Ceremonial Textiles

Fragments of ritual and liturgical textiles, showcasing intricate patterns and vibrant colors, used in religious ceremonies and worship.

Embroidered cross from an Omophorion late 17th or early 18th century Ottoman Formed as sprays of floral ornament, this embroidered cross from a bishop's outer stole, or omophorion, reflects the eastward spread of the Baroque style via Venice. This embroidered cross and its pair (see 17.120.108) depict the Crucifixion of Christ and the Pentecost, surrounded, respectively, by the writers of the Gospels and four prophets.. Embroidered cross from an Omophorion 219959

Ritual Weaving(Tampan)

Decorative border of liturgical robe. Fragment of red silk with representation in gold of the resurrection of Christ with the sleeping guards. Possibly religious textiles.

Textile Fragment from the Chasuble of San Valerius 13th century This brocaded textile belongs to a collection of vestments attributed to the cult of Saint Valerius, who was the bishop of Saragossa, Spain, from 290 until 315. During the eleventh century his body was transferred to the Cathedral of San Vicente de Roda de Isábena in Huesca (Aragon), from where relics were dispatched to other churches. The textiles were made to venerate the saint, with the chasuble worn on the occasion of his feast day.. Textile Fragment from the Chasuble of San Valerius 450720

Ritual Textile (PuaKumbu)

Ceremonial Weaving (PuaSungkit)

Ritual Weaving(Tampan)

Oriental carpet. Oriental carpet, prayer dress. A moss-green Mihrab in midfield

Chasuble Back with an Orphrey Cross second half 15th century Italian or Spanish; German. Chasuble Back with an Orphrey Cross 461515

Altar Frontal (Spain); silk, metallic thread, garnets

Embroidered cross from an Omophorion late 17th or early 18th century Ottoman Formed as sprays of floral ornament, this embroidered cross from a bishop's outer stole, or omophorion, reflects the eastward spread of the Baroque style via Venice. This embroidered cross and its pair (see 17.120.108) depict the Crucifixion of Christ and the Pentecost, surrounded, respectively, by the writers of the Gospels and four prophets.. Embroidered cross from an Omophorion 219959

Tush kyiz (hanging), c. 1962, 64 5/8 x 132 11/16 in. (164.15 x 337.03 cm) (without hanging loops), Cotton, silk (); embroidery, Kyrgyzstan, 20th century

Ritual Cloth(Osap)

Priest's Robe 18th-19th century Japan. Priest's Robe 69985

Ritual Textile (PuaKumbu)

Doors at Wat Suthat, Bangkok, Thailand, Southeast Asia, Asia

Our Lady with the Child a picture in an embroidered setting unknown

Illuminated Double Page of a Yusuf and Zulaikha of Jami ca. 1580 Maulana Nur al-Din `Abd al-Rahman Jami. Illuminated Double Page of a Yusuf and Zulaikha of Jami 446544

Prayer Carpet Made 1801-1900 India. Cotton and wool, plain weave with supplementary wrapping wefts forming cut pile through a technique known as Persian (Sehna) knots . Islamic

The women's robe Magua decorated with figural scenes in medallions unknown

CAPA PLUVIAL DEL CARDENAL MENDOZA - 1484. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Side front part of a chasuble, embroidered unknown

Sutra Cover with Eight Buddhist Treasures 18th century China Woven in the delicate kesi tapestry technique, this horizontal panel features a group of Eight Auspicious Emblems (umbrella, double fish, vase, flower, conch shell, endless knot, canopy, and wheel) that were initially introduced to China with Buddhism, and later became traditional motifs in the decorative arts. Each emblem rests on a lotus flower, and each has decorative ribbons fluttering to either side. An additional Buddhist symbol, a flaming jewel, crowns many of the eight, and a vegetal scroll serves to link the lotuses that support the eight treasures. A series of prowling five-clawed dragons fills the borders of the panels.. Sutra Cover with Eight Buddhist Treasures. China. 18th century. Silk kesi tapestry; dyed polychrome silk yarns and gold-wrapped yarns in weft-faced tabby-weave fabric. Qing dynasty (1644-1911). Textiles-Woven

Taoist robe, Kangxi period, 1662-1722, L.58-1/2 in., satin, China, 17th-18th century

Eat a carpet unknown

Ritual Weaving(Tampan)

Oriental carpet. Oriental carpet, prayer cloth, of knotted wool, decorated with an ochy mihrab, with a low white-white stair facade. A lamp hangs in the top. Two columns raised from flower garlands. Around three edges and four hems.

