Celtic art is associated with people known as Celtic; those who speak Celtic in Europe from pre-historic to modern periods, as well as ancient societies whose languages ​​are uncertain, but have culturally and stylistic resemblances to Celtic-speaking speakers.
Celtic art is a difficult term to define, which includes time, geography and a vast culture. A case has been made for artistic continuity in Europe from the Bronze Age, and indeed the Neolithic period before; Archaeologists, however, generally use "Celtic" to refer to European Iron Age cultures from about 1000 BC onwards, until the conquest by the Roman Empire from most of the area in question, and art historians usually start talking about "Celtic art" only from the period of La TÃÆ'Â ¨ne (5th century to 1st century BC) and so on. Early Celtic art is another term used for this period, which stretches across England to about 150 AD. Medieval Art Early English and Irish, which produced the Book of Kells and other masterpieces, and what "Celtic art" evoke for most of the general public in the English-speaking world, called the art of Insular in art history. This is the most famous piece, but not the whole, Celtic art in the Early Middle Ages, which also includes Pictish art in Scotland.
Both styles absorb considerable influence from non-Celtic sources, but retain a preference for geometric decoration over figurative subjects, which are often very stylish when they appear; Narrative scenes appear only under external influences. An energetic circular shape, triskele and spiral are characteristics. Most of the surviving material exists in precious metals, which undoubtedly provide a very unrepresentative picture, but apart from Pictish stones and Insular's high cross, large monumental statues, even with decorative carvings, are extremely rare; perhaps some of the male figures found, such as the Warrior of Hirschlanden and the so-called "Lord of Glauberg", were originally ordinary wood.
What is also covered by this term is the visual art of the Celtic Revival (as a whole more important for literature) from the 18th century to the modern era, which began as a conscious effort by Modern Celtic, especially in the British Isles, to express themselves. -belief and nationalism, and became popular outside the Celtic peoples, and whose style is still up-to-date in popular forms, from the Celtic cross's burial monument to tattoos. Coinciding with the beginnings of a coherent archeological understanding of the previous period, the style that consciously used motifs is closely copied from earlier period work, more often Insular than the Iron Age. Another influence is the final art of VÃla veà ± ne "vegetal" in the Art Nouveau movement.
Normally, Celtic art is ornamental, avoiding straight lines and occasionally using symmetry, without the imitation of nature that is central to classical tradition, often involving complex symbolism. Celtic art has used a variety of styles and has shown the influence of other cultures in their skills, spirals, key patterns, letters, zoomorphics, plant shapes and human figures. As archaeologist Catherine Johns puts it: "The general brilliance of Celtic art in a wide chronological and geographic range is a tremendous sense of balance in the layout and development of patterns." The arch forms are shaped so positively and negatively, filling the fields and spaces form a harmonious whole.Controls and restraints are carried out in the use of surface textures and reliefs.The highly complex arch patterns are designed to cover the most outlandish and irregular surfaces.
Video Celtic art
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The ancient people are now called "Celtic" speaking a group of languages ​​that have the same origins in the Indo-European language known as Common Celtic or Proto-Celtic. This common origin of language is ever widely accepted by experts to show people with the same genetic origin in southwestern Europe, who have spread their culture with emigration and invasion. Archaeologists identify the various cultural traits of this community, including artistic styles, and trace the culture to previous Hallstatt culture and La TÃÆ'¨ne culture. More recent genetic studies have shown that various Celtic groups are not all of the same ancestors, and have suggested the dissemination and dissemination of cultures without necessarily involving significant community movements. The extent to which Celtic languages, cultures and genetics coincide and interact during the prehistoric period is still very uncertain and controversial.
Celtic art is associated with people known as Celtic; those who speak Celtic in Europe from pre-historic to modern periods, as well as ancient societies whose languages ​​are uncertain, but have culturally and stylistic resemblances to Celtic-speaking speakers.
The term "Celt" is used in classical times as a synonym for Gauls (??????, Celtae ). Its modern English form is evident since 1607. By the end of the seventeenth century, the work of scholars such as Edward Lhuyd brought academic attention to the historic relationship between Gaulish-speaking and Brythonic-and Goidelic-speaking nations, from which point the term was applied not only for continental Celtic but they are in England and Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of ​​"savage nobility", brought a wave of enthusiasm for all things Celtic and Druidic. The "Irish Awakening" came after the Catholic Emancipation Act of 1829 as a conscious effort to show Ireland's national identity, and with its counterparts in another country then the "Celtic Awakening".
