Loincloth Collection (#8)

Plate 379. Carpenter, Planing a Board, 1872-85 (collotype on paper)
3950349 Plate 379. Carpenter, Planing a Board, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 22.7x33.2 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 359. Charging Bayonet, 1872-85 (collotype on paper)
3950337 Plate 359. Charging Bayonet, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.3x41 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 358. Lying on Back and Firing, 1872-85 (collotype on paper)
3950336 Plate 358. Lying on Back and Firing, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 19.2x39.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 351. Fix and Unfix Bayonets, 1872-85 (collotype on paper)
3950329 Plate 351. Fix and Unfix Bayonets, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.5x31 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 342. Boxing; Open Hand, 1872-85 (collotype on paper)
3950326 Plate 342. Boxing; Open Hand, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.2x44.6 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 339. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper)
3950323 Plate 339. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17x43.8 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 337. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper)
3950321 Plate 337. Boxing; Open Hand (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 18.1x44.1 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 335. Boxing; With Gloves (Shoes), 1872-85 (collotype on paper)
3950319 Plate 335. Boxing; With Gloves (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 23.7x31.4 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 333. Boxing; 53 Knocking 52 Down (Shoes), 1872-85 (collotype on paper)
3950317 Plate 333. Boxing; 53 Knocking 52 Down (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 25.4x25.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 331. Boxing; Stop for Cross-Buttocks (Shoes), 1872-85 (collotype on paper)
3950315 Plate 331. Boxing; Stop for Cross-Buttocks (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 20.3x37.3 cm; Addison Gallery of American Art, Phillips Academy, Andover

Plate 330. Boxing; Cross-Counter (Shoes), 1872-85 (collotype on paper)
3950314 Plate 330. Boxing; Cross-Counter (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.8x31.8 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 329. Boxing; (Shoes), 1872-85 (collotype on paper)
3950313 Plate 329. Boxing; (Shoes), 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 17x45.7 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 163. Jumping; Standing Broad Jump, 1872-85 (collotype on paper)
3950304 Plate 163. Jumping; Standing Broad Jump, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 23x33.3 cm; Addison Gallery of American Art, Phillips Academy, Andover, MA

Plate 26. Walking, Carrying 75-lb stone on Left Shoulder, 1872-85 (collotype on paper)
3950291 Plate 26. Walking, Carrying 75-lb stone on Left Shoulder, 1872-85 (collotype on paper) by Muybridge, Eadweard (1830-1904); 24.1x31.4 cm; Addison Gallery of American Art, Phillips Academy

Plate 325. Lifting and Holding Two 50-lb. Dumb-Bells, 1885 (collotype on paper)
3950063 Plate 325. Lifting and Holding Two 50-lb. Dumb-Bells, 1885 (collotype on paper) by Muybridge, Eadweard (1830-1904); 16.4x45.1 cm; Addison Gallery of American Art, Phillips Academy, Andover

Labourer (w / c on paper)
908432 Labourer (w/c on paper) by Indian School, (19th century); Private Collection; The Stapleton Collection; Indian, out of copyright

Diak Man, ca. 1893. Creator: Antonio Zeno Shindler
Diak Man, ca. 1893

Melanesian Man, ca. 1890-1899. Creator: Antonio Zeno Shindler
Melanesian Man, ca. 1890-1899

The Crucifixion, c. 1490 / 1500. Creator: Israhel van Meckenem
The Crucifixion, c. 1490/1500

The Flagellation, c. 1480. Creator: Israhel van Meckenem
The Flagellation, c. 1480

Ecce Homo, c. 1480. Creator: Israhel van Meckenem
Ecce Homo, c. 1480

The Archers, 1917. Creator: Bryson Burroughs
The Archers, 1917

An Audience with Rom Rishi, ca. 1700-1725. Creator: Unknown
An Audience with Rom Rishi, ca. 1700-1725

The Small Crucifixion, c. 1511/1520. Creator: Matthias Gruenewald
The Small Crucifixion, c. 1511/1520

The Crucifixion, c. 1473 / 1474. Creator: Francesco del Cossa
The Crucifixion, c. 1473/1474

Saint Sebastian, c. 1505. Creator: Amico Aspertini
Saint Sebastian, c. 1505

The Crucifixion with the Converted Centurion, 1536. Creator: Lucas Cranach the Elder
The Crucifixion with the Converted Centurion, 1536

Man of Sorrows, from Speculum Passionis Domini Nostri Ihesu Christi, 1507

Christ Nailed to the Cross; verso: Christ Nailed to the Cross, from Speculum Passionis Domini Nostri Ihesu Christi, 1507

The Raising of the Cross; verso: The Raising of the Cross, from Speculum Passionis Domini Nostri Ihesu Christi, 1507

Christ on the Cross with the Virgin and Saints Longinus, Mary Magdalen and John, 1505

