Traditional Asian Robes

Intricate traditional robes showcasing rich textiles and embroidery, highlighting cultural artistry from various Asian regions in vibrant colors and unique designs.

Dragon Robe, Jiaqing period, 1796-1820, L.58-1/2 x W.54-1/8 in., silk, China, 18th-19th century

Robe (Tetarape or Retarape)

Robe China 19th century

Dragon Robe, Jiaqing period, 1796-1820, L.58-1/2 x W.54-1/8 in., silk, China, 18th-19th century

Coat (Choga) mid-19th century or earlier Renowned for their knotted-pile carpets and storage bags, Turkmen weavers also produced magnificent examples of wearable art such as this remarkable coat. The decoration of the exterior consists of geometric and abstract floral motifs and is among the best examples of Turkmen embroidery. The abstract exterior decoration contrasts with the interior of the coat, which is lined with a bright floral-printed cotton made in Russia. The coat, a rare example of its type, is likely the work of either the Chodor or Yomut Turkmen.. Coat (Choga) 453562

Embroidered Coat, 1800s. China. Embroidered silk; overall: 65 x 107 cm (25 9/16 x 42 1/8 in.).

Robe (Kosode) with Shells and Sea Grasses early 17th century Japan This sumptuous robe is among the earliest extant kosode (garment with small sleeve openings). The natural scenery of Japans coast, with its beaches strewn with shells and sea grass, inspired the delicate embroidered design. The foundation fabric, woven in an intricate key-fret pattern with floral motifs, was likely imported from China in its white, undecorated state. It was then resist dyed to achieve the effect of irregular sandbanks, and the marine motifs were embroidered on top. The alternating bands of light blue were further embellished with gold-leaf accents.. Robe (Kosode) with Shells and Sea Grasses. Japan. early 17th century. Embroidery and gold leaf on plain-weave silk patterned with warp floats. Edo period (1615-1868). Costumes

Coat (Choga). Dimensions: H. from shoulder to bottom hem: 50 3/4 in. (129 cm)W. of arms: 72 1/2 in. (184 cm)W. of body: 34 1/2 in. (87.6 cm). Date: mid-19th century or earlier.Renowned for their knotted-pile carpets and storage bags, Turkmen weavers also produced magnificent examples of wearable art such as this remarkable coat. The decoration of the exterior consists of geometric and abstract floral motifs and is among the best examples of Turkmen embroidery. The abstract exterior decoration contrasts with the interior of the coat, which is lined with a bright floral-printed cotton made in Russia. The coat, a rare example of its type, is likely the work of either the Chodor or Yomut Turkmen. Museum: Metropolitan Museum of Art, New York, USA.

Surcoat (Jinbaori) for a Boy 18th-early 19th century Japanese Japanese surcoats (jinbaori) for boys are relatively rare (for one other example in the Metropolitan Museum of art see acc. no. 2012.57). In addition, while Chinese silk is sometimes used on the facing of the lapels or for other highlights, it is very unusual to find a surcoat with an exterior made entirely of Chinese silk. The combination of these two traits--a surcoat for a boy made predominantly of Chinese silk--plus the richness of the fabric and its excellent state of preservation, distinguish this surcoat as a very important example.The exterior body of the surcoat is made from one continuous piece of Chinese silk woven with a repeating pattern of six horizontal rows: three rows of five-clawed dragons amid clouds alternating with three rows of Chinese lions and clouds, all on a dark blue ground and highlighted with silver metallic thread. Each row of dragons and lions has a different color scheme. The upstanding collar

Woman's birthday coat late 19th century China This tapestry-woven woman's coat was considered appropriate outerwear for birthday celebrations and other auspicious occasions. Its brilliant magenta ground is decorated with golden medallions bearing the character for longevity (shou) and the swastika (wan), which denoted ten thousand years.The dark bands at the neck, sleeve, and front opening of the coat have a matching design. Frequently, such bands will wear out before the rest of the coat, but they survive intact here.. Woman's birthday coat. China. late 19th century. Silk and metallic thread tapestry (kesi). Qing dynasty (1644-1911). Costumes-Tapestries

