Textiles and Ritual Garments

Various religious textiles including chasubles and ritual weavings, showcasing intricate patterns and craftsmanship in vibrant colors and materials.

pieces of a chasuble, medium: silk,linen, metallic Technique: two integratd structures; 2/1 twill with supplementart wefts and supplementary warp in 2/2 twill plus supplementary metallic weft, Ogee lattice with lancet leaves in yellow, red and white., 17th century, woven textiles, pieces of a chasuble

pieces of a chasuble, medium: silk,linen, metallic Technique: two integratd structures; 2/1 twill with supplementart wefts and supplementary warp in 2/2 twill plus supplementary metallic weft, Ogee lattice with lancet leaves in yellow, red and white., 17th century, woven textiles, pieces of a chasuble

Funeral Hanging (Kosa Sin) Made 1801-1900 Laos. Cotton and silk, plain weave with supplementary brocading wefts . Tai Lue

Chasuble, embroidered unknown

Ritual Weaving(Tampan)

Tangka with a Voro count of Hayagriva, Anonymous, 1600 - 1699 Painting on canvas (Tangka), representing Hayagriva. Tibet cotton (textile). dye. Painting on canvas (Tangka), representing Hayagriva. Tibet cotton (textile). dye.

Chasuble with Orphrey Bands Made 1501-1600 Seo de Urgel. Silk, satin damask weave; embroidered in silk and gold metal thread; Orphrey bands silk, velvet (cut); embroidered in silk floss and gold metal thread .

Kumari Vest. Nepal, circa 15th century. Costumes; principal attire (upper body). Multicolor silk embroidery in brick and chain stitch on yellow silk damask

Silk curtain for Torah unknown

Persian woman, so called polish unknown

Easter rug. On Easter, the resurrection of Christ is celebrated as the most important event of the church year. Only for this particular occasion is shown in the Middle Ages of the tapestry made of monastery Lüne. The animal pictures are symbolic: pelikan, eagle, phoenix and lion in the corners of the carpet symbolizing the resurrection.

Ritual Weaving(Tampan)

The Jesse Tree 12th Century Stained Glass Chartres Cathedral, France

Ritual Weaving(Tampan)

Ritual Weaving(Tampan)

Probably a Temple Hanging (Altered) Made 1801-1833 Japan. .

Formal Court Robe Altered for Lamaist Ritual Dance, late 19th century, L.53-1/2 in., Silk brocade and damask, Tibet, 19th century, Lamaist (Tibetan Buddhist) dancers wore colorful robes like this one when performing at religious festivals held at monasteries. The robe is actually an import from China. Initially a Chinese court robe, it was altered in Tibet, where the addition of large triangular panels and striped cuffs dramatically refashioned the original, tapered sleeves. Court robes with a dragon embroidered on the neck/chest were popular with Himalayan Buddhists. The Qing dynasty (1636-1912) court presented many dragon-festooned robes, along with other tribute silks, to monasteries in both China and Tibet.

Oriental carpet. Oriental carpet, prayer cloth, of knotted wool, decorated with a blue mihrab, stair facade top, filled with white arrow motifs. The switches are decorated with flowers. Three edges and four spiral sodes around midfield.

Altar frontal, Medium: cotton, linen, silk, metallic thread Technique: appliqué with satin, couching and chain stitch embroidery on plain weave, Altar frontal with an embroidered band that reads on the left 'imponebant manus super illos,' and at the right end 'et accipiebant spiritum sanctum.' Band is surrounded by scrolling vines. In central section, twelve medallions with figures of saints embroidered in brown and yellow silk surrounded by a scrolling vine embroidered in gold thread and red cotton. The saints (from left to right) are: the Virgin and St. Anne, The Virgin and Child, St. Henry of Bavaria (identification not certain), St. Christina, Joseph, a Bishop (not identified), St. Peter, Christ, St. Paul, John the Baptist, St. John and St. Francis., Germany, early-mid-19th century, embroidery & stitching, Altar frontal

