Coptic Textile Epigraphy in Fayoum

Heritage Studies

Vol. 1, Issue 1, pp. 71-84

Published: June 2025

ID : QALAMOS.1.1.6.2025.006 DOI: 10.5281/zenodo.18436367

Coptic Textile Epigraphy in Fayoum

Fatma El-Gebali

fag00@fayoum.edu.eg

PhD candidate, Faculty of Archaeology -Fayoum University.

Fayoum is one of the most prominent centers of Coptic textile

production, distinguished by its artistic skill and precision in design, in

addition to the fact that it contains written inscriptions that were not just

written decoration, but rather a means of expressing faith and protecting

the person or place in which the textile was used, as well as identifying

its identity, sometimes identifying the Coptic workshops in fayoum and

it also reflects the language used and some linguistic and cultural

influences through some of the religious supplications and texts used.

Therefore, this research sheds light on the nature of these inscriptions,

knowing their content and significance through a group of models, the

most important of which is known as Tiraz style, which features Arabic

inscriptions, along with a Christian Tiraz style, which features Christian-

themed inscriptions, including crosses and Christian letters.

Coptic Epigraphy;

Conflict of Interest: None declared

Funding: Not applicable

Author(s) Contributions:

Author 1. Fatma El-Gebali

Received: Feb. 1, 2025

Accepted: April 15, 2025

Published: June 30, 2025

Coptic Textile Epigraphy in Fayoum

1- Introduction

Inscriptions on fine arts, especially on textiles, were among the main categories of the four

major epigraphical materials in Fayoum. Despite their prevalence in Egypt, they were less well

known due to the lack of interest in studying them, compared to inscriptions engraved on stone,

which were widely known in the field of epigraphy. (Van der Vliet, 2006, pp. 23-24)

The textile industry itself represents one of ancient Egypt’s oldest crafts, flourishing during the

Pharaonic and Greco-Roman eras and reaching its peak during the Byzantine era, particularly

in Upper Egypt, where these fabrics were known as Coptic textiles (in Arabic: ىط

بقلا) (Edwards

& Farag, 2019, p. 75). Most ancient Egyptian textiles were made of linen for various purposes

in daily life, as well as for burial shrouds and mummy wrappings. Some woolen pieces were

also used, particularly those dating back to the Ptolemaic period, and their use continued into

the Coptic era alongside linen. Silk was used rarely from the Ptolemaic and Roman periods

onward. Although cotton was known in ancient Egyptian textiles, its use became widespread

after the Arab conquest in the 7th century AD. (Rutschowscaya, Wipszycha & Du Bourguet,

1991, pp. 2210-13).

Muslims continued to develop the textiles industry, and the dry climate helped preserve a large

number of these fabrics in amazing quantities, despite damage resulting from centuries of direct

contact with human bodies in the tombs (McWilliams & Sokoly, 2021, p. 3). Archaeological

discoveries have revealed thousands of decorated textiles featuring a wide range of colors and

patterns, in Egyptian tombs dating back to late Antiquity and the Middle Ages. (Fluck &

Helmecke, 2006, pp. xiii-xiv).

Copts adopted the Islamic style of decoration known as "Tiraz" textile (fabrics gifted by the

Islamic Caliph as a token of appreciation for political support, most of them date back to

between the 9th and 12th centuries AD.), which featured extensive Arabic texts adding a

distinctly Christian character, in what may be called a Christian Tiraz style. (Van der Vliet,

2018, p. 104.). This was achieved through the use of various crosses for decoration to express

Christian identity. (Winnik, 2025, p. 203).

Many of these textiles are fragmentary in nature, and the archaeological circumstances of their

discovery are unknown. Furthermore, there is a lack of information about the owners,

craftsmen, workshops, and scribes associated with them. However, their inscriptions reveal

their religious and social roles, particularly in honoring the remains of Coptic saints since the

fourth century AD, especially the bodies of martyrs. (Durand, 2002, pp. 77-81). They served

as a means of communication and were also used to demonstrate social status or to display their

donations. Around thirty-six examples of this type of textile have been found around the world,

but most remain unpublished, making them largely unknown. (Winnik, 2025, p. 200).

