Derleme
BibTex RIS Kaynak Göster

INDIGO DYED AFRICAN TEXTILES PRODUCED WITH RESIST DYEING AND PRINTING TECHNIQUES

Yıl 2022, Cilt: 12 Sayı: 1, 153 - 168, 22.06.2022
https://doi.org/10.20488/sanattasarim.1133821

Öz

Natural resources that give blue color have been used to color textiles by various communities
throughout history. Before the development and widespread use of synthetic dyestuffs, various African
communities, as well as the other communities, have used different indigo resources to dye their textiles blue.
In this study, regardless of the source of the natural indigo dye, African textiles dyed in blue with the resist
technique were examined and it was tried to reveal which reserve techniques and in which regions these
textiles were produced. In the study, it is aimed to eliminate the deficiencies in the literature by making a
detailed presentation and classification of indigo dyed resist textiles produced in Africa. It can be seen that
resist dyeing techniques are used in most of the textiles colored with indigo dyes. These are made in a wide
range of techniques from physical resist to chemical resist in various communities.
According to the findings; resist dyeing technique is a traditional textile dyeing option that is widely applied
in Africa, but resist dyeing with indigo is practiced mostly in West African countries. Although there are data
regarding the indigo dyeing with resist technique is done in various regions of Africa besides West Africa,
it is seen that these are not traditional dyeing applications but rather produced with synthetic dyes for
tourism purposes. It is observed that three types of natural indigo sources are used in textiles colored with
natural indigo. In addition, there are examples where the appearance of a particular resist types imitated
with different resist techniques in order to conceal the original technique. Therefore, determining the type
of resist technique done by using indigo, which has a rich variety in Africa, requires both theoretical and
applied work in this field.

Kaynakça

  • • Acquaye, R. (2018). Exploring indigenous West African Fabric Fabric Design In The Context Of Contemporary Global Commercial Production. Doktora Tezi. Southampton: University of Southampton, Winchester School of Art.
  • • Akinwumi, T. (2008). The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity. The Journal of Pan African Studies, 2(5), 179-192.
  • • Alheri, H. (2014). Development of Resist Decorated Fabrics To Create Modern Fashionable Clothing In Some Selected Parts Of Kaduna and Kano, States Nigeria. Yüksek Lisans Tezi. Nigeria: Ahamadu Bello University, Faculty of Environmental Design.
  • • Areo, M. O., and Kalilu, R. O. (2013). Adire in South-Western Nigeria: Geography of the Centres. An International Multidisciplinary Journal, Ethiopia, 7(2), 350-370.
  • • Areo, M. O., and Kalilu, R. O. (2013). Origin of and Visual Semiotics in Yoruba Textile of Adire. Arts and Design Studies, (12), 22-35.
  • • Arnoldi, M. J. (2010). Mali. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion içinde (s. 278–283). Berg Publishers: Berg Fashion Library.
  • • Aronson, L. (2010). West Africa. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion içinde (s. 144-151). Berg Publishers: Berg Fashion Library.
  • • Balfour-Paul, J. (2012). Indigo: Egyptian Mummies to Blue Jeans. New York: Firefly Books.
  • • Catalano-Knaack, K. E. (2011). The Traditions and History of Indigo Dyed Textiles in Sierra Leone as They Relate to the Art and Life Of Hajja Kadiatu Kamara. Missouri: University
  • • of Missouri-Kansas City, Kansas City Art Institute.
  • • Ercivan, B. (2017). Rezerve Boyalı Tekstillerin Gelenekten Modern Tekstil Tasarımları ve Uygulamalarına Dönüşüm Süreci. Yedi: Sanat, Tasarım ve Bilim Dergisi, (17), 87-101.
  • • Gillow, J. (2016). African Textiles: Color and Creativity Across a Continent. London: Thames & Hudson.
  • • Joseph, M. (1978). West African Indigo Cloth. African Arts, 11(2), 34-37+95.
  • • Kurtuldu, E., and Yıldırım, L. (2019). Farklı Kültürlerdeki Rezerve Boya/Baskı Teknikleri Üzerine Kavram ve Terimler. Yedi: Sanat, Tasarım ve Bilim Dergisi, (21), 93-103.
  • • Oparinde, S. S. (2012). Batik as a Cultural Identity of the Yoruba: Hand Colouring Techniques And Applications, Possibility of Adaptations. Researchers World: Journal of Arts, Science and Commerce, 3(2), 31-41.
  • • Perani, J., and Wolff, N. H. (1999). Cloth and Dress as a Mirror of Culture in Africa. J. Perani, and N. H. Wolff (Editörler), Cloth, Dress and Art Patronage in Africa (s. 25–48). Berg Publishers: Berg Fashion Library
  • • Picton, J. (2010). Nigeria Overview. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion (s. 290–296). Berg Publishers: Berg Fashion Library.
  • • Plumer, C. (1971). African Textiles: An Outline of Handcrafted Sub-Saharan Fabrics. Michigan: African Studies Center, Michigan State University.
  • • Polakoff, C. (1971). The Art of Tie and Dye in Africa. African Arts, 4(3), 28-33.
  • • Renne, E. P. (2020). Reinterpreting Adire Cloth in Northern Nigeria. Textile History, 51(1), 60-85.
  • • Solomon, G. (2015). Tie-Dye (Adire) Among the Jukun People. Mgbakoigba: Journal of African Studies, (4), 1-13.
  • • Spring, C. (2012). African Textiles Today. Washington: Smithsonian Books.
  • • Steelyana, E. (2012). Batik, A Beautiful Cultural Heritage that Preserve Culture and Support Economic Development in Indonesia. Binus Business Review, 3(1), 116-130.
  • • Toit, J. L. (2010). Southern Africa. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion (s. 157–164). Berg Publishers: Berg Fashion Library.
  • • Triplett, K., and Triplett, L. (2015). Indigo Quilts: 30 Quilts from the Poos Collection. Lafayette: C&T Publishing.
  • • Wada, Y. I. (2016). Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49. Textile Society of America Symposium Proceeding, 549-557.
  • • Wahlman, M., and Chuta, E. (1973). Sierra Leone Resist-Dyed Textiles. The Fabrics of Culture: the Anthropology of Clothing and Adornment. içinde
  • • Wang, L., and Zhao, F. (2017). Xie, a Technical Term for Resist Dye in China: Analysis Based on the Burial Inventory from Tomb 26, Bijiashan, Huahai, Gansu. S. Gaspa, C. Michel, and M.-L. Nosch içinde, extile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD (s. 437-450). Lincoln: Zea Books.
  • • Wells, K. (1997). Fabric Dyeing and Printing. Londra: Conran Octopus Limited.

