Journal articles on the topic 'Medieval Embroidery'

Embroidery is the craft of decorating fabric or other materials using a needle to apply thread or yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on caps, hats, coats, blankets, dress shirts, denim, dresses, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn color. Embroidery can be classified according to what degree the design takes into account the nature of the base material and by the relationship of stitch placement to the fabric. The main categories are free or surface embroidery, counted embroidery, and needlepoint or canvas work. Embroidery was an important art in the Medieval Islamic world and in Azerbaijan, too. The article dedicated to the medieval embroidery of Azerbaijan. It was given some information about this part of weaving craft. Key words: weaving, embroidery, textile, archaeology, ethnography

This study aims to fill the gaps in the history of Korean embroidery by examining Luembroidery of Shandong, an area closely related to the Korean peninsula in history, geography, culture, and custom. Unlike Gu-embroidery of Jiangnan that gained renown in the late Ming dynasty, Lu-embroidery’s relations to Korea could be found from the ancient times, through medieval Yuan to the Qing period, and therefore has significance as historical documents. Needlework in Lu-embroidery style, made or brought to Korea in the late Joseon period represent the literary preferences of the ruling class at the time and also hold diverse information on localized embroidery in Joseon, including Ahn Joo-embroidery, closely associated with Shandong.</br>Kkonsa existed since the ancient times, but was eclipsed in popularity by p’unsa, used in painted embroidery in medieval period in East Asia. It regained dominance again during the Yuan dynasty. In the late Yuan period, Lu-embroidery reached another golden age as Shandong Lu-embroidery employed kkonsa, a type of twisted embroidery thread rather than p’unsa, a type of silk thread, and as new techniques of more diversity and refinedness were developed. Shandong Lu-embroidery is also called uiseonsu, meaning embroidery for clothes, as kkonsa was widely used as being suitable for more sturdy costumes. In Nopakchiplam, it is recorded that new types of embroidery threads were used in Joseon as well. Conclusively, this study compared the Lu embroidery style works at the National Museum of Korea and the works of Ming-Qing period, and examined how kkonsa were used in Joseon. The iconography and style of embroidered Lotus Pond and Waterfowl and narrative figure paintings, and the use of Joseon royal style two-strands Jeonggumsa, royal embroidery, folk embroidery and Ahn Joo-embroidery were all considered for more comprehensive understanding.

Embroidery was an important decorative element in medieval art, known to exist but often overlooked. The surviving examples of the extraordinarily beautiful works created by the elegant stitches of a multitude of mostly unknown embroiderers over the centuries tend to be casually admired but intellectually overlooked. This survey does not deal with the techniques and methods of medieval embroiderers, but endeavours to draw attention to the place of embroidery as an overlooked component of medieval social history.

The medieval textiles collection of the National Museum of Art of Romania (MNAR) has been in place since 1865 and nowadays preserves about 1000 medieval and pre-modern weavings and embroideries. These extremely valuable objects, dated between the 14th and the 19th centuries, are mainly religious embroidered garments and veils with special significance in the Byzantine li-turgy. Ecclesiastical embroideries of Byzantine tradition are characterized by a complex technique: metallic threads with a silk core, metallic wires and coloured silk threads are couched over padding on layers of silk and cellulosic supports so as to create relief through light reflection. The silk sup-ports and the sewing threads are coloured, mainly in red, blue, green and yellow hues, and analytical investigations of the dyes used in embroideries preserved in the MNAR, in the Putna and Sucevița Monasteries, have been released in previous studies by the corresponding author. The present work continues the approach with research into dyes in about 25 aëres and epitaphioi from the MNAR collection. Considering their privileged function in the liturgical ritual, these luxurious pieces embroidered with silver, gilded silver or coloured silk threads and decorated with pearls, sequins or semi-precious stones are the most faithful description of the stylistic and technological evolution of the art of post-Byzantine embroidery in the Romanian provinces. The data resulting from the present research will improve the knowledge regarding this topic. Dye analysis was performed by liquid chromatography with diode array detection, while fibres were characterized by infrared spectroscopy (with attenuated total reflectance) and optical microscopy. The biological sources identified—carminic acid-based dyes, redwood, dyer’s broom, weld, indigo-based dyes––will be discussed in correspondence with their use in the embroidery technique: support, lining and embroidery threads, together with other sources previously reported on Byzantine embroideries in Romanian collections, and in similar objects preserved at Holy Mount Athos.

