← Religion & Culture

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.

Lay Aristocrat's Robe (Chuba) 18th century Tibet. Lay Aristocrat's Robe (Chuba) 70725

Festival Robe. Culture: China. Dimensions: 57 × 73 1/4 in. (144.8 × 186.1 cm). Date: second half of the 18th century.A festival robe, or jifu pao, was worn during festivals, banquets, and other events held in the periods preceding significant sacrificial ceremonies. Only those woven for the emperor, their consorts, and the crown prince were called a "dragon robe" (longpao), and decorated with five-clawed dragons and certain auspicious symbols. The sun, moon, constellation, mountain, dragons, flowery bird, sacrificial cups, waterweed, millet, fire, ax, and the symbol of discrimination "fu," seen on this robe, were reserved exclusively for imperial robes, as was the bright yellow color. They represent the emperor's control over all elements of the universe. The powerful, vibrant, and fierce dragons embroidered on this robe date it to the second half of the eighteenth century, implying that it might have been made for the Emperor Qianlong (reigned 1736-95), one of the most famous rulers

Chasuble. 18th century. Rococo. Cathedral of Tarragona. Diocesan Museum. Catalonia. Spain.

HEBILLA DE FILIGRANA Y ESMALTE. Location: CATEDRAL-INTERIOR. Toledo. SPANIEN.

Print in which very fine lacework is cut, surrounding image of female saint with halo, church print picture material paper, painted cut Glossy white paper in which in symmetrical but whimsical form very fine lace is cut that surrounds image S. Vr Sula (under saint) remember praying religion religious ceremony ceremony

Man's Tunic. Peru, South Coast, Wari, 600-850. Costumes; principal attire (upper body). Camelid fiber and cotton, interlocked tapestry

Emblems of the Priestly Character of Sovereignty and of its high and solemn responsibility. The symbolic mantle or Dalmatic, and pat of the regalia. (1) St. Georges spurs and the bracelets. (2) The jewelled State Sword (3) The coronation ring of William IV., Edward VII. And George V. (4) The Sovereigns sceptre with the dove, or rod of equality (5) The Sword of State, and below it curtana or Sword of Mercy. Date: 1953

Hinggi, early 1900s. Indonesia, Sumba, early 20th century. Cotton, ikat dyed; overall: 239.4 x 117.2 cm (94 1/4 x 46 1/8 in.). On the Indonesian island of Sumba, hinggi were one of two types of textiles that were worn for ritual ceremonies and used as exchange gifts required on occasions of birth, marriage, or death. Traditionally, their designs reflect the religious and social structure of Sumbanese culture. The abstract motif in the center of this mantle represents an open shellfish, symbolic of royal power. The crocodile, seen here in the red bands to either side of the central band, is also associated with royal power as well as with Sumbanese mythology of the afterlife. The larger, standing male figures wearing horned headdresses are an extremely ancient motif, going back to the Neolithic period.

Fragment of an aurifries, with embroidery of silk and gold council ,, c. 1500 - c. 1525 Fragment of an aurifries, with embroidery. The pattern has an image of a canopy, including Andreas (with a cross and a book). Andreas is wearing a green cloak and a blue rug. The fragment includes two fragments with invnr. BK-NM-4165-C-1 and BK-NM-4165-C-3. Southern Netherlands (possibly) silk. embroidering Fragment of an aurifries, with embroidery. The pattern has an image of a canopy, including Andreas (with a cross and a book). Andreas is wearing a green cloak and a blue rug. The fragment includes two fragments with invnr. BK-NM-4165-C-1 and BK-NM-4165-C-3. Southern Netherlands (possibly) silk. embroidering

Garuda-Feathered Hayagriva. Central or Eastern Tibet, a Nyingmapa Monastery, circa 1800. Paintings. Mineral pigments and gold on cotton cloth

'The Mummy case of a priestess of Ammon-Ra dating from 1600 BC, (c1935). Artist: Unknown.

Funeral Shroud (Bidak, TutupJenazah)

Chasuble of the Virgin Mary, 17th century embroidered vestment. Saint Stephen's Cathedral, Vienna, Austria.

