Panel of white silk embroidered with a picture of St Anthony of Padua supporting the infant Jesus in the crook of one arm and a lily in the other, China or Philippines, 17th-18th century.
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| - Panel of white silk embroidered with a picture of St Anthony of Padua supporting the infant Jesus in the crook of one arm and a lily in the other, China or Philippines, 17th-18th century. (en)
- Panel of white silk embroidered with a picture of St Anthony of Padua, the saint in a familiar stance clothed in a Franciscan robe and supporting the infant Jesus in the crook of one arm and a lily in the other. He is surrounded by cloudy mountains in a recognisable Chinese style as well as cherub heads with striped wings. There is a border of continuous floral stems. (en)
- This banner of Saint Anthony might have been used in a Christian community in Asia. The impressive scale of this figure and of St Sebastian, also in the V&A, is not so unusual in China, for equally large depictions of Chinese Buddhist and Daoist immortals exist. The material culture of Christianity chimed with Chinese expectations of what pictures were for in another way too. They both laid stress on images relevant to specific occasions, whether Chinese festivals, such as the New Year, or festival of the Christian liturgical year. (en)
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P3 has note
| - Panel of white silk embroidered with a picture of St Anthony of Padua supporting the infant Jesus in the crook of one arm and a lily in the other, China or Philippines, 17th-18th century. (en)
- Panel of white silk embroidered with a picture of St Anthony of Padua, the saint in a familiar stance clothed in a Franciscan robe and supporting the infant Jesus in the crook of one arm and a lily in the other. He is surrounded by cloudy mountains in a recognisable Chinese style as well as cherub heads with striped wings. There is a border of continuous floral stems. (en)
- This banner of Saint Anthony might have been used in a Christian community in Asia. The impressive scale of this figure and of St Sebastian, also in the V&A, is not so unusual in China, for equally large depictions of Chinese Buddhist and Daoist immortals exist. The material culture of Christianity chimed with Chinese expectations of what pictures were for in another way too. They both laid stress on images relevant to specific occasions, whether Chinese festivals, such as the New Year, or festival of the Christian liturgical year. (en)
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