About fifteen illustrated cloths have been preserved from medieval times in Iceland. One of them is an antependium from Svalbarð church on Svalbarðsströnd. The embroidered iconography on it is believed to depict the story of John the Apostle, who was the patron saint of the Svalbarð church. Upon closer inspection, the cloth appears to have been cut from a larger cloth, most likely a wall-hanging, in order to be used as an antependium. Moreover, the story that is embroidered on it seems to be related to secular people, because none of those appearing on it have halos around their heads, but halos are generally used in iconography to differentiate sanctified people from seculars. In this article, this discovery is discussed, and a theory that the embroidery shows the story of the most prominent woman of medieval Iceland, Ólöf the Rich, is proposed.

В статье рассматривается традиция вышивок, получившая развитие у монгольского племени хорчинов и представляющая собой уникальный образец ремесла средневековых и современных монголов. На протяжении длительного периода своего существования она вобрала в себя уникальные особенности среды обитания и образа жизни, а также исторические традиции, культуру и обычаи этого народа. Изучение творческого наследия хорчинов имеет огромное значение для развития и модернизации традиционного искусства монгольской вышивки в современной жизни. Исследуются основные техники выполнения вышивок, типы узоров и их семантика, а также принципы колористической организации, позволяющие достичь редкой по красоте цветовой гармонии изображения ткани. Показано, что традиции, некогда сложившиеся в среде хорчинов, получают развитие в современных народных промыслах, существующих во Внутренней Монголии. The article considers the tradition of embroidery developed by the Mongolian Khorchyn tribe. This is a unique example of the craft of the medieval and modern Mongols. Over the long period of its existence, it has incorporated the unique features of their habitat and way of life, as well as historical traditions, culture, and customs. The study of the artistic heritage of the Khorchins is of great importance for the development and modernization of the traditional art of Mongolian embroidery in modern life. The text discusses the study of embroidery techniques, types of patterns and their semantics, as well as the principles of colouristic organization to achieve a rare beauty colour harmony of the image. It highlights the development of Khorchins' traditions in modern Inner Mongolian folk crafts.

This paper is a report of the first archaeological research ever carried out on the so?called “Sábana de Santa Eufemia”. It is a very well?preserved embroidery in white from the reliquary of Saint Euphemia in the Cathedral of Ourense (Galicia, Spain), which is currently kept in the Cathedral Museum. The textile shows a very lavish decoration formed by an array of motifs taken from different cultural traditions. This point leads to think it was made in post?medieval times by someone who was familiar with medieval cloths of honour which were probably part of the Cathedral Treasury.

In the present study, golden threads from two, apparently identical, medieval epitrachelions considered masterpieces of the Romanian Byzantine embroidery art, were investigated by using Micro-Particle Induced X-ray Emission (micro-PIXE) and optical microscopy. PIXE measurements allowed to accurate identify the elemental composition, distribution of the trace elements, the layered structures (depth profiling) and thicknesses of the gold layer. Useful information for the characterization of the gilded silver threads due to elemental maps concerning the constituent elements spatial distribution in the sample was also obtained.

From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church.

From the medieval to the early modern periods, various new techniques of dyeing and embroidery and correlative decorative patterns on textiles with local characteristics had been developed in Japan, some of which could be witnessed on the silks from the middle to late Ming dynasty, leading to limited influences on the silk art of the Ming and Qing dynasties. This paper classifies a group of unearthed and handed down silks with similar patterns and compositions from the middle to late Ming dynasty and makes comparisons with related decorative arts from both China and Japan, to summarize corresponding adoption and application of Japanese textile patterns by Ming silks. It also explores the production and application of Ming silks that imitated Japanese textiles.

Historians tend to approach books primarily as vehicles for ideas, sources for the thought of the individuals and groups who wrote and read the words on the pages inside. They rarely pause to consider their significance as physical artefacts and items of material culture. This paper brings the format, appearance, and practical function of Bibles, prayer books, and other small devotional works to the very centre of our attention. It suggests that close scrutiny of the diminutive size and artistically crafted covers of some of the copies that survive yields fresh insights into the shape and texture of piety in late medieval and early modern England. The following investigation is heavily indebted to the findings of researchers in the specialized field of the history of bookbinding, a field once light-heartedly described as ‘a humble auxiliary discipline … not entirely useless and undoubtedly innocuous’. Yet, as we shall see, situated against the backdrop of developments in Tudor and Stuart embroidery and jewellery, domestic furnishing and female fashion, decorated bookbindings provide us with a unique and interesting reflection of the values and preoccupations of pre- and post-Reformation society.

