Sacred Stitches: Symbolism & Survival in Armenian Liturgical Textiles

Debbie Peréz-Casanova

Sacred Stitches: An Introduction to Armenian Liturgical Textiles

The Armenian Orthodox Church, also known as the Armenian Apostolic Church, stands as one of the oldest Christian denominations, tracing its roots back to the apostolic age.¹ Founded by two of Jesus’ apostles, Thaddaeus and Bartholomew, it has maintained a continuous presence since the first century AD.² Officially adopting Christianity as the state religion in 301 AD under the reign of King Tiridates III, Armenia became the first nation to do so, setting a precedent for the integration of Christian faith into a nation’s identity.³ The Church has since been a cornerstone of Armenian cultural identity, surviving periods of persecution and flourishing during times of independence and thereby embedding itself deeply into the historical narrative of the Armenian people.

Textile art in liturgical tradition is not merely a medium of aesthetic expression but a vessel of storytelling and doctrinal teaching. The Armenian Orthodox Church, in particular, has a venerable tradition of incorporating intricate textile art into its worship, with garments and altar cloths serving as didactic tools as well as sacred ornaments.⁴ The luxurious fabrics, threads, and pearls used in these textiles are more than symbols of opulence; they are part of a visual language that communicates theological truths and biblical narratives. Through the richness of their textures and the depth of their iconography, these textiles connect the congregation with the divine, weaving a tapestry of faith that is both tangible and transcendent.

This paper investigates the artistry and symbolism of a remarkable set of liturgical garments from the Armenian Orthodox tradition: a mitre and amice, with an accompanying pair of infulae (fig. 1), from the mid to late eighteenth century, located in the Holy Mother of God Church.⁵ These matching vestments (hereafter referred to collectively as “the set”), replete with embroidered narratives and symbols, serves as a testament to the spiritual and artistic legacy of the Armenian Church. The paper will also explore the ways in which these garments articulate the intricate relationship between Christ and the Trinity—it will echo the connections between the Old and New Testaments and showcase the superb craftsmanship and interpretive skill of the artist. The examination of this set will not only offer insights into the liturgical practices of the Armenian Orthodox Church but will also reveal the profound layers of meaning woven into the fabric of these sacred items.

A Stitch in Time: The Historical Tapestry of the Armenian Apostolic Church

The historical period of the mid to late eighteenth century was a time of artistic flourishing and religious affirmation for the Armenian community, particularly within the Ottoman Empire, where a significant Armenian population resided. This era, while fraught with the complexities of living under Ottoman rule, allowed for the expression of Armenian cultural and religious identity through the arts.⁶ 

The conceptualization of Armenian communities as skilled tradesmen and merchants was solidified through various segments of European visual culture; Johannes Lingelbach’s 1656 painting, Gezicht op de Dam (fig. 2), showcases a group of Armenian merchants in the lower right corner, easily identifiable through their clothing and headwear. Since the sixteenth century and well into the eighteenth and nineteenth centuries, Armenian merchants traveled to Amsterdam to sell valuable goods like pearls and jewels — this is what is captured so intently in Lingelbach’s depiction of Amsterdam as an international trading hub.

The presence of these Armenian communities in art coming out of the Dutch Golden Age serves as a preliminary testament to the longstanding familiarity with textiles, pearls, fabrics, and jewels that Armenian communities successfully maintained for centuries — they were known internationally for their particular way of dress and unique cultural practices. Folio 35 (fig. 3) in seventeenth-century German engraver Christoph Weigel’s Orientalische Kostüme, 100 Bl. Aus Weigel’s Verlag is visual supporting testimony for this idea — the engraving showcases an explicitly Armenian priest in vestments noted for their Christological adornment. 

Ecclesiastical textiles in particular from this time are embodiments of Armenian cultural and religious expression. The eighteenth-century liturgical set will serve as a case study through which the devotion, craftsmanship, and theological mastery of the Armenian religious community can be better understood. Crafted during a period when the Armenian Apostolic Church sought to preserve its traditions amidst external pressures, these garments ultimately represent a confluence of faith and resilience.

