The Clare Chasuble: How Embroidery Tells A Story

May 18, 2019

The following content was created for a class assignment at SCAD.

During the Eucharistic liturgy of Mass, priests wore chasubles. Depending on the location, time period, priest and patrons, gold embroidery would cover the chasuble in an underside couching technique that gave significance to the church as any icon would. Though some were mainly decorative, many took advantage of the priest’s position during Mass and used embroidery to showcase scenes of the Crucifixion in the back of the vestment to convey the message of the liturgy in honor of Christ’s Passion.[1]These vestments were the first examples of Opus Anglicanum or ‘English Work’ which describe the distinctive technique and skill of embroidery.[2]The Clare Chasuble is the earliest surviving English chasuble to use the Opus Anglicanum style in portraying Christ’s Crucifixion, the Virgin Mary and Christ enthroned and Saint Stephen, Saint Peter, Saint Paul.

Chasubles were Roman cloak-like garments with no sleeves worn over the priest’s robes. The English Medieval chasubles were quite voluminous and varied in length and width. Typically, in norm with Roman fashion, they had a paenula opening for the head which provides a high collar of sorts and covered the body just past the priest’s knees, though some met the floor. The Clare Chasuble was created in England between 1272-94. Its height is 124 cm and has a width of 80 cm; it currently resides in London at the Victoria and Albert Museum. Though the chasuble is made up of many layers of textiles and embroidery, the ground or base layer uses “a luxurious Iranian fabric of silk and cotton,” which adds to the value and preciousness of it.[3]

From an initial observation through photography, the Iranian blue silk and cotton blend in the background of the chasuble looks aged and distressed. However, upon closer inspection, almost all of the surface area of the Clare Chasuble is covered in various embroidery techniques (fig. 1). From silver-gilt thread undersides imbedded within linen to floss silk thread laid and couched with silk twist on satin. The underside couching method uses the silver-gilt thread so that it is both pliable and displays the maximum amount of thread on the surface of the garment. The central back panel, which includes all of the figural scenes, uses split-stitch to contour the face and body of the figures. This is why from a distant perspective, the style he figures portrayed is a bit stylized and not naturalistic. The dark-blue thread that was used to do the split-stitch also blends with the ground fabric. This technique does go on to become a recognizable characteristic of Opus Anglicanum.

Outside of the central back figural panel, scroll work is fluid and natural as it portrays vines and flowers interlacing. In any circular opening, specifically in the front of the vestment, lions and phoenixes are housed within (fig. 5, fig. 6). Even the animals are shown to be fluid or in movement. The intricacy and delicate nature of the scroll work is very similar and may have influenced the typical scroll-work forms in The Ormesby Psalter. In Islamic Sources of the Ormesby Psalter, Bruce Watson wrote, “Still another example is found in opus anglicanum as exemplified by the motif between the barbed quatrefoils of the Clare Chasuble … and which may be related to the earlier designs of the Dover Bible and the Westminster St. Peter.”[4]

The central back panel creates sections for the individual figural scenes and divides them using quatrefoils in satin stitching, which provides a wider and flatter framework that helps distinguish the heavy details within each scene. The top scene shows the Crucifixion (fig. 2). In the center, Christ is shown on a cross which bares a second horizontal plank above him. Here, split-stitch comes into play and helps define what type of Christ the chasuble wants to portray. The stitching creates a heavy contour for his ribs, and though he is shown with a halo, the position of his head and the limpness of his body shows his suffering and pain. Beside him are two saints which can be identified by their robes, halos, hand positions and reoccurrences in other scenes on the chasuble.

The scene below displays the Virgin Mary and Christ enthroned (fig. 3). Similar to the top scene, it’s a recognizable image. They’re recognized as enthroned because of the lavish and decorated seat they’re on and the embellished crown the Virgin Mary wears. Christ is recognized because of the nimbus he’s given. The following scene and the bottom scene show the martyrdom of St. Stephen, St. Peter and St. Paul.[5]These scenes also represent important tales of the saints and each holds a significant item that gives a clue to their meaning and importance. The Clare Chasuble is mainly embellished with gold and silver-gilt threads, but also uses colored silks to thread and add color to the animals, flowers and figures portrayed. “The imagery achieved in this special medium is comparable with the luxurious illuminated manuscripts produced in England during the Middle Ages and forms a repository of some unique iconography,” wrote Michael A. Michael inThe Age of Opus Anglicanum.[6]

