wiehler magazin 02-07

WIEHLER MAGAZINIssue 02 | December 2007

Chakrenbilder sticken- Energie für Herz und Hand

IconsVessels of divine mercy

Clothes - Protection and strength About the power of

embroidered symbols on clothing

WIEHLER GOBELIN

Symbolism in Embroidery

Embroidering Chakra Images Energy for Heart and Hand

Gently protected by the still powersInstruction for the Production

of a Meditation Stole

Gently protected by

The Wiehler Magazin is the Wiehler Gobelin company‘s

customer magazine

Contact Wiehler Gobelin, Staderstr. 32, D-21614 Buxtehude

V.i.S.d.Pr Jutta Böttcher

Contributors to this edition Jutta Böttcher, Elfi Connemann

Layout Feldmann & Partner Buxtehude

Reproduction, even of extracts, only permissible with the

approval of Wiehler Gobelin. All pictures and text © 2007

Wiehler Gobelin. Pictures Page 18, 19, 20, 21 © Kunsthistor-

isches Museum Vienna.

Wiehler Gobelin is a registered brand name

Imprint

In the northern hemisphere of our planet Earth it is now winter. Daylight is very sparse, the nights long. Bleak winds, rain and snow call for cosy hours indoors where it is warm. Candlelight, soothing tea with friends and family – life has retreated into the house.

Th us the silent season is particularly suitable for soft tones. We too have drawn attention a little away from the hectic life outside and cordially invite you to devote yourself in a hopefully relaxed atmosphere to one aspect of embroi-dery that many lovers of the art of embroidery have already

discovered for themselves – about which, however, little is known.

In keeping with the festive season you can look forward at the end of the magazine to two particularly beautiful designs. Th e wonderful meditation cape on orange-col-oured Dupion silk originates from the Karbig Studio. Hovering angels’ wings adorn this precious work and lead us to sense the protecting presence of our heavenly escorts.

Th e topic “Angels” is very popular and so too is our cross-stitch picture “Vom Himmel hoch” (“Picture Angel with Greeting”) devoted to those divine messengers.

I would now like to wish you inciting reading with many impulses and would be hap-py if aft erwards you should feel inspired to pick up a needle and thread once again!

I wish you a Blessed Christmastime and a Happy New Year

IndexEditorial

Wiehler GobelinNews from Wiehler Gobelin _______________ 2

Imprint ________________________________ 2

Symbolism in Embroidery Spiritual Encounter ____________________ 3

Icons - Vessels of divine mercy _______________ 5

What is a symbol? ________________________ 7

The use and the role of symbols in EmbroideryExamples from antique embroidery samplersand embroidered items of dowry ____________ 8

Embroidering Chakra Images- Energy for heart and hand _________________ 12

Clothes make the man- About the power of embroidered symbols on clothing __________ 18

InstructionsGently protected by the still powers… ________22

Angels‘ Stole __________________________ 23

Picture Angel with Greeting ________________ 27

From Spring 2008 onwards a smaller number of staff will be ensuring that you receive the popular original Wiehler material sets in the usual good quality.For this reason with effect as from 15th February 2008 we will only be dispatching consignments once a week instead of twice up to now.Already at this point we ask for your understand-ing if this change should lead to somewhat longer delivery times.However, we would like to offer you the oppor-tunity to take advantage of delivery in the usual time and quality between 15th January and 15th February 2008 by offering you a 15 % restructuri-sation discount.

Already in 2005 we announced the development of the “Aurum Cordis Line”. “Aurum Cordis” is the Latin translation for “Gold of the Heart”. This expression describes an inner treasure that humans can fi nd if they set out to look for their fate here on Earth. In order not to lose one’s way dur-ing the search one occasionally needs signposts in the form of “mirrors” in which one can recognise oneself again as a whole.

Art has repeatedly produced such “mirrors”. The images that appear in the “Aurum Cordis Line” represent such “mirrors”. At present there are seven images of the chakras – the energy centres in the aura of the human body - which we would

like to introduce to you in this issue of the Wiehler Magazine. We hope that you will like them and feel a need to start familiarizing yourself with them in the form of embroidery. In particular we would be pleased if we and other embroidery enthusiasts may share in your experiences gained during your work on these pictures. If you would like to publicise them we have provided a newly created blog system in this magazine to help you communicate with us and the other readers!

YoursJutta Böttcher

News from Wiehler Gobelin

WIEHLER MAGAZIN – December 2007 PAGe 2

In the northern hemisphere of our planet Earth it is now winter. Daylight is very sparse, the nights long. Bleak winds, rain and snow call for cosy hours indoors where it is warm. Candlelight, soothing tea with friends and family – life has retreated into the house.

When in January 2005 after the sudden death of my father I equally suddenly and unexpectedly became proprietor of the Wiehler Gobelin company, I felt the need to save this small enterprise in order with the help of the creative handling of picture embroidery to make visible once again this cultural treasure, with which I had been familiar for many years but which appeared to be disappearing due to the image of embroidery as being an old-fashioned and outdated art.

Only insiders – as many of our customers are – appreciate this treasure, but otherwise it remains hidden as it were behind a secret door that first needs to be discovered and then opened.

Many suspect its existence, but it requires decisiveness and patience to succumb to the decelerating effect of using needle and thread and to go out in search of it. At the latest after completing our first icon – and many of our customers who embroider icons will confirm this – at the latest after completing this fine, symbolic work the door is found, opened and a new dimension behind it is discovered.

The treasure that can be found here can perhaps best be descri-bed as a “spiritual encounter”. It affects the whole person and changes something in that person.

We speak of this customer as one of our “inspired persons”. Anyone who has been able to have this experience becomes addicted to it and cannot put the needle down again. For such people the produc-tion of fine petit-point work is most popular because it shows the way to that inner door via patience and concentration. In doing so working on symbols plays an important role.

Recently I read in the book “Sacred Mir-rors” by Alex Grey1 an article entitled “In the eyes of the artist” by the philosopher and artist Ken Wilber who described in words

what icon embroidery can mean to our customers.

In the article Ken Wilber describes three different possibilities of perceiving our world. People can observe it with the eyes of their physical body that are developed during the first two years of life and become aware of the material, sensually experienced world. This sphere is perception is called

“sensibilia”. During the following 10 - 20 years of life the eye of the soul or intellect is opened providing access to the world of symbols, terms and words. This perception level is termed “intelligibilia”.

In many people in the course of their lives and the development of their souls a further level can be seen thanks to the gradual opening of the contemplative eye. This level is called “transcendentalia” and grants the seeing person the key to the infinite world of spirituality and transcendence.

The question that arises upon contem-plating a work of art is that of the sphere of perception from which the artist works and which he wishes to open up to the observer!

If this question is already important on regarding a work of art, e.g. a painting, what significance will it then have for picture em-broidery in which the art of the painter and the artistry of the embroiderer are united with one another! In the act of embroidery the person immerses him- or herself in the picture this time with all available senses in quite a different way. An intensification of perception through the sensory, haptic handling of both the motif of the picture and the colouring and texture of the thread and fabric grant access in a special way for the person working the picture onto the fabric once again to the original view taken by the artist at the time the picture was first created!

Ken Wilber continues to explain that the European art of the past 1000 years served as a perfection of the representation of the

“sensibilia”. The development of perspectives has given people a fundamental understand-ing of the function of their real world. This perfection of a representation that is true to nature also penetrated sacral art. It made the world of the Bible appear real and familiar to the observer. It was not in the interest of the Church to give rise via a depiction of the intelligibilia or even the transcendentalia

Spiritual EncounterWe speak of this customer as one of our “inspired persons”. Anyone who has been able to have this experience becomes addicted to it and cannot put the needle down again.