The creation of such garments was not simply an act of aesthetic labor but a profound manifestation of devotion. In the liturgical context, these garments served functions that went beyond the ornamental. They were integral to the ceremonial vestments worn by the clergy during divine services,marking the sacredness of the occasion and the solemnity of the rituals performed. The mitre, worn on the head of a bishop, symbolizes authority and the divine grace bestowed upon the clergy.⁷ The amice (or vakas), a decorative collar or band, is a visual accent that frames the celebrant, often adorned with iconography central to the theological messages being conveyed during the service.⁸ Finally, the infulae — long strips of adorned fabric — typically complete the set, providing a visual harmony and thematic continuity with the rest of the vestments.

The set resides in the Holy Mother of God Church in Turkey, also known as Surp Asdvadzadzin Patriarchal Church. The significance of these garments being housed across (and within) the Armenian Patriarchate in Istanbul cannot be overstated. The Patriarchate, being the spiritual center of the Armenian community in Istanbul, serves as a custodian of Armenian heritage.⁹ Garments like the mitre set are treasured not only for their beauty and craftsmanship but also as part of the living history of the Armenian Church. Their preservation and proximity, along with the variety of similar objects treasured in nearby sacred spaces, signifies a continuous thread of tradition, linking the past to the present and carrying with them the stories and the prayers of generations. The Patriarchate’s role in safeguarding such artifacts ensures that the artistic and spiritual legacy of the Armenian Orthodox Church is honored and remembered. Furthermore, the presence of these garments in Istanbul, a city that has been a crossroads of civilizations and a melting pot of cultures for hundreds of years, reflects the historical interactions between the Armenians and their neighboring communities. 

The artistic influences visible in the garments speak to a shared history of exchange, adaptation, and synthesis. It is within this complex historical tapestry that these liturgical garments not only find their context but also their enduring significance as symbols of identity and faith in the Armenian Orthodox tradition.

Artistic Detailing & Craftsmanship: Armenian Liturgical Embroidery

The artistic detailing and craftsmanship of the set are quintessential examples of the Armenian Orthodox Church’s dedication to beauty and precision in its liturgical garments. The materials used in these works are silk and gold thread, pearls, and the technique of couching, which not only underscore their aesthetic appeal but also their symbolic richness. Silk, the primary material, was chosen for its luster and fine texture, serving as an ideal canvas for the intricate designs that would be embroidered upon it. Silk’s natural sheen reflects light, giving the garments an almost ethereal glow during liturgical services, and thereby enhancing the spiritual ambiance. The use of gold thread is equally significant. In Christian art, gold has long been associated with divinity and heavenly realms, and its incorporation into these garments through embroidery indicates the sacredness of the vestments.¹⁰

Pearls, meticulously stitched onto the fabric, add another layer of opulence, and signify purity and wisdom — traits often attributed to the divine and the saintly in Christian iconography.¹¹ Couching, an embroidery technique where threads, often gold or silver, are laid on the fabric’s surface and then attached with small stitches of the same or a different thread, is also employed on both sides of the mitre. This method allows the artisan to create raised patterns that catch the light, adding dimension and texture to the embroidery; in the case of this liturgical set, it is used to produce radiant sunbursts around the miniature portraits of Christ and the Virgin Mary (figs. 4 & 5). Through this application of the technique, the figures’ holy nature and metaphorical divine light are emphasized.

The skill required to produce the delicate facial details and the varied textures in the leaves and garments is remarkable. The facial expressions of Christ and Mary are rendered with such fineness that they convey profound emotion and sanctity, despite their miniature scale. This precision in embroidery indicates not only a mastery of the craft but also a deep understanding of the subjects portrayed. Leaves and garments are depicted throughout the set with a variety of stitches that mimic the natural undulation of foliage and the graceful fall of fabric, creating a lifelike representation that seems to transcend the limitations of thread and needle. Symbolism in the choice of images and motifs is deeply woven into the fabric of these liturgical garments, figuratively and literally contributing to the layered complexity of the vestments.

