Journal of Fashion Business Vol. 15, No. 3, pp.112~124(2011)

A Study on the Characteristics of the Designs on Coptic of Ancient Egypt

Han Jungim Ph. D. Course, Dept. of Arts Ewha Womans University Graduate School

Abstract

Textile and clothing in Ancient Egypt have carried long history and tradition. Especially, Egyptian culture, created mostly by the Copt, has the originality of technology and the artistic beauty of the weaving motifs, making the textiles comparable to modern textiles. The purpose of this study is to research on the characteristics of Coptic textile designs of ancient Egypt and the tunic, a basic garment made of Coptic textiles, and offer materials for the development of the textiles and designs with artistic values which can be shared in the modern era, not just for the research of the relics of the past. Therefore, this study will follow the historical background of Coptic textiles and the process of the development, and look into the distinct features under the categories of material, colors and motifs. In addition, the tunic and its weaving technology will be explained and this will help understand the originality of Coptic textiles. The scope of this study is limited to the period of the 3rd to 12th centuries when the Egyptian weaving technologies advanced dramatically and many of the ancient Egyptian textiles discovered from the grave goods dates back, the research methode of the tunic as well as books published at home and abroad, research paper and photograph works. The textiles had developed along the Egyptian history which was influenced by different cultures such as Greek, Roman, pagan, Christian, and later, Islamic. For the textiles, they used a variety of pictorial motifs including Greek goddesses, pastoral scenes related to the Nile River and animals, human figures, geometrical figures and Christian icons. They are symbolic, natural, and mythological characters, and this explains that the world views and religions of the weavers influenced the development of specific motifs. Coptic textiles was used to make a tunic, a simple straight-sided gown without sleeves worn by men and women and was woven in a combination of linen plain weave and woolen weave for a tunic. Not only the excellence of the weaving technologies and the beauty of the colors used in the textiles, but also the diversity of the textures through weaving, , and knotting are detected in Coptic textiles.

Key Words : Ancient Egyptian textile, Copt textile, Tunics, Tapestry, Christianity

Corresponding author; Han Jungim, Tel. +82-11-9732-6922 E-mail: [email protected]

112 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

Ⅰ. Introduction materials on the textiles are limited to clothes and grave goods which were buried with the Textile culture of ancient Egypt was created corpses. The colors of these materials survived by the Copt. Diverse exchange of cultures made relatively well over the centuries due to the dry the textiles prevalent in the transitional phase Egyptian climate and sandy soil. Accordingly, between the ancient Oriental and the medieval even fragmental pieces of Coptic textiles have European textiles. Coptic textiles were unearthed allowed the researchers to make inferences from burials in the upper river of the Nile and as about their colors, materials, techniques, and most of them were discovered in the wraps of manufacturing dates. the dead and the burial finds, it is found that Therefore, The scope of this study is limited there existed specific motifs and weaving to the period of the 3rd to 12th centuries when technologies according to eras. the Egyptian weaving technologies advanced Coptic textiles, one of ancient Egyptian dramatically and many of the ancient Egyptian textiles, where dyed wool were woven into textiles discovered from the grave goods and basic linen(flax) grounds to create the decorative pieces of Coptic dates back. elements, inherited Egyptian traditions while in This study was conducted through the the position of transitting to the medieval literature and pictures from museums on the tapestry by overcoming the linen-only fabrics in ancient Egyptian textiles, as well as books the Egyptian dynasty. published at home and abroad, research paper This paper will research the characteristics of and a collection of photographs. the Coptic textile designs of ancient Egypt and the tunics, which were made of Coptic textiles, to proffer materials for the development of the Ⅱ. Historical Background of textile and fashion designs with aesthetic values the Textiles of ancient Egypt that can be shared in the modern era, not just for the study of the relics of the past. The textile is a critical source to show the life Therefore, this paper will explain the historical phase for an era since it reflects the history, background of Coptic textiles and the phases of religion, and culture of those days. As for the the development, and look into the Egyptian textile culture, built up by the Copt, the characteristics under the categories of material, originality of the weaving technology and the colors and motifs. The motifs are analyzed artistic beauty of the weaving motifs make the according to the times but the research on the textiles comparable to the modern one. materials and colors are focused on the general The word “Copt” denotes the Egyptian native traits instead of chronological analysis due to Christians and the “Copt” was derived from the lack of sources and literature on the ancient Egyptian language. Greeks who made subjects. Besides, the tunic and its weaving into Egypt from 7th century B.C. called them technology will be studied and this will help “Aigyptios” from which “Egypt” originates 1) . understand the originality of Coptic textiles. Following the Arabic conquest in 640 A.D., they Most of the existing Coptic textiles were were called “Kipt.” Today the word "Copt" unearthed from burials so that the research denotes only Egyptians of Christian faith, who

