Embroidered Textiles

The publication retains a catalogue-like structure already used for earlier books of “Lithuanian Religious Art” which is considered by the authors of this book to be the most consistent and convenient way to introduce the heritage of each church and chapel. The book includes all items of arts and crafts with artistic, historical, typological or other value that have been found during expeditions because the authors follow a modern approach to the research of religious art which states that the artistic value cannot be the only and determining criteria of the item`s value.
A comprehensive research of the history, architecture and artistic heritage of Joniškis Deanery published in the three books substantially adds to the history of this land and its culture – a catholic culture first of all. It allows discerning some general features of historic development and artistic expression typical for this Northern Lithuanian region in addition to the revelation of the unique destinies of each church and chapel, architectural peculiarities and properties of interior ensembles and individual art works. It is the local history and clergymen, parishioners, customers and masters who lived and worked here who essentially determined and formed the diversity of architectural and artistic heritage which has survived in the region.
All liturgical vestments founded in the churches and chapels of Joniškis Deanery are represented in the texts by Gabija Surdokaitė-Vitienė.

Το Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς (ΠΙΟΠ), με αφορμή την περιοδική έκθεση «Κεντητοί επιτάφιοι στα Ιωάννινα, 18ος και 19ος αι.», οργανώνει τη Δευτέρα 20 Μαΐου (ώρα 19:00), διάλεξη της βυζαντινολόγου-ιστορικού τέχνης και διδάκτορος του Πανεπιστημίου της Σορβόνης κ. Έλενας Παπασταύρου, με τίτλο «Κεντήματα από την Κωνσταντινούπολη του 19ου αιώνα», στο Μουσείο Αργυροτεχνίας.

Η ομιλήτρια θα αναφερθεί σε εκκλησιαστικά κεντήματα που δημιουργήθηκαν στους κόλπους της Ελληνορθόδοξης κοινότητας στην Κωνσταντινούπολη κατά τον 19ο αιώνα. Παράλληλα, θα εξετάσει την καλλιτεχνική παράδοσή τους από τη βυζαντινή τέχνη, τα εικονογραφικά και τεχνοτροπικά ρεύματα στα οποία εντάσσονται οι παραστάσεις του διακόσμου τους, καθώς και την τεχνική τους. Τέλος, θα διερευνήσει τη λειτουργία των εργαστηρίων κεντητικής, τη δράση των κεντητριών και τη θέση τους στην κοινωνία.

Για περισσότερες πληροφορίες:

http://www.piop.gr/el/Activities/ekdiloseis-mouseia/MAI-kentimata-2019.aspx

Μετά τη διάλεξη η κ. Παπασταύρου θα ξεναγήσει το κοινό στην περιοδική έκθεση της οποίας είχε την επιστημονική επιμέλεια.

Η έκθεση «Κεντητοί επιτάφιοι στα Ιωάννινα, 18ος και 19ος αι.», που συνδιοργανώνεται από την Ιερά Μητρόπολη Ιωαννίνων, την Εφορεία Αρχαιοτήτων Ιωαννίνων και το ΠΙΟΠ, θα διαρκέσει έως τις 17 Ιουνίου.

Fifth in a series of short articles for the Irish Arts Review that aims to put Irish arts in historical and social contexts by highlighting selected artworks and archival resources at the John J. Burns Library for rare books, special collections and archives at Boston College. This fifth installment focuses on a previously unknown embroidery designed and executed by Maud Gonne.

In this first volume of critical essays ever devoted to Jean Renart's work, contributors draw on political and social history, women's studies, translation theory, musicology, and literary theory to illuminate Jean's remarkable contribution to the highly complex genre of courtly romance. Contributors include Nancy A. Jones, John W. Baldwin, Maureen Barry McCann Boulton, Michel Zink, Regina Psaki, Patricia Terry, and Hendrik Van der Werf. Introduction by Nancy Vine Durling.

Published on Aug 24, 2016
Interview with Joan L. Saverino - San Giovanni in Fiore (CS), July 2016.
Music: tarantella, pastorale, sonata.
Images: West Virginia State Archives, Charleston WV and Joan Saverino
Editing by Alessandro Tarsia.
«New Nostoi Series» by Alessandro Tarsia, non-profit video.
Special Thanks: Antonia Prosperati, Comune di San Giovanni in Fiore, Museo Demologico dell'Economia del Lavoro e della Storia Sociale Silana, Abbazia Florense.