Christ before the High Priest Article No. 3542-5

WIEHLER MAGAZIN – December 2007 PAGe �

to a notion of a world whose strict and sole goalkeeper it was understood to be.

However, there have been some great artists who were full of mystic power and fantasy and through whose paintings their insight into this spiritual world has been manifested.

Also the early Christian icons were ex-pressions of transcendence. In their highly treasured “pictography or iconography” they were and still are an expression of divine power in human form. They therefore still serve as the most exclusive purpose of art, namely to be a bearer of meditation!

Just like many great works of art they have originated from the view of the contem-plative eye that is opened most clearly and simply during meditation. At that moment when the artist emerged from this condition he became creative and depicted in his work what he had “seen”. These works of art thus became “sacred mirrors“ in which the ob-server could see his own inviolable core and experience him-/herself in contact with it.

And at this point the cycle closes in icon embroidery – (even in the embroidery of symbols on the whole). It is this secret of spiritual encounter, a look in the mirror at one’s own invulnerability, that is developed stitch by stitch in patient embroidery.

Wiehler Gobelin has made it its aim to prevent any of the hidden power being lost. Its patterns were drawn by hand on our own premises with the highest degree of care

and dedication. In this way we are passing on to our customers what has been given to us! This attitude is reflected in the diligent design of the patterns for the chakra images in the Aurum Cordis line that have thus become a beneficial reflection of the energy cycle of our differing physical levels.

The production of such fine embroidery patterns that are full of symbolic energy means the creation of portals through which in his/her work the person embroidering can experience a unification with a level of spiritual healing and bonding.

1„Sacred Mirrors“, The Visionary Art of Alex Grey, 1990 Inner Traditions, Rochester, Ver-mont, USA

These paintings therefore still ser-ve as the most exclusive purpose of art, namely to be a bearer of meditation!

Madonna with Child Article No. 3729-8in oklad, 19th century

Madonna of Kasan Article No. 3544-7Russia 18th century


For us westerly thinking people the extent of reverence that is shown towards icons in the Orthodox Church is hard to comprehend and understand. We are too accustomed to approaching a phenomenon from a mental-ly distant position, which elsewhere would shock and transform the whole person from the depths of his heart.

Let’s do it the way we are used to and let’s approach from the outside!

Icons are in general two-dimensional images of Jesus Christ, the Mother of God and other saints. The picture can be made in the form of murals (mostly egg tempera paints), portable icons, embroidery, enamel-, ivory-, or metal-work.

The artist is restricted to strict rules in his freedom of composition.

He follows a specifically defined language of colours and shapes. It is a very traditional

image based on originals past down from ancient times.

These originals follow a certain typology. That way one distinguishes, for example, between different messages in the portraits of the Virgin Mary, depending on her gesture:

The praying MaryMary raises her hands in an ancient gesture of prayer (Orans position) and carries the Christ child in a large locket at her breast.

His right hand is lifted up in the gesture of blessing.

Mary showing the way or representing (Hodegetria)Here the right hand of the Mother of God points at the child who is facing the viewer as the image of a small adult.The prefiguration of Hodegetria, which all icons of this expression refer to, is said to have arisen in an incredible way. It is ascri-bed to the Evangelist Luke. When he collap-sed in the middle of his work while painting

this picture, he prayed for help. His prayer was answered and - so the story goes - the icon completed itself. See picture: Madonna rejoicing about her Child

The Maternal or Merciful MaryIn this version mother and child affectionate-ly nestle cheek to cheek.The Merciful is very popular for domestic icons. See picture: Madonna rejoicing about her Child

The Enthroned MaryThe Virgin Mary sits on a throne facing the viewer and holds the child on her lap.See picture: Madonna with Child, Page 6

The strict reglementation in regard to co-lour, shape and expression of the icon, which still commits the artist today, originates from the deep mystic meaning of the icon, not from an artist’s sense of style for this kind of adoration of saints.

Icons“Vessels of divine mercy”

Madonna with Three Hands Article No. 3653-0Madonna rejoicing about her Child Article No. 3715-6 Moscow, end 17th century


The word “icon” goes back to the Greek word “eikon” which means “image or coun-terpart”. In order to that, the word already refers to the counterpart of God in mankind, which is an essential content in the Christian message of salvation. This counterpart image has its practical expression in the double commandment of love: “Thou shalt love thy neighbour as thyself ”, because in your neigh-bour and in yourself God himself confronts you.

God in his endless mercy reveals himself in mankind itself. Through Jesus Christ, his son, the people on earth what it means, when the divine word merges with the state of human being.

As St. John says: “And the word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten Son of the Father,) full of grace and truth.” (St. John 1, 14)

It is this deep inner combination of Holy Spirit and human being that is disclosed in the “image” of the icon.

The making of an icon is a divine service. It is deepest truth, the manifestation of one’s inner self and a sensual experience of God.

It is communion brought into colour and shape. Therein lies the actual reason for the fixed place the icon has been given in Chri-stian-Orthodox liturgy. For that reason there is no requirement for exceptional artistic skill in making an icon, but the willingness to admit to a spiritual path.

The preparation of prayer, fasting and me-ditation helps to clear the mind, in order to give space to the divine impulse that leads to being expressed in the icon image.

Through the composition of the icon the artist comes into contact with the Divine in himself.

All icons are fed from the one universal source – that healing power that was ma-nifested in Jesus Christ. Therefore all icons refer in effect to Jesus Christ – even the pic-tures of the Virgin Mary.

Just as Jesus Christ became manifested in divine energy, this energy is materialised in

each icon that is produced in inner atten-tiveness.

With this the picture becomes a vessel of divine mercy that takes its special healing power from the transcendental space that was entered during its making, as well as from the subsequent consecration and wor-ship.

St. Basil the Great (archbishop of Caesars in Cappadonia, died 379 B.C.) already said that the “glory” of the icon that it takes from “worship” reflected the prefiguration.

In composition and worship of the icon, man steps into interaction with the Divine that dwells in himself; this is made visually comprehensible to him by the icon.

This explains the treating of the icon as a “Sacred Object” in Or-thodox church law.

For the Orthodox Christian the “divine liturgy”, the heart of which is the Eucharist celebration, is the most important form of service.

The Eucharist celebration, the “Lord’s Sup-per”, is all about that event of transubstanti-ation of material that also takes place while making an icon. In the Lord’s Supper we par-take of divine energy that has become flesh.

The energy from the life-giving bread and wine as an expression of the incarnated pre-sence of Jesus Christ totally penetrates man and offers him the experience of “belonging”. Therein lies the forgiveness of the “sin”, the “detachment”.

In the festive ritual of the Holy Commu-nion man in his entire imperfection, puts himself into close contact with that divinity that is present within him and is waiting to be developed.

For this development a recurring deep apprehension of the great truth is needed, that surrounds all people, but is not always perceptible in everyday life on earth. That apprehension is the reward for self-reflection that can find its expression in the compositi-on of an icon.