Fayoum was famous for textile production from prehistoric times to the Islamic era (Fluck,

2005, p. 144) and was distinguished by what is known as "Fayoum textile," especially in its

cities, which were famous for their wool and linen production. (Czaja-Szewczak, 1999, pp.135-

142). Clothing items were often decorated with single and sometimes double lines on shawls,

turbans, or jackets. Sometimes these patterns were sewn near the neck or at the end of the

sleeves. In the case of double texts, this repetition takes the form of a real or fake line of Arabic

in Kufic script. (Van der Vliet, 2006, p. 33).

Fatma El-Gebali

2. Description of Coptic Fayoumic textiles

Most of the discovered textiles are fragmented and difficult to read. They feature a brown band

decorated with twisted tassels, as well as a line of embroidered inscriptions, often followed by

a row of crosses, as the tiraz style. (Winnik, 2025, p. 200). These pieces feature light motifs on

a dark background, combining Coptic texts in the Fayoumi-Sahidic or purely Sahidic dialect

and sometimes Arabic, giving them a bilingual character. Some Fabrics are found in Arsinoe

when the African explorer Georg Schweinfurth traveled to the Fayoum region in 1884 and

1886 in quest of further textiles in the Arsinoe ruins. He gave the majority to the Egyptian

Museum in Berlin in (1887), as well as the Altchristliche Abteilung of the Kaiser-Friedrich-

Museum in 1923 and 1934–1935 (now known as the Museum für Byzantinische Kunst).

(Fluck, 2005, pp. 144-145).

Some shawls originated from Tutun, where workshops for Tiraz type were established and

developed in the Fayoum by the Tulunid dynasty from the second half of the ninth century to

the beginning of the tenth century AD. The Tiraz workshop (Private workshop, tirâz al-khâssa

that produced textiles for the court or Caliph. Durand, 2009, p.173) was recently discovered in

Tutun. Two fragmented shawls bearing Arabic-inscribed textile bands were found, reminiscent

of this workshop. The first, now in the Islamic Museum in Cairo (Inv. MIC 9061), it bears the

inscription: ""مويفلا ةروك ن

؟نوططب ةص

خلا زارط ىف ل

نو. (Durand, 2002, pp.167-

170). This was achieved in the private Tutun workshop, in the Fayoum region." The second,

is woven on another fabric, now in the Apostolic Library of the Vatican (inv. 6970), it bears

the inscription "مسب نوططب ةص

خلا زارط ىف ل

مسب" (Durand, 2009, p. 173), (Durand, 2002,

During the campaigns of the Polish mission, a cemetery was discovered in El-Naqlun that

produced examples of inscribed textiles both in the Arabic-Islamic and in the typically

Christian Tiraz styles. (Godlewski, 2002, p. 103). One of the most important pieces of Naqlun

is the distinctive ecclesiastical robe, which is one of the few pieces of Coptic textile made from

undyed cloth (Tunic with inscription on the sleeves and its hood). However, it is similar to

many other ecclesiastical garments in the Fayoum. It is quite different from the items intended

for Tutun, and this tunic was probably produced in another textile center in Fayoum. (Van der

Vliet, 2000, pp. 239–244). In addition to a wonderful garment that has Psalms 46:2-3 written

on it in Sahidic Coptic (Inv. No. 00.083), there is a very great difficulty in reading this text.

(Van der Vliet, 2006, Appx. I, no.7; Czaja-Szewczak, 2005, pp. 209-210).

Coptic Fayoumic textile pieces often contain short prayers mentioning the invocation of the

name of God, the names of the owners or beneficiaries for protection, sometimes referring to

titles and lineages. Furthermore, quotations from the Greek or Coptic Psalter can be found. The

advanced Christian tirâz-inscriptions served an apotropaic purpose, warding off evil.

Vliet, 2018, p. 104; Van der Vliet, 2006, pp. 36-37).

