The carvings presented here belong to the centuries between the introduction of Christianity to western Scotland by Irish monks such as St Columba, and the arrival of new monastic orders in the 12th century.
Early Medieval Art and Archaeology in the Northern World brings together leading experts on the European early Middle Ages in a celebration of the life and work of internationally renowned scholar James Graham-Campbell. The geographical coverage of this volume reflects Graham-Campbell's interests and expertise which ranges from Ireland to Eastern Europe and from Scandinavia to Spain. The new perspectives and original studies offered represent a major contribution to the field of medieval studies, with papers on the art, archaeology, history and literature of European societies between the fifth and thirteenth centuries. Contributors are Noël Adams, Barry Ager, Marion M. Archibald, Birgit Arrhenius, Coleen Batey, Cormac Bourke, Stuart Brookes, Ewan Campbell, Helen Clarke, Martin Comey, Rosemary Cramp, Wendy Davies, Ben Edwards, Signe Horn Fuglesang, Richard Gem, David Griffiths, Mark A. Handley, Birgitta Hårdh, Negley Harte, David A. Hinton, Ingegerd Holand, Judith Jesch, Alan Lane, Mick Monk, Richard North, Raghnall Ó Floinn, Patrick Ottaway, Raymond I. Page, Caroline Paterson, Neil Price, Barry Raftery, Mark Redknap, Andrew Reynolds, Ian Riddler, Else Roesdahl, John Sheehan, Alison Stones, Gudrun Sveinbjarnardóttir, Gabor Thomas, Nicola Trzaska-Nartowski, Patrick F. Wallace, Leslie Webster, Naimh Whitfield, Gareth Williams, Sir David Wilson and Sue Youngs.
This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.
The International Conference on Insular Art (IIAC) is the leading forum for scholars of the visual and material culture of early medieval Ireland and Britain, including manuscript illumination, sculpture, metalwork, and textiles, and encompassing the work of Anglo-Saxon-, Celtic- and Norse-speaking artists. The present volume contains a selection of papers presented at the eighth IIAC, which took place in Glasgow 11-14 July 2017. The theme of IIAC8 - Peopling Insular Art: Practice, Performance, Perception - was intended to focus attention on those who commissioned, created, and engaged with Insular art objects, and how they conceptualised, fashioned, and experienced them (with ‘engagement’ covering not only contemporary audiences, but later medieval and modern ones too). The twenty-one articles gathered here reflect the diverse ways in which this theme has been interpreted. They demonstrate the intellectual vibrancy of Insular art studies, its international outlook, its interdiscplinarity, and its openness to innovative technologies and approaches, while at the same time demonstrating the strength and enduring value of established methodologies and research practices. The studies collected here focus not only on made objects, but on the creative processes and intellectual decisions which informed their making. This volume brings Insular makers – the illuminators, pattern-makers, rubricators, carvers, and casters – to the fore.
How did past communities and individuals remember through social and ritual practices? How important were mortuary practices in processes of remembering and forgetting the past? This innovative new research work focuses upon identifying strategies of remembrance. Evidence can be found in a range of archaeological remains including the adornment and alteration of the body in life and death, the production, exchange, consumption and destruction of material culture, the construction, use and reuse of monuments, and the social ordering of architectural space and the landscape. This book shows how in the past, as today, shared memories are important and defining aspects of social and ritual traditions, and the practical actions of dealing with and disposing of the dead can form a central focus for the definition of social memory.
In 1970 a concrete replica of the St John’s Cross arrived in Iona sitting incongruously on the deck of a puffer delivering the island’s annual supply of coal. What is the story behind this intriguing replica? How does it relate to the world’s first ringed ‘Celtic cross’, an artistic and technical masterpiece, which has been at the heart of the Iona experience since the eighth century? What does it tell us about the authenticity and value of replicas? In this fascinating book, Foster and Jones draw on extensive interdisciplinary research to reveal the composite biography of the St John’s Cross, its concrete replica, and its many other scale copies. They show that replicas can acquire rich forms of authenticity and value, informed by social relations, craft practices, creativity, place and materiality. Thus, the book challenges traditional precepts that seek authenticity in qualities intrinsic to original historic objects. Replicas are shown to be important objects in their own right, with their own creative, human histories — biographies that people can connect with. The story of the St John’s Cross celebrates how replicas can ‘work’ for us if we let them, particularly if clues are available about their makers’ passion, creativity and craft.
The recent resurgence of academic interest in caves has demonstrated the central roles they played as arenas for ritual, ceremony and performance, and their importance within later prehistoric cosmologies. Caves represent very particular types of archaeological site and require novel approaches to their recording, interpretation and presentation. This is especially true in understanding the ritual use of caves, when the less tangible aspects of these environments would have been fundamental to the practices taking place within them. Between Worlds explores new theoretical frameworks that examine the agency of these enduring 'natural' places and the complex interplay between environment, taphonomy and human activity. It also showcases the application of innovative technologies, such as 3D laser-scanning and acoustic modelling, which provide new and exciting ways of capturing the experiential qualities of these enigmatic sites. Together, these developments offer more nuanced understandings of the role of caves in prehistoric ritual, and allow for more effective communication, management and presentation of cave archaeology to a wide range of audiences.
One hundred years on from J Romilly Allen and Joseph Anderson's 1903 landmark publication, The Early Christian Monuments of Scotland, twenty six essays explore the current state of knowledge of early medieval sculpture in Scotland. They demonstrate the unique value of this material in contributing to our understanding of the society and people that created it between 1000 to 1500 years ago. Today's approaches and techniques offer new insights, as well as great hope, for what might be learnt from future study of 'familiar' and new material alike. The essays exemplify the ever-diversifying, interdisciplinary approaches that are being taken to the study of early medieval sculpture. Key themes that emerge include: the interdependence of conservation, research and access; the need for a 21st-century inventory of the sculpture; the breadth and value of the wide range of the research tools that now exist; conservation issues, including the politics of how and where sculpture should be protected, and the pressing need to identify priorities for action; and, what is probably the most important development over the last 100 years, the increase in awareness of the range of values and significances that attaches to early medieval sculpture, including appreciation of context.
Accessible, extensively researched, and beautifully illustrated, this updated volume by renowned scholar and author Murdo Macdonald sheds light on the history and cultural significance of Scottish art. At a time when issues of Scottish identity are the subject of fierce debate, Murdo Macdonald illuminates Scotland’s artistic past and present in this classic text in the World of Art series. Ranging from Neolithic standing stones and the art of the Picts and Gaels to Reformation and Enlightenment art and major figures in the contemporary art scene, Scottish Art explores the distinctive characteristics of Scottish art through the centuries. It examines the cultural heritage and intricate patterns of Celtic design, the importance of Highland and coastal landscapes, long-standing connections between French and Scottish artists, and how each of these factors influenced the development of art in Scotland. This new edition includes more than 200 full-color images of Scottish art from prehistoric times to the present. With masterpieces from artists such as Charles Rennie Mackintosh and Joan Eardley, this book is a thorough, authoritative, and accessible introduction to Scottish art.