.g., whether a certain color denomination may be considered as a basic color term, or whether a certain color category is lexicalized by more than one basic color term, by which criteria, etc. It has not been established, however, which are the most common lexical sources of basic color terms on a comparative basis, and which semantic changes are more common in this semantic field. On the basis of data drawn from 70 ancient and modern Indo-European languages, we aim at answering precisely these research questions concerning the origin and the development of basic color terms. We discuss the various lexical sources of the basic color terms for white, black, red, green, yellow, blue, brown, gray, orange, pink, and purple, and we show the most important semantic changes leading to these color meanings. We also discuss to which extent these terms are likely to be inherited or borrowed. All this aims at being a contribution to the study of diachronic semantics.

https://www.degruyter.com/document/doi/10.1515/ling-2023-0161/html

Seramik malzeme, insan eliyle kullanılmaya başlandığı dönemden günümüze dek kesintisiz olarak kültürün bir parçası olmuştur. Bu kültürün içinde, günlük yaşam ihtiyaçlarına cevap veren yeme-içme ve saklama kapları yanında inanca yönelik kullanımlar da dikkat çekicidir. Tarihin kimi dönemlerinde kültürel bir değer olarak öne çıkan seramikler, kimi zaman ise başka malzemelerin gölgesinde kalmıştır. Seramik malzemenin gelişim süreçleri dikkatle incelendiğinde, dönemi içinde değer kazanmış malzemelerin seramik ile taklitlerinin üretildiği görülmektedir. Bu seramiklerin kimisi taklit ettiği malzemeye benzemesi dışında herhangi bir değere sahip değilken, kimisi ise taklit ettiği malzemenin değerinin ötesine geçip seramik üretim gelenekleri içinde köklü yerler edinmiş ve özgün renk kimlikleri oluşturmuştur. Eski Tunç çağı siyah astarlı seramikleri, Mısır pastası, lajvardina ve seladon sırlar bu örneklerin en önemlilerindendir. Bu çalışmada, taklit amacıyla üretilmiş seramiklerdeki renk kimlikleri ele alınacak ve bunların malzeme kültürüne olan katkıları değerlendirilecektir.

Riflessioni sul lessico tecnico del tessile nel mito di Arachne (ov. met. VI, 1-145) abStract. This paper examines the account on the competition between Arachne and Athena in Ov. met. VI, 1-145. Through the technique of ekphrasis Ovid describes the iconographic subjects woven by the two contenders in a very precise technical language and with extremely specific references: the visual evocation sheds light on the stages of wool and fabric processing, the technique employed, and the organization of the work.

Simona antolini* Riflessioni sul lessico tecnico del tessile nel mito di Arachne (ov. met. VI, 1-145) abStract. This paper examines the account on the competition between Arachne and Athena in Ov. met. VI, 1-145. Through the technique of ekphrasis Ovid describes the iconographic subjects woven by the two contenders in a very precise technical language and with extremely specific references: the visual evocation sheds light on the stages of wool and fabric processing, the technique employed, and the organization of the work.

Рекомендован к печати методическим советом Научной библиотеки ФГБОУ ВО «Петрозаводский государственный университет» Печатается по решению редакционно-издательского совета Петрозаводского государственного университета Р е ц е н з е н т ы : Е. Л. Лычагина, профессор кафедры истории и археологии ФГАОУ ВО «Пермский государственный национальный исследовательский университет», доцент, д-р ист. наук; В. Н. Карманов, заведующий сектором сохранения и популяризации археологического наследия Института языка, литературы и истории Коми научного центра ФГБУН ФИЦ «Коми научный центр Уральского отделения Российской академии наук», канд. ист. наук С о с т а в и т е л и : А. М. Жульников, доцент кафедры отечественной истории Института истории, политических и социальных наук ПетрГУ, канд. ист. наук; М. П. Отливанчик, директор Научной библиотеки ПетрГУ; Е. В. Свидерская, заместитель директора Научной библиотеки ПетрГУ А90 Асбест в культуре древнего человека : сб. ст. / М-во науки и высш. образования Рос. Федерации, Федер. гос. бюджет. образоват. учреж дение высш. образования Петрозав. гос.

