Sacred Textiles and Art

Showcases intricate ceremonial textiles and art pieces from various cultures, enhancing spiritual environments with rich patterns and colors.

Doek, Anonymous, 1900 - 1949 Cloth with the snake motif (Buah Nabau) on the central part with between male and female figures. Bird and plant motifs have been installed at the ends and bird and lizard motifs in the sides. Sarawak cotton (textile) Cloth with the snake motif (Buah Nabau) on the central part with between male and female figures. Bird and plant motifs have been installed at the ends and bird and lizard motifs in the sides. Sarawak cotton (textile)

Altar Cloth or CeremonialHanging

Sacred Weaving(Geringsing)

Canopy project representing the crucifixion and the wedding of Cana Jean Gaspard Jules or Johann Caspar Julius Gsell (1814-1904). Canopy project representing the crucifixion and the wedding of Cana. Pencil, watercolor.

Doek, Anonymous, 1900 - 1949 Cloth with snakes. The wide horizontal edge represents an adder-like snake. The outer edge motifs are rice blades. Mythological figures in the outer length bands. Sarawak cotton (textile) Cloth with snakes. The wide horizontal edge represents an adder-like snake. The outer edge motifs are rice blades. Mythological figures in the outer length bands. Sarawak cotton (textile)

Amitajus; 18th century (1701-00-00-1900-00-00);Amitabha, Amitajus, Toeplitz-Mrozowska, Jadwiga (1880-1966)-collection, gift (provenance), painting, Buddhist and Hindus art, art of Tibetan Buddhism, Thang-Ka

Womans Ceremonial Skirt (Lawo Butu)

Ritual Weaving(Cepuk)

Ritual Weaving(Tampan)

Ritual Textile (PuaKumbu)

Doek, Anonymous, 1900 - 1949 Cloth with the snake motif (Buah Nabau) on the central part with between male and female figures. Bird and plant motifs have been installed at the ends and bird and lizard motifs in the sides. Sarawak cotton (textile) Cloth with the snake motif (Buah Nabau) on the central part with between male and female figures. Bird and plant motifs have been installed at the ends and bird and lizard motifs in the sides. Sarawak cotton (textile)

Ceremonial Weaving(Pesujutan)

Womans Sarung (Sora Langi)

Daoist Priest's Robe (China); silk, metallic yarns

Buddha Surrounded By Bodhisattvas 19th century Tibet (Tun Huang). Buddha Surrounded By Bodhisattvas. Tibet (Tun Huang). 19th century. Green and orange color on silk. Paintings

Womans Ceremonial Skirt (Lau Pahudu)

GOLD EMBROIDERED VAIL FOR THE ARK OF THE JEWISH SYNAGOGUE AT LIVERPOOL, UK, 1875

Front of the embroidered pall hierogram of the Virgin Mary unknown

CAPA PUVIAL DEL ARZOBISPO DON SANCHO-DELANTERO. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Chasuble; approx. 18th century (1740-00-00-1760-00-00);

Temple banner, early 19th century, 70 x 24 in. (177.8 x 60.96 cm), Silk brocade, damask, and appliqué, Tibet, 19th century, The Tibetan priesthood extensively used imported silks from China to decorate their monasteries. Temple interiors were exceptionally colorful with their silk canopies, banners, and altar frontals. This banner is typical of those that were suspended from pillars or hung from roof brackets in image rooms and lecture halls. The lower section, made from several different types of silk fragments, has such auspicious Chinese motifs as dragons, clouds, bats, and lotus flowers. Like most Tibetan banners, however, the top is dominated by a large stylized lion mask in silk appliqué. This angry manifestation protects both Buddhist doctrine and the temple where it was displayed. The mask, in turn, is topped by a circular mirror, the standard reminder that the reality we see is an illusion.

Prayer dress. Barred, so-called Kirshihir or Melas / Mucur, red stepped mirab with red fond and yellow swing, white, yellow, red, blue and yellow edges.

Martyrdom of St Stephen, 1878, antependium with silver thread, high altar in the Collegiate church of St Stephen, Vimercate, Lombardy, Italy, 11th-12th century.

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

Chasuble. unknown, author

Chasuble. unknown, author

Manchu Empress' Semiformal Court Robe, 1821-1850, 56 x 72 in. (142.24 x 182.9 cm), Silk tapestry (kesi), China, 19th century, There were three styles of dragon robes reserved for the empress and the empress dowager. All had yellow grounds. The first and most common type displayed the nine imperial dragons against the usual cloud pattern in the upper register. This court robe represents the second style of chi-fu attire which consolidated the nine dragons into nine roundels against a plain, yellow ground. This style featured a wave pattern in the hem while the third style eliminates the wave pattern entirely.

