... Agricola Antonine Wall military community frontier life interaction with local population diplomacy subsidy Celtic art The edges of empires are fascinating places. Britannia’s northern frontier was a varied one, with considerable fluidity in its location until the early third century...

...-British periods. gold Grotesque torc Snettisham silver Snettisham torcs torcs ambiguity in decoration faces in decoration decoration Iron Age Celtic art deposition exchanges gift exchanges metal deposition reciprocity Brück J consumption and production cycles of transformation dead...

...This chapter examines three Celtic art objects: swords, torcs, and coins. Swords seem to have varied histories, some being deposited soon after they were made, whereas others were quite ancient by the time they entered the ground. Torcs, most especially those from Snettisham, provide a glimpse...

...This chapter begins with a brief summary of recent discussions about Iron Age burials. It then looks at Celtic art within burials on a broad scale and identifies four prevalent ‘types’ of burial constructed through Celtic art objects. It considers in detail four individual burials (representing...

... culture, the birth of Celtic art, and aspects of early Celtic religion. Hunsrück Eifel culture Schwarzenbach Weiskirchen Marne culture Reinheim Somme Bionne Chlum Dürrnberg Hohenasperg Kleinaspergle art Celtic La Tène Jacobsthal Paul Scythians Waldalgesheim Etruscans Glauberg Agris...

...While Celtic art includes some of the most famous archaeological artefacts in the British Isles, such as the Battersea shield or the gold torcs from Snettisham, it has often been considered from an art historical point of view. This book attempts to connect Celtic art to its archaeological context...

...This chapter focuses on identifying broader sets of patterns of making and deposition that lay behind Celtic art. It first considers the possibility that sheet and cast metal were made in different sets of sites, before looking at whether they were then deposited differently too. The key aim...

...This chapter examines hoards of Celtic art in order to understand ‘meaning’ and object histories through an object's depositional associations. It discusses the geographical patterning, changes in their character through time, and the different material connections or networks that can be gleaned...

...This chapter begins with a broad-brush analysis of the patterns evident on settlements. It then looks in detail at the Celtic art objects deposited on three specific sites: the enclosed rural settlement at Gussage All Saints; the hillfort at Bury Hill; and the Roman military fort at Newstead...

...This chapter describes previous work on Celtic art from the nineteenth century through to the present day. It differentiates the book's approach from most scholars of the past, the key to which is looking at the play of metalwork within broader efforts to influence sets of relationships between...

...This chapter describes how the database used in the present study was put together, looking at its main findings along with some of its biases. It then presents some initial observations about the spatial and temporal distribution of Celtic art, as such trends were fundamental in orienting how...

...This chapter summarizes the book's main arguments, which emphasize the integral role of fine metalwork in cycles of cultural transformation and in the difficult process of negotiating changing identities from the Late Iron Age onwards. It considers the broader context in which Celtic art played...

.... Source:   Blech et al. 2001 : pl. 222b This chapter examines the relationship between art and society in Iron Age Europe, with a focus on Celtic art. It begins by asking what constituted ‘art’ in this context, what was its purpose, and why did Celtic craftworkers and their patrons develop...

... by angular designs, as if to emphasize the rectilinear outline of the building, but there was also a model in the Oxford exhibition which showed a structure with a similar ground plan whose exterior was covered by curvilinear motifs. Art styles Bell Beakers Celtic art Ethnography Grooved Ware House...