2025年6月29日星期日

Mangalasutra

A mangala sutra (Sanskrit: मङ्गलसूत्रम्, romanized: maṅgalasūtram), or tali (ISO: tāḷi), is a necklace worn by married Hindu women. During a Hindu wedding, the mangalasutra is tied around the neck of the bride by the groom. The ceremony is known as the Mangalya Dharanam (Sanskrit for 'wearing the auspicious').

A mangalsutra is a sacred necklace worn by married Hindu women in India, symbolizing their marital status and commitment to their husbands. It's considered a symbol of love, commitment, and divine blessings. The word "mangalsutra" is derived from Sanskrit, where "mangal" means auspicious and "sutra" means thread. Mangalsutras are sometimes passed down through generations as cherished family heirlooms, connecting mothers, daughters, and granddaughters. 

The mangalsutra is tied around the bride's neck by the groom during the Hindu wedding ceremony, signifying their union. It represents the eternal bond between husband and wife, and is typically worn throughout the woman's lifetime. The mangalsutra is believed to protect the husband and family, and it's also seen as a source of divine blessings. 

Mangalsutras vary in design and materials across different regions and communities in India. Traditionally, they consist of black beads strung on a yellow or black thread, often with a gold pendant. Black beads are believed to absorb and deflect negative energy, providing protection to the wearer and her family. 

Mangalasutra literally means "an auspicious thread" that is knotted around the bride's neck and is worn by her for the remainder of her marriage. It is usually a necklace with black beads strung from a black or yellow thread prepared with turmeric. Sometimes gold, white or red beads are also added to the mangala sutra, depending on regional variation. The necklace serves as a visual marker of marital status.

The tying of the mangala sutra is a common practice in India, Sri Lanka, and Nepal. The idea of sacred thread existed for centuries, even going back to the Sangam period. But the nature of these auspicious threads has evolved over time and varies widely according to various communities. While traditional designs are still prevalent, modern variations of mangalsutras incorporate diamonds and other precious stones. 

History
The mangala sutra's origin dates back to the 4th century BCE, referred to as the mangalya sutra in the Lalita Sahasranama, and the Purananuru, a Sangam text, mentions a sacred marriage tali upon a woman's neck. It also finds a mention in the 6th century CE as a single yellow thread that was tied around the bride for protection from other men and evil spirits.

The concept of mangala sutra has evolved over centuries, and has become an integral part of marriages among several Indian communities. Historian of Indian jewellery, Usha Balakrishnan, explains that the mangala sutra had previously referred to a literal thread as opposed to an item of jewellery.

The significance of the mangala sutra is described by Adi Shankara in the Soundarya Lahari. According to Hindu tradition, the mangala sutra is worn for the long life of the husband. As told by religious customs and social expectations, married women should wear mangala sutra throughout their life as it is believed that the practice enhances the well-being of her husband. Bridal jewellery in ancient times also worked as a financial security against old age and widowhood, even though women did have property rights.

Designs
Mangala sutras are made in a variety of designs. The common ones are the Lakshmi tali worn by the Telugus of Telangana and Andhra Pradesh, which contain images of Lakshmi, the goddess of auspiciousness, ela tali or minnu worn by the Malayalees of Kerala, and the Kumbha tali worn by the Tamils of the Kshatriya caste in Tamil Nadu. The design is chosen by the groom's family according to prevalent customs. Gujaratis and Marwaris from Rajasthan often use a diamond pendant in a gold chain which is merely ornamental in nature and is not a substitute to the mangala sutra in the traditional sense. Marathis of Maharashtra wear a pendant of two vati ornaments shaped like tiny bowls. The mangala sutra of the Kannadigas of Karnataka is similar to that of the Marathis, except that it usually has one vati. Nowadays many fashion-conscious families opt for lighter versions, with a single vati or a more contemporary style.

Konkani people (Goans, Mangaloreans, Bombay East Indians and others, including Hindus) wear three necklaces around their necks, referred to as dharemani or muhurtmani (big golden bead), mangalasutra with one or two gold discs and kasitali with gold and coral beads. In Andhra Pradesh and Telangana, the two coin-sized gold discs are separated by 2-3 beads of different kinds. By tradition, one disc comes from the bride's family and another from the groom's side.

Non-Hindu religious groups such as Syrian Christians also wear mangala sutra, but with a cross on it.

Meaning
The significance of the mangalsutra was reiterated by Adi Shankara in his famous book Soundarya Lahari. According to Hindu tradition, the mangasutra is worn throughout the long life of the husband. In accordance with religious customs and social expectations, married women are expected to wear the mangalsutra throughout their lives, as this practice is believed to enhance the well-being of their husbands. In ancient times, bridal jewelry also served as a financial guarantee against old age and widowhood, even though women had property rights.

According to tradition, the mangalsutra symbolizes the inseparable bond between a husband and wife. During the wedding ceremony, the groom, while performing the ritual act of tying the ties of the mangalsutra around the bride's neck, pronounces, "Long may you live wearing this sacred mangalsutra, you who are the reason for my existence."

Married women are required to wear the Mangalsutra throughout their lives, as it is believed to improve the well-being of their husbands and family, but it cannot be displayed in public. The Mangalsutra is also believed to protect the marriage from all harm. A Hindu marriage is therefore incomplete without the Mangalsutra.

Furthermore, the three knots symbolize three different aspects of a married woman: the first knot represents obedience to her husband, the second to her parents, and the third represents her respect for her God.


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Necklace of Harmonia

The Necklace of Harmonia, also called the Necklace of Eriphyle, is a cursed object from Greek mythology, notorious for bringing misfortune to its owners and their descendants. It was crafted by the god Hephaestus and given as a wedding gift to Harmonia, the daughter of Ares and Aphrodite, when she married Cadmus, King of Thebes. The necklace is often depicted as being made of gold and jewels, with two serpents forming a clasp with their open mouths. 

The Necklace of Harmonia is cursed to bring bad luck and misfortune to anyone who possesses it, regardless of their status or lineage. The necklace symbolizes the destructive power of jealousy and the consequences of divine wrath. 

Hephaestus, the god of the forge, created the necklace as a gift for Harmonia and Cadmus' wedding. However, he also cursed it due to his jealousy over Aphrodite's infidelity. The curse of the necklace is said to have affected many of Harmonia's descendants, including Jocasta, who unknowingly married her son Oedipus, leading to tragedy. 

Origins
There are multiple stories concerning the creation of the necklace and origin of its curse. The most common version names Hephaestus, the god of smithing, as its creator. Hephaestus was married to Aphrodite, who regularly had sexual trysts with Ares behind her husband's back. When Hephaestus was informed of his wife's actions by Helios, he was enraged and vowed to curse any children born of the affair. Aphrodite and Ares had multiple children together, including Harmonia, goddess of harmony and concord. Harmonia was betrothed to Cadmus, the legendary founder of Thebes. Upon hearing of the engagement, Hephaestus attended the wedding and gave Harmonia an exquisite necklace (ὅρμος) and peplos (robe) as a wedding gift.

In other versions of the myth, the necklace was instead gifted by Athena, Aphrodite, or Cadmus's sister Europa, who had received it as a gift from Zeus. In Hyginus' Fabulae, both Hera and Hephaestus plotted together to curse the gifts, and the peplos was the actual source of the curse ("a robe dipped in crimes").

Description
No definitive, undisputed description of the necklace exists, however, it was undoubtedly made of gold. Pausanias debates the appearance of the necklace in his Description of Greece, and believed it was likely solid gold, as Homer mentioned in his Odyssey ("who took precious gold as the price of the life of her own lord"). However, he states it may have also been a golden necklace inlaid with precious stones, possibly amber.

Other authors claimed the necklace was gold and covered with jewels. Statius described the necklace as being gold with green emeralds, and covered in images of misfortune:
"There forms he a circlet of emeralds glowing with a hidden fire, and adamant stamped with figures of ill omen, and Gorgon eyes, and embers left on the Sicilian anvil from the last shaping of a thunderbolt, and the crests that shine on the heads of green serpents; then the dolorous fruit of the Hesperides and the dread gold of Phrixus' fleece; then divers plagues doth he intertwine, and the king adder snatched from Tisiphone's grisly locks, and the wicked power that commends the girdle; all these he cunningly anoints about with lunar foam, and pours over them the poison of delight."

In his Dionysaica, Nonnus described the necklace as being made of two gold snakes with ruby eyes, their heads joined in the center by a golden eagle with four wings that they held in their mouths. Each of the eagle's wings was covered with a different stone: one was covered in yellow jasper, one in moonstones, one in pearls, and one in agates. The entire necklace was covered with emeralds.

A necklace claimed to be the Necklace of Harmonia was kept in a temple to Adonis and Aphrodite in Amathus. It was gold inlaid with green jewels or stones.

Cursed owners

Harmonia, Cadmus, and their children
Years after their marriage and receiving the necklace, Harmonia and Cadmus were both transformed into serpents, possibly as a consequence of Cadmus slaying Ares's sacred dragon. However, the necklace's role in their misfortune is debatable due to the couple being blessed by the gods, Harmonia being a goddess, and the couple's ascension to Elysium after their transformation.

Together, Cadmus and Harmonia had five children: Semele, Ino, Polydorus, Autonoë, and Agave. Each child experienced misfortune. Semele became Zeus's mistress and became pregnant with Dionysus. However, Zeus's wife Hera discovered the affair; she tricked Semele into asking Zeus to prove his godhood by revealing his true form to her, and she was incinerated. When Dionysus was born, he was placed into the care of Ino, Agave, and Autonoë. However, Hera's jealousy persisted. She struck Ino and her husband Athmas with madness; Athmas hunted down and killed their son Learchus like a deer and Ino boiled their son Melicertes alive before leaping into the ocean with his body, transforming into Leucothea. When Dionysus returned to Thebes as an adult, Autonoë and Agave were swept up in the Bacchic frenzy and festivals he inspired. During the frenzy, the sisters tore Agave's son Pentheus to pieces, and Agave fled Thebes in shame. Later, Autonoë's son Actaeon was transformed into a stag and torn to pieces by his own hounds for glimpsing Artemis naked. Both Polydorus and his son, Labdacus, died young. In his Library, Apollodorus claimed that Polydorus and Labdacus were torn apart in the Bacchic frenzy alongside Pentheus.

