Liturgical Garments and Church Art

Images of religious textiles and artifacts, including church flags and embroidered items. Each piece reflects cultural heritage and craftsmanship.

Selendang (shoulder cloth), Medium: silk Technique: wax resist dyeing (batik) on plain weave, Narrow shoulder cloth (selendang) in green, grey and dark brown with an all-over leaf and flower pattern with birds. Border by fringe with vertical parallel lines gives illusion of a longer fringe. Chinese influence indicated by inclusion of the lokcan bird which is based on the phoenix. Fringed., Java, Indonesia, 19th century, costume & accessories, Selendang (shoulder cloth)

Mans Shoulder Cloth or Waist Wrapper (Hinggi)

Liturgical set unknown

Burse, embroidered, white monstrance supported by angels unknown

Church flag. unknown, author

Four Mandala Vajravali Thangka. Date/Period: Ca. 1430. Painting / watercolor painting. Opaque watercolor on cloth. Height: 87.7 cm (34.5 in); Width: 78 cm (30.7 in). Author: Artist Unknown.

Selendang (shoulder cloth), Medium: silk Technique: wax resist dyeing (batik) on plain weave, Narrow shoulder cloth (selendang) in green, grey and dark brown with an all-over leaf and flower pattern with birds. Border by fringe with vertical parallel lines gives illusion of a longer fringe. Chinese influence indicated by inclusion of the lokcan bird which is based on the phoenix. Fringed., Java, Indonesia, 19th century, costume & accessories, Selendang (shoulder cloth)

Chasuble; beginning of the 18th century (1701-00-00-1710-00-00);Society for the Care of the Monuments of the Past (Warsaw - 1906-1944) - collection, ships, ornaments, flower ornaments, plant ornaments

From an illuminated Ottoman dua kitabi or 'prayer book' by Hasan Rashid (Istanbul, 1845) once the property of a Topkapi harem lady. The Arabic term 'du'a' is generally translated into English as 'prayer', though a more exact rendering would be 'supplication'. The term is derived from an Arabic word meaning to 'call out' or to 'summon', and Muslims regard this as a profound act of worship. This is when Muslims connect with God and ask him for forgivness or appeal for his favour. The Prophet Muhammad is reported to have said 'Dua is the very essence of worship', while one of Allah's commands expressed through the Qur'an is for Muslims to call out to Him: 'Call to Me; I will answer your prayers'. There is a special emphasis on du'a in Muslim spirituality and early Muslims took great care to record the supplications of Muhammad and transmit them to subsequent generations. These traditions precipitated new genres of literature in which prophetic supplications were gathered together in singl

Chasuble Made 1725-1775 France. Silk, plain weave; embroidered with silk and gilt-metal-strip-wrapped silk in chain, satin, single satin, single back, and split stitches; French knots; edged with gold leaf paper; lined with silk, plain weave .

Chasuble column. unknown, author

ALFOMBRA DE CUENCA - SIGLO XVI. Location: PRIVATE COLLECTION. MADRID. SPANIEN.

Banniere de Milan #2, Heraldry - Flags & Banners

Food Offering Cover (TutupMakan)

Doek, Anonymous, 1900 - 1949 Cloth with geometric motifs. Sarawak cotton (textile) Cloth with geometric motifs. Sarawak cotton (textile)

Tsarskiia dveri tserkvi Savvy Osviashchennago. Khromolitografiia F. Dregera., 1849 - 1853, by Fedor Grigor'evich Solntsev, 1801-1892. Additional, Royal doors in St. Savva church. Chromolithography by F. Dreher., 1849 - 1853., Moskva. Publisher, Tip. A. Semena. Art, Russian, Chromolithographs., A chromolithograph depicting the royal doors of the St. Savva church, showcasing intricate designs and vibrant colors typical of 19th-century Russian art

. Velum of yellow silk satin with embroidery in silk and in high relief with gold and silver wire with a performance of Greek cross. Velum is part of a couple (BK-2008-176-A to E).

