The weaving of a tapestry with Migration Period elements at Eketorp Fort, Sweden

Transcription

1 2 ITEMS Fig. 1 Ja Rodia ad Kateřia Brůová sittig beeath the fiished tapestry. (Fig. 9, 11 by Pierre Rosberg, KLM, all other by the authors.) The weavig of a tapestry with Migratio Period elemets at Eketorp Fort, Swede This article reports the weavig of a wall hagig at Eketorp fort o the islad of Ölad i Swede durig the summer of Kateřia BRŮNOVÁ Ja RODINA Ja OLOFSSON (Swede) Backgroud The small Swedish islad of Ölad i the Baltic sea has i total 19 prehistoric rig forts. Oly oe of them, the southermost oe called Eketorp fort, has bee totally excavated ad to a large extet recostructed. The recostructios, iside the limestoe curtai wall, show the two latest versios of the fort, Eketorp II (Iro Age: AD) ad Eketorp III (Middle Ages AD). (Borg, Näsma & Wegraeus 1976 ad Borg 2000: 22pp). The recostructios at Eketorp started i 1978 ad are regarded as a 22 eurorea 4/2007 ogoig udertakig i order to achieve a better uderstadig of the coditios uder which humas lived durig the periods the fort was i use. This article deals with further recostructios of the Iro Age, that is Eketorp II, whe the fort was a fortified settlemet of farmers. The EU-project Eketorp-historical cetre o souther Ölad provided fudig to makig recostructios more vivid to the visitors. Priority was give to the iteral fittigs of a dwellig house from the Iro Age. The prerequisites for ad work with the furishig of the actual house will be accouted for i forthcomig articles ad reports. Here, it is sufficiet to metio that the recostructio work is meat to mirror primarily the fids made i the actual house ad takes its poit of departure i the most well-preserved of the two floor levels, amely the oe from the late Migratio Period ad the early Vedel Period, that is the 6th cetury. Furthermore, the iterpreta- Fig. 2 The recostructed Iro Age dwellig, about to become furished as a 6th cetury farmer s house. tio of the fids i the house idicates that a rather well-off farmer s family ihabited the house. (Prof. Näsma & Prof. Hersched, verbally, 6th of February, 2006). That is our goal to recostruct. Furthermore, the tapestry recostructio, accouted for i this article, is meat to be a part of the house recostructio experimet, but ot a experimet itself, though carried out with pre-historic techiques ad tools.

2 ITEMS 2 The seat of hoour Oe part of the house recostructio is the seat of hoour, belogig to the ower of the house. The oldest ame for this seems to be ödvegi, a word meaig the seat straight opposite (of somethig). It was placed i the middle of the wall o the right log side. The thig that it was meat to be opposite to was probably the fireplace (Edblom 2004: ). The sources for this assumptio are Iceladic sagas which are, of course, too late to give ay certai evidece. However, ödvegi is the oldest ame for this seat of hoour ad it is associated with the commo household. Betwee AD , the ödvegi was gradually replaced by the hásæti, the high seat, which was placed o the gable wall. The hásæti is, cotrary to the ödvegi, ever metioed i the oldest poems. The ödvegi is, i total, metioed 51 times i Iceladic sagas ad poems (Edblom 2004: ). Sice ödvegi seems to be the best suggestio available for this place i the house, that is the ame we use for this pheomeo. Textiles o the walls? Oe part of the recostructio is the discussio o how the house might have bee isulated. Differet suggestios were put forward, for example ier walls of wood, isulatio solely with cow dug, wove mats of reed ad straw hagig from the stoe walls etc. Ad, of course, textiles. There is a quite strog case for textiles beig used for coverig the walls of dwellig houses durig the Iro Age. These would have both a isulatig ad a decorative effect. First, there are writte idicatios i