Ceremonial Textiles and Art

Various ritual fabrics and embroideries with intricate designs, used in religious ceremonies, showcasing vibrant colors and historical significance.

Presentation Banner for a Birthday, 1849, 171 x 108 in. (434.34 x 274.32 cm), Embroidered satin, China, 19th century, Dated by inscription to the summer of 1849, this large commemorative handing shows semi-official symbols (dragon and phoenix) and a family ritual scene it its upper register. Red is a festive and auspicious color to the Chinese. It is prominent in decorations for birthdays, anniversaries, and New Year's celebrations. Major birthdays were celebrated at the age of 60, 70, and 80 years and hangings such as this were commissioned by prominent families to honor one or more of their elders. Exceptionally large and colorful banners carrying lengthy lauditory inscriptions were focal points of important family celebrations.

Ritual Textile (PuaKumbu)

Ceremonial Weaving(Tampan)

CHAL DE LA BEATA MARIA DE JESUS - GAMUZA BORDADA Y REMATE DE ENCAJE DE BOLILLOS - SIGLO XVI. Location: CONVENTO DE SAN JOSE. Toledo. SPANIEN.

The third Dalai Lama Sonam Gyatso (1543-1588) and his entourage. Distemper painting.

ChaIIce veil embroidered, white Saint Stanislaus with Piotrowin unknown

"Bellini" carpet. Dimensions: Rug: H. 61 3/4 in. (156.8 cm)W. 47 3/8 in. (156.8 x 120.3 cm). Date: 16th-17th century.The centerfield of this carpet presents a geometrical design of a pointed arch above an octagonal motif. The arch evokes a prayer-niche or mihrab (indicating the direction of Mecca). The octagon, however, is unusual and has been a source of discussion among scholars. Some interpret it as a second arch but in the shape of a horse-shoe, a form found in the architecture of Islamic Spain and northern Africa. Others see it as a fountain associated with ablutions before prayer, a gateway to paradise, or a depiction of the Ka'ba in Mecca, since illustrations of the site sometimes represent the colonnade edge of the sacred cubicle as a "keyhole" motif. This type of design was suitable for small carpets that were woven in village workshops and intended for prayer. They have come to be known as "Bellini" carpets, after the Venetian artist Giovanni Bellini (d. 1516), whose painti

Book-Cover Plaque with Christ in Majesty ca. 1210-20 French The importance of scripture in Christianity is such that the book becomes an attribute of God himself. Here Christ is poised majestically in the heavens, surrounded by winged symbols of the authors of the four gospels, two of whom clutch books. This book cover is typical of more than a hundred surviving examples created in Limoges, France in the early 13th century. Luxurious in appearance, such book covers, made from enameled copper plaques, were a relatively sturdy and affordable alternative to silver or gold. Few book covers of Limoges work are still attached to manuscripts, but those that are can be found on gospel books across Europe: in Cracow, Germany and France.. Book-Cover Plaque with Christ in Majesty 464661

Tangka with a claim from Hayagriva. Painting on canvas (Tangka), presenting Hayagriva.

Painting on canvas of Candra. Painting on canvas of Candra (moon god).

Presentation Banner for a Birthday, 1849, 171 x 108 in. (434.34 x 274.32 cm), Embroidered satin, China, 19th century, Dated by inscription to the summer of 1849, this large commemorative handing shows semi-official symbols (dragon and phoenix) and a family ritual scene it its upper register. Red is a festive and auspicious color to the Chinese. It is prominent in decorations for birthdays, anniversaries, and New Year's celebrations. Major birthdays were celebrated at the age of 60, 70, and 80 years and hangings such as this were commissioned by prominent families to honor one or more of their elders. Exceptionally large and colorful banners carrying lengthy lauditory inscriptions were focal points of important family celebrations.

Atsuita karaori (Noh Costume) Made 1801-1825 Japan. Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 2 1 'Z' twill weave with supplementary patterning wefts; lined with silk, plain weave; dyed with safflower, beni .

Altar cloth. unknown, author

Chasuble back, Medium: silk, metallic Technique: embroidered and appliquéd on supplementary warp pile (velvet) in plain weave foundation, cut and voided Label: silk cut and voided velvet, appliquéd and embroidered with metallic yarns, Back of a chasuble with an embroidered orphrey band down the center, embroidered motifs at the sides, and bound all around with gold braid. The deep brown velvet side panels are embroidered in gold metallic and polychrome silks with angels on orbs and floral arrangements. The center band is densely embroidered with four saints in different architectural niches., England, 15th century, embroidery & stitching, Chasuble back

Buddhist Priest's Ceremonial Robe, 1400s. China, Ming dynasty (1368-1644). Silk and gold thread; embroidery; overall: 119.4 x 302.1 cm (47 x 118 15/16 in.).