(1) Fragment of a shawl with inscribed decorative bands (Inv.E26793, Louvre Museum,10

Tutun, Fig 1). The inscription consists of a long line of a few Coptic letters. The piece is sewn

with silk or wool and embroidered with wool or linen. In the center, there are double wool-

embroidered letters of the inscription, interspersed with red crosses that are also large and

arranged with regularity:

+ⲃⲱⲓⲑⲓ + [ⲉⲡⲉⲕϩⲙ]ϩⲁⲗ ⲡⲁⲡⲁ ⲃⲓⲕⲧⲱⲣ + ⲡ? ⲡⲇⲓⲁ ⲓⲱϩⲁⲛⲛⲏⲥ+ ⲡⲁⲉⲥⲏ

ϩⲁⲙⲙⲏⲛ+ ⲉⲥⲉϣⲟⲡⲓ +ⲇⲓⲱ ⲕⲗⲉ? ⲛⲱⲥ(ⲇⲓⲟⲕⲗⲏⲧⲓⲁⲛ)

βοηθέιν ‖ διάκονος‖ ἀμήν ‖ⲇⲓⲱⲗⲉⲛⲱⲥ/ διοκλητιανός

Coptic Textile Epigraphy in Fayoum

“Oh God, Lord Jesus Christ, protect your servant the Apa Victor...deacon John, Paesee.

Amen. So be it! Diocletian”. (Cat. Lattes, 1999, pp. 253-254, fig. 269 no. 77; Boud’hors &

Calament, 2004, pp. 447-476, 468, no.31.)

(© The Louvre Museum https://collections.louvre.fr/ark:/53355/cl010048362 Accessed 22/6/2024, at

(2) Shawl with Coptic and Arabic inscriptions (Inv. E 25405, Louvre Museum, 9

The inscription is bilingual (Arabic and Coptic). The Arabic text is similar to pieces found in

the Cairo Islamic Museum marked as Inv. MIC 9061 and the Biblioteca Apostolica in the

Vatican, Inv. 6970 .

ϥⲱⲓⲑⲉ ⲣⲁⲡⲫⲁⲏⲗ ⲩ ⲅⲁⲛⲁⲣⲭⲟⲩ ϩⲁⲙⲏⲛ

βοηθέιν‖

υἱός)‖ Γεναρχης‖ ἀμήν

“Lord Jesus Christ protects Raphael, the son of Genarches. Amen!”.

(Rouen (2002-2003):198-

199 no.165; Boud’hors & Calament, pp. 2004, 468, no.33; Durand, 2009, pp. 173-174, pl.11, fig.16.)

ⲅⲁⲛⲁⲣⲭⲟⲩ:

from Γεναρχης,

it is not documented in the Coptic language before.

(© The Louvre Museum https://collections.louvre.fr/ark:/53355/cl010048355 accessed 22/6/2024 at

Fatma El-Gebali

(3) Shawl fragment (Inv. 15343, Benaki Museum, Athens, 10

, Tutun, Fig 3) The name Thoter,

followed by the Bible quotation, is taken from Psalms (22:1):

ⲃⲱⲓⲑⲓ ⲡⲁⲡⲁ ⲑⲱⲧⲉⲣ ϩⲁⲙⲏⲛⲉ: ⲉⲥⲉ ϣⲱⲡⲉ ⲡϭⲥ ⲡⲉⲓⲛⲁ ⲛⲓⲙⲁⲓ ⲉⲩⲧⲣⲁⲧⲁϣⲱⲧ ⲁⲛ

ⲉⲛⲗⲁⲟⲩⲉϥ +

βοηθέιν‖ ϩⲁⲙⲏⲛ‖ ⲛⲉⲙⲁⲓ, ⲛⲙⲙⲁⲓ‖ ⲉⲧⲣⲁϣⲱⲧ‖ (ⲉ)ⲛⲗⲁⲟⲩⲉ - ⲛⲗⲁⲁⲩ‖ ϥ

Lord Jesus Christ, help the Papa Thoter. Amen, so be it. It is the Lord who is my shepherd,

and he makes me need nothing”. (Cat. Lattes, 1999, p. 254; Cat. Rouen (2002-2003): no.166;

Boud’hors & Calament, 2004, p. 468, no.32; Durand, 2009, pp. 174-175).

(The name Thoter is a form of Theodoros, used particularly in the Fayoum and Ashmunain

(see: Boud’hors & Calament, 2004, pp. 464-465).

(Cat. Rouen, 2002-2003, no. 166).

(4) The ends of the shawl, (Inv. E 26792, Louvre Museum, 10

, Tutun? Fig 4). The text

is from Psalm 133:1 and seems to have a prominent position as a place for supplication

during the night hours. Judging by the liturgical character of the text, it is likely that this

shawl was made for a clergyman, most likely a monk.