Sampler, Elanor Guest, Medium: silk, metal-wrapped silk and hair embroidery, linen foundation Technique: satin, Montenegrin cross, long-armed cross, knot, stem, chain, rococo, and running stitches on plain weave, Alphabets, floral designs, verse, signature and Virgin and Child with Shepherds., England, early 18th century, embroidery & stitching, Sampler

Textile Fragment from the Dalmatic of San Valerius 13th century This brocaded textile was originally applied to a dalmatic of Andalusian manufacture. It belongs to a collection of vestments attributed to the cult of Saint Valerius, who was the bishop of Saragossa, Spain, from 290 until 315. During the eleventh century his body was transferred to the Cathedral of San Vicente de Roda de Isábena in in Huesca (Aragon) from where relics were dispatched to other churches. The textiles were made to venerate the saint, with the dalmatic worn on the occasion of his feast day.. Textile Fragment from the Dalmatic of San Valerius 450721

Chasuble with embroidered orphrey medalIIons with the Virgin with Child and Saint in half figure unknown

Ritual Weaving(Tampan)

Daoist priests robe 18th century China This is a formal outfit for Daoist ceremonies, embroidered with a variety of animals that have religious significance. On top of the large roundel containing a pagoda are a red sun with a gold crow on the left and a white moon with a jade rabbit on the right. White cranes, symbols of immortality, are embroidered all over the robe. Along the bottom border is a mixture of different mythical animals, including blue and red dragons, unicorns, dragonfish, and a tortoise entwined with a snake (xuanwu), a mythical creature that symbolizes the north in the Chinese cosmic system.Front of the robe. The two panels along its collar are embroidered with the blue dragon (symbol of the east) and the white tiger (symbol of the west).. Daoist priests robe 68508

Fragment of Coptic shroud unknown

Pha-nung with Celestial Worshippers Design 18th century India for the Thai market. Pha-nung with Celestial Worshippers Design 74422

Cover, Medium: silk, metal thread Technique: embroidery with appliqué, Embroidered cover with religious scene, perhaps the Annunciation., Spain, 16th century, embroidery & stitching, Cover

Chasuble early 18th century Chinese, for European market. Chasuble 228845

Painting on Candra canvas, Anonymous, 1525 Painting on Candra canvas (Moon god). Nepal canvas. dye. Painting on Candra canvas (Moon god). Nepal canvas. dye.

Church servet; beginning of the 18th century (1701-00-00-1710-00-00);

Ceremonial cloth and sacred heirloom mawa or ma'a from Gujarat, India. Date/Period: 17th century. Textile,cotton, natural dyes, mordants. Height: 1,070 mm (42.12 in); Width: 5,000 mm (16.40 ft). Author: Indonesia) Toraja people (Sulawesi.

Embroidered picture, Medium: linen, silk, metal Technique: embroidered, Small oblong pictorial embroidery, possibly for a bible cover, worked in petit point in colored silks with metallic threads as background. On the left, a bearded man sitting at a table reading, with an angel standing over his shoulder and a bird above; on the right, a Moses holding the two tablets in front of his chest. Arranged in squares with a floral decoration in the center., England, 17th century, embroidery & stitching, Embroidered picture

Welum; 18th century (1701-00-00-1800-00-00);Singing Christ (iconogr.), Society for the Care of the Monuments of the Past (Warsaw - 1906-1944) - collection, embroidery, flowers, church parameters

Hood of a church cope. unknown, author

Chasuble with embroidered orphrey unknown

Stole with the Martyrdom of St. Catherine. Culture: German. Dimensions: Overall: 7 3/4 x 19 1/4in. (19.7 x 48.9cm). Date: ca. 1200.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. Museum: Metropolitan Museum of Art, New York, USA.

Part of a Skirt Made 1850-1899 India. Fine chain stitch embroidery has been a specialty of the Kutch region for centuries. This textile, decorated with a floral border and repeating pattern of dancing woman and large flowers, once formed part of a womanís skirt.. Silk satin; embroidered in silk chain stitch .