113 Journal of Fashion Business Vol.15, No.3

did not converted to Islam. survived until the Arabic conquest. As a result, The Copt lived along the Nile River of Egypt, they absorbed the influences of Sassanian and escaped from the big cities following the Persian, Byzantine, and finally Islamic styles. Arab conquest in the mid-7th century and Those textiles contained their own indigenous settled down in groups in the backwoods of materials, technologies, and designs as much. upper regions of the Nile or oases in the desert, In spite of the influences from the foreign forging a unique Christian culture 2) . Therefore, conquerors, the Copt built their own unique local Coptic textiles can be one of Christian lineages arts of Christianity, which was proved by the made in Egypt but, compared to the textiles in textiles discovered in the tombs in Akhmin and the Egyptian dynasty which were woven only Antinoe following the late 19th century 6) . The with linen, Coptic textiles used dyed wool yarns Coptic arts are divided into three periods as to add the decorative motifs on the linen below. grounds. In the first period, from the late 3rd to the 5th The level of Egyptian weaving technology centuries, Hellenistic traditions strongly remained enhanced dramatically around the 4th century and it is called the ‘early Copt.’ There were and it is assumed that Coptic textiles emerged more ancient mythological figures than Christian in that period. In particular, one of the most themes on the textiles, and pagan temples and renowned Coptic arts is saturated-colored Christian churches are assumed to coexist 7) . tapestry weave. Most of the Egyptian Copt Particularly, by interpreting the ratios of human tapestries were produced, from 4th to 10th figures in exaggerated or free manners, muscular centuries, especially 5th to 7th, and a majority depiction disappeared and the surface of the of them were embellishments woven into or figures turned smooth unlike the ones in the seamed to tunics 3) 4) and cloaks 5) . On past. white linen grounds decorative tapestry bands In the second period, from the late 5th to the with a variety of widths and geometrical motifs mid-7th centuries, many Christian-themed in multiple lines were woven with wool , murals were discovered. Strong, decorative silk, or sometimes metallic yarns. Due to the reliefs with Acanthus, grapes, and geometrical influence of Islam, Coptic textiles, which motifs are seen on the head part of pillars. 8) profound changes in weaving technology in the The period of the Islamic rule is the third, in later period. Therefore, Islamic readings were which the Coptic churches continued to exist woven into generally used textiles or typical despite the Islamic suppression and the Coptic Egyptian Coptic textiles that are produced art maintained its independence under the between the 11th and 12th centuries. influence of the Islamic art 9) . Furthermore, through Byzantine, Coptic textiles Most of the Coptic textiles were unearthed in prevailed in the transitional period from the the tomb furnishings and their colors did not ancient Orient to the medieval Europe. That is to fade even though they were interred over a long say, they emerged in the Egyptian dynasty, and period of time, meaning that the reliability of later under the Roman Empire they were technologies in the Greco-Roman era incorporated into the early Christian history and was handed down to Coptic textiles. With the

