It uses a wide range of documents (from inventories and account books to letters, poems, educational treatises and sermons) to compare the economic value of gold brocade and painting, clarify the conditions of their use, and interpret the different messages given by brocades in different pictures. Gold brocade and Renaissance painting examines the skills artists developed for representing these lavish textiles. Their value and cultural role also meant that gold-brocaded textiles could be included in paintings both in praise of luxury and as a condemnation of it - sometimes in one and the same work. Gold brocade was an important element in the display of wealth and status at grand courts, while painting often formed the only affordable substitute for courtly splendour for the socially ambitious but less affluent urban upper-middle class. Gold brocades were much more expensive than paintings hence the two media functioned in different contexts. The fabrics rendered in painting reflected the tradition of actual weaving, but only to an extent, as many gold brocades were painted from imagination. Setting aside traditional notions of the hierarchy of the major and minor arts, the book treats gold brocade and painting equally as exponents of the special segment of Renaissance material culture that was art. Gold brocade and Renaissance painting focuses on examples from Italy and the southern Netherlands, dating from the fourteenth to the early seventeenth centuries. These painted textiles carried an economic and social significance that a contemporary audience would have recognised as part of the message conveyed by the picture. Gold brocade and Renaissance pai Silk fabrics woven with gold thread, predominantly produced in Italy, were depicted frequently in Renaissance painting, both in costumes and as backdrops for important figures. If you are interested in using an image for a publication, please visit for more information and to fill out the online Image Rights and Reproductions Request Form.Silk fabrics woven with gold thread, predominantly produced in Italy, were depicted frequently in Renaissance painting, both in costumes and as backdrops for important figures. Lozenge pattern with gold-wrapped threads for weft woven throughout.
The front side has a brocade chysanthemum design woven in gold-wrapped thread in three tones. One continuous length of cloth, doubled back on itself for lining. This obi is a maru-type, which is the most formal type of obi and made out of heavy silk brocade that would be appropriate with a formal awase or lined kimono during the fall season. Additionally, the obi can be tied in a variety of ways, creating pleasing shapes such as bows, clams, butterflies and plovers to be displayed by the wearer. The wearer can adjust, tuck, and neatly hide any excess length of the kimono under the obi. Once tied, the flower motifs on this obi appear both on the front and on the back bow. This is a maru-type obi, the most formal kind, and is made out of heavy silk brocade that would be appropriate with an awase or lined kimono during the autumn season.Īn obi is a sash, usually about thirteen feet long and twelve inches wide, that is both decorative and functional, serving as a belt and closure on the outside of a kimono. Additionally, the obi may be tied in a variety of ways, creating pleasing shapes such as bows, shells, butterflies, and birds. Gift of Howard and Patricia Yamaguchi, 2005/1.327Īn obi is a sash, usually about thirteen feet long and twelve inches wide, that is both decorative and functional, serving as a belt and closure on the outside of a kimono. Silk brocade woven in chrysanthemum pattern with gold-wrapped threads Mauve-and-gold brocade obi with woven gold chrysanthemum scroll pattern Silk brocade woven in lozenge pattern with gold-wrapped threadsġ71 5/8 in x 11 13/16 in (436 cm x 30 cm) 29 15/16 in x 18 1/8 in x 6 5/16 in (76 cm x 46 cm x 16 cm) Mauve-and-gold brocade obi with woven chrysanthemum scroll pattern
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