Euran koulukeskukselle kokoonnuttiin taas varsin harmaana marraskuisena päivänä, tällä kertaa seminaariin joka päätti Luistarin 50-vuotisjuhlavuoden. Mienenkiintoisia puhujia ja paljon asiaa, hyvin inspiroiva seminaari kaikkineen! Tässä lyhyesti esitelmistä, laajempaa julkaisuakin seminaarissa lupailtiin!
On a seemingly grey november day us ancient clothes enthusiasts gathered together to Eura, to a seminar which marked the end of the 50th anniversary of the discovery of Luistari iron age burial ground. There were -yet again- several interesting lectures, all in all a very interesting seminar. Here are my short notes of the seminar, there was some talk of a more thorough publication too.
On a seemingly grey november day us ancient clothes enthusiasts gathered together to Eura, to a seminar which marked the end of the 50th anniversary of the discovery of Luistari iron age burial ground. There were -yet again- several interesting lectures, all in all a very interesting seminar. Here are my short notes of the seminar, there was some talk of a more thorough publication too.
1. Sirpa Wahlqvist: Avajaissanat ~~~ Opening words
Seminaarin alkusanat sanoi Sirpa Wahlqvist, joka kertoi Luistarin 50-vuotisjuhlavuodesta jonka tämä seminaari siis päätti. Erilaisia tapahtumia oli järjestetty pitkin vuotta runsaasti, ja euralaiset olivat kuulemma hienosti löytäneet juhlavuoden tapahtumat!
Sirpa Wahlqvist opened the seminar by speaking of the festivities that were held in Eura throughout the year. There had been several events, and the folks in Eura had taken part enthusiastically.
Sirpa Wahlqvist opened the seminar by speaking of the festivities that were held in Eura throughout the year. There had been several events, and the folks in Eura had taken part enthusiastically.
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| Ensimmäinen piirrosversio suomalaisesta naisen muinaispuvusta Kalevalan painoksesta v. 1887. ~~~The first drawn scetch of a ancient Finnish woman's dress. Kuva/drawing Ravattulan puku. |
Luistari-tutkimuksen Grand Old Lady Pirkko-Liisa Lehtosalo-Hilander puhui toisena muinaispukujen tutkimuksen historiasta, alkaen ensimmäisestä Kalevalan yhteyteen tehdystä pukuluonnoksesta ja päätyen 2000-luvun uusiin tutkimuksiin, tekniikoihin ja niiden kautta saatuihin tietoihin.
The Grand Old Lady of Luistari research, Pirkko-Liisa Lehtosalo-Hilander, was the second speaker with her talk on the history of researching and recreating ancient Finnish clothing, starting from the very first scetches in 1887 and ending with the 21th century new technologies and techniques.
The Grand Old Lady of Luistari research, Pirkko-Liisa Lehtosalo-Hilander, was the second speaker with her talk on the history of researching and recreating ancient Finnish clothing, starting from the very first scetches in 1887 and ending with the 21th century new technologies and techniques.
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| Euran puvun rinnustaa. ~~~ Upper part of the Eura dress with jewellery. Kuva/photo Suomen käsityön museo |
3. Irmeli Pere: Euran muinaispukua valmistamassa ~~~ Making the Eura ancient dress
Euran puvun julkaisun jälkeen 1980-luvulla heräsi innostus pukujen hankkimiseen, joten Eurassa alettiin pukuja kutoa myyntiinkin saakka -Pere kertoi alusta loppuun käsinkudottuja pukuja tehdyn kaikkineen noin 80 kappaletta. Pere kertoi miten alkuun Lehtosalo-Hilanderin kanssa tehtiin lankojen kasvivärjäyskokeiluja jota vaatteeseen saataisiin oikeat sävyt, oikeita kasveja haettiin pitkin maakuntaa (sittemmin varsinaiset puvut kudottiin teollisesti värjätyistä langoista, joita kotona saattoi olla kymmeniä kiloja kerrallaan). Nyt alkuperäinen kutojaryhmä on ikääntynyt ja myyntiin kutominen loppunut, mutta Pere sai arvokkaasta työstään kukkia tunnustukseksi kuten muukin Euran puvun eteen töitä tehnyt ryhmä.
