Norwegian embroidery: Difference between revisions
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=== Background === |
=== Background === |
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Much surviving medieval [[embroidery]] from Norway were in fact imported into the country from other parts of Europe and Asia Minor. This was not an unusal occurance as many countries had international reputations for certain types of work. |
Much surviving [[medieval]] [[embroidery]] from [[Norway]] were in fact imported into the country from other parts of [[Europe]] and [[Asia Minor]]. This was not an unusal occurance as many countries had international reputations for certain types of work. |
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=== Materials === |
=== Materials === |
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* [[wool]] ground |
* [[wool]] ground |
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Threads were usually homepsun |
Threads were usually homepsun woollen yarn (natural or dyed) with only occasionaly use of [[silk]]s, [[linen]] or metal threads. |
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=== Stitches === |
=== Stitches === |
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* [[stem stitch]] |
* [[stem stitch]] |
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* [[pattern darning]] |
* [[pattern darning]] |
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* [[ |
* [[Laid and Couched Work]] |
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=== Techniques === |
=== Techniques === |
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Some pieces used a mixture of stitches and materials, others used only a limited number of techniques. Below are some of the cominations in surviving pieces: |
Some pieces used a mixture of stitches and materials, others used only a limited number of techniques. Below are some of the cominations in surviving pieces: |
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* [[wool]] ground fabric, white [[linen |
* [[wool]] ground fabric, white [[linen]] [[thread]] outlines using [[stem stitch]] filled with [[pattern darning]] |
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* [[linen]] ground fabric with [[pattern darning]] using [[wool]] yarn. |
* [[linen]] ground fabric with [[pattern darning]] using [[wool]] yarn. |
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* [[ |
* [[Laid and Couched Work]] in polychrome [[wool]] on [[linen]] or [[wool]] tabby ground |
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=== Design |
=== Design === |
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While there are not enough surviving works to talk about specific design influences, the surviving works tend to be done using a common palette of blue, yellow, green and red wool yarn and white linen thread to make the pattern darned designs. |
While there are not enough surviving works to talk about specific design influences, the surviving works tend to be done using a common palette of blue, yellow, green and red wool yarn and white linen thread to make the pattern darned designs. |
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=== Links == |
=== Links === |
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* The Oseburg Ship Textiles - http://www.medsca.org/oseberg/frameset.html |
* The Oseburg Ship Textiles - http://www.medsca.org/oseberg/frameset.html |
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* Bridgeman, H and Drury, E. "Needlework: An Illustrated History", (London: Paddington Press, 1977) |
* Bridgeman, H and Drury, E. "Needlework: An Illustrated History", (London: Paddington Press, 1977) |
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[[category:embroidery]] |
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[[category:Norway]] |
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Latest revision as of 17:27, 23 February 2007
Background
Much surviving medieval embroidery from Norway were in fact imported into the country from other parts of Europe and Asia Minor. This was not an unusal occurance as many countries had international reputations for certain types of work.
Materials
Threads were usually homepsun woollen yarn (natural or dyed) with only occasionaly use of silks, linen or metal threads.
Stitches
The stitches used in surviving pieces include:
Techniques
Some pieces used a mixture of stitches and materials, others used only a limited number of techniques. Below are some of the cominations in surviving pieces:
- wool ground fabric, white linen thread outlines using stem stitch filled with pattern darning
- linen ground fabric with pattern darning using wool yarn.
- Laid and Couched Work in polychrome wool on linen or wool tabby ground
Design
While there are not enough surviving works to talk about specific design influences, the surviving works tend to be done using a common palette of blue, yellow, green and red wool yarn and white linen thread to make the pattern darned designs.
Links
- The Oseburg Ship Textiles - http://www.medsca.org/oseberg/frameset.html
Sources for Further Information
- Bridgeman, H and Drury, E. "Needlework: An Illustrated History", (London: Paddington Press, 1977)
