Art Anglo-Saxons

early anglo-saxon art, survives, seen in decorated jewellery, brooches, buckles, beads , wrist-clasps, of outstanding quality. characteristic of 5th century quoit brooch motifs based on crouching animals, seen on silver quoit brooch sarre, kent. while origins of style disputed, either offshoot of provincial roman art, frank, or jute art. 1 style flourished late 5th century, , continued throughout 6th, , on many square-headed brooches, characterised chip-carved patterns based on animals , masks. different style, gradually superseded dominated serpentine beasts interlacing bodies.

shoulder clasp (closed) sutton hoo ship-burial 1, england. british museum.

by later 6th century best works south-east distinguished greater use of expensive materials, above gold , garnets, reflecting growing prosperity of more organised society had greater access imported precious materials, seen in buckle taplow burial , jewellery @ sutton hoo, c.600 , c.625 respectively. possible symbolism of decorative elements interlace , beast forms used in these works remains unclear, clear. these objects products of society invested modest surpluses in personal display, fostered craftsmen , jewellers of high standard, , society possession of fine brooch or buckle valuable status symbol , possible tribal emblem – in death as in life.

the staffordshire hoard largest hoard of anglo-saxon gold , silver metalwork yet found. discovered in field near village of hammerwich, near lichfield, in staffordshire, england, consists of on 3,500 items martial in character , contains no objects specific female uses. demonstrates considerable quantities of high-grade goldsmiths work in circulation among elite during 7th century. shows that, superb though individual pieces may in terms of craftsmanship, value of such items currency , potential roles tribute or spoils of war could, in warrior society, outweigh appreciation of integrity , artistry.

the coming of christianity revolutionised visual arts, other aspects of society. art had fulfil new functions, , whereas pagan art abstract, christianity required images representing subjects. transition between christian , pagan traditions apparent in 7th century works; examples include crundale buckle , canterbury pendant. in addition fostering metalworking skills, christianity stimulated stone sculpture , manuscript illumination. in these germanic motifs, such interlace , animal ornament along celtic spiral patterns, juxtaposed christian imagery , mediterranean decoration, notably vine-scroll. ruthwell cross, bewcastle cross , easby cross leading northumbrian examples of anglo-saxon version of celtic high cross, slimmer shaft.

the jamb of doorway @ monkwearmouth, carved pair of lacertine beasts, dates 680s; golden, garnet-adorned pectoral cross of st cuthbert presumably made before 687; while wooden inner coffin (incised christ , evangelists symbols, virgin , child, archangels , apostles), lindisfarne gospels, , codex amiatinus date c.700. fact these works northumbria might held reflect particular strength of church in kingdom during second half of century. works south more restrained in ornamentation northumbria.

lindisfarne important centre of book production, along ripon , monkwearmouth-jarrow. lindisfarne gospels might single beautiful book produced in middle ages, , echternach gospels , (probably) book of durrow other products of lindisfarne. latin gospel book, lindisfarne gospels richly illuminated , decorated in insular style blends not irish , western mediterranean elements but, incorporates imagery eastern mediterranean, including coptic christianity well. produced in north of england @ same time codex amiatinus, has been called finest book in world. 1 of largest, weighing 34 kilograms. pandect, rare in middle ages: books of bible in 1 volume. codex amiatinus produced @ monkwearmouth-jarrow in 692 under direction of abbot ceolfrith. bede had it. production of codex shows riches of north of england @ time. have records of monastery needing new grant of land raise 2 thousand more cattle calf skins make vellum make manuscript. codex amiatinus meant gift pope, , ceolfrith taking rome when died on way. copy ended in florence, still today – ninth-century copy of book today personal bible of pope.

book of cerne, evangelist portrait of saint mark

in 8th century, anglo-saxon christian art flourished grand decorated manuscripts , sculptures, along secular works bear comparable ornament, witham pins , coppergate helmet. flourishing of sculpture in mercia, occurred later in northumbria , dated second half of 8th century. fine decorated southern books, above bible fragment, can securely assigned earlier 9th century, owing similarity of script of charters period; book of cerne 9th century insular or anglo-saxon latin personal prayer book old english components. manuscript decorated , embellished 4 painted full-page miniatures, major , minor letters, continuing panels, , litterae notibiliores. further decorated motifs used in these manuscripts, such hunched, triangular beasts, appear on objects trewhiddle hoard (buried in 870s) , on rings bear names of king Æthelwulf , queen Æthelswith, centre of small corpus of fine ninth-century metalwork.

there demonstrable continuity in south, though danish settlement represented watershed in england s artistic tradition. wars , pillaging removed or destroyed anglo-saxon art, while settlement introduced new scandinavian craftsmen , patrons. result accentuate pre-existing distinction between art of north , of south. in 10th , 11th centuries, viking dominated areas characterised stone sculpture in anglo-saxon tradition of cross shafts took on new forms, , distinctive anglo-scandinavian monument, hogback tomb, produced. decorative motifs used on these northern carvings (as on items of personal adornment or everyday use) echo scandinavian styles. wessexan hegemony , monastic reform movement appear have been catalysts rebirth of art in southern england end of 9th century. here artists responded continental art; foliage supplanting interlace preferred decorative motif. key works alfred jewel, has fleshy leaves engraved on plate; , stole , maniples of bishop frithestan of winchester, ornamented acanthus leaves, alongside figures bear stamp of byzantine art. surviving evidence points winchester , canterbury leading centres of manuscript art in second half of 10th century: developed colourful paintings lavish foliate borders, , coloured line drawings.

by 11th century, these 2 traditions had fused , had spread other centres. though manuscripts dominate corpus, sufficient architectural sculpture, ivory carving , metalwork survives show same styles current in secular art, , became widespread in south @ parochial level. wealth of england in later tenth , eleventh century reflected in lavish use of gold in manuscript art vessels, textiles , statues (now known descriptions). admired, southern english art highly influential in normandy, france , flanders c.1000. indeed, keen possess it, or recover materials, normans appropriated in large quantities in wake of conquest. bayeux tapestry, designed canterbury artist bishop odo of bayeux, arguably swansong of anglo-saxon art. surveying 600 years of continuous change, 3 common strands stand out: lavish colour , rich materials; interplay between abstract ornament , representational subject matter; , fusion of art styles reflects england linked in 11th century.