Maa cloth late 19th or early 20th century Indonesia (Toraja, Sulawesi); European for the Indonesian market A ceremonial textile produced in Europe for marketing amongst the Toraja communities of central Sulawesi, Indonesia, where it is traditionally known as a maa, a cloth of the ancestors that came from afar / across the sea’. Such cloths play a central role in the local cosmologies, and undoubtedly refer to the historic trade in exotic cloths, most notably early Indian trade textiles which displayed such designs as seen depicted here. This cloth, depicts a central flowering Tree of Life motif, rendered in a local Toraja vernacular design language - note the mountain from which the tree emerges, and the men on buffaloes - whilst the enclosing floral roundel border designs and the saw-tooth (Indonesian tumpal motifs) of the end borders reflect a wider Indian trade cloth design repertoire (see Guy, 1998). It was most likely manufactured in the Netherlands or Germany, where in the cours

Ritual Textile (PuaKumbu)

Carpet with Pseudo-Kufic Inscriptions probably 17th century This prayer rug highlights the protective function of pseudo-inscriptions. It bears a perfectly legible inscription at its borders but relies on well-placed pseudo-kufic writing at the foot. To protect the sacred texts from being stepped on and violated, the designer rendered them illegible.. Carpet with Pseudo-Kufic Inscriptions. probably 17th century. Wool (warp, weft and pile); symmetrically knotted pile. Attributed to Turkey. Textiles-Rugs

Tunic with Sacrificer, 600-1000. South America, Peru, Central Andes, Middle Horizon, Wari people, 7th-11th century. Camelid-fiber, cotton; tapestry weave; overall: 202.6 x 112 cm (79 3/4 x 44 1/8 in.).

Chalice veil late 18th century Chinese, for European market Though Jesuit priests were received at the Chinese court with great appreciation of their learning and courtesy, a misunderstanding occurred between the Pope and Emperor Kang-his toward the end of the latters life. By the second half of the eighteenth century, Christian services were forbidden in China and vestments such as these were made only for a market outside China.. Chalice veil 229411

Liturgical robe suit chasuble unknown

Vajrapani Embroidered Mount with Garuda, painting 1600s, embroidery c. 1300. Chöying Dorjé, the Tenth Black Hat Karmapa (Tibetan, 1604-1674). Opaque watercolor, gold, and silver on silk; overall: 114.6 x 44.5 cm (45 1/8 x 17 1/2 in.). Kneeling and holding his left hand in a gesture of reverential greeting, this Buddhist protector holds a stylized thunderbolt called a vajra, for which he is named. His black body is set off by the gold cloud and flames that stand out from the indigo sky through which birds of prey fly with serpents. His hair stands on end, and his eyesincluding his third eye of wisdombulge with ferocity. These attributes, plus the powerful bulk of his body, convey his ability to eradicate obstacles to enlightenment. Though unsigned, the painting appears to have been made by a high-ranking Tibetan patriarch. Rare examples of textiles from the Yuan dynasty (1279-1368), the upper and lower borders feature the Indian man-eagle Garuda, who in Tibetan Buddhism is associated

mansa devi temple panchkula punjab India Copyright: xDxShah/DinodiaxPhotox

Fragment (From a Chasuble) Made 1601-1700 Spain. Green velvet with figures of two Saints .

Dalmatic and maniple fourth quarter 17th century Italian Ecclesiastical garments were meant to contribute to the sense of mystery and awe associated with worship; this beautifully crafted dalmatic and maniple exemplify that practice. The depiction of the saints is artfully rendered, the skin tones expressed in applied silk with facial features and other details, such as hair and the definition of fingers depicted in embroidery. The monk's costume is recreated in particularly fine detail, down to the knotted cord chinstrap on his hat. The saints have been identified as St. Bonaventure, in Franciscan habit, wearing a cardinal's hat and holding a book and crosier, and St. John the Baptist in a brown camel's hair tunic and red mantle, holding Lamb of God and a banner. This dalmatic and maniple are part of a set that includes a cope (2009.300.3410), a two chasubles (2009.300.2949 and 2009.300.2952a-c) and a second dalmatic (2009.300.3411a, b).. Dalmatic and maniple 158347

Chasuble pillar. unknown, author

Ritual Weaving(Tampan)