Maps Celtic art
Pre-Celtic Period
The earliest archaeological culture conventionally called Celtic, Hallstatt culture, originated in the early European Iron Age, ca. 800-450 BC. Nevertheless the art of this period and then reflects considerable continuity, and some long-term correspondence, with earlier art from the same region, which may reflect an emphasis in the recent scholarship on "Celticization" by acculturation between relatively static populations, as opposed to migration theory and the older invasion. Megalithic art in many parts of the world uses the vocabulary vocabulary, spiral, and other mysterious arches, but it is surprising that the most remnants of Europe are large monuments, with many stone paintings left by the Neolithic Boyne Valley culture in Ireland. , within a few miles of the center for medieval Early Insular art about 4,000 years later. Other centers like Brittany are also in areas that are still defined as Celtic today. Another correspondence between lunula gold and the big collar of the Irish and European Bronze Age and Iron Age Iron torsion, all the intricate ornaments worn around the neck. Trumpet-shaped disconnection of various types of Irish Bronze Age jewelry also reminiscent of the popular motif in the Celtic decoration later.
Iron Iron Age; Early Celtic art
In contrast to the rural cultures of the modern "Celtic" Iron Dwellers, the Continental Celtic culture in the Iron Age features many large, large fortified settlements, where the Roman word for "city", oppidum, is now used. The elites of this society possess considerable wealth, and import large and expensive objects, sometimes blatantly striking from neighboring cultures, some of which have been found from the graves. The German work ÃÆ' Â © migrÃÆ' Ã… © to Oxford, Paul Jacobsthal, remained the basis of the period art studies, especially his Early Celtic Art in 1944.
Halstatt culture produces art with geometric ornaments, but is characterized by a straight line pattern and a rectangle rather than a curve; patterns are often complicated, and fill all available space, and at least in this case hope for Celtic style later. Linguists are generally satisfied that Halstatt culture comes from people who speak Celtic, but art historians often avoid portraying Halstatt's art as "Celtic".
As the Halstatt community grew richer and, although fully locked in its main zone, was linked by trade to other cultures, especially in the Mediterranean, imported objects with very different styles began to emerge, even including Chinese silk. The famous example is the Greek crater of Vix Grave in Burgundy, made in Magna Graecia (Greek in southern Italy). C. 530 BC, several decades before it was precipitated. This is a large bronze wine mixer ship, with a capacity of 1100 liters. Another large Greek ship at Chouftain Hochdorf's Tomb decorated with three lying lions lying on the edge, one of which is a substitute by Celtic artists who made little effort to copy other Greek styles. The characteristic form of Hallstatt culture can be found as far from the main Central European region of a culture as Ireland, but mixed with local types and styles.
Animal and human figures do emerge, especially in works with religious elements. Among the most spectacular objects is the "cult cart" in bronze, which is a large wheeled trolley containing groups of standing figures, sometimes with a large bowl mounted on a shaft in the center of the platform, probably for offerings to the gods; some examples have been found in the cemetery. These figures are relatively simple to model, without much success in detailed anatomical naturalism compared to more southerly cultures, but often achieve impressive effects. There are also a number of single stone figures, often with a "crown leaf" - two flat round projections, "resembling a pair of bloated coma", rising behind and to the side of the head, perhaps a sign of divinity.
The human head, no body, much more common, often seemed relieved at all sorts of things. In the period of La TÃÆ'¨ne the face often (along with the bird's head) arises from decorations that initially look abstract, or plant-based. Games are played with faces that change when viewed from various directions. In figures showing the whole body, the head is often too large. There is evidence that the human head has a special interest in Celtic religious beliefs.
The most complex stone ensembles, including reliefs, are from southern France, in Roquepertuse and Entremont, close to the areas colonized by the Greeks. It is possible that similar groups in wood are widespread. Roquepertuse appears to have become a religious refuge, whose stones include what is considered a niche in which the enemy's head or skull is placed. It dates to the 3rd century BC, or sometimes earlier.
