In other words, what is culture? Is just a legacy bequeathed to us by the past, or is a dynamic future (i.e. a future creation proposal).

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1 Heraklion, 5 November 2012 An additional article of the Universal Declaration of human rights which was voted by the United Nations (UN) in December 1948, concerns the right of every people to enjoy cultural goods seamlessly (this article was unfortunately not accepted). So, a problem is raised right away: what are the goods that a civilization is consisted of, indeed especially recognized as a particular achievement of certain groups, peoples and individuals? In other words, what is culture? Is just a legacy bequeathed to us by the past, or is a dynamic future (i.e. a future creation proposal). Immediately say that the legacy of the past has double meaning: it consists in the material heritage (monuments and material possessions of any kind, e.g. artworks or handicrafts), but also in goods provides the intangible culture (e.g. monuments of speech-songs, proverbsdancing events and steps and all the knowhow, the practical knowledge that is associated with the traditional, time-honored exercise of craft professions and not only. Note that the French consider as a monument of culture the French cuisine (which was also recognized by Unesco as a world monument). And of course keeping that in mind, nostrums, erotic potions, spells, recipes etc. can also be classified on intangible culture. But in the dynamics of the future culture we must include every learning. With the recitals (is what mainly guides the Americans)? I teach, I touch the future. Thus, the notorious Silicon Valley has its motto "the best way to tame the future is to create it". So to say it in a simpler way, the use of the old model, but with new conditions applied, constitutes the basis of any kind of culture. This culture is based on the certainties of the past in order always to create a better future. Let's get to our issue, however: the Cretan woven. And here please allow me to tell you a story about an event which is related to the traditional Greek weaving. We are in the early 80s when the Parisian Chancellery of the universities of which I was then Rector, decides to dispose one of the old but classic buildings (after of course being renovated) for the hosting of foreign prominent scientists. It was the Suger center, which works excellent since then without stop). For equipment and furnishings of its Guest House, one of the major donors was Mrs. Anette Schlumberger, (I think the adoptive mother of our own Mr. Kafatos). But for the sponsorship Anette raised a term which the French didn t like (xenise): all the bedclothes said should be woven if possible by either Greek women or even better Cretan weavers. So to use the so-called Cretan Patans (patanies).

2 I hastened to say that I was not the inspiration for this curious term, as the French believed due to my origin, but I accepted it and tried to respond to the demand. The continuity was expected. We did not make it to find weavers ready to take on the project, and Mrs. Schlumberger, who by the way had endowed the Greece with a bunch of provincial libraries, entrusted to me, after of course agreed to use the contribution in accordance with the needs of the Guest House (purchased i.e. French bedclothes) she confided me her query. Why the Greeks leave their popular culture, their traditional craftsmanship to decline, although they have given real masterpieces? I am absolutely sure that today, if she was alive, she would haste to congratulate Mrs. Barbara Terzakis-Pallikaris for her effort. So I will do it, almost on her behalf, wishing every success in national, artistic and cultural work of the University of the Mountains, which with the project Penelope-Gandhi revives the effort of Florentini Kaloutsi-Skouloudi. I will begin my contribution to today's bevy here in Crete, for Penelope Gandhi, saying that I would like one day to enjoy the Cretan hospitality, in a home that will be coated, both on the floor, and in living rooms and walls with the island s wovens, that could also be valances for the windows. Also I would like to see with my own eyes what is written in the books that the colours and the designs are different in mountainous areas, with another aesthetic in Smooth, and doubtless different at the beaches, where the carpets are presented and decorated with ships. As for the purely Cretan creation, I would like to see in reality, something that I suspect without having the relevant evidence, that Minoan pottery, the frescoes of Knossos palace that were studied by Mrs. Florentini Kaloutsi as well as the performances of the Phaistos sarcophagus among other, somehow, must influenced the local weavers. As for example the double Cretan AX which grace many Cretan weavers. But why am I only talking about women weavers, when it is proven that (as was taught by Gandhi, to whom Mrs. Barbara Terzaki-Pallikaris, who is the instigator of that mission, referred) at least in Asia (Minor Asia non-excluding) men weavers practice with more talent this literal yet feminine art. Female, as it s let to believe from transparent traditions, vocabulary and ancient mythology and of course from the Renaissance of the Cretan weaving from Florentini and her numerous laborers. So an American had indeed to indulge in knowledge and implementation of this noble art, in order to become the weaving, at least for a while, in fashion within the so-called high society. I'm talking of course about Eve Palmer Sikelianos, whose work, together of course with Aggelos, animated the Delphic celebrations at the after years of Asia Minor s disaster, and whose the loom is preserved almost intact in the Museum of Sikelianos at Delphi, which everyone can visit. But I mentioned even in passing, the Asia minor s catastrophe, I have also to note that the settlement of Asia minor s refugees in Greece, gave great impetus to the carpet industry, the craft that the Greeks of Asia minor and Eastern mostly centrist, exercised with particular success. To say also that the slum of the refugee settlement where I was born, still claim the existence of the imposing building of the carpet factory in Byron.

