HTML Microdata document

This HTML5 document contains 152 embedded RDF statements represented using HTML+Microdata notation.

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Namespace Prefixes

Prefix	IRI
n12	http://data.silknow.org/object/0d11def8-a768-3daf-a54c-e66e51c41865/dimension/
dc	http://purl.org/dc/elements/1.1/
rdfs	http://www.w3.org/2000/01/rdf-schema#
n11	https://www.metmuseum.org/art/collection/search/
n6	http://data.silknow.org/vocabulary/
silk	http://data.silknow.org/ontology/
ecrm	http://erlangen-crm.org/current/
rdf	http://www.w3.org/1999/02/22-rdf-syntax-ns#
n4	http://data.silknow.org/image/
owl	http://www.w3.org/2002/07/owl#
n2	http://data.silknow.org/object/
prov	http://www.w3.org/ns/prov#
xsdh	http://www.w3.org/2001/XMLSchema#
n5	http://data.silknow.org/statement/
n8	http://data.silknow.org/activity/

Statements

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Subject Item: n5:3a097525-fc59-5993-8ff6-54569303c380
rdf:type: rdf:Statement
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Subject Item: n5:112c83bd-0227-556a-a240-1f43c315aacd
rdf:type: rdf:Statement
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Subject Item: n5:45d4544c-ce3e-59d1-97c7-58f12e027e34
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Subject Item: n5:5bc3b15d-8477-5452-8322-96e58e16b3b8
rdf:type: rdf:Statement
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Subject Item: n5:a21f0273-c1f3-5ed4-8178-a560fb7ba348
rdf:type: rdf:Statement
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Subject Item: n5:d6c6bab3-55dd-5841-93b0-0c65da144159
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Subject Item: n5:a90019d1-018b-5740-98e9-3862ded0e6c5
rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
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rdf:type: rdf:Statement
rdf:predicate: ecrm:P65_shows_visual_item
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Subject Item: n5:bb4ec386-213e-571d-8289-1ac19e29dd65
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Subject Item: n5:678fab70-22eb-53e3-b518-f2e2b12fa6ca
rdf:type: rdf:Statement
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Subject Item: n2:0d11def8-a768-3daf-a54c-e66e51c41865
rdf:type: ecrm:E22_Man-Made_Object
rdfs:label: 1601 / 1625
rdfs:comment: Silk-embroidered linen covers were common furnishings in Iberian households. The proportions of this example indicate that it was used over a table rather than on a bed. The floral designs—elegant Renaissance-style scrolling vines with carnations, irises, and other flowers as well as hummingbirds seeking nectar—are constructed with brilliant yellow silk embroidered on a natural linen ground (outlines in brown tannin ink, drawn for the embroiderers to follow, are still visible in some areas). The golden yellow color, a favorite in Iberia for textiles, was derived from weld, a local dyeplant that thrived in the region and was relied on for its brilliance and durability.¹ Although the contrast between the yellow silk and the ecru ground echoes that of certain Indian embroideries made in Bengal and imported into Portugal and Spain in the sixteenth and seventeenth centuries (see MMA1975.4, MMA 23.203.1), the ease of the design and the variety in stitch type (including satin, chain, and stem as well as various kinds of knots and filling stitches) help identify this as a European cover. The configuration of the cover’s decorative elements constitutes a basic format that may have originated in Islamic Spain. In particular, the large central field with a series of outer borders, including a broad center border flanked, or "protected," by narrower guard borders on either side, was an established style for carpets throughout the Islamic world and one that influenced other regional textile designs, notably Spanish embroidery (the demarcation of the four outer corners in this example may, however, be more Iberian than Islamic in character). This design approach, in turn, was transmitted around the world via Spanish and Portuguese colonial administration and trade, from tapestries made by Andean weavers in sixteenth- and seventeenth-century Peru (see MMA 56.163) to Asian and Indian embroideries intended for the European market (see MMA 1975.208d). Given the shared heritage of Portugal and Spain, especially during the sixteenth century, when both countries were united under a single ruler, it can be difficult to differentiate the embroidery production of one from the other.² Both regions had longstanding traditions of fine textiles, from folk works to commissions made by professional guilds for the Church and royal court. This example lies somewhere in between: although the cover was intended for actual household use, its intricate style and high quality suggest that it was made for a person of means and status. [Melinda Watt, adapted from Interwoven Globe, The Worldwide Textile Trade, 1500-1800/ edited by Amelia Peck; New York: Metropolitan Museum of Art; New Haven: distributed by Yale University Press, 2013] 1. Nobuko Shibayama in the Department of Scientific Research, Metropolitan Museum, analyzed the yellow dye using High Performance Liquid Chromatography- Photo Diode Array (HPLC-PDA) and identified the source as weld. 2. For Spanish and Portuguese textile traditions, see May, Silk Textiles of Spain, Eighth to Fifteenth Century; Weibel, Two Thousand Years of Textiles; Real, Spanische und portugiesische gewebe; and Vaz Pinto, Bordado de Castelo Branco: Catálogo de desenhos, vol. 1, Colchas.