Hevajra Mandala 15th century Tibet Hevajra appears here in his three-headed and four-armed form. This manifestation is drawn from the Hevajra Tantra, a text revered by the Sakya School of Tibetan Buddhism, possibly the patrons of this painting. Hevajra and his consort Nairatmya dance at the intersection of four vajra gateways, indicating their position at the center of the cosmos. Hevajras name is composed of two syllables, “he,” compassion, representing the male aspect, and “Vajra,” wisdom, the female aspect, which together offer the path beyond the illusory world. The repeating skull symbolism references death and the impermanence of all phenomena. Beyond the celestial palace are the eight great charnel grounds, each presided over by a yogic master, or mahasiddha. On the reverse are inscriptions in an ornate Tibetan lantsa script of the Sanskrit mantra OH AH HUM and of mantra syllables configured in a stupa silhouette. This painting is likely the work of a Newari artist from Nepal w

Painting on Mansa Devi Temple Panchkula punjab India Copyright: xDxShah/DinodiaxPhotox

Close-up of a Tabriz Haji Jalili carpet, Iran

Chasuble. unknown, author

Ritual Cloth(Bidak)

Ritual Weaving(Tampan)

Chasuble. unknown, author

Band or picture, Medium: silk, metallic Technique: 4&1 satin with 2/1 twill (lampas), Picture of the nativity with worshipping madonna and four angels., Italy, 15th century, woven textiles, Band or picture

Sutra Cover with Wavelike Clouds and Auspicious Symbols 16th century China. Sutra Cover with Wavelike Clouds and Auspicious Symbols 76619

Vestment (For a Second-degree Taoist Priest). Han-Chinese; China. Date: 1801-1850. Dimensions: 143.5 × 189.5 cm (56 1/2 × 74 5/8 in.)Repeat: 36.8 × 7.3 cm (14 1/2 × 2 7/8 in.). Silk, warp-float faced 3:1 'S' twill weave self-patterned by areas of plain weave; edge bands and center back: silk, warp-float faced 7:1 satin weave; embroidered with silk, gold-leaf-over-lacquered paper, and gold-leaf-over-lacquered-paper-strip-wrapped silk in satin and knot stitches; laid work and couching; inner collar and closures: silk, weft-float faced 1:7 satin weave; collar patches: silk, warp-float faced 7:1 satin weave; lined with ramie, plain weave; lining fragments: silk, warp-float faced 4:1 satin weave. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

fine arts, Tibet, painting, Mandala from Nor monastery, silk, 18th century, Ethnological Collection, Zuerich University,

Complex Sin Man resembling general design of Tai Lu skirt, from Hua Phan, Laos, Indochina, Southeast Asia, Asia

Mandala of Vasudhara. Nepal, Dated 1495. Paintings. Mineral pigments on cotton cloth

Chasuble made of silk fabrics unknown

Collar from IIturgical garment, embroidered, Orthodox Annunciation scene and medalIIons with half figures of angels unknown

Ceremonial Ikat blanket of Iban Dayak in Sarawak, Borneo, Malaysia, Southeast Asia, Asia

Textile Fragment from the Dalmatic of San Valerius 13th century This brocaded textile was originally applied to a dalmatic of Andalusian manufacture. It belongs to a collection of vestments attributed to the cult of Saint Valerius, who was the bishop of Saragossa from 290 until 315. During the eleventh century his body was transferred to the Cathedral of San Vicente de Roda de Isábena in Huesca (Aragon), from where relics were dispatched to other churches. The textiles were made to venerate the saint, with the dalmatic worn on the occasion of his feast day. This textile fragment has an Arabic inscription in naskhi across the bottom: "Good luck and glory and exaltedness and magnificence".. Textile Fragment from the Dalmatic of San Valerius 450727

Daoist priests robe (jiangyi), Kangxi period, 1662-1722, L.53-3/8 x W.48-3/4 in., silk, China, 17th-18th century

Painted Tapa, or Ngatu, from Tonga in the South Pacific. Tapa cloth is made from the inner bark of the mulberrytree (hiapo) and is used on ceremonial occasions.