Fragment of Lampas with multicolor pattern in jobs. Fragment with multicolored pattern in 5 courses, O.A. With stylized walking tendrils motif and an inscription in Arabic whose translation reads: O, great Lord, salvation, glory to the Sultan, our master.

Buddhist Surplice (Kesa), early 1900s. Japan, Meiji period (1868-1912). Silk with supplementary weft, brocaded; metal thread; average: 114.3 x 205.7 cm (45 x 81 in.). The kesa is a Buddhist monks vestment worn folded and draped over one shoulder, and fastened over the chest. In keeping with the austere conditions of monastic life, kesa were traditionally fashioned from remainders of donated garments sewn together into a series of columns. The wider, central column symbolizes the Buddha. The orange squares with a phoenix and flower pattern in each corner represent the deities who guard the four directions, while the two at the top on either side of the central column symbolize attendant bodhisattvas, or the Nio, guardians who protect the Buddhist Law. This kesa is sewn from a textile with bold roundels with dragon and phoenix motifs.

Embroidered cross from an Omophorion late 17th or early 18th century Ottoman Formed as sprays of floral ornament, this embroidered cross from a bishop's outer stole, or omophorion, reflects the eastward spread of the Baroque style via Venice. This embroidered cross and its pair (see 17.120.107) depict the Crucifixion of Christ and the Pentecost, surrounded, respectively, by the writers of the Gospels and four prophets.. Embroidered cross from an Omophorion 219960

Christ as a child, seated, right hand raised in gesture of blessing, surrounded by elaborate ornament ca. 1480-1520 Anonymous, Italian, 15th to 16th century Italian. Christ as a child, seated, right hand raised in gesture of blessing, surrounded by elaborate ornament. Anonymous, Italian, 15th to 16th century. ca. 1480-1520. Woodcut. Prints

ChaIIce veil, embroidered, white Christ with Saint Thomas unknown

Buddhist Priest's Robe (kashaya), early 18th century, L.95 1/2 x W.45 1/8 in, Silk, China, 18th century, Silk kashayas, probably belonging to high-ranking abbots and senior monks, are more sumptuous than the cotton and hemp robes worn by the general priesthood. This robe is a ceremonial object of imperial sponsorships accounting for the inclusion of imperial imagery with gold dragons cavorting within the imperial landscape. Buddhist outer robes are cut as a horizontal rectangle designed to be draped over the left shoulder, under the right arm, and fastened under the left shoulder with ties. The ritual garment is fabricated from small squares and panels that are outlined in bias strips of yellow silk. Ironically, this convention symbolizes the humble nature of the clothing of Buddha, who having renounced wealth, made his garments from discarded and donated cloth fragments. While this kashaya was woven in an imperial workshop, expensive silk brocade donated by the lay public, were typica

Chasuble made of silk fabrics unknown

Man's Ceremonial Head Cloth (Iket Kepala Prada Setangan, Destar). Indonesia, Java, Lasem, circa 1880. Costumes. Stamped wax resist (batik) on machine-woven cotton, natural and synthetic dyes and applied gold leaf

Vasudhara Mandala dated to 1777 (Samvat 897) Nepal Standing at the center of this mandala is the golden image of Vasudhara (stream of gems”), a Buddhist goddess of wealth and abundance who also embodies the pursuit of learning and the totality of Mahayana ideology as symbolized by the Perfection of Wisdom sutra that she holds in her upraised left hand. To Vasudhara’s left is a green image of the Bodhisattva Vajrapani while a red image of the Bodhisattva Avalokiteshvara stands to her right. Members of Vajrapani’s army of yakshas, male nature deities associated with material wealth and protection, are placed throughout the mandala pouring gems out of sacks and opening treasure chests; this iconography further emphasizes Vasudhara’s role as bringer of prosperity. Immediately below Vasudhara is her main attendant, Ila Devi who mediates between the god and devotees. Protecting the portals of the central mandala are four yakshas sitting within yellow mandorlas that can be identified as Mani

