Textiles and Traditional Garments

A collection of vibrant textiles including a man's tunic, ceremonial skirt, and veils featuring intricate patterns and traditional embroidery techniques.

Woman's veil (chadar), mid 20th century, 93 x 54 in. (236.22 x 137.16 cm), Cotton, silk, metallic threads; embroidery, Pakistan, 20th century, The Mangal are a nomadic group inhabiting border areas in the east Afghanistan/west Pakistan region. Although their embroidery reveals the influence of other communities in both countries, this veil, with its high degree of abstraction, appears to be uniquely Mangal. 'Wrong-sided' stitching along one edge shows where the veil was folded back to frame the wearer's face with an embroidered border of triangular design.

Man's Tunic

Chasuble; linen warps, silk wefts

Woman's veil (chadar), mid 20th century, 93 x 54 in. (236.22 x 137.16 cm), Cotton, silk, metallic threads; embroidery, Pakistan, 20th century, The Mangal are a nomadic group inhabiting border areas in the east Afghanistan/west Pakistan region. Although their embroidery reveals the influence of other communities in both countries, this veil, with its high degree of abstraction, appears to be uniquely Mangal. 'Wrong-sided' stitching along one edge shows where the veil was folded back to frame the wearer's face with an embroidered border of triangular design.

Ritual Textile (PuaKumbu)

Womans Ceremonial Skirt (Tapis)

CASULLA SEDA BORDADA EN HILO ORO Y PLATA S XVII. Location: CATEDRAL DE CRISTO SALVADOR-MUSEO. AVILA. SPAIN.

Ritual Weaving (PuaKumbu)

Doek, Anonymous, 1900 - 1949 Cloth with tree of life and spirit figures. Sarawak cotton (textile) Cloth with tree of life and spirit figures. Sarawak cotton (textile)

Javanese batik with the figural decoration Cain Head Tumpal unknown

Prayer Rug 1795-96. Prayer Rug 447519

Ritual Weaving(Tampan)

Fragment of an Eastern carpet, c. 1600 - c. 1699 Fragment, right half of an oriental carpet, prayer rug, ushak carpet. Omega-shaped frame of a double mihrab in midfield. Half of a rosette in the middle. The edge is decorated with angular flower vines. Ushak wool Fragment, right half of an oriental carpet, prayer rug, ushak carpet. Omega-shaped frame of a double mihrab in midfield. Half of a rosette in the middle. The edge is decorated with angular flower vines. Ushak wool

Ceremonial skirt, 54 x 40 in. (137.16 x 101.6 cm), Cotton, Myanmar (Burma)

The Sacrifice of Isaac, Medium: Warp; S-spun, Z-twist linen. Wefts; S-spun linen, S-spun wools Technique: slit tapestry with supplementary weft wrapping, Band divided into three sections. The central section shows a scene of Abraham about to sacrifice Isaac. The hand of God comes in from the upper left. Geometric pattern on either side., Egypt, 6th-8th century, woven textiles, Band, Band

Ritual Weaving(Tampan)

The Pazyryk burials are a number of Iron Age tombs found in the Pazyryk Valley of the Ukok plateau in the Altai Mountains, Siberia, south of the modern city of Novosibirsk, Russia; the site is close to the borders with China, Kazakhstan and Mongolia. The tombs are Scythian-type kurgans, barrow-like tomb mounds containing wooden chambers covered over by large cairns of boulders and stones, dated to between the 6th and 3rd centuries BCE. The spectacular burials at Pazyryk are responsible for the introduction of the term kurgan, a Russian word of Turkic origin, into general usage to describe these tombs. The region of the Pazyryk kurgans is considered the type site of the wider Pazyryk culture. The site is included in the Golden Mountains of Altai UNESCO World Heritage Site. The bearers of the Pazyryk culture were horse-riding pastoral nomads of the steppe, and some may have accumulated great wealth through horse trading with merchants in Persia, India and China. This wealth is evident in