Cuneiform tablets indicate the importance of textile manufacturing in the Bronze Age Old Assyrian Colony Period and Hittite Empire, yet the organic traces of this industry rarely survive. Two burnt textile fragments found at Beycesultan offer an unexpected insight into the Bronze Age textile industry in Anatolia. Here, the authors present the results of chromatographic and microscopic analyses that indicate one fragment was made from hemp using the nålbinding, or single-needle knitting, technique and was dyed with the woad or indigo plant, while the other was a natural tabby weave. Both add to our understanding of the diversity of textile production in the Bronze Age.

The essays in this volume address various aspects of textile research, encompassing a wide chronological perspective and vast geographical area. They enrich traditional disciplines with innovative methodologies, such as isotopic tracing of provenance, textile analysis, digital motion capture, protein analysis, and exploration of textile expressions in texts and folklore. All essays have been written by international teams of scholars. They should serve as a comprehensive and innovative resource, consolidating the research outcomes and insights gained from the interdisciplinary exploration of textiles in European history within the framework of the COST action "EuroWeb".

Reconstructing artefacts and objects made in perishable material and understanding the knowledge and skills to produce traditional crafts is the ultimate challenge in archaeology. Nowadays, innovative and meticulous research techniques give the opportunity to tackle this challenge.
Textiles, leathers, sacks, ropes, and objects in wood or vegetal fibres are rare in archaeological contexts. However, in some specific conditions, they leave at least an imprint on malleable surfaces, like clay sealings in the Near East. Thousands of clay sealings have been recovered at Arslantepe (south-eastern Turkey), and the rigorous and innovative excavation methods make it the perfect site to develop the methodology to identify and interweave all details recognizable on these peculiar artefacts. The Arslantepe case is particularly suitable for improving our knowledge about these topics, considering the outstanding results obtained from the recent research into the Late Chalcolithic levels and the concurrent analysis of the meaningful information and material brought to light at the site.
Here a presentation of this long and complicated research will be discussed with a particular focus on methods adopted for clay sealings corpora from the palatial complex of the Late Chalcolithic 5 (3500–3200 BCE) and the monumental area of the Late Chalcolithic 3–4 (3900–3200 BCE).

Fin dall’antichità la produzione tessile è praticata a ogni livello sociale e nel mondo occidentale costituisce una delle specialità legate alla sfera femminile. In questo intervento per il convegno "Cura della Terra e cura di se stessi. Pratiche agro-silvo-pastorali e scelte terapeutiche che fanno bene alle donne e alla collettività" (Roma, 18-19 ottobre 2024) parliamo dell’arte di filare e tessere nel mondo etrusco, di archeologia sperimentale e di archeologia esperienziale, e di come queste siano eccellenti strumenti per la didattica museale con i diversi target di pubblico.  

T his chapter presents worked bone objects found during Hammond's excavations in Area II, as well as those recovered from dumps that were sifted during the Temple of the Winged Lions CRM Initiative. Finds from Area I-a domestic complex about 75 m east of the Temple itself-are not discussed here; they will be considered at a later date. It is worth noting, however, that in the absence of contextual information, some of the nds from the dumps may have originated in this area. Some worked bone objects relating to care of the body and/or personal adornment are also discussed Chapter 16. Most of the nds presented in this chapter relate either to textile production, dining, or personal leisure and entertainment. Despite limited contextual information, the assemblage merits publication because it may:

Bu kitapta yayımlanan yazı ve resimlerin tüm hakları saklıdır; tamamı ya da bir bölümü, kaynak gösterilse dahi yayıncıdan yazılı izin almaksızın fotokopi dahil, optik, elektronik ya da mekanik herhangi bir yolla kopyalanamaz, çoğaltılamaz, basılamaz, yayınlanamaz. Bu kitabın yazarları, eserlerinin kendi orijinal yaratımı olduğunu ve eserlerde dile getirilen tüm görüşlerin kendilerine ait olduğunu, bunlardan dolayı kendilerinden başka kimsenin sorumlu tutulmayacağını; eserde üçüncü şahısların haklarını ihlal edebilecek kısımlar olmadığını kabul ederler. Bu kitaptaki tüm makaleler bağımsız hakem değerlendirmesinden geçmiştir.