Daoist Priest's Robe. Culture: China. Dimensions: 53 x 68 1/4 in. (134.6 x 173.4 cm). Date: late 18th-early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Vestment (For a Second-degree Taoist Priest) Made 1801-1850 China. Silk, warp-float faced 3 1 'S' twill weave self-patterned by areas of plain weave; edge bands and center back silk, warp-float faced 7 1 satin weave; embroidered with silk, gold-leaf-over-lacquered paper, and gold-leaf-over-lacquered-paper-strip-wrapped silk in satin and knot stitches; laid work and couching; inner collar and closures silk, weft-float faced 1 7 satin weave; collar patches silk, warp-float faced 7 1 satin weave; lined with ramie, plain weave; lining fragments silk, warp-float faced 4 1 satin weave . Han-Chinese

Funeral Shroud or Shawl (Bidak Galanapuo, TutupJenazah)

Priest's Stole 15th century Japan. Priest's Stole 68350

Orphrey of a chasuble, embroidered unknown

Church cope. unknown, author

Noh Costume (Kariginu) with Geometric Pattern 19th century Japan This robe's distinctive shokk pattern of linked hexagons and squares is traditionally linked to the title role of the sacred old man in the earliest Noh play, Okina. The dances that make up this play grew out of ancient shrine ceremonies. Often performed to open a Noh program at New Year's and other ceremonial occasions, Okina is both a ritual purification and a prayer for long life, peace, and prosperity. The type of Noh costume called kariginu, with its broad sleeves and round overlapping neckband, is based on the informal garb of courtiers of the Heian period (794-1185). In Noh plays this type of robe is generally worn belted over broad divided skirts for male roles of nature spirits, gods, and noblemen.. Noh Costume (Kariginu) with Geometric Pattern. Japan. 19th century. Twill-weave silk with supplementary weft patterning. Edo period (1615-1868). Costumes

Holy Quran, guidance of life concept

Chasuble made of wool fabric unknown

Chasuble; 1st half 18th century (1701-00-00-1750-00-00);

Altar-cloth. unknown, author

Stole with Various Saints 14th century British. Stole with Various Saints. British. 14th century. Silk & metal thread on velvet. Textiles-Costumes-Ecclesiastical

Clavus band, Medium: Warp; S-spin two ply Z-twist linen. Wefts; S-spun linen, S-spun wools. Technique: slit tapestry with supplementary weft wrapping, Design of crowned figure (or a saint with a halo) and two bound captives., Egypt, 6th-7th century, woven textiles, Clavus band

Altar with doors, closed, Campione d'Italia, Lombardy, Italy.

Fragment of Coptic shroud unknown

Taoist Priest's Robe, Jiaqing period, 1796-1820, L.55-1/4 x W.49-7/8 in., embroidered silk brocade, China, 18th-19th century

Sacred Weaving(Geringsing)

Chasuble 16th century Italian This early-18th century chasuble is adorned with 16th-century orphreys; a notable example of how these embroidered bands were treasured, preserved and reapplied to chasubles from one century to the next. The skilled workmanship depicts 4 church figures: St. Anthony of Padua, with a book as Doctor of the Church; possibly St. Leonard of Porto Maurizio, with a large cross alluding to the devotion of the Stations of the Cross, which he championed; St. Francis of Assisi, shown with stigmata, and St. Bonaventure, with a book as a Doctor of the Church, as well as a double-barred cross and the red hat of a cardinal. The figures of both Sts. Leonard and Bonaventure are cut off, which indicates that the embroidery is being re-used. It is possible that since all of the saints depicted are Franciscans, the piece may have been originally made for Franciscans.. Chasuble 157832

Fragment of Coptic shroud unknown

ChaIIce veil embroidered, white - Mother of God with Child (silver cats, gilded) unknown

Altar Cloth Japan. Altar Cloth 68400

Priests robe, compound twill

Miscellany of Prayers and Suras from a Qu'ran dated A.H. 1250/A.D. 1834 Abu Talib al-Isfahani. Miscellany of Prayers and Suras from a Qu'ran 455288

Our Lady of Ostrobramska; Balcewicz, Franciszek Wacław (fl. Ca 1748-1760); 1750-1780 (1750-00-00-1780-00-00);

Embroidery of Saint Peter and Saint Paul, fourteenth century, tomb of Saint Narcís, church of Sant Feliu, Girona art museum, Girona, Catalonia, Spain.

Ceremonial Weaving (GeringsingWayang)

Ok, the icon of the Virgin Mary in the Wzezimierz (); unknown provincial workshop (1600-1970); XVIII-XIX century (1701-00-00-1900-00-00);Bronisław Krystall. Testament (Warsaw - Exhibition - 2015/2016), Jesus Christ, Krystall, Bronisław (1887-1983), Krystall, Bronisław (1887-1983) - collection, Maria (Mother of Jesus Christ), Our Lady of Eleus (iconogr.), Mother, Mother Divine Włodzimierska (iconogr.), Mother of God with the Child (iconogr.), Icon compresses, transmission (provenance), fabric

A door in Wat Suthat, Bangkok,Thailand.