the form of Iceladic sagas ad we will give here just a few examples. I the saga of Harald Fiehair, kig of Norway, the powerful farmer Åke from the preset Swedish provice of Värmlad, built a ew hall for holdig feasts. The ew hall was decorated with ew tapestries, while the old oe was decorated with old tapestries (Sturluso, traslated by K. G. Johasso, 1992: 97). I Flateyarbok, there are two passages where poets are requested to make poetry out of motifs o tapestries (Salvé 1923: 12). Quee Guhilds hall i Njals saga is decorated with the most beautiful tapestry (Njals saga, traslated by H. Alvig, 1995: 12). There is also evidece i Hako Hakoerssos saga where it is writte that the house was decorated with paited textiles ad fie tablecloths (Frazé & Nockert 1992: 87). Whe it comes to archaeological evidece, there are oly a few. The oldest preserved tapestry comes from the Oseberg burial, dated to AD 829, ad therefore represetig the early Vikig Age (Nockert & Possert 2002: 69). The tapestries from Överhogdal have bee radiocarbo dated to, as a whole, AD , that is, the Vikig Age. There are two more tapestries that derive from the Vikig Age, the textiles from Revsud church (AD ) ad Kyrkås old church (AD ), both from the Swedish provice of Jämtlad. The Skog tapestry is a little later, datig from the late 13th cetrury (Nockert & Possert 2002: 69-79). Fig. 3 Ja Rodia is sewig the warp to the beam. Several graves i Birka also cotai fragmets which could derive from tapestries, (for further readig please see Geijer 1938: 51-57). Evidece of older tapestries tha the oe from Oseberg is however difficult to fid. There are traces of textiles remiiscet of the Oseberg tapestry i two graves i Valsgärde, Valsgärde 8 from the 7th cetury ad the somewhat youger Valsgärde 6 (Geijer 1994: 276). There is also oe kow fid from Ölad of textiles foud i associatio with a wall. Durig excavatios of a burt dow hall dated to the 6th or 7th ceturies AD, textiles o the iside of a icierated ier wall were foud (Fallgre 1994: 4). With this backgroud, it was decided that textiles o the walls of the recostructed house were to be tested i order to fid out their isulative effect. As a accetuatio of the ödvegi, it was decided that a decorative tapestry was also to be made. Fig. 4 (left) First, the coloured tablet wove bads were warped, the the white tapestry itself. Fig. 5 (middle) I time, the ödvegi will be built here. O the wall behid it, the tapestry will hag from the shelf where the isulated stoe wall ad the roof meet. Fig. 6 (right) The warpig frame. 4/2007 eurorea 23

3 2 ITEMS Tools, techiques, material ad weavers No textiles have bee foud at the Eketorp excavatios, but there are plety of fids of textile tools, for istace loom weights from warp weighted looms, spidles ad eedles (Rydberg 1995). Fig. 9 Luxorious embossed fibula from Ölad of the Össby type, Iv o KLM O this fibula, the oramets show both triskeles ad birds heads. Fig. 10 A close-up o a wild boar ispired by a gold bracteate. Therefore, we decided to use the warp-weighted loom for productio of the tapestry. The measuremets of the tapestry was decided at 240 (legth) 60 cm, depedet o the measuremets of the visible wall behid the ödvegi. I Jauary 2006, a cooperatio was started with Bäckedals Folkhögskola i Sveg, Swede. Bäckedal is a school specialised i aciet techiques ad hadicrafts such as taig, pottery, woodworkig, forgig ad textile work (see www. backedal.fhsk.se ad the article i this magazie at pages 49-51). The cotact with Ellior Sydberg, head of the traditioal textile educatio at Bäckedal, was very importat sice she has, as a experimet, recostructed the whole Överhogdal tapestry metioed above. The recostructio ad the process ca be see at the museum of Överhogdals Forgård. (see eglish1/tapestry-e.htm) Through Ellior Sydberg, the archaeologists ad weavers