ABSTRACT

Embroidery made and used in early medieval England (c. 450–1100) was considered fine art. Today 43 surviving examples known or believed to have been made in early medieval England have been stylistically and technically analysed, and placed within chronological timeframes. Recently the embroideries and their makers’ positions within early medieval society have also been explored, and ‘life’ biographies have been written for some pieces. Until now, the viewers’ experiences of encountering and interacting with embroidery have never been fully investigated. This paper uses sensory archaeology as a technique to access the early medieval ‘mindset’ in order to explore how people actually engaged with embroidery as opposed to what each piece was meant to show or tell them. The early 10^th-century embroidered stole and maniple, which were rediscovered in the tomb of St Cuthbert in Durham Cathedral in the 19^th century, are used as a case study.

摘要

刺绣制成，在（早期中世纪的英国用Ç 450-1100）被认为是艺术。如今，在造型和技术上已经分析了43个尚存的已知或相信是在中世纪早期的英格兰制造的实例，并按时间顺序排列。最近，还探索了刺绣及其在中世纪早期社会中的制造商地位，并且为某些作品撰写了“生活”传记。迄今为止，还没有对观察者与刺绣的接触和互动体验进行过充分的调查。本文将感官考古学作为一种进入中世纪早期“思维定势”的技术，以探索人们实际如何从事刺绣，而不是每件作品都意味着什么。展示或告诉他们。10初^次-century绣花偷和小队，这是在圣卡斯伯特的达勒姆大教堂在19墓重新发现^个世纪，被用作为例。