Celtic art

Although most people would associate ancient Celts’ art with images of Irish
mythology, the truth is that the Celts originated from Ancient Central
Europe and not Ireland itself. Celtic sculpture and Celtic paintings – in fact,
Celtic art history in its entirety – is a broad term referring to several
movements that can be attributed to various people who share a
common heritage, yet differ in location and period. An intense roman
influence can be seen in the work of the age when roman conquered many
Celtic tribes. Romans were equally inspired by celts and Celtic influence can
be spotted in Roman art. The artistic fusion between cultures continued
when the Celts started trading with the Vikings. It added a scandanivian
touch to the Celts evolving style. The Celts were never one unified empire,
and they didn’t build cities or monuments. Instead, they were hundreds of
independent tribes who spoke the same language. The tribes fought each
other as enthusiastically as they fought their enemies.

Somewhat unusually for the time, the Celts believed in reincarnation – that
they would be reborn on Earth, to live and feast and fight again. Some of
them fought naked, scoffing at their enemies’armor. But among them were
many skilled craftsmen, artists, and great poets called bards.
History of Celtic Styles and Influences
The History of Celtic styles and influences can be separated into various
eras. The Hallstatt era is considered to be at the root of Celtic Culture, the
La Tène era is considered the prime period of Celtic artwork, and the Celtic
Revival represents the more modern interpretation of Celtic art history.

Hallstatt Culture
Although it might have its origins in Austria, this culture eventually spread
throughout central Europe, encompassing Slovakia, Western Hungary,
Croatia, Slovenia, the Czech Republic, Southern Germany, Switzerland,
Northern Italy, and Eastern France. The Hallstatt culture is quite well
known for its ornaments made of bronze, as well as weaponry and iron tools
of very high quality.

Early Celtic sculptures focus on the human form, especially heads, which
were considered the home of the soul. Such works usually represent gods
and heroic warrior figures but are often abstract.

Celtic coins were used for a variety of reasons. They were, as one would
expect, used as a currency to acquire goods locally but coins were
primarily used as a more convenient replacement for other high-value
goods which had previously been used in a barter system. Coins were
also offered as diplomatic gifts and perhaps given as tribute to more
powerful neighbouring rulers.
 Coins were also minted for prestige reasons: to demonstrate the wealth
and sophistication of a particular chief and to spread their likeness
amongst the people they ruled. Coins were sometimes dispensed by chiefs
to their people on special occasions as a demonstration of their success
and generosity. It is for this reason, perhaps, that the minting of Celtic
coins was so sporadic: only when a ruler needed extra legitimacy for
their rule were new coins minted.

Celtic coins were rarely used in interregional trade since, unlike say in the
Roman Empire, Celtic Europe was made up of many different tribal groups
and the coinage of one had no value in another except for the weight of
precious metal.

La Tène Culture
The La Tène period is most easily recognized by its swirling curvilinear
patterns. The design elements were varied and diverse and represented in
organic curvilinear ornamentation and patterns. Common forms
included Celtic spirals (triskele), curves, weaves and Celtic knots,
presented in stylized forms. Various plant and animal motifs were
incorporated into designs. Animals represented included, wolves, stags,
horses, serpents, dragons, wild boar, birds and cats and dogs.

As well as metal, this era was known for artists that worked with gold,
specifically for personal adornment such as jewelry. The torc is one of
the quintessential items of Celtic jewellery and was noted by Classical
writers as a distinguishing cultural feature (even if they did exist in other
cultures, too).
This bronze mirror has been considered one of the finest examples of La
Tène or Celtic art from Britain. To produce a reflective surface, the plate
was highly polished on one side, and the backplate was engraved with a
complex design. In a period where one’s reflection could normally only
be observed in water, this would have been considered both a wonder
and a novelty. Highly decorated mirrors of this type are uniquely British,
and very few are found on the continent of Europe and elsewhere.

After the Fall of Rome

As a result, Christianity began to flourish in Ireland, which directly led to a
renaissance in Irish Celtic Art. This rebirth took on three distinct forms:

 A regeneration of Celtic metalwork,

 The production of gospel manuscripts, and
 The creation of free-standing Celtic Sculptures, such as the High
Crosses of England.
Finally, with the Christianisation of Europe, Celtic art adopted new forms
and media, best seen in the illuminated manuscripts, brooches, and
stone crosses which typify medieval Celtic art.