Ja Rodia ad Kateria Bruova became ivolved i the project. They have studied traditioal textile techiques for two years at Bäckedal. The time for the work was decided as the summer of Before the summer, Ellior Sydberg ad the authors started researchig weavig techiques ad motifs used durig the Iro Age i Scadiavia. Our decisio was to use the weavig techique called soumak (sw. särjvävig). The oldest textile fragmets wove by soumak techique are kow from Switzerlad ad they are dated to the Neolithic (Vogt 1937, p.76ff). I the Nordic coutries, the oldest examples of the soumak techique are coected with a group of tablet-wove bads from the 5th cetury ad begiig of the 6th cetury. Traces of fabric wove by soumak are also kow from graves i Valsgärde, Swede, which are dated betwee AD (Frazé & Nockert 1992: 16; Nockert & Possert 2002: 69). The soumak techique was thus preset i 6th cetury AD Scadiavia ad we kow that, at least later, it was used for tapestries. Both the Oseberg tapestry as well as the Vikig Age tapestry from Överhogdal ad the youger tapestry from Skog are wove by the soumak techique (Nockert & Possert 2002: 69). We also decided that tablet-wove borders should frame the tapestry, which seems to be commo o cloaks durig the Migratio Period (Nockert 1991: 123). Simultaeously with the choice of techique, we started thikig about the material. The wall hagigs from Överhogdal ad Skog, as well as others, are made of lie ad wool, lie was used for the warp ad the figures were wove with woolle yars of yellow, gree, red ad blue. (Nockert & Possert 2002: 69-71, 75). Fig. 11 Gold braceates from the Bostorp treasure, Iv o KLM O these bracteates, we ca see the spiral patter which also surrouds the tapestry as well as swastikas ad goat-horses. 24 eurorea 4/2007 The boes of sheep have bee foud at Eketorp. The sheep was also, whe it comes to amout of aimals, the most commo. Productio of wool seems to have bee importat, sice a great may of the sheep had bee allowed to be reach maturity to judge from the boes (Edgre & Weigarth 1987: 13). Fig. 7 The startig boarder is beig made ad the white warp for the tapestry is wove i. Flax has bee foud at Eketorp i the form of both stems ad seeds, foud i the water hole outside the wall. They have bee dated to the 7th cetury AD (Hasso 1991). Thus, both flax ad wool were preset at Eketorp. However, doubt could be raised as to whether to use lie for our tapestry. Beder-Jørgese maitais that lie was ot used i Scadiavia textile productio to ay great extet util after 550 AD (Beder-Jørgese 1991: 172). Also, the Oseberg-tapestry is made oly of wool (Sudström 2004: 18). Therefore, we decided to use oly wool for our Eketorp tapestry. Sice we oly had oe summer to fiish the tapestry, we had to make some practical adjustmets. We thought it would take too much time to start by spiig the yar. Our aim was ever to experimet with spi- Fig. 8 The warp is sew to the beam.

4 ITEMS 2 ig ad dyeig. Istead, we decided to buy fiished yar which also was dyed. 1-plied yar (Nm 0,85 m/1 / 850 m/kg) was used for the warp ad the groud weave. The material we used for the figures was 2-plied yars (Nm 1,75/2 / 875 m/kg) of colours which could have bee produced i Scadiavia i the 6th cetury ad which were also used o the oldest kow tapestries. These colours are white, gree, yellow, red ad blue (Welider, Pederse & Widgre 1998: 410). The same yars, except for the gree oe, were used for tablet weavig of borders. All the woolle yars came from Wåhlstedt Ullspieri at Dalafloda (Swede). They were developed for project UllMa, where the colours should be similar to the colours obtaied by atural plat-dyeig ad the yar looks like hadspu yar ad is also produced from wool from old breeds of sheep (see Aother practical adjustmet we made was that we decided to use a slightly thicker woolle yar tha the oe