Ritual Textile (PuaSungkit)

Womans Ceremonial Skirt (Tapis)

Fragment of a Garment with Design of Seraphi And Crosses. Turkey, probably Istanbul, 1550-1600. Costumes; ecclesiastical. Silk and metal supplementary weft patterning on silk satin (kemha)

Częstochowa. Treasury of the monastery in Jasna Góra - Dalmatic from the 18th century; Trzciński, Stanisław (1867-1939); around 1896 (1890-00-00-1900-00-00);

ChaIIce veil, embroidered symbols of the Passion of Christ unknown

A Jain Manuscript Cover. Western India, late 19th century. Manuscripts. Gold, silver, and silk thread embroidered on silk

Ecclesiastical Vestment. Dated: c. 1939. Dimensions: Original IAD Object: 42" long; 23" wide. Medium: watercolor, graphite, and gold ink on paper. Museum: National Gallery of Art, Washington DC. Author: Josephine C. Romano and Hal Blakeley.

Umbria Perugia Trevi S. Francesco1. Hutzel, Max 1960-1990 Exterior views of the 13th-century Cistercian church focus on the gothic main portal. The interior, restored in 1977, include: frescoes of saints Ventura, Nicola and Andrea (15th century); an organ (16th century); an altar fresco by Angelucci of the Madonna and Child and saints with Christ and Veronica in the lunette; a marble intarsia altarpiece with a painting of the Madonna and Child with saints Peter, Paul and perhaps scenes of the Last Judgment; a painting the Crucifixion; an Umbrian painted crucifix; tomb monuments of the Attavanti family; a tomb effigy (in relief) of the hermit St. Ventura; fresco fragments; and a holy water font. Object Notes: Hutzel photo campaign date: May 11, 1984 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical develo

ChaIIce veil, embroidered, green the Mother of God in mandorla unknown

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

Chasuble, 1675-1699. Germany, Bavaria, last quarter of 17th century. Embroidery, silk and metallic threads, on silk tabby sewn down on a linen tabby ground; overall: 116.9 x 78.1 cm (46 x 30 3/4 in.). This rare chasuble decorated with angels, musicians, pomegranates, and flowers represents Sacred and Profane Love. This is indicated by two figuresa clear-sighted figure embracing a blindfolded figurestanding on a globe in the upper center and also by the musicians. The angels play soft-sounding instruments (harpsichords, harps, viole da barccio, and flutes) while earthy figures play loud instruments (tambours and hunting horns). The chasuble was most likely part of a liturgical set commissioned for a wedding. This entire chasuble is embroidered with silk and metal thread laid over linen and stitched in place. The exceptionally fine workmanship, lavish use of gold and silver, and brilliant silk thread create this sumptuous vestment.

Stiehl Otto (1860-1940): sketch and photo album 14: cemetery chapel, Eppan-St. Paul

Bride's Robe, 1850-1950. Korea, Joseon dynasty (1392-1910). overall: 119.4 x 190.5 cm (47 x 75 in.).

Book Cover for Book of Psalms, Prayers, and Hymns Made 1601-1700 England. Linen, plain weave; embroidered with silk and gilt-metal-strip-wrapped silk in plaited braid and tent stitches; raised darning .

Buddhist priest's robe (kesa), c. 1800, Unknown Japanese, 44 3/4 x 84 in. (113.67 x 213.36 cm), Silk, metallic threads, Japan, 18th-19th century, Kesa is the Japanese version of the Sanskrit Kāṣāya, robes worn by Buddhist monks. Kesa are made by sewing together multiple smaller rectangular and square panels into vertical columns. They come in three different types (five, seven, and nine or twenty-five) depending on the number of columns, and the uses change as the numbers increase. This kesa has seven columns, and thus is called a shichijō kesa (Sanskrit uttarā saṃghāṭī), indicating that it was suitable for daily wear. A monk would have worn this over one shoulder and under the other arm, secured with a small cord.

