http://www.southampton.ac.uk/tag2016/sessionsabstracts/s34generalsession.page
Im about fifth or sixth down.
Im about fifth or sixth down.
I have made it!
- Thread starter Tengu
- Start date
Dreadhead
Bushcrafter through and through
Congratulations!
Like Hamish said, it sounds very interesting.
Would there be any chance we could read it too? I understand if you don't want to upload it onto the forum , as its most likely a huge dissertation but is there perhaps a link ?
Either way , well done! 👍👍
Like Hamish said, it sounds very interesting.
Would there be any chance we could read it too? I understand if you don't want to upload it onto the forum , as its most likely a huge dissertation but is there perhaps a link ?
Either way , well done! 👍👍
I will be filmed in action so all my millions of online fans can admire me.
Yes, I am so proud. To present a paper at the Biggest conference in the country is a high honour indeed and will improve my employability no end. (Governor-General! Look at me!)
(Its not my dissertation, but just some fun stuff I have studied.)
This Padawan is set to become a Jedi knight!
Yes, I am so proud. To present a paper at the Biggest conference in the country is a high honour indeed and will improve my employability no end. (Governor-General! Look at me!)
(Its not my dissertation, but just some fun stuff I have studied.)
This Padawan is set to become a Jedi knight!
Furthering human knowledge and understanding is central to civilisation: so very well done. Like the rest, I look forward to hearing more.
PS My wife was at the Department of History of Art at Cambridge when Professor Henderson was head of department. His field of research was Celtic Crosses I believe. Was his work relevant to your research?
PS My wife was at the Department of History of Art at Cambridge when Professor Henderson was head of department. His field of research was Celtic Crosses I believe. Was his work relevant to your research?
Phew!
I delivered my paper yesterday and was a bit traumatised but I did a good job.
Here is my paper; tutor has filmed `most` of it, will send a link as soon as he puts it on Youtube.
RUNESTONES AND WHEELHEADS: THE CULTURAL ENTANGLEMENT OF CELTIC AND VIKING CROSSES ONTHE ISLE OF MAN
---------------------------------------------------------------------------------------------------------------------------------------Introduction
There are over 180 Early Medieval crosses on the Isle of Man(Cubbon. 1983.) Most of them are nowgathered in the church of their parish. (Cubbon. 1983.)(Seabourne. 1994.)
The authority on these fascinating artefacts was PhillipKermode (1855-1932) The first directorof The Manx museum His book, Manx Crosses was published in 1907(Cubbon.1983.)
Each cross has a number. The numbering system I am using is that on the Isle of Man guide (Isleof Man Guide website.) which is slightly different to that of Kermode’s.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 1. Title Slide
--------------------------------------------------------------------------------------------------------------------------------------
Overview of range of designs
The Manx crosses come in two main divisions; the early ones(7[SUP]th[/SUP] to 9[SUP]th[/SUP] centuries.) were Celtic in origin, often ofScottish affinity, and the later ones, which were Viking, a response toChristianisation. (10[SUP]th[/SUP] and 11[SUP]th[/SUP] centuries)These may haverunic inscriptions.
Lonan Cross, LonanOld Church. (Number 73.)
Kermode describes this cross as `remarkable for the badnessof its execution` (He had issues with it as it was so weary to draw.) (Kermode.1907.) It is situated to the south of the church door, and may well be in itsoriginal location. (Seabourne. 1994.) It is interesting to note that all thecrosses in the collection in this church are Celtic.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 2. Lonan Cross. (Number 73.)
--------------------------------------------------------------------------------------------------------------------------------------
Odds Cross, KirkBraddan. (Number 136.)
This has a fine dragon carved on it in Mammen Style (Meehan.1995.) it is inscribed in runes “Odd raised this cross to the memory of his father, Frakki, butThor ...” (Cubbon. 1983.)
---------------------------------------------------------------------------------------------------------------------------
Slide3. Odds Cross. (Number 136.)