The Upper part ⁘

ⲥⲙⲟⲩ ⲉⲡⲡ

ⲛⲉ[ϩϩⲉⲙ]ϩⲁⲗ ⲧⲏⲣⲟⲩ ⲉⲛⲧⲏ ⲡⲡ

ⲛⲉⲧⲁϩϩⲓⲣⲁⲧⲧⲟⲩ ϩⲉⲙ ⲡⲏⲓ

ϩⲉⲛⲛⲁⲩ⁘

+{ⲛ}ⲥⲙ[ⲟⲩ] ⲉⲡⲡⲟⲥ ⲛⲉϩϩⲉⲙϩⲁⲗ ⲧⲏⲣⲟⲩ ⲉⲛⲧⲏ ⲡ<ⲟ>ⲥ <ⲛ>ⲉⲧⲁϩϩⲓⲣⲁⲧⲧⲟⲩ ϩⲉⲙ ⲡⲏⲓ

ⲉⲙⲡⲟⲥ ϩⲉⲛⲛⲁ<ⲩ>ⲗⲏ ⲉⲙⲡⲏⲓ.

ϩⲉⲙϩⲁⲗ‖ ⲉⲛⲧⲉ‖

ⲛⲉⲧⲁϩⲓⲣⲁⲧⲟⲩ

“May the Lord bless you, all (you) servants of the Lord, who stand and serve by night in the

house of the Lord,

in the house of (our) the Lord?” (Boud’hors & Calament, 2004, p. 134,

no.31; Cat. Lattes, 1999, p. 155, no. 60; Van der Vliet, 2006, pp. 52, 55-57, figs. 7 and 8).

Coptic Textile Epigraphy in Fayoum

(© The Louvre Museum https://collections.louvre.fr/ark:/53355/cl010048361

accessed 29/9/2024 at

(5) Two ends of a shawl with Coptic and Arabic inscriptions, Inv. 31.19.13 and 31.19.15,

Metropolitan Museum,10

, Tutun, Fig 5.

The inscription has four lines of bilingual Coptic and Arabic inscriptions. The Coptic

inscription contains phrases similar to Islamic blessings. This garment is similar to pieces in

the Louvre Museum, sharing the same decorative, technical, and epigraphic components.

ⲡⲉⲛⲁⲗⲓⲑⲓⲛⲱⲥ

ⲉⲛⲟⲩⲧⲓ

ⲥⲙⲟⲩ ⲁⲩⲱ ⲃⲱⲓⲑⲓ ⲁⲩⲱ ϩⲁⲣⲉϩ ⲉⲡⲱⲛⲁϩ

ⲉⲙⲡⲉⲕϩⲙϩⲁⲗ ⲡⲁⲛⲧⲟⲩⲗⲉⲱⲥ ⲡ? [ϩⲟⲩⲙⲓ]

ἀληθινός ‖ βοηθέιν

“Lord Jesus Christ, our true God, bless, protect, and guard the life of your servant Pantouleos,

(The name Pantouleos is rare in Coptic but appears on a stele in the Louvre Museum, erected

in memory of: “our deceased brother, Pantouleos the deacon, son of the deceased Thoter, from

Tutun”, who died in 925 (Inv. E 25091 Louvre Museum), and it also appeared in Dipinto from

Fatma El-Gebali

Tebtunis: (see: Soldati, 2017, pp. 23-32; Stauffer, 1995, pp. 42 and 48, no. 61; Cat. lattes, 1999,

pp. 260-261; Boud’hors & Calament, 2004, p. 468, no.34; Durand, 2009, p. 174).

(Stauffer, 1995, no. 61).

(6) A piece of blanket or curtain, (Inv.4659, Museum für Byzantinische Kunst, Berlin, 9

The inscription is well-preserved and written on blue cloth at the top, with a

decoration of stylized palmettes arranged in a row. This resembles dark-ground textiles and

undyed linen decorations from the Fayoum, decorated with patterns imitating Arabic script.

