Catalog Number
|
Catalog Number |
CAS 0389-2379 | |
| Category | Textiles | |
| Object Name | Coptic textile fragment | |
| Culture | Coptic Egyptian | |
| Global Region | North Africa | |
| Country | Egypt | |
| State/Prov./Dist. | ||
| County | ||
| Other Geographic Data | Antinoöpolis (Shaikh Abada aka El Sheik Abara) | |
| Maker's Name | Unknown | |
| Date of Manufacture | ca. 400-500 CE | |
| Collection Name | Rietz Collection of Textiles | |
| Materials | Linen; Wool | |
| Description | “Tunic fragment. The design areas on this fragment are a rectangular motif from the shoulder portion of the tunic and a part of one clavus. The rectangle has a spiral-wave border. Inside is an oval framing an armed man, perhaps a gladiator. The clavus is decorated with a well-formed stylized grapevine with leaves and grape clusters. Level with the shoulder motif is a small, equal-armed, dark purple cross with dots in the angles. A second cross, this one light on dark (sic) appears in a small rectangle at one end of the clavus. The design was executed in linen and wool yarns. The latter is now dark purple tinged with brown, but the color may have been brighter originally. The ground is natural linen rep, 20 x 13 [warp : weft per square cm]. The clavus and the shoulder rectangle are tapestry, woven on grouped warps in wool and linen yarns. The rep ground has shadow weft stripes formed of bundles of weft. The shots forming the stripes occur in pairs or in groups of three. Tapestry ornaments have curved wefts that follow the lines of the design. Small details were picked out in linen yarn worked as erratic weft floats while weaving was in progress. All yarn is S-twist. Fifth century. Remarks: While the decorative motifs on this fragment are Classical in origin, the crosses may indicate that the original owner of the tunic was a Christian or someone who believed that the cross served as a protective device. The fully dressed and armed warrior is set to fight mortal dangers, not spiritual ones, yet may also have a protective intent. The size of the decorative elements indicates that the tunic was a small one, no doubt intended for a child. The textiles in this group [DL Carroll # 17-26 (CAS 0389-2379, -2381, -2383, -2387, -2395, -2408A,B, -2418, -2428, -2431, -2587)] are reportedly from Shaikh Abada, or El Sheik Abara - the Arabic name for the site is transliterated variously. The ancient city was named Antinoöpolis after a beautiful Greek youth who drowned near there. It was founded in his memory by the emperor Hadrian around A.D. 13. A major weaving center in antiquity, some of its products have a classical flavor that may derive from Hadrian’s interest in early Greek art. The archaic style of Greece was revived during his reign. Later, in the Christian period, Antinoöpolis became the site of a famous monastery founded by Saint Samuel. While it is impossible to place total reliance on antique dealers’ attributions, the textiles in this group have similarities that make a common source believable. It is assumed that Rietz purchased them as a group, perhaps from a dealer in the vicinity.†[From Looms and Textiles of the Copts by Diane Lee Carroll (San Francisco, CA: Memoirs of the California Academy of Sciences, No. 11, 1988); Catalog # 20, pp. 29, 102, 108-109.] | |
| Dimensions (cm) | Width = 13.0, Length = 34.0 | |