Womans Ceremonial Skirt (Tapis)

Ceremonial Cloth, c. 1875, Unknown Shiva cult, 121 x 37 in. (307.34 x 93.98 cm), Cotton; block print, India, 19th century

Church serve; beginning of the 18th century (1701-00-00-1710-00-00);gift (provenance), Evangelical Churches (equipment), flowers, butterflies, insects, church parameters, servets, tulips

Altar Frontal (Germany); cotton, linen, silk, metallic thread

Wedding veil (Phulkari), first quarter of the 20th century, 105 x 48 1/2 in. (266.7 x 123.19 cm), Cotton, silk; embroidery, India, 20th century, The Western world strongly associates beauty with good fortune. This connection is not taken for granted in South Asia. The region's folklore holds a deep-seated fear that beauty and happiness may attract the attention of envious evil spirits. Symbolic defacement serves as a protective charm. A black mark is drawn on a child's forehead; a dark spot is embroidered on a woman's wedding veil.

Ritual Weaving(Tampan)

Kain panjang (long sarong), Medium: cotton Technique: wax resist dyeing (batik) on plain weave, Long batik sarong (kain panjang) in dark blue, light brown, and white. Dark blue ground showing numerous white dots known as 'gabah sinawur' or 'grains of rice'. Also shows an all-over pattern of heraldic motifs 'semen' (curling tendrils and other non-geometric forms) and 'sawat' (wings and tail of Garuda, mount of Vishnu) as well as mountains ., Indonesia, 19th century, printed, dyed & painted textiles, Kain panjang (long sarong)

Daoist priest's robe. Culture: China. Dimensions: Overall: 54 x 73 in. (137.2 x 185.4 cm). Date: 18th century.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). Museum: Metropolitan Museum of Art, New York, USA.

Prayer Rug with Coupled Columns early 18th century The rich polychrome palette, dominated by deep red and including purple, shades of blue, green, yellow, white, and dark brown, is typical for carpets woven in Ladik during the later Ottoman period. However, the triple arch supported by sets of slim double columns and the tulips above and inside the medallions of the border both recall a famous sixteenth-century Ottoman court prayer rug (the Ballard double-column prayer rug also in The Met collection). The architectural feature is not common in Ottoman buildings. Recent scholarship suggests that the coupled-columns design on Anatolian prayer rugs may have originated in Nasrid Spain and traveled east to Cairo and Istanbul with the emigration of Sephardic Jews beginning in the late fifteenth century; they used a similar motif on parokhets (curtains that cover Torah arks in synagogues).. Prayer Rug with Coupled Columns. early 18th century. Wool (warp, weft and pile); symmetrically knotted

Bali's offerings, Indonesia.

Chasuble Back (England); silk, metallic

Ceremonial Hanging(Palepai)

Chasuble made of silk fabrics unknown

close ups of painting with gold colours at Sachkhand Gurudwarasaheb Gurudwara sahib, nanded, maharashtra, india Copyright: xManojxNavalkar/DinodiaxPhotox

Buddhist Vestment (Kesa) 18th century Japan This robe, an example of a Buddhist vestment (Japanese: kesa; Sanskrit: kashaya) meant to distinguish the clergy from laypersons, is made from a woven textile that was cut up and reconfigured into a rectangular, bordered patchwork. As such, these garments embody both a form of pious donation and the practice of recycling textiles. The labor-intensive practice of piecing together fragments of cloth into specific columnar layouts was itself considered an act of religious devotion. The auspicious pattern of interlocking circles, which has a long history in East Asian art, suggests the designs potential to continue endlessly in four directions. Various East Asian textiles with this type of pattern can be found in the mid-eighth century collection in the Shōsō -in imperial repository in Nara, Japan.. Buddhist Vestment (Kesa) 69886

Turkish prayer mat. TURKEY.

Bali MARCH 2024 - Balinese carving door Bali, Indonesia. Selective focus on the centre.

