Explore the Collection
The Textile Museum of Canada’s collection consists of more than 15,000 objects including a salmon skin suit from China; 2,000 year old Nazca fragments from Peru; and a hooked rug by artist Florence Ryder (Standing Buffalo Reserve, Saskatchewan) that incorporates traditional Sioux designs.
While only a small percentage of our collection can be displayed in our galleries at once, our online collection allows you to access all 15,000+ objects from over 200 regions of the world, 24 hours a day! Explore some of our favourite textiles in the curated groups below or follow your own interests by searching or filtering the collection. Add your finds to ‘Today’s Favourites’ to create a group that you can download or share.
Explorez notre collection
La collection du Textile Museum of Canada comprend plus de 15 000 objets, dont une veste chinoise en peau de saumon, des fragments textiles datant de 2 000 ans et tissés par les Nazcas du Pérou et un tapis au crochet de l’artiste Florence Ryder (réserve de Standing Buffalo, Saskatchewan) qui intègre des motifs traditionnels sioux.
Nos salles ne nous permettent hélas d’exposer qu’un tout un petit pourcentage de notre collection à la fois. Cependant, notre collection en ligne vous donne accès à plus de 15 000 objets provenant de plus de 200 régions du monde, et ce 24 heures par jour. Découvrez quelques-unes de nos pièces textiles préférées grâce aux sélections ci-dessous ou suivez le fil de vos idées grâce à notre système de recherche par mots-clés et par filtres.
Oriental rug weavers have never been primarily concerned with naturalistic perspective. The flat surface of the rug remains flat, and rarely presents a convincing illusion of depth. The most important objects are big and the unimportant ones are small, no matter their size in life or their location in space. Most war rugs are like this, too. Grenades and Kalashnikov rifles, which are personal weapons symbolizing resistance, are shown as big as helicopters. But over the past 10 or 15 years, a new way of showing scenes – particularly city scenes – has been developing among Afghan rug weavers. Cities are now being presented in full “western” perspective, sometimes even in complex three-point perspective where the point of view is raised well above ground level, In Europe, linear perspective techniques that originated with the ancient Greeks became highly developed during and after the Renaissance when the humanistic focus of Greek art reappeared. Naturalistic representation gradually became more important than simple religious expression – in other words, how people and objects actually looked and how they occupied three-dimensional space was more significant than the religious ideas and symbols they embodied. Evidently something similar is happening with the Afghan rugs.
If you have additional information about this object, we'd love to hear from you. Please share it by clicking hereSearch Again
Create Your Own Collection!
Add items to Your Collection and share with colleagues or friends via email.Learn More
Créez votre collection personnelle!
Ajoutez des objets à votre collection et montrez-les à vos collègues ou à vos amis par courriel.En savoir plus