A Process for Creating Celtic Knot Work
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The Caledonii Grande Tradition Greetings from the Editorial Staff
amildanachamildanach Journal of Celtic Studies ◊ Caledonii Grande Tradition SS http://www.angelfire.com/sc/Caledonii/ Premiere Edition ◊ Five dollars Greetings from the Editorial Staff It has been several years since the We are striving to present articles Sabbats, Gods and Goddesses of publication of the original Samildanach of worth to those of you who wish the Celts and customs relating to was released. Now, with new to be enriched in your study of them. We invite you to submit your computers and a full Staff comprised Celtic life ways. We’ll also carry articles to our Editorial Staff at least of hard working Caledonii members, sections announcing upcoming six weeks before the release date we hope to bring you this magazine Gatherings around the South East, for each issue. Issues of the zine will of Celtic Studies. You’ll find a lot in and notable Gathers throughout number four a year to correspond this issue which we hope will be of the States; as well as, articles on the to the great Fire Festivals. interest to you. – Continued on page 2 The Caledonii Grande Tradition A Little Background Grande Tradition known as the Wiccans and Mystic Christians can Fellowship of Caledon. In its come together and affirm their By Lord Ariel Morgan meetings, the Druidh, the Elders interconnectedness as Creators Ard Druidh Chosen Chief of the Order and Third Degree, and the Episcopacy, children and as brothers and sisters Wisdom Keeper of the Tradition sit together and create the policies of the Caledonii family. Within the which govern the Caledonii. -
On the Topology of Celtic Knot Designs
On the Topology of Celtic Knot Designs Gwen Fisher Mathematics Department California Polytechnic State University San Luis Obispo, CA 93407 [email protected] Blake Mellor Mathematics Department Loyola Marymount University Los Angeles, CA 90045-2659 [email protected] Abstract We derive formulas for counting the number of strands in a variety of knotwork designs inspired by traditional Celtic designs, including rectangular panels, circular borders, rectangular borders, and half frames. We include graphic examples for each of these types of designs. 1. Introduction There is a long tradition of abstract geometric designs in the art of the Celtic peoples of ancient Britain, Scotland and Ireland, including spirals, key patterns and, in the Christian era, knots and interlacings [1]. Complex knotwork patterns were used profusely in the Celtic illuminated manuscripts, such as in the Books of Durrow (early 5th to early 6th century), Kells (middle 6th to early 8th century), Lindesfarne (late 7th century), and Grimbald of St. Bertin (early 11th century). In these manuscripts, interlacing designs (both purely geometric, as in Figure 1, and incorporating animal figures) fill areas and are used as borders for text and illustrations. Françoise Henry called these designs a “sacred riddle” [7], and their symbolic meaning is a fascinating and unresolved issue in Celtic art history. James Trilling [10] has theorized that knotwork designs were, like the crosses that they commonly accompanied, protections against evil: the complex designs would trap and confuse the “evil eye”. Figure 1: A knotwork design, from [5] Whatever their meaning, the complexity of Celtic knotwork designs is evidence of substantial mathematical sophistication [4], and their design and analysis lead to many mathematical questions. -
Were Celtic Identities Constructed by Archaeologists..?