The central theme of Christ in these garments is profoundly represented, with detailed embroidery showcasing His role as the Second Adam. This title is rooted in Christian theology, wherein Adam, the first man in the Old Testament, is seen as having brought sin into the world, while Christ, by his sacrifice, redeems humanity and restores the relationship between God and man.¹² This theme is vividly illustrated through the depiction of Christ triumphant (fig. 4), resurrected, and holding a staff with a banner — a symbol of His victory over death and His role in the new creation, just as Adam was pivotal in the old creation. Mary’s depiction above the snake holding an apple in its mouth (fig. 5) symbolizes her triumph over the original sin, correcting the error of Eve.¹³ Just as Eve is considered the mother of all living in the Old Testament, Mary, in giving birth to Christ, ushers in new life for all through salvation. Her portrayal above the serpent, a symbol of evil and sin, with the apple in its mouth, is a direct reference to the Genesis narrative and underscores her part in God’s redemptive plan. Mary’s victory over the serpent symbolizes the undoing of Eve’s temptation and fall, offering a path of redemption and hope. This is not just artistic preference — it is a theology and doctrine embroidered into the physical identity of the vestments. Similarly, the portrayal of Christ holding a staff with a banner represents His victory over death and His role as a shepherd to the faithful. These symbolic parallels are further elevated when one considers how the miniature woven portraits essentially mirror one another on opposite sides of the mitre — surrounded by an identical curving border of pearls. The resurrection of Christ as the Second Adam and Mary as the Second Eve directly connects to the redemptive narrative of Christianity. 

The surrounding motifs are equally symbolic. The vines of grapes and leaves, for instance, reference the Eucharist, with the rich wine-red color of the primary background fabric representing the blood of Christ, and the grains of wheat reminding viewers of the source of the bread of life — His body.¹⁴ 

The depiction of the Trinity on the mitre is a masterful work of theological artistry as well. The dove, representing the Holy Spirit,¹⁵ is positioned at the apex, with a radiating sunburst emanating from behind, a common symbol of divine glory and enlightenment. Below, the resurrected Christ is central, connecting directly to the Holy Spirit above. The Father’s presence, while not depicted in form, is symbolized by the triangular halo at the center of the radiating sunburst, a nod to the doctrine of the Trinity — one God in three persons. This iconography is mirrored on the reverse panel with Mary, reinforcing the unity and equality of the Trinity, with the Holy Spirit’s emblazoned sunburst and the triangular halo once again making an appearance.

These elements are not randomly selected but are carefully curated to convey layers of meaning, each thread contributing to a larger tapestry of faith and doctrine. Thus, the mitre, amice, and infulae that make up the set, through their materials, craftsmanship, and iconography, exemplify the Armenian Orthodox Church’s commitment to upholding and celebrating its sacred traditions through the art of textile. They stand as testaments not only to the artisans’ skill but also to the enduring power of religious art as a medium for spiritual reflection and veneration.

Theological Symbolism: Threads of Light & Liturgy

The theological symbolism in Armenian liturgical garments, particularly in this liturgical set, is a rich tapestry that intertwines various strands of Christian doctrine, primarily focusing on Christ, the Holy Trinity, and the narrative continuity between the Old and New Testaments. A sophisticated network of theological symbolism has been literally interwoven into the fabric of these pieces — the amice and infulae segments of the set will serve as the primary basis for a discussion on the theological symbolism so masterfully captured in the eighteenth-century object. 

The amice’s portrayal of the crucified Christ is a striking image (fig. 6) that skillfully captures the attention of its viewers. Set within a medallion, the fine silk floss creates a visceral representation of Christ’s suffering, with blood flowing from His wounds. This blood symbolizes the washing away of the original sin of Adam, with Christ crucified upon Golgotha, the place of the skull, which Christian tradition holds to be Adam’s burial site.¹⁶ Thus, the garment connects the site of Christ’s death with the burial place of the first man, linking the salvific act of Jesus with the sin of the first human — an act of woven prophecy.

