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Celtic Jewellery & Art
Celtic interlace, that is knotwork designs as well as interlaced birds and beasts are the most recognized elements
of so-called Celtic Art. In our time these designs are very frequently used to identify
Celtic heritage or sympathy with Celtic ethnicity, religion or culture, thus many are
passionate about the art, where it came from and what it means.
Knotwork that is composed of closed paths of bands or cords is very formal,
following a number of simple but strict rules. The first rule is that crossings must always alternate over and under, over and under.
Two or more overs or unders in a row are considered a mistake and are very rare in the ancient examples of Celtic interlace.
The second rule is that the path should be endless. Knotwork is made of convoluted circles.
The consistency with which endlessness and the regularity of over and under is achieved is
evidence that for whatever reason these were considered important qualities. Only two
strands cross at any given point, never three or more as we occasionally see in modern
Celtic revival knotwork. There is a tendency in the better examples of knotwork to achieve
a single endless path, rather than a series of several separate strands in the entire composition.
This not a universal rule but it must have been an important consideration since often very clever
compromises in symmetry will be made to accomplish single rather than multiple paths.
Interlace designs are not the only elements of Celtic Art.
The spiral and trumpet designs have an older tradition and can more authentically be called “Celtic”.
For whatever reason, interlace designs became the hallmark of the Insular tradition and have been
more recognizably Irish, Gaelic or Celtic for the past several hundred years. To most non-scholars
it is specifically interlace that makes Celtic Art distinctive.
From the 7th century interlace designs
became a vibrant international style that was part of the expanding world of
Celtic Christianity and scholarship. As invasions and continental influences replaced
Celtic Art as the dominant style, it became a self-conscious link with the past by later medieval times.
Rediscovery by various individuals in the past 150 years have gathered together the legacies of
both the distant past and more recent ideals of national identity, ethnic pride, romantic nostalgia and spiritual discovery.
Towards the turn of the century craftsmen and designers began to experiment with original
Celtic designs adapted to contemporary fashion needs. The Manx designer,
Archibald Knox studied Celtic design and fused it with the design sensibilities of the
Arts and Crafts movement. Knox designed an attractive range of jewellery and fashion
accessories that were manufactured by the London firm of Liberty and Company.
In contrast to the cosmopolitan product of Waterhouse in Dublin and Liberty in London,
a small enterprise on the Isle of Iona was to bring Celtic jewellery back to it’s roots and ironically
also to establish Celtic design items as tourist souvenirs.
The age of rail and steamship was giving rise to increasing middle class tourism.
Recreational tourists as well as religious pilgrims were increasingly making their way to Iona.
Alexander Ritchie and his wife Euphemia established a jewellery, metal craft and embroidery business called Iona Celtic Art.
From 1899 to 1941 Iona Celtic Art had very little competition in Celtic jewellery
and during this time the audience and cultural context evolved. In the 19th century
Celtic jewellery was a gentrified affectation. The Ritchies’ work was more affordable
and became both the treasured heirlooms of Scottish families as well as souvenirs for the
well traveled. Both of these trends continue in Celtic design to the present day.
At the beginning of the 21st century Celtic Art is certainly more popular and
widely practiced than ever before. Interlace designs are the distinguishing characteristic that
“make” art Celtic for most viewers and many artists as well.
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