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Insular art
Insular art, also known as Hiberno-Saxon art, is the style of art produced in the post-Roman history of the British Isles. The term derives from ''insula'', the Latin term for "island"; in this period Great Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that give the style its special character.〔Honour & Fleming, 244–247; Pächt, 65–66; Walies & Zoll, 27–30〕
Most Insular art originates from the Irish monasticism of Celtic Christianity, or metalwork for the secular elite, and the period begins around 600 AD with the combining of 'Celtic' styles and Anglo-Saxon (English) styles, in particular the interlace decoration as found at Sutton Hoo, in East Anglia, applied to decorating new types of objects mostly copied from the Mediterranean world, above all the codex or book.〔No manuscripts are commonly dated before 600, but some jewellery, mostly Irish, is dated to the 6th century. Youngs 20–22. The early history of Anglo-Saxon metalwork is dominated by the early-7th-century finds at Sutton Hoo, but it is clear these were the product of a well-established tradition of which only smaller pieces survive. Wilson, 16–27. The earliest Pictish stones may date from the fifth century however. Laing, 55–56.〕 The finest period of the style was brought to an end by the disruption to monastic centres and aristocratic life of the Viking raids which began in the late 8th century. These are presumed to have interrupted work on the Book of Kells, and no later Gospel books are as heavily or finely illuminated as the masterpieces of the 8th century.〔Dodwell (1993), 85, 90; Wilson, 141〕 In England the style merged into Anglo-Saxon art around 900, whilst in Ireland the style continued until the 12th century, when it merged into Romanesque art.〔Ryan〕 Ireland, Scotland and the kingdom of Northumbria in northern England are the most important centres, but examples were found also in southern England, Wales〔The late Ricemarch Psalter is certainly Welsh in origin, and the much earlier Hereford Gospels is believed by many to be Welsh (see Grove Art Online, S2); the 10th-century Book of Deer, the earliest manuscript with Scottish Gaelic, is an Insular product of eastern Scotland (Grove).〕 and in Continental Europe, especially Gaul (modern France), in centres founded by the Hiberno-Scottish mission and Anglo-Saxon missions. The influence of insular art affected all subsequent European medieval art, especially in the decorative elements of Romanesque and Gothic manuscripts.〔Henderson, 63–71〕
Surviving examples of Insular art are mainly illuminated manuscripts, metalwork and carvings in stone, especially stone crosses. Surfaces are highly decorated with intricate patterning, with no attempt to give an impression of depth, volume or recession. The best examples include the Book of Kells, Lindisfarne Gospels, Book of Durrow, brooches such as the Tara Brooch and the Ruthwell Cross. Carpet pages are a characteristic feature of Insular manuscripts, although historiated initials (an Insular invention), canon tables and figurative miniatures, especially Evangelist portraits, are also common.
==Use of the term==
The term was derived from its use for Insular script, first cited by the OED in 1908,〔OED "Insular" 4 b., though as it seems clear from their 1908 quotation that the use of the term was already established; Carola Hicks dates the first use to 1901.〕 and is also used for the group of Insular Celtic languages by linguists.〔Apparently a more recent usage from the ?1970s on, in works such as 〕 Initially used mainly to describe the style of decoration of illuminated manuscripts, which are certainly the most numerous type of major surviving objects using the style, it is now used more widely across all the arts. It has the advantage of recognising the unity of styles across the British Isles while avoiding the use of that term, sensitive in modern Ireland, and also circumventing arguments about the origins of the style, and the place of creation of specific works, which were often fierce in the 20th century.〔Schapiro, 225–241, Nordenfalk, 11–14, Wailes & Zoll, 25–38, Wilson, 32–36, give accounts of some of these scholarly controversies; Oxford Art Online "Insular art", (The Oxford Dictionary of Art )〕 Some sources distinguish between a "wider period between the 5th and 11th centuries, from the departure of the Romans to the beginnings of the Romanesque style" and a "more specific phase from the 6th to 9th centuries, between the conversion to Christianity and the Viking settlements".〔Hicks〕 C. R. Dodwell, on the other hand, says that in Ireland "the Insular style continued almost unchallenged until the Anglo-Norman invasion of 1170; indeed examples of it occur even as late as the thirteenth and fourteenth centuries".〔Dodwell (1993), 90.〕
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