The inner experience allows a look into another world that is otherwise usually closed to us. It is for this reason that icons are also known as “windows to eternity”.Madonna with Child Article No. 3560-9


Th e original meaning of the word “symbol” as the “something joined together” was derived in a pleasant way from the old ritual whereby a guest bade his host farewell with a piece of a broken earth-enware tablet or a ring. Th e guest retained the other half. In case of a possible reciprocal visit – perhaps also from friends or relatives of the former host – the individual parts were pieced together again. Only if the entirety of the broken piece was restored, could one be sure that the present visitor was in the house on the recommendation of the former host.

Th e picture of the reinstated piece therefore conveyed more than a thousand words of possible explanation, thus reliable clarity about the nature of the visit. It meant that the guest had come with friendly intent and was made welcome; so sociability, together with all its vir-tues such as joy, warmth, sympathy, being there for others and many more positive characteristics, had been recreated.

Also from today’s point of view the word “symbol” indicates an initially fragmentary image of a whole that always bear in it a longing for reunifi cation. Th is longing demands that we remind ourselves of the entirety via the encounter with the symbol.

Hugo von St.Viktor describes this task of the symbol in wonderful words:

Th e longing for the beauty of the invisible touches the soul and in-cites unconscious powers to become visible once again.Th e invisible powers can also be understood as parts of a personality that – each with his fragment of the earthenware tablet in his hand – in the course of life have been strewn in all directions.

As this occurrence describes a universal truth for everyone we fi nd the representation of the “inner person” in the archetypes of the legends, religions and teachings of wisdom in the world: King Arthur and the twelve Knights of the Round Table, the twelve signs of the zodiac, the wild perchtas who rampage around the house in the 12 Holy nights between Christmas and the Epiphany, but also the twelve Apostles who fl ocked around Jesus Christ as a symbol of the Holy Unity.

If these powers are allowed to meet up again, a new entirety is formed in the human being. It emerges again in its full beauty for which mankind has longed. Th e person can now consciously handle those pieces that had long been forgotten.

In a particular way artistic work is suitable for deeply uniting one-self with the power conveyed by the symbol. Artistic work demands not only intellect but also and in particular sensuousness.

In this the slow, meditative art of embroidery has always played a great role. In embroidery in convents it used to serve as a metho-dof “ora et labora”, i.e. of immersing oneself through this activity in meditation.

In meditation the contemplative eye of the human being opens and links him with that invisible level from which the symbol gains its power.

To embroider symbols therefore means more than the simple handi-craft itself. Embroidering symbols means concentrating in the peace and slowness of the fi ne work on something we wish to remember and allowing it to develop its benefi cial eff ect on life once again as in days of old.

What is a symbol?Also from today’s point of view the word “symbol” indicates an initially fragmentary image of a whole that al-ways bear in it a longing for reunifi cation.

In this the slow, meditative art of embroidery has always played a great role. In embroidery in convents it used to serve as a metho-dof “ora et labora”, i.e. of immersing oneself through this activity in meditation.

In meditation the contemplative eye of the human being opens and links him with that invisible level from which the symbol gains its power.

To embroider symbols therefore means more than the simple handi-craft itself. Embroidering symbols means concentrating in the peace and slowness of the fi ne work on something we wish to remember and allowing it to develop its benefi cial eff ect on life once again as in days of old.

All visible o� e� s are pr� ented to us in order to

d� cribe and � plain invisible things and th�

teach us via the � e in a � mbolic, i. e. pi� orial,

manner.

B� ause the beauty li� in the form � visible

things the beauty � visible things is a pi� ure �

the beauty � the invisible.Hugo von St.Viktor


The Use and the Role of Symbols in Embroidery.Examples from antique embroidery samplers and embroidered items of dowry. By Elfi Connemann

The antique embroidery samplers of which we are showing some particularly beauti-ful examples here, have meanwhile become almost forgotten objects of cultural value. They have existed in Europe since the middle of the 16th century and have played an im-portant role in the lives of girls and women over the centuries, in fact until well into the 19th century. The embroidered symbols in the samplers were their “language” through which the ladies were able to articulate them-selves for lack of other opportunities – they were not intellectually educated!

However, before we explain the symbolic language by taking a look at some wonderful examples, we would first like to deal with the purpose of an embroidery sampler.

. Samplers are collecting and memorizing cloths for embroidery patterns and tech-niques.

. Young girls from the age of 5 to 15 years “took note” of patterns and techniques using needle and thread on linen fabric in order to be able to embroider their dowry with these at a later stage.

. A sampler is therefore a note cloth.

. It was part of the closest personal sphere of women and accompanied them throughout their lives. Who was to inhe-rit the sampler was often even laid down by will.

. Most of the time the sampler was careful-ly put away. This helped as far as possible to preserve the beautiful colours of the naturally dyed silk threads that were used for the embroidery. The broken shades of the natural colours are responsible, along with other aspects, for the particular charm of a sampler.

. The embroidery motifs in the samplers (and in the dowry) often had a certain,

mostly symbolic significance. For this reason many patterns appeared time and time again throughout the whole of Europe over the centuries.

In the Southern German sampler dated 1763, 40x26 cm, two motifs/symbols that were transferred to two richly embroidered parts of a dowry, are of particular interest to us.

The peacock can be found twice on the showpiece towel dating from 1788 from Thu-ringia, 150x60 cm, that was hung up on festive occasions as wall decoration. Its symbolism: The peacock is an early Christian symbol of the Resurrection and immortality, as its splendid feathers renew themselves and its meat was considered to be undecayable. The “hundred eyes” of the tail are the all-seeing Church and the firmament. In the Christian faith the pea-cock is therefore regarded as a bird of paradise.


Southern German sampler dated 1763, 40x26 cm Showpiece towel dating from 1788 from Thuringia, 150x60 cm

The reclining stags (here with red antlers) were transferred from the sample to a further showpiece towel dated 1729 from Gotha/Thuringia, 140x50 cm. In Christian icono-graphy the stag is a symbol of Christ who slays the great snake (the devil) with Divine water, i.e. the devil can resist the Divine word just as little as the snake can resist the water. The stag, however, is also the symbolic representation of the human soul that longs for God. “As the hart panteth after the water brooks, so panteth my soul after thee, O God.” (Psalm 42). As the soul is likened to a hart after the water brooks, for God, thirsts, the hart (old-fashioned term for stag) is also a symbol of baptism. So whenever a baptism was celebrated, this showpiece towel served as festive wall decoration.

The Hamburg Sampler dated 1746, 26x40 cm, shows as its main motif Adam and Eve beneath the apple tree with the snake in the Garden of Eden. Also there is a flagged ship with anchor at the top left corner.

Adam and Eve are portrayed on a splen-did showpiece towel for a wedding in 1767, 170x60 cm, in the Lausitz. According to the story of the Creation in the Bible they epi-tomise the first two human beings and the first married couple. The stilting bird next to them is not a stork as one would assume, but a crane. The white colouring of its feathers are regarded as a symbol of purity, the red head feathers a sign of vitality.

The Ship was already known to the anci-ent people many thousands of years before Christ as a symbol of the “voyage of life”. We find it with the Egyptians, Babylonians, Greeks and Romans. They imagined a happy Eternity to which the deceased were rowed over by a divine ferryman. Apart from the image of the Ship of Life for the individual, Christianity also envisages the “Ship of the Holy Church”. The Church is the element that conveys each of its children over to Eternity. It sails across the sea of temporality, defies all the storms and can never be shipw-recked because its anchor lies firmly on the bed of the sea just like the Christians stand firmly in their faith.

Just as the whole dowry was embroidered with symbols taken from the samplers, the Ship of Life can be found on two very rare

pieces of linen on the topic of death. One is embroidered under the date 1793, on a burial gown in which the deceased was buried.