This essay juxtaposes the particularity of archaeological traces against the grand narratives manufactured under the banner of the so-called Third Science Revolution. As the latter has come to dominate large parts of archaeological discourse in recent decades, I offer a reading of Walter Benjamin's trope of the 'ragpicker' as a critique of the perceived need in current archaeology for a return of the grand narrative after its problematization during postmodernity. I suggest that the general empirical condition of archaeology, with textile research as an exemplary point of reference, provides an impetus for questioning the current gravitation towards generalizations and the narrative normativity of the macro-perspective. Brushing the grand narrative against the grain is not merely achieved by replacing outdated unilinear master narratives with updated and empirically expanded or scientifically 'corrected' interpretations along the same narrative discourse. Rather, writing against the dominant narrative only becomes possible by recognizing archaeology as a perspective from which to attend more carefully-and sensibly-to the epistemology and aesthetics nested in heterogeneous, messy, and erratic fragments, or, in Benjamin's terms, by doing justice to 'the rags, the refuse'.

Elastic fabrics are considered to be of high importance to produce sportswear garment for comfortable properties and body fitting to human body. Fabric elasticity is an important parameter, which plays a key role particularly when constructing patterns for tight-fitting clothing, in respect of changing pattern-piece size, resp. adapting the garment to the contours of a body in motion. The purpose of this research is to design 3D pattern construction with stretch fabric for women of aerobic sportswear using OptiTex software to represent the tension properties of fabric generated on the surface of the simulation model. Moreover, the study on mechanical properties of elastic fabric by FAST system and its result have illustrated that OptiTex could be used to simulate the tension map options so as to inspect its colored map depicting amounts of tension between clothing and model. It is certainly obvious that tension map area could be adjusted in accordance to the pattern design suitable for tight-fitting clothing wearing. Moreover, the outcomes of stretch fabrics could be compared with the influence of extensibility between warp and weft directions.

Elastické plošné textilie se ve velké míře využívají pro výrobu oděvů přiléhavé siluety. V některých případech se jedná o kompresní oděvy (dále jen KO). Jejich charakteristickou zvláštností je tlak, kterým působí na tu část těla, na kterou jsou navlečeny, za předpokladu že existuje rozdíl mezi rozměry těla a rozměry výrobku. Mohou to být sportovní oděvy, tvarovací prádlo, oděvy určené pro tlakovou léčbu, apod. Pro jejich navrhování je důležitá znalost metody výpočtu rozměrové deformace při určitém tlaku, jímž výrobek působí na povrch lidského těla. Snahou výrobců KO je tedy vytvořit takový tvar střihové konstrukce, který odpovídá nejen tělesným rozměrům předpokládaného nositele, ale také tvaru těla a v neposlední řadě mít schopnost vhodně definovat závislost mezi fyzikálně mechanickými charakteristikami (silovými) plošné textilie, z které bude elastický oděv vyrobený, a tlakem kterým výrobek působí na povrch lidského těla. To však vyžaduje teoretický a praktický výzkum, který je ori...

Elastic fabrics are considered to be of high importance to produce sportswear garment for comfortable properties and body fitting to human body. Fabric elasticity is an important parameter, which plays a key role particularly when constructing patterns for tight-fitting clothing, in respect of changing pattern-piece size, resp. adapting the garment to the contours of a body in motion. The purpose of this research is to design 3D pattern construction with stretch fabric for women of aerobic sportswear using OptiTex software to represent the tension properties of fabric generated on the surface of the simulation model. Moreover, the study on mechanical properties of elastic fabric by FAST system and its result have illustrated that OptiTex could be used to simulate the tension map options so as to inspect its colored map depicting amounts of tension between clothing and model. It is certainly obvious that tension map area could be adjusted in accordance to the pattern design suitable ...