Celtic Art In Pagan Christia

Classic of scholarly research explores origins of Celtic art in Britain, Ireland, and Europe. Illustrated with 44 plates of photographs and line drawings of artifacts from a variety of sites, this study traces Celtic art in the Bronze and early Iron Ages, as well as Celtic art of the Christian period.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

For many, perhaps most, the title Early Celtic Art summons up images of Early Christian stone crosses in Ireland, Scotland, Wales, or Cornwall; of Glendalough, lona or Tintagel; of the Ardagh Chalice or the Monymusk Reliquary; of the great illuminated gospels of Durrow or Lindisfame. But as Stuart Piggott notes, the consummate works of art produced under the aegis of the early churches in Britain or Ireland, in regions Celtic by tradition or language, have an ancestry behind them only partly Celtic. One strain in an eclectic style was borrowed from the ornament of the northern Germanic world, the classical Mediterranean, and even the Eastern churches. Early Celtic art, originating in the fifth century b.c. in Central Europe, was already seven or eight centuries old when it was last traced in the pagan, prehistoric world, and the transmission of some of its modes and motifs over a further span of centuries into the Christian Middle Ages was an even later phenomenon. This volume presents the art of the prehistoric Celtic peoples, the first great contribution of the barbarians to European arts. It is an art produced in circumstances that the classical world and contemporary societiesunhesitatingly recognize as uncivilized. Its appearance, it has been said by N. K. Sandars in Prehistoric Art in Europe: "is perhaps one of the oddest and most unlikely things to have come out of a barbarian continent. Its peculiar refinement, delicacy, and equilibrium are not altogether what one would expect of men who, though courageous and not without honor even in the records of their enemies, were also savage, cruel and often disgusting; for the archaeological refuse, as well as the reports of Classical antiquity, agree in this verdict." This book comprises the first major exhibition of Early Celtic Art from its origins and beginnings to its aftermath, and was assembled by Stuart Piggott who taught later European prehistory to Honors students in Archaeolog

The art of the pagan early Christian Celts (500BC -AD800) was central to their identity. Its significance was all-pervasive, trancending mere ornamentation with a system of symbols that made clear statements about status, power, and gender, about war and the supernatural. In the absence of contemporary written records, this thought-provoking study adopts other means to crack the code of Celtic art. Locating it clearly in its archaeological context, Miranda Green works towards an understanding of its place within Celtic society. The code may be too complex to crack in its entirety, but this book enhances as none has done before our understanding of the art, and of the world which it reflects.

A guide to the basic symbolism of the Celtic Cross, featuring rare illustrations. Did you know that the basic symbolism of the cross is that of the world axis, or the link between Heaven and Earth? Or that the main feature of the ornamented Celtic Cross, the wheel cross, is not derived from the crucifixion, but from a more ancient symbol the Chi-Rho monogram, which is the name of Christ in the Greek alphabet? In Symbolism of the Celtic Cross, Derek Bryce traces the pagan-Christian link of the essential symbolism of the axis mundi from standing stones and market crosses (at crossroads and not always “crosses” in form) to the inscribed slabs and freestanding crosses of the Celtic-Christian era. He includes rare illustrations of ornamental Celtic Crosses from such places as Brittany, Wales, Scotland, the Isle of Man, Cumbria, Ireland, and Cornwall. Bryce explores esoteric aspects of the symbolism, alchemy, and the wisdom of Hermes.