Jocasta, Oedipus, and their children
The necklace eventually passed to Jocasta, granddaughter of Pentheus. Jocasta unknowingly married her son, Oedipus, and the couple had four children together: Antigone, Eteocles, Polynices and Ismene. When Oedipus's identity was discovered, Jocasta committed suicide by hanging and Oedipus gouged his eyes out and exiled himself from Thebes. Once Oedipus vacated the throne, Eteocles and Polynices became embroiled in a civil war called the Seven Against Thebes for control of the kingdom. Eventually, both brothers killed each other during battle and Antigone was killed in retaliation for her attempts to bury Polynices's body. These events are described in Sophocles' "Three Theban Plays": Oedipus Rex, Oedipus at Colonus, and Antigone. 

Eriphyle and Alcmaeon
After Jocasta's death, the necklace and peplos were then inherited by Polynices. Polynices used the necklace to bribe Eriphyle into persuading her husband Amphiaraus to partake in the doomed Seven Against Thebes war effort, aimed at placing Polynices on the Theban throne. She also received the peplos in exchange for persuading her sons Alcmaeon and Amphilochus to join the expedition as well. However, Amphiaraus discovered the plot and instructed his sons that, if he did not survive, they needed to avenge him by killing their mother. When news of Amphiaraus's death reached Alcmaeon, he killed Eriphyle. The necklace and peplos then came into his possession, but he left them behind with his first wife Alphesiboea, daughter of King Phegeus, during his journey to free himself from his mother's vengeful ghost.

Alcmaeon eventually married Callirrhoe, daughter of the river god Achelous. Callirrhoe coveted the necklace and peplos, and demanded that he retrieve them for her. Alcmaeon obliged, and returned to Psophis, where he lied and told Phegeus that he needed the items in order to purify them. Phegeus obliged and handed them over, but instructed his sons Pronous and Agenor to ambush and kill Alcmaeon so that he could take them back. When Callirrhoe learned of the murder, she instructed her sons by Alcmaeon, Amphoterus, and Acarnan, to avenge their father. On their journey, they killed Pronous, Agenor, and Phegeus, and retrieved both the necklace and peplos, which they decided to dedicate to the temple of Athena at Delphi.

Phayllus and his mistress
The necklace stayed at the temple of Athena at Delphi until a Phayllus, a Phocian general in the Third Sacred War (356–346 BC), stole the necklace from the temple to appease his mistress, Ariston's wife, who coveted it. After she had worn it for a time, her son was seized with madness and set fire to the house, and the entire family perished inside.


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2025年6月28日星期六

Shell gorget

A shell gorget is a Native American pendant, typically made from a polished and carved marine shell, worn around the neck as a piece of personal adornment. These gorgets are often engraved with intricate designs and sometimes highlighted with pigments or fenestrated (pierced with openings). Shell gorgets were particularly significant during the Mississippian period in North America, where they were associated with social status, rituals, and cosmological beliefs. 

Shell gorgets are a Native American art form of polished, carved shell pendants worn around the neck. The gorgets are frequently engraved, and are sometimes highlighted with pigments, or fenestrated (pierced with openings). Shell gorgets are crafted from large, flat pieces of marine shell, often originating from the Gulf of Mexico. They are typically circular or oval in shape and have holes drilled through them for attachment to a necklace or cord. Shell gorgets are primarily associated with the Mississippian culture in the southeastern United States, but they have also been found in other areas through trade and exchange networks. 

Shell gorgets were important items of personal adornment, but they also served as symbols of status, power, and connection to the spiritual realm. They were exchanged between leaders of different towns to solidify alliances and reinforce social hierarchies. The imagery on the gorgets, such as the Morning Star figure, often relates to specific myths and cultural narratives. 

The engravings on shell gorgets are not merely decorative; they often carry symbolic meaning related to cosmology, mythology, and social structure. Common motifs include figures in motion, sun and moon symbols, snakes, spiders, and cross-in-circle designs. 

Shell gorgets were most common in Eastern Woodlands of the United States, during the Hopewell tradition (200 BCE – 500 CE) and Mississippian cultural period (c. 800–1500 CE); however, tribes from other regions and time periods also carved shell gorgets. The earliest shell gorgets date back to 3000 years BP. They are believed to have been insignia of status or rank, either civic, military, or religious, or amulets of protective medicine. Due to the placement of the holes in the gorgets, they are also thought to be spinners that could produce whistling sounds.

Materials and techniques
Lightning whelk (Sinistrofulgur perversum) is the most common shell used for gorgets. Other shells, such as the true conch or Strombus, as well as freshwater mussels, are also carved into gorgets. Today, due to environmental causes, harvested lightning whelks are significantly smaller than in precontact times. These earlier shells typically ranged from 6 to 12 inches (15 to 30 cm) in length.

Harvested off the coasts of Florida and the Gulf of Mexico, the shells were traded through the Eastern Woodlands. This native trade continued into the 16th century.

Gorgets are carved from the penultimate whorl of the shell. A blank is cut or broken out, then ground smooth. Holes for suspension and decoration are drilled, sometimes with a bow drills or chert drills. The gorget forms a concave shape and, when engraved, the interior is polished and decorated.

While most gorgets are circular, some are shaped as rectangles with rounded corners, maskettes, or other novel shapes. An extremely elaborate pendant from Spiro Mounds is shaped as two hands connected by a common beaded bracelet.

Archaic and Hopewell
Adena cultures created gorgets from slate and copper, but the Hopewell Exchange System brought exotic shells from the Gulf northward. Initially, Hopewellian peoples carved plain shell gorgets around 1000 BCE. Engraved gorgets appeared in the late Hopewell. A Glacial Kame culture marine-shell gorget from the Great Lakes dates from 1000 BCE and features an engraved bear or opossum with an umbilical cord.

Mississippian
As Mississippian shell gorgets were traded widely, common designs have a widespread geographical distribution. Calusa people of southern Florida harvested and carved gorgets. Coiled rattlesnakes gorgets were found among the Guale Indians of Georgia.

Mask gorgets, although rare, are found throughout the southeast, with the most prominent site clusters occurring in the Ohio River valley, eastern Tennessee, and the Arkansas delta, although finds have been found as far afield as North Dakota. The masks have bas-relief noses, drilled eyes, engraved or drill mouths, and sometimes forked-eye motifs or zigzags under the eyes. Small shell cameos, under two inches wide, were found at Spiro Mounds. Although dating is difficult in the current archaeological context, these masks are likely to be a later phenomenon (c. 1500–1700): although they are often found in sites that also produce 16th century Spanish trade goods, they are entirely absent from classic mound sites, which were active until the fourteenth century.

Iconography
Iconography on the shell gorgets comes from the Mississippian Ideological Interaction Sphere. Extremely common designs include the triskele, coiled rattlesnake, spider, chunkey player, and birdman, sometimes called a Falcon Impersonater.

Native Americans, art historians, and anthropologists all have a wide range of often conflicting interpretations of the Mississippian iconography. Coiled rattlesnake gorgets were often found in the graves of young people and are believed to relate to age as opposed to status. The forked-eye motif, commonly identified as markings from a peregrine falcon, dates back to the Hopewell exchange, and the symbol references excellent vision and hunting skill among Muscogee Creek people. "Strength of Life" design is interpreted by Kvokovtee Scott and Phillip Deer (Muscogee medicine man) as referencing a whirlwind and dancing movement.

There are over 30 pre-contact examples of the Cox Mound gorget style, found in Tennessee and northern Alabama and dating from 1250 to 1450 CE. The Cox Mound gorget style features four woodpecker heads facing counter-clockwise, a four-lopped square motif, and a sometimes a cross within a rayed circle. It has been interpreted as a visualization of the Yuchi myth of the winds. The four-looped square, or guilloche, is considered by some to be a "whirling sun" motif, or a priestly or chiefly litter; by some, the earth held up by cords to the Sky Vault at the four cardinal points; and by others, the path of life with four stages of maturity. Woodpeckers are associated with the four winds and are medicine birds that can extract illnesses among Muscogee Creeks. The birds are also sometimes interpreted as the four winds. The rayed circle or sun is interpreted literally, a deity or ancestors, council, and/or sacred fire. The entire design could also illustrate the Yuchi myth of the winds.

A gorget from the Castalian Springs Mound Site in Tennessee features a man holding a mace and severed head. This has been interpreted by some anthropologists as a "flying shaman."

Some agreement can be found in interpreting the cross-in-circle design, which references the sun and the ceremonial fire, fed by four logs aligned to cardinal directions. Another design widely agreed upon is the water spider with a cross-in-circle design on its cephalothorax. Spider gorgets have a widespread distribution but are commonly found in what is now Illinois.

Historic gorgets
Turtle shells and stones have also infrequently been carved into gorgets. In the 18th century, metal medallions replaced shell gorgets among Eastern tribes. In the late 19th century, women from tribes along the Colorado River, such as the Quechan wore defenestrated gorgets made from bivalve shells and strung on vegetal cordage.

Contemporary
Shell carving is experiencing a revival among Southeastern tribes today. Knokovtee Scott (Cherokee Nation/Muscogee, 1951–2019) studied under tribal historians, traditionalists, and medicine men. Scott carved gorgets with purple freshwater mussel shell harvested from near Fort Sill, Oklahoma. Sandy Fife Wilson (Muscogee) of Oklahoma carves shell gorgets and whelk shell cups, as does Antonio Grant (Eastern Band Cherokee) of North Carolina.


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2025年6月27日星期五

Usekh collar

The Usekh collar, also known as a broad collar, is a distinctive piece of ancient Egyptian jewelry, typically worn by deities, men, and women of the elite class. It is characterized by its wide, collar-like shape, often made of multiple rows of beads or plaques. These collars were not just decorative but also held significant symbolic and ritualistic meaning. 

As early as the Old Kingdom (c. 2670–2195 B.C.), Egyptian artisans fashioned images of deities, kings, and mortals wearing broad collars made of molded tubular and teardrop beads. The Usekh or Wesekh is a personal ornament, a type of broad collar or necklace, familiar to many because of its presence in images of the ancient Egyptian elite. Deities, women, and men were depicted wearing this jewelry. One example can be seen on the famous gold mask of Tutankhamun. The ancient word wsẖ can mean "breadth" or "width" in the Ancient Egyptian language and so this adornment is often referred to as the broad collar.

The Usekh collar is a wide, often layered, necklace that sits around the neck and upper chest. It is typically made with rows of beads, which can be tubular, leaf-shaped, or other forms, sometimes arranged in a ladder pattern. The usekh broad collar was wrapped around and supported by the neck and shoulders. It is typically adorned with closely placed rows of colored stone beads, or it is made entirely of metal. The collars were connected with clasps of gold.