Gilt teak wall plaque with depictions from the Lao version of the Ramayana, Lao Pha Lak Pha Lam, House of the Royal Funeral Chariot, Wat Xieng Thong Temple, Luang Prabang, Laos, Asia

Enlightener Theodore, bishop of Rostov and Suzdal, Ancient Russian Art

Kesa (Buddhist priest's robe) late 19th to early 20th century Japanese. Kesa (Buddhist priest's robe) 460774

Cartography, India, 19th century. The Jagannath temple and the city of Puri, in the State of Orissa. Painting on fabric. 150 x 270 cm.

Book Cover from a Manuscript of the Ashtasahasrika Prajnaparamita Sutra 10th-11th century Nepal (Kathmandu Valley) This painted cover for a palm-leaf manuscript belongs to the Pala- Nepalese tradition. It comes from a palm-leaf edition of the Ashtasahasrika Prajnaparamita Sutra (Perfection of Wisdom in 8,000 Verses”). Seated at center is Prajnaparamita, the goddess of transcendent wisdom and the personification of the text she holds in a raised hand. Two seated bodhisattvas, Padmapani Lokeshvara and Vajrasattva, attend her. At left are two miraculous events from the life of the historical Buddha: his birth in the Lumbini grove, and his subduing of the enraged elephant Nalagiri at Rajgir. Depicted at right is the Buddha’s first sermon at Sarnath, where he preached to an assembly of monks and bodhisattvas, and the miracle at Shravasti, where he caused a multiplicity of Buddhas to appear.. Book Cover from a Manuscript of the Ashtasahasrika Prajnaparamita Sutra 37975

Baby Carrier, 20th century, 24 1/2 x 17 3/4 in. (62.23 x 45.09 cm), not including straps, Cotton, polyester; embroidery, appliqué, batik, United States, 20th century, The Mong leng (Blue Hmong) constitute a distinct linguistic/cultural group that is part of the larger Hmong culture. The textiles created by Mong leng women share common characteristics with other Hmong textiles, including the use of embroidered and appliquéd embellishments and a shared vocabulary of design motifs. They are unique, however, in their use of batik as a decorative element on women's skirts and on baby carriers.

Pair of Book Covers for a Buddhist Text. Culture: North India and Tibet. Dimensions: Overall (each bookcover): 8 7/8 x 27 3/4 in. (22.5 x 70.5 cm). Date: 12th century.These unique, large-scale book covers illustrate the complex interrelationship between the Buddhist world of eastern India and that of Tibet during the "second diffusion," when Buddhism in Tibet was purified by renewed contact with Indian Buddhism. They are also fascinating as prototypical objects that help to explain the format and decoration of many Tibetan painted book covers. Nothing like them has survived in India, and they present a new facet of eastern Indian art of the Pala period. Museum: Metropolitan Museum of Art, New York, USA.

Reliquary with the particle of the relics of St. Mateusz the Evangelist

Festival Robe second half of the 18th century China A festival robe, or jifu pao, was worn during festivals, banquets, and other events held in the periods preceding significant sacrificial ceremonies. Only those woven for the emperor, their consorts, and the crown prince were called a dragon robe” (longpao), and decorated with five-clawed dragons and certain auspicious symbols. The sun, moon, constellation, mountain, dragons, flowery bird, sacrificial cups, waterweed, millet, fire, ax, and the symbol of discrimination "fu," seen on this robe, were reserved exclusively for imperial robes, as was the bright yellow color. They represent the emperor’s control over all elements of the universe. The powerful, vibrant, and fierce dragons embroidered on this robe date it to the second half of the eighteenth century, implying that it might have been made for the Emperor Qianlong (reigned 1736-95), one of the most famous rulers of the Qing dynasty.. Festival Robe 69066

Prajnaparamita and Scenes from the Buddha's Life (top), Maitreya and Scenes from the Buddha's Life (bottom), Folios from a Dharanisamgraha (Compilation of Protective or Empowering Spells). India, Bihar, Nalanda, circa 1075. Manuscripts. Text: written in ink; illustrations: opaque watercolor on palm leaf

