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NATURAL PIGMENTS IN ARMENIAN RUGS, TEXTILES, AND FRESCOS

Armenia's tradition of natural dyeing is best known through its world-renowned rugs and textiles. The art of rug making in Armenia dates back thousands of years, with Karabakh and Armenian carpets admired for their bold colors and intricate designs. A key feature of these carpets is the use of natural dyes, early forms of biochromes, extracted from local organic materials. Vordan Karmir (Armenian cochineal), for example, was used to create brilliant red hues, while other plants and minerals, such as madder root for deep reds, walnut husks for rich browns, and yellow onion skins for yellows, contributed to the iconic Armenian palette.

These natural dyes were also essential to other textile arts, from clothing to ceremonial garments, which were often dyed with natural pigments like pomegranate skins for yellow to brown tones and indigo for blues. The knowledge of extracting and combining biochromes for textiles was passed down through generations, preserving the art of Armenian rug making and textile production.

However, the use of natural pigments extended beyond textiles. In medieval Armenia, natural dyes were critical in illuminated manuscripts and church frescoes. Monks and scribes in monasteries like Matenadaran produced some of the world’s finest illuminated manuscripts, using pigments derived from plants and minerals to illustrate religious texts. The bright reds, blues, and yellows seen in these manuscripts often came from local sources, such as walnut hulls and madder root for red, indigo for rich blue, and yellow onion skins for yellow hues, alongside Vordan Karmir, which provided the distinctive red. These manuscripts, beautifully decorated with floral motifs, angels, and religious scenes, were cherished works of art and spiritual devotion.

Similarly, Armenian churches were adorned with frescoes that featured vibrant biochromes. The natural pigments used in these frescoes included ochre, malachite, and indigo, which brought biblical stories to life in vivid detail. Churches like Tatev and Geghard still preserve frescoes painted with these natural colors, showcasing the harmony between art and nature in Armenian culture.

Some of the natural sources Armenians have used to extract pigments include:

  • Vordan Karmir (Armenian cochineal) – A red dye made from the Porphyrophora hamelii insect, found in the Armenian highlands. This dye produces a brilliant crimson red, one of the most prized colors in Armenian rugs and textiles. The significance of this dye goes back to the ancient times when it was a highly valued export.

  • Madder (Rubia tinctorum) – A plant used to produce rich red and orange hues. Armenian dyers have been using madder roots to dye wool for centuries, creating vibrant red tones that are prominent in traditional rug designs.

  • Walnut Hulls (Juglans regia) – Used for producing browns and blacks. The husks of walnuts were crushed to extract rich dark pigments for the intricate patterns of Armenian rugs.

  • Pomegranate (Punica granatum) – Pomegranate skins were boiled to produce golden-yellow and soft tan dyes, which were used for both rug-making and other textiles.

In modern terms, these natural dyes represent biochromes—pigments extracted from biological organisms, a concept deeply linked with the study of natural pigments in science. Historically, Armenian artisans had an advanced knowledge of the chemistry of these natural substances, using fermentation and mordanting techniques to fix colors in wool, ensuring their lasting vibrancy.

This traditional practice of extracting and applying biochromes in Armenian textiles can be seen as an early form of what we now call biodesign—the intersection of nature and human creativity to produce sustainable, long-lasting materials. Armenian dyers were, in effect, pioneering biochrome use well before it became a formal field of scientific study.

ARMENIAN VS. MEXICAN COCHINEAL

Armenian cochineal, Porphyrophora hamelii, and Mexican cochineal, Dactylopius coccus, are both natural sources of carminic acid used for producing red dyes, but they differ in their origins, history, and chemical compositions, which lead to variations in color intensity and quality. While both have been used for centuries, the Armenian cochineal is much rarer and holds deep cultural significance, particularly in the Armenian Highlands, while the Mexican cochineal has become more commercially widespread and dominates the global market today.

Armenian Cochineal (Vordan Karmir), as mentioned, is native to the Armenian highlands and has been used for over a millennium, prized for its unique, rich red hues. This insect lives underground and feeds on the roots of Gramineae plants, a habitat quite different from its Mexican counterpart. Extracting the dye is labor-intensive, which contributes to its rarity. The pigment produced by Armenian cochineal has a slightly more violet tint compared to Mexican cochineal, and it was historically favored in illuminated manuscripts, church frescoes, and royal textiles in Armenia.