The Usekh collar represents a fascinating intersection of art, symbolism, and ritual in ancient Egyptian culture. These collars were crafted from a variety of materials, including gold, faience (a type of ceramic), semi-precious stones like carnelian and lapis lazuli, and even glass. They often featured intricate designs and could be quite elaborate, especially those worn by royalty. 

It was composed of two flat, semicircular clasps forming a large crescent moon. The weave was usually made of a network of multiple colored pearls in faience, hard stone, or precious metal. The outer edge was often adorned with pendants. A counterweight placed on the wearer's back balanced this heavy necklace.

The Usekh collar is frequently depicted in ancient Egyptian art, including tomb paintings, statues, and on objects like the famous gold mask of Tutankhamun. The Usekh collar was more than just an ornament. It was believed to offer protection, invoke the gods, and signify status and power. In some contexts, it was associated with fertility for women and virility for men. 

Since the Middle Kingdom, it was also placed on the chest of mummies, painted on cartonnages, as a form of protection, representing different symbols such as falcon heads, vultures with outstretched wings, cobras and garlands or polychrome plant motifs that would help them emerge unscathed from the underworld of Osiris.

From the Late Period of Egypt, in the Book of the Dead, formulas 157 and 158 specify the rituals that were to be performed during funerals to place the usej as protection of the deceased.

Useh was considered a symbol of protection and was mentioned in rituals of opening the mouth and ritualization of divine statues. In the Abydos Temple of Seti I in the hall of Ra-Horakhte there is an image of the pharaoh offering necklaces and pectorals to the gods. This ritual was probably part of the cult. Useh could also be likened to Atum, who embraced Shu and Tefnut to tell them his Ka. Therefore, wearing the usekha was symbolically equivalent to touching the hands of a god. Useh thus had the same meaning as the vulture with outstretched wings on the sarcophagus of Thutmose I.

From the New Kingdom onwards, usekh also appeared in the form of amulets bearing the head of a god, animal or pharaoh. However, these amulets usually depicted female deities. In some cases, divine couples were depicted, such as Onuris and Tefnut together. Such usekh are found not only with mummies, but also as links in chains, rings and earrings. Small amulets were also made for the deceased.

The representation of the heads of the gods with ousekh was already found on the banner and the prows of the stern of the divine barque to protect the cult statues that were carried out of the temples during festive processions. Thus, the aegis symbolized the divinity, and the useh was a mere ornament.

In funerary rituals, it was believed to offer protection for the deceased. Over time, the broad collar went through many different variations of form. These could be attributed to shifting mythological perspectives, or perhaps due to geographical movement across Egypt.

A scene in the Fourth Dynasty tomb of Wepemnofret at Giza connects the usekh collar with dwarfs and the deity Ptah. Bernd Scheel has argued that Ptah, who is sometimes depicted wearing the broad collar, protects the deceased through the collar and that dwarves had access to that protective magic, because of their work making these types of collars. In the Fifth Dynasty tomb chapel of Akhethotep (originally located at the Saqqara burial ground, but now in the Louvre), one scene distinguishes between two types of collars: the broad collar and the šnw or "encircling" collar.


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2025年6月17日星期二

Bohemian glass

Bohemian glass, also known as Bohemia crystal, is a type of glass produced in the Bohemia and Silesia regions. Renowned for its high quality, craftsmanship, and often innovative designs, Bohemian glass has a long history of international recognition. The glass is known for its transparency and intricate carvings. 

Bohemian glass is celebrated for its meticulous craftsmanship and attention to detail. The glass is known for its exceptional clarity and ability to reflect light. Bohemian glass often features elaborate cuts, engravings, paintings, and enamelwork. While traditionally known for forest green, Bohemian glass is now available in a range of colors, including ruby red, cobalt blue, and others. It is used for a wide array of items, from stemware and vases to chandeliers and figurines. 

The production of glass in Bohemia dates back to monastic times. Bohemian glass has been a prized luxury product in Europe since medieval times, through the Renaissance and Baroque periods, and into modern times. The Czech Republic has many towns with long traditions of glassmaking, such as Jablonec nad Nisou, Železný Brod, and Kamenický Šenov. 

Overview
Bohemian glass is glass produced in the regions of Bohemia and Silesia, now parts of the Czech Republic. It has a centuries long history of being internationally recognised for its high quality, craftsmanship, beauty and often innovative designs. Hand-cut, engraved, blown and painted decorative glassware ranging from champagne flutes to enormous chandeliers, ornaments, figurines and other glass items are among the best known Czech exports and immensely popular as tourist souvenirs. The Czech Republic is home to numerous glass studios and schools attended by local and foreign students.

The oldest archaeological excavations of glass-making sites in the region date to around 1250 and are located in the Lusatian Mountains of Northern Bohemia. Other notable Czech sites of glass-making throughout the ages are Skalice u České Lípy, Jablonec nad Nisou, Železný Brod, Poděbrady, Karlovy Vary, Kamenický Šenov and Nový Bor. Several of these towns have their own glass museums with many items dating to around 1600. Jablonec nad Nisou in particular is famous for the local tradition of manufacturing glass costume jewellery. Its long history is documented by large collections in the Museum of Glass and Jewellery in Jablonec nad Nisou.

Among the most famous Czech glass producers are: Moser (considered the most luxurious Czech brand), Rückl (the glass from them was owned, for example, by the British Queen Elizabeth II), and Crystalex (the largest Czech producer of drinking glasses, own trademark Bohemia Crystal).

Features
Its specialty consists in the extreme transparency of the glass imitating rock crystal and in the deep and perfect engraving or carving that in hollow or relief is applied to the best pieces. At the end of the 17th century Bohemia abandoned its special style adopting the coloring of the Venetian glass. Its most notable productions consisted of elegant cups, engraved and cut in facets but without the additions of fantastic appendages and without the lightness of the Venetians. The colors used in the initial coloring of the glasses were [turquoise blue], yellow, and pink (pink was not produced until 1840). In the middle of the 19th century, work began with opaline glass that would give it tremendous success, many rivals in the European glass industry tried to copy the vivid opaline reflections of Bohemian glass without success.

Crystal vs. glass
Originally a vessel of "crystal" exclusively meant one carved from the transparent mineral rock crystal, an extravagant and highly expensive object. The glass industry appropriated the term for glass objects. The modern meaning of crystal versus glass changes according to the country. The word "crystal" means, in most of the Western world, lead glass, containing lead oxide. In the European Union, the labeling of "crystal" products is regulated by Council Directive 69/493/EEC, which defines four categories, depending on the chemical composition and properties of the material. Only glass products containing at least 24% lead oxide may be referred to as "lead crystal". Products with less lead oxide, or glass products with other metal oxides used in place of lead oxide, must be labeled "crystallin" or "crystal glass". In the United States it is the opposite - glass is defined as "crystal" if it contains only 1% lead. Although in the EU, in the Czech Republic, the term "crystal" is commonly used for any exquisite, high quality glass.

The presence of lead in crystal softens the glass and makes it more accessible for cutting and engraving. Lead increases the weight of the glass and causes the glass to disperse light more. Glass can contain up to 40% lead, if maximum hardness is desired. On the other hand, crystal can contain less than 24% lead if it has a high proportion of barium oxide, which ensures high quality light diffraction. The term "half-crystal" has been used within glassmaking for glass with a relatively low level of lead. 

History
Bohemia, currently a part of the Czech Republic, became famous for its beautiful and colourful glass during the Renaissance. The history of Bohemian glass started with the abundant natural resources found in the countryside.

Bohemian glass-workers discovered potash combined with chalk created a clear colourless glass that was more stable than glass from Italy. In the 16th century the term Bohemian crystal was used for the first time to distinguish its qualities from glass made elsewhere. This glass contained no lead as is commonly suspected. This Czech glass could be cut with a wheel. In addition, resources such as wood for firing the kilns and for burning down to ashes were used to create potash. There were also copious amounts of limestone and silica. In the 17th century, Caspar Lehmann, gem cutter to Emperor Rudolf II in Prague, adapted to glass the technique of gem engraving with copper and bronze wheels. During the era, the Czech lands became the dominant producer of decorative glassware and the local manufacture of glass earned international reputation in high Baroque style from 1685 to 1750.

Czech glassware became as prestigious as jewellery and was sought-after by the wealthy and the aristocracy of the time. Czech crystal chandeliers could be found in the palaces of the French king Louis XV, Austrian empress Maria Theresa and Elizabeth of Russia.

Bohemia turned out expert craftsmen who artfully worked with crystal. Bohemian crystal became famous for its excellent cut and engraving. They became skilled teachers of glass-making in neighbouring and distant countries. By the middle of the 19th century, a technical glass-making school system was created that encouraged traditional and innovative techniques as well as thorough technical preparation.

In the second half of the 19th century, Bohemia looked to the export trade and mass-produced coloured glass that was exported all over the world. Pairs of vases were produced either in a single colour of opaque glass or in two-colour cased glass. These were decorated in thickly enamelled flower subjects that were painted with great speed. Others were decorated with coloured lithographic prints copying famous paintings. These glass objects were made in huge quantities in large factories and were available by mail order throughout Europe and America. Many of them were not fine art but provided inexpensive decorative objects to brighten up ordinary homes. Reverse glass painting was also a Czech specialty. The image is carefully painted by hand on the back of a pane of glass, using a variety of techniques and materials, after which the painting is mounted in a bevelled wooden frame.

Glass artisanship remained at a high level in the communist period because it was considered ideologically innocuous and it helped promote the good name of the country. Czech glass designers and manufacturers enjoyed international recognition and Czech glassware including art works such as sculptures was displayed and awarded in many international exhibitions, most notably in Expo 58 world fair in Brussels and in Expo 67 in Montréal.

Today, Czech crystal chandeliers hang, for example, in Milan's La Scala, in Rome's Teatro dell'Opera, in Versailles palace, in the Hermitage Museum of Saint Petersburg, and more recently inside the royal palace in Riyadh. Various sorts of glassware, art glass, ornaments, figurines, costume jewelry, beads and others also remain internationally valued.

One of the glass items for which the Czech nation is still well known is the production of "druk" beads. Druks are small (3mm-18mm) round glass beads with small threading holes produced in a wide variety of colors and finishes and used mainly as spacers among beaded jewellery makers.