After the Eura dress became public in the 1980s, there was great interest in buying a copy of the dress as well. Some women in Eura took up the job -Pere mentioned that some 80 Eura dresses were made altogether, all of them hand-woven. The starting point was interesting, Pere and Lehtosalo-Hilander experimented with plant dyeing in order to get the right coloured yarns and the right plants were sought after far and wide (eventually the actual dresses were woven with commercially dyed yarns). Nowadays the original dressmaking group of women have aged and they have stopped weaving the fabrics for sale, but Pere received appraise and flowers for her job in making the Eura dress famous as did the other women of the group.
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| Elsa Heporauta muinaispuvussa. ~~~ Elsa Heporauta wearing an iron age style dress. Kuva Turun seudun kalevalaiset. |
Kalevalaisten naisten alkusysäyksenä voisi Huttusen ja Niemisen mukaan pitää Kalevalan 100-vuotisjuhlaa vuonna 1935. Kirjailija Elsa Heporaudan ajatuksesta syntyi alkujaan suunnitelma patsaasta Kalevalan naisille, mutta suunnitelma muuttui ja toiminnan fokukseksi muotoutui suomalaisen (naisten) kansankulttuurin ja -perinteen edistäminen. Tätä edistettiinkin ulkomaita myöten, vierailuja tehtiin vuosikymmeninen mittaan niin Pohjois- ja Etelä-Amerikan luentokiertueen kuin Eurooppaa kiertävän näyttelyn muodossakin. Kalevalaisten naisten ansioksi voi oikeastaan laskea myös Kalevala Korun perustamisen, alkujaan korujen inspiraationa olivatkin (esi)historialliset löydöt. Heinolan kalevalaiset naiset ovat 1980-luvulta alkaen kunnostautuneet kattavalla muinaispukukokoelmallaan, nykyisin edustava kokoelma on esillä Heinolan kaupungintalolla.
The starting point of Kalevalaiset naiset (Kalevala women) -society couls, according to Huttunen and Nieminen, be pinpointed to the hundred-year festivities of the Kalevala epic in 1935. Author Elsa Heporauta came up with the idea of a statue dedicated to the women of Kalevala, but soon the plan changed and the focus changed to preserving and advancing Finnish folk tradition and -culture. And that's what happened, in Finland and abroad -lectures and exhibitions toured in Europe and as far as Northern and Southern America. Kalevalaiset Naiset also came up with the idea of jewellery company Kalevala Koru, which originally produced jewellery inspired by (pre)historical finds. From the 1980s on, Kalevalaiset naiset in Heinola have gathered an impressive collection of ancient Finnish costumes, nowadays they are exhibited in the town hall of Heinola.
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| Ei kettua vaan karhua Euran emännän hartioilla.~~~ The Eura matron was wearing bear instead of a fox. Kuva/photo Luistarin kotisivut, Ulla Moilanen |
5. Tuija Kirkinen: Euran emännän haudan turkislöydöt -muinaispuvun puuttuva palanen? ~~~ Fur finds in the Eura Matron's grave -a missing piece of the iron age dress?
Tänä vuonna väitöskirjansa turkislöydöistä esihistoriallisissa ja historiallisissa hautauksissa julkaissut Kirkinen kertoi Luistarin haudasta 56, ts. kuuluisan Euran Emännän haudasta jonka pohjalta muinaispukukin tehtiin. Kirkinen oli puhumassa jo kevään seminaarissa, mutta tässä puheenvuorossa tuli esille varsin paljon huippumielenkiintoisia yksityiskohtia joita ei keväällä mainittu. Euran muinaispuku saattaisi Kirkisen tutkimuksen mukaan kaivata hieman täydentämistä turkisten muodossa, vainajalla kun on ollut mm. mahdollinen saukonnahkainen vyöpussukka ja yläruumiinsa päällä karhun karvaa. Tämän karvan lähteeksi Kirkinen arveli saamelaisaineistosta myös tunnettua sieppuri -vaatekappaletta, ikäänkuin keeppiä. Muita karvalöytöjä haudasta olivat metsäpeura (jonka luujäänteitä ei rautakauden lopun Eurasta tunneta, joten miten kaukaa talja onkaan tullut?), näätäeläintä ja yksittäinen jäänne ketunkin karvasta. Kirkinen lupaili tulevaksi myös yleistajuista julkaisua ja muutenkin karvatutkimukset jatkuvat edelleen, joten mahdollisesti karvoista tullaan kuulemaan vielä paljon lisää! Oma henkilökohtainen mielipiteeni oli, että muutenkin kovatasoisessa seminaarissa tämä luento oli ehdottomasti toinen inspiroivimmista.