Chasuble. Culture: Italian. Dimensions: Length at CB: 50 in. (127 cm). Date: late 16th century.The textile used in this chasuble is iconic of the early Renaissance period and highly valued; it is this type of textile that is often seen in religious paintings of the time. The complex and expensive weave structure incorporates pile-on-pile weaving, as well as gold metallic loops within the velvet that add extra glitter and shading. The three-dimensional surface is achieved through the use of different lengths of pile. The figures have been identified as a youthful St. John the Evangelist, holding the cup of poison that did not harm him; St. Andrew, with the book and X-shaped cross with which he is associated; a bearded St. Paul, holding a book and a sword; St. Thomas, holding a book and a carpenter's angle; and, possibly, St. Philip, holding a book and a staff with a red cross on one end. Museum: Metropolitan Museum of Art, New York, USA.

Ecclesiastical Embroidery (Epigonation) , 17th century. Armenia and Greece, 17th century. Embroidery; silk and metallic threads; overall: 57 x 49 cm (22 7/16 x 19 5/16 in.).

Sutra Cover (Jingzhiban) with Three Flaming Jewels (Sanbao) and Four of the Eight Buddhist Symbols (Bajixiang). China, Chinese, Ming dynasty, Yongle period, 1403-1424. Furnishings; Accessories. Red lacquer on wood core with incised and gold-filled decorations (qiangjin)

Baptismal veil decorated with an embroidered palmet edge. A baptist veil of Batist, decorated with an embroidered palmette edge. Empire.

Mandarin emblem Buzi a civil clerk with the image of a peacock unknown

Embroidered fabric depicting lotus flowers, Mandalay, Myanmar, Burma CAP/MEL Mel Longhurst/ Burma Myanmar Copyright: xMelxLonghurst/CapitalxPicturesx

Summer Robe (Katabira) with Seasonal Landscapes and Scenes from The Tale of Genji second half of the18th century Japan This robe exemplifies the exquisitely embroidered and dyed robes made in the late Edo period for high-ranking samurai ladies, especially in daimyo households. They came to be referred to as imperial court style” garments, as the landscapes and seasonal plants combine with motifs referencing Noh plays, poems, or classical literature such as The Tale of Genji to evoke aristocratic life in the Heian period. The motifs consist of pines, plum and cherry blossoms, chrysanthemums, maple leaves, reeds, clouds, rocks, and streams. The stylized landscapes include spring patterns, a half-moon, and autumn flowers. The scene showing the Nonomiya shrine on the back of the right sleeve is from Chapter 10, A Branch of Sacred Evergreens.” On the right of the lower section, the depiction of the koto refers to the best-known scene of Chapter 2, Broom Cypress”—the so-called appraisal

Dalmatic first half 17th century Spanish. Dalmatic 461370

Raised mud reliefs inlaid with mirror on the walls of modern home in traditional tribal Rabari round mud hut, Bunga style, near Ahmedabad, Gujarat sta...

Fragment of a Dalmatics, with embroidery from flax side and gold thread, c. 1500 - Before 1899 Fragment of a Dalmatics, with embroidery. The embroidery has an image of four saints: Peter (with key), Catharina (with book), a saint with a scepter and Laurentius. The fragment is part of six fragments with invnr. BK-NM-9403-A to BK-NM-9403-E-B). . embroidering Fragment of a Dalmatics, with embroidery. The embroidery has an image of four saints: Peter (with key), Catharina (with book), a saint with a scepter and Laurentius. The fragment is part of six fragments with invnr. BK-NM-9403-A to BK-NM-9403-E-B). . embroidering

Piece second half 15th century Italian The coat-of-arms of the Galilei family of Florence is represented by the small ladder with three rungs under the cross in the center of the velvet. Along the bottom is part of a scroll that, if complete, appears to have read "Benedetto Ghalilei." This velvet, with its particularly lavish use of gold metal thread and the incorporation of the cross, may have been used in a set of ecclesiastical vestments for a family chapel.. Piece 227224