Burse, embroidered, white hierogram of the Virgin Mary unknown

Tapis, ceremonial skirt with squid pattern (cumi-cumi) iconography Probably 19th century Lampung people Womens initiation textiles feature in tribal and courtly culture across the islands of Indonesia, but few can rival those of the peoples of Lampung in Sumatra, whose tapis include ritual cloths that rank among the highest accomplishments of Indonesian textile art. The Lampung region was long renowned for the stature of its ancient Austronesian megaliths, the decorative influence of its Bronze Age and for the cultural impulse of the Srivijaya, a Buddhist-Hindu state that reached its apogee one thousand years ago. In later centuries extreme cosmopolitanism became a significant feature of the region, borne of its location as a maritime crossroads. Ideas and trade goods from China, India, Arabia, and Europe, were exchanged for the regions prized commodity, Lampung pepper and this extraordinary range of cultural and aesthetic influences created some of the most dynamic and compelling ex

"Bellini" Carpet 17th century The center of this carpet features a doubling of the distinct octagonal pattern found in some classical "Bellini" rugs (such as no. 22.100.114). The significance of this unusual keyhole-shaped motif is a source of debate. Some scholars interpretet it as a fountain associated with ablutions (ritual cleaning) before prayer or link it to a keyhole design known from depictions of the Kaba. This holy building in Mecca is traditionally shown as a black cubicle with a surrounding colonnade that resembles a keyhole. Others see in it a mihrab, or prayer niche indicating the direction of Mecca. While these interpretations all relate to prayer and symbolize a gateway to paradise, the shape also resembles the horseshoe arch found in the architecture of Islamic Spain and northern Africa.. "Bellini" Carpet 447547

Fragment van een Oosters tapijt.Fragment, right half of an oriental carpet, prayer cloth, Ushak carpet. On midfield omega-shaped frame of a double mihrab. In the middle half of a rosette. The edge is decorated with angular flower vines.

Oriental carpet. Oriental carpet with in the middle on midfield Eem blue diamond on a red ground. In the corners Palmetachige motifs on a blowing ground. The edge is decorated with geometric windows in which a cross.

Prayer Carpet Made 1850-1900 Turkey. Wool, plain weave with supplementary wrapping wefts forming cut pile through a technique known as Ghiordes (Turkish) knots; .

Hevajra Mandala. Culture: Tibet. Dimensions: Image: 21 1/2 × 17 1/2 in. (54.6 × 44.5 cm)Framed: 28 1/2 × 24 1/2 in. (72.4 × 62.2 cm). Date: 15th century.Hevajra appears here in his three-headed and four-armed form. This manifestation is drawn from the Hevajra Tantra, a text revered by the Sakya School of Tibetan Buddhism, possibly the patrons of this painting. Hevajra and his consort Nairatmya dance at the intersection of four vajra gateways, indicating their position at the center of the cosmos. Hevajra's name is composed of two syllables, "he," compassion, representing the male aspect, and "Vajra," wisdom, the female aspect, which together offer the path beyond the illusory world. The repeating skull symbolism references death and the impermanence of all phenomena. Beyond the celestial palace are the eight great charnel grounds, each presided over by a yogic master, or mahasiddha. On the reverse are inscriptions in an ornate Tibetan lantsa script of the Sanskrit mantra OH AH HUM an

Ritual Textile (PuaKumbu)

Cope. unknown, author

CASULLA DE LUTO O DE LAS CALAVERAS - SIGLO XVI. Location: MONASTERIO-INTERIOR. SAN LORENZO DEL ESCORIAL. MADRID. SPAIN.

