Tiistaina 26.3. oli taas tilaisuus kuulla uutisia Ravattulan Ristimäen muinaispukuprojektista! Monenlaista mielenkiintoista oli taas selvinnyt alkuperäisestä ja ennallistuksen materiaali- ja tekniikkavalintojakin käytiin läpi ihastuttavalla tarkkuudella. Ei-niin-yllättäen tupa oli Geotalon salissa taas täynnä...
On tuesday March 26th we had a chance to hear some news concerning the Ravattula Ristimäki iron age dress reconstruction project! A lot of new information of the original dress had been gained, and material and technique choices for the reconstruction were quite thoroughly planned and explained. Unsurprisingly the lecture hall was filled to the last seat, again.
On tuesday March 26th we had a chance to hear some news concerning the Ravattula Ristimäki iron age dress reconstruction project! A lot of new information of the original dress had been gained, and material and technique choices for the reconstruction were quite thoroughly planned and explained. Unsurprisingly the lecture hall was filled to the last seat, again.
Vaatteissa käytetyn villan kuidut ~~~ Wool types and fibers in the original dress
Heini Kirjavaisen tutkimusten mukaan ahvenanmaanlampaan villa vastasi parhaiten Ristimäen vaatteiden villaa. Pukuennallistusta varten hankittiin valkoista villaa. Pukuennallistusta varten oli myös tarkasteltu eri lammasyksilöiden välisiä yksilöllisiä eroja, ja niitä yllättävästi löytyikin! Kuitujen kehruutesteissä sekaisin olevat alus- ja pääliskarvat aiheuttivat mielenkiintoisia tuloksia, sillä pitkät ja karkeat päälikarvat tahtoivat nousta valmiissa testikudonnaisessa pystyyn ja erottua.
According to the research carried out by Heini Kirjavainen Åland sheep wool was the closest matching modern wool type when compared to the iron age samples. However, not all sheep were alike, when wool from different Åland sheep individuals were compared, quite big differences were observed. Some test spinning and weaving was done, and under- and top coat hairs caused interesting results because long and coarse top coat hairs tended to stand up on the woven surface.
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| Mekkokangas ruutuineen ~~~ Checked dress fabric. Kuva/photo Turun Sanomat. |
Mekkokangas ~~~ Dress fabric
Mekossa käytetty kangas oli villainen 2/2-toimikas laskevalla toimiviivalla. Kudonnassa oli käytetty kahta eri väriä ruuduttain, mutta ehkä vähän odottamattomasti kumpikaan lanka ei ollut värjätty vaan sekaisin oli luonnonruskeaa ja valkoista, sileää ja hyvälaatuista kumpikin. Kudonnan yksityiskohdista loimi kankaassa oli S-kerrattua, kude z-kierteistä lankaa. Tiheys kankaassa oli noin 10-12 lankaa/cm loimessa ja 8 lankaa/cm kuteessa. Mekkokangasta oli parsittu (parsinta oli tapahtunut loimeen ja kuteeseen nähden vinottain), eli kyseessä ei tässäkään tapauksessa ollut erityinen hautavaate. Mekon malli aiheutti vähän ihmetystä, sillä kiiloiksi oletetuista kappaleista puuttuu lähes täysin kiilamainen muoto, ovat siis lähes yhtä leveitä alhaalta kuin ylhäältä säilymiskorkeuteensa saakka (enimillään korkeutta huisit 75 cm!) Fragmentin koko ällistytti myös toiseen suuntaan, säilynyttä pituutta fragmentilla oli melkein 2 metriä. Mekon aloitusnauha helmassa ei ole vielä avannut kaikkia salaisuuksiaan, sitä selvitellään vielä.
The fabric used in the dress was woollen 2/2 twill. Two colours of wool had been used in the weaving, but unexpectedly neither of them was dyed -other one was white, other one was brown, both yarns were of fine and smooth quality. As for the weaving details, the warp was S-plied, weft was z-spun. Density for the warp was approximately 10-12 threads/cm, for weft 8 threads/cm. The dress fabric had been darned (diagonally to the warp and weft), that means that the garment in question had not been a purposefully made funeral dress. The shape of the dress had been causing some wondering, because the parts of the dress that had been intepreted as gores are seemingly not narrowing at all, they are as wide on the top as they are on the hemline (the preserved height is stunning 75 cm at its best, width being almost two meters. Seriously, two meters...) The starting border band at the hemline has not yet revealed all its secrets, that is yet to be researched.
The fabric used in the dress was woollen 2/2 twill. Two colours of wool had been used in the weaving, but unexpectedly neither of them was dyed -other one was white, other one was brown, both yarns were of fine and smooth quality. As for the weaving details, the warp was S-plied, weft was z-spun. Density for the warp was approximately 10-12 threads/cm, for weft 8 threads/cm. The dress fabric had been darned (diagonally to the warp and weft), that means that the garment in question had not been a purposefully made funeral dress. The shape of the dress had been causing some wondering, because the parts of the dress that had been intepreted as gores are seemingly not narrowing at all, they are as wide on the top as they are on the hemline (the preserved height is stunning 75 cm at its best, width being almost two meters. Seriously, two meters...) The starting border band at the hemline has not yet revealed all its secrets, that is yet to be researched.