On the other hand, Mexican Cochineal, native to Central and South America, was discovered by indigenous peoples long before European contact. The Aztecs and Mayans used it extensively, and after the Spanish conquest, it became a major export product for the colonial empire. Unlike the Armenian species, Dactylopius coccus lives on the prickly pear cactus (Opuntia), which grows abundantly in Mexico. Because the Mexican cochineal is easier to cultivate and harvest in large quantities, it became the dominant source of red dye in global trade, especially in Europe during the 16th and 17th centuries.

p r e p a r a t i o n

The preparation of plant-based fibers (such as linen, canvas, and satin) and protein-based fibers (like wool and silk) before natural dyeing involves different approaches due to the distinct structural characteristics of these fibers. These differences ensure the fabrics can absorb the dye evenly and produce long-lasting color.

PLANT-BASED FIBERS (lINEN, CANVAS, SATIN):

  • Scouring: The first step in preparing plant-based fibers is scouring, which removes oils, waxes, and residues that may have accumulated during the manufacturing process. I prepared a solution using max 10% washing soda (sodium carbonate) by weight of the fabric.The fabric was then boiled for 30 minutes to clean it thoroughly. This process ensures that the fibers are fully opened and ready to absorb the dye.

  • Mordanting: After scouring, I rinsed the fabric and prepared a mordant bath. Plant-based fibers require a higher concentration of mordant to bind the dye effectively. For linen, canvas, and satin, I used 10-15% alum (potassium aluminum sulfate) by weight of the fabric. I dissolved the alum in warm water and simmered the fabric in the alum solution for about 40 minutes. This mordanting process creates a strong bond between the fiber and the natural dye, ensuring that the color is bright and long-lasting. After the fabric had soaked in the mordant solution, I rinsed it in cold water and hung it to air-dry.

PROTEINE-BASED FABRICS (WOOL AND SILK YARNS):

For wool and silk, which were prepared at WoolWay, a more delicate process is required due to the nature of protein fibers. These fibers are sensitive to heat and pH levels, meaning they need to be treated more carefully.

  • Scouring: Instead of boiling the wool and silk, WoolWay used a gentler scouring method. They soaked the fibers in warm water with 1% neutral soap by weight of the fabric. The fibers were soaked for 30 minutes at around 40°C. This gentle scouring cleans the fibers without damaging their delicate structure, especially since high heat can cause wool and silk to shrink or felt.

  • Mordanting: Protein fibers also require a milder mordanting process. WoolWay used 5-8% alum (by weight of fabric) and added 6% cream of tartar. The cream of tartar not only helps the dye absorb more evenly but also softens the fibers, ensuring the wool or silk remains supple. Wool and silk were simmered at a lower temperature of 70-80°C for about 45 minutes, avoiding boiling, which could harm the fibers. After mordanting, the fibers were rinsed in lukewarm water and left to dry, fully prepared for dyeing.

With both sets of fabric properly prepared, we were ready to move on to the natural dyeing process.

c o l o r . m a k i n g . a n d . d y e i n g

Our visit to WoolWay Studios as part of the biochromes and natural dyeing assignment was an eye-opening experience, immersing us deeply into the world of natural pigments and traditional dyeing techniques. WoolWay, known for its mastery in natural dyeing, became the perfect setting for us to expand our knowledge and skills. Led by Mariam Nalbandyan, a true expert in this field, we explored a range of natural dyes, including cochineal, indigo, Hypericum, and pomegranate shells. The entire day was a fascinating journey into ancient dyeing traditions, adapted with modern sensibilities.

When we arrived, we found the following natural components laid out on the table, each representing different colors and stories:

  • Hypericum (St. John's Wort): Known for its vibrant yellow hue.
  • Helichrysum: Often used for its beautiful golden colors.
  • Pomegranate Shell: Provides rich shades, especially in reds and yellows.
  • Thoran Root: Produces lovely earthy tones.
  • Nut Shell: A surprising source of warm browns.
  • Onion Skins: Offers a spectrum of yellows to deep oranges.
  • Cochineal: A natural dye made from insects, famous for its bright reds.
  • Indigo: Renowned for its deep blue shades.

Each material was prepared beforehand by Mariam, and she walked us through the historical and practical uses of each one.

COCHINEAL: THE CRIMSON JEWEL

Our first foray into dyeing that day was with cochineal, a traditional dye made from the crushed bodies of Dactylopius coccus, small insects known for producing vibrant reds and pinks. Mariam had prepared the cochineal dye in advance, and we were excited to see how it would turn out. We first dissolved 25 grams of cochineal powder into boiling water, which immediately produced a bright crimson solution.

We submerged our wool yarns and cotton fabrics into the dye bath, letting them simmer for about 30 minutes. The wool absorbed the color intensely, producing deep, rich reds with a soft, luxurious texture. Cotton, though lighter, also took on a beautiful pinkish-red tone. Surprisingly, we also tried dyeing leather, which we had brought from the lab. This was uncharted territory for both us and Mariam, as she had never dyed leather before. The results were stunning—rich, deep crimson tones that highlighted the texture of the leather in an unexpected and beautiful way.