Our Lady of the Gate of Dawn, cartoon of a stained-glass window for the Szafraniec chapel in Wawel Cathedral. Mehoffer, Józef (1869-1946), painter

Portion of an illuminated copy of the Koran in the Mosque El Barkookeyeh. Chromolithograph by Francis Bedford from Owen Jones' The Grammar of Ornament, Quaritch, London, 1868.

Ritual Weaving(Bidak)

Altar frontal 18th century Spanish. Altar frontal. Spanish. 18th century. Embroidered net. Textiles-Laces

Temple banner Made 1700-1750 China. .

Maternal veil (Pido), c. 1920, 95 5/8 x 66 5/8 in. (242.89 x 169.23 cm), Cotton; tied resist dye, India, 20th century, In Rajasthan, the mother of a newborn son traditionally wore a yellow veil known as a pido. Ten small lotus medallions symbolized the months of pregnancy and birth, while a large central lotus signaled the creation of a new life. Asking for a pido was a time-honored way for a wife to tell her husband she was expecting.

Ritual Diadem (Guan). China, Ming Dynasty, circa 1450-1500. Costumes. Silk needleloop embroidery over gilded paper

Church servet; XVII/18th century (1690-00-00-1710-00-00);

Sampler, Medium: silk embroidery on wool foundation Technique: embroidered in cross, satin, half cross, tent, back, and eyelet stitches on plain weave foundation, Central wreaths containing initials, middle one crowned with angels, parrot, crucifixion, Christ in the dessert, bowl of fruit., Denmark, 1779, embroidery & stitching, Sampler

Cover; silk, metal thread; Bequest of Marian Hague; 1971-50-44

Fragment of a Band with Three Crosses of the Crucifixion, 18th century. Spain, 18th century. Needle lace, filet/lacis (knotted ground and darned in one direction) and burato (twined ground and darned in two directions); bleached linen (est.); overall: 29.2 x 26 cm (11 1/2 x 10 1/4 in.). The three crosses on a hill depicted in this piece of lace reference Golgotha or Calvary, the hill upon which Jesus was crucified. The ladder resting against the central cross suggests the Deposition of Christ. The scene is ensconced within a decorative scallop, imitative of lace and tassels, perhaps indicating that the larger piece from which this fragment was cut included a series of scenes from the Passion of Christ.

Saint Mary (the Blessed Virgin) and Saint Joseph with the Christ Child. Gouache painting.

Sutra Cover with Buddhist Symbols 16th century China. Sutra Cover with Buddhist Symbols 53756

Painting decoration project of the Department of the Assumption of the Mother of God in Płock Mehoffer, Józef (1869 1946)

Yellow damask liturgical vestment, Lombardy. Italy, 18th century.

Dalmatic. Spain, circa 1550. Costumes; ecclesiastical. Silk cut and voided velvet with metallic-thread supplementary weft-loop patterning (bouclé), silk velvet with silk- and metallic-thread embroidery and appliqué, and silk- and metallic-thread passementerie

PAÑO FUNERARIO DE TERCIOPELO NEGRO Y BORDADOS CON LA GIRALDA FLANQUEADA DE JARRONES DE AZUCENAS - SIGLO XVIII. Location: CATEDRAL-INTERIOR. Sevilla. Seville. SPAIN.

ChaIIce veil, white, embroidered hierogram of Christ unknown

Islamic titles from the Tomb of Saint Kassim ibn Abass (Shakh Zinde) and adjacent mausoleums. Mausoleum of Uldzh Inak, Samarkand, Uzbekistan (Russia) 19th Century

Three fragments of the chasuble; 18th century (1701-00-00-1800-00-00);fabrics

Athabaskan colorful beadwork with Russian influence sewn onto moose hide bag with fringe used as a pillow. Alaska