Ritual Weaving(Tampan)

Yellow sides back wall of a bed garnish. Yellow sides back wall of a bed garnish embroidered with double-headed peacock, flowers, butterflies, horns of abundance in multicolored silk, lined with coarse linen.

Textile Fragment from the Chasuble of San Valerius. Dimensions: Textile: L. 6 in. (15.2 cm)W. 5 1/4 in. (13.3 cm)Mount: H. 9 3/4 in. (24.8 cm)W. 9 1/8 in. (23.2 cm)D. 1 3/8 in. (3.5 cm). Date: 13th century.This brocaded textile 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 Lerida (Catalonia), 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. Museum: Metropolitan Museum of Art, New York, USA.

Nine-deity Mandala of Two-armed Hevajra. Date/Period: 15th century. Painting. Pigments on cloth Pigments on cloth. Author: UNKNOWN.

Ceremonial Ikat with Wayang figures, from Klungkrung, Bali, Indonesia, Southeast Asia, Asia

Tangka with Godo Godo, Anonymous, 1600 - 1699 Painting on canvas (Tangka), representing deities of the Bardo. The show can be shielded with a piece of side. Tibet canvas. dye. Painting on canvas (Tangka), representing deities of the Bardo. The show can be shielded with a piece of side. Tibet canvas. dye.

Fragment (India); silk on cotton; Bequest of Marian Hague; 1971-50-74

Book Cover with Four Durgas 18th century Nepal (Kathmandu Valley). Book Cover with Four Durgas 72701

One of a Pair of Manuscript Covers from the Glorification of the Great Goddess (Devimahatmya) Made 1700-1800 Nepal. The Hindu goddess Durga. slayer of the buffalo demon Mahesha (Mahishasuramardini), appears in rhythmic succession 12 times in this pair of manuscript covers from Nepal. In this myth the gods, unable to defeat a powerful shape-changing demon in the form of a water buffalo, decide to create a goddess whoówith their combined weapons, energy, and strengthówill be able to vanquish it. Whirling her arms and brandishing her weapons, the goddess stabs the demon with her lance in one lower hand and lifts him up by the tail with another. Her right foot stands upon her trademark vehicle, shown as a snow lion in Nepal, while her left foot crushes the demonís back. As she does so, a human form emerges from the animalís neck. In an expressive detail, the buffaloís severed head droops below the picture frame. In Nepal Durga is often called ìBhagwati,î and she is worshipped annually in a

Ceremonial Weaving (Osap orPesujutan)

Ceremonial Hanging(Palepai)

Qur'an. Date/Period: 950/1000. Paper, ink, gold, watercolours and leather. Width: 38 cm. Height: 55 cm. Author: UNKNOWN.

Ceremonial Mat (Tampan Maju, TempatSembayang)

Ceremonial Cover or Hanging(Tatibin)

CUBIERTA DE PLATA DORADA DEL CODICE DEL CARDENAL CERVANTES - SIGLO XIV - ESCUDO DEL CARDENAL CERVANTES. Location: CATEDRAL DE CRISTO SALVADOR-MUSEO. AVILA. SPAIN.

Sari Border 17th century. Sari Border 448180

Diverse Forms of Mahakala and other Protectors. Date/Period: Early 19th century. Painting. Ground mineral pigment on cotton Ground mineral pigment on cotton. Author: UNKNOWN.

Blue lotus protective triangle. Distemper painting by a Tibetan painter.

Painted door in the Nechung monastery of the Tibetan state oracle, Nechung, Lhasa, Tibet, China, Asia

DETALLE - COLGADURA O DOSEL CON DECORACION BORDADA REPRODUCE EL ESQUEMA DE UNA ALFOMBRA PERSA MODELO "DEL PARAISO O EDEN" - SIGLO XVI/XVII. Location: CATEDRAL-INTERIOR. Sevilla. Seville. SPAIN.