owl:sameAs: n11:227066
dc:identifier: 45.114.12
ecrm:P3_has_note: Silk-embroidered linen covers were common furnishings in Iberian households. The proportions of this example indicate that it was used over a table rather than on a bed. The floral designs—elegant Renaissance-style scrolling vines with carnations, irises, and other flowers as well as hummingbirds seeking nectar—are constructed with brilliant yellow silk embroidered on a natural linen ground (outlines in brown tannin ink, drawn for the embroiderers to follow, are still visible in some areas). The golden yellow color, a favorite in Iberia for textiles, was derived from weld, a local dyeplant that thrived in the region and was relied on for its brilliance and durability.¹ Although the contrast between the yellow silk and the ecru ground echoes that of certain Indian embroideries made in Bengal and imported into Portugal and Spain in the sixteenth and seventeenth centuries (see MMA1975.4, MMA 23.203.1), the ease of the design and the variety in stitch type (including satin, chain, and stem as well as various kinds of knots and filling stitches) help identify this as a European cover. The configuration of the cover’s decorative elements constitutes a basic format that may have originated in Islamic Spain. In particular, the large central field with a series of outer borders, including a broad center border flanked, or "protected," by narrower guard borders on either side, was an established style for carpets throughout the Islamic world and one that influenced other regional textile designs, notably Spanish embroidery (the demarcation of the four outer corners in this example may, however, be more Iberian than Islamic in character). This design approach, in turn, was transmitted around the world via Spanish and Portuguese colonial administration and trade, from tapestries made by Andean weavers in sixteenth- and seventeenth-century Peru (see MMA 56.163) to Asian and Indian embroideries intended for the European market (see MMA 1975.208d). Given the shared heritage of Portugal and Spain, especially during the sixteenth century, when both countries were united under a single ruler, it can be difficult to differentiate the embroidery production of one from the other.² Both regions had longstanding traditions of fine textiles, from folk works to commissions made by professional guilds for the Church and royal court. This example lies somewhere in between: although the cover was intended for actual household use, its intricate style and high quality suggest that it was made for a person of means and status. [Melinda Watt, adapted from Interwoven Globe, The Worldwide Textile Trade, 1500-1800/ edited by Amelia Peck; New York: Metropolitan Museum of Art; New Haven: distributed by Yale University Press, 2013] 1. Nobuko Shibayama in the Department of Scientific Research, Metropolitan Museum, analyzed the yellow dye using High Performance Liquid Chromatography- Photo Diode Array (HPLC-PDA) and identified the source as weld. 2. For Spanish and Portuguese textile traditions, see May, Silk Textiles of Spain, Eighth to Fifteenth Century; Weibel, Two Thousand Years of Textiles; Real, Spanische und portugiesische gewebe; and Vaz Pinto, Bordado de Castelo Branco: Catálogo de desenhos, vol. 1, Colchas.
ecrm:P43_has_dimension: n12:2 n12:1
ecrm:P65_shows_visual_item: n6:743 n6:744 n6:745
ecrm:P138i_has_representation: n4:439e3168-e040-3400-bd67-3c5b0e7f62c3 n4:44955b41-cd05-3712-9c5b-0841eede20c3 n4:473ef173-c617-374c-8a13-8b6c8c33bc9f n4:ace9f756-42d9-3545-9502-fc698adac442 n4:ba99e3e6-a244-3d06-86d1-d50eb2ae577e n4:d2093442-9022-373d-a9ce-dc9f62347afa n4:6ba90fc1-1f11-39a6-bfd0-d1e89271130d n4:7ca101c9-d9b4-3321-bcb5-9edba07370ff n4:a82d87fe-c0ac-3b36-bc85-a8804cb8da5a n4:acc23679-d3ec-3812-9662-3d2ca1df8f40 n4:0c729c89-cebd-3c78-bf63-06c3dd508f33 n4:1558c295-db0b-3735-981b-a195c2d5228e n4:23da486b-31e4-3d14-a6a3-e14ddb01d48f n4:28ce9f38-fca8-3514-9167-53de7534d5c6 n4:0252520e-a884-3d9c-a968-f9d8c3f0f99c n4:47d800dd-83de-37ba-a3ec-effa4303b600 n4:4f2d0f10-8be7-37df-9cc4-501e721225d6 n4:50c6c3a1-ed84-33fb-93a5-2546285bf6ce n4:578c9c67-432e-3958-a943-f68082c5c071 n4:370cd54b-d9a4-38e1-b300-ffb5c7bd2c2c
ecrm:P102_has_title: 1601 / 1625