Processional banner ca. 1516 French or Italian. Processional banner 227226

Chasuble with Orphreys depicting a saint and bishop saint (front), the Virgin and Child, Saint Martin, and Saint Peter (back) mid-15 century (chasuble); first quarter 16th century (orphreys) Italian A chasuble is a vestment worn by a priest during the celebration of the Mass. The orphrey (the vertical decorative band) on the front contains two panels with ovals framing three-quarter length male figures: at the top, an unidentified bearded saint, and on the bottom, a figure bearing an open book, sceptor, and bishop's miter. The three ovals on the orphery on the back depict, from top to bottom, the Virgin and Child, the charity of Saint Martin, and Saint Peter holding a key and book.. Chasuble with Orphreys depicting a saint and bishop saint (front), the Virgin and Child, Saint Martin, and Saint Peter (back) 461120

Priest's Robe (Shichijō) Japan. Priest's Robe (Shichijō) 68334

Four Mandalas of the Vajravali Series. Quatre Mandalas de la série Vajravali. Date/Period: Ca. 1429-56. Thangkas. Thangka, gouache on cotton. Height: 88.90 mm (3.50 in); Width: 73.70 mm (2.90 in). Author: Tibetan (Sakya order).

Tu An buddhist temple. Medicine Buddha Mandala.

The Opening Words of St John's Gospel, 800 AD, (20th century). Artist: Unknown

Kain Kebat (ritual Skirt) (Indonesia); cotton

Fragment of a communion bank rug with the proclamation to Maria, Anonymous, c. 1500 - c. 1600 Communion bank rug from Linnamast with the proclamation to Maria. Midfield: The proclamation to Maria in a vultemen hall. Standing edges: pomegranate patron. On the spell tires: Ave Gracia Plena so Tecum and Ecce Ancilla Dni Fiat Mihi Secu du Verbum Tuu. In the edges of the Angel's robe: Sanctus Deus, Sabboth, Sanctus Sanctus Deus. Southern Netherlands linen (material) damask the Annunciation: Mary, usually reading, is visited by the angel (sometimes a woman overhears the conversation)

Cope Made 1490-1517 England. The production of textiles for churchesóhangings, altar frontals, and liturgical vestmentsówas a thriving industry in Europe from the twelfth century through the eighteenth century. Among the finest ecclesiastical vestments is this resplendent velvet cope, a semicircular cloak worn as an outer garment in processions or during special ceremonies by a priest or bishop. The elegant needlework was called opus anglicanum (English work). Surrounding the copeís central image of the Assumption of the Virgin, rendered in silk and gold threads, are seraphim standing on wheels, thistles, fleurs-de-lis, and double-headed eaglesóall connected by tendrils animated by spangles. Old Testament prophets and New Testament saints with their attributes alternate on the orphrey band, which runs the full width of the work. Saint Paul is depicted on the hood, which rests on the back of the cope, while an image of God holding an orb decorates the morse, or closure. The brown-velvet

The Annunciation late 17th-early 18th century Danish. The Annunciation 226603

Sampler, Elizabeth Muns, English, Medium: silk and metal-wrapped silk embroidery on wool foundation Technique: embroidered in cross, satin, back, tent, half cross, and double running stitches on plain weave foundation, Vertical rectangle with alphabet, text 'My God Permit My Tongue With Joy to Call The Mine And Let My Youthful Cries Prevail To Taste Thy Love Divine Lord Give Me Wisdom To Direct My Ways I Beg Not Riches Nor Yet Length of Days' then tree with woman and animals, flowers and signature, all withing curving floral border., England, 1764, embroidery & stitching, Sampler

IIturgical embroidery, Greek CathoIIc unknown

Map of the church of the Madeleine.

Five Panels of a Vajrasattva Crown with Transcendental Buddhas 1399-1499 Tibet. Ink and pigments, with gold on pressed paper .

Bandolier Bag, c. 1870-1900, 37 1/4 x 8 15/16 in. (94.6 x 22.7 cm), Silk, wool, cotton, beads, United States, 19th century, The designs on this bandolier bag reference important elements in traditional Anishinabe life. The repeating geometric floral patterns, shown on the central panel and strap, refer to the natural environment that the Anishinabe depend on. The beaded design that can be found on the outside of the central beaded panel refers to the otter, who plays an important role in Anishinabe stories and clan system. The series of diamonds followed by straight lines, then diamonds, refer to the otter tracks. The diamonds symbolize footprints, and the straight lines are the otter's tail. This bandolier bag is a testimony of Anishinabe artistic skill and creativity.