REZERVE BOYA VE BASKI TEKNİKLERİ İLE ÜRETİLEN İNDİGO BOYALI AFRİKA TEKSTİLLERİ

Yıl 2022, Cilt: 12 Sayı: 1, 153 - 168, 22.06.2022
https://doi.org/10.20488/sanattasarim.1133821

Öz

Mavi renk veren doğal kaynaklar tarih boyunca çeşitli topluluklar tarafından tekstillerin
renklendirmesinde kullanılmıştır. Sentetik boyar maddelerin gelişmesi ve yaygınlaşmasından önce Afrika
toplulukları da tekstilleri maviye boyamak amacıyla farklı indigo kaynaklarına başvurmuşlardır. Bu çalışmada
doğal indigo boyanın kaynağına bakılmaksızın rezerve tekniği ile mavi renge boyanmış Afrika tekstilleri
incelenmiş ve bu tekstillerin hangi rezerve teknikleriyle, hangi bölgelerde üretildikleri ortaya konulmaya
çalışılmıştır. Çalışmada Afrika’da üretilen indigo boyalı rezerve tekstillerin ayrıntılı bir sunumu ve sınıflandırması
yapılarak alanyazında bu konudaki eksikliklerin giderilmesi amaçlanmıştır.
İndigo boyalar ile renklendirilen tekstillerin çoğunda rezerve boyama tekniklerinin kullanıldığı görülmektedir.
Bunlar fiziksel rezerveden kimyasal rezerveye kadar çeşitli şekillerde farklı topluluklarda uygulanmaktadır.
Elde edilen bulgulara göre; rezerve tekniği Afrika’da yaygın olarak görülen geleneksel bir tekstil boyama
tekniğidir ancak indigo ile rezerve boyama tekniği yoğun olarak Batı Afrika ülkelerinde uygulanmaktadır.
Ulaşılan kaynaklarda Batı Afrika haricinde rezerve tekniği ile indigo boyama yapıldığına dair veriler bulunsa
da bu uygulamaların geleneksel uygulamalar değil daha çok turizm amacıyla, sentetik boyalarla gerçekleştirilen
üretimler olduğu, tekstillerde genellikle üç çeşit indigo kaynağının kullanıldığı ve bazen asıl tekniği gizlemek
amacıyla farklı rezerve tekniklerinin görünüşünün taklit edildiği bilgilerine rastlanmıştır. Bu bağlamda Afrika’da
zengin çeşitliliğe sahip indigo rezerve boyamaların tekniklerini tespit etmenin hem teorik hem de uygulamalı
çalışmayı gerektirdiğini ifade etmek mümkün olmaktadır.

