a fatimid textile of coptic tradition with arabic inscription

A Fatimid Textile of Coptic Tradition with Arabic InscriptionAuthor(s): Deborah ThompsonReviewed work(s):Source: Journal of the American Research Center in Egypt, Vol. 4 (1965), pp. 145-150Published by: American Research Center in EgyptStable URL: http://www.jstor.org/stable/40001007 .

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A Fatimid Textile of Coptic Tradition with Arabic Inscription1 Deborah Thompson

PLATES XXXIV-XL

The large fragment of blue wool cloth illustrated in Pis. XXXIV-XXXVI, figs. 1-5, which measures about 22 x 68 cm., with a broad, composite, tapestry-woven ornamental band and Arabic inscription, merits discussion for the new light it casts on late Coptic and early Fatimid textile traditions. Nothing is known of the origins of the textile, an anonymous gift to the Brooklyn Museum, except that it was procured in Egypt.

Students of early Islamic textiles and tiraz may recognize the connection of the inscriptional band with the Faiyum group of textiles,2 with some of which our fabric is also in general technical agreement (PL XXXVII, figs. 6-7). 3

These textiles, some of which have legible in- scriptions that mention workshops in the Faiyum are usually dated in the 9th and 10th centuries A.D. They are characterized by a peculiar script, similar to the Brooklyn script, with triangular tops, barbs along the shafts, and fillers, usually dots, occasionally birds also (as here). At times they include also a band of repeating ornament in a peculiar, rather provincial, angular style, with some motives derived from

1 Brooklyn Museum 57.120.3. The substance of this paper was delivered at the Annual Meeting of the American Research Center in Egypt, 14 November 1964. Thanks are due Mr. Bernard Bothmer, Curator, Department of Ancient Art, Brooklyn Museum, for permitting me to study the piece, and for the fine color photographs he took of it to facilitate this study and the talk.

2 E.g., G. Wiet, "Tissus et tapisseries du Mus6e Arabe," Syria 16 (1935) 278-290, pl. XLVII, top (PI. XXXVII, fig. 7) and bottom; J. Beckwith, "Textiles Found in Egypt . . . after the Arab Conquest," Ciba Review, 12, no. 133, pp. 21-25, illustration p. 25 below (Cleveland Museum of Art, our PI. XXXVII, fig. 6) ; N. P. Britton, A Study of Some Early Islamic Textiles in the Boston Museum of Fine Arts (Boston, 1938) figures 17-19; M.S. Dimand, "Coptic and Egypto- Arabic Textiles/' BMMA 26 (193 1) 89-91, fig- 3 >' c- J- Lamm, "Some Woollen Tapestry Weavings from Egypt in Swedish Museums," Le Monde Oriental, 30-31 (1936-37) 43-77, pl. XV/C, no. 59.

3 Technical comparisons were made with a group of Faiyum textiles (tabby with tapestry-woven bands)

in the Metropolitan Museum of Art. The Metropolitan textiles examined were 31. 19. 13-18. All but the last are loosely woven dark blue tabby. The last has more wefts than warps (see below for comments). All the wools and the natural linen are S-spun, and the whole group is woven on wool warps. Some (31. 19. 14, 3 1. 1 9. 1 6) include several colors as well as the standard dark blue wool with undyed linen; all are 1 -Tapestry, slit. Our textile is also 1 -Tapestry, slit, with all fibers S-spun. It has more wefts than warps (in tabby areas 15-16 wefts to 10 warps, in tapestry, 21-22 wefts to 10 warps) and in this respect, it and MMA 31. 19.18 agree with a verbal communication by Miss L. Bellinger to the effect that this is characteristic of Faiyum textiles.

The colors of our textile include as well as undyed linen, dark blue (tabby and inner plain borders), red (main band background and some details), two (?) shades of natural (undyed) wool (body areas and details) , green and light blue (details) , wools. The textile is colorful but restrained in effect because great care was taken to use the same colors for the same repeating details (by no means necessary or frequent in tapestry- weaving) ; e.g., the man on the left in both pairs of men is dressed in green, the man to the right, in natural. Its generally pleasing appearance will be benefited by a thorough cleaning and remounting, for the colors are now sadly dimmed.

