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This monograph attempts to revise present ideas of the origins and early development of textiles in Europe and the Near East. Using linguistic techniques as well as methods from palaeobiology, it demonstrates that spinning and pattern-weaving existed far earlier than has been supposed.
This pioneering work revises our notions of the origins and early development of textiles in Europe and the Near East. Using innovative linguistic techniques, along with methods from palaeobiology and other fields, it shows that spinning and pattern weaving began far earlier than has been supposed. Prehistoric Textiles made an unsurpassed leap in the social and cultural understanding of textiles in humankind's early history. Cloth making was an industry that consumed more time and effort, and was more culturally significant to prehistoric cultures, than anyone assumed before the book's publication. The textile industry is in fact older than pottery--and perhaps even older than agriculture and stockbreeding. It probably consumed far more hours of labor per year, in temperate climates, than did pottery and food production put together. And this work was done primarily by women. Up until the Industrial Revolution, and into this century in many peasant societies, women spent every available moment spinning, weaving, and sewing. The author, Elizabeth Wayland Barber, demonstrates command of an almost unbelievably disparate array of disciplines--from historical linguistics to archaeology and paleobiology, from art history to the practical art of weaving. Her passionate interest in the subject matter leaps out on every page. Barber, a professor of linguistics and archaeology, developed expert sewing and weaving skills as a small girl under her mother's tutelage. One could say she had been born and raised to write this book. Because modern textiles are almost entirely made by machines, we have difficulty appreciating how time-consuming and important the premodern textile industry was. This book opens our eyes to this crucial area of prehistoric human culture.
Older than both ceramics and metallurgy, textile production is a technology which reveals much about prehistoric social and economic development. This book examines the archaeological evidence for textile production in Italy from the transition between the Bronze Age and Early Iron Ages until the Roman expansion (1000-400 BCE), and sheds light on both the process of technological development and the emergence of large urban centres with specialised crafts. Margarita Gleba begins with an overview of the prehistoric Appennine peninsula, which featured cultures such as the Villanovans and the Etruscans, and was connected through colonisation and trade with the other parts of the Mediterranean. She then focuses on the textiles themselves: their appearance in written and iconographic sources, the fibres and dyes employed, how they were produced and what they were used for: we learn, for instance, of the linen used in sails and rigging on Etruscan ships, and of the complex looms needed to produce twill. Featuring a comprehensive analysis of textiles remains and textile tools from the period, the book recovers information about funerary ritual, the sexual differentiation of labour (the spinners and weavers were usually women) and the important role the exchange of luxury textiles played in the emergence of an elite. Textile production played a part in ancient Italian society's change from an egalitarian to an aristocratic social structure, and in the emergence of complex urban communities.
Textiles, textile production and clothing were essentials of living in prehistory, locked into the system of society at every level "social, economic and even religious. Textile crafts not only produced essential goods for everyday use, most notably clothing, but also utilitarian objects as well as representative and luxury items. Prehistoric clothing and their role in identity creation for the individual and for the group are also addressed by means of archaeological finds from Stone the Iron Age in Central Europe.
This monograph attempts to revise present ideas of the origins and early development of textiles in Europe and the Near East. Using linguistic techniques as well as methods from palaeobiology, it demonstrates that spinning and pattern-weaving existed far earlier than has been supposed.
"A fascinating history of…[a craft] that preceded and made possible civilization itself." —New York Times Book Review New discoveries about the textile arts reveal women's unexpectedly influential role in ancient societies. Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women. Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture. Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion. In a "brilliantly original book" (Katha Pollitt, Washington Post Book World), she argues that women were a powerful economic force in the ancient world, with their own industry: fabric.