American 20th Century, Plate 32 Our Lady of Guadalupe From Portfolio Spanish Colonial Designs of New Mexico, 1935 1942 Plate 32: Our Lady of Guadalupe: From Portfolio Spanish Colonial Designs of New Mexico

Amitabha Buddhas assembly in the Western Paradise late 18th-early 19th century Unidentified artist This work depicts an assembly of divine figures in the Western Paradise, the realm of the Amitabha Buddha (Korean: Amita). The central deity sits on a lotus flower atop a fabric-covered dais, surrounded by a supporting cast of twelve, including bodhisattvas, disciples, guardians, and attendants. In particular, Avalokiteshvara (Korean: Gwaneum) and Kshitigarbha (Korean: Jijang)—at the Buddhas left and right, respectively—are often paired as attendant bodhisattvas to Amitabha in Korean Pure Land Buddhist iconography. He touches his right thumb to his right middle finger in a gesture indicative of teaching.Ink drawings such as this one were adhered to the backs of coarsely woven, semitransparent silks on which the final image was painted (guided by the outlines of the underdrawing). Here, the small areas of the paper where the pigments have seeped through the silk display faint traces of r

Wat Mai Suwannaphumaham dates from the early 19th century. The temple was once the residence of the Sangkhalat, the supreme patriarch of Buddhism in Laos. The sim (ordination hall) is wooden, with a five-tiered roof in classic Luang Prabang style. The main attraction of the sim is the gilded walls of the front veranda, the designs of which recount scenes from the Ramayana and the Buddhas penultimate incarnation (Vessantara Jataka). For the first half of the 20th century the Phra Bang (Royal Buddha image in the Dispelling Fear mudra) was housed inside the sim, and it is still put on display here during the Lao New Year celebrations. Luang Prabang was formerly the capital of a kingdom of the same name. Until the communist takeover in 1975, it was the royal capital and seat of government of the Kingdom of Laos. The city is nowadays a UNESCO World Heritage Site.

Tapestry depicting the Crucifixion of Jesus Christ, church in Mardin, Turkey

Healing Scroll. Culture: Tigrinya peoples. Dimensions: L. 75 9/16 x W. 6 11/16 in. (192 x 17 cm). Date: 18th-19th century.In Ethiopia customized protective scrolls that interweave sacred imagery with textual prayers have been prescribed by traditional healers for over two thousand years. These were carried on the person of the individual to whom they were specifically dedicated to shield them from harm. Often the customized content of a scroll is astrologically determined. In Ethiopia as in ancient Greece, each human being has a corresponding zodiac sign associated with a particular destiny and talismanic character. The iconography of the scrolls thus alternate between talismanic "seals" and representations of saints, angels and archangels shown in the act of fighting demons. The seals are modeled on the seal of God that was revealed to King Solomon and feature geometric patterns intertwined with stylized representations of multiple visages and eyes that indicate prayers for divine i

Fragment of a dalmatics, with embroidery of flax side and gold thread.. fragment of a dalmatics, with embroidery. The embroidery has an image of four saints: Petrus (with key), Catharina (with book), a saint with a scepter and Laurentius. The fragment belongs to six fragments with Invnr. BK-NM-9403-A T / M BK-NM-9403-E-B).

Circular piece of silk with Mongol images, Ilkhanid, early 14th century. Silk, cotton and gold. The Ilkhanate, also spelled Il-khanate or Il Khanate was a Mongol khanate established in Persia in the 13th century, considered a part of the Mongol Empire. The Ilkhanate was based, originally, on Genghis Khan's campaigns in the Khwarezmid Empire in 1219-1224, and founded by Genghis's grandson, Hulagu, in territories which today comprise most of Iran, Iraq, Afghanistan, Turkmenistan, Armenia, Azerbaijan, Georgia, Turkey, and some regions of western Pakistan. The Ilkhanate initially embraced many religions, but was initially sympathetic to Buddhism and Nestorian Christianity. Later Ilkhanate rulers, beginning with Ghazan in 1295, embraced Islam.

Gospel. Paris. France.