Showpiece towel dated 1729 from Gotha/Thuringia, 140x50 cm.

The Hamburg Sampler dated 1746, 26x40 cm

Adam and Eve on a showpiece towel for a wedding in 1767, 170x60 cm

The other can be seen as a fine cross-stitch pattern on a shroud dated 1813, that hung down from a roof beam during the laying out of the deceased (in winter up to one week) like a tent in order to protect the corpse from insects and curious onlookers. On the Ship of Life the mast together with one arm each of the two human figures forms the cross of Christ. The small dog travels along too as a symbol of faithfulness and watchfulness.

From the richly embroidered sampler dating from 1808/1809 from the Hamburg Elbe island of Finkenwerder, 40x30 cm, two embroidery motifs rest that can be found in two rarely embroidery dowry itemsare of particular inte: the Crucifixion scene on the top left and the unusual central motif of two bending carnations in a vase with handle. (By the way, here too we have two representations of the Ship of Life).

The unusual depiction of the Cruxifiction on the sampler can be found in absolutely identical form on a coffin pillow dated around 1800: Jesus flanked by the two thieves, each on the cross. The embroiderer of the pillow has only chosen different colours of threads for the two motifs. As Finkenwerder was only very sparsely populated around 1800 one can assume that sampler and coffin pillow origi-nated from one and the same household.


Ship of life embroidered on a burial gown, around1800 Embroidered sampler dating from 1808 from the Hamburg Elbe island of Finkenwerder, 40x30 cm

Crucifixion on a coffin pillow, dated around1800Shroud, dated 1813

In the leaves and fruits of the carnation the Christian symbolism sees the nails with which Christ was fixed to the cross. For this reason the carnation is a symbol of the Passion and is often found on pictures of the Madonna. The red carnation also means admiration: true and passionate love, also relating to marriage.

Apart from the colouring the picture of the carnation has been transferred identically to the cover of a prayer book which was only embroidered in one corner; including the an-gels as messengers of God; the stars, as light of the world; and the symbol of love in the form of two billing birds with a small heart between them.

The Danish sampler from 1761, 30x32 cm, shows as its central motif a festively flagged castle. This motif, that is often found in Nor-thern Europe on samplers, symbolises the divine Jerusalem, the city of God.

In the Danish decorative towel (wall deco-ration) dated 1809, 105x32 cm, the Heavenly castle can be seen twice; and next to each of them the key to Heaven, an attribute of the Apostle Peter who was given the “key to Heaven” by Christ.

This is only a small selection of the sym-bols on samplers and dowry items. You can learn a lot more about it in a specialised mu-seum that is unique throughout the world:


Danish decorative towel (wall decorati-on) dated 1809, 105x32 cm,

The Danish sampler from 1761, 30x32 cm

Cover of a prayer book

(German Embroidery Sampler Museum, Celle)

Collection Elfi and H.-J. Connemann

The special museum records four cen-turies of the social and cultural history of women shown on the example of a forgotten textile everyday culture:embroidery samplers and everthing that is connected with this field.

An institution of the town of Celle Palais im Prinzengarten D-29223 Celle

Tel: 0049 (0) 5141 38 26 26 Fax: 0049 (0) 5141 38 26 38 www.stickmustermuseum.de

Opening times: 10.00 - 17.00 hrs Closed on Mondays and Fridays

Winter holidays: 1st – 31st January

Guided tours for groups upon prior booking

THE DEUTSCHE STICK- MUSTER-MUSEUM CELLE

Embroidering Chakra Images - Energy for Heart and HandThe Chakra - Energy Centres in the Aura of the human body

One associates with the term “chakra” from the “Sanskrit” ( = disc of energy or wheel) an ancient Indian doctrine that has meanwhile spread throughout the world and represents, for example, the basis of all yoga traditions. With the content of the following text, I admit that I am putting your patience of remaining with me to a hard test. But I promise you – it is worth while your time to take a profound look into an unusu-al aspect of our lives.


You will discover that in this article there is a hidden invitation to take part with your embroidery in an experiment, the relaxing

effect of which you will feel for yourself at the latest upon completing your first picture from the Aurum Cordis Line.

So – are you ready? Yes? Then sit down comfortably and simply imagine that your body, in which your soul has settled so well, is a Chinese vase with lid!

Then imagine that your soul has the desire to learn more about its nature and the place where it is at home, to lift the lid off the vase and to look at its surroundings. What do you think it would discover?

It could well be that it would be astonished to see how many of these vase lids there are in the immediate vicinity. Some are probably firmly closed, but it could be that in the case of the other vases the lid is lifted and someone pops out. The fascinating thing is, however, that the mutual discovery of all those who risk a peep out of the vase, are surrounded by a fine, transparent substance. It could be that this substance sways to and fro with gentle movements so it looks as if it were covered in fine rays of lights or has a grid-like structure.

But it is certain that it surrounds all the vase lids to the same extent, holds them and joins them all toge-ther.

Those souls that dare to peep out of their shelter, will experience something astonishing. The discovering of being joined up with the coatings of other souls in the form of each of their vase lids has a mo-ving effect on you. They begin to rotate in your innermost self and to move slowing in the same rhythm as their surroundings.

In turn, the rays of light in the substance surrounding them begin in certain places to penetrate the coating of the vase and to shine through it. Similar to the refraction of light on a prism via which the otherwise not perceptible frequencies of white light in the colours of the spectrum become visible, the outlines of the vases appear in different sizes and colours. The rigidity of the vase material becomes softer and more permeable. Gradually, a single movement arises from the rotation of the surroundings and each of the wide open vases and their inhabitants that – pleased about the connection with all the others – follow the primeval pattern of motion of life and thereby get to know the nature of their housing better and better. The points at which the rays of light began to penetrate through the coating of the lid vases, are shown as wonderful, radiant wheels of light in different colours. The chakras are described as being just like that. The word “chakra” comes from the Sanskrit and means “wheel” or “disc”.

For a moment we leave the story of the vases and return to our familiar idea of our body. The chakras are energetic organs that

unite our physical body and its energetic refinements (etherical, astral and mental bodies etc.) with the energetic substance that surrounds it and everything that is alive. Depending on their position (five along the vertebrae and two on the head) the chakras have influence on the endocrinal glandular system, hormone activity, organ functions and the circulation. As the refinements of our physical body are the ener-getic image of our feelings and thoughts, we communicate these via the chakras so to speak “online” to our energetic environment.

Embroidering Chakra Images -

Energy for Heart and Hand

WIEHLER MAGAZIN – December 2007 PAGe 1�

Depending on their position (five along the vertebrae and two on the head) the chakras have influence on the endocrinal glandular system, hormone activity, organ functions and the circulation.

Sensitive people whose “vase” is also already in the stage of light penetration, can therefore very easily pick up the thoughts and

feelings of other people. But the opposite direction is also possi-ble. Thoughts and feelings can contribute towards the points at the beginning of the rays of light being blocked at the lid of the vase. The connection to the energetic structure of the environment is thus made difficult or is interrupted so that at this point congealment sets in again.

This energetic environment that connects all vases or bodies with one another, has been given different names in the doctrines of wis-dom throughout the world: Breath of Life, Chi, Ki, Ether, Prana...

They all mean the same thing. They describe the never-ending source of original energy of life, with which we are connected via our energetic organs, the chakras.