Tuija Kirkinen published her PhD concerning fur finds in prehistorical and historical burials this year. In Eura she spoke about the Luistari grave 56, the very same burial in which the Eura dress is based on. Kirkinen was speaking already in the spring seminar, but a lot of extremely interesting details came up now that were not mentioned in the spring. According to Kirkinen the Eura dress might need some new pieces of clothing and accessories, the deceased was wearing a belt pouch made of beaver fur and on her upper body there were finds of bear fur. Kirkinen suspected that the origin of the bear fur might've been a sieppuri-type of garment, like a short, closed cape, later known for its usage among the Sápmi. Among other finds there were reindeer (no bone finds of reindeer are known in Eura iron age contexts, so where this fur came from?), marten and a single hair from a fox. Kirkinen promised us a publication aimed for the general public and the fur research still goes on, so it is entirely possible, even likely that we'll be hearing much more of this animal fur research! As my personal opinion, where as the seminar was in all full of super interesting speeches, this was totally on the top two when it comes to the most inspiring ones.
Tuija Kirkinen published her PhD concerning fur finds in prehistorical and historical burials this year. In Eura she spoke about the Luistari grave 56, the very same burial in which the Eura dress is based on. Kirkinen was speaking already in the spring seminar, but a lot of extremely interesting details came up now that were not mentioned in the spring. According to Kirkinen the Eura dress might need some new pieces of clothing and accessories, the deceased was wearing a belt pouch made of beaver fur and on her upper body there were finds of bear fur. Kirkinen suspected that the origin of the bear fur might've been a sieppuri-type of garment, like a short, closed cape, later known for its usage among the Sápmi. Among other finds there were reindeer (no bone finds of reindeer are known in Eura iron age contexts, so where this fur came from?), marten and a single hair from a fox. Kirkinen promised us a publication aimed for the general public and the fur research still goes on, so it is entirely possible, even likely that we'll be hearing much more of this animal fur research! As my personal opinion, where as the seminar was in all full of super interesting speeches, this was totally on the top two when it comes to the most inspiring ones.
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| Ennallistettuja suomalaisia rautakauden lautanauhoja. ~~~ Finnish reconstructed tablet woven bands Kuva/photo Kansallisaarteen etsintä, Suomi 100 |
6. Maikki Karisto: Lautanauhat -kudonnan huippuosaamista Suomen myöhäisrautakaudella ~~~ Tablet woven bands -expert craftsmanship in late iron age Finland
Lautanauhojen huippuasiantuntija Karisto keskitti tämän kerran luentonsa myös Luistarin hautaan 56, jossa muinaispukuun oli 80-luvulla ennallistettu yksinkertainen mutkitteleva kuvio sekä vaippahameen ylä- että alareunaan. Asiantuntijan silmin katsottuna pienistä fragmenteista paljastui kuitenkin muuta, olisihan huippusimppeli nauha ollutkin hieman poikkeava muinaisvaatteiden nauha-aineiston joukossa. Kovin paljoa ei voi paljastaa koska nauhoista on tulossa erillinen julkaisunsa, mutta Luistarin 56-haudan nauhoissakin siis on tuppilohulpiota, ryhmittäin kääntämistä ja puolikaskiertoja, suomalaisen rautakauden nauha-aineistolle tyypillisiä piirteitä. Karisto mainitsi, että todennäköisesti muihin säilyneisiin nauhoihin verraten myös 56:n vaippahameen nauhoissa on ollut paljon kuviovaihtelua, mutta koska säilynyttä lautanauhaa on kovin vähän, on tyydyttävä muutamaan selvitettyyn kuvioon -jotka kieltämättä muuttavat puvun kokonaisilmettä nekin.
A tablet weaving expert Maikki Karisto focused also on the Luistari grave 56 on her speech. In the 1980s a simple meander-patterned band was recreated for the dress reconstruction, the same band for both upper and bottom edge of the peplos dress. But when the band fragment was seen through the eyes of an expert, the tiny pieces were something completely different -a very simple band would've been somewhat of an exception among the late iron age finds, too. I can't reveal too much because a publication is on its way, but both Luistari 56 bands showed signs of typical Finnish iron age features -tubular selvedge, turning tablets in groups and half-turns. As for the patterns, Karisto noted that most likely the variation of the woven pattern has been plenty based on other surviving tablet woven bands, but since the surviving tablet woven fragment in Luistari 56 is very small, not much of the pattern variation can be said, only a few figures can be deciphered. But even they change the appearance of the Eura dress quite a lot!
