Definitions

tapestry

tapestry

[tap-uh-stree]
tapestry, hand-woven fabric of plain weave made without shuttle or drawboy, the design of weft threads being threaded into the warp with fingers or a bobbin. The name has been extended to cover a variety of heavy materials, such as imitation tapestries woven on Jacquard looms, tapestry carpets, and upholstery and drapery stuffs. True tapestries include various primitive textiles woven on the rudest of early looms, as well as the famous pictorial hangings of the Middle Ages.

Techniques

The techniques for high- and low-warp work (haute-lisse and basse-lisse) differ; both were used in the 14th cent. In a high-warp loom the threads are stretched vertically in front of the weaver, and the lisses or loops which raise the alternate threads to make the shed are lifted by hand; in low-warp work, the warp threads are horizontal, and the lisses are moved by means of a foot treadle. The strong warp threads of wool or linen may vary from 10 to 30 in an inch (3 to 12 per cm), but are ordinarily fewer than 20 (8 per cm). The soft, full weft threads of wool, silk, or metal entirely cover the warp, which remains apparent in the form of ribs.

In true tapestry, the front and back surfaces are alike, except that portions of the design of the same color are connected by a loose thread that is left hanging at the back. The different colors of the design, being worked in separately in blocks or patches, leave little slits between, which are afterward sewn up. All are woven with the back to the weaver, who sees nothing of his work until it is finished, unless he uses a mirror to reflect it. A cartoon or painting on linen or paper, often by a noted artist, is provided for the weaver to copy. Themes for medieval hangings were drawn from ancient legends, mythology, allegory, history, religion, chivalry, and sport.

History

Antique specimens of tapestry weaving include a few surviving from Egypt of 1500 B.C. and Coptic tapestries made from the 4th to 8th cent. A.D. The Incas of Peru produced beautiful specimens, some of which date back to the pre-Columbian era. Ancient Chinese tapestries, k'o ssu, were made of light, thin silks, often interwoven with gold thread. Allusions in early Greek poetry and paintings on Greek vases show that tapestry weaving was an important household industry.

The history of tapestry weaving is continuous. In the 5th cent. A.D. and in the centuries immediately afterward, monasteries and convents were the centers of the craft. Woolen tapestries appeared early in Europe. A few fragments woven in this material in the 10th or 11th cent. are still preserved. (The so-called Bayeux tapestry was actually embroidered.) At Arras, early in the 14th cent., the first great French weaving was done, in wool. Soon Brussels achieved prominence and remained important through the 17th cent., until the rise of the Gobelins works at Paris.

By the 15th cent., tapestry weaving had reached a high degree of perfection, and from this century date many great Gothic sets rich with gold thread. A fine specimen is the set of Burgundian Sacraments; a late 15th-century example of a verdure background is the Lady and the Unicorn set (Musée de Cluny). An example of the Renaissance period is the widely acclaimed set, the Acts of the Apostles, from the cartoons of Raphael. Fine weaving was done at Beauvais in the mid-17th cent. Weavers at Aubusson, France, began in the 16th cent. to make an inferior textile that was gradually improved. The baroque style dominated the 17th cent.; the rococo and classical styles appeared in the 18th cent. Fine examples were woven from the cartoons of François Boucher, who worked both for the Beauvais and the Gobelins looms.

In England much tapestry, known as Arras, was used before any was manufactured there. In the 16th cent. William Sheldon set up works in Warwickshire. An establishment in imitation of the Gobelins was opened at Mortlake in 1619 and employed Flemish weavers. In 1881, William Morris began weaving at Merton; his friend Edward Burne-Jones designed some of Morris's series. In 1893 tapestry looms were set up in New York City. Some interesting 20th-century tapestries have been woven in France from cartoons by Rouault, Braque, Lurçat, Picasso, and Calder.

Important public collections in the United States that contain fine examples of tapestry weaving are those in the Metropolitan Museum (including the magnificent Hunt of the Unicorn series at the Cloisters) and in the Museum of Fine Arts, Boston.

Bibliography

See M. Jarry, World Tapestry (1969); A. Pearson, Complete Book of Tapestry Weaving (1984); T. P. Campbell, Tapestry in the Renaissance (2002).