The book provides the first broad survey of church textiles of Spanish America and demonstrates that while overlooked, textiles were a vital part of visual culture in the Catholic Church. When Catholic churches were built in the New World in the sixteenth century, they were furnished with rich textiles known in Spanish as "church clothing." These textile ornaments covered churches' altars, stairs, floors, and walls. Vestments clothed priests and church attendants, and garments clothed statues of saints. The value attached to these textiles, their constant use, and their stunning visual qualities suggest that they played a much greater role in the creation of the Latin American Church than has been previously recognized. In Clothing the New World Church, Maya Stanfield-Mazzi provides the first

The Christian Church has many rites, during which various ceremonial covers are used. In order to distinguish these covers, it is necessary to understand in what exactly rites they are used. As Catholic, Orthodox and Apostolic rites and rituals are different, ritual covers also differ in size and iconography. For example, Epitaphios often depict stories from the life of Jesus Christ - the Crucifixion, the Burial of Jesus. The Epitaphios is larger in size than the Aër. There are often symbols on the Aër which are associated with the Eucharist - angels, archangels, seraphims, Lamb of God. The Aër can be not only rectangular but also round; they can be made of silk, with golden and silver embroidery, and some of them are also decorated with pearls.

ni responsabiliza de losjuicios y de las opiniones vertidas por los autores de los lextos en uso de la libertad intelectual que se les b¡inda. El ecliror y los autores no aceptilán responsabilidades por las posibles consecuencias ocasionadas a las personas naturales ojurídicas que actúen o deien de actuar como resultado de alguna infbrmación contenida en esta publicación, sin rura consulta profesional previa. Qrreda prohibida la reproducción o almacenamiento en un sistena de ¡ecüperacion o transmisión de forma alguna por medio de cualquier procedimiento, sea a éste mecánico, electrónico, de fotocopia, g¡abación o cualquier otro, sin prelia autorización escrita de los titulares del Coplright. Rese¡rados los de¡echos según la Ley de Propiedad Intelectual, recogida en el Real Decreto legislativo 1/1996, de l2 de abril. 225 La sillería coral del monasterio de Veruela Jesús Crueno NLqrN¡r. 24r El monasterio de Veruela en los siglos x\ry y x\,TII Manuel Ramón PÉnnz GntÉNnz 257 Arquitectura del Seiscientos en Veruelaz el monasterio rrueuoy la sacristía

Traditional craft is often associated with intangible heritage. Behind each crafted object lie stories on how a particular culture has lived and flourished depicting their rich heritage. Traditional heritage is a living body of knowledge that is developed, sustained and passed on from generation to generation within a community, often forming part of its cultural or spiritual identity. Banjaras in Maharashtra is famous for making exquisite embroidery that reflects their cultural values, regional sensibilities, beliefs and identity. Banjara embroidery is a poem in multicolor, written with needle having long, rich and complex history with indigenous design vocabularies. Though this craft has its own origin and distinction with rich embroidery work, no attempt has been made so far in an organized manner to preserve the craft and for establishing arts and crafts centers as has been done for other traditional communities in India. This study thus focuses on documenting the lesser known craft of embroidery as done by Banjara people of Maharashtra before it gets extinct or completely forgotten.

This first book-length study on kanthas published outside of South Asia focuses on two premier collections, one assembled by the legendary historian of Indian art, Dr. Stella Kramrisch, the other by Jill and Sheldon Bonovitz, leading proponents of self-taught art. Created from worn-out garments imaginatively embroidered by women with motifs and tales drawn from a rich regional repertoire, kanthas traditionally were stitched as gifts for births, weddings, and other family occasions. Innovative essays by leading scholars explore the domestic, ritual, and historical contexts of the fascinating quilts in these collections - made between the mid-nineteenth and mid-twentieth centuries in what is today Bangladesh and West Bengal, India - and trace their reinterpretation as emblems of national identity and works of art.