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Coptic tradition. One textile, attributed by the late Ernst Kuhnel and Miss Bellinger to another textile center of Upper Egypt, is particularly close in its use of fillers.4 The style of our inscription will nevertheless be seen to differ from these others, particularly in its greater looseness and openness.

Dr. R. Ettinghausen has provided welcome help in the reading of the inscription. He suggests that it be read as kaf-mim alternately in regular and mirror writing (mim-kaf), the latter form of which may be a degenerate version of the common message *» dJUULI (the kingdom is God's)5 which is known to occur on at least one Faiyum tapestry-weaving6 and on finer textiles of early Fatimid date.7

We have seen on a Faiyum textile in the Cleveland Museum of Art (PI. XXXVII, fig. 6) how such textiles sometimes had another inscription inverted to the one at the top, on the

other side of the ornamental band, and we may suppose, especially in view of the inversions of the inner band, that another such inscription appeared upside-down at the bottom. This system is typical of a great many Fatimid textiles.8

If separated from the Arabic inscription, except for minor features to be noted, the inner broad band would not recall the Faiyum textiles, and might in fact elicit a dating no later than the 8th century. The difficulties raised by the continuance of traditional systems of decoration and motives were recently discussed in the Journal of this society by Ernst Grube,9 and we must be grateful for the opportunity afforded by the inclusion of an inscription and a conventional medallion band of known types to study these motives with a surer grasp of their place in time.

The system of setting motives into the compartments formed by a wavy scroll is an old one. Sometimes the motives on either side of the scroll may be upside-down to each other, and this is the way it is done on our textile.10 In its case, five different motives appear in the scroll : a horseman and a camel-and-rider, each once (PL XXXV, fig. 2 and PL XXXVI, fig. 3) ; two men flanking a tree, twice (PL XXXVI, fig. 5); a debased roundel pattern, twice (PL XXXVI, figs. 3 and 5) ; and a candelabra tree with birds, three times (PL XXXV, fig. 4; PL XXXVI, fig. 5). Only the horseman may be re- garded as a traditional Coptic motive, and he belongs to the line of horsemen that show Sasanian influence in horse harnessing and gar-

4 Textile Museum 721.3 ; E. Kuhnel and L. Bellinger, Catalogue of Dated Tiraz Fabrics (Washington, The Textile Museum, 1952) pl. XLII and p. 85.

5 From a letter of Dr. Ettinghausen to the writer of 23 Nov. 1964, " . . .it is basically a combination of the letters kdf-mlm and, to its side, their mirror image, mim-kaf. The combination kaf-mim does not seem to make any sense, nor is it possible to establish a meaning by assuming that certain letters have fallen out. However, the combination mim-kaf could be derived from (al-) mu(l)k (lillah), more specifically, the Arabic word mulk, with the center lam omitted. The weaver must have copied this from a correctly written version, but he rendered it then in mirror writing and leaving out the center letter. A further development is ... the combination kaf-mim which, though written in the ordinary fashion, is nevertheless a reflection of an incorrect version. In addition, there are additional letters which float around in the inscription or above it, without, however, affording any clue as to what they ordinarily might have been combined with or stood for."

Restoration and remounting of the textile may elucidate the question of some of these floating letters because parts of the inscription band are badly mutilated and possibly not whole cloth.

6 C. J. Lamm, loc. cit. (supra n. 2) pl. XV/C, no. 59. 7 E. Kuhnel, Islamische Stoffe aus d'gyptischen Grdbern (Berlin, 1927) no. 3121, pls. 3, 4, p. 19; am dill! occurs both in regular and mirror writing on this textile.

8 Cf . F. E. Day, "Dated Tiraz in the Collection of the University of Michigan," Ays Islamica 4 (1937) 445- 9 E. J. Grube, "Studies in the Survival and Conti- nuity of Pre-Muslim Traditions in Egyptian Islamic Art," JARCE I (1962) 75-97; see his bibliography for full references to some earlier work along these lines; also, S. P. Pevzner, "Coptic Traditions in the Ornamen- tation of Textiles in Mediaeval Egypt," Trudi Gosudarstvennogo Ermitazha, V (1961) (Kultura i iskusstvo narodov vostoka, 6), 228-242 (in Russian). 10 E.g., A. F. Kendrick, Catalogue of Textiles from Bury ing-Grounds in Egypt (London, Victoria and Albert Museum, 1920) I, 819-1905, no. 21, pl. VI.

