Animal style

The term Germanic animal style and animal style refers to the style history and archeology, a style of the early Middle Ages in parts of Western and Central Europe, and parts of Scandinavia. Characteristic of this style is the representation in itself intertwined, stylized animals and humans. Characteristic is the resolution of human and animal bodies in individual molds, which often modify the basic motive beyond recognition, so that individual animals are identifiable only on special attributes.

Background

According to current knowledge, the sculptures of Germanic art of the first millennium AD, neither the individual artistic expression of individuals or the results of a free artistic or craft creative show. The sculptures are mainly seen in a religious or spiritual context. In the design of the motifs, the artists and craftsmen followed always very tight specifications and strict design rules. Depending on the material to verzierendem the existing design and design elements have been combined, but without departing from the current fashion or styles. The plaques of animal styles I and II show a large North and Central European uniformity and it can not account for regional characteristics, which suggests the conjecture that the Germanic cultures tried so consciously distinguished from neighboring cultures. The animal styles have been continuously developed and only occasionally influenced by stylistic influences from other cultures.

Description

The Germanic animal style developed in Scandinavia as a so -called Nordic animal ornament from the Vendelstil, the late Roman and other ornament shapes recorded. He soon formed an independent pattern and spread rapidly across Central Europe. Characteristic are stylized representations of dragons, boars, snakes, wolves, and birds such as eagle and raven. Less common are horses and human figures.

Styles

The animal style was formed over time from different directions, in 1904 categorized the Swedish archaeologist Bernhard Salin in Animal Style I and II:

Nydamstil

The Nydamstil emerged from the first half of the 5th century to the second half. He has developed presumably under strong influence of the Roman provinces metal art (especially the belt fittings ). While the surfaces are decorated with floral and geometric decoration ( tendrils, palmettes, meanders, etc. ), are located at the edge of animal figures.

Animal Style I

The animal style I created in the second half of the 5th century, probably in Scandinavia, but is rapidly spreading to Central Europe ( Rhineland and southern Germany ) and England. The animals are initially represented quadrupeds and sea creatures naturalistic and clearly separated. The animals are usually, as in the late Roman Notchers ornaments, arranged in a crouching attitude at the edges of the decorated objects. In contrast to the Nydam style, the animals now found as dominant elements on the surfaces. In addition, they are accentuated by borders. In the second half of the 5th century, the sea creatures disappear completely and the four-legged animals dominate.

It divides the animal style I in the phases A - D.

• A: transitional style between Nydam and animal style.
• B: The carcasses shall be lifted by means of transverse bars (especially in Ostskandinavien and Pannonia / Hungary widespread).
• C and D: fasciation. The carcasses are presented with several parallel bands. In phase D, they are intertwined. Occurrence, especially in southern and western Scandinavia and southern Germany ( Alemanni ).

Phases B - D represent a chronological sequence, but occur together, sometimes even on the same subject. The animal style I will slowly be replaced no later than the last third of the 6th century ( Vendel ) from Animal Style II, comes next to this well until towards the end of the 6th century ago.

Flechtbandornament

Ornaments of complex interwoven bands and lines. This knot pattern came about the same time as the animal style I from the East to Central Europe. Flechtbandverzierungen but are already in late antiquity in both the Roman and Germanic areas in use (eg Roman mosaic floors, wood carvings from Danish bogs victims )

Animal Style II

From about 570 AD to about the middle of the 8th century.

The emergence of Animal Style II is not yet known with certainty. Galt earlier that the Animal Style II is a fusion of animal style I from the north and the Flechtbandornamentik from the south (especially among the Lombards in Italy), so one is today no longer sure where mutual interference and respective acquisition most likely appear. The rapid spread of animal style II of Scandinavia, England and Germany and Italy and the strong similarities of the images over the room to 600 in favor of a close contact presumably migratory craftsmen.

What is clear, not even where the animal style II was first formed. Fasciation and entanglement are already partly in the animal style I ( phase D ), so that it is sometimes difficult to distinguish whether a representation is still Animal Style I or II already.

There are, as in the animal style I sometimes substantial differences in the quality of implementation (partly understood some craftsmen no longer the motives in preparing their copy) and there was degeneration in which one the ( animal ) forms only with the aid of better executed models can be seen. Distinction must be made between pure animal ornament, in which the animals are in the foreground of the picture and the animal body is clearly shown with head, body and feet, and Flechtbandmotiven in which only animal heads were recognized (especially in the course of the 7th century on the European mainland ).

The animal representations are completely subordinate to the plaited. The animals are highly abstracted and are difficult to detect. At the same time the individual animals are complex and intertwined intertwined. Some of the Flechtbandornamente be as complex and flawed that they are not logically solvable.

Symbolism

The illustrations and designs, which are used in the animal style I and II, it is called a magic significance as a "cure pictures " to. Motifs such as the "mask between the animals " were already known in the Roman Empire ( god / hero? With accompanying heraldic animals) is that without clear which meaning had these images and motifs in the north. Discussed a disastrous defensive ( apotrophäische ) effect. Similar to the Nordic Bracteates but to be expected with a " Germanic reinterpretation ", in which the meaning of the Germanic gods and myths has been adjusted. Individual animals such as horses, wolves, eagles and wild boar could Germanic gods or totem animals represent (see Germanic personal name related to animals such as Eberhard ( Strong as a boar ); Wolfgang = Wolf's predecessor, Wolf Warrior, etc. ); Arnold ( Old High German arn - → Eagle → forest Walter, ruler ). Ultimately, it could be at the decorations (especially the Animal Style II) is a kind of " Heraldry " and have acted pictogram or Hierogramme with which groups ( allegiances to a powerful leader / chief / king) identified and demonstrated their solidarity.

All these interpretations are speculative.

Other styles

• Parallel to the Oseberg now no longer viewed as independent Berdalstil emerged after the main locality in western Norway. It is particularly common in Jutland and Norway. In the Oseberg Berdalstil the animals are always shown in full, capture with prominent front and rear body and four paws or claws, the frame components of the representation or other animals, hence the name Greif animal style. The head is always en face, with staring eyes and neck tuft, are listed.

• Borre style from the 9th to the 10th century (especially 850/875 - 925/950 grave Fund of Borre in Vestfold, Norway. ) Density, mirror-symmetrical motifs, especially the circle and square, what's coming, for example, in the plaits to express the characteristic ring chains form and pretzel knot. It represents the second phase of the gripping animal style dar. Widespread he was especially in the eastern north. When Borre style, the mythical creatures are often associated with geometric Flechtbandornamenten. The gripping animal style was replaced by Jellingestil.

• Jellingestil in the second half of the 10th century ( Jelling in Jutland A single motif. Band and S-shaped animals).
• Mammenstil in the 11th century ( 970/971 Prunkaxt of moms in Denmark. 's New is the representation of unconnected motifs).
• Ringerikestil from the 10th to the 11th century (especially in Denmark)
• Urn style from the 11th to the 12th century (Last, Nordic ' style phase - referred to by the fragments of the first church of Urnes in Sogn, Norway Extremely stylized quadrupeds, ribbon-like animals and snakes The winged dragon occurs for the first time in Scandinavia, possibly. . Anglo -Saxon models principle:. open eight loops and a system of several loops that intertwine, only two line widths, heads and feet too long narrow ends simplified).

Detail of Osebergschiffs

Stone from Jelling

Door Urnes