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| Ravattulan puvun ohimoriipuksia sellaisena kuin ne haudasta löydettiin.~~~ Spirals from a decorated headband found from Ravattula Ristimäki. Kuva/photo Ravattulan puvun sivut. |
7. Veronika Paschenko: Pronssispiraalien käyttö päähineissä ja ohimokoruissa ~~~ The use of bronze spiral decorations in headwear
Paschenko teki kandidaatintyönsä Ravattulan Ristimäen pronssispiraaliaineistosta ja jatkaa aiheen parissa gradunsa kanssa, tässä saimme maistiaisia aiheesta. Spiraalimuoti sai alkunsa Semgallian ja Latgallian ryhmien parista nykyisen Latvian alueelta 400-luvulla. Spiraalimuoti jatkui synnyinseudullaan käytössä 1300-luvulle. Suomen alueella spiraaleja alettiin käyttää päähineissä varsin myöhään, ristiretkiajalla 1100-luvulla. Ohimonauhat tehtiin ristikkonauhoihin, jotka kaikkineen olivat toista metriä pitkiä mutta joissa spiraaleja oli vain kasvojen molemmin puolin riippuvissa päissä -tai Paschenkon mukaan koristeet saattoivat olla toispuoleisiakin. Spiraalikoristeet tehtiin pronssilangasta, jota sitäkin saatettiin käyttää kahta eri paksuutta samassa nauhassa. Ohimonauhoja kieltämättä näkee elävöityskäytössä aivan liian vähän, ne ovat mielestäni todella kauniita. Toivottavasti Paschenkon työn myötä asiaan tulee muutosta!
Paschenko wrote her bachelor's thesis about the bronze spirals in Ravattula Ristimäki, and she'll continue with this subject with her master's thesis. We got a little taste of that here. The fashion of bronze spiral headwear begun in the 5th century among the Semgallian and Latgallian peoples in what is now Latvian area. Spiral fashion continued up until the 14th century. In Finland spiral headwear became fashionable quite late, in the crusade period in the 12th century. Finger woven bands were used as spiral decorated headbands, over one meter long bands altogether but only the ends that hung on both sides of a person's face were decorated with spirals -or, according to Paschenko, in some cases only the other end was decorated. Bronze wire was used for spirals, it was entirely possible to use two thickness of bronze wires in one band. As far as I am concerned, spiral decorated headbands are way too rare in living history use, I'd like to see much more of those as I find them just lovely. Hopefully the situation will change and we'll see more of decorated headbands in the future!
Paschenko wrote her bachelor's thesis about the bronze spirals in Ravattula Ristimäki, and she'll continue with this subject with her master's thesis. We got a little taste of that here. The fashion of bronze spiral headwear begun in the 5th century among the Semgallian and Latgallian peoples in what is now Latvian area. Spiral fashion continued up until the 14th century. In Finland spiral headwear became fashionable quite late, in the crusade period in the 12th century. Finger woven bands were used as spiral decorated headbands, over one meter long bands altogether but only the ends that hung on both sides of a person's face were decorated with spirals -or, according to Paschenko, in some cases only the other end was decorated. Bronze wire was used for spirals, it was entirely possible to use two thickness of bronze wires in one band. As far as I am concerned, spiral decorated headbands are way too rare in living history use, I'd like to see much more of those as I find them just lovely. Hopefully the situation will change and we'll see more of decorated headbands in the future!
