Post 424 – by Gautam Shah
A drape is a way of hanging or placing an unstitched piece of fabric. The word drape derives from Proto-Germanic drapiz and drepiz (=a strike, hit, blow), (=intended for striking, to be beaten), it also relates to English drub (=to beat) and Swedish dräpa (=to slay). In ancient periods a drape-able fabric was heavily (beaten) washed, and so soft and pliable. A heavily washed fabric is dull or of unbleached natural colour. At places a dull cloth is described to be greyish to yellowish or light olive brown in colour. The loss of crispiness perhaps indicates use of Linen, which became soft after several washes.
The word drapery is of 14th C origin, but drape or equivalent usages must be very ancient. Unstitched pieces of fabrics were used for covering own self by ordinary people as well as priests and rulers. The draped fabric, if soft, hangs loosely. The fabric, if stiff or of heavier weave remains fluffy, and does not ‘fall’ gracefully. The fabric worn as dress usually has vertical folds, which change with body movements. On a performance stage, it creates an impression of ‘larger than life movement’, perceptible to the spectators in the last tier of the Amphi theatre.
Drapery refers to composition of fabric used for decorative purposes, around internal or external gaps or openings. It also means any arrangement of fabric used as clothing, backdrop, accompaniment or adornment for a work of art in the form of painting or sculpture. Each artist and each era shows unique techniques of rendering the drapery curves and form. The quality of fabric material never shown as actual, it only enhanced the form of drapery. The colour of the drapery as shown was the artists’ pallet requirement and may not be realistic. The transparency of fabric and body revelations were according to the artists daring and perhaps client’s dictates.
In interior Design all types of fabrics are used for draping the furniture, openings, gaps, parapets, railings, columns, brackets, steps and stairs. These are covered with many different grades of fabrics ranging from sheer silk, flimsy organza, sateen, damask, linen, velvet, starched cotton, and later rayon and polyesters. Drapery colour and pattern schemes were coordinated with wall papers, curtains, carpets and other tapestries. Fabrics have been hung with formation of gathers or unstitched pleats, of vertical, dropped or sagged curves and twisted horizontals. Tapestry like one-sided fabrics are also draped over architectural elements of buildings.
Draperies were inevitable part of beds and bedrooms. Bed was the most important chamber for the lady of the house, almost like a female drawing room. Beds were separated by draperies from the room space, and beds structures were covered with drapes. Back side of the bed had hung piece of tapestry fabric or some form of drape composition. Paintings and portraits were edged with draperies.
Draped fabrics were great collectors of dust and soot. The shaped drapes if too articulated, fluffy and against the gravity, have a tendency to collapse. The drapes are generally static arrangement, but during the early part of 19th C began to be replaced by simpler curtains. The curtain required pelmets or open hanging rods, both of which began to be covered with scallops. Scallops are articulated drapes, with ropes and tassels. Word Draper is used to denote an expert tailor or an establishment that stocks various types of fabrics and paraphernalia items.
In art forms draperies have been treated both casually and formally, with neatly delineated lines or free-flowing curves. This has depended on the person to be presented like, an angel, Lord, saints, or commoners. Hellenistic period art draping was white or light coloured translucent body touching, but form emphasizing fabric. Gothic period showed the restrained flow of lines. Post renaissances, the drapery presentation was theatrical. Drapery presentation in painting was such an important issue that it was first discussed with the sponsors. Specialist painters were hired to touch-up the drapery work.