In general, the number of high-quality findings is not great, especially when compared to the number of victims of contemporary Mediterranean culture, and there is a very clear division between the elite objects and many items that are mostly used by most people.. There are many torques and swords (the La TÃÆ'¨ne site produces more than 3,000 swords, apparently votive casualties), but the most famous inventions, such as the Czech chief above, plaque from Hochdorf and Waterloo Helmet, often have no other similar findings for comparison. Clear religious content in art is rare, but little is known about the significance that most of the decorations of practical objects have for the makers, and the subject and meaning of some objects without practical function are also unclear.
Halstatt Gallery
La TÃÆ'¨ne Style
Around 500 BC the style of La TÃÆ'¨ne, named after a site in Switzerland, appears rather suddenly, coinciding with a kind of social upheaval involving a shift of major centers in the northwest direction. The central area where the rich sites are mainly found 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 Celtic are aggressive invaders and invaders, but elsewhere the spread of Celtic material culture may involve only small movements of people, or not at all. The beginning of La TÃÆ'¨ne customized style of decorative motifs from foreign cultures into something obviously new; elaborate drinks of influence including Scythian art and that of the Greeks and Etruscans among others. The occupation by the Persian Empire Achaemenid of Thrace and Macedonia around 500 BC was an uncertain factor. The style of La TÃÆ'¨ne is "a very stylish arc style that is primarily based on vegetable motifs and classic foliage such as leafy palm shapes, vines, tendrils and lotus flowers along with spirals, S-scrolls, lyre and trumpets".
The most extravagant objects, whose perishable materials tend to mean they are the best preserved in addition to the pottery, do not dispute stereotypical views of the Celtic people found in classical authors, where they are represented as being especially interested in parties and fights, as well as a striking display. Society is dominated by aristocracy soldiers and military equipment, even if in ceremonial versions, and containers for drinking, representing most of the greatest and most spectacular discoveries, besides jewelry. Unfortunately for archaeologists, the "prince" rich funeral of the Hallstatt period is greatly reduced, at least partly because of the change from annotation burial to cremation.
Torc is clearly a marker of key status and is widely used, in various metals no doubt reflecting the wealth and status of the owner. Bracelets and arm bracelets are also common. The exceptions to the general lack of depictions of human figures, and the failure of wood objects to survive, are certain water sites where large numbers of small body figures or small figures have been found, assumed to be votive victims representing location of the applicant's disease. The largest of these, at Source-de-la-Roche, ChamaliÃÆ'¨res, France, produces more than 10,000 fragments, mostly now in Clermont-Ferrand.
Some phase styles are distinguished, under various names, including numerical (De Navarro) and alphabetical series. Generally, there is broad agreement about how to demarcate phases, but the names used are different, and that they follow each other in chronological order is now much more uncertain. In the Jacobsthal distribution version, the "early" or "strict" phase, De Navarro I, in which the import motif remains recognizable, is replaced by "vegetal", "Continuous Vegetal", "Waldalgesheim style", or De Navarro II, in which ornaments "usually dominated by moving tendrils of various types, twisting and spinning in restless movement on 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 sarongs and featuring decorations in high relief. An intellectual, Vincent Megaw, has defined the "Disney style" of animal heads like cartoons in plastic style, and also "the art of the Oppida period, 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 Style V, and the Celtic Insular style separation is widely recognized.
The often-spectacular art of the formerly rich Celton Continental, before they were conquered by the Romans, often adopted Roman, Greek and other "foreign" elements (and probably used imported craftsmen) to decorate Celtic objects. So the torc in the rich Vix Grave ends with a large ball in a way found in many others, but here the ends of the ring are formed as lion's claws or similar animals, without making a logical connection to the ball, and on the outside of the two winged horse rings small sitting on plaque is done fine. The effect is impressive but somewhat inconsistent compared to the equally fancy British torc of the Snettisham Hoard made 400 years later and using a mature and harmonious style of fanciful elements. The 1st century BC Gundestrup Crater, is the largest part of the European Iron Age silver (diameter 69 cm, 42 cm high), but although many of its iconography are clearly Celtic, most are not, and are more numerous. disputed; that's probably from Thracian manufacture. To further confuse the problem, it was found in a swamp in northern Denmark. The Agris helmet in gold leaf on bronze clearly shows the Mediterranean origin of its decorative motif.