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Medieval Bohemian Jewelry

Medieval Bohemian jewelry was known for its use of garnets, particularly the deep red Bohemian garnets, and often featured intricate designs and craftsmanship. Jewelry styles included necklaces, bracelets, earrings, and rings, with sets (parures) being popular in the 19th century. Other materials like silver, mined at Kutná Hora, and precious stones such as amethysts and quartz crystals were also utilized. 

Bohemian Garnets were a hallmark of Bohemian jewelry, especially in the 19th century, and were mined locally. While garnets were prominent, other materials like silver, mined in Kutná Hora, were also used. Necklaces, bracelets, earrings, and rings were common, with entire sets (parures) being fashionable. 

Jewelry ranged from finely crafted pieces by skilled goldsmiths to more basic items, indicating varying levels of skill and production methods. Christian iconography, particularly crosses, was popular, as were lockets and elaborate designs with gemstones. 

Bohemian crown jewels
The Bohemian crown jewels, also called the Czech crown jewels (Czech: české korunovační klenoty), include the Crown of Saint Wenceslas (Svatováclavská koruna), the royal orb and sceptre, the coronation vestments of the Kings of Bohemia, the gold reliquary cross, and St. Wenceslas' sword. They were originally held in Prague and Karlštejn Castle, designed in the 14th century by Matthias of Arras. Since 1791 they have been stored in St. Vitus Cathedral at Prague Castle. Reproductions of the jewels are permanently exhibited in the historical exposition at the former royal palace in the castle. The crown was made for the coronation of Charles IV in 1347, making it the fourth oldest in Europe.

The crown has an unusual design, with vertical fleurs-de-lis standing at the front, back and sides. Made from 22-carat gold and a set of precious 19 sapphires, 30 emeralds, 44 spinels, 20 pearls, 1 ruby, 1 rubellite and 1 aquamarine, it weighs 2,475 g. At the top of the crown is the cross, which reportedly stores a thorn from Christ's crown of thorns. Unlike in most later crowns, the cross does not stand on a monde.

The Royal sceptre is made from 18-carat gold, 4 sapphires, 5 spinels and 62 pearls with an extra large spinel mounted on top of the sceptre; it weighs 1,013 g. The Royal orb is also made from 18-carat gold, 8 sapphires, 6 spinels and 31 pearls. It weighs 780 g and is decorated with wrought relief scenes from the Old Testament and the Book of Genesis. The Coronation robe was used from 1653 until 1836. It is made from precious silky red material called "zlatohlav" and is lined with ermine (fur of the stoat). The robe is stored separately from jewelry in a specially air conditioned repository.

For the coronation ceremonies, St. Wenceslas' sword, a typical Gothic weapon, was used. The first mention of the sword reported in historical records is in 1333, but the blade dates back to the 10th century, while the hilt is from the 13th century and textiles are probably from the time of Charles IV. The iron blade length is 76 cm, at the widest point is 45 mm and has a ripped hole in a cross shape (45 × 20 mm). The wooden handle is covered with yellow-brown fabric and velvet embroidered with the ornament of laurel twigs with thick silver thread. After coronation ceremonies, the sword was used for the purpose of granting knighthoods.

The oldest leather case for the crown was made for Charles IV in 1347. On top are inscribed four symbols: the Imperial eagle, Bohemian lion, the coat of arms of Arnošt of Pardubice and emblem of the Archbishopric of Prague.

The door to crown jewels chamber, and likewise the iron safe, is hardly accessible and has seven locks. There are seven holders of the keys: the President of the Czech Republic, the Speaker of the Chamber of Deputies, the President of the Senate, the Prime Minister, the Mayor of Prague, the Archbishop of Prague, and the Dean of the Metropolitan Chapter of St. Vitus Cathedral in Prague, who must all convene to facilitate opening the impenetrable door and coffer.

The crown is named and dedicated after the Duke St. Wenceslaus of the Přemyslids dynasty of Bohemia. The jewels should be permanently stored in the chapel of St. Wenceslaus in St. Vitus. They were only lent to Kings, and only on the day of the coronation, and should be returned in the evening that day. After 1918 and the establishment of the Czechoslovak Republic the Coronation Jewels ceased to serve their original function, but remained important as symbols of national independence and statehood.

In the past, the Jewels were kept in different places, but have been always brought to royal coronations in Prague. Wenceslaus IV (1378–1419) probably moved them to Karlštejn Castle. They were then repeatedly moved for safety reasons: in the 17th century, they were returned to Prague Castle, during the Thirty Years' War (1631) they were sent to a parish church in České Budějovice, and then they were secretly taken to the Imperial Treasury, Vienna (1637). While the Jewels were stored in Vienna, the original gold orb and sceptre from the 14th century were replaced with current ones. The new orb and sceptre probably originated with an order by Ferdinand I in 1533. Possible reasons for this replacement might be that the originals were simply too austere, and lacked any precious stones. Deemed unrepresentative of the prestige of the Kingdom of Bohemia, it made sense to replace them with an orb and sceptre in an ornate, jeweled style that resembled the crown.

The Jewels were brought back to Prague on the occasion of the coronation of Bohemian king Leopold II in 1791. At that time, the current tradition of seven keys was established, though the holders of the keys in the course of time were changed according to political and administrative structures. The jewels were kept in Vienna due to the threat from the Prussian Army, but were later returned to Prague, arriving in the city on 28 August 1867.

According to the ancient tradition and regulations laid down by Charles IV in the 14th century, the Jewels are exhibited only to mark special occasions. Exhibitions can take place only at the Prague Castle. In the 20th century there were nine such moments in history. The President of the Republic has the exclusive right to decide on the display of the crown jewels.

An ancient Czech legend says that any usurper who places the crown on his head is doomed to die within a year. This legend is supported by a rumor that Reinhard Heydrich, the Nazi governor of the puppet state Protectorate of Bohemia and Moravia secretly wore them, and was assassinated less than a year later by the Czech resistance.

Bohemian Earrings
Medieval Bohemian earrings often featured intricate designs with floral motifs, interlacing patterns, and were sometimes adorned with garnets or other natural stones. They were crafted from materials like brass, silver, and bronze, and styles included hoops, dangles, and pendants. 

Open-worked hoop earrings with delicate interlacing patterns and floral motifs were popular, giving a medieval touch. These earrings often featured natural stones or pendants, sometimes with a medieval-inspired design. Earrings incorporating pendants, like those found in the Praga style with garnets, were also common. Brass, silver (often with a 925/1000 purity), bronze, and various natural stones like garnets were used. Research indicates a complex construction process for some elite jewelry, including earrings, with techniques like soldering and decoration used. 

Earrings in medieval Europe, including Bohemia, often had cultural and symbolic significance, potentially representing status, wealth, or even religious beliefs. Archaeological finds in these regions, particularly from the 9th and 10th centuries, reveal a variety of earring styles worn by both elite and commoners. While earrings were worn by various social classes, those of higher status might have had access to more elaborate and precious materials. 

Modern jewelry often draws inspiration from medieval Bohemian designs, incorporating similar motifs and materials into contemporary styles. Vintage earrings and reproductions of medieval styles are available for those interested in historical jewelry.


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2025年6月16日星期一

Byzantine metalwork

Byzantine metalwork is characterized by a blend of classical and Eastern artistic styles, featuring intricate designs, rich colors, and religious themes. Notable examples include bronze church doors, silver vessels, and elaborate jewelry, often inlaid with silver or decorated with techniques like niello and opus interrasile. 

Byzantine metalwork
Byzantine metalworkers utilized a variety of materials, including gold, silver, bronze, copper, and their alloys. They employed casting, hammering, engraving, repoussé, chasing, and punching. A distinctive technique was opus interrasile, where metal sheets were pierced to create fine patterns. Silver and niello were used to highlight patterns and inscriptions. 

Many metal objects, especially those made of silver, were used in religious contexts, such as chalices, patens, and book covers. Metalwork also extended to everyday objects like tableware, furniture, and jewelry. 

Byzantine metalwork influenced later artistic traditions and even inspired the revival of bronze casting in the West. 

Military innovations included the riding stirrup which provided stability for mounted archers and dramatically transformed the army

Examples of Byzantine Metalwork: Bronze doors: Inlaid with silver and featuring intricate designs. Silver vessels: Including chalices, patens, and other liturgical items, often stamped with control marks. Jewelry: Often large and heavy, with a focus on gold and intricate ornamentation. Enamels: Byzantine enameling, particularly the cloisonné technique, was highly developed and used to decorate small, precious objects. Metal furniture fittings and decorative panels: Found in both religious and secular settings. 

Byzantine silver
Silver was important in Byzantine art and society more broadly as it was the most precious metal right after gold. Byzantine silver was prized in official, religious, and domestic realms. Aristocratic homes had silver dining ware, and in churches silver was used for crosses, liturgical vessels such as the patens and chalices required for every Eucharist. The imperial offices periodically issued silver coinage and regulated the use of silver through control stamps. About 1,500 silver plates and crosses survive from the Byzantine era.

In the early Byzantine period (4th-7th centuries CE), silver vessels for domestic settings showed pagan mythological scenes and objects such as the Sevso Treasure. Luxurious silver pieces continued to be rendered in the classical style by early Byzantine artisans. At the same time, silver used in church settings depicted a range of Christian subject matter, and in later Byzantine art these subjects predominate.

Because the material was so valued, silver items were control stamped by imperial authorities, sometimes with up to five control stamps on a single piece, between the fourth and eighth centuries. During the reign of the Emperor Heraclius (r. 610-41 AD), the production of silverware halts, which coincides with the Byzantine state confiscating valuable metals to help replenish the imperial treasury during the Persian War.

Byzantine enamel
The craft of cloisonné enameling is a metal and glass-working tradition practiced in the Byzantine Empire from the 6th to the 12th century AD. The Byzantines perfected an intricate form of vitreous enameling, allowing the illustration of small, detailed, iconographic portraits.

The development of the Byzantine enamel art occurred between the 6th and 12th centuries. The Byzantines perfected a form of enameling called cloisonné, where gold strips are soldered to a metal base plate making the outline of an image. The recessed spaces between the gold filigreed wire are then filled with a colored glass paste, or flux, that fills up the negative space in the design with whatever color chosen. Byzantine enamels usually depict a person of interest, often a member of the imperial family or a Christian icon. Enamels, because they are created from expensive materials such as gold, are often very small. Occasionally they are made into medallions that act as decorative jewelry or are set in ecclesiastical designs such as book covers, liturgical equipment like the chalice and paten, or in some examples, royal crowns. Collections of small enamels may be set together to make a larger, narrative display, such as in the Pala d'Oro altarpiece.