Icon in the interpretation: Our Lady of Włodzimierz; unknown provincial workshop (1600-1970); 19th century (1801-00-00-1900-00-00);

Ceremonial Cloth and Heirloom Textile with Row of Female Musicians. India, Gujarat; traded to Sulawesi, eastern Indonesia, 17th century. Textiles. Mordant and wax resist (batik) block printing and painting on plain-weave cotton

Panel from a Cover for an Icon of the Virgin ca. 1100 Byzantine These panels were once part of a cover for an icon of the Virgin Hagiosoritissa, or Virgin of the Holy Soros (reliquary chest). Named for the church in Constantinople that contained the original icon of the type, this popular middle Byzantine icon shows the Virgin turning to the side with her hands raised in a gesture of prayer.. Panel from a Cover for an Icon of the Virgin 464515

Plaque with Christ in Majesty and the Four Evangelists 1000-1100 Ottonian The evangelists write their Gospels here with the aid of their characteristicsymbols. An ox literally opens Lukes eyes to receive divine inspiration, while Marks lion seems to be speaking to the author. This plaque, which probably was affixed to the cover of an Ottonian Gospel book, now decorates the cover of a late fifteenth-century Gospel lectionary.. Plaque with Christ in Majesty and the Four Evangelists 467741

Depicts the curtains of the Tabernacle (Stiftshütte) from the Old Testament, created as a colored woodcut in 1524 by Georg Lemberger, showing fabric, poles, and religious context.

Lay Aristocrat's Robe (Chuba). Culture: Tibet. Dimensions: Overall: 51 x 78 in. (129.5 x 198.1 cm). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Chasuble late 18th century Chinese, for Eurpoean 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.. Chasuble 229408

Avalokiteshvara as Shadakshari Lokeshvara early 15th century China Shadakshari Lokeshvara is the bodhisattva of compassion (Avalokiteshvara) in his role as the lord of the six realms of existence (hell beings, hungry ghosts, animals, humans, demigods, and gods). He personifies the well-known Sanskrit invocation om mani padme hum, or "hail to the jewel in the lotus," which is found at the top of the hanging beneath the seed syllable hrih, thought to contain the essence of the bodhisattva. The Tibetan-language invocation to the goddess Mahashri at the bottom is often found in the art of the Yongle period.Impeccably woven in a single color, the hanging's damask weave structure and silk fiber impart a certain luminosity to the bodhisattva, lotus, and inscriptions, but they also make the picture somewhat elusive. The image seems to shimmer and change depending upon the light and the viewer's position. A photograph of the center of the hanging is shown here for your reference.. Avalokiteshva

Antependium; Orliec, Anna Barbara; 1693 (1693-00-00-1693-00-00);Bersohn, Mathias (1823-1908) - collections, Brinken (coat of arms), Madonna with the Child (iconogr.), Nowina (coat of arms), Paweł from Tarsus (Saint), Piotr the Apostle (Saint - --Ca 64), Society Encouragement of Fine Arts (Warsaw - 1860-1940) - collection, antependia, embroidery, coats of arms, churches and chapels (equipment), fabrics

Indian ornament

Chasuble. Culture: French. Dimensions: Length at CB: 41 in. (104.1 cm). Date: last quarter 18th century.The construction of this chasuble is particularly notable in that the patterns of the orphrey and the side pieces have been carefully matched to mirror each other in the three different sections and create a symmetrical whole. Many chasubles are created with pieced fabric and, therefore, do not have this element of overall visual integrity. Museum: Metropolitan Museum of Art, New York, USA.

Shirt, early 1900s. India, Cutch, early 20th century. Embroidery, silk thread on silk ground; overall: 130.8 x 63.5 cm (51 1/2 x 25 in.).