Anna Apostolaki's archive, drawings and embroideries in the Benaki Museum and her interest in Greek embroidery.
This paper presents the research of Anna Apostolaki pertaining to Greek embroidery, as revealed by material in the possession of the Benaki Museum, thanks to a gift made by her niece Manina Mantzouni: namely, her personal archive, which consists of her manuscripts and the photographs she collected, three albums with drawings of Greek embroideries made by her, and a number of copies of traditional handicrafts that she embroidered herself. Although her primary research interest lay in the Coptic textiles, traditional Greek embroidery, and especially the production of the island of Crete, her homeland, played a pivotal role in her research program in folk art, a field in which she was also interested, especially during her directorship of the National Museum of Decorative Arts. With her archive as a starting point, this paper aims to focus on the key points of her research concerning Cretan embroidery.

When Philipp the Good, Duke of Burgundy (1396–1467), obliged his court to wear black as the new exquisite color of the court garments, it was no less than a revolution of inherited royal vesture conventions. This revolution established black, purple, and gold as the new aristocratic dress code. As this essay shows, Philipp’s color revolution only becomes comprehensible in the context of the Burgundian court’s elaborate textile production, which arrayed the protagonists with a semantics of color. The analysis will focus on the vesture practices of the royal congregation of the Golden Fleece and, especially, the paraments. Both as media of aristocratic representation and as artistically produced objects for a specific ritual context, the paraments tellingly reflect the concept of Philipp’s color strategy.

Rainbows, so pervasive in twenty-first century culture, were slow to permeate European fashion and textile design. Why, if they have been drawn and described since the beginning of artistic practice, do they so rarely show up on historic clothing? This paper traces rainbows in extant textile art from the sixteenth to the twentieth century.

This paper provides a brief overview of historical textile production in Ethiopia through a visual analysis of regional style and motif variations, with a subtext consideration of the new developments and possibilities that surround the growing interest in Ethiopia’s emerging role in the global textile industry. In many ways Ethiopian textiles as part of art history remain understudied or at least under-published, and accordingly, without the benefit of primary research, the scope of this paper is general in nature. Combined with historical and visual analysis based on secondary sources, consideration is also given to recently published information by organizations including The Textile Industry Development Institute of Ethiopia and new investors in this part of the African industry, such as Swedish fashion giant H&M.
A visual review of the cultural and historical variations in Ethiopian cloth and symbolism, across regional, ecclesiastical, and garment-based applications, forms the basis of a view toward the country’s current goal to become an apparel hub. Ethiopia has long been an important center for handmade cloth and textile production in East Africa. As indicators of status and importance, garments and textiles from this region reflect the ebb and flow of style, trade, and modernization through their incorporation of imported prestige materials along with locally produced artistry in color and pattern variations. The resilience exhibited by the weavers and embroiderers of Ethiopia, on both large and small scale, seems to support this country’s efforts to expand its position in the global textile market.

Nakshi kantha is a traditional quilt typical of Bengal, a cultural-historical area in South Asia now divided between Bangladesh and India’s West Bengal. Rural women make richly-embroidered quilts by stitching together rags embellished with various stitches to form motifs and designs that have been deliberately taken from the maker’s own habitat. The composition of the motifs renders the perception of the artisans visible, and thus it becomes the maker’s autobiography. Once made only by joining rags embellished with endless running stitches, nowadays modern technologies (for making and
decorating) and materials have been added as the blanket has reached public realms from its domestic sphere. This transition and commodification tend to elicit certain reactions either overtly or covertly.

This article is based on my MA thesis, defended at the University of Tartu, entitled ”Transformation of a Traditional Textile Craft: A Case Study of Nakshi kantha” in which I have discussed the commodification of a traditional quilt, Nakshi kantha, focusing on how a piece of domestic craft has turned into a commercialised product, how this raises questions regarding conventional thinking about the authenticity of heritage production and how this carries the essence of its historical purposes in its contemporary form. For my thesis, I have collected qualitative data by conducting interviews with the users, artisans, and entrepreneurs, who all shared stories of their affiliation with this form of heritage production and its transformation.

With its various functions and metaphorical meanings, this embroidered textile craft has been valued as a part of Bengali heritage. Since undergoing commercialisation in the recent past, the quilt has become very popular as a memento of its recipient’s origins and attachment. It has enjoyed substantial market success, albeit at the price of its traditional vernacular meaning.