Chasuble Made 1695-1705 France. Silk and linen, plain weave; watered; underlaid with silk and linen, plain weaves; appliquÈd with silk, twill weave, cut solid velvet; embroidered with silk in satin stitches; couching; glass beads; edged with woven fringe .

CASULLA DEL ARZOBISPO DON SANCHO-ESPALDA. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Vajravarahi. Date/Period: 18th century. Painting. Mineral pigment on prepared fabric with silk brocade Mineral pigment on prepared fabric with silk brocade. Author: UNKNOWN.

Chasuble 16th century Italian or Spanish. Chasuble 219820

Nine Deity Offering. Date/Period: 19th century. Painting. Ground mineral pigment on cotton Ground mineral pigment on cotton. Author: UNKNOWN.

Kalaga - Burmese Embroidered Tapestries

Ritual Textile (PuaKumbu)

Ceremonial Textile (Tampan) Lampung artist 19th century Situated along the Sunda Strait between Java and Sumatra, a crucial trade route since antiquity, the Lampung region of southern Sumatra has long been a crossroads of cultures and artistic traditions. Lampung's sumptuous textile traditions reflect the enormous wealth brought to the region through the trade in pepper, which grew in abundance. The women of Lampung developed a rich variety of textiles that included ceremonial forms as well as other types, which were used as clothing. Among the most visually striking Lampung textiles are the intricately woven tampan, small square-shaped cloths that were exchanged during important rites of passage. Tampan were owned and used by virtually every Lampung family to consecrate ritual occasions and to assist each individual as he or she progressed through the diverse ceremonies that marked the various stages of life. Tampan were displayed or exchanged at both birth and death, at marriages, ci

Band, Medium: warps of spun cotton; wefts of spun rabbit hair and goose feathers with cotton Technique: slit tapestry, Lattice pattern with a cross in each diamond-shaped field. The lattice and crosses are white outlined with red, on a brown ground., probably Mexico, late 15th-mid-17th century, woven textiles, Band

Chamba Rumal with the Mahavidyas. India, Himachal Pradesh, probably Basohli, circa 1800. Textiles. Silk embroidery on cotton ground

Chasuble. Culture: Spanish. Dimensions: L. 40 1/2 x W. 25 inches102.9 x 63.5 cm. Date: late 16th or early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Cover, Medium: linen Technique: embroidered in feather stitch, White linen with border embroidered in blue and brown in design of a band of scrolls with diagonally-placed ornaments; in the center an embroidered ornament composed of a cross and four oval motifs. Cover is edged with bobbin lace. Embroidery is in feather stitch., Spain, 18th century, embroidery & stitching, Cover

Cloth; PUA Kumbu; Baya Belanggai. Central is the motif of the Baya Belanggar, the crocodiles that face each other.

Manipel of gold brocade with flower pattern, so -called "bizarre" design ,, c. 1706 - c. 1707 Manipel of gold brocade with flower pattern, so -called "bizarre" design. With two golden crosses on both sides. Long gold -colored fringe on both ends. France (possibly) silk Manipel of gold brocade with flower pattern, so -called "bizarre" design. With two golden crosses on both sides. Long gold -colored fringe on both ends. France (possibly) silk

Oriental carpet. Oriental carpet, prayer dress. In midfield a golden yellow mihrab with a brown-black grid pattern and flowers. In the top of the niche an amuletic ornament. Five-fold border whose widest with a kufic pattern.

