Ceremonial Textiles and Mandalas

Varied ceremonial fabrics and intricate mandalas representing spiritual themes, featuring detailed patterns and rich colors.

Daoist priests robe (jiangyi), Qianlong period, 1736-1795, L.51 in., silk, gold, China, 18th century, An inscription painted on the back lining reveals that this robe was made in 1746 for the head of a Daoist monastery on Mount Longhu, in present-day Jiangxi Province. A classic example of the poncho-like, sleeveless Daoist style, the robe is covered with gold threads in an allover spiral pattern. Daoist symbols of good fortune and longevity—bats, white cranes, small pagodas, and phoenixes—appear within lozenge-shaped medallions of loose clouds formed of silk thread. The round central medallion on the back features a large pagoda and white cranes, also worked in silk. Sun and moon symbols adorn the shoulders.

Daoist priests robe (jiangyi), Qianlong period, 1736-1795, L.51 in., silk, gold, China, 18th century, An inscription painted on the back lining reveals that this robe was made in 1746 for the head of a Daoist monastery on Mount Longhu, in present-day Jiangxi Province. A classic example of the poncho-like, sleeveless Daoist style, the robe is covered with gold threads in an allover spiral pattern. Daoist symbols of good fortune and longevity—bats, white cranes, small pagodas, and phoenixes—appear within lozenge-shaped medallions of loose clouds formed of silk thread. The round central medallion on the back features a large pagoda and white cranes, also worked in silk. Sun and moon symbols adorn the shoulders.

Four Mandalas of the Guhyasamaja Cycle 16th century Tibet. Four Mandalas of the Guhyasamaja Cycle. Tibet. 16th century. Ink and opaque watercolor on cloth. Paintings

altar covering at St Michael and All Angels Anglican church, in Hughenden, Buckinghamshire, England. Closely associated with the nearby Hughenden Manor and the former Prime Minister of the United Kingdom, Benjamin Disraeli who is buried in the churchyard.

Ceremonial Hanging (TampanMaju)

Ceremonial Hanging (PalepaiMaju)

Fragment (From a Chasuble). Spain. Date: 1601-1700. Dimensions: 37.9 x 52.6 cm (14 15/16 x 20 13/16 in.). Green velvet with figures of two Saints. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Keris or Heirloom Wrapper(Urasi)

Back of a chasuble with embroidered orphrey unknown

Relatio on St. Elizabeth of Portugal, c. 1625. Italy, Rome, 17th century. Manuscript on paper bound in leather with gilt decoration; overall: 27 x 19 cm (10 5/8 x 7 1/2 in.).

Close-up of a prayer carpet, Iran

ChaIIce veil, embroidered, white hierogram of Christ unknown

ChaIIce veil, embroidered, red dove of the Holy Spirit unknown

Prayer Mat, 19th century, 56 1/4 x 39in. (142.9 x 99.1cm), Cotton; printed, India, 19th century

Chasuble with the Gathering of the Manna 1570 After a print by Hieronymus (Jerome) Wierix Netherlandish In this very rare example of a tapestry-woven ecclesiastical vestment, the more expected materials and techniques are imitated in trompe l'oeil: the main fabric simulating a pomegranate velvet and the pictorial scene, embroidery. The chasuble is part of a set that also includes two dalmatics (one in The Metropolitan Museum of Art and the other in the Los Angeles County Museum of Art). All three vestments bear the coats-of-arms of the De Vissher-van der Gheer and Van Culemborch families. The probable owner, Johannes De Vissher van der Gheer (ca.1527-1591), was canon of the Chapter Church of Saint Barbara at Culemborg and later vicar of the Chapter Church of Saint John at Utrecht. His motto, "We are bent, not broken, by the waves," describes not only the bulrushes depicted below, but also perhaps the effects on the wearer of the tumultuous political and religious climate of the Netherl

Bishop Saint Zenobius in a Historiated Initial N with Decorated Border from a Laudario 1335-1345 Italy. Manuscript cutting with tempera and gold leaf decorations, and rounded gothica textualis inscriptions in black ink, ruled in red ink, on parchment . Master of the Dominican Effigies