Banner. Dimensions: Textile: H. 115 3/4 in. (294 cm)W. 85 1/2 in. (217.2 cm). Date: dated A.H. 1235/ A.D. 1819-20.Inscribed with the names of God, the Prophet Muhammad and the first four leaders of the Muslim community, and bordered by Qur'anic verses, this silk sanjak (shield-shaped banner) displays an image of a two-bladed sword with a dragon-headed hilt. Referred to as Dhu'l Fiqar and associated with military victory, this sword is said to have belonged to 'Ali, the cousin and son-in-law of the Prophet. While Ottoman banners similar to this one were used as military insignia from the 15th century onward, this example bears an early 19th century date, and may have been borne instead by the faithful during pilgrimage to Mecca. Museum: Metropolitan Museum of Art, New York, USA.

Christ on the cross. Cut paper work.

Church disease; 19th century (1801-00-00-1900-00-00);Banner, gift (provenance)

Buddhist Priest's Robe (kashaya), 1662-1722, L. 80 ¾ x W 41 ⅞ in. (203.2 x 104.14 cm), Silk (kesi), China, 17th-18th century

Cairo, Egypt, Koran Africa of Sultan Monayad , 1914 - Egypt - Auguste Léon - (January -February) (French - Le Caire , Egypte , Afrique Coran du sultan Monayad). Museum, prayer, calligraphy, Islam, object of worship, writing, literature, drawing, Art , Religion, Egypte, Biblioth-Khédiviale, (n ° 26) Koran Du Sultan Monayad

Twin_leafed door in the East Bali Chinoiserie style at the Palaces in Gianyar, Bali, Indonesia, Southeast Asia, Asia

Womans Ceremonial Skirt (Tapis)

Close-up of a Karabagh rug, Azerbaijan

Mandala of Vasudhara. Nepal, Kathmandu Valley, 15th century. Paintings. Mineral pigments on cotton cloth

Top of the burse, embroidered, green hierogram of Christ unknown

One Half of Man's Tunic. Peru, South Coast, Nasca, Wari-related, 600-900. Costumes. Camelid fiber and cotton interlocked tapestry weave

Buddhist Priest's Robe (kashaya), Kangxi period (1662-1722), L.95-3/4 x W.45 in., silk, satin, China, 17th-18th century, Buddhist priests robes (kashaya) are designed to be draped over the left shoulder and under the right arm and fastened in front under the left shoulder by ties. This robe belonged to a high-ranking abbot. In the many small squares, symbolic of Buddhas mendicant days, are embroidered five-clawed dragons in couched gold and large peony blossoms with leafy tendrils in shades of red, pink, blue, and green. The 'patched' character of the robe is accentuated by bindings of ivory satin that mark off the various squares. In the borders and larger dragon panels appear the universe motif, with coral, swastikas (symbols of good fortune), and other symbols appearing in the waves, as well as loosely drawn clouds.

The Savior of Palombara Sabina, by Unknown artist, 14th Century, tempera on canvas pasted on panel. Italy: Lazio: Rome: Palombara Sabina: San Biagio Vescovo e Martire church: su concessione della Diocesi Suburbicaria di Sabina-Poggiomirteto. All Jesus Christ gold front view aureole/halo stars

Back of a chasuble 1525-50 Netherlandish, possibly Brussels. Back of a chasuble 223102

Vatican, Aztec calendar, from the Codex Borgianus Mexicanus 1 (folio 30), Drawing

Gilded door at Wat Nong Sikhounmuang, Luang Prabang, Laos.

Daoist priests robe (jiangyi), 1662-1722, L.57-1/4 in., Embroidered satin, China, 17th-18th century, The most notable feature of many Daoist robes is the 'cosmic diagram' on the upper back. This usually square composition contains various celestial symbols. Within a circle at its center, a pagoda surrounded by sunrays represents paradise, with clouds and stars. The colored disks outside the circle are stars, and three heavenly gates appear between the sun and moon along the squares top edge. The scheme represents cosmic harmony and reflects Daoisms focus on cosmology—the order and origin of the universe.

Man's blanket (Landaka khasa), 20th century, 105 x 53 in. (266.7 x 134.62 cm), Wool; supplementary weft patterning, Mali, 20th century, The Landaka khasa is one of the five blankets that make up a Fulani bride's trousseau. Unlike the arkila kerka which is suspended, tent-like over the bed, the khasa functions as a man's blanket, providing warmth and protection from mosquitoes during the winter months, from November through February.