---------------------------------------------------------------------------------------------------------------------------
Sigurd Cross, Maughold.(Number 122.)
It was Kermode who realised that certain crosses providedthe earliest examples of depictions of the Norse sagas. For this the Icelandicgovernment made him a Knight of the Order of the Falcon.
The Sigurd cross depicts a scene from the famous Sigurdlegend. At the bottom we see Loki,throwing a stone at Otter, who in the guise of one, is eating a salmon. Further up there is Sigurd‘s horse, Grani,with the dragons treasure on his back.
This drawing is by Kermode (Kermode. 1907.) as the originalis rather worn and not easy to intrerpret.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 4. Sigurd Cross (Number 122.)
--------------------------------------------------------------------------------------------------------------------------------------
To find out what designs end up used as `brands` and why? What doesn’t get used?
The Norse designs are used more as they are more distinctivelypeculiar to the Isle of Man. And thus more recognisable.
Are the more Norse designs more desirable to the Tynwald…whoare a Norse government?
It could be argued that the Celtic designs are moresimplistic and generic, and so less interesting to modern design.
Maughold Number 108.
This cross fragment is a fine example of the Borre Ring Chain. (Meehan. 1995.) This design is also known as`Gauts ring chain` after a famed signed example in Kirk Michael church. (Meehan.1995.) It is an instantly recognisable motif, and though similar is found inexamples in Norway, most examples are from the island.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 5. MaugholdNumber 108.
--------------------------------------------------------------------------------------------------------------------------------------
Cregneash ChapelCross
This is a modern interpretation of a traditional Manx cross,sculpted out of slate for the Millennium. It is in the grounds of St Peters chapel in Cregneash folk village,Rushen parish. Notice that the design isCeltic, except for the two Ravens of Odin.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 6. Cregneash Chapel Cross
--------------------------------------------------------------------------------------------------------------------------------------
Boar Fragment
A fragment from akeeill at Ballagilley and shows the front part of a boar. A well carved flatdesign believed to be from the Norse period.
These are very similar to pictish designs fond in Scotland.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 7. Number 133, Maughold.
--------------------------------------------------------------------------------------------------------------------------------------
How are they used in contemporary designs?
The Manx are a patriotic people and their famed flag is tobe seen in many different situations all over the island. Likewise we see elements of the art of theManx crosses in places that might surprise the original creators.
Money
Manx banknotes are bordered with a traditional design on thereverse side. These designs lendthemselves readily to the constraints of money design, being both intricate andrepetitive.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 8. A Manx £5 bank note
--------------------------------------------------------------------------------------------------------------------------------------
Stamps
Many Isle of Man stamps have the famed Borre ring chaindesign on them. This design lends itselfneatly to a narrow panel, a border, or a ring. It is simple and can be used alongside pictures and other graphic arts.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 9. A Manx stamp, 1973.
--------------------------------------------------------------------------------------------------------------------------------------
Knox
Archibald Knox (1864-1933.) was a Manx Art Nouveau designerwith interests in many fields, including monumental art, metalwork, ceramics, andbook design. Prominent in the Arts andCrafts movement, his work is strongly influenced by the art of the Manxcrosses. (Archibald Knox Society website.)
--------------------------------------------------------------------------------------------------------------------------------------
Slide 10. Archibald Knox silverware
--------------------------------------------------------------------------------------------------------------------------------------
Conclusion
The Art of the Manx crosses is alive and well and still animportant part of Manx cultural and aesthetic identity. Its knotwork has been entangled andamalgamated into many media, beyond the original design constraints of carvedstone.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 11. St Michaels Isle Chapel.
--------------------------------------------------------------------------------------------------------------------------------------
Bibliography
Bryce, D. (1989.) Symbolism of the Celtic cross, Llanerch enterprises
Cubbon, A. M. (1983.) TheArt of the Manx crosses, Douglas, Manx National Heritage
Maxima Systems (2016) Isleof Man Guide. Available Online: http://www.iomguide.com/early-christian.php
(Accessed 15[SUP]th[/SUP] December 2016.)