There is evidence that ever since early prehistory, textiles have always had more than simply a utilitarian function. Textiles express who we are - our gender, age, family affiliation, occupation, religion, ethnicity and social, political, economic and legal status. Besides expressing our identity, textiles protect us from the harsh conditions of the environment, whether as clothes or shelter. We use them at birth for swaddling, in illness as bandages and at death as shrouds. We use them to carry and contain people and things. We use them for subsistence to catch fish and animals and for transport as sails. In fact, textiles represent one of the earliest human craft technologies and they have always been a fundamental part of subsistence, economy and exchange. Textiles have an enormous potential in archaeological research to inform us of social, chronological and cultural aspects of ancient societies. In archaeology, the study of textiles is often relegated to the marginalized zone of specialist and specialized subject and lack of dialogue between textile researchers and scholars in other fields means that as a resource, textiles are not used to their full potential or integrated into the overall interpretation of a particular site or broader aspects of human activity. Textiles and Textile Production in Europe is a major new survey that aims to redress this. Twenty-three chapters collect and systematize essential information on textiles and textile production from sixteen European countries, resulting in an up-to-date and detailed sourcebook and an easily accessible overview of the development of European textile technology and economy from prehistory to AD 400. All chapters have an introduction, give the chronological and cultural background and an overview of the material in question organized chronologically and thematically. The sources of information used by the authors are primarily textiles and textile tools recovered from archaeological contexts. In addition, other evidence for the study of ancient textile production, ranging from iconography to written sources to palaeobotanical and archaeozoological remains are included. The introduction gives a summary on textile preservation, analytical techniques and production sequence that provides a background for the terminology and issues discussed in the various chapters. Extensively illustrated, with over 200 color illustrations, maps, chronologies and index, this will be an essential sourcebook not just for textile researchers but also the wider archaeological community.
Twenty-four experts from the fields of Ancient History, Semitic philology, Assyriology, Classical Archaeology, and Classical Philology come together in this volume to explore the role of textiles in ancient religion in Greece, Italy, The Levant and the Near East. Recent scholarship has illustrated how textiles played a large and very important role in the ancient Mediterranean sanctuaries. In Greece, the so-called temple inventories testify to the use of textiles as votive offerings, in particular to female divinities. Furthermore, in several cults, textiles were used to dress the images of different deities. Textiles played an important role in the dress of priests and priestesses, who often wore specific garments designated by particular colours. Clothing regulations in order to enter or participate in certain rituals from several Greek sanctuaries also testify to the importance of dress of ordinary visitors. Textiles were used for the furnishings of the temples, for example in the form of curtains, draperies, wall-hangings, sun-shields, and carpets. This illustrates how the sanctuaries were potential major consumers of textiles; nevertheless, this particular topic has so far not received much attention in modern scholarship. Furthermore, our knowledge of where the textiles consumed in the sanctuaries came from, where they were produced, and by who is extremely limited. Textiles and Cult in the Ancient Mediterranean examines the topics of textile production in sanctuaries, the use of textiles as votive offerings and ritual dress using epigraphy, literary sources, iconography and the archaeological material itself.
Minoan ladies, Scythian warriors, Roman and Sarmatian merchants, prehistoric weavers, gold sheet figures, Vikings, Medieval saints and sinners, Renaissance noblemen, Danish peasants, dressmakers and Hollywood stars appear in the pages of this anthology. This is not necessarily how they dressed in the past, but how the authors of this book think they dressed in the past, and why they think so. No reader of this book will ever look at a reconstructed costume in a museum or at a historical festival, or watch a film with a historic theme again without a heightened awareness of how, why, and from what sources, the costumes were reconstructed. The seventeen contributors come from a variety of disciplines: archaeologists, historians, curators with ethnological and anthropological backgrounds, designers, a weaver, a conservator and a scholar of fashion in cinema, are all specialists interested in ancient or historical dress who wish to share their knowledge and expertise with students, hobby enthusiasts and the general reader. The anthology is also recommended for use in teaching students at design schools.
An absorbing exploration of the mysterious, perfectly preserved Caucasian mummies of western China--an informative unveiling of an ancient and exotic world. 16 pp. of color photos. 50 drawings. Author lectures.