An album of 343 authentic graphic designs in 2D. Collected mainly from the Viking Age, not only from Scandinavia, but also from Germany, Central Europe (eg Wolin) and Russia. They have been drawn from a vast selection of artifacts - hilts, crossguards, pottery, jewelry, manuscripts, bone and wood carvings etc. Each and every pattern has a date, origin, place it was found, and meaning, where possible. An album of 343 authentic graphic designs in 2D. Collected mainly from the Viking Age, are not only sourced from Scandinavia, but also from Germany, Central Europe (eg Wolin) and Russia. They have been drawn from a vast selection of artifacts - hilts, crossguards, pottery, jewelry, manuscripts, bone and wood carvings etc. Each and every pattern has a date, origin, place it was found, and meaning, where possible. All of the graphics presented in this catalog have a common denominator. All of them can be traced back to the Early Middle Ages (V-VI c.) Until the end of XII c. a fully functional entity, recognized as a property of the Middle Ages proper. During that time, a wide variety of ethnicities, culture, spread across Western Europe. Therefore, each designs represent a different cultural identity. The catalog is intended for artists re-enactors and researches alike, people who are genuinely interested in old cultures, designers, digital artists, tattooists and people inspired by the Early Middle Ages. Slavic or Viking outfits, jewelry, furniture and leatherwork. This album would be of interest to historians or art historians, art students and anybody involved in the recognition of unfamiliar beauty and ancient aesthetics. This is an area of study that has long been neglected and unappreciated.

This compilation features more than 175 dynamic, royalty-free motifs in a wide range of styles. Derived from the metalwork, woodwork, textiles, carvings, and ceramics of the Viking homelands of Norway, Denmark, and Sweden, they include sinuously intertwined patterns, mythological animals, dragon-slaying heroes on horseback, and many other striking images.

This guide covers all the stylistic periods of Viking Age art, breaking down each style to its basic components in an easy to understand and straightforward manner. Through illustrations, timelines, maps and short descriptions of the historical contexts, you'll quickly acquire a good grasp of the anatomy of Viking Age art.

Updated to reflect recent archaeological discoveries and overflowing with color illustrations, this book is the definitive introduction to the art of the Viking Age. The Viking Age in Europe lasted from the time of the first major Viking expeditions in 800 CE to the widespread adoption of Christianity in Scandinavia some 300 years later. During that time, Viking art and culture spread across continental Europe and into the world beyond. Written by a leading authority on the subject, this book introduces readers to the intricate objects and beautiful art styles that developed during the Viking Age. Beginning with an introduction to the geographical and historical background of Viking culture, author James Graham-Campbell chronicles the six main styles of Viking art, examining how they emerged and interacted with one another, as well as how the religious shift from paganism to Christianity impacted Viking art and its legacy. More than 200 high-quality illustrations depict everything from delicate metalwork, elaborate wood carvings, ornate weapons, and fine jewelry to grand ships, the Gotland picture stones, and archaeological traces left by the Vikings around the Western world. Now revised and updated with recent archaeological discoveries, Viking Art is a perfect guide—including a timeline and maps—for all those interested in the arts of this vibrant and fascinating culture.

Artists, illustrators, designers, and craftspeople in search of exceptionally bold and inventive motifs will find them in this versatile treasury brimming with 125 royalty-free designs. Taken from authentic Celtic and Old Norse sources, they include an amazing array of birds, human figures, and mythological creatures, all ingeniously woven into an intricate network of spirals and interlacings. Meticulously adapted from artwork that graced ancient rune stones and religious symbols, furniture, manuscripts, bronze mirrors, sword hilts, cooking utensils, and other artifacts, the illustrations depict a crucifix; decorative creatures that adorned the pages of the Lindisfarne Gospels; interwoven designs from stone crosses of Ireland, Scotland, and Cornwall; and many other designs and motifs. Convenient and inexpensive, this collection offers inspiration and a wealth of immediately usable dramatic ornamentation rich in character and distinctive in content.

Describes the important influence of Asia's great civilization on the West, as traveling merchants, scholars, philosophers, and religious figures brought the wisdom of China and the Middle East to medieval Europe during the Dark Ages.

In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.