In the 3rd century BC, Celtic began to produce coins, imitating Greek and later Roman types, initially quite closely, but gradually allowing their own tastes to take over, so a version based on a quiet classical head grew a few large wavy hairs times bigger. from their faces, and the horses formed from a series of highly curved elements.
A form that seems unique to southern England is a mirror with elaborate grips and ornaments, mostly engraved, on the back of the bronze plate; the front side is very polished to act as a mirror. Each of the more than 50 mirrors found has a unique design, but a basically circular mirror shape may dictate the sophisticated abstract curved motif that dominates their decor.
Despite Ireland's importance to early medieval Celtic art, the number of artifacts showing the La TÃÆ'¨ne style found in Ireland is small, although they often have very high quality. Some aspects of Hallstatt metal have appeared in Ireland, such as chabbard chapes, but the style of La TÃÆ'¨ne was not found in Ireland before some point between 350-150 BC, and until the last date was mostly found in modern Northern Ireland, especially in a series of slabs engraved. After that, although Ireland remained outside the Roman Empire that engulfed continental and British Celtic culture, Irish art was subject to continuous influence from outside, through trade and possibly the periodic influx of refugees from Britain, both before and after the Roman invasion. It remains uncertain whether some of the most famous objects found from the period were made in Ireland or elsewhere, as far as Germany and Egypt in certain cases.
But in Scotland and western England where the Romans and then Anglo-Saxons were largely detained, the La TÃÆ'¨ne style version remained in use until it became an essential component of the new Insular style developed to meet the needs of the newly Christianized population. Indeed, in northern England and Scotland most commonly found after the date of the Roman invasion in the south. However, while there are good Irish finds from the 1st and 2nd centuries, there is little or nothing in the La TÃÆ'¨ne style of the 3rd and 4th centuries, periods of instability in Ireland.
After the Roman conquest, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian style, but also produced works in local flavors, including statues of gods and articles painted with animals and other subjects in a highly formalized style. Roman Britain produced a number of items using Roman forms such as the fibula but with the ornament of La TÃÆ'¨ne style, whose date could be difficult, eg "hinged brass collar" from around the time of the Roman conquest showing Celtic decor in the Roman Context. Britain also makes more use of enamel than most of the Empire, and on larger objects, and the development of champlevÃÆ'Â © Â techniques may be important to later medieval art from all over Europe, where energy and freedom derive from the decoration of Insular is an essential element. The enamel decorations on the brooches, the "dragonesque" brooches, and the hanging bowls show a continuity in Celtic decoration between works such as the Staffordshire Moorlands Pan and the flowers of the Christian Insular art from the 6th century onwards.
- Continental example
- English example
Beginning of the Middle Ages
Irish Post-Roman and English
The Celtic art of the Middle Ages was practiced by the Irish and some of Britain in the 700-year period of Roman withdrawal from England in the fifth century, until the formation of Roman art in the 12th century. Through the Hiberno-Scottish mission the force was influential in the development of art throughout Northern Europe.
In Ireland, the unbroken legacy of Celtic exists from earlier and throughout the Roman era in England, which had never reached the island, although in reality Irish objects in the style of La TÃÆ'¨ne are extremely rare from the late Roman period. The 5th to 7th centuries is a continuation of the art of the Late Iron Age of La TÃÆ'¨ne, with many Roman and Romano-English influences slowly penetrating there. With the advent of Christianity, Irish art was influenced by the Mediterranean and German traditions, the latter by Irish contact with the Anglo-Saxon, creating the so-called Insular or Hiberno-Saxon style, which had a golden age in the 8th and early 9th century before the Viking very disturbing monastic life. The end of the Scandinavian influence period was added through the Viking and Norse-Gael population mix, then Celtic's original work ended with the Norman invasion of 1169-1170 and the subsequent introduction of the common Romanesque European style.
The interlacing patterns often characterized as "Celtic art" are in fact introduced to the art of the Insular from the Mediterranean, either directly or through the animal Style II of the Germanic Migration Period art, although they are drawn with great skill and enthusiasm by the Celtic Artist in illuminated metal works and manuscripts. Similarly, the forms used for the best Insular art are all adopted from the Roman world: Gospel books such as the Book of Kells and Lindisfarne Books, trophies such as Ardagh Chalice and Derrynaflan Chalice, and Penanular brooches like Tara Brooch. These works originate from the period of the ultimate achievement of the art of the Insular, which lasted from the 7th to 9th centuries, before the Viking attacks sharply restored cultural life.
