L-M BRIC News No. 11 Notes                                            04-15-2008 © 
L-M Braiding Research & Information Center / Masako Kinoshita
5 Winthrop Place, Ithaca, NY 14850 U. S. A.
Phone & Fax 607-257-0886 e-mail mkinoshi@twcny.rr.com



Note 1. Saarta, Martta, ISKETYT NAUHAT (Finnish l-m braiding), Var hemslšjd kotiteollisuus 1:8-9, 15-16, 1962.

Note 2. Icelandic Loop-Braided Bands: Kriud Bond, Bulletin de Liaison du Centre International d'Etude des Textiles Anciens, No. 49, 1979-1. An English translation of the original Icelandic paper published in 1965.

Note 3. 1. Theodor Schvindt, Finische Ornamente, Helsinki: 1903. 2. U. T. Sirelius, Suomen kansanmaista kulturi, Helsinki: 1921. See L-M BRIC News no. 6, 2003.

Note 4. Because of the small number of reports, Method 3, the index-finger-operated method with palms facing down practiced mainly in Scadinavian regions, is excluded.

Note 5. Lebedeva, N. I., 'Priadenie i tkachestvo vostochnykh slavian v. XIX-nachel xx v.,' Trudy Instituta Etnografii im. N. N. Mikluho-Makalaia n. s., 31, 1956.

Note 6. L-M BRIC News no. 10, 2007. The Guajiro Indians do not use the two methods for the same kind of braid.

Note 7. We call these two braids: 1. UO(oo) (UO no. 1 or half-moon braid in earlier publications), and 2. UO(cc) (UO no. 2 or flat braid).

Ten-element (5-loop) UO(oo) and UO(cc) braids can be made with method 1:Using the finger b go through the loop on the finger c and transfer the inner most loop on the other hand either open="O" or crossed="C." We call the braids made using the O-transfer on both sides UO(oo) and those made using the C-transfer on both sides UO(cc). We omit notes on 7-loop braids since it goes beyond the scopes of the notes.

Note 8. With UO braids, the face that comes underside while braiding is generally considered the obverse face.

Note 9. L-M BRIC News No. 2, 1999.

Note 10. See the article "Idiosyncratic Appearance of Braids with an Unorthodox Pattern" in this issue.

Note 11. The original Japanese language paper was published in The Collected Papers for Commemorating the 40 Anniversary of the Founding of the Gangoji Institute for the Research of Cultural Properties. This is a synopsis of Omura's shortened version of the original paper presented at the International conference on Kumihimo, 2007, Braids excavated from the Chu Cemetery at Baoshan and archaic braiding techniques in China, Space, Time and Braids.

Note 12. Kinoshita, Masako, On Construction Method of a Lacy Silk Fabric Fragment from Tomb No. 1 at Ta-bou-tai Excavation Site (1974), Journal of International Association of Costume, no. 15, 1999.

Note 13. For the construction method of POT fabric using loop-manipulation, see the reference in Note 12.

Note 14. A Study of the Textile Fabrics Unearthed from Han Tomb No. 1 at Ma-Wang-Tui in Changsha, The Archaeological Research Group of the Shanghai Textile Research Institute and the Shanghai Silk Industry Corporation, Cultural Relics Publishing House, 1980. 

Note 15. The method for which the palms are held facing each other and the upper (index) finger is used as the operator.

Note 16. The method for which the palms are held facing each other and the lower (ring or small) finger is the operator. 

Note 17 UO(oo) and UO(cc) are not among Guajiro's repertory of braids. They make UO(co) using Method 1.

Note 18. The operator is always the index finger for Method 1. For Method 2, for 7 or larger numbers of loops, it is the small finger. With 5 loops, it is the ring finger when loops are mounted on the index, middle and ring fingers, and the small finger when loops are mounted on the middle, ring and small fingers.

Note 19. Yuriko Kimura:
Graduate degree from International Culture Research, Tohoku University, Sendai, Japan.

2006: Donated to Basho Manor, Ootawara-shi, Tochigi-ken: A     Braid Reproduction based on the instruction recorded in an early 19th c. treatise, "Shika Suyo=Thesaurus for Ceasing War."

2004, 05: Attended l-m braiding workshops by Masako Kinoshita

2003: Research on American Indian bead craft in Oklahoma.

1981: Studied natural dye technique with Toshiko Shimada, Ashikaga-shi.

1974: Attended Seiju Craft School, Tokyo.