Many of the examples of Byzantine enamel known today have been repurposed into a new setting, making dating particularly difficult where no inscriptions or identifiable persons are visible. The Latin Crusaders, who sacked Constantinople in 1204, took many examples of Byzantine enamel with them back West. The destruction of Constantinople meant that the production of enamel artwork went into downfall in the 13th century. It is possible that many examples left in the city were melted down and repurposed by the Ottoman Empire, who cared little about the religious significance of the art and could reuse the gold but not the glass.

Byzantine coinage
Byzantine currency, money used in the Eastern Roman Empire after the fall of the West, consisted of mainly two types of coins: gold solidi and hyperpyra and a variety of clearly valued bronze coins. By the 15th century, the currency was issued only in debased silver stavrata and minor copper coins with no gold issue. The Byzantine Empire established and operated several mints throughout its history. Aside from the main metropolitan mint in the capital, Constantinople, a varying number of provincial mints were also established in other urban centres, especially during the 6th century.

Most provincial mints except for Syracuse were closed or lost to Arab Muslim invasions in the Mediterranean Region by the mid-7th century onwards. After the loss of Syracuse in 878, Constantinople became the sole mint for gold and silver coinage until the late 11th century, when major provincial mints began to re-appear. Many mints, both imperial and, as the Byzantine Empire fragmented, belonging to autonomous local rulers, were operated in the 12th to 14th centuries. Constantinople and Trebizond, capital of the independent Empire of Trebizond (1204–1461), survived until the invasion of Anatolia by the Ottoman Turks in the mid-15th century.


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2025年6月15日星期日

Capetian Jewelry and Metalwork

The Capetian dynasty is renowned for its contributions to architecture and art, particularly during the Gothic period. The Gothic style, which flourished during the Capetian period, included elaborate metalwork in objects like reliquaries, chalices, and liturgical objects. The royal treasures of France, which were built up over centuries included metalwork items. The Capetian period saw a flourishing of illuminated manuscripts, often commissioned by the royal court or wealthy patrons. These richly decorated books, featuring intricate illustrations and calligraphy, served as status symbols and vehicles for religious and historical narratives. 

The Capetians were major patrons of architecture, particularly religious buildings like cathedrals and abbeys. Their building projects contributed to the development of Gothic architecture, characterized by pointed arches, ribbed vaults, and flying buttresses.  The construction and decoration of churches, particularly Sainte-Chapelle in Paris, showcase the mastery of stained glass during this era. These vibrant windows depicted biblical stories and figures, creating dramatic and colorful effects within the sacred spaces.  Sculptural works, including funerary monuments and architectural details, reflected the Capetian kings' power and piety. Tombs of notable figures like Saint Louis (Louis IX) and the Anjou tombs in Naples demonstrate the artistic skill and patronage of the dynasty. 

In France during the 12th-century Renaissance, metalwork saw significant development, particularly in Limoges enamels and the Mosan region. Limoges became a major center for producing champlevé enamels, especially on religious objects like reliquaries. The Mosan region, encompassing parts of modern-day France and Belgium, was known for its exceptional metalwork, including pieces by renowned artists like Renier de Huy and Godefroid de Claire. 

Champlevé was the dominant enamel technique, while repoussé, where designs are hammered out from the back of the metal, was also used for creating detailed relief work.  Gold, silver, and copper were commonly used, often as a base for enamels or as a material for creating elaborate structures for reliquaries and other objects. 

Many of the metalwork pieces produced in this period were religious objects, including reliquaries, shrines, liturgical vessels, and processional crosses, reflecting the strong religious influence of the time. 

Limoges emerged as a leading center for champlevé enamelwork, a technique where enamel is inlaid into carved-out areas of a metal surface.  The Mosan region produced a range of high-quality metalwork, including shrines, reliquaries, and liturgical objects, often employing intricate enamelwork and repoussé techniques. 

Artists like Renier de Huy and Godefroid de Claire (also known as Godefroid de Huy) were prominent figures in Mosan metalwork, known for their distinctive styles and contributions to the field. 

Examples of Notable Metalwork include: Baptismal font at St. Bartholomew's Church, Liège: A masterpiece of Mosan metalwork by Renier de Huy.  Shrines of St. Servatius, St. Hadelin, and St. Remacle: Examples of elaborate Mosan shrines housing relics of saints.  Shrine of the Three Kings at Cologne Cathedral: A large, impressive shrine by Nicholas of Verdun, showcasing the Gothic style in metalwork.  Limoges reliquaries: Many examples of these survive, showcasing the vibrant champlevé enamelwork of Limoges. 


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Medieval renaissances

The medieval renaissances were periods of cultural renewal across medieval Western Europe. These are effectively seen as occurring in three phases - the Carolingian Renaissance (8th and 9th centuries), Ottonian Renaissance (10th century) and the Renaissance of the 12th century.

The term was first used by medievalists in the 19th century, by analogy with the historiographical concept of the 15th and 16th century Italian Renaissance. This was notable since it marked a break with the dominant historiography of the time, which saw the Middle Ages as a Dark Age. The term has always been a subject of debate and criticism, particularly on how widespread such renewal movements were and on the validity of comparing them with the Renaissance of the Post-Medieval Early modern period.

History of the concept
The term 'renaissance' was first used as a name for a period in medieval history in the 1830s, with the birth of medieval studies. It was coined by Jean-Jacques Ampère.

Pre-Carolingian renaissances
As Pierre Riché points out, the expression "Carolingian Renaissance" does not imply that Western Europe was barbaric or obscurantist before the Carolingian era. The centuries following the collapse of the Roman Empire in the West did not see an abrupt disappearance of the ancient schools, from which emerged Martianus Capella, Cassiodorus and Boethius, essential icons of the Roman cultural heritage in the Middle Ages, thanks to which the disciplines of liberal arts were preserved. The fall of the Western Roman Empire saw the "Vandal Renaissance" of Kings Thrasamund and Hilderic in late 5th and early 6th century North Africa, where ambitious architectural projects were commissioned, the Vandal kings dressed in Roman imperial style with Roman triumphal rulership symbols, and intellectual traditions, poetry and literature flourished. Classical education and the Romano-African elite's opulent lifestyle were maintained, as seen in the plentiful classicizing texts which emerged in this period. The 7th century saw the "Isidorian Renaissance" in the Visigothic Kingdom of Hispania in which sciences flourished and the integration of Christian and pre-Christian thought occurred, while the spread of Irish monastic schools (scriptoria) over Europe laid the groundwork for the Carolingian Renaissance. There was a similar flourishing in the Northumbrian Renaissance of the 7th and 8th centuries.

Carolingian renaissance (8th and 9th centuries)
The Carolingian Renaissance was a period of intellectual and cultural revival in the Carolingian Empire occurring from the late eighth century to the ninth century, as the first of three medieval renaissances. It occurred mostly during the reigns of the Carolingian rulers Charlemagne and Louis the Pious. It was supported by the scholars of the Carolingian court, notably Alcuin of York For moral betterment the Carolingian renaissance reached for models drawn from the example of the Christian Roman Empire of the 4th century. During this period there was an increase of literature, writing, the arts, architecture, jurisprudence, liturgical reforms and scriptural studies. Charlemagne's Admonitio generalis (789) and his Epistola de litteris colendis served as manifestos. The effects of this cultural revival, however, were largely limited to a small group of court literati: "it had a spectacular effect on education and culture in Francia, a debatable effect on artistic endeavors, and an immeasurable effect on what mattered most to the Carolingians, the moral regeneration of society," John Contreni observes. Beyond their efforts to write better Latin, to copy and preserve patristic and classical texts and to develop a more legible, classicizing script—the Carolingian minuscule that Renaissance humanists took to be Roman and employed as humanist minuscule, from which has developed early modern Italic script—the secular and ecclesiastical leaders of the Carolingian Renaissance for the first time in centuries applied rational ideas to social issues, providing a common language and writing style that allowed for communication across most of Europe.

One of the primary efforts was the creation of a standardized curriculum for use at the recently created schools. Alcuin led this effort and was responsible for the writing of textbooks, creation of word lists, and establishing the trivium and quadrivium as the basis for education.

Art historian Kenneth Clark was of the view that by means of the Carolingian Renaissance, Western civilization survived by the skin of its teeth. The use of the term renaissance to describe this period is contested due to the majority of changes brought about by this period being confined almost entirely to the clergy, and due to the period lacking the wide-ranging social movements of the later Italian Renaissance. Instead of being a rebirth of new cultural movements, the period was more an attempt to recreate the previous culture of the Roman Empire. The Carolingian Renaissance in retrospect also has some of the character of a false dawn, in that its cultural gains were largely dissipated within a couple of generations, a perception voiced by Walahfrid Strabo (died 849), in his introduction to Einhard's Life of Charlemagne.

Similar processes occurred in Southeast Europe with the Christianization of Bulgaria and the introduction liturgy in Old Bulgarian language and the Cyrillic script created in Bulgaria few years before the reign of Simeon I of Bulgaria, during the reign of his father Boris I of Bulgaria. Clement of Ohrid and Naum of Preslav created (or rather compiled) the new alphabet which was called Cyrillic and was declared the official alphabet in Bulgaria in 893. The Old Church Slavonic language was declared as official in the same year. In the following centuries the liturgy in Bulgarian language and the alphabet were adopted by many other Slavic peoples and counties. The Golden Age of medieval Bulgarian culture is the period of the Bulgarian cultural prosperity during the reign of emperor Simeon I the Great (889—927). The term was coined by Spiridon Palauzov in the mid 19th century. During this period there was an increase of literature, writing, arts, architecture and liturgical reforms.

Ottonian renaissance (10th and 11th centuries)
The Ottonian Renaissance was a limited renaissance of logic, science, economy and art in central and southern Europe that accompanied the reigns of the first three emperors of the Saxon Dynasty, all named Otto: Otto I (936–973), Otto II (973–983), and Otto III (983–1002), and which in large part depended upon their patronage. Pope Sylvester II and Abbo of Fleury were leading figures in this movement. The Ottonian Renaissance began after Otto's marriage to Adelaide (951) united the kingdoms of Italy and Germany and thus brought the West closer to Byzantium and furthered the cause of Christian (political) unity with his imperial coronation in 963. The period is sometimes extended to cover the reign of Henry II as well, and, rarely, the Salian dynasts. The term is generally confined to Imperial court culture conducted in Latin in Germany. It is sometimes also known as the Renaissance of the 10th century, so as to include developments outside Germania, or as the Year 1000 Renewal, due to coming right at the end of the 10th century. It was shorter than the preceding Carolingian Renaissance and to a large extent a continuation of it - this has led historians such as Pierre Riché to prefer evoking it as a 'third Carolingian renaissance', covering the 10th century and running over into the 11th century, with the 'first Carolingian renaissance' occurring during Charlemagne's own reign and the 'second Carolingian renaissance' happening under his successors.