The garment was cut down from a larger piece that was more voluminous. Evidence can be attributed to the lines of the stitching from the perimeter of the chasuble that are cut off. Specifically, in the center panel, the top and bottom quatrefoils are cut off from completing the scene and outlines (fig. 2, fig. 7). In the center front of the garment, a 16th century bobbin lace acts as an added finishing and the border is seam bound when it would typically just be lined or use a thicker and more evident lace like the Chasuble (c. 1140-60) of Bishop Bernard I of Hildesheim or the Salzburg Cope (1275-1300) does.[7]Garments constructed for normal or ceremonial wear will suffer through the many uses and significance they hold. This is why illuminated manuscripts also include instructions of embroidery techniques. Kay Staniland wrote in Embroiderers, “Many surviving medieval embroideries show signs of re-use when fashion damage requires it: the Syon Cope, for example, altered from chasuble to cope and given orphreys which were once a stole and maniple; the Clare Chasuble severely cut down in the post-medieval period; or the heraldic fragment, now a seal-bag.”[8]

The original patron of the Clare Chasuble who commissioned the vestment is most likely believed to be or for Margret de Clare who lived from 1250 to 1312. This is believed because of the coat of arms the chasuble is adorned with mimics those associated with her and her mother’s family and her husband’s, the 2nd Earl of Cornwall Edmund of Almain.[9]This was most likely in the honor of Margret de Clare’s wedding, which also shows the significance and influence women had in commissioning works of art.

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Footnotes:

[1]“Introducing Opus Anglicanum,” Victoria and Albert Museum, Accessed May 1, 2019, pp. 28.

[2]Michael A. Michael, The Age of Opus Anglicanum, (Belgium: Harvey Miller Publishers, 2016), pp. 23.

[3]“Introducing Opus Anglicanum,” pp. 138.

[4]BruceWatson, “Islamic Sources of the Ormesby Psalter,” Volume 8. No. (1) (1969), pp. 49-50.

[5]“Introducing Opus Anglicanum,” pp. 138.

[6]Michael A. Michael, pp. 58.

[7]“Introducing Opus Anglicanum,” pp. 28-30.

[8]Kay Staniland, Embroiderers, (Toronto: University of Toronto Press, 1991), pp. 66-70.

[9]“Introducing Opus Anglicanum,” pp. 140.

Bibliography:

Blair, John. Ramsay, Nigel. English Medieval Industries: Craftsmen, Techniques, Products. London: The Hambledon Press, 1991.

Browne, Clare. Davies, Glyn. Michael, M. A. English Medieval Embroidery: Opus Anglicanum. New Haven: Yale University Press, 2016.

“Introducing Opus Anglicanum.” Victoria and Albert Museum. Accessed May 1, 2019. https://www.vam.ac.uk/articles/about-opus-anglicanum

Michael, Michael A. The Age of Opus Anglicanum. Belgium: Harvey Miller Publishers, 2016

Staniland, Kay. Embroiderers. Toronto: University of Toronto Press, 1991.

Watson, Bruce. “Islamic Sources of the Ormesby Psalter.” Gesta. Vol. 8, No. 1 (1969), pp. 47- 52.

Watson, Bruce. “The Place of the Cuerden Psalter in English Illumination.” Gesta. Vol. 9, No. 1 (1970), pp. 34-41.

Transitioning into a New Place

February 28, 2018

Moving away has always been a sort of dream of mine. To start again somewhere new, where no one knew who I was, where I was on my own. Now older, obviously starting over is somewhat difficult and hard to do without a purpose, i.e., for work, school, etc. Not to mention the family and friends you would be leaving behind. The loophole I found was to study abroad. It’s almost like I’m able to sample new places. I live abroad for a few months, have a purpose through my education, and really get to live and see a place as a local would and not a tourist. Which, to me, makes a big difference. In the end, I return back home changed and matured ready for the next place to call home for a bit or even one day, for a bit longer. A type of nomadic journey you could call it.

I had never been to Hong Kong or any part of Asia before my study abroad trip so when I arrived everything was utterly foreign to me. It was very much unlike my previous study abroad experience to Paris, France. I had been to Paris and a bit of Europe a couple of times prior because of family living there. So when I moved to Paris I was already familiar with the city, the people and the way of life in general. I’ve always had my heart set on one day permanently moving to France so that small taste definitely had me in love and comfortable. Hong Kong was of course a wonderful opportunity for me, but I hadn’t given much though to it before. I’ve always been more interested in Japan or India if I were to choose where I could go in Asia.