Heavy, reversible, patterned or figured hand-woven textile, usually in the form of a hanging or upholstery fabric. Tapestries are usually designed as single panels or as sets of panels related by subject and style and intended to be hung together. The earliest known tapestries were made from linen by the ancient Egyptians. Tapestry weaving was well established in Peru by the 6th century, and outstanding silk tapestries were made in China beginning in the Tang dynasty (AD 618–907). In western Europe, tapestry making flourished from the 13th century. Among the greatest European tapestries are the 15th-century Lady with the Unicorn set and the 16th-century Acts of the Apostles set, based on cartoons by Raphael. Tapestry art was revitalized in late-19th-century Britain with the Arts and Crafts Movement. In the 20th century, abstract tapestries were produced at the Bauhaus, and many painters, including Pablo Picasso and Henri Matisse, allowed their paintings to provide the basis for tapestry art.

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millefleurs tapestry(French; “thousand flowers”)

Tapestry characterized by a background motif of many small flowers. Most millefleurs tapestries show secular scenes or allegories. They are thought to have been made first in the Loire district of France in the mid-15th century. As they became popular, they were produced in many parts of France and the Low Countries until the end of the 16th century.

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Tapestry is a form of textile art. It is woven by hand on a vertical loom. It is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In this way, a colourful pattern or image is created. Most weavers use a naturally based warp thread such as linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, or other alternatives.

Both craftsmen and artists have produced tapestries. The 'blueprints' on cardboard (also known as 'tapestry cartoons') were made by artists of repute, while the tapestries themselves were produced by craftsmen.

Function

The success of decorative tapestry can be partially explained by its portability. Kings and noblemen could roll up and transport tapestries from one residence to another. In churches, they could be displayed on special occasions. Tapestries were also draped on the walls of castles for insulation during winter, as well as for decorative display.

In the Middle Ages and renaissance, a rich tapestry panel woven with symbolic emblems, mottoes, or coats of arms called a baldachin, canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The seat under such a canopy of state would normally be raised on a dais.

The iconography of most Western tapestries goes back to written sources, the Bible and Ovid's Metamorphoses being two popular choices. Apart from the religious and mythological images, hunting scenes are the subject of many tapestries produced for indoor decoration.

Historical development

Tapestries have been used since at least Hellenistic times. Samples of Greek tapestry have been found preserved in the desert of Tarim Basin dating from the 3rd century BC.

Tapestry reached a new stage in Europe in the early fourteenth century AD. The first wave of production originated in Germany and Switzerland. Over time, the craft expanded to France and the Netherlands.

In the 14th and 15th centuries, Arras, France was a thriving textile town. The industry specialised in fine wool tapestries which were sold to decorate palaces and castles all over Europe. Few of these tapestries survived the French Revolution as hundreds were burnt to recover the gold thread that was often woven into them. Arras is still used to refer to a rich tapestry no matter where it was woven.

By the 16th century, Flanders had become the centre of European tapestry production. In the 17th century Flemish tapestries were arguably the most important productions, with many specimens of this era still extant, demonstrating the intricate detail of pattern and colour.

In the 19th century, William Morris resurrected the art of tapestry-making in the medieval style at Merton Abbey. Morris and Company made successful series of tapestries for home and ecclesiatical uses, with figures based on cartoons by Edward Burne-Jones.

Tapestries are still made at the factory of Gobelins and a few other old European workshops, which also repair and restore old tapestries. The craft is also currently practiced by hobbyist weavers.

The term Tapestry is also used to describe fabric made on jacquard looms. Tapestry upholstery fabrics and reproductions of the famous tapestries of the Middle Ages are a common products of jacquard looms. Kilims and Navajo Rugs are also types of tapestry work.

Famous tapestries

Gallery

"True" tapestry

Other forms of needlework called "tapestry"

Notes

References

  • Campbell, Thomas P. Henry VIII and the Art of Majesty: Tapestries at the Tudor Court, Yale University Press, 2007, ISBN 9780300122343
  • Russell, Carol K. Tapestry Handbook. The Next Generation, Schiffer Publ. Ltd.,Atglen,PA. 2007, ISBN 978-0-7643-2756-8

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