By Kristina L. Bielenberg
The historic textiles of southern Sweden are especially appealing, given their bright colors and detailed designs. My great-grandmother came from western Skåne, so I am particularly fond of the geometric röllakan and curvilinear tapestry weaves from this region of Scandinavia. The older textiles, from the 18th and first half of the 19th centuries, have become harder to find at reasonable prices in recent years. Therefore, as a weaver and collector, I am happy when I can purchase even a tattered textile that reveals technical features of its construction while retaining much visual charm.
In anticipation of my birthday, I splurged and bought a well-worn top of a square cushion cover [dyna, jynne or kudde] woven in dovetail tapestry technique – flamskväv. According to several authorities, its central design, a red lion and a castle in a roundel of foliage and flowers, was one of the most popular during the period 1780-1800. Most of the red lion and castle tapestries are attributed to the Bara District just east of Malmö, with some 70 examples having been inventoried from southwest Skåne, including single and double agedyna [seat covers]. Interestingly, many of these surviving textiles are almost identical in composition and color, suggesting that their weavers relied on the same prints or cartoons for their design or closely copied the work of other weavers.
All photos: Kristina Bielenberg
The cushion top that I acquired is approximately 19 inches high by 20 inches wide. It has an indigo blue background inside the roundel, which contrasts nicely with the red lion, and also a dark brown field behind the surrounding frame of flowers. Some of these flowers are recognizeable – tulips, roses, and a lily – but other blooms and figures defy identification. Like most flamskväv pieces, the design was woven perpendicular to the warp on a vertical tapestry loom. (See detail photos here and at the end of the article.)
The warp is a fine two-plied linen warp (Z2S) with a sett of 12 ends per inch. The weft is spun of fine worsted wool, two-plied (Z2S) and, though the density varies somewhat, there are approximately 40 weft passes per inch, creating a firm but flexible fabric. The front of the textile is somewhat faded, but the vegetable-dyed weft yarns retain their distinct colors and lustrous beauty.
Why the red lion and castle? That remains a bit of a mystery. Some scholars say that the red lion was derived from the Biblical story of Samson’s battle with the lion; others describe it as a symbol of nobility and valor. One has said that the red lion was a heraldic symbol for the village of Bara. No one knows for sure. King Frederick I of Sweden acquired a live lion in 1731, so I imagine that this might have been a source of inspiration.
My cushion top’s design, or one very similar to it, was copied by 20th century weavers and woven using commercially-dyed, woolen-spun yarns. One from about 1900 recently sold at Stockholm Auktionsverk and, though nicely executed, it is coarser in appearance and the pattern is reversed and simplified. See: Flamskväv Skåne The patterns for such 20th century reproductions were often produced by handicraft associations and can still be purchased on-line from Skåne AB’s webstore. See the akedyna design kit with materials at: https://butiken.hemslojdeniskane.se/produkt/lejon-i-krans/
As noted at the beginning of this article, my red lion and castle cushion top is tattered. Sections of weft are missing and there are tears along the selvedge. The seller had mounted the piece on dark cardboard with a cardboard and fabric frame to hold the piece in place. My plan is to remount this textile using acid-free board, supporting fabric, and museum conservation clear glass to protect the weaving from ultraviolet light. This should extend the life of this historic treasure for future generations to admire and study.
Sources:
Viveka Hansen. Swedish Textile Art: Traditional Marriage Weaving from Scania. The Khalili Collection of Textile Art: Vol. 1. The Nour Foundation : London, 1996.
Willborg, Peter. Flatweaves from Fjord and Forest: Scandinavian Tapestries of the 18th and 19th Centuries. David Black Oriental Carpets : London, 1984.
Also, DigitalMuseum.se, “flamskväv” For example: Vävnad