Lay Aristocrat's Robe (Chuba) 18th-19th century Tibet. Lay Aristocrat's Robe (Chuba) 70737

catholic priest stole old coat pattern texture

Resurrection, 'Noli me tangere,' Journey to Emmaus and Supper at Emmaus. unknown c. 1480-1520 Tapestry Dimensions: H 6'1" x W 13'9" Tapestry Materials/Techniques: unknown Culture: Southern Netherlands Weaving Center: unknown Ownership History: French & Co. purchased from Felix Gouled, received 11/30/1949; sold to Madison Avenue Presbyterian Church 9/26/1962. Left, risen Christ, holding banner, appears from grave before group of frightened soldiers; center, St. Mary Magdalene kneeling before Christ, as gardener with hoe; right, 2 disciples, Cleopas & Peter meeting Christ; right background, at table, Christ is recognized by Cleopas & Peter, while he blesses bread Fragment of tapestry; borders missing. French & Co. stock sheet in archive, 80912 also lists: 47732

Manuscript Cover with Prajnaparamita Flanked by Buddha Shakyamuni or the Jina Buddha Akshobhya (left) and Amitayus, the Buddha of Eternal Life (right), From a Prajnaparamita (The Perfection of Wisdom) Manuscript. Western Tibet (), 14th century. Manuscripts. Wood with traces of opaque watercolor and gold

Cover (interior) of a Buddhist Manuscript with Scenes from the Valahassa Jataka. Nepal, late 16th century. Manuscripts. Wood with opaque watercolor

Back of a chasuble. Culture: Flemish, possibly Brussels. Dimensions: L. 48 1/2 x W. 38 inches (123.2 x 96.5 cm). Date: 1525-50. Museum: Metropolitan Museum of Art, New York, USA.

Ritual Cloth(Mawa’)

Ritual Cloth(Bidak)

Fragment of Coptic fabric unknown

Prayer Rug Made 1850-1900 Caucasus. The representation of hands on either side of the arch is found almost exclusively on Caucasian prayer carpets. They are traditionally associated with the placement of the faithfulís hands during prayer. Additional symbolism has developed, based on Koranic references to the Hand of Allah, which can be associated with the magic number five, derived from the five basic beliefs of Islam, the five daily prayers, and the five members of the Prophetís family Mohammed, Ali, Fatimah, Hasan and Husain.. Wool; plain weave with supplementary wrapping wefts forming cut pile ( Turkish /Ghiordes) knots .

Sutra Cover with Phoenixes and Auspicious Fungus (Lingzhi) 16th century China. Sutra Cover with Phoenixes and Auspicious Fungus (Lingzhi) 50512

Chasuble late 15th-early 16th century Spanish. Chasuble. Spanish. late 15th-early 16th century. Silk, metal thread. Textiles-Costumes-Ecclesiastical

Temple hanging, 18th century, H.105 x W.47 in., tapestry, China, 18th century

Leżajsk photography of a baroque chasuble from the church of St. Of the Trinity (formerly Gods) unknown

. Kazuifel with silk embroidery on yellow silk satin. The decoration consists of flowers, tendrils, leaves, hare and lambrequin motifs. The Kazuifel is part of a couple (BK-2008-176-A to E). Paraments from St. Franciscus Xaverius church 't Zand in Amersfoort, according to tradition by Baronesse van Stoutenburg of the Slot Stoutenburg at Amersfoort donated to the church in the form of a wedding juke and then entertained to paramel. On the basis of dust direction and nature and direction of the ornament it seems to be originally to go tablecloth or bed decade.

Chasuble (Opus Anglicanum). Culture: British. Dimensions: Overall (Chasuble): 51 x 30 in. (129.5 x 76.2 cm). Date: ca. 1330-50.Embroidery produced in England from the thirteenth through the fifteenth century was so celebrated that it was known simply as opus anglicanum (English work). This chasuble is one of the finest surviving examples. Depicted on the front are Saints Peter, Paul, Andrew, and James. On the back are the Coronation of the Virgin, the Adoration of the Magi, and the Annunciation as well as inscriptions. This chasuble, a sleeveless mantle worn by the priest during Mass, was trimmed down in the sixteenth century to conform to current fashion. As a result, the heads of Saints John the Evangelist and John the Baptist were, alas, cut away. Museum: Metropolitan Museum of Art, New York, USA.