The more intensive we devote ourselves to the care of these organs, the more harmonious they will rotate in the frequency of their life-giving environment. The further this harmony devel-ops, the more penetrable and enlightened will be the formerly rigid coating of the vase – to abide by this image.

The energetic anatomy of our body with fully functioning energetic organs in harmony with the rotational pattern of the “ether” is the exact copy of the wholesomeness to which we can return by our own power.

You will probably ask yourself “How”, “How does that work?” “What could the care of the light organs, the chakras, look like?”

As the existence of our energetic organs and the quality of their wellbeing is often or even usually beyond our conscious perception, recommendations such as the loud tones of an open “O” to relieve chronic stomach ache, are strange to us. We would certainly feel a lot happier with the familiar recommendation of a diet. Even if the diet still remains an important contribution to healing on a physical level, it is also important to undertake an energetic treatment of the affected organ. This can be achieved by activating and harmonising the relevant energetic organs, in the case of the stomach, the third chakra.

In order to achieve an activation of this kind, there are many pos-sibilities. One would be e.g. the above-mentioned acoustic method, but prayers and meditation with the colours of the chakras have also proved to be effective.

However, a further possibility would be to unite oneself with the quality of the chakras on a symbolic level.

As already explained in the article “What is a symbol?”, the symbol is a bridge to an original entity that has a reminding function and to which contact should be made.

By seeking the encounter with symbols of the chakra, the light or-gans are reminded of their function of uniting to form a whole of the field of the original energy of life.

This approach has been practised since time immemorial so that an abundance of colours, shapes, sounds and elements have always been associated with the quality of each individual chakra.

Embroidery of symbols - our inner experience

We at Wiehler Gobelin would like to invite you to devote yourself to the care of your energetic organs in the art of embroidery.

From the rich symbolic language for the chakras we have, in our own creativity and attentiveness, developed an artistic, overall composition for each chakra that will not make the choice so easy for you!

So what happens when you are embroidering – what makes it so spe-cial to embroider a symbol such as the image of a chakra?

On this topic we had an interesting conversation with the anthropo-sophically trained artist and art therapist, Philemon-Sophia Hoepf-ner-Jordan. She reported to us that within the framework of childhood education at a Waldorf School (pedagogy according to Rudolf Steiner) cross-stitch is taught most consciously at the pre-adolescent age of ap-prox. 10 years. The sewing of the crossing stitches creates a picture on the material that is regarded as being connected with the likewise cros-sing movement in eurhythmics. The aim is to bring to the minds of the children the act of centring themselves both via movement and via the encounter with the image on the fabric and to make it possible to ex-perience this in a physically sensuous way. This training helps to form the self-energies that – in the opinion of the Waldorf teachers – should be developed particularly at that age so that the following detachment processes can be easily mastered during puberty.

So you can now embroider from a quite different perspective!




Our customers also report on the centring that they experience when embroidering our pictures. The exact counting out of the

stitches demands such concentration that in doing so they feel they are holding communion with themselves.

The fabric becomes the mirror into which one’s own sensitivities are worked out of a meditative mood. Often enough the next day, just like a look in the mirror, one can recognise one’s emotional condition the day before by the type of stitching, by the firmness of the embroi-dery etc. This contemplation of the result is important because it first makes the unconscious become visible.

In addition, the sensuous experience of the colours, the feeling of the textures of the fabric, the encounter with the pictorial elements during the long production process unite the embroiderer with the level that cannot be grasped mentally. The person is moved as a whole.

Thus an inner connection evolves with an energetic level from which the power of the symbol – in this case of the chakra – retroacts and can develop its healing effect on the concrete levels.

Often a response of this kind to a picture is already shown in the choice of picture not being made through understanding but purely intuitively.

For this reason we would now like to invite you to engage in inten-sive contemplation of the following pictures of the chakras and then, in a second step, to read in more detail about their meanings.


1st Chakra - Base Chakra

Location of the ChakraBetween the perineum and the anusDedicated gland systemAdrenal glandsPowers of awarenessSelf-confi dence as an established member of a groupCentral themesSecurity, stability, grounding, survival

2nd Chakra - Sacral Chakra

Location of the ChakraSacral bone areaDedicated gland systemGonads, testes, ovariesPowers of awarenessEmotional interaction with the outside world. Th e individual experiences their emotional constitution with regard to external pulsesCentral themesSexuality, creativity, enjoyment of life and sensuality, creative vitality

3rd Chakra - Solar Plexus

Location of the ChakraLumbar vertebraDedicated gland systemPancreasPowers of awarenessDiscovery of personal power as an expression of beginning individualisation.Connection of externally active powers such as assertiveness and personal powerwith inner values such as human warmth and compassion. Link to the Heart Chakra.Central themesSelf-esteem and self-confi dence, empathy and sensitivity

4th Chakra - Heart Chakra

Location of the ChakraTh oracic spineDedicated gland systemTh ymus glandPowers of awarenessAwakening of spiritual powers; discovery of the power of forgivenessand unconditional loveCentral themesLove, humanity, compassion, aff ection, feeling of security




5th Chakra - Throat Chakra

Location of the ChakraLarynx area, cervical spineDedicated gland systemTh yroid gland, parathyroidPowers of awarenessIntermediatory centre between thought and emotion. Groundedness;personal powers; compassion for oneself and others have developed to suchan extent that we have more courage to show and express ourselves Central themesCommunication, faculty of speech, one‘s own thruth, independence

6th Chakra - Brow Chakra

Location of the ChakraAbove the root of the nose between the eyebrows, in the centre of the foreheadDedicated gland systemPituitary gland Powers of awarenessIntellect and soul are brought together by perception of our world of innerimages, leading to deeper insight and wisdomCentral themesIntuition, wisdom, improved perception, imagination

7th Chakra - Crown Chakra

Location of the ChakaCranial roof at the apex of the headDedicated gland systemPineal glandPowers of awarenessTh e gift of pure awareness which fl ows into human nature via the openingof the Seventh Chakra, resulting in enlightenmentCentral themesSpirituality, experience of unity, self-realisation, enlightenment





Clothes make the man

About the power of embroidered symbols on clothing

The well-known author and expert in as-trological geomancy, Harald Jordan, writes in his book “Clothes – Protection and Strength”

“Everything in human life is con-nected whit one another and also a spiritual cultural history is visible in the basic patterns of clothes”

Just like interior design is similar to the design of our third skin, our innermost self becomes visible in the type and style of our clothing.

Clothes are therefore a means and expressi-on of our individuation process. Thus the choice of fabric, colour, shape, cut and orna-mentation! deserves to be made with special care.

In accordance with the physical laws of vibration a faster vibration gives rise to a slower one and the rougher frequency is improved by a higher vibrating one. Every person transmits a personal frequency that has its influence through its development and the way in which the person organises his life. However, he always responds to his environment to which he reacts with changes in his vibration, but on which he has a chan-ging influence in return.

With this in mind, the strengthening ef-fect that individually designed and crafted clothing has on its wearer and also on the people who observe him becomes clear.

Seen in this way the sentence „Clothes make the man“ has a double meaning. In-dividually designed, carefully crafted and style-consciously worn clothing envelops the wearer in a certain dignity that on the other hand is perceived by the environment that reacts to it and lends the wearer a certain aura.

So much the more important is therefore the choice that is made for a certain type of clothing! It is a message that is transmitted and received at many conscious and uncon-scious levels. Taking these determined facts into consideration one can imagine what effect many a destructive symbol on a T-shirt can have not only on its wearer, but on the atmosphere in his environment.