Apron of a mason in the rank of master. unknown, author

Burse, embroidered, red hierogram of Christ unknown

Embroidery depicting a peacock, Mandalay, Myanmar, Burma CAP/MEL Mel Longhurst/ Burma Myanmar Copyright: xMelxLonghurst/CapitalxPicturesx

Altar Frontal

Pair of Deity Earrings with Vishnu on Garuda (front) and chepu (monster mask) (back), 1600s or 1700s. Nepal, Kathmandu Valley. Gold set with precious and semi-precious stones; overall: 9.5 x 6.9 cm (3 3/4 x 2 11/16 in.). A green Vishnu with four arms, each holding his attributes of discus (his upper right hand), mace (upper left), lotus (lower right), and conch (in pearl, lower left) rides on a coral Garuda with lapis wings, arms outstretched. The blue figures on either side are probably celestial beings praising him in dance postures, with one leg crossed over the other. On the back sides, delicate filigree floral scrolls form the backdrop of a protective mask popular in the Nepal; a sun over a crescent moon are inlaid above his head.

Reliquary of the Journey and Adoration of the Magi ca. 1200 French Jewel-like color, gold, and fine engraving all contribute to the sense of the sacred in this reliquary celebrating the Journey of the Magi to Bethlehem. Recorded only in the Gospel of Matthew (2:1-12), elements of the story nonetheless find a persistent echo in art and literature, from ninth-century Persia to twentieth-century America. Here, the medieval goldsmith has distilled the tale to its essence, adding subtly imagined details at the same time. The Magi from the East wear crowns like European kings. The one who leads points confidently towards a star ahead, while the second ruler is more circumspect, keeping his arm in check. The third, unsure, points back in the direction from which they came. On the lower panel, the kings have just dismounted in Bethlehem, still wearing their spurs. Each bears a giftgold, frankincense and myrrhfor the child Jesus, who precociously blesses them as he sits on his mother’s lap. C

Kęty Ornat from the parish church. unknown

Embroidered picture the Mother of God clothed with the sun” unknown

fine arts, religious art, Jesus Christ, adoration of the magi, tapestry, wool, Hallingdal, 1st half 17th century, Norsk Folkemuseum, Oslo,

Faith late 16th century or early 17th century Master IDC. Faith 460804

Girl with jug, watering flowers in a churchyard - 'Accept this !' Date: circa 1870

Fragment of a strip of embroidery, c. 1400 Fragment of a strip of embroidery. The embroidery has an image of the worship of the kings. The fragment includes an excerpt with invnr. BK-NM-3609-B. Germany textile materials embroidering Fragment of a strip of embroidery. The embroidery has an image of the worship of the kings. The fragment includes an excerpt with invnr. BK-NM-3609-B. Germany textile materials embroidering

Protector deities of the Tibetan Government and Buddhism. Dated 20th Century

Paper Cut-out, The Lord's Prayer paper cut-out; David Davidson; Dedicatee: Peter Cooper (1883); USA; pen and ink, brush and ink on white paper; 18.1 x 12.5 cm (7 1/8 x 4 15/16 in.)

Holy vestment of tunic, by Unknown, 18th Century, silk embroided in gold. Italy, Lombardy, Milan, Santa Maria del Carmine Church. Whole artwork. Vestment holy tunic: habit embroidered fabric.

Tunic (Kushung)

Curved Steel of angel shape on temple window

Folio from a Gandavyuha Manuscript Folio from a Gandavyuha Manuscript, 12th century. Colors on palm leaf, 2 x 21 5/8in. (5.1 x 54.9cm). Asian Art 12th century

Model Tipi late 1860s-76 Blackfoot Native American tipis are made in many sizes. From the large skin tents” reported by early sixteenth-century travelers to those made by children three hundred years later, tipis are identified with Plains peoples. Distinctive features of construction mark each group’s forms, and the ornamentation of exteriors was equally distinctive, with individual men frequently specializing in painting them. Warrior deeds and hunting scenes appear on small tipis, as they also do on large ones. Symbols of the earth—mountains, the four world directions, the sky, sun and moon, clouds and rainbows—and of animals held in high esteem, like buffalo and bear, are among tipi depictions. Images could also originate in personal visions. As the greatest number of tipis are plain, painted examples are particularly meaningful. Certain painted tipis had ritual significance relating to specific ceremonies. Such tipis kept their owners from calamity and ensured good fortune. Medic