Theatrical jacket for a court lady 18th century China This jacket features delicate embroidered lotuses on green satin. Known as a lotus-picker jacket (cailianyi), this type of garment would have been worn by a lady while she picked lotuses. On the lining of this example, several ink stamps indicate it was used at the Jingshan, a man-made hill north of the Forbidden City where actors from south China who performed in the imperial theater lived.. Theatrical jacket for a court lady. China. 18th century. Silk thread embroidery on silk satin. Qing dynasty (1644-1911). Costumes-Embroidered

Coat China 1850-1900

Jacket for a Theatrical Costume China 18th century Three of these exquisite jackets are known to exist: two are in the collection of the Metropolitan Museum and a third is in the Qing court collection of theatrical costumes of the Palace Museum, Beijing. All three have the same delicate floral pattern and identical seals and inscriptions on their linings. The jackets were made in the textile bureau in Suzhou as tribute objects for the imperial court. They were part of an ensemble, perhaps with a skirt or other garment, and they were worn for performances by the Jingshan theatrical troupe in the Changchun Palace, within the Forbidden City.

Taoist Priest's Robe, 1796-1820, L.60-1/2 in., Silk, gold, China, 18th-19th century

Han Woman's Jacket, 1880s. China, 19th century. Embroidery, silk; overall: 111 x 167.6 cm (43 11/16 x 66 in.).

Noh Robe (Karaori) with Autumn Grasses and Butterflies early 19th century Japan Colorful autumn grasses, chrysanthemums, miscanthus grass, bellflowers, bush clovers, wild pinks, and scattered butterflies embellish the deep red ground of this Noh robe. The painterly composition, with delicately swaying miscanthus leaves creating the illusion of an autumn field, repeats in uncommonly long patterned units. A similar robe is associated with the Noh play Lady Aoi (Aoi no ue), based on an episode from The Tale of Genji in which the murderous wandering spirit of Genjis mistress Lady Rokujō torments his wife, Lady Aoi. Having just given birth to Genjis son Yūgiri, Aoi suffers from an illness caused by a possessive spirit that cannot be subdued, despite the efforts of numerous exorcists. The ailing Aoi never appears onstage; instead, a folded robe represents her during the play.. Noh Robe (Karaori) with Autumn Grasses and Butterflies 65357

Woman's Garment, 1800s. India, Cutch, 19th century. Embroidery, silk; overall: 129 x 103 cm (50 13/16 x 40 9/16 in.).

Emperors twelve-symbol festival robe China Official costumes in imperial China were highly regulated, and the decorative motifs of court outfits were specific to rank. Among the emblems used on the emperors ceremonial robes were the twelve imperial symbols, as seen on this example: the sun, the moon, constellations, mountains, a pair of dragons, birds, ritual cups, water weeds, millet, fire, an ax, and the symmetrical fu symbol. These symbols, said to have been used since ancient times, represent the emperors righteous rule over the universe. The festival robe, also known as a dragon robe, was used for various ceremonies, such as festival banquets and military inspections.. Emperors twelve-symbol festival robe 60506

Imperial Robe mid-19th century China. Imperial Robe. China. mid-19th century. Silk. Qing dynasty (1644-1911). Costumes-Embroidered

Wedding ensemble late 19th century Albanian. Wedding ensemble 85841

Chaofu Robe, Tao Kuang period, 1821-1850, L. 57 1/2 in., Silk, China, 19th century

Robe, Medium: wool, silk Technique: embroidered, Robe open down center front with two purple frog style closures at chest. Robe has long sleeves and slightly flared skirt with short side slits. Robe is pieced together, with braid embellishment along seam. Overall paisley and vine motifs worked in red, greens, blues, and yellow on a white background. Lined in beige silk., India, 19th century, costume & accessories, Robe

Womans Tunic (Baju)

Jacket, 26 1/2 x 59 in. (67.31 x 149.86 cm), Cotton, China

Coat 18th century French. Coat 101622

Banyan, anonymous, c. 1775 - c. 1800 Painted dressing gown from Zijdamast, large design of tendrils, flowers and leaves in green twig on red satin stock. Standing collar with button and buttonhole. Bags in the side seams, sleeves clipped, no shoulder seam, mid -back seam. Button with loop as a front closure. Lining of brick -red cotton, the bags lined with coarse linen. Netherlands silk. cotton (textile). linen (material) damask Painted dressing gown from Zijdamast, large design of tendrils, flowers and leaves in green twig on red satin stock. Standing collar with button and buttonhole. Bags in the side seams, sleeves clipped, no shoulder seam, mid -back seam. Button with loop as a front closure. Lining of brick -red cotton, the bags lined with coarse linen. Netherlands silk. cotton (textile). linen (material) damask