Kaynakça

  • • Acquaye, R. (2018). Exploring indigenous West African Fabric Fabric Design In The Context Of Contemporary Global Commercial Production. Doktora Tezi. Southampton: University of Southampton, Winchester School of Art.
  • • Akinwumi, T. (2008). The “African Print” Hoax: Machine Produced Textiles Jeopardize African Print Authenticity. The Journal of Pan African Studies, 2(5), 179-192.
  • • Alheri, H. (2014). Development of Resist Decorated Fabrics To Create Modern Fashionable Clothing In Some Selected Parts Of Kaduna and Kano, States Nigeria. Yüksek Lisans Tezi. Nigeria: Ahamadu Bello University, Faculty of Environmental Design.
  • • Areo, M. O., and Kalilu, R. O. (2013). Adire in South-Western Nigeria: Geography of the Centres. An International Multidisciplinary Journal, Ethiopia, 7(2), 350-370.
  • • Areo, M. O., and Kalilu, R. O. (2013). Origin of and Visual Semiotics in Yoruba Textile of Adire. Arts and Design Studies, (12), 22-35.
  • • Arnoldi, M. J. (2010). Mali. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion içinde (s. 278–283). Berg Publishers: Berg Fashion Library.
  • • Aronson, L. (2010). West Africa. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion içinde (s. 144-151). Berg Publishers: Berg Fashion Library.
  • • Balfour-Paul, J. (2012). Indigo: Egyptian Mummies to Blue Jeans. New York: Firefly Books.
  • • Catalano-Knaack, K. E. (2011). The Traditions and History of Indigo Dyed Textiles in Sierra Leone as They Relate to the Art and Life Of Hajja Kadiatu Kamara. Missouri: University
  • • of Missouri-Kansas City, Kansas City Art Institute.
  • • Ercivan, B. (2017). Rezerve Boyalı Tekstillerin Gelenekten Modern Tekstil Tasarımları ve Uygulamalarına Dönüşüm Süreci. Yedi: Sanat, Tasarım ve Bilim Dergisi, (17), 87-101.
  • • Gillow, J. (2016). African Textiles: Color and Creativity Across a Continent. London: Thames & Hudson.
  • • Joseph, M. (1978). West African Indigo Cloth. African Arts, 11(2), 34-37+95.
  • • Kurtuldu, E., and Yıldırım, L. (2019). Farklı Kültürlerdeki Rezerve Boya/Baskı Teknikleri Üzerine Kavram ve Terimler. Yedi: Sanat, Tasarım ve Bilim Dergisi, (21), 93-103.
  • • Oparinde, S. S. (2012). Batik as a Cultural Identity of the Yoruba: Hand Colouring Techniques And Applications, Possibility of Adaptations. Researchers World: Journal of Arts, Science and Commerce, 3(2), 31-41.
  • • Perani, J., and Wolff, N. H. (1999). Cloth and Dress as a Mirror of Culture in Africa. J. Perani, and N. H. Wolff (Editörler), Cloth, Dress and Art Patronage in Africa (s. 25–48). Berg Publishers: Berg Fashion Library
  • • Picton, J. (2010). Nigeria Overview. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion (s. 290–296). Berg Publishers: Berg Fashion Library.
  • • Plumer, C. (1971). African Textiles: An Outline of Handcrafted Sub-Saharan Fabrics. Michigan: African Studies Center, Michigan State University.
  • • Polakoff, C. (1971). The Art of Tie and Dye in Africa. African Arts, 4(3), 28-33.
  • • Renne, E. P. (2020). Reinterpreting Adire Cloth in Northern Nigeria. Textile History, 51(1), 60-85.
  • • Solomon, G. (2015). Tie-Dye (Adire) Among the Jukun People. Mgbakoigba: Journal of African Studies, (4), 1-13.
  • • Spring, C. (2012). African Textiles Today. Washington: Smithsonian Books.
  • • Steelyana, E. (2012). Batik, A Beautiful Cultural Heritage that Preserve Culture and Support Economic Development in Indonesia. Binus Business Review, 3(1), 116-130.
  • • Toit, J. L. (2010). Southern Africa. J. B. Eicher, and D. H. Ross (Editörler), Berg Encyclopedia of World Dress and Fashion (s. 157–164). Berg Publishers: Berg Fashion Library.
  • • Triplett, K., and Triplett, L. (2015). Indigo Quilts: 30 Quilts from the Poos Collection. Lafayette: C&T Publishing.
  • • Wada, Y. I. (2016). Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49. Textile Society of America Symposium Proceeding, 549-557.
  • • Wahlman, M., and Chuta, E. (1973). Sierra Leone Resist-Dyed Textiles. The Fabrics of Culture: the Anthropology of Clothing and Adornment. içinde
  • • Wang, L., and Zhao, F. (2017). Xie, a Technical Term for Resist Dye in China: Analysis Based on the Burial Inventory from Tomb 26, Bijiashan, Huahai, Gansu. S. Gaspa, C. Michel, and M.-L. Nosch içinde, extile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD (s. 437-450). Lincoln: Zea Books.
  • • Wells, K. (1997). Fabric Dyeing and Printing. Londra: Conran Octopus Limited.
Toplam 29 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Ülker Tatlıdil Bu kişi benim 0000-0001-9152-6419

Leyla Öğüt Bu kişi benim 0000-0003-3582-4408

Yayımlanma Tarihi 22 Haziran 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 12 Sayı: 1

Kaynak Göster

APA Tatlıdil, Ü., & Öğüt, L. (2022). REZERVE BOYA VE BASKI TEKNİKLERİ İLE ÜRETİLEN İNDİGO BOYALI AFRİKA TEKSTİLLERİ. Sanat Ve Tasarım Dergisi, 12(1), 153-168. https://doi.org/10.20488/sanattasarim.1133821