Fragment of a kazuifel with embroidered representation of Mary Magdalena and Saint Lucia, Anonymous, c. 1450 Fragment of Kazuifel with embroidery. The embroidery has an image of two saints, namely Mary Magdalena and Saint Lucia. Netherlands textile materials embroidering Fragment of Kazuifel with embroidery. The embroidery has an image of two saints, namely Mary Magdalena and Saint Lucia. Netherlands textile materials embroidering

Decorative Pendant early 15th century China Silk textiles played important roles in the culture of the early Ming dynasty, both in religious practices and as formal gifts to Tibetan Buddhist clerics and other visitors to the Chinese court. This pendant, embroidered with a conch shell and other auspicious objects on lotuses, may once have hung from the crown of a large sculpture of a Buddha. A Tibetan inscription on the back indicates that the silk was given by the master or abbot of a place named Kungalegpa (as yet unidentified), for the purpose of bringing knowledge and good fortune to the mothers of sentient beings.. Decorative Pendant 42115

Photo production of a painting by an unknown praying woman for an altar, Anonymous, 1851 - 1900 photograph paper albumen print / perforating adult woman. altar

Chasuble with the Madonna of Guadalupe, 1756, Goldsmith's art and textile art from the 16th to the 20th century, St., Saint, Saint

Fragment, Medium: silk, metallic Technique: 4&1 satin patterned by 3/1 twill, Christ and Mary Magdelene beneath a tree. Partial horizontal repeat including Mary Magdalene., Italy, 15th century, woven textiles, Fragment

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

Band with two horsemen 8th-9th century Coptic Men on horseback have traditionally represented symbols of political, military, or religious power.To Christians, men on horseback also gained an eschatological meaning, representing thehope for an ultimate victory soon to be won. This vibrant textile band features two horsemen in a vertical pattern on a yellow ground. Mounted and turning back, two men wear close-fitting garments, caps and boots that were closely associated with contemporary Persian attire.. Band with two horsemen 329981

Banner dated A.H. 1235/ A.D. 1819-20 Inscribed with the names of God, the Prophet Muhammad and the first four leaders of the Muslim community, and bordered by Qur'anic verses, this silk sanjak (shield-shaped banner) displays an image of a two-bladed sword with a dragon-headed hilt. Referred to as Dhu'l Fiqar and associated with military victory, this sword is said to have belonged to 'Ali, the cousin and son-in-law of the Prophet. While Ottoman banners similar to this one were used as military insignia from the 15th century onward, this example bears an early 19th century date, and may have been borne instead by the faithful during pilgrimage to Mecca.. Banner. dated A.H. 1235/ A.D. 1819-20. Silk, metal wrapped thread; lampas, brocaded. Attributed to Turkey, probably Istanbul. Textiles-Woven

Chasuble (Italy); silk, metallic trim, linen lining

Noh Costume (Atsuita) with Clouds and Hexagons 19th century Japan Characteristic of the type of Noh robe known as atsuita, used for male roles, is this plain-weave robe with a bold supplementary weft pattern of scattered clouds over clusters of hexagons enclosing a stylized blossom. A conventional tortoise-shell pattern of interlocking hexagons, expressing auspicious connotations of long life, is combined here with clouds, a motif associated with supernatural power.. Noh Costume (Atsuita) with Clouds and Hexagons 50803

Cut-paper Card with The Lord's Prayer ca. 1830 Martha Anne Honeywell Miss Honeywell could, with amazing skill and precision, embroider, cut, do needlework, write, and draw using her mouth. In this astounding example, Miss Honeywell has created a complicated decorative frame with a microscopic but legible Lords Prayer that could fit under a five-cent piece.. Cut-paper Card with The Lord's Prayer 701205

Dalmatics of green velvet with embroidery, anonymous, c. 1500 - c. 1525 Dalmatics of green velvet with embroidery. Saints are embroidered on wide strips at the front and along the neck, among others. Saint Catharina and Saint John. Netherlands velvet (fabric weave). embroidering Dalmatics of green velvet with embroidery. Saints are embroidered on wide strips at the front and along the neck, among others. Saint Catharina and Saint John. Netherlands velvet (fabric weave). embroidering

Calouste Gulbenkian Museum. Prayer niche (Mihrab). Iran. Kashan. Signed and dated A.D 1311.