Were Celtic identities constructed by archaeologists..? Tacitus (1970:62), an eye witness to the Pre-Roman Britons, wrote a non-judgmental analysis of the pre-historic inhabitants saying “it seems likely that Gauls settled in the island lying so close to their shores” and that the peoples had similar language, religious beliefs and courage. In 1705 Abbé Pezron began the construction of Celtic identity by reasoning that Celts spoke Celtic and that Edward Lhuyd added to this by assuming that the Welsh, Scots and Irish were Celtic (Collis 2006:12). James (1999:47-49) added that Lhuyd was a Welsh patriot with a political addenda for this proposal and that Lhuyd’s ideas became accepted “as established fact … with remarkable speed” and ‘Celtic’ was used to define ancient monuments and material remains. Morse (2005:9) explains that national identity of the British Isles was not a new topic and, for example, works by Geoffrey of Monmouth (c.1135), John Major (1535) and George Buchanan (1582) – under the patronage of Kings and Popes - had presented different lineages for political ends linking their identity to Trojans, Druids, and Gallia Celtica. In France, supporting a growing nationalism, interest in Celtic speaking people and their achievements and, similar to England, resulted in “fanciful speculation” (Trigger 2008:89). Napoleon III, during the 1860s, to form a national culture to unite France, financially supported excavations of a Celtic town at Alésia which revealed a resemblance to the La Tène culture. During 1985, over one-hundred years later, on a nearby ancient hilltop at Bibracte President Mitterrand launched an appeal for national unity (Dietler 1994:584) claiming that this was were the “first act of our history took place”. -
The Elusive Image
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title The elusive image Author(s) Waddell, John Publication Date 2009 Waddell, J. (2009). The elusive image. In G. Cooney et al Publication (eds.), Relics of old decency: archaeological studies in later Information prehistory: festschrift for Barry Raftery (pp. 341-349). Dublin: Wordwell. Publisher Wordwell Item record http://hdl.handle.net/10379/5342 Downloaded 2021-09-25T12:35:18Z Some rights reserved. For more information, please see the item record link above. The Elusive Image John Waddell In writing of the image of man in La Téne art, Paul Jacobsthal examined the peculiar and delusive blending of human faces and ornament that sometimes occurred on metalwork such as tores, girdle-hooks, rings and fibulae. He was struck by the fact that the Greeks might blend abstract or floral ornament with human faces but for them a spiral was always a spiral and a face always a face; it was always clear where one began and the other ended. Not so with the faces or masks in La Téne art. Jacobsthal (1941, 10; 1944, 18) wrote, ‘there is something fleeting and evanescent about these masks, which are often not even complete faces, only bits of a face. It is the mechanism of dreams where things have floating contours and pass into other things. One might call the style the Cheshire Style: the cat appears in the tree and often just the grin of the cat.’ This wry—and, indeed, slightly frivolous—allusion to Lewis Carroll’s famous disappearing cat who left just his smile behind has also left its mark in the study of this extraordinary art style. -
General Introduction the Evergreen: a Northern Seasonal (1895- 1896/97)
GENERAL INTRODUCTION THE EVERGREEN: A NORTHERN SEASONAL (1895- 1896/97) “Four seasons fill the measure of the year; There are four seasons in the mind of man.” Epigraph to The Evergreen, from John Keats’s “The Human Seasons” Evergreen flyleaf ornament. Published as a semi-annual by Patrick Geddes & Colleagues in the Lawnmarket of Edinburgh and by T. Fisher Unwin in London, The Evergreen: A Northern Seasonal was produced out of interlacing connections as complex as those of the Celtic knot work it showcased. These include arts and crafts, Scottish Renascence, Pan-Celticism, and an urban renewal enhanced with what we would today call an ecological concern with nature and green space in the modern world. With local roots and international aspirations, The Evergreen sought to express a message of social regeneration by uniting art and science in the architecture of the page and the built environment. Expressed in Geddes’s triad of “sympathy, synergy, and synthesis,” this vision was embodied in the emblem of three flying black birds, each carrying a leaf in its beak, which decorated the openings of The Evergreen’s four volumes (Burbridge 73). As Regina Hewitt observes, Geddes conceptualized The Evergreen “as a resource for—and 1 perhaps even a manifesto of—cultural evolution” (“Patrick Geddes”). Although The Evergreen’s print run lasted less than two years, this innovative, interdisciplinary magazine had far-reaching impact. In his review for Pall Mall Magazine, Israel Zangwill highlighted the importance of the local and the social to this illustrated periodical. “’Till I went to Edinburgh,” he wrote, “I did not know what the ‘Evergreen’ was. -
Celtic Patterns to Colour Pdf, Epub, Ebook