Viitta ~~~ Cloak
Kangas viitassa oli niin ikään villaa, 2/2 villatoimikasta. Mitä kankoihin tulee, loimi oli S-kerrattu, kude z-kierteinen eli samoin tavoin kuin mekkokankaassa. Tiheys taas oli vähän mekkokangasta suurempi, loimessa 12-14 lankaa/cm, kuteessa 9-11 lankaa/cm. Viitan väristä oltiin saatu belgialaisen laboratorion testituloksia, ja edelleen silminnähtävästi sininen kangas osoittautui ehkä odotetustikin morsinkovärjätyksi. Kudontateknisesti mielenkiintoisesti viitan reunassa oli putkilolautanauha, joka ulkopuolella oli sininen, sisäpuolella ruskea. Tämä lautanauha kiertää koko viitan -eli tämä tarkotitaa että viitassa ei siis hapsuja.
The cloak fabric was similarily woolen 2/2 twill. As for yarns, the warp was S-plied, weft s-spun, so same as the dress fabric. Density then again was a little bigger than on the dress, the cloak warp was 12-14 threads/cm, weft 9-11 threads/cm. Some test results had been gained concerning the colour of the cloak, and the still visibly blue fragment turned out to have been woad-dyed (as was somewhat expected). An interesting weaving detail was spotted, on the border there is a tubular tablet woven band, brown on the inside, blue on the outside. This band encircles the whole cloak, so it has no fringes.
The cloak fabric was similarily woolen 2/2 twill. As for yarns, the warp was S-plied, weft s-spun, so same as the dress fabric. Density then again was a little bigger than on the dress, the cloak warp was 12-14 threads/cm, weft 9-11 threads/cm. Some test results had been gained concerning the colour of the cloak, and the still visibly blue fragment turned out to have been woad-dyed (as was somewhat expected). An interesting weaving detail was spotted, on the border there is a tubular tablet woven band, brown on the inside, blue on the outside. This band encircles the whole cloak, so it has no fringes.
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| Myös Maskun muinaispuvussa on pellavapaita, Ristimäen paidan hiha on maskulaista oleellisesti kapeampi. ~~~ Also the Masku dress features a linen undershirt. The sleeves on the Ristimäki dress are remarkably narrower. Kuva/photo Nationalclothing.org |
Muinaispuvun pohjana ja esikuvana toimiva hauta 41/2016 sisälsi myös pellavajäänteitä soljen yhteydestä. Tämä kangas oli hyvin hienoa, 15-20 lankaa/cm. Tämä jäänne oli silti varsin pienikokoinen ja siksi suunnittelussa turvauduttiin osin myös muihin alueen hautoihin. Haudasta 2/2015 löytynyt kokonainen hihansuu toimi siis pohjana suunnittelulle. Tämän paidan voidaan sanoa olleen pitkähihainen ja palttinasidoksinen, z/z-langasta kudottu. Koska kuitukysymys on ollut viime aikoina tapetilla jonkin verran, tästä pystyttiin sanomaan että kuitu oli pellavaa varmasti, ei hamppua tai nokkosta. Hauta 2/2015:n kangas oli yhtäläisen hienoa kuin 41/2016:n kangas, tiheydeltään 16-18 lankaa/cm.
The Ristimäki dress reconstruction is based on grave 41/2016. This said grave also has some remains of linen fabric attached to a brooch. This fabric is very fine, 15-20 threads/cm. The fragment is quite small in size and not really enough for a reconstruction, but there are other, larger linen remains that have been found in the same cemetary. In the grave 2/2015 a whole preserved sleeve cuff was found, and this gives the reconstruction team much more to work with. What is known of the linen dress is that is was long sleeved and tabby woven using z/z-threads. Also, as the question of plant fibers has been once again discussed a lot, this fabric was certainly linen, not hemp or nettle. The fabric in 2/2015 was equally fine as in 41/2016, in density it was 16-18 threads/cm.
The Ristimäki dress reconstruction is based on grave 41/2016. This said grave also has some remains of linen fabric attached to a brooch. This fabric is very fine, 15-20 threads/cm. The fragment is quite small in size and not really enough for a reconstruction, but there are other, larger linen remains that have been found in the same cemetary. In the grave 2/2015 a whole preserved sleeve cuff was found, and this gives the reconstruction team much more to work with. What is known of the linen dress is that is was long sleeved and tabby woven using z/z-threads. Also, as the question of plant fibers has been once again discussed a lot, this fabric was certainly linen, not hemp or nettle. The fabric in 2/2015 was equally fine as in 41/2016, in density it was 16-18 threads/cm.
Sukkakangas ~~~ Sock fabric
Kuten muutkin haudan villatekstiilit, myös sukissa oli käytetty villaista 2/2-toimikasta. Kankaassa oli muiden tekstiilien tapaan S-kerrattu loimi ja z-kierteinen kude, mutta muista poiketen se oli voimakkaasti vanutettu jonka takia tietoa tihydestä ei ole. Myös lankalaatu oli hieman erilainen kuin muissa, karkeimmat kuivut puuttuvat kankaasta eli kuidut on enen kehräämistä eroteltu. Ennallistuksessa tässä kankaassa päädyttiin käyttämään suomenlampaan villaa. Kankaan väri oli testetusti punainen, krappivärjätty.