Crown Copyright (2016.) Isle of Man Post office, AvailableOnline https://www.iompost.com/
(Accessed 15[SUP]th[/SUP] December 2016.)
Kermode, PMC. (1907.) Manxcrosses intro by D M Wilson Pinkfoot press Angus 1994
Martin, S. (2016.) ArchibaldKnox Society, Available online http://www.archibaldknoxsociety.com/
(Accessed 15[SUP]th[/SUP] December 2016.)
Meehan, A. (1995.) TheDragon and the Griffin; the Viking impact, London, Thames and Hudson.
Seabourne, M. (reprinted 1994.) Celtic crosses of Britain and Ireland Shire Archaeology 57 Aylesbury,Shire publications
I delivered my paper yesterday and was a bit traumatised but I did a good job.
Here is my paper; tutor has filmed `most` of it, will send a link as soon as he puts it on Youtube.
RUNESTONES AND WHEELHEADS: THE CULTURAL ENTANGLEMENT OF CELTIC AND VIKING CROSSES ONTHE ISLE OF MAN
---------------------------------------------------------------------------------------------------------------------------------------Introduction
There are over 180 Early Medieval crosses on the Isle of Man(Cubbon. 1983.) Most of them are nowgathered in the church of their parish. (Cubbon. 1983.)(Seabourne. 1994.)
The authority on these fascinating artefacts was PhillipKermode (1855-1932) The first directorof The Manx museum His book, Manx Crosses was published in 1907(Cubbon.1983.)
Each cross has a number. The numbering system I am using is that on the Isle of Man guide (Isleof Man Guide website.) which is slightly different to that of Kermode’s.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 1. Title Slide
--------------------------------------------------------------------------------------------------------------------------------------
Overview of range of designs
The Manx crosses come in two main divisions; the early ones(7[SUP]th[/SUP] to 9[SUP]th[/SUP] centuries.) were Celtic in origin, often ofScottish affinity, and the later ones, which were Viking, a response toChristianisation. (10[SUP]th[/SUP] and 11[SUP]th[/SUP] centuries)These may haverunic inscriptions.
Lonan Cross, LonanOld Church. (Number 73.)
Kermode describes this cross as `remarkable for the badnessof its execution` (He had issues with it as it was so weary to draw.) (Kermode.1907.) It is situated to the south of the church door, and may well be in itsoriginal location. (Seabourne. 1994.) It is interesting to note that all thecrosses in the collection in this church are Celtic.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 2. Lonan Cross. (Number 73.)
--------------------------------------------------------------------------------------------------------------------------------------
Odds Cross, KirkBraddan. (Number 136.)
This has a fine dragon carved on it in Mammen Style (Meehan.1995.) it is inscribed in runes “Odd raised this cross to the memory of his father, Frakki, butThor ...” (Cubbon. 1983.)
---------------------------------------------------------------------------------------------------------------------------
Slide3. Odds Cross. (Number 136.)
---------------------------------------------------------------------------------------------------------------------------
Sigurd Cross, Maughold.(Number 122.)
It was Kermode who realised that certain crosses providedthe earliest examples of depictions of the Norse sagas. For this the Icelandicgovernment made him a Knight of the Order of the Falcon.
The Sigurd cross depicts a scene from the famous Sigurdlegend. At the bottom we see Loki,throwing a stone at Otter, who in the guise of one, is eating a salmon. Further up there is Sigurd‘s horse, Grani,with the dragons treasure on his back.
This drawing is by Kermode (Kermode. 1907.) as the originalis rather worn and not easy to intrerpret.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 4. Sigurd Cross (Number 122.)
--------------------------------------------------------------------------------------------------------------------------------------
To find out what designs end up used as `brands` and why? What doesn’t get used?
The Norse designs are used more as they are more distinctivelypeculiar to the Isle of Man. And thus more recognisable.