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| Monenlaista elämänvaihetta, rautakaudellakin. ~~~ Many stages of life, in iron age too. Kuva/photo Luistarin kotisivut, Ulla Moilanen. |
8. Päivi Maaranen: Kuinka emäntä odotti ja imetti -käytännön kokeiluja ja kokemuksia äitiydestä rautakauden naisen puvussa ~~~ How an iron age woman expected and breastfed -practical experiences and experiments of motherhood in an iron age dress
Rautakauden vaatteiden oli sovelluttava moneen elämänvaiheeseen, myös lapsen saamiseen. Maaranen oli testannut omakohtaisesti muinaisvaatteita ja niiden kanssa odottamista ja imettämistä ja tehnyt ratkaisuja joita vertasi kuva-aiheistoon ja arkeologisiin löytöihin. Odottaminen ei Maarasen mukaan ollut minkäänlainen ongelma rautakauden vaatteissa, mutta imettäminen vaati ratkaisuja. Vaippahame soveltui itsessään varsin hyvin olkapäältä avattavana imettämiseen, mutta mekko oli ongelmallisempi. Maaranen oli päätyynyt aikoinaan itse mekon rinnustan keskelle leikattuun halkioon jonka vaippahame muuten peitti, mutta visioi myös osittain päällekkäin meneviä mekon etukerroksia (josta myöhemmin totesi, että ratkaisu ei saa tukea löytöaineistosta). Roomalainen ja keskiajan taide ovat niitä, joista pohjoistenkin rautakauden ratkaisujen on haettava inspiraatiota, sillä oma aineisto ei oikein anna materiaalia siihen (myöhemmin keskiajalta Grönlantilaisista Herjolfsnesin mekoista yksi on Maarasen mukaan soveltuva myös lapsen hoitoon). Tästä materiaalista on löydettävissä kolme erilaista ratkaisua imetykseen -syvä kaula-aukko, aukko vaatteessa tai olkapäältä päästettävä vaate.
Iron age clothing should accommodate for many stages of life, also for having a child. Maaranen had tested ancient clothing during her own pregnancy and when she was breastfeeding her baby, and compared her solutions to archaeological material and pictorial sources. According to Maaranen having a large belly was no problem in an iron age dress, but breastfeeding required some extra testing. Peplos type dress, opening from the shoulder was well fitting for the occasion, but the dress layer under it needed some adjusting. Maaranen herself had ended up making a slit in the mid-chest, normally covered by the peplos dress, but she had also thought of a dress with overlapping front layers (later Maaranen noted that this isn't supported by neither archaeological nor pictorial sources). Northern dress material per se is scarce, pretty much nonexistent when it comes to motherhood-related clues, so for clues one must turn to medieval or roman artwork (one of the Greenlandic Herjolfsnes dresses is fitting for babycare, though). So three different ways to adjust a dress for breastfeeding were found -deep neckline, a slit in a garment or a garment opening from the shoulder.
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| Komeat tupsuvyöt ovat tunnettuja Luistarin miestenhaudoista. ~~~ Handsome spiral decorated belts are known from Luistari male graves. Kuva/photo Swan River Crafts, Mervi Pasanen |
9. Jenni Sahramaa ja Mervi Pasanen: Ilman housuja? Miesten muinaispukeutumisen suuntaviivoja ~~~~ Without trousers? General outlines of men's iron age clothing
Naisten vaatetuksesta on hyvin jäänteitä, mutta miesten vaatetus on tunnetusti huonommin dokumentoitavissa. Mistä sitten asiaan löytyisi osviittaa? Lähteitä on haettava ympäri pohjoista Eurooppaa, mutta niistä kokoamalla on mahdollista saada kasaan myös miehen vaatekokonaisuus, jota on muutenkin sanottu skandinaavistyypillisemmäksi Suomessa kuin naisten pukeutumista. Suomalaistyypillistä miehen vaatetuksessa on erityisesti spiraalit, joita miestenkin vaatteissa on käytetty -joskin maltillisemmin kuin naisten. Spiraalikoristeisia vöitä, säärikääreen nauhoja ja viittoja kuitenkin tunnetaan, samaten kuin spiraali-koristeapplikaatioita paidoissa. Muutamasta suomalaisesta myöhäisrautakauden miehenhaudasta tunnetaan myös kulkusnappeja, oletattavasti takeista. Helena Honka-Hallila ja Hannele Köngäs perustivat oman versionsa Maskun Humikkalan löytöön mutta vastaavia tunnetaan myös Raision Ihalasta sekä -aivan, Euran Luistarista. Päähineasiaan Sahramaa ja Pasanen toivoivat ratkaisua turkisjäänteiden tutkimuksista. Ja mitä näihin otsikonkin mainitsemiin housuihin tulee, islantilaiset tekstilähteet mainitsevat kolme erilaista housumallia -kapeat ihonmyötäiset, leveät pussihousut sekä leveälahkeiset, suorastaan liehuvat mallit.
