Textiles in folklore

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A royal portrait employing strong mythic overtones: Queen Elisabeth of Romania, born a German princess, adopts the national costume of Romania, with distaff and spindle. Elizabeth of Romania pic.jpg
A royal portrait employing strong mythic overtones: Queen Elisabeth of Romania, born a German princess, adopts the national costume of Romania, with distaff and spindle.

Mention of textiles in folklore is ancient, and its lost mythic lore probably accompanied the early spread of this art. Textiles have also been associated in several cultures with spiders in mythology.

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Weaving begins with spinning. Until the spinning wheel was invented in the 14th century, all spinning was done with distaff and spindle. In English the "distaff side" indicates relatives through one's mother, and thereby denotes a woman's role in the household economy. In Scandinavia, the stars of Orion's belt are known as Friggjar rockr, "Frigg’s distaff".

The spindle, essential to the weaving art, is recognizable as an emblem of security and settled times in a ruler's eighth-century BCE inscription at Karatepe:

"In those places which were formerly feared, where a man fears... to go on the road, in my days even women walked with spindles"

In the adjacent region of North Syria, historian Robin Lane Fox remarks funerary stelae showing men holding cups as if feasting and women seated facing them and holding spindles. [1]

Egypt

In pre-Dynastic Egypt, nt (Neith) was already the goddess of weaving (and a mighty aid in war as well). She protected the Red Crown of Lower Egypt before the two kingdoms were merged, and in Dynastic times she was known as the most ancient one, to whom the other gods went for wisdom. According to E. A. Wallis Budge (The Gods of the Egyptians) the root of the word for weaving and also for being are the same: nnt.

Easton's Bible Dictionary (1897) refers to numerous Biblical references to weaving:

Weaving was an art practised in very early times (Ex 35:35). The Egyptians were specially skilled in it (Isa 19:9; Ezek 27:7), and some have regarded them as its inventors.

In the wilderness, the Hebrews practised weaving (Ex 26:1, 26:8; 28:4, 28:39; Lev 13:47). It is referred to subsequently as specially the women's work (2 Kings 23:7; Prov 31:13, 24). No mention of the loom is found in Scripture, but we read of the "shuttle" (Job 7:6), "the pin" of the beam (Judg 16:14), "the web" (13, 14), and "the beam" (1 Sam 17:7; 2 Sam 21:19

Greece

In Greek mythology, the Moirai (the "Fates") are the three crones who control destiny, by spinning the thread of life on the distaff. Ariadne, princess of Minoan Crete and later the wife of the god Dionysus, possessed the spun thread that led Theseus to the center of the labyrinth and safely out again.

Among the Olympians, the weaver goddess is Athena, who, despite her role, was bested by her acolyte Arachne, whom Athena in retribution turned into a weaving spider. [2] The daughters of Minyas, Alcithoe, Leuconoe and their sister, defied Dionysus and honored Athena in their weaving instead of joining his festival. A woven peplos, laid upon the knees of the goddess's iconic image, was central to festivals honoring both Athena at Athens, and Hera.

In Homer's legend of the Odyssey, Penelope the faithful wife of Odysseus was a weaver, weaving her design for a shroud by day, but unravelling it again at night, to keep her suitors from claiming her during the long years while Odysseus was away; Penelope's weaving is sometimes compared to that of the two weaving enchantresses in the Odyssey, Circe and Calypso. Helen is at her loom in the Iliad to illustrate her discipline, work ethic, and attention to detail.

Homer dwells upon the supernatural quality of the weaving in the robes of goddesses.

In Roman literature, Ovid in his Metamorphoses (VI, 575–587) recounts the terrible tale of Philomela, who was raped and her tongue cut out so that she could not tell about her violation, her loom becomes her voice, and the story is told in the design, so that her sister Procne may understand and the women may take their revenge. The understanding in the Philomela myth that pattern and design convey myth and ritual has been of great use to modern mythographers: Jane Ellen Harrison led the way, interpreting the more permanent patterns of vase painting, since the patterned textiles had not survived.

Germanic

For the Norse peoples, Frigg is a goddess associated with weaving. The Scandinavian "Song of the Spear", quoted in "Njals Saga", gives a detailed description of Valkyries as women weaving on a loom, with severed heads for weights, arrows for shuttles, and human gut for the warp, singing an exultant song of carnage. Ritually deposited spindles and loom parts were deposited with the Pre-Roman Iron Age Dejbjerg wagon, a composite of two wagons found ritually deposited in a peat bog in Dejbjerg, Jutland, [3] and are to be associated with the wagon-goddess.

In Germanic mythology, Holda (Frau Holle) and Perchta (Frau Perchta, Berchta, Bertha) were both known as goddesses who oversaw spinning and weaving. They had many names.

