pearl: Black and white outline of a toadstool with paint splatters. (Default)
[personal profile] pearl
This is interesting, I don't agree with all of their conclusions (I can't figure out how the paired brooches were worn), and I do wish they had updated the PDF after the competition with photos of the finished pieces, but it's great to see people trying different things. :)

The Oseberg Cart Woman - C.E. 800
http://www.expo-conv-svcs.com/Pennsic40/OsebergCartWomanFinal.pdf

Also, here is an English summary on the Skjoldehamn find:
http://www.expo-conv-svcs.com/Pennsic40/SkjoldehamnClassHandout.pdf

Date: 2012-07-18 11:51 pm (UTC)
cathyr19355: (Viking me)
From: [personal profile] cathyr19355
Thanks for the pointers.

This article was interesting; unfortunately, I did not find the Oseberg article educational, as I had hoped. The author's analysis makes a lot of assumptions that she does not acknowledge (or, perhaps, even recognize) and to me reads a lot like speculation/wishful thinking. Her appendix on her attempt to use real woad to dye fabric suggests that she hasn't done enough research and does not understand fully how dyeing with indigotin-containing plants works (the color is supposed to develop after the fiber or fabric is removed from the dye solution--that's a key part of the process). I'd need to re-read some of the material I've read on indigo/woad dyeing to make a better critique, though.

I also agree with you that I wish she had added pictures of the costume items she recreated for the project--that would have been very interesting!

Date: 2012-07-19 02:36 am (UTC)
cathyr19355: Stock photo of myself (Default)
From: [personal profile] cathyr19355
Turns out the brooch pin hadn't pierced the silk fabric, or the tablet woven bands at all. Hägg concluded it was probably a decorative tunic-front. Why Ewing didn't discard the theory after supposedly reading her work, I'll never know!)

I've wondered about this myself; I'd always thought the theory that the bands were evidence of a backcloth was shaky, but I don't read Swedish well enough to get much from reading Hagg. Maybe that's Ewing's problem, though it shouldn't be because he apparently knows enough Norwegian to discuss references in the saga texts in some detail...oh well. Anyway, thanks for mentioning Hagg's reexamination; that's something I need to keep in mind.

So they do break away from Ewing's ideas about women wearing skirts,... and seem to end up with an idea of apron-dress-less women wearing paired brooches to keep a backcloth in place, and a skirt worn around the waist, and maybe a front panel, but nothing that would actually keep the brooches from being pulled back and strangling their model?

It seems to me that people who approach costume reconstruction from the literary and/or artistic evidence don't really stop and think much about the practical ramifications of their costume ideas. (Of course, Larsson considered archaeological finds and screwed up in the same way, but maybe she's the exception that proves the rule?)

Sigh. If people--professional scholars, SCA scholars, whoever--just wrote down all their assumptions FIRST, it would make the field of costume reconstruction much less flawed, and less full of non sequiturs and weirdnesses.

For what it's worth, the one unique detail I remember from Nille Glaesel's book on Viking costume is that she assumes that the figure the SCA writer was discussing was male--but that he was wearing a pleated skirt, like the modern Scottish kilt. It's not exactly relevant to your comment about the problems with the SCA writer's interpretation of the costume worn by the Oseberg ship carving figure, but it's interesting and it goes to show what happens when people attempt to interpret costumes on figures from the artwork without isolating their assumptions.


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