Vest, Medium: silk and metallic embroidery on wool foundation Technique: embroidered in appliqué on plain weave, Sleeveless jacket of off-white wool broadcloth, embroidered with a deep border around bottom and armholes. Applique of red velvet, with gold braid and embroidery., Attica, Greece, 19th century, costume & accessories, Vest

Robe. Dimensions: L. 47 3/4 in. (121.3 cm)W. 89 1/2 in. (227.3 cm). Date: first half 19th century or earlier.Tekke Turkoman women's mantles are typically embroidered, by women, with small motifs in silk thread with a lacing stitch (kesdi). They are worn over the tunic (kurta) cloak-fashion, covering the head and shoulders, with the long vestigial sleeves hanging down the back and joined by an embroidered band. Among the Tekke, the chyrpy's color indicated the age of the wearer: dark blue or black for a young woman, yellow for a married woman of middle age, and white for a matriarch. The motifs were most frequently stylized flowers, and especially the tulip, the most prolific wildflower of the region. The fish in the present piece, however, represent another ubiquitous requirement in Turkoman life, that of good fortune and the provision of protection. Museum: Metropolitan Museum of Art, New York, USA.

Wedding Kimono with the Three Friends of Winter, 1910 - 1920 Said bridal kimono (uchikake), decorated all over the plane with bamboo, pine and plum blossom motifs ("three friends of the winter"). Beige silk with brocade woven decoration in different shades of blue, brown, green, red, gold thread and gold strips. Red silk lining with white leaf motifs. Japan silk Said bridal kimono (uchikake), decorated all over the plane with bamboo, pine and plum blossom motifs ("three friends of the winter"). Beige silk with brocade woven decoration in different shades of blue, brown, green, red, gold thread and gold strips. Red silk lining with white leaf motifs. Japan silk

Nuihaku (Noh Costume) Made 1801-1825 Japan. The pattern on this robe for the N theater refers to the well-known Tales of Ise, which describes the travels of the famous courtier poet Ariwara no Narihira. One episode of the stories concerns Yatsuhashi (Eight-Planked Bridge). Here, the robeís pattern features the planks of the bridge that are floating in space, disconnected from one another with multicolored iries, and the water currents were added in the 19th century. When the robe was first made, the pattern had no reference to Tales of Ise.. Silk, warp-float faced 4 1 satin weave; patterned with impressed gold and silver leaf; embroidered with silk in satin, single satin, and stem stitches; laid work and couching; lined with silk, plain weave .

Coat, 19th century, 53 x 67 1/2 in. (134.62 x 171.45 cm), Silk, cotton ikat, Central Asia, 19th century

IIturgical garments dalmatica unknown

Theatrical robe with phoenix and floral patterns 19th century China This elaborate robe would have been worn by a performer playing a princess or a palace concubine. Details such as the elegant cloud collar, multicolored sleeves, and fine embroidery attest to the quality of the garment and the status of the role. Phoenixes were used to signify the empress and other women at court. The dangling ribbons of the skirt would have moved as the actor was walking or dancing.A depiction of a princess” wearing a similar robe in a nineteenth-century album of theatrical portraits (at the National Library of China, Beijing) helped to date this piece and confirm its function.On view during Rotation 1 of exhibition from June 25, 2016 through January 13, 2017.. Theatrical robe with phoenix and floral patterns. China. 19th century. Silk thread embroidery on silk satin. Qing dynasty (1644-1911). Costumes-Embroidered

Manchu Man's Semiformal Court Robe, 1662-1722, L.52-1/2 in., Silk brocade, China, 17th-18th century, The majority of early eighteenth century dragon robes that have survived are made of relatively heavy silk brocade. The end of the century, however, the lighter tapestry weave called k'o-ssu and embroidered satin had become more popular. The official dress codes set forth in the Huang ch'ao li-ch' i tu shih states that the tawny yellow color of this robe was reserved for the emperor's sons, excepting the crown prince who was permitted to wear yellow like his father.