INDIGO: THE MAGIC OF BLUES

Next, we explored the magical world of indigo—famous for its deep blue hues. Indigo dyeing is unique because of its chemical properties, and our process began with mixing indigo powder with hot water to create a dye bath. Mariam guided us through the steps, explaining how the indigo needed to be dissolved properly to ensure even dye uptake.

We dipped both wool yarn and linen fabric into the indigo bath for about 5 minutes per dip, repeating this process two to three times to build up the layers of color. The wool took on a strikingly rich navy blue, while the linen resulted in softer, faded denim-like shades. Each material revealed different depths of blue, adding complexity to the results. Again, we tested leather, which gave us an unexpected stormy blue, adding more texture to the finished product.

HYPERICUM: THE GOLDEN GLOW

We then moved on to Hypericum (St. John's Wort), a plant well known for producing bright yellow dyes. Mariam had prepared a dye bath from 500 grams of Hypericum flowers and stems, which were boiled in water for about an hour to release their color. The resulting dye bath had a sunny, golden hue.

When we dipped our wool yarns into the Hypericum dye, they absorbed the golden color beautifully, resulting in soft, warm yellows. The cotton fabrics, in contrast, took on a paler shade of yellow, almost like a soft buttercream, which was less vibrant but still lovely. The wool, as a protein fiber, naturally absorbed the dye more effectively, producing richer and deeper colors. The leather, meanwhile, came out with a muted yellow, creating a rustic, earthy tone that we hadn't expected but were thrilled to see.

To further explore the color possibilities, we added copper sulfate to the Hypericum dye bath, which transformed the yellow hues into a more khaki shade, creating a unique twist in our palette. Intrigued by the results, we then submerged some of the yarn into the indigo vat, resulting in a bright green hue that beautifully contrasted with the warm tones of the Hypericum dye.

REFLECTIONS ON THE PROCESS

Our time at WoolWay Studios was transformative, not just because of the beautiful natural colors we achieved, but also because of the hands-on learning involved. Each dye brought its own character and history, from cochineal’s rich reds to indigo’s magic blues and the warm tones of Hypericum and pomegranate. The day was filled with experimentation, discovery, and a deep connection to natural materials and techniques that have been used for centuries. Working with Mariam was a true collaborative effort, especially when we ventured into new territory by dyeing leather, which added an exciting twist to the experience.

This exploration of natural dyes connected us to the Armenian landscape and history, making us appreciate the potential of these traditional methods in contemporary design and fabrication. The journey of color, from gathering natural materials to dyeing wool and cotton, opened up new possibilities for our creative processes and left us eager to explore more in the future.

f r o m . d y e . t o . i n k

Let me walk through the exact steps as we did for extracting the pink pigment from the cochineal solution at the lab:

Brought the solution: We arrived at the lab with the cochineal dye solution, which was already prepared at WoolWay Studio by boiling cochineal insects to release the pink carminic acid into the liquid.

  • Adding alum: Once we had the solution ready, we gently heated it to maintain warmth, making it easier to work with. Then, we slowly added alum into the solution while stirring. The alum acted as a binding agent, helping the pink pigment molecules start to clump together.

  • Adding washing soda: After that, we added a small amount of washing soda (sodium carbonate) into the solution. This raised the pH and caused the pigment to precipitate, meaning the pink particles started to visibly form and separate from the liquid.

  • We slowly poured the cochineal solution through the filter. The pink pigment particles stayed on the paper, while the rest of the liquid passed through, leaving the pigment behind.

  • Drying: Finally, we left the filter paper with the pink pigment to air dry. Once dry, the pigment was ready for use, stored as a vibrant pink powder.

This process gave us the beautiful pink pigment from the cochineal solution, perfect for dyeing textiles.

e x p e r i m e n t

I gathered fresh flowers and leaves from the Fab Lab backyard, excited to try the hammering technique to dye a piece of cotton fabric. Laying the fabric flat on a sturdy surface, I carefully arranged the flowers and leaves in a pattern that felt right. With plastic sheet on top to protect the surface, I started hammering gently over each flower and leaf. As I hammered, I could see the pigments slowly transferring onto the cotton, leaving behind colorful, organic imprints.

Once I was done, I carefully peeled off the flowers and leaves, revealing the beautiful shapes and colors left behind on the fabric. The patterns were vibrant and natural, showcasing the intricate details of each plant. To ensure the colors set, I steamed the fabric, and afterward, I rinsed it lightly and let it dry. The result was a one-of-a-kind, nature-inspired textile, filled with the beauty of the Fab Lab’s backyard plants!