Before my trip, I hardly did any research on Hong Kong and had a sort of ease and ‘whatever’ mentality. My family couldn’t even imagine how I could go across the globe for a couple of months and be so calm. But maybe it was my love of travel and starting over somewhere new that I was looking forward to it. Adapting to a new place is annoying to some, but adventurous to me. Finding a new routine, breaking it and finding a new one. Recognizing familiar faces, stepping out of my comfort zone. My time flew by before my trip and all of sudden I was saying my goodbyes. That was the part that hurt the most. Once I arrived, the buzz of the city was contagious. I was ready to explore, get lost, and then found again. My apartment was by the bay, a bit further from the city. Before, I thought how inconvenient that seemed but now I love being able to only hear the wind and waves crashing outside of my windows. Waking up with the view of the water instead of another window with laundry hanging from it hidden in the overcrowded city, was simply magical.

My first few weeks were disorientating. Finding my way around, learning to understand the gestures of people I couldn’t speak to, discovering a new gem around each corner, and not to mention starting classes! I was pretty exhausted and the toll was beginning to add up. I’ve finally found a better balance to manage my time with school but still explore to my hearts content. This calm and balance, however, was after a good hibernation from last weekend. I checked out from everything, finished all of the work I needed to do and just took my time to sleep, be lazy and take it slow for a bit. Even though I wholeheartedly agree that you should take full advantage of your time, I was conscious of my health. I could feel the stress building up and I needed to just breathe and take a moment for a slight pause.

A month into my trip I still feel as I did on that first night when I arrived. Anxious, excited, scared and unbearably happy. The biggest change being that in this foreign place I now feel at home.

PRESERVATION OF THE SILK ROAD: THE ANCIENT CITY OF SIGIRIYA AND ITS FRESCOS

February 20, 2018

The following content was created for a class assignment at SCAD.

Through the vast growth of the world, history remains to be the only connection to understand the changes humanity and the world itself has seen. Sites or areas that could be essential to preserving that history—or need help in their own conservation—are protected by the United Nations Educational, Scientific and Cultural Organization (UESCO) under its World Heritage Convention. The Silk Road, being one of the most important ancient trade routes for linking the East to the Western world began in China during the Han Dynasty in 130 BCE. The sites or areas following the Silk Routes have been left with important history providing evidence of what was going on during that time period and of the influence left behind from different cultures that passed along the routes. Different civilizations trading not only material goods, but knowledge, religion, history, and customs. To protect these sites or areas, organizations like UNESCO have set certain qualifications the ancient site must meet in order for it to be named a World Heritage Site and qualify to come under its protection and conservation.

UNESCO is one of the leading organizations in identifying and protecting sites or areas around the world that have universal value. Stated in the Operational Guidelines for the Implementation of the World Heritage Convention, “The Convention aims at the identification, protection, conservation, presentation and transmission to future generations of cultural and natural heritage of Outstanding Universal Value.”i Through many projects including the ten-year assignment known as the Integral Study of the Silk Roads: Roads of Dialogueii which included retracing the steps of those who travelled the routes of the Silk Roads, UNESCO has been able to work with the local governments and people to identify the issues of ancient sites and how to best preserve them while juggling tourism, vandalism, natural disasters, etc. The organization specifically provides help with providing technical assistance and professional training to locals who will be working at the sites to help identify issues and fix them. They support public awareness on activities of conservation and provide assistance for World Heritage sites in a emergency situations where the sites are in immediate danger.

Other conservation organizations help provide more specific assistance through research and studies of ancient sites. Conservation of Ancient Sites on the Silk Roadiii was the result of the proceedings of an international conference organized by the Getty Conservation Institute, the Dunhuang Academy, and the Chinese National Institute of Cultural Property. The journal provides information on the management of tourism, site-management, more specifically on chemical or technical treatments, environmental monitoring, weathering and consolidation of conservation. For example, Sigiriya is an ancient city protected as a World Heritage site but is open to tourism. In the study, the weariness of tourism of the site is upfront and warns of the seduction of economic benefit for allowing too much tourism. By carefully planning and restraining certain access, tourists still receive the experience without hindering the ancient site. Working with the central government helps balance the local site control. As Sigiriya hides incredible frescos that are protected by the natural cave they are located in, monitoring the physical condition of the site as often as possible will help its’ conservation.

One of the more famous sites in Sri Lanka that is protected by UNESCO as a World Heritage Site along the Silk Route is the Ancient City of Sigiriya. The site is a steep mound that appears as a rock rising 200 m from the surrounding lush and plain landscape located in the Matale District of central Sri Lankaiv. Within the palace that resides within and on top of the rock are the Sigiriya Frescos. The paintings are all of unclothed or adorned women and before the palace went into ruin, there were about 500 frescos throughout the inside band of the rock creating a grand narrative along the inside corridor. The King of Sri Lanka, Kassapa (Kasyapa) I had the paintings made as Buddhist figures, or apsaras— that were patterned after contemporary Gupta murals in India but the paintings have no specific artist recorded.