Are the more Norse designs more desirable to the Tynwald…whoare a Norse government?
It could be argued that the Celtic designs are moresimplistic and generic, and so less interesting to modern design.
Maughold Number 108.
This cross fragment is a fine example of the Borre Ring Chain. (Meehan. 1995.) This design is also known as`Gauts ring chain` after a famed signed example in Kirk Michael church. (Meehan.1995.) It is an instantly recognisable motif, and though similar is found inexamples in Norway, most examples are from the island.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 5. MaugholdNumber 108.
--------------------------------------------------------------------------------------------------------------------------------------
Cregneash ChapelCross
This is a modern interpretation of a traditional Manx cross,sculpted out of slate for the Millennium. It is in the grounds of St Peters chapel in Cregneash folk village,Rushen parish. Notice that the design isCeltic, except for the two Ravens of Odin.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 6. Cregneash Chapel Cross
--------------------------------------------------------------------------------------------------------------------------------------
Boar Fragment
A fragment from akeeill at Ballagilley and shows the front part of a boar. A well carved flatdesign believed to be from the Norse period.
These are very similar to pictish designs fond in Scotland.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 7. Number 133, Maughold.
--------------------------------------------------------------------------------------------------------------------------------------
How are they used in contemporary designs?
The Manx are a patriotic people and their famed flag is tobe seen in many different situations all over the island. Likewise we see elements of the art of theManx crosses in places that might surprise the original creators.
Money
Manx banknotes are bordered with a traditional design on thereverse side. These designs lendthemselves readily to the constraints of money design, being both intricate andrepetitive.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 8. A Manx £5 bank note
--------------------------------------------------------------------------------------------------------------------------------------
Stamps
Many Isle of Man stamps have the famed Borre ring chaindesign on them. This design lends itselfneatly to a narrow panel, a border, or a ring. It is simple and can be used alongside pictures and other graphic arts.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 9. A Manx stamp, 1973.
--------------------------------------------------------------------------------------------------------------------------------------
Knox
Archibald Knox (1864-1933.) was a Manx Art Nouveau designerwith interests in many fields, including monumental art, metalwork, ceramics, andbook design. Prominent in the Arts andCrafts movement, his work is strongly influenced by the art of the Manxcrosses. (Archibald Knox Society website.)
--------------------------------------------------------------------------------------------------------------------------------------
Slide 10. Archibald Knox silverware
--------------------------------------------------------------------------------------------------------------------------------------
Conclusion
The Art of the Manx crosses is alive and well and still animportant part of Manx cultural and aesthetic identity. Its knotwork has been entangled andamalgamated into many media, beyond the original design constraints of carvedstone.
--------------------------------------------------------------------------------------------------------------------------------------
Slide 11. St Michaels Isle Chapel.
--------------------------------------------------------------------------------------------------------------------------------------
Bibliography
Bryce, D. (1989.) Symbolism of the Celtic cross, Llanerch enterprises
Cubbon, A. M. (1983.) TheArt of the Manx crosses, Douglas, Manx National Heritage
Maxima Systems (2016) Isleof Man Guide. Available Online: http://www.iomguide.com/early-christian.php
(Accessed 15[SUP]th[/SUP] December 2016.)
Crown Copyright (2016.) Isle of Man Post office, AvailableOnline https://www.iompost.com/
(Accessed 15[SUP]th[/SUP] December 2016.)
Kermode, PMC. (1907.) Manxcrosses intro by D M Wilson Pinkfoot press Angus 1994
Martin, S. (2016.) ArchibaldKnox Society, Available online http://www.archibaldknoxsociety.com/
(Accessed 15[SUP]th[/SUP] December 2016.)
Meehan, A. (1995.) TheDragon and the Griffin; the Viking impact, London, Thames and Hudson.
Seabourne, M. (reprinted 1994.) Celtic crosses of Britain and Ireland Shire Archaeology 57 Aylesbury,Shire publications