114 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

history of 1000 years, Egyptian Coptic textiles, The ancient Egyptian textiles will be with the tapestry weave, prevailed in the ancient categorized according to materials, colors, and Orient region and in the Mediterranean. They motifs and the characteristics of them will be were transferred in the peak time of the explained. medieval Europe by crusaders and merchandisers who traded decorative textiles, 1. Materials which promoted to produce more silk-woven The distinguished points of Coptic textiles are tapestry other than wool. not only the weaving technologies using different kinds of materials but also beautifully dyed colors. In this period, they were not more Ⅲ. Characteristics of Coptic textiles colorful than Syrian, Byzantine or Persian, and apparently, they were not sophisticated in Coptic textiles of ancient Egypt are closely technical aspects, and were mainly made of related to the Christianity. The Egyptian artisans linen or wool. were the Christian Copt and their faith is Since growing Flax, discovering linen and established as a denomination. Their textiles using it in producing traditional and ritual brought them the reputation. costumes and clothing was critical in the Most of the existing Coptic textiles were Egyptian civilization 10) . Next to linen, the second unearthed from burials so that the research most characteristic textile is Coptic textiles in materials on the textiles are limited to clothes tapestry style in which woolen fibers with a and grave goods which were buried with the variety of colors were used as weft thread and deceased. In particular, insufficient sources on woven into the basic linen grounds. Even though the materials and colors frustrated an analysis in Egyptians had already raised sheep for many depth beyond the general characteristics. But centuries, it’s only Hellenistic era that wool was when it comes to the motifs, the characteristics widely used. Linen and wool are very different in will be explained according to the times. their characteristics; flax has high level of tension

Man's tunic, AD. Coptes Tapestry, AD. Coptes Tapestry, AD. 6-7C, -5000years of Textiles , 5-6C, -Saint Louis, The Art 4C, -5000years of Textiles , p.62. p.61. Museum : inv. 48 : 1939.

115 Journal of Fashion Business Vol.15, No.3

and wool has strong elasticity. The Copt used 2. Colors the characteristics properly and came up with To overcome the limit in the expression of their own unique weaving technologies. colors, the Copt added motifs instead of colors To display diverse colors on the textiles, the on the simple fabrics by mixing wool and linen. artisans used a combination of two different When it comes to colors in the textiles, from the textiles and they solved problems that resulted 11) late 5th to the early 6th centuries, garment from the aforementioned method, as below . ornaments were mostly monochromatic. Only For tapestry weave, two or three plies of linen after 6th century, did a variety of hues begin to warp threads are twisted together or grouped in be used due to the Byzantine influence. In most one when needed, to widen the intervals early pieces, red violet was used for rectangular between the warp threads so that thick and soft decorations on the white or natural colored wool yarns can be filled in around the tight linen ground fabrics and purple, on the edge. These weft threads. Or, when the textile is completed, colors were extracted from a variety of warp threads are cut out or part of the threads crustaceans like shellfish and lichens. Dip dyeing are left without using them. for numerous colors, block, and resisting with Flax was mainly used for warp and wool for wax or mud were used as methods of dyeing. weft. One of the most unique Coptic textiles is Deep blue as well as vivid red, orange, and a combination of flax and wool which were purple were used in the textiles. 13) mostly used in plain-weave fabrics such as 12) Besides, the weavers used primary polychromatic rep and tapestry. Since there are many reps – colors such as navy blue, black and purple and dim single colors of purple or brown covering the warp threads, in decorative wool designs and background. 14) and linen part, the weave structure of the pattern part and the basic ground fabric appear different.

Coptes Tapestry, AD. Coptes Tapestry, AD. Coptes Tapestry, AD. 6C , -Musee du Luvre, 6C , -Musee du Luvre, 5-6C, -Brooklyn Museum, New departement des antiquites departement des antiquites York : inv. 44.143. egyptiennes : inv. AF 5470. egyptiennes : inv. AF 5472.

