The Archaeology of Celtic ArtMore wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art. Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology. Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art. This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art. |
Contents
1 DEFINITIONS MATERIAL AND CONTEXT | 1 |
Later Bronze Age and Hallstatt origins | 17 |
Origins and influences | 38 |
4 THE LA TÈNE DEVELOPED STYLES | 65 |
5 THE ART OF THE SWORDSMITH | 93 |
6 THE LA TÈNE LATER RELIEF STYLES | 118 |
7 INSULAR BRITISH ART TO THE ROMAN CONQUEST | 140 |
8 LA TÈNE AND NONLA TÈNE IN IRELAND | 164 |
9 SOUTHWEST EUROPE AND THE CELTIBERIANS | 189 |
10 LATER STYLES AND ROMANIZING INFLUENCES | 211 |
11 LATER INSULAR ART IN BRITAIN AND IRELAND | 238 |
Archaeology and Celtic art | 262 |
| 275 | |
| 291 | |