foud i the preserved tapestries for the warp ad groud weft. This saves time i weavig ad we had difficulties estimatig how much time would be eeded. We gave priority to makig a tapestry that would cover a whole wall sectio istead of makig it a little shorter. The tapestry thus perhaps looks a little rough ad rustic. Motifs ad compositio The tapestry has 21 figures i compariso to some hudred(s) o the Överhogdal tapestry. This is maily because it is supposed to hag i a farmer s house, so we did ot wat to overdo it whe it came to motifs. Sice there are o preserved Migratio Period tapestries i Scadiavia which we could use as prefiguratio, we got most ispiratio from other places. As a startig poit, we decided that the choice of motives should be subordiate to what the soumak techique could maage, the chose techique is for istace ot applicable for soft, curved figures. We gathered ispiratio, maily from differet metal objects from the 5th ad 6th ceturies AD with just oe or two exceptios, which are metioed below. The most i- spiratio, we got from the famous golde eck collars of which oe is foud o Ölad (Färjestade) ad the others i wester Swede (Ålleberg ad Möe), gold bracteates foud o Ölad, a silver fibula foud o Ölad, a moutig from Eketorp Fort ad picture stoes from Gotlad. However, we wated the overall compositio to look like the picture scees o the golde hors from Gallehus i souther Demark, dated to the 5th cetury AD, where we see huma-like figures, aimals ad geometrical figures i differet combiatios ad orietatio (Jese 2004: ). I Migratio Period aimal orametatio, there seems to be a geeral horror vacui, but if we study picture stoes or the metioed Gallehus hors we see that parts of the surface could be left empty. This separates our tapestry from, for example, the Överhogdal tapestry which is filled with figures, made at a time whe, for example, picture stoes were also crowded with orametatio. The developmet of the aimal orametatio durig the Migratio Period should most probably be see i relatio to the developmet of textile techiques (Welider, Pederse & Widgre 1998: 412) ad therefore, aimals domiate o our tapestry. The cetral figure of the tapestry is a adorat as depicted o the gold eck collar from Ålleberg i Västergötlad, Swede (Beder-Jörgese 2003: 69; Holmqvist 1980: 43-44). Fig. 12 The weft is iserted ad weavig has begu! Ja Rodia ad Kateřia Brůová at work. ispiratio was also foud i horse figures o the Ålleberg gold collar. Pictures of deer ca be see o other picture stoes from Gotlad, for example the fragmet from Edre skog (Lidqvist 1941: 89), also dated to AD The term goat- or moosehorse is our ow ad stads for the strage, amalgamated aimal depicted o so may bracteates, showig traits of both horse (tail ad geeral shape of body) ad he-goat or moose (goatee ad hors). The oes we looked at are Aroud him are several aimals of differet kids. There are lizards ad sakes below the adorat s legs ad birds fly aroud his head. The sakes are ispired from a picture stoe i Sadegårda o Gotlad, dated to AD (Nylé 1978: 47) while the lizard derives from the Ålleberg collar (Holmqvist 1980: 73). The birds heads come from a fid of a fibula (Iv. No. SHM 1297) made just a kilometre south east of Eketorp Fort, i Össby (Gasum 2003: 211). The horses, goat-/moosehorses, boars ad moose/deer stay beside the adorat. The origial for the horse is partly a horse shaped moutig for sewig oto clothes. This was foud durig the Eketorp excavatios ad is dated to the 7th cetury. Some Fig. 13 Kittig the heddles. Here, we also see the three shed sticks. The fourth shed is the atuaral shed. 4/2007 eurorea 25