The figures themselves are very colorful and highly saturated, painted with a narrow selection of rich tones of gold, yellow, orange, green, teal and red. The colors used make the women portrayed seem regal or goddess-like. They demand respect and worship, while giving off a sense of calm and happiness. There isn’t a sense a depth or shading, however, because of the location there are natural shadows and textures from the wall of the granite rock but the figures remain flat and two-dimensional. The colors chosen compliment the red rock and granite textures of the cave. Viewers can enter the corridors and see the frescos up close.

Each figure shows a difference from the other whether through facial expression, adornments of jewelry, clothing and body shape and direction. They are all however, of the same style with similar depiction of the female body; broad-round shoulders, round large breast, extremely skinny waist that rounds out into a naturalistic portrayal of the stomach and then ranges small to wide hips and are slightly slouched. The skin tones range from a golden hue, to green and dark auburn which shows how women would paint their skin. Each painting only shows the women from hip up and with clouds of red color hiding the bottom half of the figure as if they were floating. Each wear a wrap skirt that varies in design but follow similar color patterns with the ends of the tied skirt tying off towards the left side of the women. Very few have any clothing covering the top half of the figures. Those that do seem to be portrayed to wear a crew neck wrap shirt that ends right below the bottom of the breast and shows off the midriff.

All of the figures have the same or extremely similar jewelry around their neck—a long thick band that drapes over their chest and becomes thinner as it reaches the back up to their neck and a large gold pendant with multiple gems positioned around the inside of the pendent and with a large gem, either and emerald or a ruby, positioned at the center. Other thinner and small necklaces with beads or gems are shown on some but not all of the figures. They each have multiple bangles at the wrist that ride up their forearm. At the end and beginning of the bangles are two or three that have gems within the bracelet and are more wide and large than the multiple bangles. On both sides of their biceps is a single large bangle that appears of a lighter gold color. Larger circular earrings that have the appearance similar to the bangles on their arms are hung from their earlobes. Each of the figures have their hair tied back and worn up. Headdresses, wraps and golden adornments encrusted with gems are worn on their heads. Flowers and trays are held by a couple of the figures while rest hold nothing but have their arms extended or positioned towards a specific direction.

The scale of the paintings are larger than life-size, and are composed of either a woman by herself or in pairs. Each one is not more than a couple feet away from the other group. The paintings are dynamic because of the hand gestures, the direction the figures are looking at and their body posture. They seem to lead the guest through the cave based on how they are positioned, forcing the viewers eyes to look around and understand the differences between each one.

From their portrayal, they seem to be very important as they are painted with so much detail and care. The expressions on the women portray them as calm and happy, with their mouths closed but slightly turning up at the corners. Plump lips, a long thin straight nose, eyes that are horizontally long and slight, and large thin angular eyebrows are how most of the women are painted. The paintings now are somewhat worn away because of time and location. Most of the frescos were destroyed because of political and religious changes but those that remain were open to the natural elements and unprotected from certain vandalism attacks. The natural rock underneath shows through certain areas, especially around the body and face.

The process behind the frescosv mimics the basic process with plaster and paint. However, the biggest difference being that the artists had to paint the frescos 100 meters above the ground with no ladders or stairways to get up. As the palace was currently being constructed, bamboo was used as scaffolding and workers would have to climb up. They first chiseled at the rocks’ surface to create a ledge so that rain water would fall away from the inside of the ledge. Then plaster was used on the surface and the artists painted directly on the wet plaster. This process would occur two to three times until the paint was fully saturated on the surface. The brushes used consisted of many different materials depending what was available at the time. Earth toned colors where made from earth-minerals and crushed vegetables and the darker colors used charcoal.

The King of Sri Lanka, Kassapa (Kasyapa) I who ruled from 473 – 95 C.E., had a palace constructed as a fortress on top and within the granite rock when he moved the capital to Sigiriya. Within the palace, halfway up from the ground are the Sigiriya Frescosvi that reside in the caves and shallow overhangs that were made in 477 C.E. The King had the paintings made as Buddhist figures, or apsarasvii—celestial nymphs—that were made to look like the contemporary Gupta murals in India. Showcasing the Indian and Buddhist influence intermixing from trades of the silk rode that passed through Sri Lanka from India and China. The Sigiriya frescos when compared to the Indian Guptas are much more vibrant, saturated in color and naturalistic. The paintings were made to be viewed from afar and mainly for the King’s pleasure. The interaction now, is much more close than its original intention. Because of the staircases that lead up and around the rock, there is a path that will take the viewers through the ledge where the paintings are.