116 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

The colors found on the textiles were Greek mythologies, natural motifs - ancient produced mainly from the nature. Red was traditional-, geometrical patterns, portraits, and created from plant source like Rubia tintorum or human figures. 17) Yet, it is unusual that insects. Indigo and woad resulted in blue. Green feathers, decorated lotus, or Egyptian letters, was spawned by overdyeing indigo or woad with which Egyptians used typically as motifs, were saffron yellow. Purple was created by dyeing in not detected in the textiles. madder and indigo, or by using clam, shellfish, The motifs of the early period are stripes and lichens or other replacements. 15) Alum, ferric circles that are assumed to come from Rome, salt, and copper salt were used as a mordant to and gods and goddesses from Greek setting in the colors and dyes. The dyes used in mythologies appear on the textiles along with the textiles allow us to trace back the dates of flower patterns. There are simply- the textiles. It is likely to assume that the more designed motifs and animal-flower combination diverse colors used, the later they were patterns, and straightforwardly-depicted portraiture produced. or whole bodies of humans. Despite the rough The early textiles other than garments outlines and naïveté from most of the sometimes take on rich colors, but when the motifs, they left simple and strong impression. theme is figurative, the colors are close to The Copt decorated motifs on the most weak natural colors. However, weavers of polychromatic and vulnerable parts in the human body. This fabrics described animals in unconventional custom came from the belief of the ‘evil eye’. colors. 16) This belief that an askance look damages the object’s body lasted until the later years of the 3. Motifs Copt 18) . On the textiles produced before the 5th The motifs displayed on Coptic textiles of century Christian crosses were found or simply ancient Egypt will be explained according to two -designed Christian images, T-shaped motifs periods. appeared as hieroglyphic figures. In the 5th and 6th centuries, the prime time of Coptic textiles, 1) The Former Period (from the 3rd to 7th as Egypt was under the rule of Byzantine, the Centuries) center of the world’s trade, an abundance of Greco-Roman and Islamic elements, which diverse Coptic textiles were exported to many melt into Egyptian history, worked together in places including the Black sea and the harmony on the motifs that are displayed on Mediterranean. Coptic textiles. Especially in the Coptic pieces Byzantine influence, human figures or of the former period, even under the influence supernatural motifs rather than landscape ones of Byzantine, the motifs were diverse ranging were mostly used and in spite of the strong from natural motifs, which are ancient Egyptian influence of Christianity in this period, Christian basic decorations, to Hellenistic influence and to motifs rarely appeared and Greco-Roman simple Christian symbols. mythological and pagan motifs prevailed. The textiles produced in the period of 3rd and The motifs in the 6th century show that they 4th centuries took on diverse themes including were not limited to one theme but they reflected

117 Journal of Fashion Business Vol.15, No.3

the contacts with diverse cultures according to 2) The Latter Period (from the late 7th to the periods : geometric patterns, an animal 12th Centuries) figure put in a circle, a human figure The Byzantine Empire attempted to harmonize revealing the white of his big eye put in a circle with Christianity, but following the Arabic and a square, and pastoral scenes related to 19) conquest in the 7th century, the Copt were the Nile River . The motifs displayed on the forced to convert to Islam from Christianity, but textiles of the 7th century took complicated and some adhered to their own culture without extremely beautified shapes. A short period of submission. Therefore, the Copt reflected these time under the Islamic rule also had substantial seismic shift in their society on the textiles. influences on Coptic textiles. Symmetrical patterns They displayed Christian images on the textiles such as people leaning against or a complicated or produced the Coptic textiles that were form of animals’ symmetrical shapes were prevalent 20) influenced by the Islam. Compared to realistic in the 11th and 12th centuries.

Coptes Tapestry, AD. 9C, Coptes Tapestry, AD. 6-7C, -Tissu COPTES , p.21. -Tissu COPTES , p.12.

Coptes Tapestry, Coptes Tapestry, AD. Coptes Tapestry AD. 7-8C, 4C, -5000years of Textile s, Medallion, AD. 4C, -Washington, The Textile p.63. -5000years of Textiles , p.65. Museum : inv. 11,18.

