The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.

中文翻译：

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创造文化身份：英国大剧院及其在英国中世纪艺术史上的地位

中世纪时期的英文名称opus anglicanum是与刺绣和纺织品相关的英国国民身份的代名词，中世纪在英格兰撰写的任何文件中均不知道，但在罗马教皇和其他欧洲档案中使用。该术语受到许多学者的质疑，他们认为这可能是一个通用名称，用于描述将金线连接到绣花纺织品上的特殊技术（底卧）。在本文中，我们提出了金鱼眼时期的现象c。1200-1400年是欧洲文化发展的一部分，在这一时期，人们逐渐意识到文化认同是一种跨国现象。文章继续探讨了英国绘画艺术家与制造这些纺织品的手工艺者之间的关系。最后以与马德里达罗卡·科普（Daroca Cope）相关的Orphrey案例研究为例，该Daroca Cope在马德里–现在与Wilton Diptych艺术家的艺术圈中的一位设计师相关。对这些艺术品的尊重和重复使用（其中许多艺术品通过精心保存至今仍保存在大教堂的国库和私人收藏中而得以幸存），这是它们作为我们共同的一部分而持续重要的一个要素欧洲遗产。