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.
Rug
Traditionally, Ait Ouaouzguite Berber rugs were flat-woven in natural white and brown wool with twining applied in the horizontal bands. In this rug, borders and horizontal bands are woven in knotted-pile technique in a palette of orange, red and yellow. This is an interesting hybrid between the Ait Ouaouzguite flat-woven and knotted-pile carpets, and possesses both technical and design characteristics of each. The simple twined panels of the flat-woven rug are transformed by the knotted pile, which organizes the composition with an all-around border. This is a result of the weavers’ exposure to urban weavings, Rabat carpets in particular. The tribe’s location on the trans-Atlas and trans-Saharan trade routes – through which goods moved from the Atlantic coast to Timbuktu (Mali) – made this cultural influence possible.
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