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Name Textile

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Image of 2002.7.23 -

2002.7.23 -

This Coca bag (ch'uspa) is woven with cotton warp and wool weft in red, blue, yellow, green, and white on a brown background in a multi-stripe design, and has separately woven strap in a zig-zag pattern. Marianne Hogue has suggested that the patterns most commonly found in Inca textiles - the step, the zigzag and the rectangle - have political and agricultural significance. A visual representation of reality was a lesser priority than the aesthetic impact of pattern and color and repetition. Pre-Columbian Andeans chose geometry and abstraction as the best means to communicate their ideas, though artists were certainly capable of creating naturalistic representations of the world as can be

Image of 2010.6.17 -

2010.6.17 -

Embroidered silk and cotton hair braid cover or bag with overall vegetal patterns on front, ikat backing, and mulit-colored fringe.

Image of 2002.7.45 -

2002.7.45 -

Inca Fez style hat in natural color cammaloid wools of brown, tan, gray, and black, woven around a vegetable fiber (coiled), The Fez style hat was only found in Chile during the 70-year Inca occupation of Northern Chile Referred to as the "Fez" type because of its similarity to the truncated cone shape of theTurkish Fez. The construction technique is known in basketry as "coiling". A weft of fine camelid threads is looped around a thick coil of the same fiber. (David Bernstein Fine Art- similar examples shown) Marianne Hogue has suggested that the patterns most commonly found in Inca textiles - the step, the zigzag and the rectangle - have political and agricultural significance. A vi

Image of 2002.7.9 -

2002.7.9 -

This Huarmey tapestry sleeve has images of two warriors holding staffs, central rectangular panel with two animal images, zigzag pattern in blue along bottom, red, white, blue, yellow, purple, and black colors. According to the Andean scholar Rebecca Stone-Miller, Huari textiles "seem to celebrate geometry itself; their designs read as grid-based, rectilinear, strikingly coloristic, dynamic, and, above all, illegible pattern." As illegible as the fragment may appear, it is nevertheless clear that Huari weavers-typically women, often in collaboration-learned to express themselves, and to express state initiatives, in a language of abstraction. The abstracted iconography favored by Huari wea

Image of 2003.10.2 -

2003.10.2 -

Chavin painted textile section of a tunic, depicts a proto-typical staff bearing figure with fanged mouth and claws visible on the hands and feet, serpents form his staff and hang from his crown, the headband is decorated with a bean motif. A Chavin style fragment with painted images, provides some insight regarding the nature of this cultural exchange. The textile, dating from ca. 400 B.C.E., would likely have been worn by a male of high social standing. The fragment comes from the site of Karwa, located in the south coast of Peru. Some of the earliest remains of cultivated cotton, dating from about 3,500-3,000 B.C.E., were actually discovered in the central coast of Peru and Ecuador, no

Image of 2010.6.21 -

2010.6.21 -

Embroidered dress front made of cotton with red and green with heart design. A square of cloth like this would have been used as a front piece for a woman's dress.

Image of 2007.11.2 -

2007.11.2 -

Central coast cultures such as the Chancay are known primarily through burial goods. Vast numbers of textiles have been preserved from the area, though little is known about their specific context because most were recovered by looters, and only a few have been excavated scientifically. Chancay tombs were notable for their textiles and included elaborate gauzes such as the cotton Panel seen here. This type of monochrome openwork with square spaces and embroidery is unique to Chancay and is reminiscent of fishing net. As such, it reflects a textile tradition that developed out of net-making needs, and it signifies the culture's long history fishing the Humboldt Current off the Peruvian coas

Image of 2010.6.10 -

2010.6.10 -

Ikat panel made from sections of two loom widths, threads are dyed pink, blue, and yellow. The term ikat is derived from the Malay word mengikat, meaning "to tie" – a reference to the distinctive technique used to create them, a complex process that involves tying strips of fiber around the unwoven threads of a textile before dyeing them so as to create rich and intricate patterns in the resulting fabric. Although united by a common technique, ikat textiles are astonishingly diverse in their imagery, which ranges from bold geometric compositions to figural patterns of striking visual and technical virtuosity. The sources of artistic inspiration are equally varied. Some reflect artistic in

Image of 2010.6.11 -

2010.6.11 -

Wool tent bag from Baluchistan, front flat weave with geometric and spiral wave pattern; striped flat weave backing.

Image of 2010.6.14 -

2010.6.14 -

Embroidered silk and cotton dress trim from Uzbekistan. Trim like this would be used to decorate the front edge of a woman’s dress, it would be tacked to outer garments then removed for washing.