Roben Waterfall at Oyama in Sagami Province (Soshu Oyama Roben no taki), from the series A Tour of Waterfalls in Various Provinces (Shokoku taki meguri), ca. 1827

The Sumo Wrestlers Wadagahara Jinshiro and Kachozan Gorokichi, ca. 1783. Creator: Hokusai
The Sumo Wrestlers Wadagahara Jinshiro and Kachozan Gorokichi, ca. 1783

Christ Holding a Cross in a Niche. Creator: Attributed to ReneBoyvin
Christ Holding a Cross in a Niche

The Intercession of the Virgin, kneeling on a cloud at right before Christ, standing at left holding the cross, ca. 1610-37

Seneca at the bath, standing in a niche with his feet in a basin, ca. 1615. ca. 1615
Seneca at the bath, standing in a niche with his feet in a basin, ca. 1615

Cremation Ground at Manikarnika Ghat, Varanasi, India, 1860s-70s

The Baptism of Christ, ca. 1650. Creator: Sebastien Bourdon
The Baptism of Christ, ca. 1650

The Modern Antaeus, 1833. Creator: John Doyle
The Modern Antaeus, 1833. John Wilson Croker; Prime Minister Charles Grey, 2nd Earl Grey as Antaeus from Greek mythology, standing on the word Reform ; Henry Pelham Pelham-Clinton

The Baptism of Christ, 1445-1450, (1943). Creator: Master ES
The Baptism of Christ, 1445-1450, (1943). Jesus stands in the River Jordan as John the Baptist, kneeling on a projecting rock, pours baptismal water over Christs head

The Baptism of Christ, c. 1597 (oil on canvas)
3247702 The Baptism of Christ, c.1597 (oil on canvas) by Greco, El (Domenico Theotocopuli) (1541-1614); 350x144 cm; Prado, Madrid

Where Do We Come From - What Are We? - Where Are We Going?, 1936. Artist: Paul Gauguin
Where Do We Come From - What Are We? - Where Are We Going?, 1897 located at Museum of Fine Arts, Boston, Massachusetts, USA. 1936. From Paul Gauguins Intimate Journals

East window in St Margaret, Westminster, depicting the crucifixion, London, 1795. To the sides of the main scene are representations of four figures

The Crucifixion, c1810-c1844. Artist: Henry Corbould
The Crucifixion, c1810-c1844. Christ on the cross with mourners and soldiers looking on

The East window of Norfolk College Chapel, Greenwich, London, 1804. The scene shows the crucifixion with armorial panels beneath

Murals from the Tombs of the Kings at Thebes, discovered by G Belzoni, 1820-1822. Plate 6 from Plates Illustrative of the Researches in Egypt and Nubia by Giovanni Battista Belzoni

Natives of South Pagai Island, Nassau Group, off Sumatra, 1902. Artist: Cecil Boden Kloss
Natives of South Pagai Island, Nassau Group, off Sumatra, 1902. From The Living Races of Mankind, Vol. I. [Hutchinson & Co, London, 1902]

Native sawyers, India, c1927-c1931 Artist: Cavanders Ltd
Native sawyers, India, c1927-c1931. Detail from a stereoscopic card issued with Army Club cigarettes

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"The Loincloth: A Symbol of Cultural Identity and Resilience" Throughout history, the loincloth has been a garment that transcends time and continents, representing various cultures and their unique traditions. From ancient Aztec warriors to indigenous tribes in South America, from religious figures depicted in European art to native fishermen in Hawaii, the loincloth holds a significant place in humanity's diverse tapestry. In Barburdar or punkah wallah communities of India, where men served as fan bearers to keep their masters cool during colonial times, the loincloth was an essential part of their attire. It symbolized both humility and resilience as they endured harsh conditions while fulfilling their duties. Artistic masterpieces like Guercino's "Saint Sebastian" or Hendrick ter Brugghen's "The Crucifixion with the Virgin and Saint John" depict religious figures draped modestly in loincloths. These artworks not only showcase the artists' skill but also highlight how this simple garment can convey profound messages of sacrifice, devotion, and vulnerability. Traveling across continents brings us to Hawaii where native fishermen relied on spears and nets for sustenance. Clad only in loincloths, these brave individuals ventured into treacherous waters embodying strength and connection with nature. From South Africa's Khoisan people donning animal-skin loincloths to Yanomami tribe members navigating through dense jungles clad similarly; these garments represent cultural heritage passed down through generations, and are symbols of identity that connect individuals with their ancestors' wisdom and teachings. Even beyond tribal contexts, historical photographs capture moments such as Apache Medicine Men performing sacred rituals or Veddah men wielding bows and arrows on Ceylon Island (now Sri Lanka). In each instance, the loincloth serves as a reminder of tradition preserved amidst changing times. Java Island showcases yet another facet of this versatile garment.