Stole with the Martyrdom of St. Catherine ca. 1200 German This embroidery traces the legend of the martyrdom of Saint Catherine. On the left, Catherine debates the merits of Christianity with the pagan emperor, Maxentius, and at the center she is tortured on his wheel of fortune. On the right, the wheel is shown destroyed; two dead pagans lie beneath it while the emperor, standing, holds the limp body of the saint, who has miraculously survived. The story probably continued on another row of embroidery below the cut lower edge of this piece.. Stole with the Martyrdom of St. Catherine. German. ca. 1200. Silk with linen underlay. Made in Rhineland, Germany. Textiles-Embroidered

Chasuble Front with Orphrey Cross. Chasuble: Italy, Florence; Orphrey Cross: Bohemia or Germany. Date: 1401-1500. Dimensions: Chasuble: 126.6 × 70.5 cm (49 7/8 × 27 3/4 in.)Orphrey Cross: 112 × 57.7 cm (44 × 22 3/4 in.). Chasuble: silk, plain weave with silk supplementary facing wefts, bound by secondary binding warps and gilt-metal-strip-wrapped silk facing wefts forming weft loops in areas and supplementary pile warps forming cut, pile-on-pile voided velvet; Orphrey Cross: linen, plain weave; embroidered with silk floss and gilt- and-silvered-animal-substrate-wrapped linen in bullion, outline, satin, and split stitches; laid work, couching and padded couching; orphrey braid: silk and silver-gilt strip wound around silk fiber core, plain weave, open work with weft deviations; fringe: silk and gold-gilt-strip wound around silk fiber core, warp-faced plain weave with extended ground weft and supplementary patterning weft uncut fringe off one edge; lining: linen, plain weave. Origin: Fl

Front of a chasuble, embroidered unknown

Epigonation (Palitsa). Culture: Russian. Dimensions: 22 3/8 × 21 1/8 in. (56.8 × 53.7 cm). Date: 16th-17th century.Worn by a bishop over his right thigh, this vestment depicts the Holy Trinity in the guise of the three angels who visit the patriarch Abraham in Genesis 18. The Slavonic inscription in the border quotes a hymn of thanksgiving in praise of the Trinity, sung at the conclusion of Communion in the Orthodox rite. Museum: Metropolitan Museum of Art, New York, USA.

Ritual Weaving(Tampan)

Fragment of a decorative board of a liturgical robe.Fragment of Brown Silk with Representation of the Message of the Angel Gabriel to Mary, A Pomegranate Pattern and part of the Same Show.

Chasuble, embroidered unknown

Chasuble 17th century A large number of Ottoman silk textiles were destined for export to Europe, where they functioned as secular and religious garments. This chasuble, an ecclesiastical vestment worn by high church officials, is a fine example of the synthesis of Eastern and Western displays of wealth through the donning of silk and gold garments. The design features large-scale palmettes and serrated leaves imbued with tiny pomegranate blossoms, highlighted by gold-wrapped weft threads. The elegant contrast between sky blue and crimson is achieved through the lampas (kemha) technique, which combines two different weave structures to create solid areas of color by floating the unused warp threads on the back of the cloth.. Chasuble 444978

Altar Frontal, c. 1550, 19 3/4 x 71 1/2 in. (50.17 x 181.61 cm), Silk, metallic threads; embroidery, Spain, 16th century, The European altar frontal, or antependium, is a framed decorative hanging seen by the congregation. It developed from the Eastern church practice of screening the entire altar with curtains. The Catholic Church dispensed with the use of altar frontals after Vatican II in the 1960s.

Ecclesiastical Embroidery (Epigonation) , 17th-18th century. Armenia and Greece, 17th-18th century. Embroidery; silk and metallic threads; overall: 48.2 x 49 cm (19 x 19 5/16 in.).

Bride's Robe, 1700s. Korea, Joseon dynasty (1392-1910). Silk and paper with silk embroidered; overall: 116.9 x 177.8 cm (46 x 70 in.).