There are red lines parallel to the upper edge. The text consists of a line of Coptic interspersed

ⲃⲱⲓⲑⲓ +ⲁϥ

ϩⲉⲉ ⲉⲡⲱⲛⲁϩ ⲉⲓⲥ ⲡⲩⲡⲓⲗⲑⲉⲩⲉ +ⲧⲉⲃϩ

ϩⲁⲓ +ϩⲉⲡ

ⲗⲉ +ϣⲓⲏⲉⲡⲧ [+4] +ⲏ

ⲓⲧⲟⲩⲛⲁⲃϩ

[?] ⲁⲏⲉⲛ+ ⲉ

ϣⲱⲓⲛⲛⲧⲉ ⲧⲥⲡ+ⲁⲟ[…

‖ βοηθέιν‖ ⲫⲓⲗⲟⲑⲉⲩⲥ‖ ⲧⲉϥⲥϩⲁⲓ‖ ⲗⲁϣⲓⲏ? ‖ϣⲡⲓⲧ

‖ ϩⲁⲙⲏⲛ ‖ ⲉⲥⲉϣⲱⲡⲉ

“Jesus Christ, help! he entered into life, see Philothens (?) His letter? [?] the hypocrite[?] joy,

amen, so be it”. (Fluck, 1996, p. 166, pl. XI (a); Fluck, 1997, pp.59–70; Boud’hors & Calament,

2004, p. 468, no.36.).

(Fluck, 1996, pl. XI. a).

Coptic Textile Epigraphy in Fayoum

(7) The top and bottom ends of the shawl, (Inv. 711 Katoen Natie in Antwerp, Belgium, 10th -

, Tutun, Fig 7).

The text includes a Coptic version of Psalms 17:33ab–34a, followed by two

other verses in the same context. As suggested by Boud’hors and Calment in 2004, it may

represent a paraphrase or abbreviated translation of Psalms 17:40 b–41a, the great hymn of

thanksgiving to David for his victory over Saul.

The top line ⁘

ⲡⲛⲟⲩⲧⲉⲓ ⲡⲉⲧⲙⲟⲩⲣ ⲙⲁⲓ ⲛⲟⲩϭⲁⲙ ⲧⲁⲃ ⲁϥⲕⲁ ⲇⲁϩ<ⲓ>ⲉ ⲉⲥⲥⲟⲩⲁⲃ ⲉⲧⲥⲁⲩⲧⲉⲛ ⲛⲁⲟⲩⲣⲉⲧ

ⲉ ⲑⲉ ⲛⲁⲛⲓⲟⲩⲗ ⲁⲕⲧⲁϭⲣⲁ ⲙⲁⲓ ϩⲓϫⲉⲛ ⲛⲁϫⲉⲛϫⲉⲉⲓ ⲧⲉⲣⲟⲩ

ⲁⲕⲑⲉⲃⲓⲁ ⲛⲁϫⲁ⁘

The bottom line ⁘

ⲡⲛⲟⲩⲧⲉⲓ ⲡⲉⲧⲙⲟⲩⲣ ⲙⲁⲓ ⲛⲟⲩϭⲁⲙ ⲧⲁⲃ ⲁϥⲕⲁ ⲗⲁϩⲓⲉ ⲉⲥⲥⲟⲩⲁⲃ ⲉⲧⲥⲁⲩⲧⲉⲛ

ⲛⲁ[ⲟ]ⲩⲣⲉⲧⲉ ⲑⲉ [⁘] ⲛⲁⲛⲓⲟⲩ [ⲗ ⲁⲕⲧ]ⲁϭⲣⲁ ⲙⲁⲓ[ϩⲓϫⲉ]ⲛ ⲛⲁϫⲉⲛϫⲉⲉⲓ ⲧⲉⲣⲟⲩ-

ⲁⲕⲑⲉⲃⲓⲁ ⲛⲁϫⲁϫⲉ

ϩⲁⲡⲉϩⲏⲩ ⲛⲁ⁘

ⲡⲛⲟⲩⲧⲉ‖ ⲧⲁϩⲓⲉ‖

ⲟⲩⲁⲁⲃ‖

ⲥⲁⲃⲧⲉ

“God who girds me with strength; He made my way spotless, (He) who straightens my feet

like those of hinds”.

“(?) You made me superior over all my adversaries and humiliated all my enemies behind (?)”.

