Found in modern Akhmim, Egypt, this piece from the Cotsen Textile Traces Study Collection (T-0304) dates to sometime between the seventh and ninth centuries CE, and likely would have adorned an otherwise plain garment. All textiles from the Coptic period, including this tunic, offer valuable information about the history of Egypt. But the Cotsen fragment, in particular, directly addresses the major changes taking place in Egypt during this time, especially those regarding Egypt’s predominant religion.
In this context, the term “Coptic” is used to categorize a particular set of textiles from a specific time in Egypt that share similar stylistic traits. The Coptic period designates the era from late Roman hegemony in Egypt to the Islamic conquest (the late third century to the mid-seventh century CE).[i] Several significant political and religious changes occurred in Egypt at this time, which are important to discuss in a conversation about Coptic textiles. After the end of pharaonic rule, frequent authority turnover would characterize the Coptic period. Due to these shifts, Egypt also saw an influx of new people, bringing different cultures and religions. With the rise of Christianity under the Roman emperor Constantine in the fourth century CE, Egypt began to move away from the Pharaonic, Hellenistic and Greco-Roman beliefs that had characterized it previously and shifted to Christianity. This change was especially significant in textiles, because the turn toward Christianity in Egypt brought about a change in burial practices. Specifically, Egypt saw a marked increase in underground burials and the wrapping of the dead in textiles. In Egypt’s arid conditions, buried underground and protected from the elements many of these textiles were preserved. The rise of Christianity gave way to a wealth of textiles that we now refer to as “Coptic.”
T-0304 dates to the Middle Coptic period, also known as the High Coptic or Early Byzantine period, which falls between the mid-seventh to the 12th centuries CE. As early as the fifth century, images of Christianity had started to replace Greco-Roman symbols. This trend is apparent in the figures represented on T-0304. According to Maximilien Durand, the former director of the Museum of Fabrics and Decorative Arts in Lyon, France, this textile depicts the biblical story of Joseph’s arrival in Egypt, which is recounted in Genesis 37. In this chapter, Jacob’s favorite son, Joseph, is thrown down a well by his resentful brothers. Then, when the brothers see a group of merchants headed for Egypt, they decide to remove Joseph from the well and sell him for 20 pieces of silver. Upon his arrival in Egypt, Joseph is sold to Potiphar, one of the pharaoh’s officials.
On this fragment, we can see three major characters from this story: Joseph, the pharaoh, and possibly the merchant. On the top, Joseph emerges from a well. This is a direct parallel to the story recounted in Genesis, making him easily recognizable. He is also distinguished by the nimbus surrounding his head, which often indicates holiness or elevated status.[ii]
The following figure depicted is a possible representation of the merchant. According to chapter 37, verse 28 of Genesis, Joseph is sold to “Midianite traders,” who are additionally referred to in that same verse as “Ishmaelites.” Because Midian is thought to have been located somewhere in the Arabian Peninsula, and since the term “Ishmaelite” has been used historically to refer to people from that same region, the traders referenced in Genesis are believed to be from either western Asia or northeast Africa.[iii] For this reason, the Midianite trader is often shown with dark skin in Coptic textiles that depict this narrative. For example, on a roundel from the Met which also depicts the story of Joseph, the Midianite trader has much darker skin than the other figures on the textile.
On the Cotsen fragment, however, the trader is more difficult to identify. His skin appears to be the same color as Joseph and the pharaoh. However, his headwear and garments are very dark, unlike the light clothing of Joseph and the pharaoh. Additionally, the other colors on his clothes are similar to the colors worn by the merchant depicted on the Met roundel. Considering these features and the merchant’s significant role in the narrative, it is possible that the figure depicted here is the merchant. However, without more substantial evidence, we cannot be sure who exactly this figure was intended to represent. In direct contrast, depicted under the merchant figure, the pharaoh is made quickly identifiable by his nemes headcloth. Nemes are striped, linen garments worn only by pharaohs in ancient Egypt.[iv]
Because T-0304 likely hails from between the seventh and ninth century, Egypt had been a part of the Byzantine empire for at least 200 years by the time this piece was made. Since the Byzantine Empire was Christian, and because this is the story of an important biblical figure’s journey to Egypt, it would have been well known in Egypt at this time. This is evidenced in several Coptic textiles that survive today. Take, for example, the previously mentioned roundel from the Met, wherein scenes from the same story are shown. Again, Joseph is shown partially inside of a well. He is also distinguished by a nimbus in this representation. And, as discussed previously, one or more Midianite merchants are depicted also here.
Additionally, both the Cotsen piece and this one from the Met share the same style. We can see geometric faces and blocked-off color areas, both stylistic traits indicative of the Middle Coptic period, a sub-category of the Coptic period. Also indicative of this period is the overwhelming presence of Christian motifs. To demonstrate that these subjects and this style are notable and changed, a few examples of textiles from the previous period, the Early Coptic period, are worth discussing. In this period, which lasted from the third to the fourth century CE, blended colors, fluency of line and mythological scenes were common. Each of these traits can be observed in another fragment from the Met, which dates from the late-third or fourth century and depicts the goddess, Diana. As demonstrated by this fragment from the Met, the style and subject matter of Coptic textiles shifted greatly between the Early Coptic and Middle Coptic periods.
This change in subject matter is simply a reflection of the larger changes taking place in Egypt during this time. This textile is a part of a unique period in Egypt’s history, where after approximately 2,500 years of being ruled by pharaohs, Egypt’s government changed more than five times in a period of less than 1,000 years. On this fragment, these changes come to life through artistry and narrative. The presence of a biblical story, as opposed to the Greco-Roman symbols of the previous period, show us just how much and how quickly Egypt was changing after the collapse of pharaonic rule. Therefore, through this textile, and other Coptic textiles like it, the political and religious transformations of Late Antique Egypt are preserved, not just through written sources, ruins, or other artifacts, but are illustrated through an abundance of material remains, unparalleled by any other site in antiquity.
Notes
[i] Hoskins, Nancy Arthur. The Coptic Tapestry Albums and the Archaeologist of Antinoé, Albert Gayet (Seattle and London: Skein Publications in association with the University of Washington Press, 2004).
[ii] Kiss, Zsolt. “Symbols in Coptic Art.” Edited by Aziz Suryal Atiya. The Claremont Colleges Digital Library. Accessed May 25, 2021. https://ccdl.claremont.edu/digital/collection/cce/id/1791/.
[iii] Tebes, Juan Manuel. “Midian.” Oxford Bibliographies. Accessed May 25, 2021. https://www.oxfordbibliographies.com/view/document/obo-9780195393361/obo-9780195393361-0271.xml.
[iv] Terry, James. “Nemes.” Art History Glossary. Accessed May 25, 2021. https://blog.stephens.edu/arh101glossary/?glossary=nemes.
[v] Josephus, Flavius. “The Works of Josephus.” Internet Archive. London, Printed for H. Herrington [etc.]. Accessed May 25, 2021. https://archive.org/details/worksofjosephus00jose/page/40/mode/2up?view=theater.