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Indian Textiles from the Parpia Collection on view in Houston
From June 10 through September 4, 2023, the Museum of Fine Arts, Houston (MFAH), presents the exhibition “Woven Wonders: Indian Textiles from the Parpia Collection”
Source: Museum of Fine Arts, Houston · Image: Golconda Picchwai, Pichwal, 18th century, painted textile, the Banoo and Jeevak Parpia Collection. Image via Museum of Fine Arts, Houston (www.mfah.org/)
From folk textiles to the most sophisticated court textiles, produced from the 14th to early 20th century, the collection of Banoo and Jeevak Parpia illustrates the preeminence of textile arts produced in India over 600 years.
“The Museum of Fine Arts, Houston, has a longstanding commitment to the arts of India,” commented Gary Tinterow, MFAH Director and Margaret Alkek Williams Chair. “Banoo and Jeevak Parpia have over recent years brought their insight and expertise to programs and to our collections of textiles from India. With this exhibition from their exceptional collection, we will be able to further our representation of the rich cultural heritage of Houston’s South Asian community, while exploring the history of one of India’s most treasured art forms.”
Co-curator Amy Poster, Consulting Curator at the MFAH, noted, “Seldom are collections of Indian textiles as comprehensive, or collected with such expertise. Assembled to reflect the myriad range of regional traditions, the Parpia Collection includes many singular pieces that reflect the extraordinary aesthetic and technical diversity of Indian textiles, from folk weavings to the most sophisticated court textiles.”
India was among the earliest sources of fine cotton and silk textiles, and has produced some of the world’s most innovative textile traditions. The broad range of techniques, including painting, block printing, ikat, tie-dye, brocade, tapestry, and embroidery, reflects the diversity of regional textile production within India. Rich variations in ornamentation reflect the varied social and cultural contexts for which these textiles were made, including Hindu devotional practices, Islamic court textiles, and pieces made for domestic use.
The exhibition also explores the patterns and dynamics of 500 years of the prosperous maritime trade that supplied Indian textiles to Southeast Asia, Europe, and Japan. Initially led by Arab, Persian, and Indian merchants, that trade was later dominated by Portuguese, Dutch, and British traders who bartered Indian textiles for spices in Southeast Asia, and who expanded the market for Indian chintz and embroideries in Asia and Europe. Reflecting this shift in demand, early pieces in the exhibition produced for trade with Indonesia in the 14th to 16th centuries were treasured and preserved as heirlooms. Later textiles made for specific markets, such as Thailand, Sri Lanka, and Europe, show how textile designers and makers tailored fabrics for foreign tastes. Luxury textiles made for royal patrons in the 17th to 19th century display some of the finest-quality weaving, dyeing, and embroidery designs and techniques, executed to an exceptional level of sophistication.
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By Venizelos G. Gavrilakis | Senior Expert Artworks Conservator & Restorer
In a church on the Princes’ Islands of Istanbul, a masterpiece and Byzantine treasure awaited discovery. This unique bilateral post-Byzantine icon of Panagia Eleousa held a peculiar feature: on its reverse side, there was another painted icon from the same time period, which had remained “hidden” for over a century inside a heavy metal box, kept in the Church of Panagia Eleousa on Büyükada/Pringipos.
In the summer of 2021, Venizelos G. Gavrilakis and Vaia A. Karagianni, the founders of VENIS STUDIOS, were commissioned by Senior Metropolitan, Mr. Dimitrios Kommata, to remove the silver revetment that covered the Panagia icon for conservation purposes. The removal of the silver revetment, dating back to 1750, revealed a unique 16th-century icon of Panagia Eleousa (Virgin Mary Eleousa), while removing the old bronze box on its back uncovered a second unique Byzantine-period icon, The Descent into Hades, dating back to the 14th century.