Ritual Weaving(Tampan)

Fragmentary Cenotaph Cover with Calligraphic Inscriptions 17th-18th century Comprising verses of the Qur'an, invocations to God, and the Muslim profession of faith known as the shahada ("There is no God but God, and Muhammad is his Messenger"), multiple registers of vigorous calligraphic script combine to create a zigzag pattern across the surface of this striking textile. This chevron pattern recalls kiswa fabrics woven with similar designs, sent annually by the Ottoman sultan to adorn the Ka'ba in Mecca. Smallerscale textiles like this one, however, were used to cover the coffinshaped stone cenotaphs found in important Ottoman tombs.. Fragmentary Cenotaph Cover with Calligraphic Inscriptions 445312

Chasuble, embroidered unknown

Pictures from the 1603 Gospel. In the vestry of the Ipatevskii Monastery. Kostroma. Photographer: Prokudin-Gorskii, Sergei Mikhailovich (1863-1944).

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.

Loincloth (Pio (s)u(ng)ki or Cawat)

PrayerPanel

Psalter titled 'Crucifixion'. Dated 11th century.

Temple hanging, Medium: silk, metal threads, paper Technique: the bodhisattva is needle looping technique; the hanging is made from various woven fabrics sewn together, The central figure is a Bodhisattva made by needle looping in the 13th century. The figure was later sewn to a ground of Chinese light blue silk satin with a gold pattern of chrysanthemums on a curving vine. The standard is made from various woven silk and metallic brocades, sewn in tab-like forms to surround the Bodhisattva. A silk tassel finishes the bottom., China, 13th century (bodhisattva), 18th-19th century (hanging), Temple hanging

ARTE ASIATICO. LAOS. TEMPLO DE WAT XIENG THONG Construído en el siglo XVI por el rey SETTHATHIRAT (1534-1572). CAPILLA PRINCIPAL (SIM). Detalle de la decoración de la PORTADA. LUANG PRABANG (Patrimonio de la Humanidad) .

Rank Badge with a Pair of Cranes. Culture: Korea. Dimensions: Overall: 8 1/4 x 7 1/2 in. (21 x 19.1 cm). Date: late 19th century.In 1454, the court of the Joseon dynasty (1392-1910) adopted a system of insignia of rank for civil and military officials based on that of China's Ming dynasty (1368-1644). Square badges of embroidered birds and animals on silk were worn on the front (hyung) and back (bae) of official costumes. They are clearly differentiated from the round badges embroidered with a dragon (called bo) worn by the king and the crown prince on the front, back, and shoulders of their court attire. Besides being ornamental, rank badges served as visible status markers in a society that prized strict social and political hierarchy. Initially permitted for wear by civil and military officials of the third rank and higher, eventually the use of rank badges was broadened to all nine ranks. Regulations on the specific animal imagery and correlating ranks evolved over the course of th

Josephine C Romano and Hal Blakeley, Ecclesiastical Vestment, c 1939 Ecclesiastical Vestment

Mandala of Raktayamari late 14th century Attributed to Mikyo Dorje At the center of this mandala, Raktayamari (Red Yamari) is seen in union with his consort, an emanation of himself. He and his consort trample his enemy Yama, the god of death. Radiating from the central square are four differently colored manifestations of Yamari, also depicted in yab-yum (sexual union). The precision, strong colors, and animated line work suggest the hand of a master painter. An inscription identifies the work as a meditation tangka belonging to Kunga Lekpa, likely depicted at lower left, one of the teachers of the great Tibetan theologian Tsong Khapa (1357-1419). The master painter Mikyo Dorje is known to have been active at this time.. Mandala of Raktayamari. Attributed to Mikyo Dorje. Central Tibet. late 14th century. Distemper on cloth. Paintings

Ritual Weaving(Tampan)

Chasuble with embroidered sides unknown

Mandala of Hevajra 16th century Sakya School. Mandala of Hevajra. Sakya School. Tibet. 16th century. Ink and color on cloth. Paintings

Ceremonial Barbering Cape. Turkey, early 18th century. Costumes; ceremonial or ritual dress. Goat-fleece underdown (cashmere wool) twill with silk and metallic-thread embroidery

Kalpasutra (Book of Sacred Precepts) Manuscript. India, Gujarat, 1520, covers late 19th-early 20th century. Manuscripts. Folios: Ink, opaque watercolor, and gold on paper; Covers: Cotton warp and silk weft (mashru)

CATEDRAL DE CUENCA. INTERIORES: TAPICES. CUENCA, ESPAÑA.

