This textile is an Egyptian linen embroidered in blue flax. It is 13 cm wide and 8 cm high with a rolled hem at the top of the textile. The narrow embroidery band on the left is 0.5 cm wide and the larger embroidery is 7.7 cm wide. The embroidery was to the very edge of the textile and is in the rolled hem.
The textile is in the Ashmolean Museum. It is thought to have been made between the 10th and 15th centuries.
I have charted up the embroidery design and it can be downloaded in pdf format-
Let me know how it goes!
This textile was thought to have been made between the 10th-15th centuries. The textile is a plain weave linen embroidered in dark blue silk. The chequering is done with fylfots. The textile is 21.5 cm high by 13 cm wide and is currently in the Ashmolean Museum.
The design has been charted & is available as a pdf document-
The timeline given covers Egyptian history from the Abbasid Caliphate to the Mamluks. I personally think that the textile is Mamluk, but I am happy to be corrected. In the textile itself, only a few times are the fylfots reversed. The chart reflects this.
This shawl is from between the 3rd and 4th century C.E. The Egyptian shawl is plain weave linen, with a tapestry weave decoration sewn on. The size of the shawl is 70 cm by 45 cm. It is currently in the Metropolitan Museum of Art.
This shawl has been tapestry woven with wool and linen between the 8th and 9th century. It is 21.9 cm by 33 cm. It is also has Coptic script on it, as opposed to tiraz bands with Arabic. It is currently in the Metropolitan Museum of Art.
Also made between the 8th and 9th century, this particular shawl is wool, tapestry woven with linen decorations. There is also Coptic script. It is 33 cm high by 79.4 cm wide. It is in the Metropolitan Museum of Art.
This shawl is much like the others- wool and linen tapestry woven with Coptic script. However by this stage there were also Arabic tiraz becoming the fashion from the Abbasid and Fatimid Empires. The shawl is in the Metropolitan Museum of Art.
This tunic was thought to have been made between 1100-1399 C.E. which covers the Fatimid and Ayyubid rulers of Egypt. The shirt is embroidered linen. Unfortunately there is no other information on the Victoria & Albert Museum website. The item is currently not being shown. Scrolling in it is possible to see that the motifs look like fish and “lollywrappers”. Both of those motifs look to be done in pattern darning with a little running stitch highlighting the seams.
The construction of the shirt is the same as the shirt previously mentioned in the post “An Egyptian Child’s tunic from the Mamluk Period”. That shirt can be found in the Ashmolean Museum.
This is a Fatimid rock crystal Kohl container, made between 939–1010 C.E. The jar would have had a glass rod in it, to apply the Kohl, which was made out of burnt frankincense, almond shells or Safflower plants. This is a Mamluk ivory inlaid with niello Kohl container, made between the 14th–15th century. The applicator was attached by chain. This is an Ottoman cast silver Kohl bottle. It is dated to 1594 C.E. and was hammered and incised. The applicator stick was attached to the bottle with a chain, through the “tail” of the bird.
Taken from Museum With No Frontiers website.
This alabaster chess set is thought to have come from Fatimid Egypt or Syria in the 11th-12th centuries. The largest piece is 3.8cm high, carved from a single piece of alabaster with fluting. The set has three pawns, two kings (or queens), two knights and two and a half castles (the third is damaged). The sides are differentiated by lapis lazuli and coral insets in the top of the pieces. The pieces were sold by Christies for £59,750 ($86,458).
This is an embroidered turban end with tiraz. The tiraz gives the exact date of 1031 CE (or 422 AH) during the Fatimid Caliphate of Ali al-Zahir.
The height is 29.1 cm and width is 54.6 cm, with tassels at the end. The base material is a linen tabby weave with in-woven silk tapestry ornamentation. It is currently in the Cleveland Museum of Art. Unfortunately while the tiraz can give an exact date, there is not translation of the tiraz given. Please let me know if you have one.
This is a block printed 11th century Egyptian amulet. There seems to be no translation available for the above amulet but they are all prayers for help and quotes from the Qur’an. This amulet is ink on paper, in the kufic script, height 23 cm and width 8.4 cm. It also has the six-pointed star (the Star of David), known as the Seal of Solomon. The paper is currently in the Metropolitan Museum of Art in the Heilbrunn Timeline of Art History. This was used in other countries and time periods, like the Maronites (please see the Maronite Mummies post).
The ring is also in the Heilbrunn Tineline of Art History but is is a ring from Iran. Made in the 16th century, it is of cast and chased gold with carved nephrite, height 3.5 cm and diametre of 2.5 cm. This does have a translation. The ring says-
Call upon ‘Ali whose miracles manifest,
you will find his help in times of misfortune
All anguish and sorrow will dissipate
Through your friendship
Oh ‘Ali Oh ‘Ali Oh ‘Ali
The ring calls upon Alī ibn Abī Ṭālib, the cousin and son-in-law of the Prophet Muhammad.
This shirt is in the Topkapi Palace Museum. Worn in battle, it is ink on stiffened cotton. It contains prayers to Ali (see above) as well as Qur’an verses. These are similar to other talismanic shirts from India of the same time period.
Binding words: textual amulets in the Middle Ages by Don C. Skemer. Via Google Books.
Hamsa by Menachem Wecker. On My Jewish Learning.
Amulets and Talismans from the Islamic World by Yasmine Al-Saleh. On Heilbrunn Timeline of Art History.
Islam and the Arts of the Ottoman Empire by Brian Hogarth. Via Google Docs.
Images of the Human Hand as Amulets in Spain by W. L. Hildburgh. JStor article.
Medieval Arabic Ṭarsh: A Forgotten Chapter in the History of Printing by Richard W. Bulliet. JStor article.
This ivory is from Egypt, 11th-12th century or Fatimid Egypt. The boy is dancing with veils in front of a man drinking. This ivory still has some paint on it, showing it would have been coloured.
Currently in the Louvre.