Abstract: The nomadic lifestyle required sets of bags to transport both valuables and everyday objects. Those produced by Central Asia’s nomads were not only functional items but works of art whose decoration and semantics reflected the worldview of the people who made them. Evidence of their usage can be traced from the early medieval period to Soviet times. This article explores in some detail traditional materials and embroidery techniques used in their production. The characteristic compositions and multiple symbols of different nomadic groups are demonstrated and discussed, with in-depth analysis of the Karakalpak shay qalta (bag for tea) as an example. As nomads came increasingly under the influence of sedentary culture and were eventually settled themselves, both their use of storage bags and the decorations applied to them changed. These changes are especially reflected in the shift from “cosmological” to “vegetal” motifs. By the first quarter of the twentieth century, conditions of Soviet town and farm life gradually spelled an end to the tradition of nomad textile bags.

The paper considers the votive practices and gifts known in the Russian religious tradition. The author gives an overview of individual and collective vows common in medieval and imperial Russia, as well as the main types of votive gifts: buildings (churches, chapels), crosses, icons, reliquaries, icon salaries, church embroidery, fabrics, anatomical weights, precious gifts to icons, etc. Votive actions were the most important social tool for creating a variety of religious objects, from monumental (like monastery buildings and city cathedrals) to small (like shawls, towels or pendants in the form of a diseased organ). At the same time, the action of making, bringing, using the votive object and the material object itself were inextricably linked – the word ‘vow’ in Russia meant not only a promise, but also a monetary contribution to a monastery or church, and a votive object, and animals fattened for a sacrifice to a saint (holiday), and any other kind of gift, material or actional. As the author notes, a review of these traditions helps to better understand modern votive practices that have actively spread in Russia in the last decade.

The cult of saints and the subsequent interest in relics constituted one of the essential characteristics of medieval Western Christianity. In particular, relics and reliquaries are prime examples of the importance of materiality in devotion. In the present article we analyse one of the medieval skull relics of Turku Cathedral and its material characteristics in detail. Previous examinations undertaken in the 1920s and 1940s produced two theories of its origins and identification. By analysing the bone material and the narrative depiction of martyrdom embroidered on the silk wrapping, State Archaeologist Juhani Rinne connected the relic to St Henry, the patron saint of Finland and the cathedral, while State Archaeologist Carl Axel Nordman identified it as belonging to St Eric, the patron saint of the Kingdom of Sweden. By re-examining the central element of the skull relic, the bones, with osteological analysis and radiocarbon dating, we show both theories to be highly problematic. Our analysis reveals the complex material features of the skull relic and the medieval cult of relics.

There are many extant examples of late medieval vestments in private and public collections in Europe and North America. Little is known, however, about the people who created them and the production methods used. A copy of a formal agreement between Sir Robert Clere and William Morton, included in the Townshend family papers, offers a rare insight into the making of a set of late fifteenth-century vestments. The document specifies the materials and the motifs to be used in making the vestments and the delivery deadline. This paper investigates the individuals mentioned in the agreement, the significance of the symbols and images chosen, and the possible motives behind the contract phraseology. Although these particular vestments no longer exist, parallels for the designs and techniques among extant examples have been used to re-create their possible appearance. Also considered is the relationship between embroiderer and mercer and the ways in which they collaborated to produce garments for royalty, the nobility and an increasing number of wealthy citizens.