ChaIIce veil, embroidered Eye of Providence unknown

Pall, embroidered, red Crucifixion unknown

Chasuble; 18th century (1701-00-00-1800-00-00);

Doek, Anonymous, 1900 - 1949 Central is the motif of the Baya Belanggar, the crocodiles that are opposite each other. Sarawak cotton (textile) Central is the motif of the Baya Belanggar, the crocodiles that are opposite each other. Sarawak cotton (textile)

Islamic illuminated manuscripts, (1898). Decoration from: 'Fig 1: an Arabian Koran, 14th century. Figs 2 and 3: an Arabian Koran, 16th century. Figs 4 and 5: a Moorish Koran, 18th century. Figs 6 and 7: an Arabian Koran, 16th century. Figs 8-10: an Arabian Koran, 17th century. Figs 11 and 12: a Moorish Koran, 18th century...in their paintings on parchment the Arabian artists show special skill in surface decoration. Scroll work, rigidly idealised, alternates with geometrical figures, or else the arabesque ornament fills the compartments formed by the lines and bands. In this manner whole pages

Prayer Rug with Triple Arch Design probably late 18th century Prayer rugs or "seccade" carpets were among the most popular rugs woven in Anatolia. Common features are the characteristic niche design evoking the mihrab or prayer niche and the smaller size that makes such carpets suitable for individual use. Departing from classical Ottoman court carpets, distinct designs and styles were created over time in villages and smaller towns of Anatolia, which explains the existence of a variety of types. This example from Ladik, near Konya in central Turkey shows a stylized niche with a triple arch - each arch shaped in triangles. Curiously, the columns were omitted by the weaver and instead replaced with a pair of stylized vegetal motif shaped as a lozenge, each one hanging as a pendant below the tree-like pattern inserted between the arches. Large carnation fill the top and stand out from whitish ground on top that contrasts with the deep red ground of the niche.. Prayer Rug with Triple Arch

Chasuble, embroidered emblems of Christs Sacrifice from the Old Testament unknown

Vestment (Russia); silk, cotton, metal

Buddhist Priest Robe, 1662-1722, L. 118-1/4 x W. 44-7/8 in., Silk, China, 17th-18th century

CASULLA EN ORO Y VERDE. Location: CATEDRAL DE NUESTRA SEÑORA DE LA ENCARNACION. Almería. SPAIN.

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

Ritual Weaving(Tampan)

Missal (liturgical Book)

Daoist priests robe (jiangyi), Kangxi Period, 1662-1722, L.58-5/8 x W.51-5/8 in., silk, China, 17th-18th century, The 'cosmic diagram' on the back of this robe is surrounded by six gold medallions with figures of the Eight Immortals (legendary beings), a qilin (an imaginary animal), and a bear. Interspersed among them are red symbols representing three of Daoisms five sacred mountains.

Fukusa (Gift Cover) Made 1875-1900 Japan. Embroidered .

Altar frontal, Medium: silk, metallic (gilt paper-wrapped onto silk core) Technique: embroidered on satin Label: silk satin embroidered with silk and metallic yarns, Altar frontal composed of five panels of embroidered silk. The center panel shows the Madonna and Child, surrounded by stars, in an oval made from pearls and rosettes, and supported by angels on all sides. The remaining panels each feature a large bird, surrounded by flowering branches filled with smaller birds. Metallic fringe all the way around., China (for European market), 18th century, embroidery & stitching, Altar frontal