CELTIC PATTERNS TO COLOUR PDF, EPUB, EBOOK Struan Reid,David Thelwell | 32 pages | 01 Jul 2014 | Usborne Publishing Ltd | 9781409574651 | English | London, United Kingdom Celtic Patterns to Colour PDF Book You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. There were Celts through most of Europe and even Asia, so these coloring sheets are Celtic favorites all over! Celtic Dogs Design. Knotted Celtic Art Design. Celtic Dublin. Triquetra Knot. Celtic Art Coloring Pages to Print. Cross Shape. Print all of our Celtic Coloring pages for free. Follow the lines. Patrick Celtic Coloring. Coloring pages. It can seem like a tangled maze, so some pre-thinking is in order for many of these coloring pages! Quad Celtic Knot. Copyright Disclaimer Disclosure Privacy Terms. Christmas Patterns to Colour Emily Bone. Also, get your favorite crayons, coloring pencils, and watercolors ready for my relaxing adult coloring pages! Trinity Celtic Triangle. Round Pattern. Accept all Manage Cookies. Celtic Heraldry. That's why there were so many intertwined animals, knots, vines, leaves and other decorations behind the main artwork. Celtic Knot Pattern. Swan Celtic Animals. Easy Celtic Bird. Designs are taken from stone carvings, pottery and jewellery and include the intricate knotwork patterns for which the Celts were famous. Vine Motif. Celtic Style Shamrock. Abigail Wheatley. Printable Celtic Symbol Coloring Pages. Beautiful Celtic Coloring Pages. Celtic Owl Design. Small Celtic Knots. They shared common languages, religious beliefs, traditions and of course artwork. Celtic Leaves. Celtic Triquetra Circle Interlaced. Dispatched from the UK in 1 business day When will my order arrive? Celtic Design. -
Prehistoric Britain
Prehistoric Britain Plated disc brooch Kent, England Late 6th or early 7th century AD Bronze boars from the Hounslow Hoard 1st century BC-1st century AD Hounslow, Middlesex, England Visit resource for teachers Key Stage 2 Prehistoric Britain Contents Before your visit Background information Resources Gallery information Preliminary activities During your visit Gallery activities: introduction for teachers Gallery activities: briefings for adult helpers Gallery activity: Neolithic mystery objects Gallery activity: Looking good in the Neolithic Gallery activity: Neolithic farmers Gallery activity: Bronze Age pot Gallery activity: Iron Age design Gallery activity: An Iron Age hoard After your visit Follow-up activities Prehistoric Britain Before your visit Prehistoric Britain Before your visit Background information Prehistoric Britain Archaeologists and historians use the term ‘Prehistory’ to refer to a time in a people’s history before they used a written language. In Britain the term Prehistory refers to the period before Britain became part of the Roman empire in AD 43. The prehistoric period in Britain lasted for hundreds of thousands of years and this long period of time is usually divided into: Palaeolithic, Mesolithic, Neolithic (sometimes these three periods are combined and called the Stone Age), Bronze Age and Iron Age. Each of these periods might also be sub-divided into early, middle and late. The Palaeolithic is often divided into lower, middle and upper. Early Britain British Isles: Humans probably first arrived in Britain around 800,000 BC. These early inhabitants had to cope with extreme environmental changes and they left Britain at least seven times when conditions became too bad. -
Controlling Colours Function and Meaning of Colour in the British Iron Age
Controlling Colours Function and Meaning of Colour in the British Iron Age Marlies Hoecherl Archaeopress Archaeology Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 978 1 78491 225 3 ISBN 978 1 78491 226 0 (e-Pdf) © Archaeopress and M Hoecherl 2015 C o v e r i l l u s t ra ti o n : Ro o s C a r r F i g u r i n e s . P h o t o g ra p h R ay F u g e © Hull and East Riding Museum: Hull Museums All rights reserved. No part of this book may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Contents List of Figures ������������������������������������������������������������������������������������������������������������������������������������������������������iii Acknowledgements ����������������������������������������������������������������������������������������������������������������������������������������������v Chapter 1: Introduction ����������������������������������������������������������������������������������������������������������������������������������������1 Chapter 2: Literature Review ��������������������������������������������������������������������������������������������������������������������������������5 Chapter 3: Theoretical Aspects of Colour ��������������������������������������������������������������������������������������������������������������9 -
Thesis&Preparation&Appr
THESIS&PREPARATION&APPROVAL&FORM& & Title&of&Thesis:& Scottish&Fiddling&in&the&United&States:&Reviving&a&Tradition&and&Maintaining&a&Community& & & I. To&be&completed&by&the&Student:& & I&certify&that&this&document&meets&the&preparation&guidelines&as&presented&in&the& Style&Guide&and&Instructions&for&Preparing&Theses&and&Dissertations.&& & & _________________________________& &_______________& (Signature&of&Student)&& & (Date)& & & II. To&be&completed&by&thesis&advisor:& & I&certify&that&this&document&is&suitable&for&submission.& & & _________________________________&& _______________& (Signature&of&Advisor)&& & (Date)& & III. To&be&completed&by&School&Director:& & I&certify,&to&the&best&of&my&knowledge,&that&the&required&procedures&have&been& followed&and&the&preparation&criteria&have&been&met&for&this&thesis/dissertation.&& & & _________________________________& &_______________& (Signature&of&Director)&& & (Date)& & & xc:&Graduate&Coordinator& SCOTTISH FIDDLING IN THE UNITED STATES: REVIVING A TRADITION AND MAINTAINING A COMMUNITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Deanna T. Nebel May, 2015 Thesis written by Deanna T. Nebel B.M., Westminster College, 2013 M.A., Kent State University, 2015 Approved by ____________________________________________________ Jennifer Johnstone, Ph.D., Advisor ____________________________________________________ Ralph Lorenz, Ph.D., Acting Director, School of Music ____________________________________________________ -