King Kassapa wanted to create the Buddhist mythological city of the gods or city in clouds, Alakamanda. Wanting to stray from religion during his reign, however, the frescos where the ideal non-religious decoration as they were sexual depictions of women. Some speculate that when Sigiriya became a Buddhist monastery, most of the paintings were removed because of their provocativeness. Most sources cite the frescos as celestial or goddess-like beings, while others describe them as the concubines and wives of the King. The frescos and Sigiriya in general provide certain insight of the influences they received from India and of Buddhism, but also piece together new techniques in art and architecture that can be grouped together and labeled as traditionally Sri Lankanviii.

The Silk Road began in China with its exploration towards the west. Andrew McNamara explains in his journal, Critical Reckonings: Global Art and Art History after the West and Eurocentrismix, the perspective of Paul Wood and his own acknowledgment of how Europe was the beginning of the Western art world and thoroughly researching the history of its involvement and growth with the influence of its oriental influences. The understanding of the journal is of the growth of western art owing its change to differences. Though most would assume Europe believes itself to be the beginning of many things, McNamara and Wood explore the deeper meaning and how worlds overlap through history, geography, time and understanding. The comparison made to the Saudi Arabian artist Sarah Abu Abdallah, where the artist was filmed painting a wrecked car and the acknowledgement of the deeper meaning and resonance throughout multiple cultures is how the silk road resonates in history today. The simple act of exchanging Chinese silk for spices from India had a domino effect that resonated from the east to the west back and forth expanding and growing, overlapping and creating cultures. Within the Silk Roads, simply trading goods meant to also trade ideas, language, religion, etc. Sri Lanka is a perfect example of a country with such a rich cultural history that overlaps with ideals from India and of Buddhism to the more recent British role and influence.

References:

i "The Operational Guidelines for the Implementation of the World Heritage Convention."UNESCO World Heritage Centre. July 12, 2017. Accessed February 19, 2018. http://whc.unesco.org/en/guidelines/.

ii "Integral Study of the Silk Roads: Roads of Dialogue." The Silk Roads Project. Accessed February 19, 2018. http://unesdoc.unesco.org/images/0015/001591/159189E.pdf.

iii Agnew, Neville, ed. “Conservation of Ancient Sites on the Silk Road: Proceedings of an International Conference on the Conservation of Grotto Sites.” Los Angeles: Getty Conservation Institute, 1997. Accessed February 19, 2018. https://books.google.com.hk/books?id=3JNQAgAAQBAJ&printsec=frontcover&redir_esc=y&h l=en#v=onepage&q=sigiriya&f=false

iv Silva, K. M. de, Howard A. Wilson, S. U. Deraniyagala, Senake Bandaranayake, Roland Silva, Nimal de Silva, Ismeth Raheem, Diran Kavork Dohanian, Albert Dharmasiri, Raja de Silva, Siri Gunasinghe, Robert Elgood, R. C. C. Fynes, Brendan Lynch, Bob Simpson, Sirinimal Lakdusinghe, K. Hemantha Jayatilleke, L. K. Karunaratne, and W. Thelma T. P. Gunawardane. "Sri Lanka." Grove Art Online. Accessed February 19, 2018. http://0- www.oxfordartonline.com.library.scad.edu/groveart/view/10.1093/gao/9781884446054.001.000 1/oao-9781884446054-e-7000080711.

v Colalucci, Gianluigi. "Fresco." Grove Art Online. Accessed February 19, 2018. http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao- 9781884446054-e-7000029867.

vi Silva, Raja de. "Sigiriya." Oxford Art Online. Accessed February 19, 2018. http://0- www.oxfordartonline.com.library.scad.edu/view/10.1093/gao/9781884446054.001.0001/oao- 9781884446054-e-7000078636.

vii Ho, Molly Siuping. "Gong xian." Grove Art Online. Accessed February 19, 2018. http://0- www.oxfordartonline.com.library.scad.edu/groveart/view/10.1093/gao/9781884446054.001.000 1/oao-9781884446054-e-7000033187.

viii Cooray, Jude Nilan. “The Sigiriya Royal Gardens. Analysis of the Landscape Architectonic Composition.” Architecture and the Built Environment. Accessed February 19, 2018. https://journals.open.tudelft.nl/index.php/abe/article/view/cooray.

ix Mcnamara, Andrew. "Critical Reckonings: Global Art and Art History after the West and Eurocentrism." Art Journal 74, no. 3 (January 25, 2016): 67-69. Accessed February 19, 2018. https://doi.org/10.1080/00043249.2015.1125238.