5 2 ITEMS mythological creatures, people ad gods live ad the heaves where birds fly ad gods travel. There is good evidece that accordig to the oldest sources, the gods were cosidered to live o the earth (Schødt 2004: 124p). The adorat i the middle is summoig all good forces i order to fid out the will of the gods. This was doe through the use of seid, a sort of operative magic where helpig spirits came to his aid, tellig him the destiy or advisig him o, for example, the future fertility of the lad (Solli 2004: 259). Several aimals i Migratio Period art are probably helpig spirits (Hedeager 2004: 228) We kow that seid was practised durig the Vikig Age, but it was probably preset already durig the Migratio Period whe Odi became the supreme god, probably depicted o bracteates. He was the master of seid (Hedeager 2004: 234). Fig. 16 All four sheds of the loom ca be see here. five bracteates foud o Ölad, three i Bostorp (Iv. No. KLM 23575), oe i Holmetorp (Iv. No. SHM 1085) ad oe i Lilla Istad (Iv. No SHM 3714) (Olofsso 2001: 24). The boar is also origially foud o a bracteate from Holmetorp, Ölad (Iv. No. SHM 504) (Aldestam 2000: 25). Apart from the aimals ad the adorat, two geometrical oramets domiate, a large swastika to the left ad a triskele to the right. They were both very commo i Migratio Period art. The swastika was i geeral a symbol of good luck but its exact meaig to Iro Age people i Scadiavia is ot clear. It is iterpreted as a symbol for the eteral rotatio of the celestial bodies ad the self-geeratig forces of ature. It could also be a symbol of the su (Natioalecyklopedie). The swastika we copied is foud o oe of the Bostorp bracteates metioed above (Olofsso 2001: 24). The triskele we took from the fibula from Össby (Gasum 2003: 211). This symbol was also very commo i classical ad orietal art ad i those areas it carried the meaig of movemet (Natioalecyklopedie). Our overall picture of the motifs are the three worlds: the uderworld (sakes et cetera), the surface of the earth with four legged aimals, 26 eurorea 4/2007 (Hoffma 1991: 141 pp). We started by warpig the tablet wove bad, which frames the tapestry, a process that took three days. Shuttles were made of small sticks o which we woud the weft yar. This fitted very well for the shed of the tablet weave, ad also for weavig the tapestry itself. We used two shuttles simultaeously durig warpig. The ext step, which also took three days, ivolved primarily warpig the actual tapestry, havig 6,4 warp threads per cm which fitted very well with these thick threads. After that, the warp was arraged o the loom ad the loom weights were attached. For test weavig, we started with clay weights like the oes foud at Eketorp with a weight of 600 grams /10 threads. The work process Kittig the heddles took two days. We used three shed rods, apart from the shed made by the loom s lower beam oe for the basic tabby (oe thread up, oe dow) ad two shed rods for makig the figures (two up, two dow ad two dow, two up). The heddles for the tabby were kitted accordig to Sprige & Sydberg (1986: 18-21) while the heddles for the patter was kitted accordig to Hoffma (1964: 136) so that the heddle does ot impede chagig the shed of the tabby. A chaied spacig cord was fasteed at the bottom, through the warp threads ad tied aroud the uprights. For warpig, a warpig frame was used that rests o the floor, used up to the preset by Sami people The first couple of cm were regarded as test weavig. We discovered The tablet-wove border which rus aroud the tapestry, is decorated with a spiral patter, similar to the oe foud o picture stoes from Gotlad, for example Bro I ad II (Lidqvist 1941: Fig. 11, 13), both dated to AD (Lidqvist 1941: 110). The spiral patter is also foud o fibulae foud o Ölad, see for example the embossed fibula from Mossberga fort, Iv. No. SHM 7571: 494 (Olofsso 2001: 31). Fig. 14 The soumak techique is used for weavig the figures. The adorat is see i the middle sorruoded by aimals. Fig. 15 The ed is reached. Kateřia is weavig the warp ito the edig boarder.