(Boud’hors & Calament, 2004, p. 469; De Moor, 2006, pp. 224–25 and col. 28; Van der Vliet,

Appx. I, no. 2 and Appx. II, no. 1, figs. 5, 6).

Figure 7 (A, B)

(Van der Vliet, J., Appx. I, no. 2 and Appx. II, no. 1, figs. 5-6).

Fatma El-Gebali

(8) Inv. 10064, Museum für Byzantinische Kunst 6th -8th, Arsinoe, Fig. 8. It could be a

funerary piece, a donation to churches, or a votive offering at the place of pilgrimage. (Fluck,

Despite its fragmentary state, it can be seen that the acclamation

ⲃⲟⲏⲑⲓⲁ

of Help" was preceded by at least a prayer to Saint Damian. The existence of a church or a

monastery of the saints Kosmas and Damian in Arsinoe is known from documents. This site is

mentioned in a Greek document from the 6th–8th centuries A.D.

(Timm, 1991, pp. 1513-14;

Wessely, 1903, no. 269:3).

ⲅⲓⲟⲥ ⲇⲁⲙⲓⲁⲛ ⲡ[……]ⲕⲉ ⲃⲟⲏⲑ[ⲉⲓ

Holy Damian, who […….] Lord, help […] (Fluck, 1996, p.165, pl. X (a); Fluck, 1997, pp.

(Fluck, 1996, pl. X. a).

(9) A Fragment of a sleeve of a tunic, (Inv. 10065, Museum für Byzantinische Kunst, 6

Arsinoe, Fig 9. The text is composed of the invocation

ⲡⲛⲟⲩⲧⲉ ⲡⲗⲟⲅⲟⲥ

(oh God, logos) with

the petition formula

(protect) and the name of the person to be protected and his

filiation. The parents asked for help for their son, Damian.

+ ⲡⲛⲟⲩⲧⲉ ⲡⲗⲟⲅⲟⲥ ϩⲁⲣⲉϩ ⲉⲡⲙⲙⲉⲣⲓⲧ ⲛϣⲏⲣⲉ ⲧⲁⲙⲓⲁⲛⲉ ϩ […] ⲁⲙⲏⲛ ⲱ +

“God, Logos, guard our beloved son Tamiane […] Amen”. (Fluck, 1997, pp. 61-70; Fluck,

1996, pp.165-166 and pl. Xb; Durand, 2009, p. 175.)

(Fluck, 1996, pl. X.b)

Coptic Textile Epigraphy in Fayoum

(10) Fragment of cloth, (Inv. 9949, Museum für Byzantinische Kunst 10

ϩⲛ ⲡⲣⲁⲛ ⲛⲡⲛⲟⲩⲧⲉ ⲭⲁⲏⲗ ⲡϣⲉⲛ ⲃⲓⲕⲧⲱⲣ ⲡϣⲉⲛⲡⲁⲧⲍⲁⲭⲁⲣⲓⲁⲥ

“In the name of God, Chael, son of Victor, son of Zacharieh”. (Fluck, 164; Fluck, C., P; Merz,

S., Textilien aus Ägypten: Teil 1: Textilien aus dem Vorbesitz von Theodor Graf, Schmidt,

(Fluck, Linscheid & Merz, 2000, no.167.)

(11) Liturgical Tunic with an inscription on the sleeves and its hood, Inv. E 26798- E26799,

Louvre Museum, 10

– Naqlun, Fig.11.

A perfectly preserved liturgical garment. The most informative inscription is clearly on the

The left hand of the sleeve:

[ϩⲙ]ⲡⲣⲁⲛ ⲉⲡⲛⲟⲩⲧⲉ ⲛϣⲁⲣⲡ ⲛϩⲱⲃ ⲛⲓⲙ ⲓⲥⲃⲩ

“The name of God. First of all,”

The right-hand of the sleeve

ⲡⲛⲟⲩⲧⲉ ⲃⲱⲓⲑⲓ ⲉⲡ<ⲁ>ⲡⲁ ⲕⲱⲗⲑⲓ ⲡⲁⲧⲙⲟⲩⲛⲏ ⲛⲉⲕⲗⲱⲛⲓ ϩ[ⲁⲙⲏⲛ]

βοηθέω ‖

“God, help Apa Kôlthi of the Monastery Neklôni [Naqlun] Amen” (Cat. Lattes, 1999, nos. 88–9,

pp. 265–268; Van der Vliet, 2000, pp. 239-244; Cat.Rouen, (2002-2003), pp. 129-130,

no.95; Boud’hors & Calament, 2004, p. 468, no.37; Durand, 2009, pp. 175-176; Morgan, 2018,

pp. 85-86, 160, 221, fig. 55).