In the seventh and ninth centuries, Irish Celtic missionaries traveled to Northumbria in England and brought the tradition of illuminating Irish manuscripts, which were in contact with Anglo-Saxon metal work and motifs. In the Northumbrian monasteries these skills converge and may be sent back to Scotland and Ireland from there, also affecting Anglo-Saxon art throughout England. Several metal works were created including Tara Brooch, Ardagh Chalice and Derrynaflan Chalice. New techniques used are filigree and chip engraving, while new motifs include interlace patterns and animal ornamentation. The Book of Durrow is the earliest complete insular script that illuminates the Gospel and around 700, with the Gospel of Lindisfarne, the Hiberno-Saxon style is fully developed with a detailed carpet-looking yard with a wide color palette. The art form reached its peak at the end of the eighth century with the Book of Kells, the most complicated Insular manuscript. The artistic style of anti-classic Insular was brought to mission centers on the Continent of Europe and had a continuing impact on the art of Carolingian, Romanesque and Gothic for the rest of the Middle Ages.
In the 9th and 11th centuries silver plain became a popular medium in Anglo-Saxon England, probably due to an increased number in circulation due to Viking trade and robbing, and during this time a tremendous amount of silver penannular silver was made in Ireland.. Around the same time the production of the manuscript began to decline, and although often blamed on the Vikings, this is debatable considering the setbacks began before the Vikings arrived. The statue begins to evolve in the form of a "high cross", the cobblestone crucifix that contains biblical scenes in carving reliefs. This art form reached its peak in the early 10th century and has left many excellent examples such as Muiredach Cross in Monasterboice and Ahenny High Cross.
The Viking impact on Irish art was not seen until the end of the 11th century when Irish metalworks began to emulate the Scandinavian style of Ringerike and Urnes, eg the Cong Crusade and the Shrine of Manchan. These influences are found not only in the Dublin Norse center, but throughout the countryside in stone monuments such as Dorty Cross in Kilfenora and the cross in 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 of the 11th century is certainly written in Wales, and also shows a strong Viking influence.
The art of the historic Dumnonia, modern Cornwall, Devon, Somerset and Brittany in the Atlantic coast is now fairly rarely proven and therefore less known as these areas later became incorporated into England (and France) in the Middle Ages and Early Modern periods. But archaeological studies at sites such as Cadbury Castle, Somerset, Tintagel, and recently at Ipplepen show a highly sophisticated scholarly society with strong influence and connection with both the Byzantine Mediterranean as well as the Irish Atlantic, and England in Wales and the 'Old North'. Many crosses, memorials and gravestones such as King Doniert's Stone, Drustanus stone and the famous Artognou stone show evidence for the sub-Roman cosmopolitan population who speak and write surprisingly both in Brittonic and Latin and with at least some knowledge of Ogham shown by some who still there are stones in the region. Breton and especially the Cornish texts are extremely rare but include Bodmin manuscripts that show the regional form of the Insular style. Picts (Scotland)
From the 5th century until the mid-9th century, the art of Picts was mainly known through stone sculpture, and a small number of pieces of metal, often of very high quality; no known manuscripts. The Picts share 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, the Insular style greatly influenced the Pictish art, with a prominent interlacing in both metalwork and stone.
The pictorial stones are given by the 3rd graders of the class. The Class I Pictish stones are unformed standing stones colored with a series of around 35 symbols that include abstract designs (given descriptive names such as scythe and V-rod, double discs and Z-rods, 'flowers' and so on by the researchers); carvings of recognizable animals (bulls, eagles, salmon, adders and others), and the Beast, and objects from everyday life (combs, mirrors). Symbols almost always occur in pairs, with about a third of the cases of adding mirrors, or mirrors and combs, symbols, under the others. This is often taken to symbolize 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 Dunnichen and Aberlemno (Angus) stones, and Brandsbutt and Tillytarmont (Aberdeenshire) stones.