In complete contrast to this is the moving power of the hand-embroidered symbol on an also handmade robe.

The knowledge about the fine effect of clothing has been widespread for a very long time. The effect has been consciously put to use by the rulers of the world as a demons-tration of their position and power as well as of their own inspiration. In this way they were able to demonstrate their influence by having endlessly precious fabrics processed. Apart from basic materials made of velvet and silk, the clothes were embroidered in sophisticated techniques with gold and silver threads, with pearls and wonderful precious stones that in turn contrib-uted their very specific radiance towards underlining the personality of the wearer.

Gloves of Emperor Friedrich II. © Kunsthistorisches Museum Vienna


A particularly impressive example of a precious robe ornamented with a deeply symbolic representation is the “Coronation Robe of the Holy Roman Empire” that is still exhibited today in the Kunsthistorisches Mu-seum in Vienna.

It was produced between 1133-1134 A.D. in Palermo by Arabian embroidery artists in the royal workshops of the Norman King Ro-bert II. (1113-1154) as a ceremonial robe and later passed on to the Staufers and Habs-burgs. Pearls, rubies, spinels, sapphires, gar-nets, glass and vitreous enamel were worked in with gold and silk embroidery onto red patterned, scored silk (Samit).

Although there is still no final scientific interpretation of the deep meaning of the symbols on the Coronation Robe, one thing seems to be sure: the Saracen embroiderers and design artists were highly educated and wise men. They knew what they were doing. This robe was to be worn in a coronation ce-remony in which knowledgeable people with connections to the highest ranks (no matter what there names were!) were to be appoin-ted into office and with whose power they were able to change the world at that time. It was absolutely vital to all subjects that it was not earthly greed and primitive longings for power that motivated their rulers, but that these were guided in their decisions by Divi-nely inspired wisdom.

Thus they intended that during the coronation ceremony the greatest radiance of the Coronation Robe was combined with the power of the ritual and that this should be conveyed to the wearer of the robe – increasing the personal vibration of the future ruler – for the benefit of all those concerned

Coronation Robe of the Holy Roman Empire© Kunsthistorisches Museum Vienna


The symbolism on the robe appears to indicate a deep transformation process from the un-knowing human being to a Divinely awakened being. All the depictions on the Coronation Robe bring the polarity of the human being to the fore, the combination of which leads to that condition of arousedness which for a ruler by the grace of God was to be the basis of his whole life and deeds.

When the robe was laid around the shoul-ders like a cape and closed in the middle with a clasp across the chest, the embroi-dered representation of the Tree of Para-dise or the World Tree (a great ash tree at the centre of the universe and joining the nine worlds of Norse cosmology) arising from its roots in the ground and with its crown creating the connection to Heaven,

was displayed across the back of the wearer. The World Tree is a symbol of the human being who thanks to his backbone is able to walk upright, who is the only being in God’s creation to have his feet firmly on the ground and who can be aware of his Divine origin via his mental development. From the Arabian source of the embroidering artists it appears that for the representation of the Tree of Paradise on the Coronation Robe a palm tree was the inspiration. Its trunk truly reminds us of the individual vertebrae. By the exact positioning of the picture on the actual backbone of the wearer of the robe the expression connecting it with the World Tree is emphasised in its full significance. The „World Palm Tree“ on the Coronation Robe stands in the centre of the representation with which it again becomes clear how im-

portant it was for the artists to crown a ruler in this costly robe who was aware of his gifts. The vertical aspect of the tree emphasises the vertical orientation, the leaves reaching out to the sides and the horizontal represent the reclining lion. In this way the Cross is sug-gested, whilst the vertical aspect symbolises the already described awareness process, and the horizontal indicates the deeds of man-kind in the world.

The leaves of the Tree give the impressi-on of ferns that are unfurled and pointing upwards i.e. towards Heaven. There are six of them that are crowned by a leaf directed at the top vertebra. The neck and head of the human being rest on this vertebra and there-fore the seat of mental energy that enables his release from his detention on earth, even during his lifetime. So altogether there are seven leaves. On the other hand the Holy number “seven” indicates the seven-fold integration process as is e.g. known from the Indian chakra teachings.

Two leaves with sevenfold artisti-cally fine veins running through them are hanging down and pointing to the earth which em-phasises once again that spiritual superelevation can just as much lead to a downfall as one-sided bondage with the earth. No matter has strong the mental knowledge is, one should always keep one’s feet firmly on the ground. Heaven and earth should have a mutual effect on people!

On the wings of the robe there are lions that are resting on camels. The depiction of double lions is known and traditionally indi-cates the double nature of mankind who just as much bears the seed of God in him as that of the ominous opponent. As a searching spiritual being mankind faces the challenge of being aware himself of these conflicting powers in him and of gaining inner victory over them.

Tree of Paradise © Kunsthistorisches Museum Vienna


Interesting is the relation to people in the depiction of the lion that is produced nume-rologically via the clearly visible five claws of the lion as well as via the five-fold plumed tassel on the tail of the lion. Five is regarded as the number of the human being who is active in the world thanks to his four limbs, whereas the head as fifth power determines the way in which this influence is exercised.

One could assume that the lion would kill the camel. But he is resting on it and already has laid a paw around the neck of his possib-le victim. However, similar to in many pic-tures of St. Michael, in which the archangel with his spear bans the wild earthly powers in the being of the dragon - but does not kill it – here too the camel as a possible sym-bol of wise earthly powers and great earthly wealth is dominated – but not killed.

The lion as a symbol of the energy of the sun and of power proves to be truly regal as it turns the strength of the camel into spiritu-al knowledge and integrates it in itself.

The enamel octagons appliquéd to the heads of the lions can be a further symbol for the way of spiritual knowledge that leads to the superelevation of matter. The octagons are formed from a crossing of two squares. As the square counts as a form of matter and of the earth, its doubling into an octagon indicates the simultaneous existence of an inner transforming di-mension in the exter-nally visible world – i.e. here too an indica-tion of the symbol character of our reality itself! Within these octagons a further eight small fields are formed. Numerologically the number “eight” stands for transformation. It describes the step in another dimension. A beautiful picture of this is the counting of our weekdays, whereby Sunday is both the eighth and therefore the last day of the week as well as the first day of a new week. A transformation of this kind is also seen in Baptism. For this reason many baptismal chapels were built in the shape of an octagon.

The future ruler should act from this higher level of awareness in order to lead his subjects in wis-dom and goodness and to protect the whole political system from harm.

The costly Coronation Robe is therefore a unique, wonderful “symbolic piece”, a connecting link to an enlightened entirety that one would wish upon a “being similar to God”. Shrouded in this power the future ruler in the Coronation Robe received a kind of consecration during the coronation ceremony in order to remind himself of his Divine nature and to tread the path of inner knowledge.

Source of the quotation at the beginning of the text:

Harald Jordan: “Clothes – Protection and Strength”, 2005 published by AT-Verlag, Euro 19.90 (only in german language available)

One wing of the Coronation Robe© Kunsthistorisches Museum Vienna

Enamel octagon to the heads of the lions© Kunsthistorisches Museum Vienna


After we have told you so much about the beneficial effect of embroidering symbols we would now like to invite you, of course, to try it out for yourself.

For this reason we would like to make two wonderful designs available to you free of charge complete with material description and working instructions.