The female body in medieval Japanese Buddhist texts was characterized as unenlightened and inherently polluted. While previous scholarship has shown that female devotees did not simply accept and internalize this exclusionary ideology, we do not fully understand the many creative ways in which women sidestepped the constraints of this discourse. One such method Japanese women used to expand their presence and exhibit their agency was through the creation of hair-embroidered Buddhist images. Women bundled together and stitched their hair into the most sacred parts of the image—the deity’s hair or robes and Sanskrit seed-syllables—as a means to accrue merit for themselves or for a loved one. This paper focuses on a set of embroidered Japanese Buddhist images said to incorporate the hair of Chūjōhime (753?CE–781?CE), a legendary aristocratic woman credited with attaining rebirth in Amida’s Pure Land. Chūjōhime’s hair embroideries served to show that women’s bodies could be transformed into miraculous materiality through corporeal devotional practices and served as evidence that women were capable of achieving enlightenment. This paper emphasizes materiality over iconography and practice over doctrine to explore new insights into Buddhist gendered ritual practices and draws together critical themes of materiality and agency in ways that resonate across cultures and time periods.

Abstract In the collection of Vatopediou Monastery (Mount Athos) there is a Late Byzantine vestment called by the monks the “Arabic stole” (arabikon ōmophorion). This quite unique vestment probably owes its name to two bands of embroidered Arabic inscriptions on the lower part of each end. It is one of the very few known Byzantine religious objects to feature legible Arabic inscriptions, a visible symbol of Islamic otherness juxtaposed with the standard Christian iconography. Apart from bringing into the spotlight a medieval vestment that has been overlooked by scholars, this article traces possible sources of artistic transfer through a discussion of texts and extant objects. Finally, it aims at expanding our understanding of the reception of Islamic art in Late Byzantium, a time of both political decline and cultural renewal.

The orthodoxy which dismissed the pre-Reformation parish as the point where the many failings of the Church met to blight ordinary lives has exercised a tenacious grip on the historical imagination. Current opinion, on the other hand, perceives the parish as deserving of inquiry, not least because of a dawning realisation that it was a point where managerial expertise and a noteworthy buoyancy of spirit intersected. Ostentatious programmes of church rebuilding and embellishment testify both to competence and to a vitality bordering on exuberance in many parish communities. If more difficult to appraise, the liturgical life of many parishes seems to have flourished and was enhanced by the steady accumulation of vessels, vestments, lights, embroidered cloths and painted images. Many wealthier parishes also supported numerous auxiliary clergy and a sophisticated musical repertory and performance. But building and liturgical elaboration were not products merely of whim. In addition to an obligation to support the incumbent by regular payment of tithe, responsibility for maintaining church fabric and the wherewithal for worship within the church had been assigned to the parish community by canon law in the thirteenth century. Many parishes conspicuously exceeded their brief. In matters of securing revenues it seem at the very least safe to assume widespred competence. Historians, however, have by and large failed to respond to the laity's achievement and that in spite of abundant surviving documentation. Investigation of the financial regime of the late medieval parish is long overdue. If it has received any attention at all, parish finance has been charaterised in very general terms of corporate levy and ad hoc donation.

Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearance and composition of the older icon by adding the two saints and touching up the Virgin’s clothes with Renaissance ornaments, all of which was performed by the well-known Dubrovnik painter Nikola Božidarević. It can be assumed that the icon originally featured a standing or seated Virgin and Child. The Virgin is depicted with her head slightly lowered and pointing to the Christ Child whom she is holding on her right side. The chubby boy is not seated on his mother’s lap but is reclining on his right side and leaningforward while his face is turned towards the spectator. He is dressed in a red sleeveless tunic with a simple neck-line which is embroidered with gold thread. The Child is leaning himself on the Virgin’s right hand which is holding him. He is firmly grasping her thumb with one hand and her index finger with the other in a very intimate nursing gesture while she, true to the Hodegitria scheme, is pointing at him with her left hand, which is raised to the level of her breasts. Such an almost-realistic depiction of Christ as a small child with tiny eyes, mouth and nose, drastically departs from the model which portrays him with the mature face of an adult, as was customary in icon painting. The Virgin is wearing a luxurious gold cloak which was repainted with large Renaissance-style flowers. Her head is covered with a traditional maphorion which forms a wide ring around it and is encircled by a nimbus which was bored into thegold background. Her skin tone is pink and lit diffusely, and was painted with almost no green shadows, which is typical of Byzantine painting. The Virgin’s face is striking and markedly oval. It is characterized by a silhouetted, long, thin nose which is connected to the eyebrows. The ridge of the nose is emphasized with a double edge and gently lit whilethe almond-shaped eyes with dark circles are set below the inky arches of the eyebrows. The Virgin’s cheeks are smooth and rosy while her lips are red. The plasticity of her round chin is emphasized by a crease below the lower lip and its shadow. The Virgin’s eyes, nose and mouth are outlined with a thick red line. Her hands are light pink in colour and haveelongated fingers and pronounced, round muscles on the wrists. The fingers are separated and the nails are outlined with precision. The deep, resounding hues of the colour red and the gilding, together with the pale pink skin tone of her face, create an impression of monumentality. The type of the reclining Christ Child has been identified in Byzantine iconography as the Anapeson. Its theological background lies in the emphasis of Christ’s dual nature: although the Christ Child is asleep, the Christ as God is always keeping watch over humans. The image was inspired by a phrase from Genesis 49: 9 about a sleeping lion to whom Christ is compared: the lion sleeps with his eyes open. The Anapeson is drowsy and awake at the same time, and therefore his eyes are not completely shut. Such a paradox is a theological anticipation of his “sleep” in the tomb and represents an allegory of his death and Resurrection. The position, gesture and clothes of the Anapeson in Byzantine art are not always the same. Most frequently, the ChristChild is not depicted lying in his mother’s arms but on an oval bed or pillow, resting his head on his hand, while the Virgin is kneeling by his side. Therefore, the Anapeson from Dubrovnik is unique thanks to the conspicuously humanized relationship between the figures which is particularly evident in Christ’s explicitly intimate gesture of grasping the fingers of his mother’s hand: his right hand is literally “inserting” itself in the space between the Virgin’s thumb and index finger. At the same time, the baring of his arms provided the painter with an opportunity to depict the pale tones of a child’s tender skin. The problem of the iconography of the Anapeson in the medieval painting at Dubrovnik is further complicated by a painting which was greatly venerated in Župa Dubrovačka as Santa Maria del Breno. It has not been preserved but an illustration of it was published in Gumppenberg’sfamous Atlas Marianus which shows the Virgin seated on a high-backed throne and holding the sleeping and reclining Child. The position of this Anapeson Christ does not correspond fully to the icon from the Church of St. Nicholas because the Child is lying on its back and his naked body is covered with the swaddling fabric. The icon of the Virgin and Child from Prijeko claims a special place in the corpus of Romanesque icons on the Adriatic through its monumentality and intimate character. The details of the striking and lively Virgin’s face, dominated by the pronounced and gently curved Cimabuesque nose joined to the shallow arches of her eyebrows, link her with the Benedictine Virgin at Zadar. Furthermore, based on the manner of painting characterized by the use of intense red for the shadows in the nose and eye area, together with the characteristic shape of the elongated, narrow eyes, this Virgin and Child should be brought into connection with the painter who is known as the Master of the Benedictine Virgin. The so-called Benedictine Virgin is an icon, now at the Benedictine Convent at Zadar, which depicts the Virgin seated on a throne with a red, ceremonial, imperial cushion, in a solemn scheme of the Kyriotissa, the heavenly queen holding the Christ Child on her lap. The throne is wooden and has a round back topped with wooden finials which can also be seen in the Byzantine Kahn Virgin and the Mellon Madonna, as well as in later Veneto-Cretan painting. The throne is set under a shallow ciborium arch which is rendered in relief and supportedby twisted colonettes and so the painting itself is sunk into the surface of the panel. A very similar scheme with a triumphal arch can be seen on Byzantine ivory diptychs with shallow ciborium arches and twisted colonettes. In its composition, the icon from Prijeko is a combination ofthe Kyr i ot i ss a and the Hodegitria, because the Virgin as the heavenly queen does not hold the Christ Child frontally before her but on her right-hand side while pointing at him as the road to salvation. He is seated on his mother’s arm and is supporting himself by pressing his crossed legsagainst her thigh which symbolizes his future Passion. He is wearing a formal classical costume with a red cloak over his shoulder. He is depicted in half profile which opens up the frontal view of the red clavus on his navy blue chiton.He is blessing with the two fingers