A reprint of the 1987 book of proceedings of the first conference held on the theme in 1985. It contains 26 papers on various aspects of art in Irish Archaeology.

The 28 papers examine questions relating to the extent and nature of Byzantine trade from Late Antiquity into the Middle Ages. The Byzantine state was the only political entity of the Mediterranean to survive Antiquity and thus offers a theoretical standard against which to measure diachronic and regional changes in trading practices within the area and beyond. To complement previous extensive work on late antique long-distance trade within the Mediterranean (based on the grain supply, amphorae and fine ware circulation), the papers concentrate on local and international trade. The emphasis is on recently uncovered or studied archaeological evidence relating to key topics. These include local retail organisation within the city, some regional markets within the empire, the production and/or circulation patterns of particular goods (metalware, ivory and bone, glass, pottery), and objects of international trade, both exports such as wine and glass, imports such as materia medica, and the lack of importation of, for example, Sasanian pottery. In particular, new work relating to specific regions of Byzantium's international trade is highlighted: in Britain, the Levant, the Red Sea, the Black Sea and China. Papers of the 38th Spring Symposium of Byzantine Studies, held in 2004 at Oxford under the auspices of the Committee for Byzantine Studies.

The International Conference on Insular Art (IIAC) is the leading forum for scholars of the visual and material culture of early medieval Ireland and Britain, including manuscript illumination, sculpture, metalwork, and textiles, and encompassing the work of Anglo-Saxon-, Celtic- and Norse-speaking artists. The present volume contains a selection of papers presented at the eighth IIAC, which took place in Glasgow 11-14 July 2017. The theme of IIAC8 - Peopling Insular Art: Practice, Performance, Perception - was intended to focus attention on those who commissioned, created, and engaged with Insular art objects, and how they conceptualised, fashioned, and experienced them (with ‘engagement’ covering not only contemporary audiences, but later medieval and modern ones too). The twenty-one articles gathered here reflect the diverse ways in which this theme has been interpreted. They demonstrate the intellectual vibrancy of Insular art studies, its international outlook, its interdiscplinarity, and its openness to innovative technologies and approaches, while at the same time demonstrating the strength and enduring value of established methodologies and research practices. The studies collected here focus not only on made objects, but on the creative processes and intellectual decisions which informed their making. This volume brings Insular makers – the illuminators, pattern-makers, rubricators, carvers, and casters – to the fore.

A generously illustrated collection, The Insular Tradition explores the various ways in which tradition becomes part of our definition of insular culture and cultural history. The essays are the outcome of a conference held within the Medieval Academy of America meeting at Kalamazoo in 1991. Scholars from America, Scandinavia, Britain, and Ireland came together to discuss the latest research on the remarkable Christian art which flourished among the Celtic and Anglo-Saxon peoples in the Early Medieval Period. New discoveries and a renewed research interest are shedding light on the splendid manuscript illuminations, sculpture, and metalwork of the time. Historical sources are reanalyzed and, together with modern approaches to interpretation, provide fascinating new insights into the social, economic, and spiritual background of the creative artists. This book presents a number of challenging reinterpretations of landmark achievements such as the Book of Kells, the Irish High Crosses, and the enigmatic symbolic and decorative systems of the Pictish people of Scotland. The contributors discuss the processes of creativity, the way in which influences are transmitted, the cross-fertilization of the arts in different media, and the role of trade and exchange and of the patron. Extensive illustrations, some of them difficult to source elsewhere, and comprehensive up-to-date bibliographies make the volume especially useful to those wishing to find a suitable point of entry into this expanding and ever-changing field.

This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.

Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.

Interprets the nature of Christianity in Celtic Britain and Ireland from the 5th to the 10th cent., based on written and visual evidence- images of Christ in manuscripts, metalwork and sculpture. The strain of the Pelagianism in Britain in the early 5th century influenced the theology and practice of the Celtic monastic Churches on both sides of the Irish Sea, making theological spectrum quite distinct from that of the continent.