[My Chamber of Textile Thoughts. No: VI | By Viveka Hansen]
During the period 1700-1850 – from which the double interlocked tapestries or “rölakan” in southernmost Sweden mainly emanate – all colours of the spectrum were produced from natural dyes. Primarily from plants but also in some aspects from various lice, first and foremost the cochineal from the second half of this period.
Generally it can be said that these textiles were woven in clear, sharp and saturated colours, often with great contrasts. Yellow and brown tones were the easiest to produce when using readily available Nordic flora. Whilst green, red and blue carried with them certain limitations, these colours were therefore preferred in regions of economic prosperity, where it was possible to spend a lot of time on weaving and dyeing or buying imported dyes.
To be continued…
[SOURCE: Hansen, Viveka, Textila Kuber och Blixtar – Rölakanets Konst och Kulturhistoria, pp. 10-73, 1992.]
PLEASE REFERENCE AS FOLLOWS:
- Hansen, Viveka, ‘The Importance of the Details – Colours (A 3)’, TEXTILIS (August 24, 2013); http://textilis.net/ (Accessed: Day/Month/Year)