Devotional embroidery Mother of God unknown

Sutra Cover with Seeded Fruit and the Character for Longevity (Shou) 16th century China. Sutra Cover with Seeded Fruit and the Character for Longevity (Shou) 44136

Napkin with last supper. White linen damask napkin with a representation of the last supper. Christ at the head of the table. Running edges: angels. Landscape edges: Angels

Doctor taking woman's pulse. Avicenna's Canon manuscript

Shoulder cloth; Ringing Wayang Kebo. Ceremonial cloth for women of very high off, decorated with Wayang figures. The figures at the end of the four points of the black middle figure are stylized scorpions.

Mola textile by Kuna Indian artist, with an abstract pattern. From the San Blas Archipelago, Panama. Reverse applique design worn on female blouse.

Chasuble 18th century Italian. Chasuble 227792

German 15th Century, The Cross, c 1500 The Cross

A Yantra of Mahavira. India, Gujarat or Rajasthan, 1425-1450. Drawings; watercolors. Opaque watercolor and gold on cotton

Jacket; Kelambi Manang. Jacket of the priest (manang) decorated with human-like figures. On the back, three rows of human figures, probably ghosts (engkaramba) are applied, separated by a row with rosette motifs, which form a secret motif of manang.

Illustration of the interior of El Santuario Del Señor Esquipula, Chimayo Sante Fé County, New Mexico. Dated 1900

Sampler, Medium: silk and metal-wrapped silk embroidery on wool foundation Technique: embroidered in cross, back, four-sided, two-sided cross, rococo, half cross, and knot stitches on plain weave foundation, Religious scenes: Adam and Eve, Abraham with Isaac, and Woman of Samaria at the well; domestic objects and floral patterns., Germany, 1716, embroidery & stitching, Sampler

Merklap with multicolored wool and silk embroidery .. Merklap with embroidery. The LAP has three times the alphabet and once the numbers. This is a cartel with aluns, embroidered to the banderol. The embroidery also has two large crowns, two bees and different edges with winger leaves and a meander.

Blanket or Rug Made 1895-1905 Arizona. This blanket or rug displays many of the characteristics of Navajo weaving made at the turn of the previous century. During this period, Navajo artists were working in an increasingly commercial environment, with many of their weavings destined for non-Indian buyers. Weavers also could sell their work through traders who would make suggestions on colors and designs in response to market trends. The bold rows of linked crosses are formed using only two colors against a variegated gray backgroundóa limited palete that is a striking departure from the Navajo weaversí earlier vibrant ìEye Dazzlerî blankets. The unusually large size of this textile suggests that it was woven for a specific purpose or location.. Wool, dovetailed tapestry weave; twined edges and ends . Navajo (Diné)

R-COMENT APOCALIPSIS-FOL 115 V, LOS ANGELES DE LOS CUATRO VIENTOS, ATRIBUIDO A MAGIO(CREADOR ILUSTRACION MOZARABE)-1 1/2 S X. Author: BEATO DE LIEBANA. Location: BIBLIOTECA MORGAN. NEW YORK.

Chasuble. Spain. Date: 1501-1600. Dimensions: . Genoese red velvet with Orphreys divided into six panels, embroidered in colored silks. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA.

Sampler, Medium: silk and metal-wrapped silk embroidery on silk foundation Technique: embroidered in cross, buttonhole, stem, satin, tied cross rococo, running stitches and applique with couching on plain weave foundation, Alphabet at top. Box of pattern at upper right. Field filled with floral motifs. At left, applique of a silk picture of Christ on the cross. At right, applique of a silk picture of Justice., Bohemia, 1724, embroidery & stitching, Sampler

Banner - Painted Illumination Anonymous

Kalkan in tradition tied with Stefan Czarniecki unknown

Daoist Priest's or Woman's Overrobe 19th century China. Daoist Priest's or Woman's Overrobe 70397

Dress on the image of the Mother of God with the Child: Crown and five sheets

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