Holda, whose patronage extends outward to control of the weather, and source of women's fertility, and the protector of unborn children, is the patron of spinners, rewarding the industrious and punishing the idle. Holda taught the secret of making linen from flax. An account of Holda was collected by the Brothers Grimm, as the fairy tale "Frau Holda". Another of the Grimm tales, "Spindle, Shuttle, and Needle", which embeds social conditioning in fairy tale with mythic resonances, rewards the industrious spinner with the fulfillment of her mantra:

"Spindle, my spindle, haste, haste thee away,
and here to my house bring the wooer, I pray."
"Spindel, Spindel, geh' du aus,
bring den Freier in mein Haus."

This tale recounts how the magic spindle, flying out of the girl's hand, flew away, unravelling behind it a thread, which the prince followed, as Theseus followed the thread of Ariadne, to find what he was seeking: a bride "who is the poorest, and at the same time the richest". He arrives to find her simple village cottage magnificently caparisoned by the magically aided products of spindle, shuttle and needle.

Jacob Grimm reported the superstition "if, while riding a horse overland, a man should come upon a woman spinning, then that is a very bad sign; he should turn around and take another way." (Deutsche Mythologie 1835, v3.135)

Celts

The goddess Brigantia, due to her identification with the Roman Minerva, may have also been considered, along with her other traits, to be a weaving deity.

French

Weavers had a repertory of tales: in the 15th century Jean d'Arras, a Northern French storyteller ( trouvere ), assembled a collection of stories entitled Les Évangiles des Quenouilles ("Spinners' Tales"). Its frame story is that these are narrated among a group of ladies at their spinning. [4]

Baltic

In Baltic myth, Saule is the life-affirming sun goddess, whose numinous presence is signed by a wheel or a rosette. She spins the sunbeams. The Baltic connection between the sun and spinning is as old as spindles of the sun-stone, amber, that have been uncovered in burial mounds. Baltic legends as told have absorbed many images from Christianity and Greek myth that are not easy to disentangle.

Finnish

The Finnish epic, the Kalevala , has many references to spinning and weaving goddesses. [5]

Eve spinning, from the Hunterian Psalter, English, ca 1170 Hunterian Psalter c. 1170 Eve spinning.jpg
Eve spinning, from the Hunterian Psalter, English, ca 1170

Later European folklore

"When Adam delved and Eve span..." runs the rhyme; though the tradition that Eve span is unattested in Genesis, it was deeply engrained in the medieval Christian vision of Eve. In an illumination from the 13th-century Hunterian Psalter (illustration. left) Eve is shown with distaff and spindle.

In later European folklore, weaving retained its connection with magic. Mother Goose, traditional teller of fairy tales, is often associated with spinning. [6] She was known as "Goose-Footed Bertha" or Reine Pédauque ("Goose-footed Queen") in French legends as spinning incredible tales that enraptured children.

The daughter who, her father claimed, could spin straw into gold and was forced to demonstrate her talent, aided by the dangerous earth-daemon Rumpelstiltskin was an old tale when the Brothers Grimm collected it. Similarly, the unwilling spinner of the tale The Three Spinners is aided by three mysterious old women. In The Six Swans , the heroine spins and weaves starwort in order to free her brothers from a shapeshifting curse. Spindle, Shuttle, and Needle are enchanted and bring the prince to marry the poor heroine. Sleeping Beauty, in all her forms, pricks her finger on a spindle, and the curse falls on her. [7]

The Lady of Shalott by William Holman Hunt, painted from 1888 to 1902 Holman-Hunt, William, and Hughes, Edward Robert - The Lady of Shalott - 1905.jpg
The Lady of Shalott by William Holman Hunt, painted from 1888 to 1902

In Alfred Tennyson's poem "The Lady of Shalott", her woven representations of the world have protected and entrapped Elaine of Astolat, whose first encounter with reality outside proves mortal. William Holman Hunt's painting from the poem (illustration, right) contrasts the completely pattern-woven interior with the sunlit world reflected in the roundel mirror. On the wall, woven representations of Myth ("Hesperides") and Religion ("Prayer") echo the mirror's open roundel; the tense and conflicted Lady of Shalott stands imprisoned within the brass roundel of her loom, while outside the passing knight sings "'Tirra lirra' by the river" as in Tennyson's poem.

A high-born woman sent as a hostage-wife to a foreign king was repeatedly given the epithet "weaver of peace", linking the woman's art and the familiar role of a woman as a dynastic pawn. A familiar occurrence of the phrase is in the early English poem Widsith , who "had in the first instance gone with Ealhild, the beloved weaver of peace, from the east out of Anglen to the home of the king of the glorious Goths, Eormanric, the cruel troth-breaker..."

Inca

In Inca mythology, Mama Ocllo first taught women the art of spinning thread.