6 ITEMS Summig up The weavig of this wall hagig was ot a archaeological experimet i a strict sese. It was rather a gatherig of practical experieces. These experieces we have tried to accout for i this article ad they will be the base for further recostructios ad perhaps experimets. Our hope is also that the tapestry will result i erichig discussios about life, symbols, techology ad textiles durig the Migratio Period. Fig. 17 Kateřia is makig a soumak-sake. early o that it was difficult to beat i the weft, so the weights had to be replaced. Sice there was o time to make ew clay weights, we used stoes with a weight of 350 g for te warp-threads. We used 32 loomweights for the warp threads oly, ad 10 more stoes for the tablet weavig. Weavig of figures took place betwee every weft thread. Accordig to the soumak techique, the 2-plied coloured yars were embroidered ito the warp above six warp threads ad aroud two, above six aroud two etc. The the white weft was iserted i the tabby shed ad sheds were chaged ad tablets tured. Due to the thickess of the white weft yar too much white colour was visible betwee the coloured figure yars. To reduce this problem, we decided to weave the vertical borders of the figures i the same way as diagoal borders are wove o preserved tapestries. The followig week, the swastika, most of a deer ad a part of oe sake were fiished at a speed of about 10 cm per day. The ufortuately rather ueve beam made the work extra difficult. We tried to eve out the beam with extra cloth, but i the ed, oe side of the tapestry became a little loger tha the other. Durig our work, we uderstood very well why the figures are lied up i oe directio o the kow wall hagigs. It was fairly difficult to begi weavig figures from their heads owards ad maitaiig mirror symmetry eve if we used a paper drawig of the whole tapestry as a model. We also realised that the 1-plied yar we used for the warp was ot the best choice. This yar became, through the frequet chages of sheds, very hairy, it took a log time to chage a shed i such a dese warp. A harder twisted, closed spu yar would have bee a better choice. I the begiig, we wove 5 6 cm per day, but after some weeks we could work faster ad wove as much as 13 cm per day. The speed also depeded o the motif, of course. I total, it took a little more tha six weeks to weave the tapestry. It is however importat to keep i mid that may times oly oe could weave while the other explaied ad discussed with the visitors. The swastika was especially discussed all the time, i museum where we had our work place. Some problems occurred while weavig the tapestry. Chage of loom weights, boarder weavig of figures ad the ueve beam have already bee metioed. Furthermore, the tapestry became a little ueve which was regulated with additioally iserted warp threads. The tapestry was eded with a tablet wove bad i which the tapestry s warp threads became the weft threads of the bad. This bad shrak after the tapestry was take off of the loom so it had to be stretched with a stick o the backside. Thaks to Ellior Sydberg, head of the traditioal textile educatio at Bäckedal, who got the project goig ad who shared her eormous kowledge o the matter. Lida Mårtesso, archaeologist ad textile techicia at Cetre for Textile Research, Copehage Uiversity, for readig the text ad cotributig with may valuable opiios. Bibliography Aldestam, G. 2000: Ölads Guldålder. Borgholm. Beder-Jørgese, L 1991: North Europea Textiles util AD PhD-dissertatio i Archaeology. Aarhus Uiversity. Beder-Jørgese, L 2003: Krigerdragte i folkevadrigstide. I: Rolfse, P & Stylegar, F-A (eds) Sartemofuee i ytt lys. Oslo. Borg, K., Näsma, U. & Wegraeus, E. (ed) 1976: Eketorp-Fortificatio ad settlemet o Ölad/Swede. The Moumet. Stockholm. Borg, K. 2000: Eketorp III. Ett medeltidsarkeologiskt projekt. Fil.lic.