Definitions for natural dye
nat·u·ral dye

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1. Natural dye

   Natural dyes are dyes or colorants derived from plants, invertebrates, or minerals. The majority of natural dyes are vegetable dyes from plant sources—roots, berries, bark, leaves, and wood—and other biological sources such as fungi. Archaeologists have found evidence of textile dyeing dating back to the Neolithic period. In China, dyeing with plants, barks and insects has been traced back more than 5,000 years. The essential process of dyeing changed little over time. Typically, the dye material is put in a pot of water and heated to extract the dye compounds into solution with the water. Then the textiles to be dyed are added to the pot, and held at heat until the desired color is achieved. Textile fibre may be dyed before spinning or weaving ("dyed in the wool"), after spinning ("yarn-dyed") or after weaving ("piece-dyed"). Many natural dyes require the use of substances called mordants to bind the dye to the textile fibres. Mordants (from the Latin verb 'mordere', meaning 'to bite') are metal salts that can form a stable molecular coordination complex with both natural dyes and natural fibres. Historically, the most common mordants were alum (potassium aluminum sulphate - a metal salt of aluminum) and iron (ferrous sulphate). Many other metal salt mordants were also used, but are seldom used now due to modern research evidence of their extreme toxicity either to human health, ecological health, or both. These include salts of metals such as chrome, copper, tin, lead, and others. In addition, a number of non-metal salt substances can be used to assist with the molecular bonding of natural dyes to natural fibres - either on their own, or in combination with metal salt mordants - including tannin from oak galls and a range of other plants/plant parts, 'pseudo-tannins', such as plant-derived oxalic acid, and ammonia from stale urine. Plants that bio-accumulate aluminum have also been used, including club mosses, which were commonly used in parts of Europe, but are now endangered in many areas. The Symplocos genus of plants, which grows in semi-tropical regions, also bioaccumulates aluminum, and is still popular with natural dyers. Some mordants, and some dyes themselves, produce strong odors, and large-scale dyeworks were often isolated in their own districts. Throughout history, people have dyed their textiles using common, locally available materials, but scarce dyestuffs that produced brilliant and permanent colors such as the natural invertebrate dyes, Tyrian purple and crimson kermes, became highly prized luxury items in the ancient and medieval world. Plant-based dyes such as woad (Isatis tinctoria), indigo, saffron, and madder were raised commercially and were important trade goods in the economies of Asia, Africa and Europe. Across Asia and Africa and the Americas, patterned fabrics were produced using resist dyeing techniques to control the absorption of color in piece-dyed cloth. Dyes such as cochineal and logwood (Haematoxylum campechianum) were brought to Europe by the Spanish treasure fleets, and the dyestuffs of Europe were carried by colonists to America. The discovery of man-made synthetic dyes in the mid-19th century triggered a long decline in the large-scale market for natural dyes. Synthetic dyes, which could be quickly produced in large quantities, quickly superseded natural dyes for the commercial textile production enabled by the industrial revolution, and unlike natural dyes, were suitable for the synthetic fibres that followed. Artists of the Arts and Crafts Movement preferred the rich, complex colors of natural dyes, since many natural dye sources contain more than one type of dye compound, unlike synthetic dyes which tend to rely on a single type of dye compound, creating a flatter visual effect. This helped ensure that the old European techniques for dyeing and printing with natural dyestuffs were preserved for use by home and craft dyers. Natural dyeing techniques are also preserved by artisans in traditional cultures around the world. In the early 21st century, the market for natural dyes in the fashion industry is experiencing a resurgence. Western consumers have become more concerned about the health and environmental impact of synthetic dyes - which require the use of toxic fossil fuel byproducts for their production - in manufacturing and there is a growing demand for products that use natural dyes. The European Union, for example, has encouraged Indonesian batik cloth producers to switch to natural dyes to improve their export market in Europe. While historically, dyers possessed sophisticated knowledge of natural sources of true dye compounds, nowadays the internet contains a lot of inaccurate information about sources - predominantly foods - that are not supported by the historic record or by modern science. In natural dyeing, there are 'fast' dye compounds (those that have the necessary molecular structure to form stable chemical bonds with mordants and fibres, and so p

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Numerology

1. Chaldean Numerology

   The numerical value of natural dye in Chaldean Numerology is: 5

2. Pythagorean Numerology

   The numerical value of natural dye in Pythagorean Numerology is: 4

References

1. ^ Wikipedia
   https://en.wikipedia.org/wiki/Natural_Dye