This morning, after having some kosher chocolate and a brew, myself and Laura tackled the rest of the items I wanted to look at in the museum's archive. These were pieces that fell into the categories of 'Sewing' and 'Textiles'.
First up was something I didn't get around to looking at yesterday but is well worth the mentioning. A stunning silk pillowcase embroidered with thick gold thread which would have been used as part of a circumcision ceremony. This one in particular was made in 1906 in Aleppo Syria as a wedding gift to a couple who eventually settled in Manchester.
Not only was this piece a treat for the eyes but it held some interesting details including an Arabic word which is thought to say 'in the name of God'. This is intriguing to find on a Jewish item but makes sense when you put the location it was made into context, the Middle East being a place where both Jewish and Muslim faiths live alongside one another and overlaps are bound to occur.
Similarly, the strange symbol to the right of the central 'S' standing for the initials of the couple, depicts a Hamsa Hand, which as I learnt from the Women's Textile Group on Monday is also found in both faiths and symbolises protection, happiness and luck.
I found it particularly affecting to think that this wonderful item was made in Aleppo while it was still a prosperous city full of culture. This piece is a connection to the people and stories that made up Aleppo's rich history before the current devastating war took hold and changed everything.
Next up a peek at some Torah mantles. These are decorative covers which hold the holy scrolls found in the Synagogue. These items are huge and heavy and we were only able to unwrap a little of them to get the idea. I found it interesting that instead of the textile embroidered mantles found in European and cooler climates, Middle Eastern covers were made of ornamented metal which wouldn't perish in the heat.
Luckily we found some miniature replica mantles which would have been used for educational purposes. They illustrated how the full items look and function. The textile ones had more of the heavy fringing and thick embroidery depicting religious symbols and foliage I have gotten used to seeing on many of the ceremonial objects seen already.
All the items I've looked at that are used for ceremonial purposes in the Synagogue or home have had some form of cover or bag, and I am really intrigued by this idea. These textile items are usually made and decorated by women's groups or female family members to be used in devotional practice. However the act of making them is also devotional, the women giving up time and skills to create beautiful objects for loved ones and their communities.
With this in mind I wanted to look at a selection of Tefillin (for more about Tefillin bags see yesterday's post) and Tallit (prayer shawl) bags .These were all located in one handy box that held a variety of shapes and styles, from the highly ornate to the most simple and plain.
Some bags still held the objects they were made for
They were all hand embroidered with the initials of the owner and other decorative work such as flowers, or symbolic crowns and stars from Judaica. Some had birds and lions on as part of a crest like pattern which Laura pointed out was strange since animals aren't usually depicted in the Jewish faith.
I enjoyed the colours and designs on these bags and thought that in a different setting they could be mistaken for women's bags. There is a repeating pattern of using rich reds, blues, greens, golds, purple and creams in the religious items we looked at and this is something I'll definitely be using in my own work as I frame my ideas around women's needlework and identity.
I like the paraphernalia of these items and the theatrical nature of them sets their purpose apart from every day activities. They offer a window to something extra and important, yet I cant help thinking that like anything that is used regularly, we can grow blind to it's beauty and meaning. Perhaps this is one reason why women's efforts and creativity in textiles are often overlooked.
I like the paraphernalia of these items and the theatrical nature of them sets their purpose apart from every day activities. They offer a window to something extra and important, yet I cant help thinking that like anything that is used regularly, we can grow blind to it's beauty and meaning. Perhaps this is one reason why women's efforts and creativity in textiles are often overlooked.