This paper explores the intersection of needlework, personal narrative, gender and artistic creativity in one immigrant woman’s extraordinary life in two out of the way places (Calabria and Appalachia) over the course of nearly a century. Anna Guarascio Peluso excelled in embroidered whitewear, the mark of a cultured woman in nineteenth century Calabria. As an immigrant to West Virginia, the art in its traditional form was incompatible with the new culture and life Anna entered. At the end of Anna’s life, narrative and needlework merged to produce one last project. A revival of the embroidery served as a vehicle for reminiscence and the process of life-integration. A lively close reading of one Italian woman artist’s lived experience and self-representation through her artistic repertoire (lost and then revived) provides the perfect context to discuss change over time in the social and economic lives of Italian women and the communities in which they lived on both sides of the Atlan...

Seta. Il Filo dell’Arte. Tessuti a Catanzaro dal XV al XX secolo, a cura di O. SERGI, Catalogo della mostra, Catanzaro, Museo Diocesano di Arte Sacra, 21 dicembre 2008-31 marzo 2009, Cosenza, Kompass Service, 2009 - contiene:

- O. SERGI, 1. Pianeta detta dei “Borgia” (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, pp. 26 - 28.
- O. SERGI, 2. Velo di Calice (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 30.
- O. SERGI, 3. Pianeta (scheda), Catanzaro, Museo Diocesano d’Arte Sacra, già nella Cattedrale di S. Maria Assunta, p. 30.
- O. SERGI, 4. Pianeta e Velo di Calice (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori,p. 32.
- O. SERGI, 5. Paliotto (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 34.
- O. SERGI, 6. Abito e manto in stile impero (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 34 - 35.
- O. SERGI, 7. Stendardo (scheda), Sellia Superiore (Catanzaro), Chiesa di S. Nicola Vescovo, p. 36.
- O. SERGI, 8. Vincenzo Serpone, Gonfalone (scheda), Sellia Superiore (Catanzaro), Chiesa di S. Nicola Vescovo, p. 36.
- O. SERGI, 9. Dalmatica (scheda), Sellia Superiore (Catanzaro), Chiesa di S. Nicola Vescovo, p. 38.
- O. SERGI, 10. Stola e pianeta (scheda), Catanzaro, Museo diocesano d’Arte Sacra già nella Chiesa di S. Giovanni Battista, p. 40.
- O. SERGI, 11. Pianeta (scheda), Catanzaro, Chiesa di S. Teresa all’Osservanza, p. 42.
- O. SERGI, 12. Dalmatica (scheda), Catanzaro, Chiesa di S. Teresa all’Osservanza, p. 43
- O. SERGI, 13. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 43.
- O. SERGI, 14. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 44.
- O. SERGI, 15. Velo di calice (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 44 - 45.
- O. SERGI, 16. Pianeta (scheda), Catanzaro Museo diocesano d’Arte Sacra, p. 45.
- O. SERGI, 17. Dalmatica (scheda), Catanzaro, Cattedrale di S. Maria Assunta, p. 46.
- O. SERGI, 18. Pianeta (scheda), Vincolise di Magisano (Catanzaro), Chiesa dei SS. Simone e Giuda, p. 46.
- O. SERGI, 19. Pianeta (scheda), S. Pietro Magisano (Catanzaro), Santuario Maria SS. della Luce, p. 47.
- O. SERGI, 20. Piviale (scheda), S. Pietro Magisano (Catanzaro), Santuario Maria SS. della Luce, p. 48.
- O. SERGI, 21. Gonna (scheda), S. Pietro Magisano (Catanzaro), Santuario Maria SS. della Luce, p. 50.
- O. SERGI, 22. Pianeta (scheda), Catanzaro, Chiesa di S. Maria de Figulis seu Montecorvino, p. 52.
- O. SERGI, 23. Piviale (scheda), Catanzaro, Cattedrale di S. Maria Assunta, p. 52.
- O. SERGI, 24. Piviale (scheda), Catanzaro, Museo diocesano d’Arte Sacra già nella Cattedrale di S. Maria Assunta, p. 54 - 55.
- O. SERGI, 25. Abito (scheda), Vincolise di Magisano (Catanzaro), Chiesa dei SS. Simone e Giuda, p. 56.
- O. SERGI, 26. Pianeta (scheda), Catanzaro, Museo Diocesano d’Arte Sacra già presso la famiglia Spedalieri di Guardavalle, p. 58 - 59.
- O. SERGI, 27. Pianeta (scheda), Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 60.
- O. SERGI, 28. Abito (scheda), Vincolise di Magisano (Catanzaro), Chiesa dei SS. Simone e Giuda, p. 62.
- O. SERGI, 29. Pianeta (scheda), Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 64.
- O. SERGI, 30. Pianeta (scheda), Catanzaro, Chiesa di S. Maria de Figulis seu Montecorvino, p. 66.
- O. SERGI, 31. Pianeta (scheda), Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 66.
- O. SERGI, 32. Velo di calice (scheda), Catanzaro, famiglia Pyrrò De Siena di Montepaone, p. 67.
- O. SERGI, 33. Piviale (scheda), Sellia Superiore (Catanzaro), Chiesa di S. Nicola Vescovo, p. 67.
- O. SERGI, 34. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 68.
- O. SERGI, 35. Pianeta (scheda), Catanzaro, Museo Diocesano d’Arte Sacra già presso la famiglia Spedalieri di Guardavalle, p. 69.
- O. SERGI, 36. Velo di calice (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 70.
- O. SERGI, 37. Pianeta (scheda), Catanzaro, Museo Diocesano d’Arte Sacra, p. 70.
- O. SERGI, 38. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 71.
- O. SERGI, 39. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 71.
- O. SERGI, 40. Pianete (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori e Museo Diocesano d’Arte Sacra già presso la famiglia Spedalieri di Guardavalle, p. 72.
- O. SERGI, 41. Pianete (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori e Collezione Antonio Marincola Politi, p. 73.
- O. SERGI, 42. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 74.
- O. SERGI, 43. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 74.
- O. SERGI, 44. Velo omerale (scheda), Sellia Superiore (Catanzaro), Chiesa di S. Nicola Vescovo, p. 75.
- O. SERGI, 45. Pianeta (scheda), Catanzaro, Chiesa del SS. Rosario o di S. Domenico, già della SS. Annunziata dei PP. Predicatori, p. 75.
- O. SERGI, 46. Telo (scheda), Catanzaro, Collezione Andrea Fregola, p. 76.
- O. SERGI, 47. Coperta (scheda), Catanzaro, Collezione Antonio Marincola Politi, p. 76.
- O. SERGI, 48. Corpetto (Juppuni) (scheda), Catanzaro, Collezione privata, p. 77.