Like other wool textiles in grave 41/2016, also the woolen socks were made of 2/2 twill. And like the other textiles, warp was S-plied, weft z-spun -but as a difference, this fabric was heavily fulled so the density cannot be said for certain. Also the thread quality was somewhat different than in other textiles, the most coarse top coat hairs are absent -so before spinning, the wool was originally sorted by quality. For the reconstruction, this fabric will be made of Finnsheep wool. Colour tests confirmed that this textile was red, madder dyed.
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| Maskun muinaispuvun esiliina. Ilmeisen samanoloinen kuin Ristimäen esiliinakin. ~~~ Apron of the Masku dress reconstruction. Apparently very much alike to the Ristimäki apron. |
Testitulokset olivat tulleet myös esiliinan osalta. Esiliinankin väriaineena morsinko -selvästikin esiliinan värinä kautta Varsinais-Suomen dominoi sininen! Esiliinan kangas oli 2/2 toimikas, ja reinoihin oli kudottu putkihulpiot. Komeassa esiliinassa oli koristeina spiraaleita ja reunoissa spiraaleista muodostetut kulmaviuhkat.
Test results came back for the apron as well. Also the apron was woad dyed -it seems that colour blue for aprons dominated througout the Finnish southwest coast! The fabric was 2/2 twill, with woven tubular selvedges. For decoration it featured bronze spirals, and in the corners small fan-shaped spiral decorations..
Test results came back for the apron as well. Also the apron was woad dyed -it seems that colour blue for aprons dominated througout the Finnish southwest coast! The fabric was 2/2 twill, with woven tubular selvedges. For decoration it featured bronze spirals, and in the corners small fan-shaped spiral decorations..
Sukkanauhat ~~~Garters
Punaiset sukat pidettiin ylhäällä lautanauha-sukkanauhoina, joissa oli spiraalikoristeiset tupsut. Lautanauhat eivät olleet identtiset, vaan oikeassa jalassa sukkanauhan leveys oli 6 mm, vasemmassa 3 mm. Nauhoissa oli kuitenkin sama kuvio, ero oli vain langan paksuudessa. Ennallistusta varten sopivaa lankaa on ollut vaikea löytää, niin ohuesta on kyse. Nauha oli kudottu väreissä sininen-punainen-valkoinen.
Red socks were fastened with tablet woven garters with bronze spiral tassels. The bands were not identical, in the right leg the band width was 6 mm where as in the left leg it was only half of that, 3 mm. They shared the pattern, though, only differencec was the yarn thickness. As for the reconstruction it had been quite difficult to find yarn so thin! Colours of the band were blue, red and white.
Red socks were fastened with tablet woven garters with bronze spiral tassels. The bands were not identical, in the right leg the band width was 6 mm where as in the left leg it was only half of that, 3 mm. They shared the pattern, though, only differencec was the yarn thickness. As for the reconstruction it had been quite difficult to find yarn so thin! Colours of the band were blue, red and white.
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| Tuoreita morsingonlehtiä värjäysvalmiina. ~~~ Fresh woad leaves ready for dyeing |
Väritestejä oli tehty sekä morsingolla että krapilla. Morsinkotesteissä oli testattu sekä kuivia morsinkopalloja että pigmenttiä. Pallolla oli varsin huono menestys (itsekin muuten olin huomannut indigopalloilla ihan saman, tuntuu olevan ihan oma taiteenlajinsa). Kun sinivärjäys onnistui, siitä saatiin varsin tummaa, tämä tapahtui kaikkineen seitsemällä kastokerralla. Punaista värjättiin krapilla suomenlampaan villalle sekä keittäen että viikon fermentoinnilla. Lopputuloksessa olikin eroja, fermentoimalla saatiin oranssimpaa kuin keittovärjäyksellä joka oli puhtaammin kirkkaanpunainen.
Dye experiments were done with woad and madder. Woad was tested using both dry woad balls and woad pigment. Test using woad ball was not really successful (I had noticed the same thing when using indigo balls, the same rules do not seem to apply at all). Pigment tests, then again, were successful and they gave a nice dark-ish blue with seven dips to the vat altogether. Red was dyed using madder to Finnsheep wool, using both the bouling method and one week fermentation. The yarn came put different, fermenting gave a more orange result where as boiling method yielded a colour that was quite bright red.
Dye experiments were done with woad and madder. Woad was tested using both dry woad balls and woad pigment. Test using woad ball was not really successful (I had noticed the same thing when using indigo balls, the same rules do not seem to apply at all). Pigment tests, then again, were successful and they gave a nice dark-ish blue with seven dips to the vat altogether. Red was dyed using madder to Finnsheep wool, using both the bouling method and one week fermentation. The yarn came put different, fermenting gave a more orange result where as boiling method yielded a colour that was quite bright red.
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