Epigonation (Palitsa) 16th-17th century Russian Worn by a bishop over his right thigh, this vestment depicts the Holy Trinity in the guise of the three angels who visit the patriarch Abraham in Genesis 18. The Slavonic inscription in the border quotes a hymn of thanksgiving in praise of the Trinity, sung at the conclusion of Communion in the Orthodox rite.. Epigonation (Palitsa) 211512

Chasuble made of silk fabric unknown

Womans Ceremonial Skirt (Lau Pahudu)

Priests robe and stole

Pichhwai for the Festival of Cows late 18th century India, Deccan, Aurangabad () Large painted cloths (pichhwais) were made to hang behind the main image in a temple. This textile was produced for the Festival of Cows (Gopashtami), which occurs in the late autumn to celebrate Krishna’s elevation from a herder of calves to a cowherd. Note the range of cows and frolicking calves that populate the flower-strewn field. The indigo ground and extensive use of gold and silver are typical of pichhwais that were made for a community of Sri Nathji devotees who moved to the Deccan during this period.. Pichhwai for the Festival of Cows 65576

Chasuble back 16th century Spanish. Chasuble back 219722

Ceremonial Hanging (palepai) Made 1801-1900 Indonesia. The Paminggir aristocracy employed a type of ritual hanging commonly known as a ship cloth, a name that refers to one of the principal motifs of such textiles. These hangings display a very limited repertoire of patterns, including one or two red ships, a single blue ship, tree images, buildings, and rows of stylized anthropomorphic figures. The indigenous name for textiles of this type, palepai, probably goes back to the old Javanese word lepih, which means ìto foldî or ìto double.î Palepai served as markers of status and perhaps even denoted descent. Indeed, title, claim to leadership, and certain other privileges accompanied the possession of palepai. These textiles were also important requisites during rites of passage, such as marriage, death, or accession to a higher rankóevents that were thought to be unstable moments fraught with danger. The ship images that appear on this palepai would have indicated an appropriate agent o

Mosque Cathedral of Cordoba. Interior view of Mihrab in the Great Mosque (Mezquita). Calligraphy. Spain.

Sarong (Indonesia)

BOLSA DE LOS PEINES DE SAN RAMON. Location: CATEDRAL. RODA DE ISABENA. HUESCA. SPANIEN.

Apron (mantari), late 19th century, Unknown Ainu, 28 3/16 × 84 3/16 in. (71.6 × 213.84 cm) (including straps), Cloth: elm-bark fiber; cotton appliqué and embroidery, Japan, 19th century

Hand-woven textiles, Ikat Sumba, Hinggi, coat or cloak, around 1930, Sumba, Indonesia, Asia

Kashmir embroidery, Ladakh, India

Badge with Five-Clawed Dragon Surrounded by Plum Blossoms late 16th-early 17th century China Badges with festival symbols were not used at the Chinese court after 1644, and those showing plum blossoms are especially rare. Plum-blossom badges were appropriate for the winter solstice, a festival of the eleventh lunar month. Both the form of the dragon's head seen here and the embroidery technique have close parallels in the finds from Dingling, the tomb of the Ming-dynasty Wanli emperor (r. 15731620).. Badge with Five-Clawed Dragon Surrounded by Plum Blossoms 44117

Frontal for a Buddhist altar, late 19th century, L.38-1/8 x W.60-1/4 in, Embroidered satin, Tibet, 19th century, Buddhist altar tables were usually skirted with decorative silk frontals, especially for major ceremonies. Probably made for a Lamaist temple in China, this embroidered frontal combines both Tibetan and Chinese symbols in its design. A crossed vajra, or thunderbolt, appears in the center. At the intersection of the two thunderbolts is a black-and-white yin and yang symbol, which represents the 'balance of opposites' found in the universe, a concept developed by the Taoist philosophers of China. The background consists of lotus blossoms, a reference to the spiritual purity that this flower signified to all Buddhists. In the upper register six Chinese-style lanterns occupy a red ground. These most likely symbolize the 'lantern festival,' one of the celebrations associated with the Chinese New Year. In this context, they suggest that this altar frontal was used during New Year

Womans Ceremonial Skirt (Tapis)