Abstrak Sebuah negeri yang dikenali sebagai Bumi Kenyalang ini merupakan salah satu negeri yang menarik pelbagai perhatian pelancong untuk ke negeri ini. Selain itu, menurut Yaacob (2013) Melayu Sarawak juga berasal daripada golongan peribumi yang memeluk Islam hasil daripada aktiviti perdagangan dan asimilasi sosiobudaya ini menjadikan imej mereka sebagai " Melayu ". Dengan kekayaan budaya dan keunikan serta kreatifnya masyarakat di sini menggamit mata dan rasa untuk megetahui lebih mendalam lagi rahsia negeri ini. Kepelbagaian peribumi di Sarawak telah mendorong kepada hasil kreatif seni oleh masyarakat mereka sendiri. Kajian ini dijalankan kerana pengkaji ingin mendalami keunikan masyarakat di Sarawak ini sendiri dengan mengenalpasti penjahit sulam cabut dalam kalangan masyarakat Sarawak ini. Kajian ini merupakan langkah yang baik dalam menonjolkan salah satu keunikan masyarakat Sarawak kepada negeri luar. Pengkaji akan menyenaraikan setiap satu corak yang terdapat dalam penghasilan sulam cabut. Selain itu, pengkaji juga mendokumentasikan strategi pemasaran sulam cabut agar mendapat sambutan baik di dalam Sarawak mahupun luar Malaysia. Dengan menggunakan kaedah kualitatif, temubual dijalankan bagi mendapatkan data kajian. Data kajian diperolehi dengan menggunakan dua teknik iaitu teknik bola salji dan teknik ketepuan data.