Ceremonial Hip Wrapper (Dodot) Made 1875-1900 Java. Ths batiks of the central Javanese courts at Yogyakarta and Surakarta (also known as Solo) dating from the 19th and early 20th centuries consistently display certain features. They reveal a range of patterns restricted to the court, including the semen design (indicating sprouting and fertility) seen here, that presents elements of the Javanese cosmic universeóanimals, birds, plants, scrolling vines, mountains, and pavilions. The wings of the mythological bird Garuda (see detail below), mount of the Hindu god Vishnu, was adopted in Java as a symbol of sovereignty. These textiles also have a distinctive and sedate palette.Batik Textiles of Java, April 21-September 17, 2017. Cotton, plain weave; hand-drawn wax resist dyed (batik tulis); two panels joined .

Gold mural, Wat Saket, Temple of the Golden Mountain, Wat Saket Ratcha Wora Maha Wihan, Bangkok, Thailand, Asia

Five Panels of a Vajrasattva Crown with Transcendental Buddhas. Tibet. Date: 1399-1499. Dimensions: Each panel 27 x 19.8 cm (10 5/8 x 7 13/16 in.). Ink and pigments, with gold on pressed paper. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

Womans Ceremonial Skirt (Tapis)

Liturgical cuff (Epimanikion) 1740 Greek The Annunciation was a favored subject for epimanikia, since it lent itself to division across the pair of cuffs (see also 41.100.235). The motif of the angel Gabriel entering on a raft of clouds is borrowed from the art of Western Europe, likely via prints. The inscription in the lower margins recalls the "toil and pains" of the embroider and concludes with the Greek numerals ΑΨΜ for the year 1740.. Liturgical cuff (Epimanikion) 226634

Allegory on the Jesuites Anonymous. Allegory on the Jesuits. Printed cotton, glued on cotton and framed.

Buddhist vestment (kasaya) China late 18th-19th century This magnificent vestment represents the kind of sophisticated embroidery works used in high-end garments for Buddhist priests during the 18th to the 19th century. Known as kasaya, this type of garment, generally rectangular in shape, was worn over an inner robe and fastened in the front with a clasp. According to Buddhist regulations, the number of patchwork columns, from five to twenty-five (always an odd number), indicates the specific function and importance of the robe. This example, with nineteen columns, corresponds to the top middle level of samghati, or vestments used in formal ceremonies. This robe features an intricate patchwork of colorful embroideries. The meticulous needlework and luxurious materials indicate the prestigious status of its owner. View more. Buddhist vestment (kasaya). China. late 18th-19th century. Silk embroidery, satin, and damask. Qing dynasty (1644-1911). Textiles-Embroidered

Noh costume (nuihaku) with autumn flowers, mid 17th century, Unknown Japanese, 53 1/4 × 65 in. (135.26 × 165.1 cm), Silk embroidery and gold leaf on silk, Japan, 17th century, In the traditional Japanese musical drama called Noh, female characters usually wear an under robe like this one, known as a nuihaku, beneath an outer robe called a karaori. Nuihaku robes feature a combination of embroidered designs and applied gold and silver leaf. Here, gold bands represent mist floating in an autumn meadow among flowers including flame-like cockscomb, dianthus (with five fringed petals), chrysanthemums, and clumps of the shrub-like bush clover. Noh costumes such as this one created in the mid-1600s, during the Edo period, derived from robes worn by fashionable aristocratic women of the Momoyama period (1573-1603).

Theatrical Robe, 1662-1722, L.56 in., Silk, China, 17th-18th century, Unlike Western theater, in which plays are usually categorized as tragic or comic, Chinese plays are typically labeled either civil (wenxi) or military (wuxi). This robe would have been used in a military play, mimicking protective armor. Unlike real military wear, however, this robe is colorful and heavily embroidered with floral patterns, Daoist imagery, and qilin (unicorn-like creatures with dragon-like bodies and cloven hooves) in a celestial landscape.

Attributes of Yama in a "rgyan tshogs" banner. Distemper painting by a Tibetan painter.

Temple hanging (pechhavai). Date/Period: Late 18th century. Textiles. Cotton plain-weave, dyed and painted with opaque watercolors, gold and silver. Height: 2,440 mm (96.06 in); Width: 2,540 mm (100 in). Author: UNKNOWN.