The Wiehler Company would have liked at this stage to publicise an icon pattern or a pattern for the chakras, but the wealth of detail and the diverse colour shades do not allow a qualita-tively satisfactory representa-tion of the pattern in pdf-format. Should you wish to embroider an icon or an image of a chakra, we would like to draw your attention to our webshop under the Internet address www.wiehler-gobelin.com through which

you can order the patterns in the original form with the corresponding material set.

At this stage we would like to wish you great pleasure in producing the picture of a Heavenly messenger as they are likely to be around in great numbers at this time of year. The angel that can be worked in cross-stitch is bound to pass on to you the gift of leisure and relaxation as you concentrate on the fine shades. May it be your constant beneficial companion for the company year 2008!

A very special work is that of producing a meditation stole following a design by Mrs. M.J. Karbig of Atelier Karbig, the workshop for artistic paramentics.

The warm, orange colour of the silk and the matching embroidery shades strengthen

the in-nermost being. Cosily enveloped by this colour and the precious warming mate-rials lined with fine wool, it is easier to cen-tre oneself. Anyone who often sits in stillness knows from his/her own experience how pleasant it is to have something warming around one’s shoulders.

The stylised angels’ wings on the stole hover around the person meditating. They make it clear that our heavenly companions on earth are always with us. They are already there. We do not need to do anything else than to engage with their presence in order to meet them in daily life. The embroidered representation on the stole is there to re-mind you of this and to envelop you, as the person meditating, in this certainty.

Two projects to try and injoy free of charge Gently protected by the still powers…

Meditation Stole Angels‘ Stole Design: Frau M.J.Karbig /Atelier Karbig

Nr. 4786-3 Picture Angel with Greetingcross-stitch 16x31 cm

Making the „Angels‘ Stole“Design: Maria Jeanette Karbig, Atelier Karbig


MaterialBasic embroidery fabric : approx. 1.38 x 2.10 m (iridescent Dupion silk, fi nished measure-ments of the stole: approx. 1,00 m x 2.00m)

Untreated cotton1,20 m x 2,10 m

Lining1,40 m x 2,10 m (thin new wool)

Pearls4 types of Rocailles pearls matching in co-lour (2mm – Gütermann or on the Internet)

Various shades of sewing thread (matching in colour to the pearls – Gütermann)

2 m pearl fringes (matching in colour with the basic fabric – on the Internet: www.paillettenshop.de)

1 skein of Japanese Lumi yarn No. 12 (red-dish gold)

Sewing thread (matching in colour to the golden thread – Gütermann)

8 shades of Anchor embroidery twistSquare embroidery frame with rail width of 1 m(tapestry frame in which the fabric is sewn)

Needles with point in various thicknesses

Scissors

Th in transparent paper 120 cm x 70 cm

Iron-on pattern pen

) Preparation1a) Please enlarge the pattern to the original

size of 95 cm x 47 cm (best go to a copy shop). Trace the pattern onto the gene-rously chosen transparent paper.

1b) Carefully draw the traced pattern on the reverse of the transparent paper with the iron-on pattern pen.

Take a separate piece of fabric and make a small ironing sample so that you are sure that the pattern can be ironed-on easily. Otherwise repeat stage 1b.

Place the transparent paper with the pat-tern in position on the basic fabric and fi x it at pattern intervals and at the edges with knob pins so that it cannot slip out of position.

Place the iron on cotton and iron the pattern gradually onto the fabric (similar to the procedure with stick-on patterns).

2) Stretching the fabric in the embroidery frame

Connect the basic fabric and the cotton fabric with long machine stitches so that the cotton fabric overlaps on the long sides by 10 cm in each case.

Fold this overlap down and fi x with the machine. Th is edge will be used to mount the fabric in the embroidery frame.

Th en attach the basic fabric to the roller fabric rails at the top and bottom of the embroidery frame. Th e stretching of the fabric is achieved by turning the rollers. In order to bring tension into the basic fabric on both sides of the embroidery frame, a thick, sturdy cotton thread (tension cord) is wrapped around the vertical rail at intervals of approx. 4 cm through each overlapping cotton strip and knotted.

Do not stretch the fabric too tightly or too loosely. Th e stronger you pull the embroidery thread, the stronger you should stretch the frame so that the fabric cannot be warped by the stitches.

2) Einspannen des Stoffes in den Stickrahmen

Verbinden Sie den Stickgrundstoff und den Nesselstoff durch lange Maschinenstiche, so dass anden langen Seiten der Nesselstoff jeweils 10 cm übersteht.Diesen umklappen und mit der Maschine festheften. Dieser Überhang wird zum seitlichenSpannen des Stoffes im Stickrahmen benutzt.

Danach heften Sie den Stickgrundstoff an die Walzen-Stoffleisten oben und unten desStickrahmens fest. Die Spannung des Stoffes wird durch die Drehung der Walzen erzielt.Um eine Spannung des Stickgrundstoffes auf beiden Seiten des Stickrahmens zu erreichen, wirdein dicker, stabiler Baumwollfaden (Spannkordel) im Abstand von ca. 4 cm durch denbeiderseitig überstehenden Nesselstreifen um den vertikalen Holm gewickelt und festgeknotet.

Spannen Sie den Stoff nicht zu fest und nicht zu locker. Je stärker Sie den Stickfaden ziehen,desto stärker sollten Sie den Rahmen spannen, damit sich der Stoff nicht durch die Sticheverziehen kann.

3) Die Stickarbeit:

3a) Jeder Flügel wird in einer der vorliegenden Farbschattierungen gestickt.Beginnen Sie mit den Konturen der Flügel, die im Stielstich ausgeführt werden.

®

Stader Strasse 32D-21614 Buxtehude

Postfach 1662D-21606 Buxtehude

Telefon 0 41 61/8 20 88Telefax 0 41 61/8 54 39

WIEHLERGOBELIN

Gobelin- undWeitere NadelkunstZum Selbermachen

The stronger you should stretch the frame so that the fabric cannot be warped by the stitches.


) Th e Embroidery

3a) Each wing is embroidered in one of the chosen colour shades.

Begin with the contours of the wings that are to be worked in stem stitch.

Th en the wings are decorated with a gold thread or pearls alternately each with the matching sewing thread. (See picture at the bottome of the page)

3b) Th e gold thread is fi xed with an overlock stitch onto the basic fabric:

Explanation: The overlock stitch is a special technique for fabric (e.g. Japanese gold) that itself cannot be pulled through the embroidery fabric as it would then be destroyed. In order to affi x the material, an auxiliary thread is needed.

First sew on a golden yellow double sew-ing thread (auxiliary thread) invisibly at the spot at which you intend to begin the golden thread.

Th e beginning of the golden thread should be pulled through the basic fabric with a thick, pointed needle so that a short end of the gold thread remains be-low the basic embroidery fabric. Lay the gold thread on the basic fabric in such a way that it can be easily sewn by overlock

stitch next to the line of stem stitch at regular intervals (approx. 3-4 mm).

Sew the sewing thread invisibly below the gold thread.

When the embroidery is completed, cut the gold thread off at approx. 3 cm and pull it with the thick, pointed needle into the embroidery fabric base.

3c) Th e pearls are affi xed onto the basic fabric using a matching double sewing thread with a stem stitch that matches in colour.

4) Th e fi nished embroidery is steam-ironed on from the wrong side before rolling up or out the fabric. Do not loosen the tension until aft er this and embroider the other end of the stole as described. Th e arrangement of colours and fabrics can vary according to taste.