This paper, which was first presented at the Colóquio de História da Arte e da Cultura do Renascimento, Museo de Arte de São Paulo Masp (16-17 May 2016), illustrates the social and art-historical context of the production of embroideries and figurative textiles in Florence in the fifteenth century. Besides being one the most flourishing activities of Florentine economy, silk industry was a sector particularly receptive of contemporary art tendencies, both through the direct involvement of the most innovative artists of the time, like Botticelli and Antonio Pollaiolo, and through the reiteration and contamination of successful pictorial and sculptural models. It is possible to distinguish various kinds of objects, among embroideries as well as figurative fabrics: from those made after specific commissions through cartoons realized by the great masters, up to serial production based on models created in weavers' and embroiderers' workshops, which reelaborated compositions by then become part of the artistic repertoire and widespread also through woodcuts and prints. In the composite Florentine art world operated, and at times cooperated leading and secondary artists, weavers, printers, embroiderers, cloth-designers, engravers. The paper reconstructs the vivacious interrelations between artists' and embroiderers' workshops, and female convents with their specialized laboratories.

Embroidery and embroider, an ethnographic study on the craft production of embroidery in Caicó/RN aims at investigating how the embroidery, a handcraft, domestic and female practice, allows the approaches of questions about certain part of the Brazilian northeast regarding its social order, its economy, its history and its cultural factors. The social networks, woven around the embroidery production, are capable to recreate several relationships regarding the needs, the influences, the confluences, the appropriations and the transformations around the handmade practice. Therefore, this thesis has the purpose of presenting, describing and analyzing the embroidery as a spindle of the social relationships, which also provides leads to new readings about a stigmatized region regarding the ideas related to its geography and history. To investigate this process, the ethnographic method was used (including: interviews, photographic-interviews, monitoring of the production process as well as the embroidery commercialization). In order to wander the multiple relationships that weave in this context, the following has been prioritized: (a) the presentation of the region and the city, (b) the description of the embroideries, (c) the elaboration of embroiders network and (d) the embroidery in circulation.

Pahari embroidery was practiced in different parts in undivided Punjab and Himachal Pradesh. The surface ornamentation of these articles with respect to design, raw material and technique were beautifully adapted according to their utility. The popular product in embroidery is Chamba rumals locally known as dhaknu or chabbu. In addition, equally fascinating embroidery was seen on household products which were meant for personal use and decoration in single sided stitches. The most startling are cholies from Himachal Pradesh in terms of their construction and designs. The cholies from given museums were studied namely Bhuri Singh Museum, Chamba, Government Museum and Art Gallery, Chandigarh National Museum, New Delhi, and personal collection. Evidently, they are characterized by selective treatment given to them in terms of construction, materials, stitches, adaptation of designs and motifs. Apart from embroidery miniature paintings also indicated the relevance of traditional costumes in socio cultural traditions. Interestingly two different kinds are observed in cholies according to their construction. Likewise on basis of designs and motifs two different styles in embroidery are seen i.e., free hand curved designs and geometrical designs. The documentation of these designs is done by redrawing the traditional motifs with help of miniature artist Shri Prixit Sharma, Chamba. The stitches are also classified as filling, outline and finishing used in single sided embroidery. Conspicuously these minute variations lend special features to choli blouses and distinguish them from other form of embroideries from the pahari region.

publicado recientemente una monografía dedicada a una de las obras más originales del románico catalán: el Tapiz de la Creación. Entre el gran número de estudios generales sobre arte románico y otros más especializados sobre el calendario medieval hispánico en la miniatura, cabe destacar las recientes aportaciones acerca de la pintura sobre tabla catalana.

Iroki embroidery: the golden pages in the history of UZBEK TEXTILE РУБРИКА RUBRIC Вышивка ироки: «золотая» страница в истории узбекского текстиля Вышивка в Узбекистане традиционно считается царством женского самовыражения. Женщи-ны каждой семьи совместно готовили приданое для подрастающих девочек, вышивая разноо-бразные сузани-покрывала и настенные панно для украшения комнаты молодожёнов. Декор творений, восхищающий изысканными линиями растительных сплетений, пышными пальмет-тами либо звёздными мотивами, несёт в себе явное женское начало, отражая мечты прекрасной половины человечества о будущей счастливой семейной жизни. Эскизы сузани также делали исключительно женщины, специально обученные этому искусству. В народе потомственных рисо-вальщиц называли чизмакаш (от чизма-рисунок) или каламкаш (от калам-перо). Но всё же вышивка была не только женским рукоделием. Искусными вышивальщика-ми были и мужчины. Embroidery in Uzbekistan is traditionally regarded as the kingdom of woman where she expresses herself most fully. In every family women used to make concerted efforts to prepare dowries for growing girls, where diverse suzani coverlets and tapestries comprised an essential part to adorn newlyweds' room. The décor on these items consisting of the intricate lines of plant patterns, luxurious palmettes or stellar motifs is clearly of a female origin, reflecting the dreams of the fair sex about a happy family life. Sketches for suzani were also entirely the responsibility of specially trained women. People called these hereditary masters in drawing chizmakash (from chizma-a drawing) or kalamkash (from kalam-a pen). However, not only women were involved in embroidery. Men also used to be skilled embroiderers.

