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The use of vegetables, barko,
roots and other natural items to make dyes has been a well - known art for
many thousands of years. This ancient practice continued unchanged and
untouched until the mid 19th century when synthetic dyes were invented.
The findings at a Chinese spring
dating from about 3000 B.C. indicate that the science of dyeing was
initially developed in the Far East. On the other hand, in Europe, the
first dyers were most probably people who lived around Zurich Lake in
about 2000 B.C.
The dyeing industry was
established in the 15th century B.C. We also know that the art of dyeing
belongs to old times in India. Marco Polo in the chronicles of his travels
tells us how indigo was cultured before it was exported to Europe by
Portuguese to the rich and varied Anatolian dyeing processes are a
synthesis of the Far East science of dyeing, the knowledge that was handed
down from centuries before Christ, and the rich traditions of Anatolia
itself, Why are natural dyes so important? Is it because some shades of
colour cannot be found in the various synthetic dyes? Or, is it because
the natural dyes are cheaper or easier to obtain?
Actually, it's none of the seasons.
The synthetic dye catalogues are quite thick and rich in the kinds of dyes
and shades of colour that are available. But the natural dyes come from
Mother Nature's own harmony, and they reflect the preferences of the
various peoples through the years and centuries. Plus, the natural dyes (vegetal
dyes) will mellow with time, and if left under the sun, they'll shine and
radiate the most pleasing shades of colour.
In many areas it is common
practice to expose naturally dyed rugs to the sun so that the colours fade
gradually and gracefully to their ultimate harmony and beauty.
But the synthetic dyes don't have
this peculiarity. If the dye used is of the chromatic type, the colours
are fast to light, as well as moisture, which, in itself, can be
considered as an advantage. But if the synthetic dye used is of a lower
quality, with time the colours will fade and the various shades will
probably be dull and lifeless. We can see with our naked eyes all the
differences in dyes, understand the advantages, and disadvantages of each
type, and easily discern which ones are more harmonious eye pleasing.
Fine Turkish carpets recognized
for their value and beauty made with natural dyes obtained from plants,
berries and trees. Chemical dyes are also used but to the trained eye they
do not have the beauty or lustre of natural dyes. The main natural dyes
are listed below.
DYERS WOAD (Çivit Otu) blue
From this plant dark or light blue
tones are produced by the length of time that the plant is boiled. It is
found along the edges of fields growing wild in Central and Western
Anatolia, Dyers Woad and some other plants are used to yield indigo which
is the oldest and most important blue dye.
MADDER RED (Kök boya-Kırmızı
kök) red
The roots of this plant are known
as madder. It grows wild in Central and Western Anatolia and a two-year-old
plant will be about one and a half meters high. "Rose madder" was a
standard colour on the palettes of the old masters of the Renaissance and
today, many expensive Italian and English neckties are known as madder
ties because of the rich deep toned red colour.
OX-EYE CAMOMILE (Sarı
Papatya) bright yellow
During the spring, one
finds this plant all over Anatolia. It is large, golden-yellow flowers a
top long stems last throughout the summer. It grows along roadsides and in
dry meadows. The flowers, fresh or dried, used along with an alum mordant,
produce a bright yellow.
WALNUT TREE (Ceviz),
brown
The beautiful Walnut tree
can be found in the forested country of Eastern Turkey, It is a profusely
branched tree that has height peanut leaves. The fruit is covered with a
thick green rind that, along with the leaves, is often used by villagers
for a green or blackish - brown dye. The Walnut tree is native to Turkey
and is absent only in the regions with several winters. Turkey produces
fifteen to twenty percent of the world's walnut crop. The effective
colouring agent is the brown dye, jug lone, which adheres directly to wool
fibres without a mordant (mordant means fixing agent). In ancient times,
the walnut pods were used in medicine and for the dyeing of hair.
POMEGRANATE TREE
(Nar), yellow to brownish yellow and brown to black
This tree grows in the
mild regions of Western, South - Western and North - Eastern Anatolia. It
is a tall tree with a height of up to forty meters, with branches that are
spiny with very shiny, lance - shaped, dark green leaves, It is easily
distinguished by its beautiful pinkish - violet flowers. During autumn,
the tree bears a fruit with many seeds that is the yellow - red skinned
pomegranate. The fresh or dried skin of the fruit is used for dyeing. If
an alum mordant is used, along with the skin, a yellow - brownish shade
will result. If an iron mordant is used, a brownish - black shade will
result. In Oriental carpets and kilims, the pomegranate is a symbol of
fertility and abundance because of it's many seeds.
BUCKTHORN (Cehri),
deep yellow
This plant grows only in
Turkey on slopes with altitudes up to 3,000 meters (about 9,843 ft.).
Before the twentieth century, it was mainly cultivated in Central Anatolia
(Konya, Kırşehir, Sivas, Ankara and Kayseri). Today, only wild shrubs grow
along roadsides, in fields and vineyards at Ürgüp, Çorum and
Kahramanmaraş, which are areas of former cultivation. The unripe fruits,
fresh or dried, are used to create the dyes. When an alum mordant is used,
a deep yellow will result. This deep yellow, from the dried fruits, is
mainly used for dyeing silk. This colour dye is often used to obtain
secondary and tertiary colours.
SPURGE (Sütleğen),
yellow
This plant grows
throughout Turkey. The entire plant contains a milky juice in its narrow,
undivided leaves and clusters of blossoms. Some varieties bloom during the
late summer and early autumn. All parts of the plant, except the roots,
are used for creating this yellow dye. This dye is frequently detected in
cottage industry carpets of Anatolia mainly in the Dazkırı, Maden and
Ortaköy carpets.
BAST HEMP (Gence),
brilliant yellow
This dye is not used as
often as other yellow dyes. This plant grows on the mountains of Central
and Eastern Anatolia. The brilliant yellow colour is common in older flat
weaves. The strong colour is often mistaken for a chemical dye and for
this reason it is not popular in Western Anatolian workshops where weavers
cater to foreign market. In Eastern Anatolia, Lake Van area, the kilims
are produced for local consumers who prefer bright colours and are less
concerned about the distinctions between chemical and natural dyes.
WILD CAMOMILE (Beyaz
Papatya), yellow
During March, in Western
and Southern Anatolia, this Camomile plant will cover entire fields with
fresh blossoms. With alum mordant, a clear yellow dye will be obtained.
THREE - LEAVED SAGE
(Ada Çayi), yellow
This herb can be found in
most Mediterranean regions. It blooms on the dry hillsides from March up
until August. It is distinctive it's tall flowering spikes of mauve or
pinkish two - lipped flowers. The leaves and stems, either fresh or dried,
are suitable for dyeing.
Plants are just one of
many sources from which to obtain natural dyes. To obtain a natural dye
the plant is boiled to extract the colour. Next, to ensure the absorption
of the colour into the wool a second plant or natural salt is mixed with
the dye. This second plant or salt is known as the mordant. A mordant
prevents bleeding or running of colours thus it fixes the colour. If a
chemical salt is used as mordant the dye is still called natural. When
alum is used as mordant along with madder a pale red is obtained because
alum is a natural light salt. But if iron is used as a mordent a deep red
or burgundy is produced. The choice of a mordant determines the colour of
dye.
Today, some people
believe that there are no natural dyes because of certain chemicals that
are used as mordant. Mordant are formed from natural chemicals of the
earth not synthetically produced, so when they are added to natural dyes
they act as a fixing agent and produced and colour desired by the weaver.
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