Hanging 18th century India (Rajasthan, Nathdwara, Udaipur). Hanging 73136

Woman's veil (Odhani), 19th century, 75 3/4 x 60 in. (192.41 x 152.4 cm), Silk, mirrors; tied resist, embroidery; dyed, India, 19th century, Probably the finest embroidery in all of India came from the Kutch region of Gujarat, where minute stitching and mirror work was a specialty of several Muslim groups. The veil here contains more than 9,000 tiny mirrors, designed to deflect the harmful intent of 'the evil eye.' A wealthy Muslim woman would have worn this kind of veil and tunic only on special occasions, completing the ensemble with a pair of loosely fitting silk trousers (ejar) with embroidered cuffs.

Civil-Official Hyungbae (Rank Badge) late 19th century Korea The Joseon court adopted an insignia system in the mid-fifteenth century to display the ranks of officials. Worn on the front (hyung) and back (bae) of costumes, hyungbae, or rank badges, served as decorative status markers in a society that prized strict hierarchies. Initially permitted only for civil and military officials of the third rank and higher, their use was eventually broadened to all nine ranks.Various animals were used to designate rank, and the motifs evolved over the course of the Joseon dynasty. In 1871 the insignia were standardized to tigers for military officials and cranes for civil officials. The examples here are arranged clockwise by rank, from the highest, the double crane with bullocho (elixir plant) on the upper left, to the lowest, the single crane on the lower left. Considered elegant and pure, cranes also symbolize longevity, as does the bullocho. The surrounding clouds, waves, and rocks are auspi

Ritual Weaving(Tampan)

Manchu Military Banner of the White Banner Regiment, 19th century, L.77-3/4 x W.61-1/4 in, Embroidered satin, China, 19th century, The Manchus formed an hereditary banner system in 1601 that required all Manchu men to be enrolled in one of the four banner regiments. The original regiments were distinguished by their solid yellow, white, red, and blue triangular flags with serrated borders. Prince Dorgon commanded the white regiment. Flags such as these embellished with dragons in couched gold were used primarily in ceremonies and military reviews like those depicted below in the Eight Formations handscroll, rather than in battle.

The Parinirvana of the Buddha, c. 1710s. Japan, Edo period (1615-1868). Color woodblock print; sheet: 54 x 27.8 cm (21 1/4 x 10 15/16 in.). This print records a religious rather than secular event, depicting the transition of the historical Buddha Shakyamuni from mortal to eternal being. On a cloudy night under a full moon, the Buddha lies on a platform on his right side with his right hand behind his head. His followers surround him in various states of grief, curiosity, or calm acceptance. An old woman at the Buddhas feet and other lay believers are present, along with a host of Buddhist deities. The Buddhas mother, two attendants, and a monk appear at the upper right. The multitude of animals acknowledges that the Buddhas law applies to all living creatures. Note that various rectangular cartouches identify the followers. This rare image is the earliest hand-colored print in the museum collection. It was hand-colored in yellow and red (tan), and in many instances, the coloring d

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

Altar frontal 16th century Spanish or Italian. Altar frontal 213257

Pall, embroidered, white the Mother of God on crescent moon unknown

Japanese Koto, Musical Instruments

Tikhep (throne cover), 20th century, 34 1/2 x 43 in. (87.63 x 109.2 cm), Cotton, wool; needlework, Bhutan, 20th century

Warli wall painting Warli wall painting, Handicraft, Maharashtra, India Copyright: xZoonar.com/yogeshxmorex 5719952

Velrière project representing the crucifixion for the church of the Redemptorists of Boulogne-sur-Mer Jean Gaspard Jules or Johann Caspar Julius Gsell (1814-1904). Verrière project representing the crucifixion for the church of the Redemptorists of Boulogne-sur-Mer. Pencil, watercolor.