Veil for the sacramental bread, embroidered unknown

Chasuble mid-18th century Italian. Chasuble 227282

Chasuble made of semi silk fabric unknown

Mosaic Floor from south aisle of church of Bishop Paul, i.e. ProcopiusChurch

Chasuble Front with Orphrey Cross Made 1401-1500 Florence. Although this chasuble (a priestís outer garment) is incomplete, its richly embroidered cross, known as an orphrey, remains intact. It features five saints, with Saint George and the slain dragon at center, and was probably used in Bohemia or Germany, where the embroidery was done. The combination of sumptuous velvet and embroidery is typical of 15th-century religious attire. These luxurious velvets were exported from the Italian peninsula to other European countries, as well as to the Ottoman Empire.. Chasuble silk and metal-wrapped thread, brocaded silk velvet with two heights of silk pile, and metal-wrapped threat boucle.Orphrey Cross silk and metal-wrapped thread, embroidered in flat and padded couching stitches and split stitches on linen plain weave foundation. .

Hindu ornament

Chasuble; 1797 (1797-00-00-1979-00-00);

Womans Ceremonial Skirt (Tapis)

Burse, embroidered hierogram of Christ unknown

Vajrayana Deities, Covers of a Manuscript. India, West Bengal, circa 1125-1150. Manuscripts. Opaque watercolor on wood

Finger embroidered, white Saint. Anna unknown

Arabian ornament

Chasuble. unknown, author

Mandala

'Bellini' Carpet first half 16th century The significance of the unusual "keyhole" motif in the bottom portion of this and other similar carpets is a source of debate. Some scholars interpret it as representing a mihrab (a niche indicating the direction of Mecca) or a gateway, while others see it as a fountain associated with ablutions performed before prayer. Carpets exhibiting this design have come to be known as "Bellini" carpets, after the Venetian artist Giovanni Bellini (d. 1516), who portrayed such weavings placed under the feet of the Madonna in his paintings. Listen to experts illuminate this artwork's story Listen Play or pause #6645. Overview: Ottoman Classical Carpets Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. 'Bellini' Carpet. first half 16th century. Wool (warp, weft and pile); symmetrically knotted pile. Attributed to Turkey, Ushak. Textile

Ceiling detail of a cathedral, St Edmundsbury Cathedral, Bury St. Edmunds, Suffolk, East Anglia, England

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

Buddhist Priest's Robe (Kesa) with Pattern of Swallows among Willow Branches 18th century Japan The textile used for the body of this seven-sectioned kesa features a lively design of swallows among willow branches on a reverse-swastika fret background (the reverse-swastika is a symbol of infinity in Buddhist thought). The kesas corner and central patches are made from a contrasting fabric patterned with pine boughs on a gold ground. The long floating pattern wefts seen on the surface of both examples are characteristic of karaori, which also lends its name to Noh costumes made of this type of textile. The border of a kesa usually is continuous; piecing in the border here is an indication that the textile used for this kesa was not woven specifically to be sewn into a vestment and may once have been a Noh robe or other garment. Treasured textiles and items of clothing often were given to temples for use as vestments and altar cloths.. Buddhist Priest's Robe (Kesa) with Pattern of Swall

Altar Frontal, early 18th century, L.36-7/8 x W.30-3/8 in., silk, satin, China, 18th century, Decorative textile panels like this were used to enliven altars in homes and temples during festive occasions. Most frontals are composed of two sections: a valance (upper section) and a main register, which are decorated with symbols appropriate to the use of the altar. Formal frontals like this one containing imperial dragon imagery were probably used on the ancestral altar tables of the nobility or within Confucian and Buddhist temples under court patronage.

Jaramarana is Sanskrit and Pali for 'old age' (jara) and 'death' (marana). In Buddhism, jaramarana refers to the inevitable end-of-life suffering of all beings prior to their rebirth in the cycle of sassara.