The Ottonian Renaissance is recognized especially in the arts and architecture, invigorated by renewed contact with Constantinople, in some revived cathedral schools, such as that of Bruno of Cologne, in the production of illuminated manuscripts from a handful of elite scriptoria, such as Quedlinburg, founded by Otto in 936, and in political ideology. The Imperial court became the center of religious and spiritual life, led by the example of women of the royal family: Matilda the literate mother of Otto I, or his sister Gerberga of Saxony, or his consort Adelaide, or Empress Theophanu.

12th-century Renaissance
The Renaissance of the 12th century was a period of many changes at the outset of the High Middle Ages. It included social, political and economic transformations, and an intellectual revitalization of Western Europe with strong philosophical and scientific roots. For some historians these changes paved the way to later achievements such as the literary and artistic movement of the Italian Renaissance in the 15th century and the scientific developments of the 17th century.

After the collapse of the Western Roman Empire, Western Europe had entered the Middle Ages with great difficulties. Apart from depopulation and other factors, most classical scientific treatises of classical antiquity, written in Greek, had become unavailable. Philosophical and scientific teaching of the Early Middle Ages was based upon the few Latin translations and commentaries on ancient Greek scientific and philosophical texts that remained in the Latin West.

This scenario changed during the renaissance of the 12th century. The increased contact with the Islamic world in Spain and Sicily, the Crusades, the Reconquista, as well as increased contact with Byzantium, allowed Europeans to seek and translate the works of Hellenic and Islamic philosophers and scientists, especially the works of Aristotle.

The development of medieval universities allowed them to aid materially in the translation and propagation of these texts and started a new infrastructure which was needed for scientific communities. In fact, the European university put many of these texts at the center of its curriculum, with the result that the "medieval university laid far greater emphasis on science than does its modern counterpart and descendent."

In Northern Europe, the Hanseatic League was founded in the 12th century, with the foundation of the city of Lübeck in 1158–1159. Many northern cities of the Holy Roman Empire became Hanseatic cities, including Hamburg, Stettin, Bremen and Rostock. Hanseatic cities outside the Holy Roman Empire were, for instance, Bruges, London and the Polish city of Danzig (Gdańsk). In Bergen and Novgorod the league had factories and middlemen. In this period the Germans started colonizing Eastern Europe beyond the Empire, into Prussia and Silesia. In the late 13th century Westerners became more aware of the Far East. Marco Polo is the most commonly known documenter due to his popular book Il Milione but he was neither the first nor the only traveller on the Silk Road to China. Several Christian missionaries such as William of Rubruck, Giovanni da Pian del Carpini, Andrew of Longjumeau, Odoric of Pordenone, Giovanni de Marignolli, Giovanni di Monte Corvino, and other travelers such as Niccolò da Conti also contributed to the knowledge and interest in the far eastern lands. The translation of texts from other cultures, especially ancient Greek works, was an important aspect of both this Twelfth-Century Renaissance and the latter Renaissance (of the 15th century), the relevant difference being that Latin scholars of this earlier period focused almost entirely on translating and studying Greek and Arabic works of natural science, philosophy and mathematics, while the latter Renaissance focus was on literary and historical texts.

A new method of learning called scholasticism developed in the late 12th century from the rediscovery of the works of Aristotle; the works of medieval Jewish and Islamic thinkers influenced by him, notably Maimonides, Avicenna (see Avicennism) and Averroes (see Averroism); and the Christian philosophers influenced by them, most notably Albertus Magnus, Bonaventure and Abélard. Those who practiced the scholastic method believed in empiricism and supporting Roman Catholic doctrines through secular study, reason, and logic. Other notable scholastics ("schoolmen") included Roscelin and Peter Lombard. One of the main questions during this time was the problem of the universals. Prominent non-scholastics of the time included Anselm of Canterbury, Peter Damian, Bernard of Clairvaux, and the Victorines. The most famous of the scholastic practitioners was Thomas Aquinas (later declared a Doctor of the Church), who led the move away from the Platonic and Augustinian and towards the Aristotelian.

During the High Middle Ages in Europe, there was increased innovation in means of production, leading to economic growth. These innovations included the windmill, manufacturing of paper, the spinning wheel, the magnetic compass, eyeglasses, the astrolabe, and Hindu-Arabic numerals.


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2025年6月14日星期六

Celtic Revival Jewelry

Celtic Revival art often featured intricate and stylized designs, particularly in decorative arts like metalwork, jewelry, textiles, and bookbinding. Celtic art, including illuminated manuscripts, metalwork, and other forms of insular art, the revival frequently incorporated Celtic mythology, folklore, and symbolism, reflecting a deeper engagement with Celtic cultural heritage.

Elements of the revival, such as Celtic knotwork and motifs, continue to be used in art, design, and popular culture today. The movement revived elements of ancient Celtic art, including interlacing patterns, knotwork, zoomorphic (animal-like) forms, and Celtic crosses. 

The Celtic Revival was a late 19th and early 20th-century artistic, literary, and cultural movement that drew inspiration from ancient Celtic art, literature, and mythology. It was particularly strong in Ireland and Britain, emerging as a response to industrialization and a desire to rediscover and celebrate Celtic identity. 

The Celtic Revival (also referred to as the Celtic Twilight) is a variety of movements and trends in the 19th, 20th and 21st centuries that see a renewed interest in aspects of Celtic culture. Artists and writers drew on the traditions of Gaelic literature, Welsh-language literature, and Celtic art—what historians call insular art (the Early Medieval style of Ireland and Britain). Although the revival was complex and multifaceted, occurring across many fields and in various countries in Northwest Europe, its best known incarnation is probably the Irish Literary Revival. Irish writers including William Butler Yeats, John Millington Synge, Lady Gregory, "Æ" Russell, Edward Martyn, Alice Milligan and Edward Plunkett (Lord Dunsany) stimulated a new appreciation of traditional Irish literature and Irish poetry in the late 19th and early 20th century.

In aspects the revival came to represent a reaction to modernisation. This is particularly true in Ireland, where the relationship between the archaic and the modern was antagonistic, where history was fractured, and where, according to Terry Eagleton, "as a whole [the nation] had not leapt at a bound from tradition to modernity". At times this romantic view of the past resulted in historically inaccurate portrayals, such as the promotion of noble savage stereotypes of the Irish people and Scottish Highlanders, as well as a racialized view that referred to the Irish, whether positively or negatively, as a separate race.

A widespread and still visible result of the revival was the reintroduction of the High cross as the Celtic cross, which now forms a familiar part of monumental and funerary art over much of the Western world.

The movement encompassed various art forms, including visual arts, literature (poetry, drama), music, and even architecture.  The Celtic Revival played a significant role in shaping national identities in Ireland and Scotland, fostering a sense of cultural pride and distinctiveness. 

Notable Practitioners:
Archibald Knox - A key figure in the Celtic Revival, known for his work in silver and pewter design for Liberty & Co. 
Charles Rennie Mackintosh - A prominent Scottish architect and designer who incorporated Celtic motifs into his work. 
Phoebe Anna Traquair - A Scottish artist known for her murals, illuminated manuscripts, and enamels, often featuring Celtic-inspired designs. 
John Duncan - A Scottish painter who drew inspiration from Celtic mythology and folklore. 
W.B. Yeats - A renowned Irish poet and playwright who was a central figure in the Celtic Revival movement. 
Impact - The Celtic Revival left a lasting legacy on Irish and Scottish art and culture, influencing contemporary artists and designers. 

The movement's influence can still be seen in various art forms, including jewelry, graphic design, and even in popular culture.  It contributed to the development of a distinct Celtic identity and fostered a renewed appreciation for Celtic heritage. 


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Celtic Jewelery and Metalwork in Middle Ages

Celtic jewelry in the Middle Ages was characterized by intricate designs, often featuring spirals, geometric patterns, and knotwork, frequently made from gold, silver, and bronze. Common types of jewelry included torcs, fibulae (brooches), rings, bracelets, and pendants, with Celtic crosses and Claddagh designs gaining popularity during this period. Jewelry served not only as decoration but also as a symbol of status, wealth, and religious belief. 

Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of Great Britain and Ireland. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group Insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.

Most Insular art originates from the Irish monastic movement of Celtic Christianity, or metalwork for the secular elite, and the period begins around 600 with the combining of Celtic and Anglo-Saxon styles. One major distinctive feature is interlace decoration, in particular the interlace decoration as found at Sutton Hoo, in East Anglia. This is now applied to decorating new types of objects mostly copied from the Mediterranean world, above all the codex or book.

The finest period of the style was brought to an end by the disruption to monastic centres and aristocratic life caused by the Viking raids which began in the late 8th century. These are presumed to have interrupted work on the Book of Kells; no later Gospel books are as heavily or finely illuminated as the masterpieces of the 8th century. In England the style merged into Anglo-Saxon art around 900, whilst in Ireland the style continued until the 12th century, when it merged into Romanesque art. Ireland, Scotland and the kingdom of Northumbria in Northern England are the most important centres, but examples were found also in southern England, Wales and in Continental Europe, especially Gaul (modern France), in centres founded by the Hiberno-Scottish mission and Anglo-Saxon missions. The influence of Insular art affected all subsequent European medieval art, especially in the decorative elements of Romanesque and Gothic manuscripts.

Surviving examples of Insular art are mainly illuminated manuscripts, metalwork and carvings in stone, especially stone crosses. Surfaces are highly decorated with intricate patterning, with no attempt to give an impression of depth, volume or recession. The best examples include the Book of Kells, Lindisfarne Gospels, Book of Durrow, brooches such as the Tara Brooch and the Ruthwell Cross. Carpet pages are a characteristic feature of Insular manuscripts, although historiated initials (an Insular invention), canon tables and figurative miniatures, especially Evangelist portraits, are also common.