118 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

descriptions of humans and animals and is geometrical motifs created with straight lines geometrical expressions in the early period, and curves; geometrical rectangular, circles, and abstract and illegible forms prevailed: a ludicrous bands in monochrome like violet or dark blue human figure or a human with huge, rectangular were woven into the undyed grounds. eyes. The First group is divided into two groups One of the biggest characteristics of Coptic again: monochrome and polychrome. Realistic textile motifs of the later period is dualistic and mythological beings are the frequent expressions of Christianity and Islam, which were subjects: vegetable, vine, leaf, flower, vase, interpreted as virtue and evil, and civilized world basket, and a variety of birds, fish, and other and barbarous world. Quoting Greek mythology, animals. which was prevalent due to the Hellenistic Human figures including warrior, flag bearer, influence, craftsmen exhibited this dualism in the dancer and hunter appear on the motifs and the motifs. By describing battle between human and creators seem to have identified themselves as dragon, a mythological animal, or lion, they also legendary figures. As inhuman figures, gods and displayed spiritual conflicts between Christianity goddesses in the ancient Pantheon, mermaid, and Pagan. and half-human, half-horse were displayed in Components in the well-known legends and the motifs. Even though these subjects were mythologies were presented as symbolism on miniaturized in size, the figures have emphasized the textiles. These symbolic meanings are not eyes with active posture and liveliness and they clear-cut but other motifs with factual meanings were described delicately and roughly, so that are assumed to arise from the weavers’ world the meanings may not be caught. view, superstition and faith. The motifs The styles exhibited in the content of the symbolizing Coptic textiles are mainly divided textiles are diverse: animals and natural motifs, into two groups. human figures, religious symbolism, still life, and The first group is figurative motifs derived daily life. from human or inhuman subjects, and the second

Coptes Tapestry, A.D. 12C, Coptes Tapestry, Tunic Fragment, A.D. 6C, -Musee du Luvre, departement des A.D. 7C, -Loom & Textiles of the Copts , antiquites egyptiennes : inv. E 26735. -L'art textile , p.47. p.135.

119 Journal of Fashion Business Vol.15, No.3

Ⅳ. On the Tunic assume how much the weaving technology developed. Some of the earliest tunics to survive The most important role of textile is to carry today in the whole piece were woven entirely in out a daily life function like a garment. Ancient one piece including sleeves, body, decorative Egyptian textiles were used in the tunic. In this parts, as indicated by the illustration. part, the characteristics and weaving technologies When it comes to decorations of tunic, a wide of tunics, made of Coptic textiles, will be vertical stripe extends over the both shoulders, explained. decorations or stripes are around the neckline, a few of narrower lines or dual lines embellish 1. Tunic sleeve and shoulder lines and rectangular or round decorations were woven into shoulders or Coptic textiles of ancient Egypt were widely around knees. Children’s tunics, made used in society. In particular, the tunic was one of wool, assumed to be worn in the 4th century, of the products made out of the textile. The have wide shoulders, smaller sleeve openings tunic is a simple straight-sided gown without and decorations on each part. In the sleeves, worn by men, women, and children. 5th century, the entire tunic was woven in Men wore tunics made of white linen. Tunics, tapestry with wool fibers and ornaments and the Copt wore, rarely underwent changes except stripes in silk decorated the tunics. decorative elements from the 4th to the mid-7th Most of the tunics were woven simply by centuries. shuttle work and tapestry bands, vertical The concept of tunics is a garment fitting to decorations, or netting embellishes them, which the body like Egypt’s woman’s clothing and were also found in the garments made of Greco-Roman one 21) . T-shaped tunic is a flat Peruvian tapestry. These tunic, manteau, and garment without any dart worn by general men toga played a black tent for a funeral; it is and women. Rectangular clothes are folded in wrapped like a cushion on which legs and a half at the shoulder line and then its neckline is head of the dead were laid; these cushions cut in T shape or round. It is sewn from the were made of tapestries with dual faces of the armholes down to the skirt’s edge 22) . When same themes. weaving the tunic, weavers made a slit for Coptic textiles was widely utilized in many neckline or sew the two rectangularly woven ways: shawl , head cover, band and fabrics with holes for neck and arms left. It was belt and knitted Coptic socks, wall hanging, worn instantly without tailoring. Uniquely, the screen, cover, mat, ornaments, and wall hanging garment shows the entire fabrics which were tapestry. However, since these textiles were woven without considering cut-out or tucked-in found only in fragments, it is not easy to exactly part in tailoring 23) . understand the original forms and usages. Tunic is worn like a shirt or layered under a heavy outfitter. A tunic usually runs down to the 2. Weaving Technologies of the Tunic knees and people wore it with a belt so that they could tuck in the extra but mostly they The oldest type of loom to produce tunics wore it without a belt. By estimating the number may not be very different from the one from of the patches used to make a tunic we can Greece and Rome and should be devised to