Fatma El-Gebali

Figure 11 (A, B, C)

© The Louvre Museum https://collections.louvre.fr/ark:/53355/cl010041803 (accessed 26/3/2024 at

Historians and travelers have mentioned the Egyptian textile workshops that produced many

fabrics, especially tiraz styles in the Delta and Fayoum, as well as in Upper Egypt, between the

8th and 11th centuries AD, indicating the fame of these workshops. (Durand, 2009, p. 172).

Regarding the Fayoum shawls are stylistically attributed to the ninth and tenth centuries AD,

especially those from the workshops at Tutun. However, the objects do not indicate the date or

the name of the caliph who controlled production, but they take on the same epigraphic features

as in other sources from the same region. (Durand, Rettig, 2002, pp. 167-168). However,

Winnik (2025, p. 200) dated these pieces to the late eighth to early twelfth centuries AD.

The Naqlun pieces are not only from an ancient context but are also firmly established in the

eleventh to fourteenth-century AD chronology. This is because a significant cemetery revealed

artifacts that belonged to the Fatimid, Ayyubid, and Mamluk eras. (Godlewski, Herbich &

Wipszycka, 1990, pp. 181-188; Czaja-Szewczak, 2005b, p. 133. It is noted that Coptic

epigraphy on textiles began to decline after the twelfth-thirteenth century, and was later

confined to liturgical garments. (Durand, 2009, p. 176).

These textile fragments revealed strict concepts about their users or owners, and some of their

religious functions; these individuals were clearly known donors and patrons in the Fayoum

area of Tutun, belonging to wealthy families such as Pantouleos, Thoter, and Raphael. Textiles

also helped define fashion, previously unknown in engravings and murals .Some pieces,

particularly those bearing Arabic and Coptic inscriptions, have helped to accurately date them,

based on their writing style, dialect, decorative style, and perhaps through comparison with

similar inscriptions from the same location (for instance, Tutun pieces). These textiles attest to

the fact that Fayoum still housed a Christian population sufficiently wealthy and self-conscious

to demand and wear these typically luxurious Christian items, particularly in the southern part

of Fayoum, which includes major Christian centers, especially in the ninth/ tenth century AD.

They also testify to the Coptic community’s adaptation to the public market and the production

of these pieces from various materials, including wool, linen, and sometimes silk, for export

and trade. Most of the textiles are neutral, expressing sentiments that do not offend Christians

or Muslims. They also indicate the integration of the Christian elite with the Islamic authority,

following the establishment of private workshops in Tutun. This was considered a political act,

demonstrating a desire for independence, especially after the deliberate absence of the name of

the Islamic caliph on the shawls during the Tulunid and Ikhshidid dynasties, to legitimize their

authority more than that of the Abbasid caliphs. Fayoum was famous at that time for the linen

Coptic Textile Epigraphy in Fayoum

trade and the multiplicity of workshops, this is evidenced by some bilingual textile fragments

(Arabic and Coptic) that were found in Tutun which mentioned the workshop in Tutun

(evidence that it was made in one of the workshops spread in Fayoum at that time), reflecting

the wealth of commercial and economic activity during that period.

Most of the inscriptions included Fayoumi-Sahidic texts, but some inscriptions were bilingual

Coptic and Arabic (Texts Nos. 2, 3). Some of the formulas used in the Fayoumic inscriptions

revealed their influence from the Arabic language, such as the inscriptions that begin with

ⲡⲗⲉⲛ ⲙⲡⲛⲟⲩⲧⲓ)

, which corresponds to the Bismalah in Arabic (Texts Nos. 10, 11).

The textile inscriptions also document the prevalence of religiosity of the Fayoumic Christian

community, as some of them included inscriptions inspired by the liturgy and biblical texts,

and most of them adopted some religious symbols, indicating their affiliation with an

authentic Coptic environment, usually a monastic one.

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