Icons of the Iron Age: the Celts in History and Archaeology Course Guide
ICONS OF THE IRON AGE: THE CELTS IN HISTORY AND ARCHAEOLOGY COURSE GUIDE Professor Susan A. Johnston GEORGE WASHINGTON UNIVERSITY Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston George Washington University Recorded Books™ is a trademark of Recorded Books, LLC. All rights reserved. Icons of the Iron Age: The Celts in History and Archaeology Professor Susan A. Johnston Executive Producer John J. Alexander Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Matthew Cavnar COURSE GUIDE Editor - James Gallagher Design - Edward White Lecture content ©2008 by Susan A. Johnston Course guide ©2008 by Recorded Books, LLC 72008 by Recorded Books, LLC Cover image: Celtic knot design on a stone cross, Ballyroebuck, Ireland © Tom O’Brien/shutterstock.com #UT129 ISBN: 978-1-4361-5001-9 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Icons of the Iron Age: The Celts in History and Archaeology About Your Professor...................................................................................................4 Introduction...................................................................................................................5 Lecture 1 The Creation of the Celts ......................................................................6 Lecture 2 The Documentary Sources..................................................................10 Lecture -
Celebrating the Celtic Imagination Midsummer 2008
Celebrating the Celtic Imagination Midsummer 2008 52 NEW Items! welcome to gaelsong Midsummer 2008 Midsummer night has always been a night for love magic…as the heat of the sun gives way to the cool of the evening, lovers meet in the enchanted air and make merry in song and dance all the night long. It is a time to envision the future and revel in the present. A walk through the dew on midsummer morn brings Colleen Connell, magical rewards, as we delight in the beauty of Founder the new day. At GaelSong, we hope to add beauty and magic to your life. We present beautiful gifts in the Celtic style, made all over the world. Many items we offer are hand-crafted by artisans devoted actual size to keeping traditional Celtic handiwork and design alive. Whether you seek wisdom by reflecting on the past or seek beauty and inspiration in the present, we hope our products will warm and enchant you. NEW! TRINITY KN O T BLOSSOM FAIRY HOUSES … A trinity knot and sparkling gem form an ever-flowering EV E RY W H ERE ! silver blossom on a delicate tendril of silver vine. Discover a world of Framed in sunny 14k gold or moonlight Sterling silver. whimsical habitats constructed from J1037 Trinity Knot Blossom Earrings, sterling $48 natural materials. J2055 Trinity Knot Blossom Pendant, sterling $48 Building diminutive J1042 Trinity Knot Blossom Earrings, houses from found 14k gold and sterling $248 materials (twigs, J2056 Trinity Knot Blossom Pendant, shells, pinecones and 14k gold and sterling $248 such) is a delightful pastime—and a sweet way to invite FLOWER FAIRIES the fairies. -
Who Were the Celts?
Who Were the Celts? The Celts were groups of people who lived in Europe during the Iron Age (800 BC-AD). The Iron Age was the period of time when iron replaced bronze in the making of tools and weapons. It was discovered that iron could be produced from iron ore in a process called smelting. Iron was harder than bronze so made better objects. Who Were the Celts? There were three main Celtic groups; the Gauls (in Northern mainland Europe), the Britons (in England) and the Gaels (in Ireland). Iron Age Celts lived in Britain and Ireland from 750 BC. Celts lived in tribes, each with their own king or queen. Celtic tribes, in what is now Britain, included the Iceni, the Cornovii and the Ordovices. The Celts ruled Britain until the Romans invaded in AD 43. Celtic Art Because the Celtic people lived all over Europe, Celtic art is varied. Some of it came in the form of stone carvings, jewellery, pottery, tools and other objects. “The Guard” by Patrimonio Nacional Galegois licensed under CC BY 2.0 “Image from page 379 of "The arts in early England" (1903)” “Celticy widdly-woo” by gajtalbot licensed under CC BY 2.0 “Glasnevin Cemetery” by William Murphy is licensed under CC BY 2.0 by Internet Archive Book Images is licensed under CC BY 2.0 How Do We Know About Celtic Art? There are only very limited records from the Celtic period so our knowledge of Celtic art comes from archaeology. This is the study of history through excavating sites and studying “Newgrange” by Sean MacEntee licensed under CC BY 2.0 artefacts and other remains.