Reading Images
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2020-05-18T17:32:40+00:00
Reading Images: Identifying and Interpreting Motifs in Byzantine Egyptian Textiles
The images and patterns found on Byzantine Egyptian textiles were more than simply decorative——they conveyed meaning for their owners, expressing their identities, hopes, and worries. We can read these elements as a language of symbols, themes, and motifs. Understanding the subject matter displayed through the ornamentation of these textiles offers insight into the values of Early Byzantine people. Just as our choices in clothing and adornment reflect aspects of who we are, Byzantine Egyptians used visual elements to communicate aspects of their identities, such as gender, social status, economic class, age, and education. Some of these iconographic elements were also believed to be imbued with supernatural power to protect the wearer from evil spirits and ensure fortune, prosperity, and good health. The information provided in this section will help you read the symbolism displayed in this selection of textiles from Jefferson University.
Clavus with Tree of Life
Egypt
ca. 300 – 700 CE
Wool
1974.52.14
The prominent decorative roundel on this fragment includes a motif of a candelabra tree, sometimes called a Tree of Life. The square knot at the center of the roundel is known as a Knot of Solomon and was believed to be a magical, protective symbol. Knots, such as the one depicted on this fragment, were imbued with the power to trap evil spirits. Protective motifs, including knots, were often placed on tunics covering vulnerable regions of the body, like the chest or at the junction between limbs.
Orbiculus with Dionysian Figures, Possibly Maenads
Egypt
ca. 300 – 700 CE
Wool
1980.1.20 A-B
This fragment depicts centaurs (mythological creatures with the head and torso of a human and the lower body of a horse) and maenads (the female followers of Dionysus). Their prancing poses are typical of Dionysian figures, who are frequently shown in a state of ecstatic revelry. The centaurs hold disks, which are likely tambourines. Such Greco-Roman imagery continued to appear in Early Byzantine textiles well after Christianity entered Egypt. This iconography symbolizes “the good life” and could even indicate the Christian wearer’s paideia (knowledge of classical tradition).
Armband with Imitation Jewels
Egypt
ca. 300 – 700 CE
Wool and linen
1987.1.20
The delicate geometric motifs woven into this armband may have been intended to imitate actual jewelry. Gem-like textile patterns evoked the luxuries available to the wealthiest echelon of society through the more modest materials of dyed and woven yarn.
Armband with Nilotic Iconography
Egypt
ca. 300 – 700 CE
Wool
1989.1.30.4
The motifs in this armband resemble the aquatic plants of the Nile region, for example, the lotus. Egyptians held great respect for the Nile as the sustainer of life. As a result, Nilotic motifs were associated with natural abundance. These motifs can therefore be understood as symbols of good fortune.
Armband with Knots
Egypt
ca. 300 – 700 CE
Wool
1980.1.19
The intricate weave structure of this armband was more than just beautiful: complex geometric patterns were also thought to ward off evil spirits. Byzantine Egyptians believed that demons could attack them by entering through the openings in their clothing, which is why these motifs often appear near hems. Complicated patterns on the armbands or neckbands of tunics were understood to function like nets, entangling demons and protecting the wearer.
Armband with Crosses
Egypt
ca. 300 – 700 CE
Wool
1988.1.1
The crosses depicted running across the decorative stripes of this armband may have announced the Christian identity of the owner. Through their association with Christ, crosses were also believed to be protective motifs, which could defend the wearer from demons.
Tabula with Pyrrhic Dancers
Egypt
ca. 300 – 700 CE
Wool
1980.1.24
The human figure depicted at the center of this tabula spreads his arms, elbows bent in opposite directions, and stands on his toes. These lively gestures imply he is dancing. Figures like these are commonly referred to as pyrrhic dancers (participants in an ancient Greek war ritual). The image of the pyrrhic dancer became symbolic of victory and good fortune for the wearer of the textile. Dancers were also associated with Dionysus (the Greek god of wine and revelry).