Flanking the central medallion on the amice are two images of the Agnus Dei (fig. 7), the Lamb of God. This title for Jesus is proclaimed by John the Baptist in the Gospel of John as he identifies Jesus as the one who “takes away the sin of the world.”¹⁷ The Lamb, often depicted with a banner,¹⁸ is a symbol of Christ’s victory over death and His role as a sacrificial lamb, an allusion to the Passover lamb of the Old Testament, which saved the Israelites from death. In the context of the amice, the Lamb rests on an orb, symbolizing Christ’s sovereignty over the world, with the staff and banner signifying His role as the divine shepherd leading His flock to salvation. The intricate symbolism in these garments serves not just as decoration but as a form of visual theology, teaching and affirming the core beliefs of the Armenian Orthodox faith to all who see them. 

The iconography embroidered into the fabric of the set is richly imbued with biblical references, serving to reinforce and illuminate the liturgical and doctrinal messages of the Armenian Church. These garments are narrative canvases, where each thread is a stroke in the portrayal of scriptural truths made physical. A reference to John 19:34 is particularly poignant in the previously mentioned imagery of the crucified Christ on the amice (fig. 7). The Gospel recounts, “Instead, one of the soldiers pierced Jesus’ side with a spear, bringing a sudden flow of blood and water.”¹⁹ This moment, captured in the fine details of the embroidery, is a powerful expression of the belief in Christ’s sacrifice as a source of spiritual cleansing and redemption. The precision with which the blood is rendered, flowing from Christ’s side with each stitch reflecting a drop, serves as a visual exegesis — reminding the beholder of the moment when the Church, symbolized by the blood and water, was born from the side of Christ. It visually communicates the doctrine of atonement — that Christ, through His death and resurrection, has removed the sins of humanity. The presence of this imagery on the vestments worn during the Divine Liturgy serves to deepen the worship experience, connecting the liturgical present with the salvific events of the past.

The Enduring Legacy of Armenian Sacred Textiles

Through the artistic representation of these deep theological themes, the garments weave a narrative that connects the creation and the fall of man with the redemption and resurrection offered by Christ, highlighting the fulfillment of Old Testament prophecies and figures in the New Testament’s revelations. The set thus becomes a silent yet eloquent preacher, articulating through threads and pearls the profound mysteries of the Christian faith. The theological symbolism in these Armenian liturgical garments is a testament to the deep devotion and rich theological understanding of the Armenian Orthodox Church. Every stitch carries meaning, and every motif tells a part of the grand story of Christianity, from creation and fall to redemption and glory. These garments are not only worn for their beauty but are also donned as a declaration of faith, a catechism in silk and gold that educates and inspires the faithful through the power of sacred art. 

Every stitch carries meaning, and every motif tells a part of the grand story of Christianity, from creation and fall to redemption and glory.

These garments, steeped in biblical references, function sincerely as didactic tools. The visual elements are not only decorative; they are laden with doctrinal significance. They are designed to edify, to inspire reflection, and to educate the faithful about the foundational events of their faith. The iconography serves as a bridge between the written Word of God and the visual representation of that Word, allowing the congregation to “see” the biblical stories unfold before them in the liturgical setting. Moreover, the specific selection of these passages for inclusion in the garments’ design is deliberate. They were chosen because they encapsulate key aspects of Christian doctrine: sacrifice, redemption, and the recognition of Christ as the fulfillment of Old Testament prophecy. In the Armenian Orthodox tradition, where liturgy is a sensory experience that involves not just hearing the Word but also seeing and even tasting (in the Eucharist), these garments serve a sacramental function, making the invisible grace of God visible and tangible to the faithful. In summary, the iconography and biblical references within these liturgical garments are integral to their function within the Armenian Orthodox Church. They encapsulate and present the core messages of the Christian faith, not only enhancing the beauty of the vestments but also enriching the liturgical and doctrinal understanding of all who gaze upon them. Through these images, the garments speak silently but powerfully, conveying the eternal truths of the Gospel in a form that is both accessible and profound.

