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The width of the reed sets the maximum width of the warp. [4] Common reed sizes for the hand-weaver are 6, 8, 10, 12, or 15 dents per inch, although sizes between 5 and 24 are not uncommon. [9] A reed with a larger number of dents per inch is generally used to weave finer fabric with a larger number of ends per inch. Because it is used to beat ...
Some of the names of tukutuku patterns are: [3] poutama – a stepped pattern, said to represent whakapapa, learning and the ascent of the god Tāne-o-te-wānanga into the heavens to attain superior knowledge and religion. [8] [9] roimata toroa – meaning "albatross tears", formed with vertical stitches and said to represent misfortune and ...
In Japan, a traditional reed mat is the tatami (畳). Tatami are covered with a weft-faced weave of soft rush ( 藺草 , igusa ) ( common rush ), on a warp of hemp or weaker cotton. There are four warps per weft shed , two at each end (or sometimes two per shed, one at each end, to cut costs).
Madurkathi mats, or madur, are mats woven in West Bengal from a reed called madur kottir, or madurkathi, a sedge of the family Cyperaceae. Madur mat-making is a long-standing tradition, centred on the Medinipur district, and is an important part of the rural economy.
Mats have been woven in Cambodia since Angkorian times, as evidenced by carvings on the bas-relief of Angkor Wat.. When the French missionary Charles-Émile Bouillevaux, after being the first Frenchmen to discover Angkor Wat, traveled to the Eastern bank of the Mekong and encountered the Bunong people, he considered it an honour to be invited to sit on a Cambodian mat.
Heddles can be either equally or unequally distributed on the shafts, depending on the pattern to be woven. [1] In a plain weave or twill , for example, the heddles are equally distributed. The warp is threaded through heddles on different shafts in order to obtain different weave structures.
The tāniko technique does not require a loom, although one can be used. Traditionally free hanging warps were suspended between two weaving pegs and the process involved twining downward. The traditional weaving material is muka, fibre prepared from the New Zealand flax (Phormium tenax) by scraping, pounding and
Overshot weave coverlets were made with a plain woven undyed cotton warp and weft and repeating geometric patterns made with a supplementary dyed woolen weft. Made on a simple four-harness loom , overshot coverlets were often made in the home and remained a common craft in rural Appalachia into the early 20th century.