Insular decoration
The Insular style is most famous for its highly dense, intricate and imaginative decoration, which takes elements from several earlier styles. Late Iron Age Celtic art or "Ultimate La Tène", gave the love of spirals, triskeles, circles and other geometric motifs. These were combined with animal forms probably mainly deriving from the Germanic version of the general Eurasian animal style, though also from Celtic art, where heads terminating scrolls were common. Interlace was used by both these traditions, as well as Roman art (for example in floor mosaics) and other possible influences such as Coptic art, and its use was taken to new levels in Insular art, where it was combined with the other elements already mentioned.

There is no attempt to represent depth in manuscript painting, with all the emphasis on a brilliantly patterned surface. In early works the human figure was shown in the same geometric fashion as animal figures, but reflections of a classical figure style spread as the period went on, probably mostly from the southern Anglo-Saxon regions, though northern areas also had direct contacts with the Continent. The origins of the overall format of the carpet page have often been related to Roman floor mosaics, Coptic carpets and manuscript paintings, without general agreement being reached among scholars.

Celtic Jewelery
Celtic jewelry held significant meaning. For example, the Triquetra (Trinity Knot) represented the Holy Trinity, the earth, sea, and sky, or the mind, body, and spirit. Jewelry was a way to display social status and wealth. Torcs, fibulae, and rings adorned with precious stones were particularly associated with the elite. 

Gold and silver were highly prized, but bronze, copper, and pewter were also used. Precious stones like rubies, sapphires, and emeralds were favored, but semi-precious stones, glass, bone, and even wood were also incorporated. 

Torcs were stiff, neck-ring style necklaces, often made of twisted metal and worn as a symbol of high status. Fibulae or Brooches were used to fasten clothing and were a common form of jewelry. Some were quite elaborate, like the Tara Brooch. The Celtic cross, with its circle and cross design, became a popular pendant, often symbolizing Christianity and sometimes eternity or the four elements. 

Claddagh design, featuring hands, a heart, and a crown, symbolized friendship, love, and loyalty and was often used in rings and pendants. Celtic Knots Intertwined patterns, with no beginning or end, were a hallmark of Celtic design and often represented eternity or the continuity of life. 

Metalwork
Christianity discouraged the burial of grave goods so that, at least from the Anglo-Saxons, we have a larger number of pre-Christian survivals than those from later periods. The majority of examples that survive from the Christian period have been found in archaeological contexts that suggest they were rapidly hidden, lost or abandoned. There are a few exceptions, notably arm-shaped reliquaries such as the Shrine of Saint Lachtin's Arm, and portable book-shaped ("cumdachs") and house-shaped shrines for books or relics, several of which have been continuously owned, mostly by churches on the Continent—though the Monymusk Reliquary has always been in Scotland.

In general it is clear that most survivals are only by chance, and that we have only fragments of some types of object—in particular the largest and least portable. The highest quality survivals are either secular jewellery, the largest and most elaborate pieces probably for male wearers, or tableware or altarware in what were apparently very similar styles—some pieces cannot be confidently assigned between altar and royal dining-table. It seems possible, even likely, that the finest church pieces were made by secular workshops, often attached to a royal household, though other pieces were made by monastic workshops. The evidence suggests that Irish metalworkers produced most of the best pieces, however the finds from the royal burial at Sutton Hoo, from the far east of England and at the beginning of the period, are as fine in design and workmanship as any Irish pieces. Even excepting the existence of workshops in the mid-to-late medieval period, the craftsman may not always have had been responsible for the full design of the works, for example the execution of portions of the Ardagh Chalice evidences a lack of skill compared to the rest of the piece.

There are a number of large penannular brooches, including several of comparable quality to the Tara brooch. Almost all of these are in the British Museum, the National Museum of Ireland, the National Museum of Scotland, or local museums in the islands. Each of their designs is wholly individual in detail, and the workmanship is varied in technique and superb in quality. Many elements of the designs can be directly related to elements used in manuscripts. Almost all of the many techniques known in metalwork can be found in Insular work. Surviving stones used in decoration are semi-precious ones, with amber and rock crystal among the commonest, and some garnets. Coloured glass, enamel and millefiori glass, probably imported, are also used, as seen in the late 6th century Ballinderry Brooch.

The gilt-bronze Rinnegan Crucifixion Plaque (NMI, late 7th or early 8th century) is the best known of a group of nine recorded Irish metal Crucifixion plaques and is comparable in style to figures on many high crosses; it may well have come from a book cover or formed part of a larger altar frontal or high cross.

The Ardagh Chalice and the Derrynaflan Hoard of chalice, paten with stand, strainer, and basin (only discovered in 1980) are the most outstanding pieces of church metalware to survive (only three other chalices, and no other paten, survive). These pieces are thought to come from the 8th or 9th century, but most dating of metalwork is uncertain, and comes largely from comparison with manuscripts. Only fragments remain from what were probably large pieces of church furniture, probably with metalwork on wooden frameworks, such as shrines, crosses and other items. The Insular crozier had a distinctive shape; the survivals, such as the Kells Crozier and Lismore Crozier all appear to be Irish or Scottish, and from rather late in the Insular period. These later works, which also including the 11th century River Laune and Clonmacnoise Croziers are heavily influenced by Viking art and have interlace patterns in the Ringerike or Urnes styles.

The Cross of Cong is a 12th-century Irish processional cross and reliquary that shows Insular decoration, possibly added in a deliberately revivalist spirit.

The fittings of a major abbey church in the Insular period remain hard to imagine; one thing that does seem clear is that the most fully decorated manuscripts were treated as decorative objects for display rather than as books for study. The most fully decorated of all, the Book of Kells, has several mistakes left uncorrected, the text headings necessary to make the Canon tables usable have not been added, and when it was stolen in 1006 for its cover in precious metals, it was taken from the sacristy, not the library. The book was recovered, but not the cover, as also happened with the Book of Lindisfarne. None of the major Insular manuscripts have preserved their elaborate jewelled metal covers, but we know from documentary evidence that these were as spectacular as the few remaining continental examples. The re-used metal back cover of the Lindau Gospels (now in the Morgan Library, New York) was made in southern Germany in the late 8th or early 9th century, under heavy Insular influence, and is perhaps the best indication as to the appearance of the original covers of the great Insular manuscripts, although one gold and garnet piece from the Anglo-Saxon Staffordshire Hoard, found in 2009, may be the corner of a book-cover. The Lindau design is dominated by a cross, but the whole surface of the cover is decorated, with interlace panels between the arms of the cross. The cloisonné enamel shows Italian influence, and is not found in work from the Insular homelands, but the overall effect is very like a carpet page.

Post-Roman Ireland and Britain
Celtic art in the Middle Ages was practiced by the peoples of Ireland and parts of Britain in the 700-year period from the Roman withdrawal from Britain in the 5th century, to the establishment of Romanesque art in the 12th century. Through the Hiberno-Scottish mission the style was influential in the development of art throughout Northern Europe.

In Ireland an unbroken Celtic heritage existed from before and throughout the Roman era of Britain, which had never reached the island, though in fact Irish objects in La Tène style are very rare from the Late Roman period. The 5th to 7th centuries were a continuation of late Iron Age La Tène art, with also many signs of the Roman and Romano-British influences that had gradually penetrated there. With the arrival of Christianity, Irish art was influenced by both Mediterranean and Germanic traditions, the latter through Irish contacts with the Anglo-Saxons, creating what is called the Insular or Hiberno-Saxon style, which had its golden age in the 8th and early 9th centuries before Viking raids severely disrupted monastic life. Late in the period Scandinavian influences were added through the Vikings and mixed Norse-Gael populations, then original Celtic work came to end with the Norman invasion in 1169–1170 and the subsequent introduction of the general European Romanesque style.

In the 7th and 9th centuries Irish Celtic missionaries travelled to Northumbria in Britain and brought with them the Irish tradition of manuscript illumination, which came into contact with Anglo-Saxon metalworking knowledge and motifs. In the monasteries of Northumbria these skills fused and were probably transmitted back to Scotland and Ireland from there, also influencing the Anglo-Saxon art of the rest of England. Some of the metalwork masterpieces created include the Tara Brooch, the Ardagh Chalice and the Derrynaflan Chalice. New techniques employed were filigree and chip carving, while new motifs included interlace patterns and animal ornamentation. The Book of Durrow is the earliest complete insular script illuminated Gospel Book and by about 700, with the Lindisfarne Gospels, the Hiberno-Saxon style was fully developed with detailed carpet pages that seem to glow with a wide palette of colours. The art form reached its peak in the late 8th century with the Book of Kells, the most elaborate Insular manuscript. Anti-classical Insular artistic styles were carried to mission centres on the Continent and had a continuing impact on Carolingian, Romanesque and Gothic art for the rest of the Middle Ages.

In the 9th and 11th century plain silver became a popular medium in Anglo-Saxon England, probably because of the increased amount in circulation due to Viking trading and raiding, and it was during this time a number of magnificent silver penannular brooches were created in Ireland. Around the same time manuscript production began to decline, and although it has often been blamed on the Vikings, this is debatable given the decline began before the Vikings arrived. Sculpture began to flourish in the form of the "high cross", large stone crosses that held biblical scenes in carved relief. This art form reached its apex in the early 10th century and has left many fine examples such as Muiredach's Cross at Monasterboice and the Ahenny High Cross.

The impact of the Vikings on Irish art is not seen until the late 11th century when Irish metal work begins to imitate the Scandinavian Ringerike and Urnes styles, for example the Cross of Cong and Shrine of Manchan. These influences were found not just in the Norse centre of Dublin, but throughout the countryside in stone monuments such as the Dorty Cross at Kilfenora and crosses at the Rock of Cashel.

Some Insular manuscripts may have been produced in Wales, including the 8th century Lichfield Gospels and Hereford Gospels. The late Insular Ricemarch Psalter from the 11th century was certainly written in Wales, and also shows strong Viking influence.

Art from historic Dumnonia, modern Cornwall, Devon, Somerset and Brittany on the Atlantic seaboard is now fairly sparsely attested and hence less well known as these areas later became incorporated into England (and France) in the medieval and Early Modern period. However archaeological studies at sites such as Cadbury Castle, Somerset, Tintagel, and more recently at Ipplepen indicate a highly sophisticated largely literate society with strong influence and connections with both the Byzantine Mediterranean as well as the Atlantic Irish, and British in Wales and the 'Old North'. Many crosses, memorials and tombstones such as King Doniert's Stone, the Drustanus stone and the notorious Artognou stone show evidence for a surprisingly cosmopolitan sub-Roman population speaking and writing in both Brittonic and Latin and with at least some knowledge of Ogham indicated by several extant stones in the region. Breton and especially Cornish manuscripts are exceedingly rare survivals but include the Bodmin manumissions demonstrating a regional form of the Insular style.