3 And here perhaps we should wonder whether the Turk-Cretans, as long as they were on the island, had their own textile patterns and methods, which would perhaps relocate in Asia minor outbreaks of those inherited by the exit, the expulsion of the Greeks. In the same way we should see if the longtime Venetian presence on the island has left its mark on textile patterns as well. If there is, let's say weaving for the whole decoration of the wall and if so with what patterns, perhaps only outlandish. To add also that it wouldn t be pointless to wonder if the Cretan literature, Erotokritos or Erifili, traces the threads of weavers, since both became known and revered throughout Western Greece, despite evidence that contains these issues certainly will study ethnographers experts, anthropologists and much more from me (see e.g. in the room our friend Louisa Karapidaki). They certainly already deployed, for the success of this project of the University, with Sui generis the name of University of Mountains. It was delicate and of course needless to say that the study of weaving art has multifarious aspects. Relate to materials used (hair, cotton, etc.) in the preparation of threads, in their coloring and of course, to patterns, both those which are selected for the covering of floors (rugs and carpets) that were doing maybe once and the role of mattresses, and those chosen for the use of bed linen, pillows, coverlets, seats and beds or even clothing. From the study, among other things, of each Weaver s size, a lot can be said for the use of, but I would say and laterally for the lifestyle, during periods. It is also obvious how much is indicative of domestic economic the weavers production, either for personal use or for the local alternative or no petty trade. And here of course I am not talking about the weaver s industrialization, which seems stranger than the artistic perspective of weaving that interests us here. But I think I got out of my point, speaking for the obvious or about things and issues that a bit (if not any) don't possess. However, I would like to emphasize the need for scientific research around the Greek weaving, and this to illustrate the specificity, if there is one, in an industry that has certainly accept mutual Balkan effects. This at least shows us an in-depth investigation around the Albanian carpet industry, promoted and displayed by the University of Tirana titled as "Albanian rugs and carpets". I can recognize without even trying, patterns that I did intimate that I found familiar with the let s say Arachovitika, but as well the Nothern s Greece wovens, which I recognize in the photographs of this publication. Of course, do not hesitate to show the Albanian study (among other things) and variations in the pattern of the biceps Eagle, a pattern that finds inspiration in Albania. Let's consider the remark as a remnant of the Byzantine presence in Albania (the Byzantine Illyria), although we must not forget, that the double-headed eagle, is now the National symbol of our neighbor country. It would be certainly desirable, if part of the Greek study on weaving was any Byzantine payment. Just to remind you, that the examita, diblatta and triblatta are the conditions, inter alia, that characterize the types of Byzantine weavers (not only of official, those who are prohibited from leaving the country (e.g. precious Palia), but simple creatures and anonymous works, who worked for to decorate with bila (Valances) openings between columns poor maybe churches but this Ag. Sofias. And since we are talking about Byzantium, I have to remind you that the Byzantine cloth, i.e. woven, was a high technical product was whose works were unparalleled art samples.