Carpet with Triple-Arch Design ca. 1575-90 This carefully drawn, subtly colored carpet is among the finest of all Ottoman weavings. One of the earliest carpets to include a triple-arched gateway, its design probably originated in the Ottoman imperial workshop. The hanging lamp in the center arch recalls verses from the Qur'an that liken God to the light of a lamp, placed within a niche. The combination of this carpets imagery, high quality, and relatively small size suggest that it was used as a prayer rug by a member of the Ottoman courtly elite.Related link:Link to Discover Carpet Art Website. Carpet with Triple-Arch Design 447509

Thimphu Bhutan

The sides of the embroidered chasuble unknown

Close-up of a Ningsia dragon carpet, China

Altar Frontal, 19th century, 37 ⅞ x 36 ⅝ in. (93.98 x 91.44 cm), silk, gold thread,cotton, embroidery, China, 19th century, In the center of the main rectangle, a large elephant bears a cauldron containing the Eight Treasures within a landscape of various plants associated with good fortune (orchid, peony, magnolia, fungus, chrysanthemum, bamboo) and clouds. The elephant, one of the most important elements in Chinese Buddhist art, was incorporated into court decorative art and given new meanings during the Qing dynasty. Here it would have represented the phrase taiping youxiang ('When the elephant presents itself, the universe is at peace'). In Chinese, the words for 'vase' and 'peace' sound the same, so images of an elephant with a vase (or cauldron here) is shorthand for the universe being at peace.

Fragment of Coptic shroud unknown

Funeral Shroud (Bidak, TutupJenazah)

Attush robe, late 19th century, Unknown Ainu, 48 × 45 1/2 in. (121.92 × 115.57 cm) (overall), Cloth: elm-bark fiber; cotton appliqué and embroidery, Japan, 19th century

Set of Ecclesiastical Vestments (Chasuble). Mexico, circa 1730. Costumes; ecclesiastical. Silk satin with silk and metallic thread embroidery and metallic braid trim

Chasuble with embroidered orphrey unknown

Colourful mythological paintings on the ceiling of Sone - Chandi Ki Dukaan, shop of gold and silver, Mahansar, Shekhawati, Rajasthan, India Colourful mythological paintings on the ceiling of Sone - Chandi Ki Dukaan, shop of gold and silver, Mahansar, Shekhawati, Rajasthan, India Copyright: xZoonar.com/RealityImagesx 21843578

Noh Costume (Surihaku) with Chinese Bellflowers 18th century Japan Blooming in the middle of the eighth lunar month, the Chinese bellflower (kikyō), 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 Sōtatsu (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.. Noh Costume (Surihaku) with Chinese Bellflowers 45198

Japanese Sono Koto. The thirteen strings on this instrument are made from silk and are strained to a single tension. Different notes are created through the movement of bridges.

Tunic. Culture: Quechua. Dimensions: H.18-1/2 x W. 39 in. (47 x 99.1 cm). Date: 16th-17th century (). Museum: Metropolitan Museum of Art, New York, USA.

Chasuble unknown

Manuscript illustrated with eighteen miniatures of e.g. Devi and demons, Krishna and Shiva. It probably contains two Hindu texts, one devoted to goddess Devi and the other devoted to Krishna. unknown, painter

Priest's Stole Japan. Priest's Stole 68389

Tibetan Wedding Skirt, 19th century, L.32-1/8 in., silk, China, 19th century

Priest's Stole ca. 1750 Japan. Priest's Stole 68395

Theatrical Robe for a Taoist Immortal, Kangxi period, 1662-1722, 53 1/4 in. (135.26 cm) (object part, center back collar to hem), satin, China, 17th-18th century, On the occasion of the fiftieth birthday of the Empress Dowager Cixi in 1884, several operas were scheduled during a two-week long celebration at the Palace of Eternal Spring in the Forbidden City. The popular play 'The Imperial Birthday' had many actors playing the roles of Daoist immortals in crowd-pleasing costumes such as this.

Priest's Robe 19th century Japan. Priest's Robe 69042

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