Kimono-Shaped Coverlet (Yogi) with Lobster and Crest mid-19th century Japan Tsutsugaki, or tube drawing,” is a freehand method of resist dyeing. For this technique, the artist first draws directly onto the cotton fabric by squeezing rice paste from a tube (tsutsu), similar to a pastry bag, and then dips the textile into indigo dye. Tsutsugaki textiles, such as the kimono-shaped coverlet on display, are often further embellished with hand-applied details, usually gray or red, which are painted on after the dyeing is complete.When in use, warmly interlined yogi are spread over the sleeper, with the collar band fitting snugly under the chin and over the shoulders. These coverlets are often decorated with auspicious patterns to protect the sleeper from demons or bad dreams. Sometimes called the old man of the sea” because of its bent back, the Japanese lobster (ise-ebi or kamakura-ebi) is a symbol of longevity and often appears on bedding. The large design on this yogi may refer to New Y

Gospel with Silver Cover 13th and 17th century These jeweled, enameled, and gilt-silver repoussé covers for a gospel are examples of the work produced in the late seventeenth-century silversmith workshop of Kayseri. Both front and back cover are signed, informing us that they were made in Kayseri in 1691 by Astuatsatur Shahamir. The central image on the front cover depicts the Adoration of the Shepherds, and above, the magi following the star. Amid angels, the banner in the sky proclaims, "Glory to God in the highest and on Earth peace." The same composition of shepherds appears on two sets of gospel covers made in Kayseri by M. Karapet Malkhas, one dated 1671 (Mekhitarist Library, Vienna, MS 416) and the other dated 1691 (present location unknown). On the back is the Resurrection, showing Christ in a mandorla holding a bannered cross, surrounded by baroque cherubs and clouds. The green velvet spine is decorated with six garnets and numerous glass or crystal gems arranged in a diamond

Sampler, late 18th century, Mary Ann Duffield, 16 1/4 x 12 1/2 in. (41.28 x 31.75 cm), Wool and silk thread on wool plain weave; needlework, United States, 18th century, Many samplers included moralizing sayings and religious verses. This one issues a reminder that 'The Lord whom thou seekes will not tarry long and to him the weakest is dear as the strong.' Embroideries like these were designed to instill both practical expertise and spiritual fortitude.

Shadow Puppet (Wayang Kulit) of Gunungan Gapuran, from the set KyaiDrajat

Zillis, village church of St Martin, Romanesque wooden ceiling with biblical depictions

Gold-inlaid steel Dervish begging bowl (kash-kul), Shrine of Nematullah Vali Kermani; Mahan, Iran

Embroidery depicting a peacock, Mandalay, Myanmar, Burma CAP/MEL Mel Longhurst/ Burma Myanmar Copyright: xMelxLonghurst/CapitalxPicturesx

Torah binder ca. 1615 Possibly by Miriam Foa. Torah binder. Italian. ca. 1615. Silk embroidery on linen textile, lace edging, woven silk backing

Grande loge de France. Masonic apron. Paris. France.

Korean Special Civil and Military Service Examinations, 1795 Lady Hyegyeong, King Jeongjo's mother, was presented with a screen of such magnificent scale and stunning precision that she rewarded each of the seven artists. The artists were Choe Deuk-hyeon, Kim Deuk-sin, Yi Myeong-gyu, Jang Han-jong (1768 - 1815), Yun Seok-keun, Heo Sik (1762 - ) and Yi In-mun. From the time of Joseon Dynasty (1392 - 1910)

Sampler, Medium: silk embroidery on linen foundation Technique: embroidered in cross, two-sided cross, and hem stitches on plain weave foundation, Narrow pattern bands at top followed by alphabets and numerals, Wider bands at the bottom with the lamb of God, Adam and Eve with the Tree of Knowledge, and spot motifs., Germany, 1820, embroidery & stitching, Sampler

Napkin with the baptism of Christ. Napkin of Linnendamast with the baptism of Christ.