Chasuble Made 1745-1755 France. Wool, 2 2 twill weave; embroidered with wool in chain and running stitches; couching and French knots .

Embroidery; 1. PO. 16th century (1501-00-00-1550-00-00);Arma Christi (iconogr.), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899) - collection, angels, embroidery, crown of thorns, tools of the Passion (iconogr.), Liturgical robes

Mandala or Iconographic Panel, 18th century. Tibet, 18th century. Embroidery; silk and metallic threads; average: 52.4 x 46.4 cm (20 5/8 x 18 1/4 in.).

Chasuble 15th-16th century German. Chasuble 222938

Picture Coronation of Mary unknown

Chasuble 18th century Italian. Chasuble 229540

Chasuble unknown

Chinese Taoist Priest's Robe Tapestry / Textiles

Daoist Priest's Robe (jiang yi), Late 18th century, Embroidered and appliqued satin, China, 18th century

Embroidered Stola, 1700s. Italy, 18th century. Silk and silver thread on silk damask ground; embroidery; overall: 213.3 x 24.8 cm (84 x 9 3/4 in.). Sheaves of wheat and bunches of grapes, symbols of bread and wine in the Mass, are embroidered with silver-metal thread amid scrolling leaves on the green silk-damask ground. Liturgical colorswhite, red, green, and black, purple, or bluemandated by Pope Innocent III in the late 1100s were widely ignored by the 1700s, replaced primarily by a lavish use of gold, silver, and pastel silk thread embroidered on white silk fabrics. Long matching stoles were worn under the chasuble in styles that identified deacons, priests, and bishops.

Leaf with 24 saints in four rows, Simon Haichele, 1740 - 1750 brocade paper Leaf with 24 saints in four rows; At the top left Iesus Amabilis, at the top right S. Barbara, bottom left S. Petrvs, bottom right Christvs Dolor. Numbered at the bottom: 28 Augsburg paper. paint (coating) relief printing female saints. saints. Christ

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) 226633

Food Offering Cover (Tutup Makan, TutupDulang)

Fragment of embroidery the Virgin and Child with Saint Anne unknown

Caucasian Kazak carpet unknown

Banner with a Quartered Royal Arms of Spain and the Madonna and Child, 1500s. Spain, 16th century. Red and dark brown velvet, embroidered; fringe; overall: 109.2 x 138.4 cm (43 x 54 1/2 in.).

Merklap from wool muslin on silk cross signs a symmetrical pattern with birds, flowers, animals and Anna of Ryn ick leather nor, I'm nor Iongh and crowed Maer Godt writhed this in Min. Loof.godt.vo. Al.in.Warmondt.1685 .. Layout: Symmetrical. The monstrans at the bottom left indicates a Roman Catholic girl. The band pattern with the alternative birds has been taken from Quentel, Eyn New Kunstlich Boich, first edition Cologne, 1527.

Part of a Temple Hanging depicting Krishna, Late 19th Century. Design represents the Hindu god Krishna vanquishing the serpent demon Kaliya. Krishna is a crowned blue figure wearing jewellery and a sarong... This fragment from a temple hanging is one of a large group of South Asian printed and painted cotton textiles collected in the late nineteenth century by Sir Caspar Purdon Clarke.. It would have been hung in a temple to tell the stories of the gods.. 'Madras' in this context probably means 'Madras Presidency' as these come from Tamil Nadu and Andhra Pradesh. Based on the colours, this piece could be from Kalahasti, just north of Madras, today in Andhra Pradesh. The colours used are from natural sources, although synthetic dyes had been introduced to Madras by this period. .

Russia, Golden Ring city of Yaroslavl. 17th century Church of Elijah the Prophet (aka Tserkov Ilyi Proroka) located on Sovietskaya ploshchad, interior. UNESCO

Daoist Robe 17th century China This dazzling garment would have been worn by Daoist priests during ceremonies. The back of the robe, which is displayed here, depicts five dragons hovering above a primordial landscape of stylized mountains rising from a frothy sea.. Daoist Robe 53609

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 (). The fragment belongs to six fragments with Invnrs. BK-NM-9403-A T / M BK-NM-9403-E-B.