5) Cut the fi nished stole to the right size (1m x 2 m ) plus seam allowance. Cut back the cotton fabric on the reverse possibly as far as the embroidery.

Sew on the pearl fringes to the short top

sides of the embroidery fabric; the fringes should show inwards.

Tack on the lining right side to right side. Affi x this from the top side of the fabric along the seam of the pearl fringes and along both long sides of the fabric.

Leave a short slit open to turn inside out.Steam-iron the edges and close the slit.

List of suppliers:Japanese Lumi yarnAtelier KarbigPhilipp-Orth-Str. 14, D-53909 Zülpich,Tel.: (0049) (0) 2252 / 833232

Anchor yarnFirma Wiehler GobelinStader Str. 32, D - 21614 Buxtehude,Tel.: (0049) (0) 4161 / 82088

PearlsFirma Gütermann Creativ, D - 79261 GutachTel.: (0049) (0) 7681 / 210

Pearl fringesInternetshop: www.paillettenshop.de

2) Einspannen des Stoffes in den Stickrahmen

Verbinden Sie den Stickgrundstoff und den Nesselstoff durch lange Maschinenstiche, so dass anden langen Seiten der Nesselstoff jeweils 10 cm übersteht.Diesen umklappen und mit der Maschine festheften. Dieser Überhang wird zum seitlichenSpannen des Stoffes im Stickrahmen benutzt.

Danach heften Sie den Stickgrundstoff an die Walzen-Stoffleisten oben und unten desStickrahmens fest. Die Spannung des Stoffes wird durch die Drehung der Walzen erzielt.Um eine Spannung des Stickgrundstoffes auf beiden Seiten des Stickrahmens zu erreichen, wirdein dicker, stabiler Baumwollfaden (Spannkordel) im Abstand von ca. 4 cm durch denbeiderseitig überstehenden Nesselstreifen um den vertikalen Holm gewickelt und festgeknotet.

Spannen Sie den Stoff nicht zu fest und nicht zu locker. Je stärker Sie den Stickfaden ziehen,desto stärker sollten Sie den Rahmen spannen, damit sich der Stoff nicht durch die Sticheverziehen kann.

3) Die Stickarbeit:

3a) Jeder Flügel wird in einer der vorliegenden Farbschattierungen gestickt.Beginnen Sie mit den Konturen der Flügel, die im Stielstich ausgeführt werden.

®

Stader Strasse 32D-21614 Buxtehude

Postfach 1662D-21606 Buxtehude

Telefon 0 41 61/8 20 88Telefax 0 41 61/8 54 39

WIEHLERGOBELIN

Gobelin- undWeitere NadelkunstZum Selbermachen

Danach werden die Flügel im Wechsel mit einem Faden Gold oder Perlen mit dem jeweiligen

farblich passenden Nähgarn verziert.

3b) Der Goldfaden wird mit dem Überfangstich auf dem Stickgrundstoff befestigt:

Erklärung: Der Überfangstich ist eine spezielle Technik für Materialien (z.B. Japangold),die selbst nicht durch den Stickgrund gezogen werden können, da sie zerstört werden würden.Um das Material zu befestigen, wird ein Hilfsfaden benötigt.

Danach werden die Flügel im Wechsel mit einem Faden Gold oder Perlen mit dem jeweiligen

farblich passenden Nähgarn verziert.

3b) Der Goldfaden wird mit dem Überfangstich auf dem Stickgrundstoff befestigt:

Erklärung: Der Überfangstich ist eine spezielle Technik für Materialien (z.B. Japangold),die selbst nicht durch den Stickgrund gezogen werden können, da sie zerstört werden würden.Um das Material zu befestigen, wird ein Hilfsfaden benötigt.

The wings are decorated with a gold thread or pearls alternately

Vernähen Sie zunächst unsichtbar einen goldgelben doppelten Nähfaden (Hilfsfaden) unmittelbaran der Stelle, wo der Anfang des Goldfadens sein soll.Der Anfang des Goldfadens wird durch den Stickgrundstoff mit einer dicken, spitzen Nadeleingezogen, so daß ein kurzes Ende des Goldfadens unterhalb des Stickgrundstoffes verbleibt.Legen Sie den Goldfaden so auf den Stickgrundstoff, daß er leicht neben der Stielstichlinie imÜberfangstich in gleichmäßigen Abständen (ca. 3-4 mm) aufgenäht werden kann.Vernähen Sie den Nähfaden unsichtbar unter dem Goldfaden.Am Ende der Stickerei schneiden Sie den Goldfaden ca. 3 cm ab und ziehen ihn mit der dicken,spitzen Nadel in den Stickstoffgrund ein.

3c) Die Perlen werden mit einem farblich passenden doppelten Nähfaden auf den Stickgrundstoffzu dem farblich passenden Stielstich festgenäht.

4) Die fertige Stickerei wird vor dem Ab- bzw. Aufrollen des Stoffes mit Dampf von linksgebügelt. Anschließend erst die Spannung lösen und das andere Ende der Stola wie beschriebenbesticken. Dabei kann die Anordnung der Farben und Materialien ganz nach Belieben variieren.

5) Die fertig bestickte Stola auf das richtige Maß (1 m x 2 m) plus Nahtzugabe beschneiden.Den Nesselstoff auf der Rückseite evtl. bis zur Stickerei zurückschneiden.Die Perlenfransen auf die kurzen Stickgrundoberseiten aufnähen; die Fransen zeigen dabei nachinnen.Den Futterstoff rechts auf rechts festheften. Diesen von der Oberstoffseite her auf der Naht derPerlenfransen und an beiden Stofflängsseiten festnähen.Einen Spalt zum Verstürzen offen lassen.Die Kanten dämpfen und den Schlitz schließen.


Nr. 4786 – 3Vom Himmel hoch…

Kreuzstich/Cross-stich

Grösse/Embroidery ca. 16x31 cm

Anchor Garn / Anchor floss 1 Docke = 1 Skein

d 1. rotbraun No. 880 = 1 Docke b 1. blaugrau No. 926 = 1 Dockej 2. rotbraun No. 881 = 1 Docke m 2. blaugrau No. 397 = 2 Dockens 3. rotbraun No. 336 = 1 Docke x 3. blaugrau No. 398 = 1 Dockeo 4. rotbraun No. 337 = 1 Docke f 4. blaugrau No. 399 = 1 Dockeq 5. rotbraun No. 339 = 1 Docke r 5. blaugrau No. 400 = 1 Dockeü 6. rotbraun No. 1014 = 1 Dockeu 7. rotbraun No. 1015 = 1 Docke

p 1. gelbbraun No. 891 = 1 Docke y 1. grün No. 875 = 1 Dockec 2. gelbbraun No. 890 = 1 Docke ö 2. grün No. 876 = 1 Dockev 3. gelbbraun No. 309 = 1 Docke z 3. grün No. 877 = 1 Docke

i 1. steinbraun No. 1007 = 1 Docke e 1. Fleischfarbe No. 4146 = 1 Dockew 2. steinbraun No. 936 = 1 Docke k 2. Fleischfarbe No. 1008 = 1 Docke

l weiss No. 1 = 2 Docken t graugrün No. 849 = 1 Docke

ä Gold = Ophir No. 300 = 1 Spule / Spool

Two projects to try and injoy free of chargeVom Himmel hoch…

WIEHLER MAGAZIN – December 2007 PAGe �0




WIEHLER MAGAZIN – December 2007 PAGe ��




wiehler magazin 02-07

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