Chasuble unknown

Altar Frontal. Germany, Lower Saxony, circa 1380. Textiles; altar cloths. Polychrome silk and natural linen embroidery on natural linen

Chasuble; XVII century (1601-00-00-1700-00-00);

Veiled Mohammed and winged peris in Ascension of the Prophet, 1572-3. Khamsa. IRAN.

Chasuble fourth quarter 17th century Italian Part of a collection that was purchased from Duveen Brothers, pre-eminent art dealers of the early 20th century, this chasuble belongs to a set that includes a cope (2009.300.2949), a second chasuble (2009.300.2952a-c) and two dalmatics (2009.300.3411a, b and 2009.300.3412a, b).. Chasuble 157831

Yama, the Lord of Death, holding the Wheel of Life which represents Samsara, or the world on a Tibetan Thangka. In the central circle is a snake chasing a pig chasing a rooster chasing the snake which represents craving, hatred and ignorance. The six sections, surrounding the central circle, show representations of the six realms - the realm of the gods, the realm of the titans, the realm of the humans, the realm of the animals, the realm of the hungry ghosts and the realm of the demons.

TROFEOS DE LA BATALLA DE NAVAS DE TOLOSA 1212. Location: ST. MICHAEL'S CHURCH. VILCHES. JAEN. SPAIN.

Chalice veil, Orthodox unknown

Hanging (Depicting the Story of Esther and King Ahasuerus) (Needlework) Made 1575-1600 France. This needlework hanging recounts two scenes from the Old Testament story of Esther and the Persian king Ahasuerus (also known as Xerxes). At the left, the seated Mordecai pleads with his cousin Esther, the Jewish queen, to intercede with the king to prevent the massacre of the Jews in the empire planned by the chief minister. At right, Esther swoons as Ahasuerus agrees to see her unannounced. In the end, the king heeded Estherís plea, and the enemies of the Jews were killed instead. The deliverance of the Jews in ancient Persia is celebrated annually on the Jewish holiday of Purim.-A Global View Recent Acquisitions of Textiles, 2012-2016, April 8-September 5, 2016. Linen, plain weave; embroidered with silk and wool in tent and cross stitch .

Inside buddhist temple near royal palace in Luang Prabang, Laos

Arma Christi 1475-1550 South Netherlandish The crosses on which Jesus and the two thieves were executed appear, improbably, against a rich backdrop of flowers. Around the crosses are objects linked to the suffering and death of Jesusor Instruments of the Passionincluding the scourges used to whip him, the crown of thorns placed mockingly on his head, the cloth with which Veronica wiped his face, and the nails that affixed him to the cross. Judging from its subject and dimensions, this hanging was used on a church altar. The coats of arms at lower left and right are those of the dukes of Segorbe; the textile was likely commissioned by Enrique II of Aragon (duke of Villena and Segorbe in 1472-died 1522) or his son Alfonso.. Arma Christi. South Netherlandish. 1475-1550. Wool warp; wool, silk, silver, and gilt wefts. Textiles-Tapestries

Chasuble, stole and maniple. Culture: Italian. Dimensions: Length at CB (a): 50 in. (127 cm)Length at CB (b): 98 in. (248.9 cm)Length at CB (c): 40 1/4 in. (102.2 cm). Date: fourth quarter 17th century.Ecclesiastical garments were meant to contribute to the sense of mystery and awe associated with worship; this beautifully crafted chasuble exemplifies that practice. The depiction of the figures 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. This chasuble is part of a set that includes a cope (2009.300.2949), a second chasuble (2009.300.2952a-c) and two dalmatics (2009.300.3411a, b and 2009.300.3412a, b). Museum: Metropolitan Museum of Art, New York, USA.

Buddhist Surplice (Kesa), early 1900s. Japan, Meiji period (1868-1912). Silk with supplementary weft, brocaded; metal thread; average: 116.9 x 193 cm (46 x 76 in.).

Dalmatic. Netherlands, circa 1570. Costumes; ecclesiastical. Linen, silk, and wool tapestry weave with linen and metallic-thread passementerie

The month of phalguna. The month of Phalguna is the twelfth month of the Hindu Calendar and starts between 20 February and 21 March. The Holi party.

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