120 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

Schema OF Tunic, A.D. 6C, -Tissu COPTES , p.151

Tunic, A.D. 5C, Tunic of children, Shawl, A.D. 6C, - Musee -Musee du Luvre, departement des A.D. 11C, du Luvre, departement des antiquites egyptiennes : inv. E -L'art textile , p.40. antiquites egyptiennes : 10530. inv. E 29302. enhance the potential of the linen. A handloom tapestry . Fragmentary tapestry which survived 27) used in those days is a high-warp loom. A warp today is clavi and patch to ornament tunics . beam crosses the upper frame, and a cloth The weaving technology of Coptic beam does the lower frame, so that tension, textiles used in tunics is firstly a combination of necessary for warp, could be controlled 24) . A linen plain clothes and woolen tapestry. After high-warp loom gradually transformed to a most part of a tunic is woven with flax yarns, low-warp loom with a pedal, and therefore, four threads of flax warp or a few threads which made both hands carry easily weft according to designs are combined to one ply threads. Looms continued to change their forms and then tapestry weave is carried out with dyed and artisans also used a draw-loom 25) to make wool fibers for decorations like neckline or skirt lines or ribbons which emphasized decoration edge Second, warp of frontal side of lines and patterns in the edge for tunics 26) . the textile was woven in linen and weft was Except individual ornaments, tunics were done in tapestry weave according to motifs with 28) produced without distinguishing man and diverse, colored wool fibers . woman. To make ornaments for tunics requires Coptic textiles used to make tunics was mostly elaborate techniques. On the plain tapestry textile grounds, thin and long straight line

121 Journal of Fashion Business Vol.15, No.3

patterns, woven with extremely thin linen of relative positions of warp and weft. threads, are the features of Coptic textiles. This The Coptic tapestry weaving is similar to the method was called crapaud 29) or ressaut, which medieval and modern weaving. Changes in was sometimes incorrectly named as flying colors which take place in parallel to warp shuttle 30) . It was developed from the principle of threads allow a slit and when the gap a spindle. The decorations by this method look is bigger, it can be seamed. The delicacy of the like embroidery but they were woven with other texture used in Coptic textiles is more parts at the same time, not added to the textile outstanding than any other tapestry’s even in separately. the medieval Europe or other eras. The Copt The Copt did not stick to general principles attempted relief-like sense of volume by using but challenged to weave in the opposite way or double cloth or changes in materials. To by moving weft in the way they wanted. distinguish the background from the main motifs, Sometimes they weaved main part first and then they used diverse methods like applying different weaved the rest by moving a shuttle regardless styles of weaving structure. There are not only

Tunic, A.D. 12C, Tunic Fragment, A.D. 9C, -Musee du Luvre, departerment des antiquites egyptiennes : inv. -Tissu COPTES, p.14. E 10130.

Slit, Knotting , Pile weaving, -Tissu COPTES , p.32. -Tissu COPTES , p.32. -Tissu COPTES , p.32.