There are a lot of textile remains from women's clothing, but remains of men's clothing are much fewer. So how men's clothing could've been put together during the late iron age? Evidence of men's clothing can be found elsewhere in Northern Europe, and by examining those it is entirely possible to gather together a plausible men's outfit that might've been in use in Finland as well -Finnish men's clothing has been described as being more Scandinavian-styled than women's clothing. But there are especially Finnish features, too -especially bronze spiral decorations that can be found in men's clothing as well, although they're not as plenty as in women's clothing. Spiral decorations can be found in belts, cloaks and bands securing leg wraps, and also there are sewn-on spiral decorations from men's tunics. In some Finnish late iron age burials there are bronze bells that have been used as buttons, they are intepreted as being remains of coats. A few years back Helena Honka-Hallila and Hannele Köngäs created a version of a such jacket based on Masku Humikkala find, but bell buttons have been found in Raisio Ihala and -yes, you guessed, Eura Luistari. As for headwear, Sahramaa and Pasanen are hoping that fur research would yield some light on the enigma. And when it comes to the trousers, Icelandic texts mention three kinds of trousers -narrow, almost skin-tight, ones that are wide and baggy and ones that are loose and flowing.
There are a lot of textile remains from women's clothing, but remains of men's clothing are much fewer. So how men's clothing could've been put together during the late iron age? Evidence of men's clothing can be found elsewhere in Northern Europe, and by examining those it is entirely possible to gather together a plausible men's outfit that might've been in use in Finland as well -Finnish men's clothing has been described as being more Scandinavian-styled than women's clothing. But there are especially Finnish features, too -especially bronze spiral decorations that can be found in men's clothing as well, although they're not as plenty as in women's clothing. Spiral decorations can be found in belts, cloaks and bands securing leg wraps, and also there are sewn-on spiral decorations from men's tunics. In some Finnish late iron age burials there are bronze bells that have been used as buttons, they are intepreted as being remains of coats. A few years back Helena Honka-Hallila and Hannele Köngäs created a version of a such jacket based on Masku Humikkala find, but bell buttons have been found in Raisio Ihala and -yes, you guessed, Eura Luistari. As for headwear, Sahramaa and Pasanen are hoping that fur research would yield some light on the enigma. And when it comes to the trousers, Icelandic texts mention three kinds of trousers -narrow, almost skin-tight, ones that are wide and baggy and ones that are loose and flowing.
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| Luistarin hauta 90, Sue Salmisen ennallistus. ~~~ Lusitari grave 90, recreated by Sue Salminen. Kuva/photo Hallanmailta/ Sue Salminen. |
Salminen oli tutkinut Luistarin miesten hautojen löytöaineistoa, ja oli havainnut sieltä 900-luvun alusta ryhmän erityisen komeita miestenhautoja. Miehet saattoivat olla jopa paikallista eliittiä, niin paljon esineistöä hautoihin oli laitettu -muun muassa useita aseita, joskaan aseet eivät olleet tässä pääasiana. Haudoista oli myös tekstiilijäänteitä, olettettavasti viittakangasta joka oli kehruusuunnnaltaan poikkeavista langoista kutomalla saatu raidalliseksi. Myös pronssispiraaleja tunnettiin näistä haudoista, spiraalikoristeinen tupsuvyö oli paikallistettavissa useaan hautaan. Salminen esitti teorian siitä, miten viitta olisi mahdollisesti soveltunut käyttöön paremmin kun se olisi vyötetty päältä, se olisi lämmittänyt muttei ollut liehuvana tiellä. Koko esityksen ajan saatiin katsella komeita kuvia Salmisen ennallistuksesta 900-luvun luistarilaisesta vaatetuksesta löytöihin perustuen.
Salminen had examined the find material from Luistari mens's burials and detected a group of especially rich burials from the early 10th century. Men might've even been a part of local elite, the graves were so richly equipped -there were, for example, several weapons, but they were not the main point in this speech. Textiles were, and there are finds of nice textiles from these graves -a fabric that is suspected to be from a cloak, woven from differently-spun threads and thus forming a striped effect. Also bronze spirals were plenty, above-mentioned bronze-decorated tasseled belt was found in several of these graves. Salminen put forward a theory on how a cloak could've been belted and thus it would've been more practical -it would've been warm and not flowing and being in the way. During the whole presentation we got to see nice pictures of a 10th century male outfit based on Luistari finds, recreated by Salminen herself.