China

Japan


Christian hagiography

Multiple individuals have been designated as patron saints of various aspects of textile work. The mythology and folklore surrounding their patronage can be found in their respective hagiographies.

According to the Gospel of James, the Blessed Virgin Mary was weaving the veil for the Holy of Holies when the Annunciation occurred. [9]

See also

Related Research Articles

<span class="mw-page-title-main">Arachne</span> Figure of Greek mythology

Arachne is the protagonist of a tale in Greek mythology known primarily from the version told by the Roman poet Ovid (43 BCE–17 CE), which is the earliest extant source for the story. In Book Six of his epic poem Metamorphoses, Ovid recounts how the talented mortal Arachne, daughter of Idmon, challenged Athena, goddess of wisdom and crafts, to a weaving contest. When Athena could find no flaws in the tapestry Arachne had woven for the contest, the goddess became enraged and beat the girl with her shuttle. After Arachne hanged herself out of shame, she was transformed into a spider. The myth both provides an aetiology of spiders' web-spinning abilities and was a cautionary tale about hubris.

<span class="mw-page-title-main">Weaving</span> Technology for the production of textiles

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

<span class="mw-page-title-main">Spinning wheel</span> Device for spinning thread, yarn, or silk from natural or synthetic fibers

A spinning wheel is a device for spinning thread or yarn from fibres. It was fundamental to the cotton textile industry prior to the Industrial Revolution. It laid the foundations for later machinery such as the spinning jenny and spinning frame, which displaced the spinning wheel during the Industrial Revolution.

<span class="mw-page-title-main">Spinning jenny</span> Multi-spool spinning frame

The spinning jenny is a multi-spindle spinning frame, and was one of the key developments in the industrialisation of textile manufacturing during the early Industrial Revolution. It was invented in 1764 or 1765 by James Hargreaves in Stan hill, Oswaldtwistle, Lancashire in England.

<span class="mw-page-title-main">Flying shuttle</span> Weaving tool

The flying shuttle is a type of weaving shuttle. It was a pivotal advancement in the mechanisation of weaving during the initial stages of the Industrial Revolution, and facilitated the weaving of considerably broader fabrics, enabling the production of wider textiles. Moreover, its mechanical implementation paved the way for the introduction of automatic machine looms.

<span class="mw-page-title-main">Textile manufacture during the British Industrial Revolution</span> Early textile production via automated means

Textile manufacture during the British Industrial Revolution was centred in south Lancashire and the towns on both sides of the Pennines in the United Kingdom. The main drivers of the Industrial Revolution were textile manufacturing, iron founding, steam power, oil drilling, the discovery of electricity and its many industrial applications, the telegraph and many others. Railroads, steamboats, the telegraph and other innovations massively increased worker productivity and raised standards of living by greatly reducing time spent during travel, transportation and communications.

<span class="mw-page-title-main">Spindle (textiles)</span> Spike used for spinning fibers into yarn

A spindle is a straight spike, usually made from wood, used for spinning, twisting fibers such as wool, flax, hemp, cotton into yarn. It is often weighted at either the bottom, middle, or top, commonly by a disc or spherical object called a whorl; many spindles, however, are weighted simply by thickening their shape towards the bottom, e.g. Orenburg and French spindles. The spindle may also have a hook, groove, or notch at the top to guide the yarn. Spindles come in many different sizes and weights depending on the thickness of the yarn one desires to spin.

<span class="mw-page-title-main">Spinning mule</span> Machine used to spin cotton and other fibres

The spinning mule is a machine used to spin cotton and other fibres. They were used extensively from the late 18th to the early 20th century in the mills of Lancashire and elsewhere. Mules were worked in pairs by a minder, with the help of two boys: the little piecer and the big or side piecer. The carriage carried up to 1,320 spindles and could be 150 feet (46 m) long, and would move forward and back a distance of 5 feet (1.5 m) four times a minute.

<span class="mw-page-title-main">Frau Holle</span> German legendary creature and fairy tale

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<span class="mw-page-title-main">The Three Spinners</span> German fairy tale

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<span class="mw-page-title-main">Hand spinning</span> Method of turning fiber into thread

Spinning is an ancient textile art in which plant, animal or synthetic fibres are drawn out and twisted together to form yarn. For thousands of years, fibre was spun by hand using simple tools, the spindle and distaff. It was only with the invention of the spinning wheel in the Islamic world circa 1030, and its subsequent introduction to China, India and Europe in the High Middle Ages, that the output of individual spinners dramatically increased. Mass production later arose in the 18th century with the beginnings of the Industrial Revolution. Hand-spinning remains a popular handicraft.

Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.