122 Han Jungim / A Study on the Characteristics of the Designs on Coptic Textiles of Ancient Egypt

weaving but also texture-specific spring, the motifs from geometrical patterns, a variety of and pile weaving, and plaiting. For the animals and plants and god figures. The world garment decoration and ornament lines, view or religious faiths of the weavers played a embroidery and knotting were used. critical role in such development. In the later years there were many motifs showing dualism of Christianity and Islam through display of virtue Ⅴ. Conclusion and evil and civilized world and barbarous world. Fifth, Coptic textiles was used in many ways The Copt, offsprings of Pharaoh Egyptians, including wall hangings and mat and especially had to weave clothing for Persian and Greek tunics which were sleeveless long straight gown, conquerors and Roman rulers. There were few worn by both men and women. of the Egyptian traditional designs in their Sixth, one of the weaving technologies of the textiles and they had to weave textiles in each tunic is Coptic textiles that combine linen pain ruler’s own style and only Egyptian symbols as weave and wool tapestry. The other is tapestry design elements appeared in the decorations. weave in the motifs that uses linen warp threads The results of this research through a variety on the frontal fabrics and diversely colored wool of literature on Coptic textiles of ancient weft threads. Not only the excellence of the Egyptian and tunics on Coptic textiles are as weaving technologies and the beauty of the below. colors are revealed, but also the diversity of First, Coptic textiles of ancient Egyptian is textures resulted from techniques such as closely related to Egyptian history and the weaving, embroidery, and knotting is discovered. societal development. Coptic textiles are based Studied as above, this study help perceive on the Christian faith but influences of Greek that Coptic textiles of ancient Egypt should not Hellenism, Roman Byzantine, Iranian Sassanid, be limited to the relics of the past and they can Syria and later Islam, which allowed the artisans offer a new figurative possibility to modern to create unique textile. textiles and fashion designs and momentum for Second, linen, wool and rarely silk were used the development of today’ weaving culture. for Coptic textiles and a combination of linen and wool enabled them to produce more innovative textile. Linen and wool have different Reference characteristics but due to distinguished weaving technologies they could make elaborately woven 1) Cho yeonkyen(1993), Encyclopedia , Hakwon, textile with a variety of colors. p.55. Third, the early pieces were simple and 2) Ibid., pp.55-56. modest purple textiles on the unbleached natural 3) Tunic : A simple straight-sided gown with colored or white ground fabrics and they half- length sleeves or without sleeves, gradually became more brilliant and colorful. worn by ancient Greco-Roman people Fourth, The Copt displayed their Christian faith 4) Jannifer Harris(1993), 5000years of Textiles , by quoting Greco-Roman mythologies instead of London ; British Museum Press Harry, p.61. Christian traditional motifs. They came up with 5) Cloak : An outfitter or manteau without

123 Journal of Fashion Business Vol.15, No.3

sleeves 20) Washington, The Textile Museum ; inv. 6) Michel Thomas, Christine Mainguy, Sophie 11,18. Pommier(1985), L'art Textile Histoire D'un 21) Park jungsoon(1976), “The History of art , Geneve : Edition d'un art Art Albert Custume about Ancient Egyptian”, The Skira S.A., p.39. Journal of Busan Womans College N4 , 7) Hankookmisul yeonkamsapyeon(1989), Art p.243. dictionaryⅠ, p.767. 22) Jung hongsook op.cit., p.23. 8) Saint Louis, The Art Museum; inv. 48 : 1939. 23) Kim hyunkyung, op.cit., p.13. 9) Kim hyunkyung(1990), A Study on The 24) Diane Lee Carroll, op.cit., p.34. Coptic Textile, Graduate School of Industrial 25) Draw-Loom : Used to weave many different Craft Hong-ik University, p.11. kinds of patterns-such as simplified human 10) Ibid., p.13. figures, plants, animals, and geometrical- 11) Diane Lee Carroll(1988), Looms and Textiles designs in line. of the Copts , Seattle and London, California 26) Michiel Thomas, Christine Mainguy, Sophie Academy of Science, University of Pommier, op.cit., p.40. Washington Press, p.30. 27) Kax Wilson(2000), A History of textiles , 12) Rep : A kind of plain weave and also called Yekyung, pp.143-144. furrow patterned stripes 28) Min kilja(1998), Fabric of the World , 13) Musee du Luvre, departement des antiquites Hanlimwon, p.93. egyptiennes : inv. AF 5472 29) Crapaud, Ressaut : A decorative technique 14) Brooklyn Museum, New York : inv. 44.143. that weft thread are used as floating 15) Diane Lee Carroll, op.cit., p.33. threads. Decorative lines float freely and 16) Kim hyunkyung, op.cit., p.20. sometimes traverse on to a few of weft 17) Marie-Helene Rutschowscaya(1990), Tissu threads in one time. Often mistaken for COPTES , Paris, Adam Biro, p.12. embroidery. 18) Diane Lee Carroll, op.cit., p.26. 30) Flying Shuttle : A decorative technique. It is 19) Ibid., p.34. called flying shuttle to avoid confusion with “shuttle” that John Kay invented in 1733.

Received Apr. 27, 2011 Revised (Jun. 1, 2011, Jul. 6, 2011) Accepted Jul. 11, 2011

124