Textile printing block

عنوان Textile printing block
تاریخ انتشار: 1800
محل انتشار Iran -
موضوع Woodwork Printmaking Techniques
نوع دیگر
زبان نامشخص
دیجیتال بله
نسخه خطی خیر
ابعاد فیزیکی Height: 13cm, Length: 7cm
کتابخانه: Victoria and Albert Museum
شناسه دارایی کتابخانه W.41-1930
شماره ثبت W.41-1930
محل کتابخانه Middle East Section
تاریخ 1800
یادداشت‌ها This square wooden panel was most likely used as a printing block for fabrics and textiles. A solid block of colour would have been applied to the block, which was then pressed onto the fabric, imprinting it with the carved motif. According to Murdoch Smith (the Director of the Persian Telegraph Department, a British officer in the Royal Engineers), speaking in 1876 in Iran, the art of carving woodblocks was confined almost exclusively to Abadeh, a large village in the centre of Persia. The pattern would have been printed onto the fabric with a series of woodblocks made from pearwood and carved in relief, each colour requiring a different block. It was recognised that considerable skill was needed for cutting the blocks and for preparing the dyestuffs, but a good eye and an even hand were also required from the printer. The black outlines which form the basis of the designs were printed first and then other colours were printed, one by one, onto the relevant areas. Usually, parts of the design were left white. A limited number of colours were used: black, red, blue and yellow, which could, by overprinting or varying the intensity, produce purple, brown and green. The colours were obtained from natural sources to which a thickening agent – a gum, oil or starch – needed to be added together with a mordant (usually alum) which would act as an agent and bind the dye to the fabric. During the second half of the nineteenth century, the growing strength of European textile production dramatically impacted the Iranian textile industry; however, printed cottons continued to be made in Iran, as many were exported to Georgia due to the Russian prohibition of British imports. This Iranian export trade continued for many years and a British Government Report dated 1873 stated “…the textile fabrics produced in Persia continued to find a ready sale in Turkey, Georgia and the south of Russia, generally…in Azerbaijan there are no manufactures of cloth, but a large trade is carried on with Georgia in printed cottons, which are imported plain from Manchester, and receive coloured patterns in Tabreez [Tabriz]”.
Malzemeler ve teknikler Carved pearwood
Fiziksel açıklama Square shaped wooden panel carved with a single floral spray (paisley) stemming from a spray. The relief decoration has stained a darker grey with use.
مشاهده در منبع Victoria and Albert Museum Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی
Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی Victoria and Albert Museum

Textile printing block

تاریخ انتشار 1800
محل انتشار Iran -
موضوع Woodwork Printmaking Techniques
نوع دیگر
زبان نامشخص
دیجیتال بله
نسخه خطی خیر
ابعاد فیزیکی Height: 13cm, Length: 7cm
کتابخانه Victoria and Albert Museum
شناسه دارایی کتابخانه W.41-1930
شماره ثبت W.41-1930
محل کتابخانه Middle East Section
تاریخ 1800
یادداشت‌ها This square wooden panel was most likely used as a printing block for fabrics and textiles. A solid block of colour would have been applied to the block, which was then pressed onto the fabric, imprinting it with the carved motif. According to Murdoch Smith (the Director of the Persian Telegraph Department, a British officer in the Royal Engineers), speaking in 1876 in Iran, the art of carving woodblocks was confined almost exclusively to Abadeh, a large village in the centre of Persia. The pattern would have been printed onto the fabric with a series of woodblocks made from pearwood and carved in relief, each colour requiring a different block. It was recognised that considerable skill was needed for cutting the blocks and for preparing the dyestuffs, but a good eye and an even hand were also required from the printer. The black outlines which form the basis of the designs were printed first and then other colours were printed, one by one, onto the relevant areas. Usually, parts of the design were left white. A limited number of colours were used: black, red, blue and yellow, which could, by overprinting or varying the intensity, produce purple, brown and green. The colours were obtained from natural sources to which a thickening agent – a gum, oil or starch – needed to be added together with a mordant (usually alum) which would act as an agent and bind the dye to the fabric. During the second half of the nineteenth century, the growing strength of European textile production dramatically impacted the Iranian textile industry; however, printed cottons continued to be made in Iran, as many were exported to Georgia due to the Russian prohibition of British imports. This Iranian export trade continued for many years and a British Government Report dated 1873 stated “…the textile fabrics produced in Persia continued to find a ready sale in Turkey, Georgia and the south of Russia, generally…in Azerbaijan there are no manufactures of cloth, but a large trade is carried on with Georgia in printed cottons, which are imported plain from Manchester, and receive coloured patterns in Tabreez [Tabriz]”.
Malzemeler ve teknikler Carved pearwood
Fiziksel açıklama Square shaped wooden panel carved with a single floral spray (paisley) stemming from a spray. The relief decoration has stained a darker grey with use.
Victoria and Albert Museum - موتور جستجوی نسخه های خطی عثمانی
Victoria and Albert Museum شما در حال هدایت مجدد هستید...

لطفاً صبر کنید