<span class="mw-page-title-main">Fates</span> Characters in mythology

The Fates are a common motif in European polytheism, most frequently represented as a trio of goddesses. The Fates shape the destiny of each human, often expressed in textile metaphors such as spinning fibers into yarn, or weaving threads on a loom. The trio are generally conceived of as sisters and are often given the names Clotho, Lachesis, and Atropos, which are the names of the Moirai, the version of the Fates who appear in Greek mythology. These divine figures are often artistically depicted as beautiful maidens with consideration to their serious responsibility: the life of mortals. Poets, on the other hand, typically express the Fates as ugly and unwavering, representing the gravity of their role within the mythological and human worlds.

The Chalkeia festival, the festival of Bronze-workers, was a religious festival devoted to the goddess Athena and the god Hephaestus. It was celebrated on the last day of Pyanepsion. The festival celebrated Athena and Hephaestus, in honor of both gods as patron deities of Athens, and as deities of handicrafts.

<span class="mw-page-title-main">Distaff</span> Stick or staff for holding fibre to be spun

A distaff, is a tool used in spinning. It is designed to hold the unspun fibers, keeping them untangled and thus easing the spinning process. It is most commonly used to hold flax and sometimes wool, but can be used for any type of fibre. Fiber is wrapped around the distaff and tied in place with a piece of ribbon or string. The word comes from Low German dis, meaning a bunch of flax, connected with staff.

Textile manufacturing is one of the oldest human activities. The oldest known textiles date back to about 5000 B.C. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving to create cloth. The machine used for weaving is the loom. Cloth is finished by what are described as wet process to become fabric. The fabric may be dyed, printed or decorated by embroidering with coloured yarns.

<span class="mw-page-title-main">Bradford Industrial Museum</span> Industrial museum, Mill museum, Textile museum, in Eccleshill, Bradford

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<span class="mw-page-title-main">Amuzgo textiles</span>

Amuzgo textiles are those created by the Amuzgo indigenous people who live in the Mexican states of Guerrero and Oaxaca. The history of this craft extends to the pre-Columbian period, which much preserved, as many Amuzgos, especially in Xochistlahuaca, still wear traditional clothing. However, the introduction of cheap commercial cloth has put the craft in danger as hand woven cloth with elaborate designs cannot compete as material for regular clothing. Since the 20th century, the Amuzgo weavers have mostly made cloth for family use, but they have also been developing specialty markets, such as to collectors and tourists for their product.

<span class="mw-page-title-main">More looms</span>

The more looms system was a productivity strategy introduced in the Lancashire cotton industry, whereby each weaver would manage a greater number of looms. It was an alternative to investing in the more productive Northrop automatic looms in the 1930s. It caused resentment, industrial action and failed to achieve any significant cost savings.

<span class="mw-page-title-main">Weaving with Eri Silk "Ryndia" in Meghalaya</span>

Eri Silk, a prized fabric woven from the cocoons of domesticated silkworms, holds a special place in the rich cultural heritage of Meghalaya, a state in northeastern India. Known for its durability, unique texture, and eco-friendly production methods, Eri Silk, locally referred to as Ryndia, showcases the exceptional craftsmanship and weaving traditions of the indigenous tribes in the region. This exquisite fabric, cherished as an heirloom and passed down through generations, represents not just a material, but a tapestry of cultural identity and artistic expression in Meghalaya.

References

  1. Quoted and noted in Fox, Robin Lane (2008). Travelling Heroes in the Epic Age of Homer . Vintage Books. p. 77. ISBN   978-0-679-76386-4
  2. "Athena | Greek mythology" . Retrieved 2016-09-29.
  3. Found in the 1880s; noted by Grigsby, John (2005). Beowulf and Grendel: the Truth behind England's Oldest Myth. Watkins. p. 57, 113f. ISBN   1-84293-153-9. See discussion of the ritual wagons in Danish bogs in Glob, Peter Vilhelm & Bruce-Mitford, Rupert (transl.) (1988). The Bog People: Iron-Age Man Preserved . New York Review. pp. 166-71. ISBN   1-59017-090-3.
  4. Jeay, Madeleine; Garay, Kathleen (2006-01-01). The Distaff Gospels: A First Modern English Edition of Les Évangiles des Quenouilles. Broadview Press. ISBN   9781551115603.
  5. "Kalevala | Finnish literature" . Retrieved 2016-09-29.
  6. Tatar, Maria (1987). The Hard Facts of the Grimms' Fairy Tales . p. 114. ISBN   0-691-06722-8
  7. Tatar, Maria (1987). The Hard Facts of the Grimms' Fairy Tales . pp. 115–8, ISBN   0-691-06722-8
  8. Jung Chang, Wild Swans: Three Daughters of China, New York: Touchstone, 2003, reprint, GlobalFlair, 1991, p. 429, accessed 2 Nov 2009
  9. "CHURCH FATHERS: Protoevangelium of James". www.newadvent.org. Retrieved 2019-01-31.

Further reading