Photographs of Liturgical Vestments in the
Holdings of the Museum of Kraków as a Source
for Reconstructing the History of an Artefact –
Selected Examples

In the process of documenting old liturgical
vestments, we are dealing with artefacts which have seldom
maintained their original shapes. The changes in their
appearance resulted from the reforms implemented by
Charles Borromeo following the Council of Trent, which
entailed the considerable reduction in the length and width
of chasubles. Other significant factors that had an impact
on the appearance of the paraments included the wear and
tear of their materials and the consequent repairs and alterations,
as well as the stripping down of the vestments
of their original expensive ornaments (e.g. golden threads,
gems, valuable embroidery) in order to reuse them. In the
holdings of the Museum of Kraków we can find a number
of photographs dating from the end of the 19th and
the beginning of the 20th centuries in which the liturgical
vestments from Kraków’s churches and monasteries were
immortalized.
The paper presents the value of photographs as an important
iconographic source that enables us to reconstruct the changes in the appearance of liturgical vestments which
have been preserved until our times. The condition of the
vestment at the moment the photograph was taken is recorded
in the image; thus, upon comparison with the surviving
parament, we are also able to notice certain details
that are normally not included in inventory descriptions.
Among such details we should mention the replacement
of galloons and orphreys, the transfer of fragments of embroidery
onto new base, or the degree of damage prior to
conservation.

Edited by Darielle Mason; With essays by Pika Ghosh, Katherine Hacker, Darielle Mason, Anne Peranteau, and Niaz Zaman Winner of the 2011 Alfred Barr Award given by the College Art Association This first book-length study on kanthas published outside of South Asia focuses on two premier collections, one assembled by the legendary historian of Indian art, Dr. Stella Kramrisch, the other by Jill and Sheldon Bonovitz, leading proponents of self-taught art. Created from worn-out garments imaginatively embroidered by women with motifs and tales drawn from a rich regional repertoire, kanthas traditionally were stitched as gifts for births, weddings, and other family occasions. Innovative essays by leading scholars explore the domestic, ritual, and historical contexts of the fascinating quilts in these collections—made between the mid-19th and mid-20th century in what is today Bangladesh and West Bengal, India—and trace their reinterpretation as emblems of national identity and works of art.

The Guicciardini Quilts are two historiated embroideries supposedly made in Sicily in the late fourteenth century. They are named after the Florentine Guicciardini family to whom it is thought they have always belonged since their commission. After they were separated in unknown circumstances, sometime around the 1890s, one piece was purchased by the world’s largest museum of applied and decorative arts, the Victoria and Albert Museum in London, and the other by the National Museum of sculpture and decorative arts in Florence, known as the Museum of Bargello. The Tristan Quilt and Guicciardini Bed Cover, as they were individually renamed, have been presented by scholars as the earliest living examples of the trapunto technique in Europe. Together, they depict twenty-two episodes from the vernacular version of the Legend of Sir Tristram contained in an antique Florentine manuscript.

Since their acquisition, their history and appreciation have been moulded by the museums’ different curatorial choices: the Tristan Quilt was never displayed until 2009, when the curators of the V&A decided to exhibit it folded on a special mount inside a wall case; the Guicciardini Bed Cover, on the contrary, has been admired for nearly thirty years on a master’s bed at the Museum of Palazzo Davanzati, to be replaced only in 2010 by a modern replica. The episodes, form, and size of the quilts have been at the centre of a long-lasting discussion which tries to place their commission and provenance within the historical and cultural context of the Kingdom of Naples in the 1390s. The debate, started by the Italian philologist Pio Rajna in 1913, took on an international and interdisciplinary character after the “Quilt Revival” in the 1970s and 1990s, drawing the attention of women scholars and quilters among others. They contributed to the debate by shifting its focus from the past to the present significance and relevance of the Guicciardini Quilts. Moreover, textile curators and amateurs started questioning the uncritical and neglected way museums used to display historical textiles, not valuing them as evidence of Early Renaissance life and material culture in addition to being beautiful works of art.