Apparel from a Dalmatic. Italy, circa 1510. Costumes; ecclesiastical. Silk satin with silk and metallic-wrapped-thread embroidery, silk passementerie

Chasuble with Orphrey Band, 1500-1520. England, London (embroidery) and Italy, Florence (velvet), early 16th century. Silk, gold thread, sequins; appliqué, embroidery: couching stitches Velvet: solid pile, silk; embroidery: or nué; overall: 122.5 x 74 cm (48 1/4 x 29 1/8 in.). The English adopted a simpler style of embroidering vestments suitable for mass production around 1500. Isolated motifs, often floral, were embroidered on plain velvet, as in this ecclesiastical chasuble. The orphrey, or embroidered band, in the center depicts Saints Peter, John the Evangelist, and Andrew, identified by their names and attributes (top to bottom). Most of the surface is covered with gold thread sewn down by silk thread passing over it in different densities to create the effect of modeling. Silk thread was also used to embroider areas of skin and hair (mostly disintegrated).

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

The Offering to Pan.

A chromolithograph depicting a mitre, or ceremonial hat, presented by Tsar Alexei Mikhailovich and Tsaritsa Maria Il'inichna to Patriarch Nikon in 1652. The artwork was created by F. Dreher between 1849 and 1853 and published in Moscow by the printing house of A. Semena. The piece features intricate designs characteristic of Russian art and is significant in the context of religious and royal history

CAPA DE SEDA BORDADA EN HILO PLATA Y ORO. Location: CATEDRAL DE CRISTO SALVADOR-MUSEO. AVILA. SPAIN.

Image from a Set of Initiation Cards (Tsakali). Tibet. Date: 1299-1499. Dimensions: 16 x 14.5 cm (6 1/4 x 5 3/4 in.). Ink and watercolor on paper. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

One half of dalmatic. unknown, author

Ceremonial Weaving(Paporitonoling)

thailand and asia in bangkok temple abstract cross colors door wat palaces colors religion gate

The Lindisfarne Gospels is an illuminated manuscript gospel book produced around the year 700 CE in a monastery on Lindisfarne Island, off the coast of Northumberland. It is now on display in the British Library in London. The manuscript is one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements. The Lindisfarne Gospels are presumed to be the work of a monk named Eadfrith, who became Bishop of Lindisfarne in 698 and died in 721. Current scholarship indicates a date around 715, and it is believed they were produced in honour of St. Cuthbert. However, it is also possible that Eadfrith produced them prior to 698, in order to commemorate the elevation of Cuthbert's relics in that year, which is also thought to have been the occasion for which the St Cuthbert Gospel was produced. The Gospels are richly illustrated in the insular style, and were originally encased in a fine leather binding covered with jewels and m

Tunic with Frontal Figures, 1400-1532. Central Andes, Central Coast, Ychsma (Pachacamac) people. Cotton; slit tapestry weave; neck edge to hem: 46.7 cm (18 3/8 in.); width across shoulders: 81.9 cm (32 1/4 in.). This tunic was made by weavers of the Ychsma (yeach-mah) people, who were affiliated with Pachacamac, a huge religious center that served as the seat of the most important oracle in the late pre-Hispanic Andes. The figures repeated across the body may represent important ancestors or high-ranking members of Ychsma society. The tunic likely dates to the period after the Inka Empire conquered Ychsma coastal territory on its way to becoming the largest indigenous polity to have existed in the ancient Americas.

Ritual Weaving(Tampan)

Manichaeism was the most important Gnostic religion. Central in the Manichaean teaching was dualism, that the world itself, and all creatures, were part of a battle between the good, represented by God, and the bad, the darkness, represented by a power driven by envy and lust. Manichaeism spread over most of the known world of the 1st millennium CE, from Spain to China. But the religion disappeared from the West in 10th century, and from China in the 14th century. Today it is extinct.

CASULLA GOTICA S XV. Location: CATEDRAL-MUSEO DIOCESANO. GERONA. SPANIEN.

The Lindisfarne Gospels is an illuminated manuscript gospel book produced around the year 700 CE in a monastery on Lindisfarne Island, off the coast of Northumberland. It is now on display in the British Library in London. The manuscript is one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements. The Lindisfarne Gospels are presumed to be the work of a monk named Eadfrith, who became Bishop of Lindisfarne in 698 and died in 721. Current scholarship indicates a date around 715, and it is believed they were produced in honour of St. Cuthbert. However, it is also possible that Eadfrith produced them prior to 698, in order to commemorate the elevation of Cuthbert's relics in that year, which is also thought to have been the occasion for which the St Cuthbert Gospel was produced. The Gospels are richly illustrated in the insular style, and were originally encased in a fine leather binding covered with jewels and m