Waist Wrapper (Sarung, OrangAyu)

Chasuble with embroidered orphrey unknown

Ceiling with red and golden floral ornaments at the Siamese temple Sala-Thai I, interior, red, golden, rosette, ornaments, arts and crafts, spa garden, Bad Homburg, Taunus, Hesse, Germany, Europe

Set of Ecclesiastical Vestments (Cope). Mexico, circa 1730. Costumes; ecclesiastical. Silk satin with silk and metallic thread embroidery and metallic braid trim

Pall, white Christ falIIng under the weight of the Cross unknown

Ritual Weaving(Tampan)

Theatrical Costume for the Role of a Buddhist Cleric China This colorful costume is a theatrical version of a jiasha, or Buddhist vestment, usually rectangular in shape and worn draped over one shoulder. It maintains many of the conventions of Buddhist clerical dressnamely, the piece is divided into parts: columns and a framework surrounded by a border with additional squares at the corners.. Theatrical Costume for the Role of a Buddhist Cleric 53619

Church flag. unknown, author

Wat Phra That Lampang Luang, the 'Temple of the Great Buddha Relic of Lampang', dates back to the 15th century and is a wooden Lanna-style temple found in the Ko Kha district of Lampang Province. It stands atop an artificial mound, and is surrounded by a high and massive brick wall. The temple itself doubles as a wiang (fortified settlement), and was built as a fortified temple.

Prayer mat, second quarter of 20th century, 30 3/16 x 37 1/4 in. (76.7 x 94.6 cm), Raffia, natural dyes, ikat, Madagascar, 20th century, Praying to God five times a day, Muslims make use of their 'portable mosques'prayer mats like this raffia version from the Sakalava people of Madagascar, the large island in the Indian Ocean off the coast of East Africa. Its design repeats the outline of the Arabian-inspired mihrab, the niche in mosques indicating the direction of Mecca, while its ikat tie-dye technique originated in Indonesia.

PENDON DE FERNANDO III EL SANTO. Location: CATEDRAL-INTERIOR. Sevilla. Seville. SPANIEN.

Daimyo gyoretsu no ezu, Daimyo procession., between 1711 and 1716, 1 print : woodcut, color ; 32.5 x 46.6 cm., Print shows a long procession of men (nobility or government officials) on foot.

Taima Mandala 14th century Japan The Taima Mandala represents the Pure Land of the Buddha Amida (Sanskrit: Amitbha) bordered on three sides by parables from the Sutra on the Meditation on the Buddha of Infinite Life (Kanmury juky ). This text, portions of which appear in the boundaries between scenes, recounts the promise at the core of Pure Land School teaching: that those who concentrate on the Buddha Amida during life, and recite his name, will be escorted to his Pure Land, known as the Western Paradise, at the final moment of death. The painting depicts an enormous palace with a golden pond presided over by Amida and his retinue. Musicians, dancers, and thirty-seven different types of celestial beings fill the skies and pavilions, surrounding the pond in the foreground. Those being born into the Pure Land emerge from lotus buds growing up through the water. The parables tell the story of Queen Vaidehi, who achieved birth there by performing sixteen meditations presented to her b

Syrena Swanson, Ecclesiastical Vestment (back view), c 1940 Ecclesiastical Vestment (back view)

Chasuble pillar. unknown, author

FRONTAL DE ALTAR BORDADO SOBRE TERCIOPELO S XV. Location: CATEDRAL-INTERIOR. SANTIAGO DE COMPOSTELA. A CORUÑA. SPANIEN.

Daoist Priests Robe with Dragons and Clouds

The Wazir Khan Mosque (Masjid Wazir Khan) in Lahore, Pakistan, is celebrated for its extensive faience tile work. It has been described as 'a beauty spot on the cheek of Lahore'. It was built in seven years, starting around 1634-1635, during the reign of the Mughal Emperor Shah Jehan. It was built by Shaikh Ilm-ud-din Ansari, a native of Chiniot, who rose to be the court physician to Shah Jahan and later, the Governor of Lahore. He was commonly known as Wazir Khan. The mosque is located inside the Inner City and is easiest accessed from Delhi Gate. (Photo by: Atif Gulzar/Pictures From History via Getty Images)

Particular of Santa Maria del Soccorso church, Ischia, Campania, Italy.