The works stand as testaments to the Armenian Orthodox Church’s rich heritage of religious artistry, embodying a profound expression of faith and serving as a bridge between the divine and the faithful. They showcase the unique ability of liturgical vestments to convey complex theological concepts and scriptural stories, enriching the worship experience and the spiritual life of the church community. In the grand tapestry of Armenian art history, liturgical garments like this examined set are distinguished threads that highlight the enduring legacy of the Armenian Orthodox Church. They are sacred vestments that have been carried through time, bearing witness to the unbroken continuity of a tradition that has been a cornerstone of Armenian identity and spirituality.

1. “Armenian Apostolic Church,” Encyclopædia Britannica, November 23, 2023, https://www.britannica.com/topic/Armenian-Apostolic-Church. ↩︎
2. Ian Gillman and Hans-Joachim Klimkeit, Christians in Asia before 1500 (London: Routledge, 1999). ↩︎
3. Michael Scott, Ancient Worlds: A Global History of Antiquity (New York, NY: Basic Books, 2016).
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4. Ronald T. Marchese and Marlene R. Breu, Splendor and Pageantry: Textile Treasures from the Armenian Orthodox Churches of Istanbul (Istanbul: Çitlembik Publications, 2011). ↩︎
5. Ibid. ↩︎
6. Henry R. Shapiro, “The Great Armenian Flight: Migration and Cultural Change in the Seventeenth-Century Ottoman Empire,” Journal of Early Modern History 23, no. 1 (2019): 67–89, https://doi.org/10.1163/15700658-12342606. ↩︎
7. Roberta R. Ervine and Hans-Jürgen Feulner, “On the ‘Preparatory Rites’ of the Armenian Divine Liturgy,” essay, in Worship Traditions in Armenia and the Neighboring Christian East (Crestwood, NY: St. Vladimir’s Seminary Press, 2006), 93–118. ↩︎
8. Tiran Nersoyan, Divine Liturgy of the Armenian Apostolic Orthodox Church: With Variables, Complete Rubrics and Commentary (London: Saint Sarkis Church, 1984). ↩︎
9. Arman Andrikyan, “The Role of the Religious Heritage of the Armenian Diaspora in the History of National Pedagogy (Using the Example of Turkey and Iran),” Main Issues Of Pedagogy And Psychology 22, no. 2 (2022): 66–81, https://doi.org/10.24234/miopap.v22i2.448. ↩︎
10. Adolphe Napoléon Didron, Christian Iconography; or, the History of Christian Art in the Middle Ages (London: H.G. Bohn, 1851). ↩︎
11. Ibid. ↩︎
12. Juan B. Córtes and Florence M. Gatti, “The Son of Man or The Son of Adam,” Biblica 49, no. 4 (1968): 457–502, https://doi.org/http://www.jstor.org/stable/42618333. ↩︎
13. Leslie Ducatt Baynes, “Eve, the Evolution of a Character from Genesis through the Pastorals” (thesis, University of Dayton Graduate Theses and Dissertations, 1995). ↩︎
14. Marchese and Breu, Splendor and Pageantry. ↩︎
15. Didron, Christian Iconography. ↩︎
16. Jordan Ryan, “Golgotha and the Burial of Adam between Jewish and Christian Tradition,” Scandinavian Jewish Studies 32, no. 1 (2021): 3–29, https://doi.org/10.30752/nj.100583. ↩︎
17. John 1:29-32. ↩︎
18. Lilly Nortjé-Meyer, “Ancient Art, Rhetoric and the Lamb of God Metaphor in John 1:29 and 1:36,” HTS Teologiese Studies / Theological Studies 71, no. 1 (2015), https://doi.org/10.4102/hts.v71i1.2889. ↩︎
19. John 19:34. ↩︎