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| Haudan 41/2016 esiliinaa röntgenkuvassa. Siitä sitä materiaalia ennallistukseen! ~~~ Apron in Ravattula Ristimäki grave 41/2016 in X-ray photo. Some material for a reconstruction there! Kuva/photo Ravattulan puvun sivut |
11. Jaana Riikonen: Uusi muinaispuku työn alla: Ravattulan puku ~~~ A new dress reconstruction in progress: the Ravattula dress
Ravattulan puvusta onkin tullut kirjoitettua useamman kerran (esim. maaliskuinen teksti), mutta taas siitä oli uutta -joskin taas hieman toistoakin kun on kaikki mahdolliset esitelmät käynyt kuulemassa, mutta parempihan se on kertoa ne perusteetkin tietysti koska tiettävästi kaikki eivät ole kaikkea kuulleet :) Ristiretkiajalle ajoittuvan Ravattulan Ristimäen hautaan 41/2016 perustuvan puvun julkistaminen olisi tarkoitus tapahtua keväällä 2020. Valmistusprosessi on kovassa käynnissä, joskin tällä hetkellä Riikonen kertoi ahvenanmaanlampaan villasta kudottavan hamekankaan lankojen jumittavan kehräämöllä joten kutomaan ei ole päästy. Analyysejä sen sijaan olikin saatu, mielenkiintoista kyllä esimerkiksi esiliinan spiraalien sisällä ollut, mikroskoopissa kovin punaiselta vaikuttanut lanka esimerkiksi oli ollut värjäämätön ruskea. Tämä pisti mietityttämään sitä miten on muiden löytöjen suhteen, koska punainen lanka spiraaleissa on valtavan usein toistettu lause. Muitakin yksityiskohtia vaatteesta kerrottiin, mekko esimerkiksi oli selvästi ollut käyttövaate koska siitä löytyi helmasta parsittu kohta. Helma oli muutenkin puheena, sillä edelleen hieman kysymyksenä taitaa olla se miten ainakin kaksi metriä tasapaksua helmaa, ts. mitä ilmeisimmin ilman ylöspäin kapenevia kiiloja on muokattavissa käyttökelpoiseksi mekoksi. Erittäin mielenkiintoinen tapaus kaikkineen, suurella innolla odotamme lisää!
I've written about the Ravattula dress project several times (for example in March), but yet again there was something new to tell -although there was of course a bit of repetition too, when one has listened to pretty much all talks that there have been on the subject, but it's of course a lot better to start with the basics as I do understand that not everyone has already heard everything concerning the dress project :) The Ravattula Ristimäki grave 41/2016 dates to the crusade period, and the finished dress should be revealed in spring 2020. The reconstruction process in going strong, although at this very moment Riikonen noted that the wool for weaving the dress is still waiting to be (machine) spun so no weaving has happened yet... But there were some finished results when it comes to analyzing dyes, interestingly enough the yarn that was used to sew down bronze spiral decorations ended up being undyed although it looked very red under microscope. I started wondering how it is with other finds, since the talk has "always" been that red thread was used for sewing bronze spirals. And there were other new details too, for example the dress has obviously been a garment that had seen some use, it had been darned in the hem. The hem was discussed further, too, since it sounds as if they still have some pondering to do when it comes to turning a two-meter wide fabric into a practical dress without triangular-shaped gores (apparently there weren't any). It is a very interesting project and I'm aways interested in hearing more of it!
I've written about the Ravattula dress project several times (for example in March), but yet again there was something new to tell -although there was of course a bit of repetition too, when one has listened to pretty much all talks that there have been on the subject, but it's of course a lot better to start with the basics as I do understand that not everyone has already heard everything concerning the dress project :) The Ravattula Ristimäki grave 41/2016 dates to the crusade period, and the finished dress should be revealed in spring 2020. The reconstruction process in going strong, although at this very moment Riikonen noted that the wool for weaving the dress is still waiting to be (machine) spun so no weaving has happened yet... But there were some finished results when it comes to analyzing dyes, interestingly enough the yarn that was used to sew down bronze spiral decorations ended up being undyed although it looked very red under microscope. I started wondering how it is with other finds, since the talk has "always" been that red thread was used for sewing bronze spirals. And there were other new details too, for example the dress has obviously been a garment that had seen some use, it had been darned in the hem. The hem was discussed further, too, since it sounds as if they still have some pondering to do when it comes to turning a two-meter wide fabric into a practical dress without triangular-shaped gores (apparently there weren't any). It is a very interesting project and I'm aways interested in hearing more of it!
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