-dissertatio i Medieval Archaeology. The Uiversity of Lud. Edblom, L. 2004: Låghus i Gee. PhD-dissertatio i Archaeology. Umeå Uiversity Edgre, B. & Weigarth, K. 1987: Djure i Eketorp. Kalmar. Fallgre, J-H. 1994: Arkeologisk udersökig i Skäftekärr år Hus 2 och 3, Raä 40, Böda socke, Ölad. Tekisk rapport. Lässtyrelse i Kalmar. Frazé, A.-M. & Nockert, M. (1992): Boadera frå Skog och Överhögdal och adra medeltida väggbeklädader. Stockholm. Gasum, T. 2003: Hår og stil og stilig hår. I: Rolfse, P & Stylegar, F-A (eds) Sartemofuee i ytt lys. Oslo 4/2007 eurorea 27

7 ITEMS Fig. 18 A close-up o oe of the deer ispired by hew picture stoes. Geijer, A. 1938: Birka III. Die Textilfude aus de Gräber. Uppsala. Geijer, A. 1994: Ur textilkostes historia. Helsigfors Hasso, A-M. 1991: Aalysresultat, Eketorp vattehål, AFL, Stockholm Uiversity Hedeager, L. 2004: Dyr og adre meesker-meesker og adre dyr. I: Adré, A., Jebert, K. & Raudvere, C. (eds.) Ordig mot kaos-studier av ordisk förkriste kosmologi. Lud. Hoffma, M. 1964: The warp-weighted loom. Oslo. Hoffma, M. 1991: Fra fiber till tøj: tekstilredskaper og broke av dem i orsk tradisjo. Oslo. Holmqvist, W. 1980: Guldhalskragara. Stockholm. Jese, J. 2004: Damarks Oldtid. Ygre Jeralder og Vikigetid 400 e.kr e.kr. Copehage. Lidqvist, S. 1941: Gotlads Bildsteie I. Stockholm Natioalecyklopedie (Swedish Natioal Ecyclopedia) Njals saga. I översättig av Hjalmar Alvig. Trodheim Nockert, M. (1991): The Högo fid ad other Migratio Period textiles ad costumes i Scadiavia. Högom part II. Archaeology ad Eviromet 9. Umeå. Nockert, M. & Possert, G. 2002: Att datera textilier. Södertälje. Nylé, E. 1978: Bildstear. Visby. Olofsso, J. 2001: Öladsguld-Öladgold- The Gold of Ölad. Exhibitio catalogue. Borgholm. Rydberg, M. 1995: Vävtygder, saxar, ålar, slädtrissor på Eketorps borg. Thesis i archaeology, The Uiversity of Lud. Salvé, E. 1923: Boade frå Skog. Udersökig av e ordisk bildvävad frå tidig medeltid. Stockholm. Schødt, J.P. 2004: Kosmologimodeller og mytekredse. I: Adré, A., Jebert, K. & Raudvere, C. (eds.) Ordig mot kaosstudier av ordisk förkriste kosmologi. Lud. Solli, B. 2004: Det orröe verdesbildet og ethos. I: Adré, A., Jebert, K. & Raudvere, C. (eds.) Ordig mot kaosstudier av ordisk förkriste kosmologi. Lud. Sprige, E & Sydberg, E. 1986: Varptygd vävstol. I: Fortida Tekik r 13/86. Sveg Sturluso, S. 1992: Nordiska kugasagor I. Översättig av Karl G Johasso. Stockholm. Sudström, A. 2004: Tidigmedeltida textilier frå ett hus i Sigtua. E textilarkeologisk aalys och diskussio. Thesis i laborative archaeology, Stockholm Uiversity. Vogt, E. (1937): Geflechte ud Gewebe der Steizeit. Moographie zur Ur- ud Frügeschichte der Sweiz. Basel. Welider, S., Pederse, E.A. & Widgre, M. 1998: Jordbrukets första femtuse år 4000 f.kr e.kr. Stockholm. Verbal iformatio Professor Ulf Näsma, Kalmar Uiversity College, 6th of February Professor Frads Hersched, Uppsala Uiversity, 6th of February Summary Le tissage d ue tapisserie avec des élémets de la période des Migratios au fort d Eketor e Suède Au fort recostitué d Ekertop e Suède, la recostitutio complète d u esemble d habitatio d u riche fermier du VIe a été l occasio d u débat sur l isolatio itérieure qui a débouché sur la recostitutio d ue tapisserie murale. Cette opératio a pas été meée comme ue réelle expériece scietifique mais comme ue démostratio fidèle e présece des visiteurs. L autheticité historique e a pas mois été ue préoccupatio: Les matériaux, les couleurs et les motifs ot été défiis suivat les rares sources écrites, l