4 Imperial workshops in Istanbul and in the provinces (BC in Egypt and Syria before the Arab conquest), but also in Corinth and Thebes, famously produced the covert way overbearing, those which were destined for the Emperor and the Court, artwork with representations of religious and secular (hunts, Lions, Eagles in rosettes: aetaria, gryparia etc.). These valuable fabrics, made from silken color threads, interspersed with golden threads, belonged to the State s property and the emperor used them often for gifts to foreign rulers. The museums of Europe, but also the cathedrals, are full of these valuable species, which have enriched the countries of Europe, especially after the sacking of Istanbul, in 1204 by Crusaders. The gilded Byzantine textiles, were destined, except of course from the yard in rich churches (when they were representing religious themes) but also to the Lords. The Asterios Amaseϊas (lived in the 6th century) scoffed says that many wealthy are, because of their clothing decorated with representations of (I quote): "Painted, Historiated, circumstellar walls'. The names of these weavers sometimes betray their type and their coloring. For example, the sendes, the linomalotaria, the oxea megalozila, the prasinodiblatta and the imimilinodivlatta, these valuable textiles know worldwide were coveted, and since the fabrics travel easily, became smooth object that indicates the technological excellence of Byzantium. Recall that the Normans in a blitz against Greece in 1185 captured workers of laboratories of Corinth and Thebes (there were also private workshops such as those of Daniilidas in Patras). From these workmen weavers who were captured the Normans, and then Western Europe, was taught the production of the famous brocades. However as a Byzantine surviving we should certainly consider the habit of weaving religious issues. Found in bedding (so-called patanies) but also in numerous towels that wove for the dowry, the maidens of Crete. Moreover, one of the themes that adorn these towels are the psiki, the nuptial IE sequence, the word psiki is highly Byzantine term opsikion (has exactly the same meaning) term that gave the name to the area (opposite in Instanbul) where originally the Imperial retinue idea (opsikion theme is, in Bithynia) The weaving has always been a divine art for the Greeks. The tool, the loom, as shown by the etymological origin, is the main tool of civilization. In Crete is the workshop of art and culture. And for the divine attribute of weaving, we recall here the controversy of the spider with the goddess Athena, which also features one of the numerous adjectives (evokes in us the other Virgin, Panagia) one more name of Athena, was the Ergani (i.e. protector of domestic life and creation, as shown by the myth of Pandora that endowed the Athena with home dexterity). It is not without significance that in the Panathenaic games, in a formal procession, the Athenians offered to their goddess who was protecting them, a veil woven by the city s virgin girls. To recall the controversy of the spider with Athena, as it is rescued by Ovid in his Metamorphoses. The spider, known for its skill in weaving and embroidery (mainly in Lydia) was Idmona s daughter, who was specialized in the dyeing of threads. The reputation of the spider turned into arrogance, so much that the spider asked to wrestle in the skill of weaving with the Athena, while the goddess tried to prevent it.

5 In the fight the spider chose theme of its weaving of the works of the gods and especially their erotic adventures, which aroused the ire of the Virgin Athena. So the goddess gashed the Spider s web and the Spider committed suicide out of despair. Then Athena transformed her into the unfledged bug and cursed her to weaves while being hung. Conclusion: no one can contend against the gods. (Something that, let's say Prometheus, knows well) but we kept, as let s say tribute to Spider s skills, her name like synthetic weaving elite creation. I'm talking of course about the sought after flimsy arachnoefanta. It s about time to conclude, with a parallelism. As Homer ever unfinished Penelope s tapestry is the symbol of the future and the organ rather of conjugal fidelity, let's wish the University of Mountains, which has been referred in Penelope, to become the sleepless attempt to revive traditional cultural experience, with persistence and faith for the future. And of course above all I wish to thrive first here on the island of Crete and progressively throughout the country, the divine art of weaving, while its old servants who know about it better than anyone its secrets are still alive. The University of Crete, following there in the University of Ioannina, where he recently argued thesis for the Metsovo s textiles, should synergize to fruition this objective of the University of the Mountains, for the weaving of Crete, Mission Penelope Gandhi. I emphasize again, finally. Knowledge of weaving is a valuable asset of intangible culture. This is that nowadays Unesco is trying to salvage, while the products of this unequalled craft, are brilliant examples of material folk culture of the country. Participate i.e. weaving in cultural creation mentioned dual booting. Let s say it more simply: without doubt each woven is a piece artwork, and traditional technique. Weaving is the Combination of past together with artistic future, deserves to write its story, discovering its secrets and familiarize its lessons for a more authentic and finest tomorrow that we all need in this place, especially nowadays. I congratulate Mrs Barbara Terzaki-Pallikaris and her team for innovative thinking and initiative, for the resurrection of the sacred art of great weaving of Crete. Helen Glykatzi-Arveler