Set of liturgical garments, embroidered - chalice veil unknown

Achala, King of the Wrathful Ones (previously identified as Vighnantaka), early 1200s. Mongolia, Tangut Xia, Khara Khoto (1032-1227), early 13th century. Thangka, silk tapestry; overall: 100.6 x 74.3 cm (39 5/8 x 29 1/4 in.); mounted: 111.1 x 83.8 x 7 cm (43 3/4 x 33 x 2 3/4 in.). Close ties between the Buddhists of the Central Asian Tangut Xia kingdom and Tibetan monasteries resulted in works of devotional art, such as this tangka, featuring a remover of obstacles. The imagery has its roots in Nepal, where Vighnantaka was summoned by a powerful practitioner to defeat the Hindu god Ganesha, who was disturbing the proper performance of a tantric Buddhist ritual. For this reason, Ganesha and his father Shiva are being trampled under the feet of Vighnantaka. Vighnantaka is an emanation of the Buddha Akshobhya, who is blue in color and is invoked to aid in quelling anger. This Buddha appears in his crown and as the central figure among the group of five transcendent Buddhas, who are funda

Chapel of the Holy Christ of Miracles, reserve of the Most Holy, Cathedral of Santa María de Huesca, Gothic style, late 13th century, completed at the beginning of the 16th century, Huesca, Aragon community, Spain.

Top of the pall, embroidered, white Saint Agnes unknown

Ritual Weaving(Tampan)

Ceremonial Hanging(Palepai)

Chasuble made of silk fabrics unknown

DALMATICA DEL CARDENAL FONSECA. Location: CATEDRAL-INTERIOR. Toledo. SPANIEN.

Devotional Image with the Virgin of Einsiedeln, Pen and ink, brush and gouache, gold paint on cloth-covered cardboard, Vertical rectangle with white lace on a red ground. At center, a cartouche with a devotional figure and child. Below, in gold paint: Maria Einsidlensis., Switzerland, ca. 1750, decorated papers, Cut paper, Cut paper

Inscribed Banner dated A.H. 1107/A.D. 1695-96 Isma'il Kashani The inscriptions on this rare Persian ceremonial banner invoke divine protection and assistance. The lobed medallions enclose quotations from the Qur'an, lauding God as "the best Protector" and "Opener of Doors." Banners such as this were carried into battle, or borne by the faithful in religious processions. They appear in illustrated manuscripts such as the Shahnama of Shah Tahmasp and are described by travelers to Iran in the seventeenth century. The name of the maker, Isma'il Kashani, is inscribed in the center of the blue cartouche. The details of the textile indicate careful planning, beautiful execution, and luxury with no expense spared.. Inscribed Banner 449535

Sheikh Zayed bin Sultan Al Nahjan Mosque, Grand Mosque, the third largest mosque in the world, Abu Dhabi, United Arab Emirates, Asia

Embroidered Front of an Altar, 1600s - 1700s. Italy or Spain, 17th-18th century. Embroidered satin and silk; overall: 108 x 209.5 cm (42 1/2 x 82 1/2 in.). This spectacular cloth with raised three-dimensional embroidery embellished the front of an altar. Lavishly applied gilt-metal thread creates architectural embellishments enhanced by grand vases displaying sheaves of wheat in the upper corners and bunches of grapes in the center of the fringed over-frontal, referring to the bread and wine of the Mass. The central coat of arms represents the Order of the Blessed Virgin Mary of Mercy, a Roman Catholic mendicant order established in 1218 by Saint Peter Nolasco in the city of Barcelona, Spain, then in the principality of Catalonia (crown of Aragon).

Back of a chasuble unknown

DALMATICA MORISCA - SIGLO XV. Location: CATEDRAL DE CRISTO SALVADOR-MUSEO. AVILA. SPAIN.

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