of his right hand and at the same time reaching for the unusual flower rendered in pastiglia which the Virgin is raising in her left hand and offering to him. At the same time, she is holding the lower part of Christ’s body tightly with her right hand.Various scholars have dated the icon of the Benedictine Virgin to the early fourteenth century. While Gothic features are particularly evident in the costumes of the donors, the elements such as the modelling of the throne and the presence of the ceremonial cushion belong to the Byzantine style of the thirteenth century. The back of the icon of the Benedictine Virgin features the figure of St. Peter set within a border consisting of a lively and colourful vegetal scroll which could be understood as either Romanesque or Byzantine. However, St. Peter’s identifying titulus is written in Latin while that of the Virgin is in Greek. The figure of St. Peter was painted according to the Byzantine tradition: his striking and severe face is rendered linearly in a rigid composition, which is complemented by his classical contrapposto against a green-gray parapet wall, while the background is of dark green-blue colour. Equally Byzantine is themanner of depicting the drapery with flat, shallow folds filled with white lines at the bottom of the garment while, at the same time, the curved undulating hem of the cloak which falls down St. Peter’s right side is Gothic. The overall appearance of St. Peter is perhaps even more Byzantine than that of the Virgin. Such elements, together with the typically Byzantine costumes, speak clearly of a skilful artist who uses hybrid visual language consisting of Byzantine painting and elements of the Romanesque and Gothic. Of particular interest are the wide nimbuses surrounding the heads of the Virgin and Child (St. Peter has a flat one) which are rendered in relief and filled with a neat sequence of shallow blind archesexecuted in the pastiglia technique which, according to M. Frinta, originated in Cyprus. The Venetian and Byzantine elements of the Benedictine Virgin have already been pointed out in the scholarship. Apart from importing art works and artists such as painters and mosaic makers directly from Byzantium into Venice, what was the extent and nature of the Byzantineinfluence on Venetian artistic achievements in the thirteenth and fourteenth centuries? We know that the art of Venice and the West alike were affected by the Fourth Crusade and the sack of Constantinople in 1204, and by the newly founded Latin Empire which lasted until 1261.The Venetians played a particularly significant political and administrative role in this Empire and the contemporary hybrid artistic style of the eastern Mediterranean, called Crusader Art and marked by the strong involvement of the Knights Templar, must have been disseminated through the established routes. In addition to Cyprus, Apulia and Sicily which served as stops for the artists and art works en route to Venice and Tuscany, another station must have been Dalmatia where eastern and western influences intermingled and complemented each other.However, it is interesting that the icon of the Benedictine Virgin, apart from negligible variations, imitates almost completely the iconographic scheme of the Madonna di Ripalta at Cerignola on the Italian side of the Adriatic, which has been dated to the early thirteenth century and whose provenance has been sought in the area between southern Italy (Campania) and Cyprus. Far more Byzantine is another Apulian icon, that of a fourteenth-century enthroned Virgin from the basilica of St. Nicholas at Bari with which the Benedictine Virgin from Zadar shares certain features such as the composition and posture of the figures, the depictionof donors and Christ’s costume. A similar scheme, which indicates a common source, can be seen on a series of icons of the enthroned Virgin from Tuscany. The icon of the Virgin and Child from Prijeko is very important for local Romanesque painting of the late thirteenth and early fourteenth century because it expands the oeuvre of the Master of the Benedictine Virgin. Anicon which is now at Toronto, in the University of Toronto Art Centre Malcove Collection, has also been attributed to this master. This small two-sided icon which might have been a diptych panel, as can be judged from its typology, depicts the Virgin with the Anapeson in the upper register while below is the scene from the martyrdom of St. Lawrence. The Virgin is flanked by the figures of saints: to the left is the figure of St. Francis while the saint on the right-hand side has been lost due to damage sustained to the icon. The busts of SS Peter and Paul are at the top.The physiognomies of the Virgin and Child correspond to those of the Benedictine Virgin and the Prijeko icon. The Anapeson, unlike the one at Dubrovnik, is wrapped in a rich, red cloak decorated with lumeggiature, which covers his entire body except the left fist and shin. On the basis of the upper register of this icon, it can be concluded that the Master of the Benedictine Virgin is equally adept at applying the repertoire and style of Byzantine and Western painting alike; the lower register of the icon with its descriptive depiction of the martyrdom of St.Lawrence is completely Byzantine in that it portrays the Roman emperor attending the saint’s torture as a crowned Byzantine ruler. Such unquestionable stylistic ambivalence – the presence of the elements from both Byzantine and Italian painting – can also be seen on the icons of theBenedictine and Prijeko Virgin and they point to a painter who works in a “combined style.” Perhaps he should be sought among the artists who are mentioned as pictores greci in Dubrovnik, Kotor and Zadar. The links between Dalmatian icons and Apulia and Tuscany have already been noted, but the analysis of these paintings should also contain the hitherto ignored segment of Sicilian and eastern Mediterranean Byzantinism, including Cyprus as the centre of Crusader Art. The question of the provenance of the Master of the Benedictine Virgin remains open although the icon of the Virgin and Child from Prijeko points to the possibility that he may have been active in Dalmatia.However, stylistic expressions of the two icons from Zadar and Dubrovnik, together with the one which is today at Toronto, clearly demonstrate the coalescing of cults and forms which arrived to the Adriatic shores fromfurther afield, well beyond the Adriatic, and which were influenced by the significant, hitherto unrecognized, role of the eastern Mediterranean.