Robe 19th century Japan (Okinawa, Ryūkyū Islands) The bingata dyeing technique used for this garment involved the application of resist paste through one or more stencils, as well as the application of dyes and pigments to pattern areas with a brush. Usually, the colored designs are covered over with protective paste before the background is dyed, and, finally, the paste is washed off, revealing the vibrant colors and spirited designs that are typical of bingata.. Robe 51083

Dress, c. 1960, 56 x 46 in. (142.24 x 116.84 cm), Silk, rayon (), metal sequins, metallic thread, shells; needlework, Yemen, 20th century

Women's Haori with camellias. Haori for a woman with an ornament over the entire area with stylized camellia branches. Fine red silk (Kinsha) with a damask woven key-fret motif and stenciled yuzen decoration in blue and yellow. Fenciled silk lining.

Jacket, from a two-piece set, 27 x 51 3/4 in. (68.58 x 131.45 cm), Cotton, silk, metal sequins, China

Imperial Court Robe. Culture: China. Dimensions: Overall: 56 x 74 in. (142.2 x 188 cm). Date: 17th century.On this robe, woven from threads of silk and gold, five-clawed dragons (long), clouds, and flaming jewels appear against a rich blue ground above waves and mountains. Scattered among the dragons are variants of the Chinese character shou (longevity), making this robe an especially appropriate garment for birthday celebrations. The embroidered neck and sleeve bands were made later than the tapestry-woven textile used for the robe. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Kosode (Kimono) with Plank Bridges (Yatsuhashi), Irises, and Butterflies. Japan, late Edo period (1615-1868) - Meiji period (1868-1912), 19th century. Costumes; principal attire (entire body). Silk satin damask (donsu) with silk and gilt-paper-wrapped-silk thread embroidery

Dress third quarter 19th century. Dress 85506

Noh costume (nuihaku) with floral motifs, 18th century, Unknown Japanese, 65 x 54 in. (165.1 x 137.16 cm), Silk embroidery and gold leaf on silk, Japan, 18th century, Nuihaku robes combine embroidered designs and applied gold or silver leaf and are used as costumes in the Japanese musical drama called Noh. Usually worn by male actors playing female roles, they serve as inner garments beneath an outer robe called a karaori. This example features a ground of gold leaf applied to the silk surface to form a geometric pattern, on top of which are embroidered clusters of floral motifs in green, white, orange, purple, and blue silk threads. Since these types of robes are often worn turned down at the waist and then covered with a sash, the designer of this robe left this area free of designs, in a style known as koshi-ake, which literally means 'blank waist.'

Coat ca. 1900 Iida & Co./Takashimaya Japanese. Coat 84633

Long sleeveless cardigan of sits with a red stock, decorated with colored zigza edges, surrounded by abstract floral motifs; lining and back of linen, anonymous, c. 1740 - c. 1770 Vest of sits, printed with large design of flowers, leaves and lines on red stock. Lined with linen. India cotton (textile). linen (material). chintz chintz Vest of sits, printed with large design of flowers, leaves and lines on red stock. Lined with linen. India cotton (textile). linen (material). chintz chintz

Dress 1881. Dress 86556

Chinese silk skirt

Skirt, 1800s. China, Qing dynasty (1644-1911). Silk and gold thread: embroidery; overall: 78.8 x 113.1 cm (31 x 44 1/2 in.).

Robe of State 17th century() China. Robe of State 68521

Wedding dress 19th century European, Eastern. Wedding dress 98298

Dong Woman's Coat, 20th century, 28 1/4 x 52 1/2in. (71.8 x 133.4cm), Cotton, China, 20th century

Ceremonial Birthday Robe late 19th century China. Ceremonial Birthday Robe. China. late 19th century. Silk. Qing dynasty (1644-1911). Costumes-Tapestries

Jacket, China

Jacket, 27 3/4 x 50 3/4 in. (70.49 x 128.91 cm), Cotton, China

Robe 19th century. Robe 85550

Woman's Changfu (Informal Court Robe) Made 1875-1925 China. Silk, plain gauze weave; embroidered in back and stem stitches; sleeve facings silk, plain gauze weave; embroidered in back, knot, overcast, stem, and straight stitches; laid work and couching; ribbon silk and gold-leaf-over-lacquered-paper-strip-wrapped cotton, plain weave with supplementary patterning warps and extended weft loop fringe; sleeves trimmed with silk, plain weave; metal buttons . Manchu

Kimono 19th century Japanese. Kimono 125953

Twelve-Symbol Robe for Imperial Woman China. Twelve-Symbol Robe for Imperial Woman 70588

Empress's Robe (Long Pao) early 19th century China. Empress's Robe (Long Pao) 70218

"Aba": Woman's Dress, late 1800s. India, Cutch, late 19th century. Embroidery; silk on silk satin with mirror-glass inserts; overall: 117.5 x 111.7 cm (46 1/4 x 44 in.).

