C ELTIC FOLK SOUL A RT, M YTH & S YMBOL W ritten & I llustrated by J EN D ELYTH FOLK soul For all poetry is in a sense memory: all art, indeed is a mnemonic gathering of the innumerable and lost into the found and unique. Fiona Macleod “From the Hills of Dream” 1901 introduction Through the abstract patternings and enigmatic of the Celtic world—Wales, Ireland, Scotland, Cornwall, F riddles of ancient metal-smiths and medieval monk scribes, Brittany and beyond. we glimpse the intricate complexity of the Celts, whose Like the complex patterns of Celtic Art themselves, FOLK soul connection with the elemental power and wisdom of na- in the telling of the tales and traditions we encounter O ture speaks to us still. repeating motifs and figures, which reflect the circular rhythms and cadences that pulse through the Celtic cul- L Celtic artwork is rhythm and it is this rhythm of life ture. In this book there are core characters and elements that we first feel when interacting with the ancient pat- that appear often, representing major archetypes on terns—the cadence and language of the Earth. behalf of the many more who are not illuminated, or who K The sacred Spiral and her triple manifestation sym- are hidden from us by the veil of history. bolize the ancient Goddess and her seasonal cycles. The In Celtic mythology, a well-known figure can Labyrinth, or key-knot patterns, speak of the ancient jour- appear with differences of name, attributes and lore in s This is a book about the beauty, power and spirit of Each of the nine main chapters contains original il- ney to the center and out again. The Tree of Life celebrates Irish, Welsh and Scottish variations. Welsh Lleu Llaw Gyffes nature expressed through the ancient language of Celtic lustrations and explanations of the symbolism found within the verdant force of nature, the fruitful vines of growth and is connected to the Irish Lugh, and both have their own o Art and symbol: the voice of the Folk-Soul. them, with poetry and text giving background to the theme sustenance, and the sacred animals are totemic archetypes stories to tell. However, both are connected with solar of each section. Chapters are represented by elemental representing their qualities of strength, fertility and intel- symbolism, and are skilled warriors. They are both prob- The Celtic Folk-Soul dances at the heart of a living tra- symbols paired intuitively with metaphorical core concepts ligence. ably related to a far older deity of the sun—a mighty force u dition, representing the vitality of her people, their stories, that occur throughout the Celtic tradition: Stone—myster- The patterns reflect the beat of the earth, the of light and strength in the cosmos.. their land and their memories, from the early tribes through ies, Wind—journey, Seed—fire. movement of the moon across the sky that draws the sap l to us today. An ancient thread weaves back through art, I have chosen these organic themes to evoke col- of the plants—the growth and waning of our lives, and Language of Symbols can be understood and recog- ors, textures and responses together with art and poetry, to myth and poetry connecting us to a complex mysticism that of the seed to the sapling to the tall tree and all back nized on many different levels: visual, contextual, mythic express Celtic archetypes and symbols that resonate for us that expresses the interconnection and balance of all living to the earth again in a great circle. and philosophic. Although many of the core Mystery tradi- today. Each element within the book opens a window into Celtic artwork describes this rhythm at the heart things. tions were kept hidden by the priestly class of Druids, the the Celtic Folk-Soul—the door is our own imagination and of things. The elements within the designs are rooted in a artists and the bards wove mystical elements within their creative experience. far more ancient culture, where the language of the artists Celtic Art speaks to us through an intricacy of symbol words and images. and form that enchants while it mystifies, and yet is some- was directly connected with the Earth Mysteries. Sacred how the perfect way to talk about that which is abstract, The Voice of the Folk-Soul is articulated through patterns within the Gavrinis chambered cairn in Brittany sometimes invisible, and yet so essential. the language of artists, poets and storytellers: it is they who (dating back to 3500 – 4000 BC) and the megalithic pas- I have been a sow, I have been a buck, Throughout the many challenges and migrations of channel the knowledge of our ancestors. The old memory sage tomb at Newgrange, Ireland (3200 BC) are good I have been a sage, I have been a snout, the Celtic people, the Folk-Soul sings of the beauty of life, is kindled through the songs and prayers of the fishermen examples of this. and farmers, mothers and weavers, the priests and poets. I have been a horn, I have been a wild sow, even within the darkness—perhaps particularly then. This I have been a shout in battle. This rich, symbolic language contains the seeds of The Characters of myth and memory spiral, is the language, the poetic key to the Mysteries, that is the I have been a torrent on the slope, articulation from the early first peoples, and continues to meander and weave through time, which echoes with their source of my inspiration and journey as an artist. I have been a wave on the shore. evolve into our time. Exploring the roots of mythic art- riddles and contradictions. To know them, we must accept forms gives us insight into the heart of the culture from I have been the light sprinkling of rain, and concepts form the foundation some of what we do not always understand, and allow the Organic Elements which they are drawn. I have been a cat with a speckled head on three trees. of the chapters in this book, each of which evokes pivotal mysterious to speak in its own enigmatic way, feeling our I have been a circumference, I have been a head. Intricate spiral and interlacing patterns express the Celtic themes and the symbols and archetypes that repre- way to the center—to the still heart of the turning triskele. A goat on an elder-tree. oneness of life within all forms, the visible and the invisible. sent them. My intention is for Celtic Folk-Soul to be enjoyed At times we may lose our orientation of time and I have been a well filled crane, a sight to behold. Through myth and symbol the deeper truths are illumi- primarily on a visual level, with the text accompanying the place, travel between this world and the Otherworld, this nated, leading us intuitively into the otherworldly realms of artwork rather than the designs illustrating the written moment and one long past. As we follow the Folk-Soul Song of the Horses, from The Book of Taliesin - our psyche. word. back through the ages, we will visit many places, some Translated in The Four Ancient Books of Wales, by W. F. Skene, 1858 with curious and strange-sounding names, in every corner AOIS DANA The source of the Boyne, named after the Goddess Boann, is described as: “. a shining fountain, with five streams flowing out of it . Nine hazels grew over the well. The purple hazels dropped their nuts into the fountain, and five salmon severed them and sent their husks floating down stream. The five streams of the senses are these, through which knowledge is obtained. No-one will have knowledge who drinks not a draught out of the fountain itself, and out of the streams.” The folk of many arts are those who drink them both. These are the Aois Dana, the inspired poets. —T.P. Cross and C.H. Slover, Ancient Irish Tales Well-crafted images communicate better than sense that all is multi-dimensional and interconnected, and words the organic mystery that is life, spirit within form. that there is a mystical and colorful spiritual world beyond Authentic symbols can be perceived on both conscious and the hardships of everyday life. unconscious levels, through intuitive as well as intellectual This is an art form that embraces creative interpre- understanding. To understand more deeply, one must learn tation, has affinity for ambiguity and profundity. It always But let us chime in the heather blue the language. But more importantly, symbols are to be felt intrigues, suggesting something of that which we cannot Of their two handed harpers. with the heart and experienced through the soul. always see, but can often feel within the complexities of the Spiraling from red and silver wires This opens the communication of ideas on a non- world—the Mystery of a world that is alive, from which we Tones of the faces that speak from verbal level to all people, young or old, and to the majority come, and to where we return. Jurassic rock with eyes like leaves. of people throughout history who could not read or write A winding music keening and exultant but who could relate to and draw from this wisdom tradi- Creativity and insight are the gifts of the Aois Dana, Through the green drum of the hills tion. The symbol may be complex, yet there is a conceptual the Poets who guard the fountain of knowledge, which is s The white briar rose and the long dance vocabulary at the foundation.