Picts (Scotland)
From the 5th to the mid-9th centuries, the art of the Picts is primarily known through stone sculpture, and a smaller number of pieces of metalwork, often of very high quality; there are no known illuminated manuscripts. The Picts shared modern Scotland with a zone of Irish cultural influence on the west coast, including Iona, and the Anglo-Saxon kingdom of Northumbria to the south. After Christianization, Insular styles heavily influenced Pictish art, with interlace prominent in both metalwork and stones. 

The heavy silver Whitecleuch Chain has Pictish symbols on its terminals, and appears to be an equivalent to a torc. The symbols are also found on plaques from the Norrie's Law hoard. These are thought to be relatively early pieces. The St Ninian's Isle Treasure of silver penannular brooches, bowls and other items comes from off the coast of Pictland and is often regarded as mostly of Pictish manufacture, representing the best survival of Late Pictish metalwork, from about 800 AD.

Pictish stones are assigned by scholars to 3 classes. Class I Pictish stones are unshaped standing stones incised with a series of about 35 symbols which include abstract designs (given descriptive names such as crescent and V-rod, double disc and Z-rod, 'flower' and so on by researchers); carvings of recognisable animals (bull, eagle, salmon, adder and others), as well as the Pictish Beast, and objects from daily life (a comb, a mirror). The symbols almost always occur in pairs, with in about one-third of cases the addition of the mirror, or mirror and comb, symbol, below the others. This is often taken to symbolise a woman. Apart from one or two outliers, these stones are found exclusively in north-east Scotland from the Firth of Forth to Shetland. Good examples include the Dunnichen and Aberlemno stones (Angus), and the Brandsbutt and Tillytarmont stones (Aberdeenshire).

Class II stones are shaped cross-slabs carved in relief, or in a combination of incision and relief, with a prominent cross on one, or in rare cases two, faces. The crosses are elaborately decorated with interlace, key-pattern or scrollwork, in the Insular style. On the secondary face of the stone, Pictish symbols appear, often themselves elaborately decorated, accompanied by figures of people (notably horsemen), animals both realistic and fantastic, and other scenes. Hunting scenes are common, Biblical motifs less so. The symbols often appear to 'label' one of the human figures. Scenes of battle or combat between men and fantastic beasts may be scenes from Pictish mythology. Good examples include slabs from Dunfallandy and Meigle (Perthshire), Aberlemno (Angus), Nigg, Shandwick and Hilton of Cadboll (Easter Ross).

Class III stones are in the Pictish style, but lack the characteristic symbols. Most are cross-slabs, though there are also recumbent stones with sockets for an inserted cross or small cross-slab (e.g. at Meigle, Perthshire). These stones may date largely to after the Scottish takeover of the Pictish kingdom in the mid 9th century. Examples include the sarcophagus and the large collection of cross-slabs at St Andrews (Fife).

The following museums have important collections of Pictish stones: Meigle (Perthshire), St Vigeans (Angus) and St Andrew's Cathedral (Fife) (all Historic Scotland), the Museum of Scotland, Edinburgh (which also exhibits almost all the major pieces of surviving Pictish metalwork), the Meffan Institute, Forfar (Angus), Inverness Museum, Groam House Museum, Rosemarkie and Tarbat Discovery Centre, Portmahomack (both Easter Ross) and The Orkney Museum in Kirkwall.


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La Tène style

About 500 BC the La Tène style, named after a site in Switzerland, appeared rather suddenly, coinciding with some kind of societal upheaval that involved a shift of the major centres in a north-westerly direction. The central area where rich sites are especially found is in northern France and western Germany, but over the next three centuries the style spread very widely, as far as Ireland, Italy and modern Hungary. In some places the Celts were aggressive raiders and invaders, but elsewhere the spread of Celtic material culture may have involved only small movements of people, or none at all. Early La Tène style adapted ornamental motifs from foreign cultures into something distinctly new; the complicated brew of influences including Scythian art and that of the Greeks and Etruscans among others. The occupation by the Persian Achaemenid Empire of Thrace and Macedonia around 500 BC is a factor of uncertain importance. La Tène style is "a highly stylised curvilinear art based mainly on classical vegetable and foliage motifs such as leafy palmette forms, vines, tendrils and lotus flowers together with spirals, S-scrolls, lyre and trumpet shapes".

The most lavish objects, whose imperishable materials tend to mean they are the best preserved other than pottery, do not refute the stereotypical views of the Celts that are found in classical authors, where they are represented as mainly interested in feasting and fighting, as well as ostentatious display. Society was dominated by a warrior aristocracy and military equipment, even if in ceremonial versions, and containers for drink, represent most of the largest and most spectacular finds, other than jewellery. Unfortunately for the archaeologist, the rich "princely" burials characteristic of the Hallstatt period greatly reduce, at least partly because of a change from inhumation burials to cremation.

The torc was evidently a key marker of status and very widely worn, in a range of metals no doubt reflecting the wealth and status of the owner. Bracelets and armlets were also common. An exception to the general lack of depictions of the human figure, and of the failure of wooden objects to survive, are certain water sites from which large numbers of small carved figures of body parts or whole human figures have been recovered, which are assumed to be votive offerings representing the location of the ailment of the supplicant. The largest of these, at Source-de-la-Roche, Chamalières, France, produced over 10,000 fragments, mostly now at Clermont-Ferrand.

Several phases of the style are distinguished, under a variety of names, including numeric (De Navarro) and alphabetic series. Generally, there is broad agreement on how to demarcate the phases, but the names used differ, and that they followed each other in chronological sequence is now much less certain. In a version of Jacobsthal's division, the "early" or "strict" phase, De Navarro I, where the imported motifs remain recognisable, is succeeded by the "vegetal", "Continuous Vegetal", "Waldalgesheim style", or De Navarro II, where ornament is "typically dominated by continuously moving tendrils of various types, twisting and turning in restless motion across the surface".

After about 300 BC the style, now De Navarro III, can be divided into "plastic" and "sword" styles, the latter mainly found on scabbards and the former featuring decoration in high relief. One scholar, Vincent Megaw, has defined a "Disney style" of cartoon-like animal heads within the plastic style, and also an "Oppida period art, c 125–c 50 BC". De Navarro distinguishes the "insular" art of the British Isles, up to about 100 BC, as Style IV, followed by a Style V, and the separateness of Insular Celtic styles is widely recognised.

The often spectacular art of the richest earlier Continental Celts, before they were conquered by the Romans, often adopted elements of Roman, Greek and other "foreign" styles (and possibly used imported craftsmen) to decorate objects that were distinctively Celtic. So a torc in the rich Vix Grave terminates in large balls in a way found in many others, but here the ends of the ring are formed as the paws of a lion or similar beast, without making a logical connection to the balls, and on the outside of the ring two tiny winged horses sit on finely worked plaques. The effect is impressive but somewhat incongruous compared to an equally ostentatious British torc from the Snettisham Hoard that is made 400 years later and uses a style that has matured and harmonized the elements making it up. The 1st century BC Gundestrup cauldron, is the largest surviving piece of European Iron Age silver (diameter 69 cm, height 42 cm), but though much of its iconography seems clearly to be Celtic, much of it is not, and its style is much debated; it may well be of Thracian manufacture. To further confuse matters, it was found in a bog in north Denmark. The Agris Helmet in gold leaf over bronze clearly shows the Mediterranean origin of its decorative motifs.

By the 3rd century BC Celts began to produce coinage, imitating Greek and later Roman types, at first fairly closely, but gradually allowing their own taste to take over, so that versions based on sober classical heads sprout huge wavy masses of hair several times larger than their faces, and horses become formed of a series of vigorously curved elements.

A form apparently unique to southern Britain was the mirror with a handle and complex decoration, mostly engraved, on the back of the bronze plate; the front side being highly polished to act as the mirror. Each of the more than 50 mirrors found has a unique design, but the essentially circular shape of the mirror presumably dictated the sophisticated abstract curvilinear motifs that dominate their decoration.

Despite the importance of Ireland for Early Medieval Celtic art, the number of artefacts showing La Tène style found in Ireland is small, though they are often of very high quality. Some aspects of Hallstatt metalwork had appeared in Ireland, such as scabbard chapes, but the La Tène style is not found in Ireland before some point between 350 and 150 BC, and until the latter date is mostly found in modern Northern Ireland, notably in a series of engraved scabbard plates. Thereafter, despite Ireland remaining outside the Roman Empire that engulfed the Continental and British Celtic cultures, Irish art is subject to continuous influence from outside, through trade and probably periodic influxes of refugees from Britain, both before and after the Roman invasion. It remains uncertain whether some of the most notable objects found from the period were made in Ireland or elsewhere, as far away as Germany and Egypt in specific cases.

But in Scotland and the western parts of Britain where the Romans and later the Anglo-Saxons were largely held back, versions of the La Tène style remained in use until it became an important component of the new Insular style that developed to meet the needs of newly Christianized populations. Indeed, in northern England and Scotland most finds post-date the Roman invasion of the south. However, while there are fine Irish finds from the 1st and 2nd centuries, there is little or nothing in La Tène style from the 3rd and 4th centuries, a period of instability in Ireland.

After the Roman conquests, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian styles, but also producing work in local taste, including figurines of deities and wares painted with animals and other subjects in highly formalized styles. Roman Britain produced a number of items using Roman forms such as the fibula but with La Tène style ornament, whose dating can be difficult, for example a "hinged brass collar" from around the time of the Roman conquest shows Celtic decoration in a Roman context. Britain also made more use of enamel than most of the Empire, and on larger objects, and its development of champlevé technique was probably important to the later Medieval art of the whole of Europe, of which the energy and freedom derived from Insular decoration was an important element. Enamel decoration on penannular brooches, dragonesque brooches, and hanging bowls appears to demonstrate a continuity in Celtic decoration between works like the Staffordshire Moorlands Pan and the flowering of Christian Insular art from the 6th century onwards.


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Mangalasutra A mangala sutra (Sanskrit: मङ्गलसूत्रम्, romanized: maṅgalasūtram), or tali (ISO: tāḷi), is a necklace worn by married Hindu wo...