I46



ments (PI. XXXVIII, fig. 8).11 He is nimbed and has his hands raised, although a spear juts before the horse. In his left hand is an angular S-shaped object, which has parallels in other Faiyum textiles, as in PI. XXXVII, fig. 6, where pairs of similar S's and Z's appear over the raised hands of a row of angular horsemen.12 This minor feature is an additional aid in associating the textile with the Faiyum types, despite the apparent traditionalism of the central band. Without any other indication, it is not certain whether the horseman is a rider-saint or Sas- anian derived hunter of the type of various silks found in Egypt and related tapestries (PL XXXVIII, fig. 8).13

Camels with riders are not a common feature of Coptic textiles of pre-Islamic date but they do appear on textiles of the Faiyum group (PI. XXXVII, fig. 7). Another angular filler, similar to the S of the horseman, appears over the camel's head, and a jewelled cross (which parallels the appearance of crosses on Faiyum textiles) rests on the groundline.14

The inhabited candelabra tree is a motive familiar also in the context of Sasanian archi- tectural ornament15 but which received frequent repetition in textiles, among them the interesting series of silks from Akhmim and else- where.16 It also served as a framework for

motives of older (Coptic and pre-Coptic) usage, such as putti fishing,17 in which it took on a febrile and linear quality which is continued in the trees of our textile (PI. XXXVIII, fig. 9).

The candelabra tree may have made its impact on the weaver through silk patterns, and the same is true of another motive, which consists of separated beaded roundels that fill the ir- regular space as best they can. We may compare them to the roundel patterns preserved in great early silks of Sasanian date or inspiration (con- taining birds, winged horses, etc.)18 or as they are seen without representational motives on a wall painting from Samarra.19 A fragment of a Fatimid wall painting also shows a figure in such a patterned garment.20 We have wool tapestries and silk textiles of the Abbasid period on which such beaded roundels have become smaller and less disk-like, very like the motive here.21 They make the least successful motive along the scroll because they are not suited to being framed by a curving line and thus have been squashed out of shape to fit.

The most interesting motive we have left for last: the two men who touch the tree by the middle pair of its down-hanging volutes, dressed in Persian garb and the Phrygian hats

11 E.g., J. Beckwith, "Textiles Found in Egypt ap- pearing to Date from ab. the 4th - ab. the 7th Century A.D.," Ciba Review 12, No. 133, pp. 5-20, p. 9 right (Cleveland Museum of Art) and O.Wulff and W. F. Vol- bach, Spdtantike und koptische Stoffe (Berlin, 1926) no. 6243, pl. 72 (a mate to the Cleveland textile) ; also Cooper Union Museum 1902-1-71, Koptische Kunst - Christentum am Nil (Catalogue, Kunsthaus, Zurich, 1963-1964) no. 302 (illustrated).

12 Also Metropolitan Museum 31. 19.. 17, Dimand, loc. cit. (supra n. 2) fig. 3.

13 E.g., A. F. Kendrick, op. cit. (supra n. 10) III, 559-1893, 560-1893, nos. 822/23, pl. XXVII (silks); G. Wiet, loc. cit. (supra n. 2) pl. XLVII middle (wool tapestry).

14 Wiet, loc. cit., (Supra n. 2) pl. XLVII, below; Di- mand, loc. cit., (Supra n. 2) fig. 3.

15 E. Kiihnel, Die Ausgrabungen der zweiten Ktesi- phon-Exp edition (Berlin, 1933) fig. 28 (stucco plaque) .

16 Kendrick, op. cit. (supra n. 10) III, 2 178-1900, no. 807, pl. XXIII (unknown site, uninscribed),

768-1893 and 2 150-1900, no. 806, pl. XXIV (Akhmim, Arabic inscription), 412-1890, no. 808, pl. XXV (Lahun, uninscribed) .