Europe, Sweden, Arpjenlog town, Sami people museum, ceremony dress

Illustrated Manuscript of the Dala'il al-Khayrat (The Ways of Edification) of al-Jazuli Illustrated Manuscript of the Dala'il al-Khayrat (The Ways of Edification) of al-Jazuli, late 18th century. Ink, opaque watercolor, and gold on paper; tooled and gilded leather binding, 6 3/8 x 4 1/8 in. (16.2 x 10.5 cm). The Dalail al-Khayrat (The Ways of Edification) of the Sufi mystic Muhammad ibn Sulayman al-Jazuli (d. 1465) is a prayer manual venerating the prophet Muhammad. The text includes a collection of prayers for the Prophet, a description of his tomb, his names and epithets, and other devotional material. It became the center of a popular religious brotherhood, the Ashab al-Dalil, which revolved around the mystical Islamic practice of dhikr, or recitation, of this book of religious piety. This manuscript is an Ottoman copy of al-Jazulis text, opened to an illustrated page containing a depiction of Mecca. Situated at the center of the mosque courtyard, the Kacba—the focal point of Mus

Chasse of Champagnat ca. 1150 French Christ appears in the center of the principal face of the reliquary beneath the roof plaque, which depicts the hand of God flanked by two angels swinging censers. Distinguished by his cruciform nimbus, he holds a book in his left hand and raises his right hand in blessing; the Greek letters alpha and omega, symbolizing the eternity of God, are at either side. At his right is a female saint identified as "Maria" (Mary Magdalene), who clasps an unguent jar and a palm frond. To Christ's left is a bearded male saint identified as "Marcialis" (Martial), the first bishop of Limoges, who also raises his right hand in blessing. Saint Peter, holding the red-enameled keys to the kingdom of heaven, and another saint, probably Paul, appear on the end panels. At the upper and lower corners of the reverse stand the four symbols of the Evangelists, clasping their Gospel texts (or, in the case of the eagle of Saint John, a scroll) in hooves, talons, claws, or veile

Umbraculum, embroidered, white hierogram of Christ unknown

Green Tara, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript 12th century India (Bihar or West Bengal) Green Tara, seated on a cushioned throne, her hand raised offering protection (abhaya mudra). Green Tara, Leaf from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript. India (Bihar or West Bengal). 12th century. Ink and color on palm leaf. Pala period. Paintings

Cabasset late 16th-early 17th century Italian The core of the New Testament is the story of Jesus as told in the Gospels (literally, "good news") written in the first century by Saints Matthew, Mark, Luke, and John, who are known collectively as the Four Evangelists. Matthew is often represented as a winged man, Mark as a winged lion, Luke as a winged ox, and John as an eagle, symbolism derived from the visionary imagery described by the prophet Ezekiel in the Old Testament (Ezekiel 1:4-11). The Evangelists were venerated not only as the writers of the Golspels but also as important patron saints. It is in the latter role, specifically as patron saints of the Republic of Venice, that the painted image of the winged Lion of Saint Mark appears on this late-sixteenth- or early-seventeenth-century helmet.Mark (d. ca. 74 A.D.) was an early follower of Jesus and is recorded as having accompanied both Saint Paul and Saint Peter on missions to spread Christianity in the Near East and Italy. He

Shadow Puppet (Wayang Kulit) of PemutianBrahma

Our Lady of Lourdes

Eight-day procession led by King Jeongj. Procession Crossing the Han River over a Pontoon Bridge at Noryangjin, 1795. Joseon Era, painted scroll

Read St. Nicholas all the year round. , Children, Periodicals, 19th Century American Trade Cards

Vlanderens Bedevaart Badge Pilgrimage to Lourdes

Mongolian stamp celebrating Kublai (1215 - 1294), also known as the Emperor Shizu of Yuan, fifth khagan-emperor of the Mongol Empire, reigning from 1260 to 1294, although after the division of the empire this was a nominal position. He also founded the Yuan dynasty of China in 1271, and ruled as the first Yuan emperor until his death in 1294.

of 2