Man's Jifu (Semiformal Court Robe) Made 1775-1800 China. Silk, 1 1 plain gauze weave; embroidered in stem filling stitches; sleeves silk, 1 1 plain gauze weave (figured); edging and closures silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, warp-float faced 4 1 satin weave with supplementary brocading wefts; neck trimmed with cords of gold-leaf-over-lacquered-paper-strip-wrapped silk couched with silk; sleeves and cuffs lined with silk, 1 1 plain gauze weave . Manchu

Dalmatic mid-16th century Spanish. Dalmatic 222093

Boy's Jacket, mid 20th century, 23 3/4 x 40 1/2 in. (60.33 x 102.87 cm), Cotton, wool, silk, beads, mirrors; needlework, Afghanistan, 20th century

Kosode with Scenes from N Plays late 18th-early 19th century Japan In the late Edo period, kosode (“small-sleeved” robes) with this type of decorative scheme—dense landscape patterns accompanied by scenes alluding to traditional Japanese literature—conveyed an aristocratic flavor and were popular among women of the samurai class. The back of this robe features motifs that allude to three N plays. At the lower center, a colorful feather robe, fishing rod, and creel recall The Feather Mantle (Hagoromo), a play about a fisherman who finds a celestial being’s feather robe on a pine branch at Miho Beach. The divinity performs a dance to retrieve her robe and then ascends to heaven.Near the seam of the left sleeve are a helmet, crossed arrows, and plum trees that recall The Quiver (Ebira). In this play, a warrior of the Genji clan, Kajiwara Kagesue (1162-1200), performs bravely in battle against the Heike near the Ikuta River (near modern Kobe), with a plum branch in his quiver.Lady Shizuk

Manchu Man's Semiformal Court Robe, 1662-1722, L.55 in. (backseam), Silk brocade, China, 17th-18th century

Choga late 19th century. Choga. late 19th century. Silk, metal wrapped thread; embroidered. Made in India. Main dress-Menswear

Imperial Court Robe 20th century China. Imperial Court Robe. China. 20th century. Silk, metallic thread. Qing dynasty (1644-1911). Costumes-Woven

Coat mid-19th century. Coat 451337

Banyan.The cut of this loose garment is derived from the T-shaped kimonos with sleeves cut in one piece with the bodice, which were imported from Japan. These oriental models were imitated in all kinds of materials in Europe. Because the warp and weft (weaving threads) of the fabric differ in colour, a contrast was created in the damask pattern. Curiously, the costly silk contains many weaving flaws as a result of which the pattern does not always match up.

Skirt, late 1800s. China, Qing dynasty (1644-1911). Silk and gold thread: embroidery; overall: 101 x 129.6 cm (39 3/4 x 51 in.).

Ainu costume. Culture: Japan. Dimensions: L. (neck to hem) 53 1/2 in. (135.9 cm); W. (sleeve end to sleeve end) 51 1/2 in. (130.8 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Title Robe, c. 1890. China, late 19th century. Embroidery, silk; overall: 134.6 x 114.3 cm (53 x 45 in.).

Coat, 1890-1900, 52 x 63in. (132.1 x 160cm)(shoulder to bottom edge, cuff to cuff), Silk, cotton; ikat, Tajikistan, 19th century

Noh Costume (Atsuita), 1800-1850. Japan, Edo period (1615-1868). Silk: twill weave with supplementary weft, brocaded; metal thread; overall: 142.3 x 139.7 cm (56 x 55 in.).