17 O. Wulff and W. F. Volbach, op. cit. (supra n. 10) no. 4657, pls. 25 and 97, p. 79 (dated by them 5~6th century).

18 R. Ghirshman, Persian Art 249 B.C-A.D. 631, the Parthian and Sassanian Dynasties (New York, 1962) figs. 279, 280, 278, 275-277.

19 E. Herzfeld, Die Malereien von Samarra (Berlin, 1927) pl. LXIX.

20 R. Ettinghausen, "Painting in the Fatimid Period/' Ars Islamica, 9 (1942) fig. 23; see also his fig. 25, a tapestry- weaving showing a person in a similarly patterned garment.

21 E. J. Grube, loc. cit. (supra n. 9) pl. XVI, fig. 11 (Cairo, Museum of Islamic Art, woollen tapestry); M. Hassan al-Hawary, "Un Tissue abbaside de Perse/1 BIE 16 (1934) 61-71, pl. I,a (Cairo, Museum of Islamic Art, silk tiraz of al Mu'tamid [A. H. 278/89]). The relative shapelessness of some of these Abbasid roundels may be due in part to their being rendered in tapestry-weaving.

147 10*



familiar in Coptic textiles which show Sasanian borrowings (PL XXXVIII, fig. 8). In pose and gesture they recall the great figures of genii that flank date palms on reliefs of Ashurnasir- pal II,22 and the tree form with down-curving volutes reinforces the impression. (The con- siderably more degenerate pair of the opposite side merely demonstrate variety in repeating motives due to the techniques of tapestry- weaving.) A large class of Coptic textiles is inhabited by putti and nude figures engaged in a variety of pursuits, sometimes flanking trees.23 Of these textile-patterns a number have been described as Adam and Eve,24 and such traditional motives may have entered into the pattern here. Pairs of men caper beside candelabra trees on some silk textiles (see note 16) but the very different style of tree suggests another inspiration as well. The outstanding feature of the tree sections is a pinched-in waist, recalling the general shape of the fire altar on the reverses of Sasanian and post- Sasanian coins until the coinage reform of 77 A.H., and it may be sug- gested that the conventional Persian garb, position of the men, and segmented tree, show a partial, formal, derivation from prototypes based on such coin representations (PI. XL, fig. 12). 25 (In their turn, Sasanian coin reverses of this standard type may reflect in part the ancient motive of two figures flanking a tree-like form.)

Although Egyptian mediaeval textile art developed differently from the Near Eastern and Persian, largely because of the enforcement of the Hadith against luxurious silk fabrics

(e.g. PI. XXXIX, fig. 10), our textile gives us a glimpse of a similar background of inspiration that can be seen in objects like ivories and wood carvings (PI. XXXIX, fig. 11). 26 These motives tend to place the textile later than the Tulunid period in which there seems to have been a preference for popular motives, largely as a means of stressing a spirit of independence from Baghdad.27

We have found the connections of the central band in traditional Coptic motives, in motives used in mediaeval textiles and objects of the fine arts, and in the special group of Faiyum wroollen textiles ; and it is the peculiar range and richness of this band that establishes the textile as a unique document of its period. The narrow decorative borders on either side have parallels in late Coptic textiles28 and are relatively un- important to our discussion. The case is other- wise with the narrow band of ornament below the inscription.

Consisting of linked oval medallions con- taining single human heads, single birds, animals, confronted birds flanking a small tree, and vegetal motives, with a flower and two outstretched leaves pointing up and down at each link, it can be compared to similar linked medallions and poly-lobed shapes on Fatimid textiles, derived probably from Abbasid tiraz, that came to form a standard mode of decoration (PI. XL, fig. 13). 29 As the motives of the

22 A. Parrot, The Arts of Assyria (New York, 1961) fig. 16.

23 E.g., Wulff and Volbach, op. cit. (supra n. 10) J. 6887, pls. 24 and 92; J. 6688, pl. 92; 6848, pl. 104. See also our PL XXXVIII, fig. 9.