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

GYANTSE, CHINA - CIRCA MAY 2017 Picture on the wall in Gyantse monastery

Ceremonial Hanging(Palepai)

Missal (liturgical Book)

Kalaka Becomes a Jain Monk; Kalaka Abducts the Nun, Two Leaves from a Dispersed Jain Manuscript of the Kalakacharya-katha Indian. Kalaka Becomes a Jain Monk; Kalaka Abducts the Nun, Two Leaves from a Dispersed Jain Manuscript of the Kalakacharya-katha, ca. 1465. Opaque watercolor and gold on paper, sheet: 4 3/8 x 10 1/2 in. (11.1 x 26.7 cm). Asian Art ca. 1465

Dalmatic early 18th century French or Italian. Dalmatic 461238

Celtic manuscript ornament, 7th to 11th centuries. From the Gospels of Durrow 1-6, Book of Kells 7,8, Royal Manuscripts 9,10, Codex Aurens 11, Gospels of Thomas 12, Commentaries on the Psalms 13, Gospel of St Chad 15, Psalter 15, Gospels of Mac Durnan 16,17, Latin Gospels 18, Codex Vossianus 19-21, St Ethelwulf's Benedictionale 22, Grand Latin Psalter 23,24, Arundel Psalter 25-33, and illuminated initials from the Abbey of St Germain des Pres 34-37. Celtique. Hand-finished chromolithograph by Bauer from Albert-Charles-Auguste Racinets LOrnement Polychrome, (Polychromatic Ornament), Firmin-Didot, Paris, 1869-73.

Salaman u Absal of Maulana Nur al-Din 'Abd-Rahman Jami A.H. 993/ A.D. 1585 Maulana Nur al-Din `Abd al-Rahman Jami. Salaman u Absal of Maulana Nur al-Din 'Abd-Rahman Jami 455289

Buddhist Vestment (Kesa), early 1900s. Japan, Meiji period (1868-1912). Silk with supplementary weft, brocaded; metal thread; overall: 119.4 x 205.7 cm (47 x 81 in.).

Knitted Bible Mark (Four of Four), 18th-19th century. Spain, 18th-19th century. Knitted silk; overall: 42 x 5.7 x 2.5 cm (16 9/16 x 2 1/4 x 1 in.).

Top of the pall, embroidered hierogram of the Virgin Mary unknown

Picture, embroidered the Virgin with Child unknown

The Book of Kells, 8th cent. Eight Circle Cross, Gospel of St Matthew. IRELAND.

Faith, probably from a set of the Virtues early 17th century Flemish. Faith, probably from a set of the Virtues 226602

Buddhist Vestment (Kesa) with Figural Squares 18th century Japan The principal Buddhist vestment, termed kashaya in Sanskrit and kesa in Japanese, can be viewed many different ways: as a garment distinguishing clergy from laypersons; as a textile assembled in accordance with the rules of a school; as a product of the pious donation of cloth; and even as a simplified diagram of the Buddhist world, or mandala. In Japan, the kesa standard for Esoteric Buddhist rituals consists of a bordered patchwork with seven columns (jō), the short and long pieces within them set in a framework of vertical and horizontal strips (yō). A square patch occurs in each corner, and, commonly, a pair of larger patches flanks the central column. Most kesa are rectangular, like the platform of a Buddhist altar, and the patches in the four corners, termed shiten, are said to correspond to the Guardians of the Four Directions (Shitennō). During the making of a kesa, the central column, often larger than the others

. Laban and Rebekah's mother are in front of their house on the left. Rechka is on the right. Eliezer is twice in the background.

Painted ceiling, abbey church of the former Cistercian Abbey, Neuberg an der Muerz, Styria, Austria, Europe

Noyon, France , 1917 - Devastated regions, Somme, Oise, Aisne - Fernand Cuville (photographic section of the army) - (September -October) (French - Noyon , France). Church, Christianity, Decorative Arts, Object of worship, Sacred Book, Middle Ages, Religion , Art, France, Noyon, cathedral coverage

PAÑO DE LOS REYES CATOLICOS - SIGLO XV. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Chasuble made of silk fabrics unknown