Dress, 20th century, 48 3/4 x 57 1/2 in. (123.83 x 146.05 cm) (sleeve tip to sleeve tip), Cotton, silk; needlework, Yemen, 20th century

Cloak. Culture: American. Date: 1885-89.In the 1870s shawls lost popularity due to its immense size and the reducing expanse of skirts to help support them. Although some were retained as heirlooms, others were stitched into the more wieldy shape of the cloak or the mantle. This cloak is made from a fine quality embroidered Indian shawl. Embroidered shawls were produced in India to imitate woven shawls because they were easier and faster to make than the woven variety. Embroidered examples have an interesting textural quality about them which lends itself to the highly decorated outerwear of the 1880s. Museum: Metropolitan Museum of Art, New York, USA.

Vest 1780 European, Eastern. Vest 127268

Woman's Ao (Short Robe) Made 1870-1890 China. Silk, 7 1 satin damask weave; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk in knot, satin, and stem stitches; laid work and couching; sleeve bands silk, warp-float faced 7 1 satin weave; embroidered with silk, gold-leaf-over-lacquered-paper-strip-wrapped wild silk, and gilt-metal-strip-wrapped silk in eyelet, feather, knot, satin, single satin, and stem stitches; laid work and couching; ribbons silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, complementary warp 7 1 satin weave with plain interlacings of secondary binding warps and self-patterning ground wefts; trim and closures silk, warp-float faced 7 1 and 4 1 satin weaves; lined with silk, plain weave . Han-Chinese

Jacket 1860s American. Jacket 107565

Waistcoat 1733-34 probably French. Waistcoat 82454

Woolen combizole with woven flower pattern and moldings, vest outerwear men's clothing sheep wool wool linen silver shoulder w 39,5 lg. Waist 58,5 underside w 44,0 linen textile Blue sleeveless camisole of wool with coarse linen lining. Button closure mid front with 21 silver buttons The buttonholes are with red and yellow wool turnover dress man kamizool men's vest

Court suit 1750-75 French. Court suit 91699

Child's Dress

Jacket, 25 x 52 3/8 in. (63.5 x 133.03 cm), Cotton, silk, rayon, China

Woman's Costume used in Religious Procession, 1800s. Italy, Sicily, 19th century.

Coat fourth quarter 19th century Albanian This sleeveless coat from Shkodër (Scutari) on the Albanian-Montenegrin border demonstrates a remarkable degree of craftsmanship in its lavish use of gold cord, variety of curvilinear shapes, and use of negative space. The density of applied work against velvet is meant to replicate a rich and complex compound weave. The motifs show influences drawn from Ottoman design and demonstrate the cross-cultural effects of the region.. Coat 159200

Bridal naga juban with chrysanthemums, 1920 - 1940 Lower kimono (Nagajuban) for a bridal kimono with a decoration of large chrysanthemum motifs. Red Crepe Silk (Chiriments) with damask woven decoration and detailing in gold thread. Red silk lining. Five family weapons (Mon) from Bamboblad. Japan silk painting Lower kimono (Nagajuban) for a bridal kimono with a decoration of large chrysanthemum motifs. Red Crepe Silk (Chiriments) with damask woven decoration and detailing in gold thread. Red silk lining. Five family weapons (Mon) from Bamboblad. Japan silk painting

Overrobe (Uchikake) with Bamboo. Artist: Gion Nankai (Japanese, 1677-1751). Culture: Japan. Dimensions: Overall: 64 3/4 x 48 7/8 in. (164.5 x 124.2 cm)Sleeve length: 37 3/4 in. (95.9 cm); sleeve width: 12 3/4 in. (32.4 cm). Date: first half of the 18th century.This rare uchikake is the work of Gion Nankai, a well-known poet and artist of the early Nanga movement. Bamboo, vividly painted here in light and dark ink and enhanced with a mist of gold powder, was a favored theme of Nanga artists, who were largely based in the Kyoto area and often had backgrounds in Confucian studies and Chinese literati theory.Karakane Koryu (1675-1738), a merchant and literary scholar from Izumi Sano (in present-day Osaka), commissioned this bamboo overrobe for one of his concubines; it was thereafter treasured as a family heirloom. In 1824, on the occasion of the marriage of one of Koryu's great-granddaughters, the literati poet Rai San'yo (1780-1832) wrote a laudatory kanshi (a poem written entirely in

Apron Made 1601-1700 Italy. Linen, plain weave; pulled thread work with silk floss in two-sided Italian cross stitch; inside waistband gathered by feather, running, and back filling stitches; edged in silk, warp twining with ground weft fringe, attached by buttonhole and detached buttonhole stitches .