24 E.g., Wulff and Volbach, op. cit., 9638, pl. 107. 25 E.g., Robert Gobi, Die Miinzen der Sasaniden im

koniglichen Munzkabinett, Haag (Koninklijk Penning- kabineet 's-Gravenhage, 1962) no. 255 (Ispahbads of Tabaristan). The flanking figures on the reverses of Sasanian coins do not, of course, touch the ribbons tied around the narrow part of the altar, but many of them make various gestures towards the altar.

26 Metropolitan Museum 13. 141; Jose Ferrandis, Marfiles Arabes de Occidente (Madrid, 1935) pl. VI (10th century), our PI. XXXIX, fig. 11; E. Pauty, Bois sculptSs d'dglises copies (epoque fatimide) (Le Caire, 1930) pls. XIX, XXII, XL; Cooper Union Museum 1961-96-1, G. Wiet, Soieries persanes (Me*moires presentes a l'lnstitute d'Egypte, LII) (Cairo, 1947) pl. XIX, our PL XXXIX, fig. 10.

27 E. Kiihnel, "La Tradition copte dans les tissue musulmans," Bulletin de la Societi df archiologie copte 4 (1938) pl. 85, p. 86 note 1.

28 Wulff and Volbach, op. cit. (supra n. 10) 6897, pl. 119 (in uppermost band, 6-7th century), 9666, pl. 117.

29 E.g., R. Forrer, Romische und byzantinische Seiden-Textilien aus dem Graberfelde von Achmim- Panopolis (Strassburg, 1891) pl. XI, 1-3; G. Wiet, Album du M'lisSe arabe du Caire (Cairo, 1930) no. 7120,

148



medallions became simplified and the surround- ing areas abstracted, these linked medallion bands often remained the only recognizable feature of the elegant later Fatimid and Mamluk textile style.30 The origins of the complete motive, its vegetal elements and the rendering of framed and unframed heads or busts, are too complex and problematical for discussion here (in particular, the question of the heart-shaped flower ; from which our alternating flowers probably derive, has been the subject of considerable discussion).31 No doubt the motive partly

derives from the filled scrolls (vine, acanthus and corncucopia) of late antiquity. The peculiarity of the alternating flower and head motives, and the separation of the scrolls into medallions and roundels, are features that occur on textiles of strong Sasanian influence32 (PL XL, fig. 14) and on Sasanian metalwork (PL XL, fig. 15), and it may well be that this conventionalized Fatimid ornament derives from the same mixing of Hellenistic, Coptic and Persian traditions we have remarked in the combining of motives in the central band. The textile in the Cairo Museum of Islamic Art (PL XL, fig. 14), which obviously reveals strong Sasanian influence, on which the alternating flower motive has taken on the features of a head, provides additional illumi- nation on the complex iconography of these bands.

The special features of our medallion band, which compares closely to Fatimid bands, in particular the inclusion of a pair of confronted birds within one medallion, enable us to date it stylistically in the early Fatimid period.34 The foregoing comparisons suggest a dating of the last quarter of the 10th century, the early part of Fatimid rule in Egypt, for the Brooklyn Museum textile.

New Canaan, Connecticut

pl. 79 (wool tapestry-weaving, 10th century); Cooper Union Museum 1902-1-143 (silk tapestry- weaving, our PL XL, fig. 13). Cf. A. J. B. Wace, "Preliminary Historical Study: A Late Roman Tapestry from Egypt," The Textile Museum, Paper No. 9 (May, 1954) p. 2.

