27. April

Bezirksmuseum Neubau Wien

 Seidenmanufakturen

des 17. und 18. Jh.  

Gesellschaft zur Förderung der

Textil-Kunst-Forschung

März in Wien

TKF Generalversammlung im Schottenstift Wien

Ende April: exklusive Preview für TKF-Mitglieder

Juni, Graz: "Grazer Treffen"

mit weiteren Vortrag Marie-Louise Nabholz-Kartaschoff

September, Wien: Yuka Kadoi, Edinburgh "The Migration of Patterns: Textile Art and Cultural Diplomacy under the Mongols".*

Mathijs de Keijzer, Amsterdam: "Gefärbte Posterungen aus einem Waggon der Pferdeeisenbahn Budweis - Linz - Gmunden". Oder: "Wie der Hannibal über die Hügel kam".

November: Abschlussveranstaltung 2016 im Zusammenhang mit der Antiquitätenmesse in Wien

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* Vortrag auf Englisch; zum besseren Verständnis hier eine kurze Zusammenfassung im Voraus:

 The Migration of Patterns: 

Textile Art and Cultural Diplomacy under the Mongols 

Yuka Kadoi 

The Mongol invasion in the thirteenth century marked a new phase in the development of Asian art. Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale under the auspices of the Pax Mongolica. With the fascination of portable objects brought from East Asia, a distinctive cultural taste was born and articulated in the art of the Middle East, particularly in modern-day Iran, and this, in turn, stimulated a shift of aesthetics in the art of Europe in proto-Renaissance times. 

This illustrated lecture offers a fascinating glimpse into the artistic interaction across East Asia, the Middle East and Europe under the Mongols, with the emphasis on the role of textiles. By using rich visual materials from various sources, the lecture considers the ways in which textiles played a multivalent role in the transmission of colours, design schemes and dress concepts from East to West during the Mongol period. 

As nomads who did not have any long established writing and pictorial tradition, the Mongols exploited the material value of brocade and associated its chromatic opulence with imperial authority and ideology. They also explored the performative quality of dress as the expression of their identity, status symbol, and dynastic claims. As suggested by visual evidence, distinctive types of Mongol fashion accessories (e.g. feathered hats, the chimney-like headgear, the four-lobed shoulder attachment and the embroidered badge) were integrated into West Asian sartorial modes at that time. Various sinicising motifs derived from imported textiles were duplicated or reconfigured through reinterpretations and came to acquire a dual identity of sovereignty in Mongol-ruled East Asia and West Asia; this served to attach a dynastic label across different media of the arts and crafts. 

Because of their quality, textiles were also used as diplomatic gifts and commodities of cultural value across the Mongol Empire, and many of luxurious silks found their way to Europe and became highly venerated as the cloth-of-gold (panni tartarici). Inspired by the beauty of richly pattered textiles, European weavers began to adopt and adapt their design concepts, including vegetal and animal motifs as well as inscriptions, suitable for the cultural requirement of European society at that time.