The icon, heavily affected by the passage of centuries, wars, and human neglect, underwent a meticulous physio-chemical examination in collaboration with the Greek foundation “Ormylia” and its scientific director, Mr. Georgios Karagiannis. This examination aimed to study the stratigraphy of the icon, identify the pigments, gold leaf, and other construction materials. The study sought to analyze the technique, pigments used, and verify the exact dating of the icon. Additionally, the conservation team conducted specialized photography and conservation tests to carry out urgent conservation treatment and subsequent proper conservation and restoration treatment to preserve the icon.
The conclusions drawn by the Scientific Director of the “ORMILIA” foundation, Mr. Georgios Karagiannis, Professor of Byzantine Archeology and Art Dr. Athanasios Semoglou, and President of VENIS STUDIOS, Mr. Venizelos Gavrilakis, led to the seemingly paradoxical conclusion that the icon is an artifact from two different time periods: the 14th and 16th centuries. The scientific team confirmed that it was originally a two-sided procession icon (litany icon) painted on both sides during the 14th century.
However, due to unfortunate events, the icon was seemingly dismembered, resulting in the destruction of its front side and the loss of the right side of The Descent into Hades. In the 16th century, during an early preservation effort, the missing wooden support was partially restored, and the Virgin Mary Eleousa and the right part of The Descent into Hades were repainted. Consequently, the scientific team concluded that this unique Byzantine icon is two-sided and belongs to two distinct time periods.
Several significant findings about the icon have emerged, including:
The icon served as a two-sided procession icon used during holy ceremonies such as Easter or the celebration days of the Virgin Mary. This is evidenced by the surviving wooden part, a rare and unique find that remains from the traveling pole.
After removing the silver revetment, coins and silver votive offerings were discovered. These were deposited by faithful individuals and pilgrims who prayed to the icon for various reasons, including their health and the well-being of their loved ones. Notably, among the coins found was a gold coin of Sultan Mahmud II (r. 1808-1839).
Mr. Athanasios Semoglou highlights that the iconographic combination of Panagia Eleousa and The Descent into Hades, The Resurrection of Christ, is a unique case.
In the lower-left painting zone, the donor of the icon is depicted kneeling in front of the resurrected Christ, seeking salvation for his soul. Mr. Athanasios Semoglou confirms that based on the donor’s clothing and facial style, it can be inferred that he was an aristocrat of the late Byzantine period, spanning the 13th and 14th centuries.
The interventions present in the icon provide valuable evidence of its restoration in the 16th century. Furthermore, every detail in the painting, including the iconographic representation of Christ, the Virgin Mary, the prophets, and their respective features, colors, gold background, clothing, and scenes, contain symbolic references.
Thanks to the call from Senior Metropolitan Mr. Dimitrios Kommata and the church committee of Panagia Eleousa at Büyükada in Prince Island, Istanbul, this unique masterpiece has been preserved. We express our gratitude for his ongoing support and contributions to all aspects of the conservation and restoration process.
This magnificent, rare, and unique artifact, often regarded as the Byzantine Mona Lisa, has endured through the centuries, conveying numerous historical, social, and artistic messages. With the expertise of a conservator, who tends to it as an art doctor, it has been safeguarded for future generations. Currently, this masterpiece is housed at the Church of Panagia Eleousa in Büyükada/Pringipos, Istanbul.
VENIS STUDIOS would like to extend their appreciation to their associates and assistants:
- Konstantinos P. Politis
- Athanasios Semoglou
- George Karagiannis
- Konstantinos Stoupathis
- Rawan Nassar Al Rabadi
- Baher Nassar Eid Al-Rabadi
- Nikolaos Stamatouroglou
- Umut Ballıkaya
- Alp Deniz Kaygin
VENIS STUDIOS is a company that specializes in the conservation and restoration of historic artworks and antiquities, combining the scientific and artistic aspects of conservation and restoration. It undertakes conservation and restoration projects of all fixed and portable works of art such as paintings, icon panels, artworks, antiques, historical monuments, etc., in Greece, Turkey, Cyprus, Jordan, United States, and many other nations. Its purpose is to save artifacts and artworks by combining science with art.
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