Menguar y crecer como la luna. Para mí, una de las formas más divertidas para tejer este cojín.
Medidas 40 x 50 cm.
Lana tejida a punto. 4 tiras de 100 cm. y 2 de 50 cm. para los bordes.
Taller de arte textil en Madrid. Diseño y creación. www.meryet.com
Menguar y crecer como la luna. Para mí, una de las formas más divertidas para tejer este cojín.
Medidas 40 x 50 cm.
Lana tejida a punto. 4 tiras de 100 cm. y 2 de 50 cm. para los bordes.
Siempre he estado vinculada con la Diosa vasca Mari, mucho antes de nacer yo, mucho antes de ser consciente de Su nombre.
En la Tradición de Iberia, Mari es la diosa madre del aire, su lugar en la rueda es el Norte y su color es el gris o plata.
En este amigurumi de Mari, el gris y el blanco de las nubes en tormenta colorean Su cuerpo. Un rayo recorre sus brazos. Hojas de roble la protegen, mientras danza con nosotras en su lauburu rojo. Al bailar, las semillas que hay en su interior, suenan para invocarla.
Técnica: Ganchillo y bordado.
Materiales: Lana, rayón con poliéster metalizado. Relleno acrílico. Semillas.
Cada Diosa que tejo es especial para mí. Dea Aurora y Noctiluca con más motivo, porque fueron las primeras, Ellas me guiaron tejiendo el patrón. Ahora guardan mis sueños y mis días.
Luego fueron llegando más. Y más. Por ejemplo:
Colgante de la diosa Noctiluca, Reina de la luna y danzando sobre las olas del mar.
Bolsillo trasero de tejido de aguja para guardar peticiones o amuletos.
Técnica: Nudo peruano y bordado.
Materiales: Rayón, lana, cáñamo y algodón.
Mi pequeña foca me saluda todos los días junto a la figura de Noctiluca. Desde el anillo mágico que la vio nacer, yo ya sabía que sería su lugar preferido.
The
Peruvian knot is a textile technique that belongs to the macramé’s
family.
Macramé
is a knotting technique found in many ancient cultures like the
Egyptian, the Assyrian and the Chinese. But perhaps the most famous
knotting weavers were the Arabs, who used a technique of knots to
finish the fringes of their loom woven pieces, from kilims to towels.
The contact of the Europeans with the Arabs (in the Iberian Peninsula
and later in the Crusades of the Middle East) made the knots’
technique being introduced in Europe. Many social classes have been
harnessed to macramé, such as nuns, sailors, peasants and even
ladies of the European courts. The technique reached its zenith in
the Victorian era, when it suddenly disappeared and reborn with
brightly in the early 70's folk.
The
different arrangement and different types of knots create the designs
in macramé. However, the Peruvian knot technique, like the cavendoli
knot, is able to draw geometric shapes or free designs as the ones
made on a loom, but instead of weaving, knotting.
The
Peruvian knot is not really related to the famous Peruvian knots of
Inca quipus. Quipus were a system to record statistical information,
eg census, livestock, perhaps even events that happened, with ropes
of different lengths, widths and colours. One or several knots were
tied on these ropes. But, apart from the wrong name, the
technique in question has nothing to do with this, because what we
are going to do is express ourselves artistically.
In
my opinion, the origin of the Peruvian knot is the following. As this
technique is currently taking place especially in Argentina, I think
the Peruvian knot is an evolution of the cavendoli´s macramé
technique. Probably carried by the Italians to Argentina during their
migration.
Leaving
the etymology and history aside. The fact is that the Peruvian knot
offers many possibilities. On the one hand, the variety of objects to
develop, carpets, bags, belts, bracelets, etc. and on the other hand,
is fun and relaxing. We do not need loom, so we can be knitting
either at the beach or on the terrace. This technique deserves to be
part of our textile wisdom.
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