Art (Notes) ... (a Celtic Design)
Romilly Allen "Celtic Art in Pagan and Christian Times", , there are only eight fundamental knots which form the basis of nearly all the interlace plaitwork in Celtic-style decoration: True knots have no loose ends or tails and thus can easily be distinguished from similar Celtic animal interlace patterns which employ zoomorphic images. The latter, although equally complex and beautiful, invariably terminate in tails, heads or feet, and therefore are not "true" knots. Historically, the Coptic tradition of knotworking always adhered to the unending loop, while the Roman and Germanic tradition tended to permit loose ends.
The finest examples of knotwork appear in the illuminated manuscripts of the early Christian period, such as the Book of Durrow c. Used to decorate initials, to represent the hair of the Apostles and other figures, and to create other forms of ornamentation, Celtic-style knotwork was a sigificant element in early Christian art , in particular, Gospel illumination. Other renowned illuminated manuscripts featuring Celtic designs, include the Cathach of St. Columba early 7th century , the Lindisfarne Gospels c. Built across Ireland between about and , Celtic High Crosses are a form of religious sculpture unrivalled in Western European culture during the Middle Ages.
The sculptors who ornamented these crosses typically employed two types of decorative art: Examples of knot patterns can be seen on: Madoes Cross, near Perth, and others. On Iona, knotwork interlace patterns can be seen as late as the 15th century on The Cross of MacLean. It is fair to assume that all abstract symbols and designs, from the earliest prehistoric era onwards, were created originally with some specially meaning or significance in mind. Unfortunately however, no consensus among art historians exists as to the meaning of the various types of knot patterns.
Thus the following comments are strictly illustrative. It is entitled Pastorale Bretonne, and it in turn complements translations from Breton literature published in the magazine. Such an international perspective is fundamental to any understanding of the Celtic Revival in Scotland. Indeed in the late one finds a report of John Duncan making teaching images of the life of Buddha for the Ananda College in Sri Lanka. Like Geddes she was a strong advocate of cultural revival in the visual arts. That image is Bharat Mata, or Mother India.
Again one sees a female personification of culture invoking the significance of the past as the foundation of the future. Another figure who must be noted here is the cultural activist and historian of Indian art Ananda Coomaraswamy. He was a friend of both Geddes and Nivedita, and had a strong interest in Celtic culture throughout his career.
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That publication was beautifully illustrated by Abanindranath Tagore and his students. That book also contains a detailed description of the Riders of the Sidhe, not as a painting but as part of a pageant.
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In his book Modern Scottish Painting published in , Fergusson claimed Celtic art as a foundation of his own painting, and his friendship with John Duncan supports that assertion. There he makes use of the old Celtic Ogham alphabet. Bain published his visual thinking in booklets from onwards and these have set the scene for the numerous Celtic design books of the present. His publications are works of art in their own right. In the s Bain also contributed to the MacLellan-published journal, Scottish Art and Letters, which unites Celtic Revival and modernist work in its content.
J D Fergusson was art editor and designed the covers.
Celtic Revivals and Reappropriations in Art and Books [] | Murdo Macdonald
Thus as a publisher William MacLellan continued the complementarity of Celticism and Modernism that has its roots in the publications of Patrick Geddes and Colleagues in the s. It is to that period that I return for my conclusion. Her title page for the same work is also of note.
I wonder if J. Fergusson had a copy? He certainly had a copy of Ossian in the Tauchnitz edition, which he acquired in Nice in Unfortunately it was badly damaged by vandalism some years ago but it has now been partially restored. That damage must serve a reminder of just how important it is not to neglect such Celtic Revival crosses, which exist in graveyards throughout the world. We must recognise the significance of those grave markers. Celtic knot vector illustration black and white, isolated.
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