Dragon Robe 18th century China. Dragon Robe 70591

Caftan, 1960-1970, 58 1/2 x 63 1/4 in. (148.59 x 160.66 cm) (including sleeve length), Rayon, synthetic and metallic therads, Morocco, 20th century

Jacket with vest, China

Dress late 19th century European, Eastern. Dress 85797

Jacket, 40 1/2 x 50 3/4 in. (102.87 x 128.91 cm) (tip to sleeve tip), Cotton, China

Japan Old Kimono Used During Kabuki Theatre Performances

Waistcoat fronts, Medium: silk Technique: embroidery and appliqué on satin weave, Gentleman's waistcoat fronts of cream-white satin in a double-breasted style with a wide center front section containing embroidery and a dark brown appliqué medallion with a white bird. Below bird medallion is a large vase with flowers, and a woman beneath a leafy arch holding a basket of fruits or vegetables. Straight pockets have a lobed appliqué with bird motifs. Flowers garlands are below the pockets., France, late 18th-early 19th century, costume & accessories, Waistcoat fronts

Summer Kimono with Design of Plovers, Waves, Chinese Bellflowers, Pinks, Pines, Carriages, and Fences first quarter of the 20th century Japan This light, silk gauze summer kimono has a traditional design, depicting court carriages (gosho-kuruma), pinks, bellflowers, and pines along with flying plovers and flowing water. The court carriage pattern was traditionally associated with the aristocracy and for a long time only high-ranking ladies wore kimonos embellished with that pattern. The court carriage also alludes to the Tale of Genji. Against the light grey ground, the flowers and carriages are depicted in white with pastel hues, while the plovers are black.. Summer Kimono with Design of Plovers, Waves, Chinese Bellflowers, Pinks, Pines, Carriages, and Fences 76987

Man dressing gown. Painted cotton canvas and shade, blue background, six colors. First half of the 18th century. Galliera, fashion museum of the city of Paris. Floral and geometric patterns. Color, blue background, men's dressing gown, six, shade, painted cotton canvas

Stage costume by Leon Bakst, 1912, 1866-1924, Russia, Moscow, State Central A. Bakhrushin Theatre Museum

House Coat, anonymous, c. 1740 - c. 1750 Wide -flared house gown with narrow sleeves. Probably made in the Netherlands from Indian sits with large feniks that are on winding and flowering branches with peonies. Lined on the inside with blue side. CoromandelkustNetherlands cotton (textile). silk chintz Wide -flared house gown with narrow sleeves. Probably made in the Netherlands from Indian sits with large feniks that are on winding and flowering branches with peonies. Lined on the inside with blue side. CoromandelkustNetherlands cotton (textile). silk chintz

Unlined Kosode (Hitoe) with Grasses and Dewdrops second half of the 18th-19th century Japan This elegant summer robe features a cooling design of grasses and drops of dew. The large circles reserved in white contain lightly painted peony crest patterns; however, from afar, the peony designs are not visible and the circles resemble the full moon above a grassy fielda classic autumnal theme.The robe displays two significant changes typical of the late Edo period. First, the focal point of the patterning has moved from the back of the garment to the front and hem edges. Second, in a departure from the brush-dyeing of the multicolored yūzen technique, which was common in the middle Edo period, a simpler procedure called shiro agari (literally, "finished in white") was used. Lines of paste were applied before the cloth was dip-dyed, and the paste resisted the dye; then, details were embroidered. The process of shiro agari resulted in the simplicity seen herewhite lines representing grasse

Hunting Coat, c. 1750, 39 1/4 x 59 in. (99.7 x 149.86 cm), Caribou hide, pigment, Canada, 18th century, This coat was made to communicate with animals and the divine. In the 1700s, in the far reaches of northern Labrador (now in Canada), Innu (Naskapi) men dressed up in elegant, tailored coatsnot to court beautiful women but to attract caribou. Made of creamy white caribou hide and elaborately decorated, the coats pleased Papakassik, an Innu holy being, and mesmerized the animals. Drawn to the coat made especially for it, the caribou would give its life to the hunter.

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