Motives with Buddhist elements, Reijer Stolk, 1906 - 1945 print Three columns with motifs with a sitting Buddha (in the middle) and other Buddhist elements. paper Hinduism, Buddhism, Jainism

Hood of a church cope. unknown, author

Priests Robe (Kesa)

Daoist Priest's Robe late 18th-early 19th century China. Daoist Priest's Robe 65366

Womans Ceremonial Skirt (Lau Pahudu)

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 464517

Sampler, Mary Pearsey, English, Medium: wool embroidery on linen foundation Technique: embroidered in cross stitch on plain weave foundation, Alphabets and numerals followed by 'then when Mary was come where Jesus was and saw him she fel down at his feeting saying unto him Lord if thou hadst been here my brother had not died when jesus therefore saw her weeping and the jews also weeping which came with her in the spirit and was troubled' followed by floral and religious motifs, lion and crown, then Mary Pearsey Aged 9 the year 1842., England, 1842, embroidery & stitching, Sampler

Illuminated Page from a Manuscript of the Qur'an (56:79), single-sided

Fragments of embroidery from the chasuble unknown

Ceremonial Hanging/Shroud (Porisitutu) Indonesia. Two panels joined; cotton, warp resist dyed (warp ikat) plain weave .

Food Offering Cover (TutupMakan)

Noh Costume (Surihaku) with Chinese Bellflowers. Culture: Japan. Dimensions: Overall: 68 1/4 x 57 1/4 in. (173.4 x 145.4 cm). Date: 18th century.Blooming in the middle of the eighth lunar month, the Chinese bellflower (kikyo), with its star-shaped blossoms, is celebrated as one of the seven autumn grasses. The execution of the simple floral motif on this robe is reminiscent of background designs painted in gold and silver on poem cards and handscrolls by artists of the Rinpa school, beginning with Tawaraya Sotatsu (d. ca. 1640). Surihaku robes are decorated with patterns of gold or silver leaf affixed with paste to a plain-colored background. In Noh performances, they are worn as inner garments, often covered and seen only at the collar or shining almost imperceptibly through a gauzy cloak, but sometimes outer garments are draped or wrapped in such a way as to expose the surihaku's chest area or right sleeve or even the entire upper portion of the robe. Museum: Metropolitan Museum of

Edward Jewett, Antependium of Altar, 1939 Antependium of Altar

Pair of Manuscript Covers with Buddhist Deities 11th-12th century Nepal This pair of painted wooden manuscript covers shows a series of Buddhist deities seated on lotus thrones before aureoles, interspersed with cauri-fans hanging above and ritual utensils below. Above are nine bodhisattvas, with Manjushri at center; below, Prajnaparamita is accompanied by six other Taras, flanked by two wrathful guardians.. Pair of Manuscript Covers with Buddhist Deities 37792

Emblem of the imperial dignitary Kiss with the image of the dragon Long unknown

Church napkin. unknown, author

Court Robe late 18th century China. Court Robe. China. late 18th century. Silk, metallic thread. Qing dynasty (1644-1911). Costumes-Embroidered

Carpet 16th century This prayer rug or sajjadah, identified by its central niche design, the Quranic inscriptions in its border, and the names of God in its spandrels, is consistent with a group of carpets thought to have been a diplomatic gift from the Safavid Shah ‘Abbas I to the Ottoman sultan Murad III (r. 1574-95). Because some of the verses promote a Shiite perspective by referring to the intercession of Shiite imams with God, the group was apparently never used by the Sunni Ottomans. This carpet feature warps in two colors-one of a natural, undyed fiber and the other of a rarely seen intense red-that are arranged in an irregular pattern. Microscopic investigation has revealed remnants of the original selvage, or the woven edge, which is similar to some of those found on the masterpiece Safavid Carpets from the early sixteenth century.. Carpet 446951

Ceremonial Hanging (palepai) Made 1801-1900 Sumatra. Cotton, silk, gold-leaf-over-lacquered-paper strip wrapped bast fiber (probably ramie), and silver-leaf-over-lacquered-paper strip wrapped cotton, plain weave with supplementary brocading wefts .

Sampler, Medium: silk embroidery on linen foundation Technique: embroidered in two-sided cross, long-armed cross, eyelet, knot, back, and double running stitches on plain weave foundation, Long narrow rectangle with geometric pattern bands at the top, followed by spot motifs and religious motifs including the crucifixion and the Lamb of God; near the bottom a large house with a path leading up to it., Germany, 1752, embroidery & stitching, Sampler

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

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