Taizō-kai Mandara Taizō-kai Mandara, 14th century. Opaque watercolor, ink and gold on silk, overall: 84 1/2 x 50 1/8 in. (214.6 x 127.3 cm);. The mandala (or mandara, in Japanese) is a diagrammatic tool used by Buddhists to guide their meditation and prayer. Most mandalas direct the viewer to travel mentally on a prescribed path, stopping to contemplate and address each figure depicted. This early Womb World (Taizō-kai) mandala is part of a pair that would have been displayed on opposite walls of a temple of Vajrayana (esoteric) Buddhism, representing different but equally viable approaches to enlightenment. The mate to this painting is currently on view in the Arts of Buddhism gallery. Asian Art 14th century

Sampler Made 1852 Ireland. Cotton, plain weave; cutwork embroidered with wool in overcast stitch; embroidered with silk and wool in cross, long-armed cross, outline, satin and stem stitches . Eliza Ryan

Manchu Man's Semiformal Court Robe (jifu), Qianlong period, 1736-1795, L.54-5/8 x W.51-1/4 in., Embroidered silk, China, 18th century, This robe depicts the celestial landscape, a diagram of the Chinese universe. The motifs depict a scene of dragons flying among mountains, oceans, and clouds. The swirling clouds represent the heavens, and the dragons stand for imperial authority. The motif at the base of the robe is a rock formation, symbolizing the mountains of the earth. The curling waves represent the earths oceans. The diagonal stripes that line the hem of the robe are called li-shui (standing water), and often appear beneath the rolling waves.

Jordan, Petra, Detail Of Richly Embroidered Fabric.

Arabian ornament

Thai door detail, Thailand, Southeast Asia, Asia

Altar Frontal Made 1701-1800 Italy. Linen, plain weave; embroidered with linen in back, cross, long-armed cross and double running stitches; edged with linen, bobbin straight lace; cotton, plain weave tape .

Chromolithograph of the Gospels from the end of the XIV century, created between 1849 and 1853 by Acad. F. Solntsev, featuring a watercolor illustration. Published in Moscow by Tip. A. Semena, the artwork is labeled as 'Izobrazhenie 2.'

ancient asian gilded drawings. elements of oriental ornament. Asian vintage patterns

A study of the ornament for painting decoration of the Franciscan church in Krakow Wyspiały, Stanis Aw (1869 1907)

Tunic Fragments ( ) Made 1000-1476 Peru. .

Textile, Burma

Finial with Inscription "Ya Khafar" ("Oh, Protector!") 17th century Finials such as this example likely came from the tops of standards ('alams) carried in Shi'i processions to commemorate the martyrdom of Husain, the grandson of the Prophet Muhammad, at the battle of Karbala. The 'alams signify the battle standards carried by Husain and his band of supporters. These finials are datable to the seventeenth century, a period in which the Shi'i religious orthodoxy was particularly pronounced in Iran.. Finial with Inscription "Ya Khafar" ("Oh, Protector!"). 17th century. Steel; inlaid with gold on front and silver foil overlay on reverse. Attributed to probably Iran. Metal

Austria, Wachau Valley, Melk. 900 year old baroque Melk Abbey (aka Benediktinerstift). Berthold Vestments, c. early 1700's, gold & white coat.

"The Repentance of the Prodigal Son" from a set of six of The Parable of the Prodigal Son early 17th century Attributed to an Anonymous Workshop, British British. "The Repentance of the Prodigal Son" from a set of six of The Parable of the Prodigal Son 227744

Antependium of red velvet with embroidery in gold thread .. Velvet antipendium with embroidery. In the middle, the pattern has a pigeon surrounded by rays.

Shadow Puppet (Wayang Kulit) of MiniGunungan. Maker: Ki Enthus Susmono, Indonesian, 1966-2018

Saudi Arabia, Near Abha, Ben Hamasan Traditional Village, Embroidered Bedouin Dress

Chasuble. unknown, author

Banner of the Inquisition of Sevilla. Textiles.

CASULLA. Location: Monasterio de sobrado de los Monjes. SOBRADO. A CORUÑA. SPAIN.

Coat of arms, Ruins of Church of St. Augustine, Old Goa, India, Asia

Embroidery, panel, with representation of the bleeding heart of Christ in multicolored silk, gold and silver thread on ivory soil, c. 1650 - c. 1690 Embroidery, panel, with the representation of the bleeding heart of Christ in multicolored silk, gold and silver thread on ivory soil. Netherlands (possibly) silk Embroidery, panel, with the representation of the bleeding heart of Christ in multicolored silk, gold and silver thread on ivory soil. Netherlands (possibly) silk

Noh Robe second half 18th-first half 19th century Japan. Noh Robe. Japan. second half 18th-first half 19th century. Silk, metallic thread. Edo period (1615-1868). Costumes

of 3