exemple des plus aciees tapisseries vikig coues (celle de la tombe d Oseberg, datée de l a 829) et celui d objets du VI e siècle. L expériece a été décidée e javier 2006 e parteariat avec ue école suédoise spécialisée das les artisaats acies et la tapisserie a été réalisée l été suivat. La techique reteue est la même idetifiée dès le Néolithique, le soumak (tapis tissé). Le li et la laie sot utilisés et des galos orés de spirale délimitet les bords. Les couleurs utilisées sot le blac, le vert, le jaue, le rouge et le bleu. Pour le décor, 21 figures variées ot été ispirées d objets cotemporais. Elles représetet les trois iveaux du mode: le mode souterrai, la surface et les cieux. La figure cetrale est ue idole, etouré de figures aimales flaquées de deux motifs géométriques traditioels: ue swastika et u triskel. La première opératio fut l ourdissage des galos (3 jours) suivi de la préparatio des fils de trame de la tapisserie propremet dite. L esemble fut esuite fixé sur le métier à tisser et lesté avec des pesos. Le tissage de la trame prit deux jours avec beaucoup de difficultés posées par les pesos. La broderie des figures se fait sur la trame selo la techique de soumak. Cette opératio a permis de compredre à quel poit il était difficile de travailler sur la symétrie. L expériece a prit e tout six semaies, dot beaucoup de temps passé pour la médiatio et le dialogue avec les visiteurs. Malgré des progrès évidets à force de pratique, le problème des pesos a jamais pu être résolu et le résultat fial est quelque peu iégal. L aveture s est révélée toutefois très itéressate et istructive, soulevat de ouvelles iterrogatios autour de la symbolique des motifs, les techiques et du travail des textiles des vikigs au VI e siècle. Zur Herstellug eies Wadteppichs mit völkerwaderugszeitliche Elemete i der Burg vo Eketorp, Schwede Das EU-Projekt Eketorp Historisches Zetrum im südliche Ölad verfolgte das Ziel, die archäologische Rekostruktioe für die Besucher lebediger werde zu lasse, vor allem mit Blick auf die Ieraumgestaltug eies Wohhauses. Hitergrud der Rekostruktiosarbeite war es, die Fude i eiem gut dokumetierte Haus mit zwei gut erhaltee Fußbodeiveaus des 6. Jahrhuderts dafür herazuziehe. Ei Teil der Rekostruktio befasst sich dabei mit der Diskussio über die räumliche Uterteilug des Hauses. Es gibt eideutige Hiweise auf Wadtextilie, die sowohl eie raumuterteilede als auch dekorative Fuktio gehabt habe möge. Die Autore utersuchte sowohl die Webtechike als auch die im 6. Jh. i Skadiavie dabei verwedete Motive. Als Webtechik wurde daraufhi die sog. Soumak-Techik geutzt, die aus dem 6. Jh. i Skadiavie überliefert ist ud auch zumidest i jügere Zusammehäge bei Wadteppiche Verwedug fad. Die jügere Wadteppiche sid aus Leie ud Wolle gefertigt; ud obwohl sowohl Leie als auch Wolle i Eketorp achgewiese sid, wurde bei der Rekostruktio ur Wolle verwedet, da Leie erst ab ca Chr. i größerem Umfag für die Textilproduktio i Skadiavie geutzt wurde. Für die dekorative Motive diete vor allem Metallarbeite des 5. ud 6. Jahrhuderts als Vorbild. Der fertige Wadteppich zeigt 21 Figure. Die zetrale Figur ist ei Adorat, wie er auf dem Goldhalskrage vo Alleberg i Västergötlad zu sehe ist, der vo verschiedee Tiere umrigt ist. Die Darstellug zeigt isgesamt drei verschiedee Welte: Die Uterwelt mit Schlage, die Erdoberfläche mit vierbeiige Tiere, mythologische Kreature ud Mesche sowie de Himmel mit Vögel. Ja Olofsso, Kateria Bruova ad Ja Rodia are archaeologists. Kateria Bruova ad Ja Rodia are also textile techicias, educated i aciet textile techiques at the School of Bäckedal Folkhögskola i Swede. Ja Olofsso is the maager of Eketorp Fort. 28 eurorea 4/2007