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Detail of Tristan from scene 7 Detail of King Mark from scene 7 Detail of rowers from scene 8. The imagery on the quilt resembles the narrative of chapters 17–19 of a 14th-century novella, La Tavola Rotonda o L'Istoria di Tristano, which describes the oppression of Cornwall by Languis of Ireland and his champion Amoroldo (a variation on "Morholt"), and the battle of Tristan on behalf of King ...
The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha," [6] which was derived from the Bengali word "naksha," referring to artistic patterns. [7] Early kanthas had a white background accented with red, blue, and black embroidery; later, yellow, green, pink, and other colours were also included.
It is a form of decorative stitching, with no overlap of any two stitches. Piecing is not part of the tradition; instead, the focus is on heavy cotton thread work with large, even stitches on the base fabric. Deep blue indigo-dyed fabric with white stitches is the most traditional form, but inverse work with blue on white is also seen.
Stuffed quilting, or trapunto, was known in Sicily as early as the 13th century. [2] One of the earliest surviving examples of trapunto quilting is the 1360-1400 Tristan Quilt, a Sicilian quilted linen textile surviving as two fragments, representing scenes from the story of Tristan and Isolde; one part of which is housed in the Victoria and Albert Museum and the other in the Bargello in Florence.
The tallit gadol is typically either all white, white with black stripes, or white with blue stripes. The all-white and black-and-white varieties have traditionally been the most common, along with a blue-and-white variety, said to be in remembrance of the blue thread or tekhelet, which served as the visual inspiration for the flag of modern ...
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