Publication: Estetik açıdan lampas kumaşın yapısal bir incelemesi
Abstract
ESTETİK AÇIDAN LAMPAS KUMAŞIN YAPISAL BİR İNCELEMESİ Bugünkü bilimsel araştırmalara göre dokuma sanatında desenli kumaşlar M.Ö 4000 yıl önce görülmeye başlar. İran'daki tarihi Susa şehrinden çıkan bir bezayağı kumaşta desen farklı kalınlıkta ipliklerin kullanılmasıyla oluşan iki farklı bezayağı kumaş yapısının yan yana bantlar şeklinde kullanılmasıyla yaratılmıştır. Böyle bir desen tekniği o dönem için belki önemli bir adımdı. Şu anda İsviçre Milli Müzesi'nde “yeniden üretimi” bulunan ve “Irgenhausen brokarı” olarak bilinen M.Ö 3700 yıl önceye tarihlenen kumaşta dokumacılar atkıları sadece desen boyunca zig zag ilerleterek, bantlar ötesinde bir yöntemle de desenleri oluşturmayı başarmıştır. Dokuma sanatında desenin gelişim öyküsünü, hatta tekstilin tam bir evrimini gözleyebileceğimiz bir alan ipek dokumacılığı olmalıdır. İpek dokumalarda yaratılan desenler her zaman işleme, tekstil baskıcılığı ve diğer tekstil sanatı yöntemleri için birer ilham kaynağı olmuştur. Lampas dokuma yapısı özellikle ipeğin kullanıldığı görkemli kumaşlarda görülen teknik bir gelişmedir. Bu dokuma tekniği desenli bir kumaşta ipek atkıların yumuşak ve parlak dokusunu vurgulamakta, daha mat bir kumaş zemini üzerinde ışığı farklı yansıtan bir desen bölgesinin göz kamaştırdığı bir kumaş yapısı yaratmaktadır. Desenin atkı yüzlü bir dokuma yapısıyla üretildiği, atkı yüzmelerinin bir bağlantı çözgüsüyle örgüye bağlandığı; zemin çözgü ve zemin çatkıdan oluşan bir kumaş katı (zemin kumaş) üzerinde bir rölyef gibi vurgulandığı bir desenli kumaş tekniğidir. Çalışma üç ana başlık altında toplanmıştır. İlk bölümde, arkeolojik ve tarihsel ilk gerçek dokuma yapıları, desenli tekstillere giden süreç ele alınmıştır. Buna ek olarak tarihsel dokuma yapılarını ele alırken kullanılan yöntemler sunulmuş ve bunun için bir dokuma sistemi önerisi yapılmıştır.İkinci bölümde lampas dokuma yapısının gelişim çizgisi, yapısal ve estetik özellikleri dokuma şemaları ve tarihsel kumaş örnekleriyle birlikte detaylı incelenmiştir. Üçüncü bölümde bir Osmanlı lampas kumaş yapısına örneklerle yer verilmiş ve bu yapının ardından teknik bir uygulama yapılmıştır. Bu teknik uygulamadan yola çıkarak bir desen tasarımı bu tekniğin özelliklerine en yakın biçimde güncel bir deneme olması hedeflenerek uygulanmıştır.
AN INVESTIGATION OF AESTHETIC ASPECTS OF LAMPAS FABRIC FORMED BY ITS STRUCTURAL QUALITIES Considering today's scientific studies, figured fabrics in weaving art start to appear from four thousand years before christ. The pattern in a plainweave(tabby) fabric excavated from the city of Susa in Iran is created by two yarns of different thickness creating two different tabbies side by side like stripes. Such a pattern making technique must have been an important step. In the fabric dated to three thousand seven hundreds year before christ, called “Irgenhausen Brocard” and kept with its “reproduction” in the Swiss National Museum, the weavers achieved pattern designs by moving the wefts in diagonal zigzag patterns only along the motif area, which had been a technique further than stripes. It must be the realm of silk weaving where we can observe the progress stories of pattern making in weaving art, and even the full evolution of textile art. The pattern designs and techniques created have always been inspiration sources for embrodiery, textile printing and other textile art forms. Lampas weaving technique is a technical development in the magnificent fabrics woven with silk materail. This weaving technique has emphasized the soft and lustrous texture of the silk wefts in a patterned fabric, and created a fabric construction that dazzle by a pattern area which reflects light differently than a matt ground the pattern interwoven on. This is a technique produced by a weft faced pattern, where the weft floats of this pattern are bound by a binding warp and in this way accentuated like a relief on a ground fabric structure fromed by a ground warp and ground weft. Our study is organized under three main titles. In the first part true archaeological and historical weaves and the process that leads to patterned textiles are adressed. In addition to this, the methods for handling the structures of historical textiles are presented as well as a weaving classification system proposal for further study. In the second part, the evolution path towards lampas is elaborated by structural and aesthetic weaving reports and tables with historical fabric photographs illustrating these reports and tables. Third part give place to an Ottoman lampas type with lots of photographs taken through live observation and a re-production of a similar weave structure with alike material. This reproduction presenting itself as a starting point, a design is woven on industrial jacquard loom as a contemporary application with the most appropriate weaving parameters in resemblance with lampas.
AN INVESTIGATION OF AESTHETIC ASPECTS OF LAMPAS FABRIC FORMED BY ITS STRUCTURAL QUALITIES Considering today's scientific studies, figured fabrics in weaving art start to appear from four thousand years before christ. The pattern in a plainweave(tabby) fabric excavated from the city of Susa in Iran is created by two yarns of different thickness creating two different tabbies side by side like stripes. Such a pattern making technique must have been an important step. In the fabric dated to three thousand seven hundreds year before christ, called “Irgenhausen Brocard” and kept with its “reproduction” in the Swiss National Museum, the weavers achieved pattern designs by moving the wefts in diagonal zigzag patterns only along the motif area, which had been a technique further than stripes. It must be the realm of silk weaving where we can observe the progress stories of pattern making in weaving art, and even the full evolution of textile art. The pattern designs and techniques created have always been inspiration sources for embrodiery, textile printing and other textile art forms. Lampas weaving technique is a technical development in the magnificent fabrics woven with silk materail. This weaving technique has emphasized the soft and lustrous texture of the silk wefts in a patterned fabric, and created a fabric construction that dazzle by a pattern area which reflects light differently than a matt ground the pattern interwoven on. This is a technique produced by a weft faced pattern, where the weft floats of this pattern are bound by a binding warp and in this way accentuated like a relief on a ground fabric structure fromed by a ground warp and ground weft. Our study is organized under three main titles. In the first part true archaeological and historical weaves and the process that leads to patterned textiles are adressed. In addition to this, the methods for handling the structures of historical textiles are presented as well as a weaving classification system proposal for further study. In the second part, the evolution path towards lampas is elaborated by structural and aesthetic weaving reports and tables with historical fabric photographs illustrating these reports and tables. Third part give place to an Ottoman lampas type with lots of photographs taken through live observation and a re-production of a similar weave structure with alike material. This reproduction presenting itself as a starting point, a design is woven on industrial jacquard loom as a contemporary application with the most appropriate weaving parameters in resemblance with lampas.