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Tyrian purple may first have been used by the ancient Phoenicians as early as 1570 BC. [3] [4] It has been suggested that the name Phoenicia itself means 'land of purple'. [5] [6] The dye was greatly prized in antiquity because the colour did not easily fade, but instead became brighter with weathering and sunlight.
The modern English word purple comes from the Old English purpul, which derives from Latin purpura, which, in turn, derives from the Greek πορφύρα ( porphura ), [6] the name of the Tyrian purple dye manufactured in classical antiquity from a mucus secreted by the spiny dye-murex snail.
In Malaysia and Laos, a red to purple dye is produced from the root of the Indian mulberry ( Morinda tinctoria ). In the Philippines, red dye was obtained from noni ( Morinda citrifolia) roots, sapang (sappanwood), katuray ( Sesbania grandiflora ), and narra wood ( Pterocarpus spp.), among other plants.
The pure essence of purple was approximated in pigment in the late 1960s by mixing fluorescent magenta and fluorescent blue pigments together to make fluorescent purple to use in psychedelic black light paintings.
Many indigo plantations were established by European powers in tropical climates. Spain imported the dye from its colonies in Central and South America, and it was a major crop in Haiti and Jamaica, with much or all of the labor performed by enslaved Africans and African Americans.
The second comes from the Latin word for purple and relates to her connection with purple dye. Philippi (modern-day Macedonia (Greece)) was the city in which Lydia was living when she met St. Paul and his companions.
His experiments produced instead an unexpected residue, which turned out to be the first synthetic aniline dye, a deep purple [7] color called mauveine, or abbreviated simply to mauve (the dye being named after the lighter color of the mallow [mauve] flower).
A dye is a colored substance that chemically bonds to the substrate to which it is being applied. This distinguishes dyes from pigments which do not chemically bind to the material they color.
Although William Morris in the late-19th-century Arts and Crafts movement tried to revive use of British natural dyes, most were so low-yield and so inconsistent from locality to locality (part of the reason for the historical tartan differentiation by area) that they proved to have little mass-production potential, despite some purple dye ...
The violet-purple dye derived from the hypobranchial gland of the Murex marine snail, once profusely available in coastal waters of the eastern Mediterranean Sea but exploited to local extinction.