Class II stone in the form of crosslinks carved with help, or in combination of incisions and reliefs, with a prominent cross on one, or in rare cases two, face. The crosses are intricately decorated in interlacing, pattern-lock or scroll, in the Insular style. On the faces of the two stones, Pictish symbols appear, often intricately adorned, accompanied by figures (especially horsemen), realistic and fantastic beasts, and other scenes. The hunting scene is ordinary, biblical motif less so. The symbols often appear to 'label' one of the human figures. Battle scenes or battles between humans and wild animals can be a scene of Pictish mythology. Good examples include sheets from Dunfallandy and Meigle (Perthshire), Aberlemno (Angus), Nigg, Shandwick and Hilton of Cadboll (Easter Ross).
Stone class III is in the Pictish style, but does not have a characteristic symbol. Most are cross plates, although there are also bulging stones with sockets for inserted crucifixes or small plates (for example in Meigle, Perthshire). These stones were probably mostly dated after the takeover of the Scottish kingdom of Pictish in the mid-9th century. Examples include sarcophagus and a large collection of cross-sheets in St Andrews (Fife).
The following museums have an important collection of Pictish stones: Meigle (Perthshire), St Vigeans (Angus) and St Andrew's Cathedral (Fife) (all of Scotland's Historic), the Scottish Museum, Edinburgh (which also showcase almost all the major pieces of the still-alive Image metal), Meffan Institute, Forfar (Angus), Inverness Museum, Groam House Museum, Rosemarkie and Tarbat Discovery Center, Portmahomack (both Easter Ross) and Tankerness House Museum, Kirkwall, Orkney.
Celtic revival
The revival of interest in the Celtic visual arts came some time later than the revived interest in Celtic literature. In the 1840s, the reproduction of the Celtic brooch and other forms of metal was fashionable, originally in Dublin, but later in Edinburgh, London and other countries. Flowers are stimulated by the discovery in 1850 from Bros Tara, which was seen in London and Paris over the next few decades. The late 19th century reintroduction of the monumental Celtic cross to graves and other memorials has arguably become the most enduring aspect of revival, which has spread well beyond regions and populations with certain Celtic heritage. Interlacing usually features on this and has also been used as a style of architectural decoration, especially in America around 1900, by architects such as Louis Sullivan, and in stained glass and wall stencil by Thomas A. O'Shaughnessy, both based in Chicago with the Irish-American population the big one. The early Celtic art "plastic style" was one of the elements that fed the Art Nouveau decorating style, so conscious that in the work of designers like Manxman Archibald Knox, who did a lot of work for Liberty & Together.
The Arts and Crafts movement in Ireland embraced Celtic style from the beginning, but began to retreat in the 1920s. The Governor of the National Gallery of Ireland, Thomas Bodkin, writing in The Studio magazine in 1921, drew attention to the decline of Celtic ornaments at the Sixth Exhibition of Irish Arts and Crafts Society said, "National art worldwide has a long burst, narrow boundaries where it lulled and grown more cosmopolitan in spirit with each of the next generations. "George Atkinson, writing the introduction to the same exhibition catalog emphasized public disapproval of the overemphasis on Celtic ornaments at the expense of good design. "Special applicants on behalf of national traditional ornaments can no longer be justified." The style has served a nationalist purpose as a symbol of different Irish cultures, but soon the intellectual mode left the Celtic art as a nostalgic looking back.
Interlace, still seen as a form of "Celtic" decoration - somewhat disregarding its Germanic origin and an equally prominent place in the medieval art of Anglo-Saxon and Scandinavia - remains a motif in many popular design forms, especially in the Celtic countries, and above all of Ireland, where it remains a national-style signature. In recent decades it has been used worldwide on tattoos, and in various contexts and media in fantasy works with quasi-Dark Ages settings. The Secret of Kells is an animated feature film of 2009 created during the making of Kells Book which uses Insular design.
In the 1980s, the new Celtic Awakening had begun, which continues to this day. Often this late twentieth-century movement is referred to as the Celtic Renaissance. In the 1990s the number of new artists, craftsmen, designers and retailers specializing in Celtic jewelry and crafts was rapidly increasing. Renaissance Celtic has become an international phenomenon, with participants no longer confined to the Old-World Celtic countries.
Source of the article : Wikipedia
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