30 E.g., Kiihnel, Islamische Stoffe, 3098, pl. 9, 3139, pl. 12.

31 See, e.g., M.I. Rostov tzeff, "Dura and the Problem of Parthian Art/' Yale Classical Studies 5 (1935) figs. 32 (painted bricks), 72 and 73 (wall paintings, all three showing heart-rosette from which heart-floret derives); Ugo Monneret de Villard, La Scultura ad Ahnas (Milano, 1923) 66-69; R- Pfister, "Les Debuts du vetement copte," Etudes d'ovientalisnte publiies par le Musee Guimet a la memoir e de Raymonde Linossier (Paris, 1932) II, p. 448; E. Kitzinger, "The Horse and Lion Tapestry at Dumbarton Oaks," Dumbarton Oaks Papers, No. 3 (1946) 31-32 and references, particularly note 103; Doro Levi, Antioch Mosaic Pavements (Princeton, 1947) I, pp. 436-453, e.g. II, pls. LXXX/a,c (House of Phoenix, 500 A.D.), CXXXIII/b (House of Rams' Heads, 500 A.D.), LXXXVI/a (Dumbarton Oaks Hunt, 500 A.D.) ; F. E. Day, "The Tiraz Silk of Marwan," Archaeologica Orientalia in memoriam Ernst Herzfeld (Locust Valley, N.Y., 1952) 43-47, the most exhaustive survey of the development of the heart rosette, with however less emphasis on possible localization of the heart-floret with two leaves. The consensus is for a Syrian origin of the rosette; in the form of borders of overlapping hearts without any lateral foliage it becomes, of course, quite common in Sasanian art and occurs also on Coptic monuments (e.g. W. E. Crum, Coptic Monu- ments (Catalogue Gdndral des antiquites igyptiennes) (Cairo, 1902) pl. XLVIII, no. 8676, with lateral dots suggesting foliage ; pl. XLIX, no. 8679, plain) . Although I tend to agree that the heart rosette is originally Syrian, despite the widespread popularity of derived motives, I suspect that some of them, e.g., the plain

border of overlapping hearts, the flower with two leaves, may eventually be identifiable as local variants. In the case of the plain border, I suspect we may have a Persian variant, and the plain hearts between the medallions of PL XL, fig. 15 tend to confirm the sug- gestion. The heart florets with leaves may thus be a specifically Egyptian variant.

32 G. Wiet, Album, pl. 83 (Museum of Islamic Art 5261, wool tapestry-weaving).

33 S. Fajans, "Recent Russian Literature on newly found Middle Eastern metal vessels," Ars Orientalis, 2 (1957) 55-76, figs. 7 and 8 (upper part of goblet found near Arv, in the Ossetian Museum, 6-7th century) .

34 E. Kiihnel, "Four remarkable tiraz textiles," Archaeologica orientalia in memoriam Ernst Herzfeld (Locust Valley, N.Y., 1952) p. 148; the separation of the pairs into separate compartments occurred, he found, in the reign of al-AzIz (ended A.H. 385, A.D. 995)-

149



List of Plates

PI. XXXIV, fig. i. Brooklyn Museum textile 57.120.3

PI. XXXV, fig. 2. Detail of Brooklyn Museum 57.120.3 - horseman

PL XXXVI, fig. 3. „ „ ,, ,, ,, - camel-rider and roundels

PL XXXV, fig. 4. ,, ,, ,, „ „ - candelabra tree, inverted to inscription

PL XXXVI, fig. 5. ,, ,, „ ,, „ -two men flanking tree, roundels and candelabra tree

PL XXXVII, fig. 6. Faiyum textile, Cleveland Museum of Art. 50.537. John L. Severance Fund

fig. 7. Faiyum textile, Islamic Museum, Cairo

PL XXXVIII, fig. 8. Coptic textile, Cleveland Museum of Art. 1667.16. John Huntington Coll.

fig. 9. Late Coptic textile, Berlin, no. 4657

PL XXXIX, fig. 10. Buyid silk textile, Cooper Union Museum 1961-96-1

fig. 11. Spanish ivory, 10th century, Metropolitan Museum of Art 13. 141

PL XL, fig. 12. Reverse of coin of Ispahbads of Tabaristan, courtesy of Koninklijk Kabinet van Munten, Penningen en Gesneden Stened, the Hague

fig. 13. Fatimid silk textile, Cooper Union Museum 1902-1-143

fig. 14. 10th century woollen tapestry- weaving, Museum of Islamic Art, Cairo, no. 5261

fig. 15. Goblet, 6-7th century, Ossetian Museum

150



PLATE XXXIV

M



Th

PLATE XXXV

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3

PLATE XXXVI

5



6

PLATE XXXVII

7



8

PLATE XXXVI II

9



10

PLATE XXXIX

II



PLATE XL

H

H

in M



a fatimid textile of coptic tradition with arabic inscription

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