Daoist Robe of Descent (Jiang yi) 17th century China This vestment for a Daoist priest is densely embroidered with figures representing the Daoist pantheon. The deities float on clouds amid cranes in flight. The pantheon shown here had remained largely unchanged since the Yuan dynasty (1271-1368). Scholars suggest that the layout of a jiang yi corresponds to the layout of a Daoist temple, with minor deities represented on the front of the robe (corresponding to the south wall of a temple) and major deities on the back of the robe (north wall). The entrance to a temple, like the front opening of this robe, has a tiger on one side (the west) and a dragon on the other (the east).Major figures on the back of the robe include the Jade Emperor (the large figure at the center back) and the Three Pure Ones, seen at the center top flanked by the sun and moon. Minor figures, shown on the front of the robe, are identifiable through various attributes. For example, the Lord of the White Tiger Star

Chasuble with Virgin and Child, Apostles and Prophets 15th century French. Chasuble with Virgin and Child, Apostles and Prophets 463669

Salaman u Absal of Maulana Nur al-Din 'Abd-Rahman Jami. Dimensions: 9 1/4 x 6 7/8 in. (23.5 x 17.5 cm). Poet: Maulana Nur al-Din `Abd al-Rahman Jami (1414-92). Date: A.H. 993/ A.D. 1585. Museum: Metropolitan Museum of Art, New York, USA.

Woman's ceremonial tzute, c. 1980s, 42 9/16 x 31 5/16 in. (108.11 x 79.53 cm), Cotton; supplementary weft patterning, embroidery, Guatemala, 20th century, The highly skilled weavers of San Antonio Aguas Calientes, Guatemala, produce some of the finest, most complex, and most famous textiles in the region. They are known for their double-faced weaving technique, which produces identical patterns on both sides of the fabric. You can see this double-sided effect on the babys cap (6) and the womans ceremonial tzute, or woven cloth (3).

Rumal with Krishna and Radha. India, Punjab, Chamba, 19th century. Textiles. Silk embroidery on plain-weave cotton

Rumal with Scenes from the Ramayana 18th century India (Jammu and Kashmir) In the foothill kingdoms of Himachal Pradesh, in northern India, rumals (Hindi for handkerchief) were decorated as presentation cloths. No more so than at the court in Chamba, where a tradition of silk embroidery developed. The majority of Chamba rumals depict scenes celebrating the life of Vishnu in his avatars (divine appearances on earth) as Krishna and as Rama. These embroideries served as covering cloths during the presentation of offerings and gifts. Here, the principal events of the Ramayana epic are presented in synoptic form. At the upper right, Rama, Sita, and Lakshmana bid farewell to Rama's mother before their exile in the forest. The middle scene depicts Ravana, disguised as an ascetic, attempting to seduce Sita in the forest while her husband is hunting a golden deer sent by Ravana as a diversion. Sita is abducted by Ravana and next seen imprisoned in his palace on Lanka (lower left). Finally, Rama

TRAJE DE LA VIRGEN BORDADO EN SEDA S XVII. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPAIN.

Częstochowa. Treasury of the monastery in Jasna Góra - chasuble from 1720; Trzciński, Stanisław (1867-1939); around 1896 (1890-00-00-1900-00-00);

Phelonion vestment. From the time of Tsar Mikhail Fedorovich. In the vestry of the Assumption Cathedral. Rostov Velikii

Talismanic Shirt 15th-early 16th century This talismanic shirt was believed to be imbued with protective powers and may have been meant to be worn under armor in battle. Its surface is decorated with painted squares, medallions, and lappet-shaped sections with the entire Qur'an written inside; these areas are bordered by the ninety-nine names of God written in gold against an orange background. A panel at the center of the reverse contains a proclamation in gold script stating, "God is the Merciful, the Compassionate.". Talismanic Shirt 453498

Buddhist Priest's Mantle (jiasha) Theatrical Costume. China, Qing dynasty (1644-1912), Qianlong period, 1736-1795. Costumes; principal attire (entire body). Silk and metallic-thread tapestry weave (kesi)

Ritual Crown with the Five Transcendent Buddhas. Culture: Tibet. Dimensions: Each panel: 7 1/2 × 4 7/16 in. (19 × 11.2 cm). Date: late 14th-early 15th century.Such crowns were worn by monks conducting rituals and were often part of dance costumes used in public ceremonial performances. Each of the five registers contains one of the Tathagata Buddhas (right to left): Ratnasambhava (yellow), Amitabha (red), Vairochana (white), Amoghasiddhi (green), and Akshobhya (blue). With Vairochana at center, these Buddhas preside over the directional Pure Lands. A Newari artist working in Tibet probably was responsible for this amazing crown, which is one of the earliest examples to survive. Museum: Metropolitan Museum of Art, New York, USA.

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