The article essays at bringing together the knowledge of embroidery productions in medieval Bengal as derived from various sources such as local, Persian and travellers account. An attempt has been made to identify embroidery productions and its demands in internal and external markets as well as impact on economic life of the people of Bengal. About the embroidery industry during the period under study still exists a gap requiring an inquisitive research which will reveal the exact or near to exact scenario with respect to these aspects of non-agrarian economy so, this study is an attempt to answer such questions, mainly on the evidences provided by foreign traveller’s records, Persian sources, and other contemporary’ records.

Zardozi is a traditional embroidery since medieval period in India. It is considered to be famous embroidery of Lucknow as chikankari but zardozi is not getting as much as attention and promotion like chikankari. So this paper covers review of zardozi embroidery in historical perspective from ancient to modern period in India with special reference to Lucknow during Nawab’s times. It also focuses on to find out its contemporary status, factors related to continuity and changes in the embroidery. It lays stress on the socio-economic status and problems of workers (zardoz) specially wages and health issues. This paper is a effort to fetch attention of government and non- government organizations towards this Royal craft of Lucknow for better promotion and facilities.

Armenian medieval fabrics and carpets have a special place in the collection of the History Museum of Armenia. They are valuable finds from the city of Ani dating back to the early 13th century: the girl's silk dress/ outfit, the covers of a deceased with gold thread embroidery, the parts of dark red silk fabric, dark brown knotted velvet, woolen carpet, etc. In the group of carpets pile and lint-free fabrics of the 16th – 18th centuries stand out. The decoration and the quality of these objects indicate that they were made in special workshops. According to the sources of the 13th century, those were unions of craftsmen, who acted according to a charter and were called “brotherhoods”. Arabic sources of the 10th – 13th centuries, trade documents of the early 14th century from Cilicia, Turkish accounting documents of the 16th century called “vasikans”, documents of 17th century of “Armenian Trading Company”, trade diaries of merchants of the early 18th century contain the most important information on Armenian expensive fabrics and carpets, the centers of their production and market prices.

AbstractThis manuscript explores the potential of macro-X-ray fluorescence (MA-XRF) for the non-invasive analysis of heritage textiles. XRF, especially with the portable instruments, is a well-known technique for the non-destructive examination of various cultural heritage objects. It allows analysis of elemental composition based on single-point measurements. However, large, or complex textiles require numerous analysis points to identify the materials used and correctly interpret the spectra. MA-XRF takes this type of research to the next level, as it is possible to visualise the element distribution over an entire mapped area. In this paper, we discuss the application of this technique to the study of complex and multi-layered textile objects from exceptional Belgian heritage collections, including two mitres attributed to Bishop Jacques de Vitry, dating between twelfth and thirteenth century, and two of the seven extremely fine medieval reliquary purses from Namur. These are very fragile, richly decorated textile objects whose current state of preservation is a major impediment to sampling. MA-XRF mapping was applied for the identification of the elements of different materials in a non-invasive manner, including metal threads, ink, dyes, and various materials used in illuminations. In addition to material identification, stratigraphic information was obtained from the visualisation of element distributions, and hidden structural details were discovered. MA-XRF was also tested on some areas with more relief, such as the embroidery and braid made with metal threads, and the undulated multi-layered structure of the parchment mitre. Even though the analyses here could not be carried out in optimal conditions, these locations could also be analysed, albeit at a lower resolution. Finally, the technique proved very effective as a tool for screening, allowing samples to be taken at a more informative and representative location and minimising sampling.