Image of 2010.6.15 -

2010.6.15 -

Cotton embroidered pillow cover with printed cotton backing fabric.

Image of 2010.6.20 -

2010.6.20 -

Square white cotton prayer cloth with red, yellow, blue and green embroidery. Imagery includes a pair of hands, triangles, and plant forms, the hem is finished with black zigzag stitch. Traditionally made by Shiite Hazara women. Used to wrap the mohr/turbah (prayer stone), made from terracotta brought from Karbala, Iraq. Hands, fingers and combs: the hand motif protects against spells and the evil eye while the comb protects birth and marriage.

Image of 2010.6.24 -

2010.6.24 -

Patchwork cloth, edged in floral print; outer border of plain red material; outer field of patchwork diamonds bordered by narrow bands of multi-colored saw-tooth patchwork and embroidery on white; center field of various materials including ikat. Created in Afghanistan of an Uzbek design.

Image of 2010.6.26 -

2010.6.26 -

Pouch with cotton backing fabric, silk embroidery, and a long tie cord, similar to a khalta bag, used for small personal items. “Shorter strips of cross-stitch in patterns similar to segusha (V-shaped forms) are folded in half and stitched together to form small pouches. A long string, sometimes tasseled, is attached to the top, to close the bag or tie it to a belt. The pouches are used to carry tea, cosmetics and other small personal items; for sewing materials, small enough to be carried over the shoulder or in a pocket; for holding money, salt, or mirrors. The patterns of authentic pouches are made to fit the bag's shape, while many spurious ones are constructed from cut down segusha.”

Image of 98.4.1 -

98.4.1 -

Woven decorative fringed border with mythological beings. Keeping in mind that some Paracas embroideries measured up to 85 feet long,this piece is a small fragment of the border of a much larger piece. It nevertheless contains a great deal of valuable information for understanding the Paracas textile tradition and the culture as a whole. The border strip shows a row of repeating anthropomorphic figures with outstretched limbs, suggesting that they are in flight. The color scheme is typical of Block Color embroideries (see Notes), with a predominance of rich green, red, yellow, and orange hues. The figures wear stylized masks revealing only a triangular chignon of hair that seems to proje

Image of 61.66 -

61.66 -

Coptic tapestry woven oval textile fragment from a tunic, black on brown background with birds and fish on border, two figures and tree in center. In the Byzantine period artisans transformed the imagery available to them to relate to Christian iconography, such as is seen in the central image of Adam and Eve and the tree of life on the fragment here.

Image of 63.50 -

63.50 -

Though the weaver and painter of the Fragment with two figures is unknown, she was clearly highly skilled. This painted fabric displays two figures, one profile animal, probably a llama, and one frontal anthropomorphic male with a crescent headdress and mask-like face. Each figure is rendered in a solid black line and is enclosed within a roughly-square geometric form. The square surrounding the llama is comprised of triangles. The human figure with the headdress and raptorial hands and feet is not unlike images of the so-called Lord of Sipan from the Moche culture (ca. C.E. 1-600), which preceded the Chimu in the same northern coastal valleys. A horizontal line and the hint of vertical

Image of 66.1 -

66.1 -

Coptic embroidered textile with three orant figures, upright with arms raised in prayer. The figures on the left and right are shown with cross medallions on their garments. The center figure is shown with long hair or a head covering. Frontal views of faces with large, wide-set eyes are typical of Coptic figural art. The fragment is possibly from a garment, altar hanging, or curtain. A similar textile has been described as a 5th century Coptic curtain fragment.

Image of 98.11.2 -

98.11.2 -

From the earliest period of Andean history, textile production contributed to the foundation of a complex society. This textile depicts nine images of feline figures in rectangular panels, in red or brown-yellow colors with contrasting backgrounds. The figures are abstracted and may represent the god Ccoa, who controlled lightning and struck down both crops and people. Citation: Extract taken from essay by Arianne Fernandez, in "SCHOLARS, EXPLORERS, PRIESTS, How the Renaissance Gave Us the Modern World," ex. cat. G -T M, Queens College, CUNY, February 2 - March 27, 2010, 53.

Image of 98.4.12 -

98.4.12 -

Central Anatolia, Konya, Yuruk, nomadic pillow, late 19th century, decorated with drynaks (latch hook diamonds) and rams horns. Though textiles like this are richly embellished many of them also serve as functional containers, for holding or carrying food, clothes, and utensils, and double as cushions. This weaving features a shape and style typical of nomadic weavings, with thick, soft pile, strong dyes, and an array of drynaks, within and around the central gül (medallion) form.