This paper stems from this discussion and attempts to advance it further, taking the display of the Guicciardini Quilts as a case study. At the heart of my work there is one main question: how can two almost identical artworks, which were commissioned together for the same use and purpose, convey different stories and meanings? Throughout the text, I first delve into the quilts’ antique and modern history with the use of a critical approach to grasp their significance and understand why this is not fixed, suggesting that it was continuously adapted along with the quilts’ purpose and use to reflect people’s identities and values in a particular time and society. Likewise, I also argue that, after their separation and museum acquisition, they developed increasingly different connotations which keep shaping our appreciation and understanding of them.

Finally, I question their peculiar displays at the V&A and Palazzo Davanzati to show how the curators’ work has contributed to such a layering of meanings with different interpretations, supporting the museums’ mission and broader narrative. At the same time, I seek to demonstrate that the quilts, presented as two independent objects, do not allow visitors to make sense of them as two parts of the same commission and trousseau, hence being kept apart not only geographically but also intellectually.

Like the episodes of the legend they depict, we must reconstruct the scattered vicissitudes of the Guicciardini Quilts to grasp their full meaning and value. Suggesting an “exhibitionary” compromise, I therefore provide a model to unravel these stories with the aim of reuniting the quilts under a new and comprehensive light.

Das Brandenburger Hungertuch zeigt in eindrücklicher Weise, wie lokale Wissenstraditionen und weitgereiste Materialien in der Herstellung verbunden werden. Es kann exemplarisch epistemologische Transformationsprozesse in Folge des 4. Laterankonzils und die damit einhergehenden verbreiteten Experimente mit visuell-materiellen künstlerischen Ausdrucksmöglichkeiten fassbar machen. Das Brandenburger Hungertuch verbindet lokal hergestelltes Leinen mit teurer, exotisch anmutender Seide.  Der  Beitrag wird mit materialikonologischem Schwerpunkt anhand des Brandenburger Hungerstuchs die Aufwertung eines einfachen Materials durch artifizielle Bearbeitung erörtern und die daraus folgenden Inszenierungsmöglichkeiten von Licht und Transzendenz erschließen.

In September 2009, Cyprus applied to include Lefkara embroidery in the Representative List under the name Lefkara lace or Lefkaritika. Lefkara embroidery merges different elements and has evolved over time without losing its original character, technique and creativity. The learning process starts at a very young age and takes a long time before an embroiderer can become fully competent in the craft. The local stakeholders are currently, or have been in the past, actively involved in educational programmes related to Lefkara embroidery, as a means of safeguarding. These programmes have common characteristics and a clear focus on transmitting to younger generations the knowledge of Lefkara embroidery. The paper explores the different programmes and discusses their success and potential, as by educating the public about Lefkara embroidery, the stakeholders have made a significant step towards creating an environment of appreciation to tradition and national ICH.

O. SERGI, Orditi di Fede. Trame di storia nei ricami e nei tessuti della Reale Arciconfraternita del SS. Rosario di Gagliano, Catanzaro, Grafiche Simone, 2010 - contiene:

- O. SERGI, Orditi di Fede. Trame di storia nei ricami e nei tessuti della Reale Arciconfraternita del SS. Rosario di Gagliano pp. 6 -10.

- O. SERGI, 1. Velo del calice (scheda), pp. 14 - 15.
- O. SERGI, 2. Pianeta della Madonna del SS. Rosario (scheda), pp. 16 - 17.
- O. SERGI, 3. Pianeta (scheda), pp. 18 - 19.
- O. SERGI, 4. Pianeta (scheda), pp. 20 - 21.
- O. SERGI, 5. Dalmatica (scheda), pp. 22 - 23.
- O. SERGI, 6. Pianeta (scheda), pp. 24 - 25.
- O. SERGI, 7. Pianeta (scheda), pp. 26 - 27.
- O. SERGI, 8. Piviale (scheda), pp. 28 - 29.
- O. SERGI, 9. Pianeta (scheda), pp. 30 - 31.