Interesting. I wonder what linguists of the future will make of our use of words such as "sick" to express awesomeness, approval and acclaim -- you know, the old "cool" that I and millions of others still use (it surely dates us, but I don't give a hoot). Will the break the "code?"
At Slate Online
British Museum Curator Reveals the Secret Codes Embedded in Ancient Artifacts
By Rosie
Weetch
The recently reopened Sir Paul and Lady Ruddock Gallery in room 41 of the
British Museum covers
Europe A.D. 300-1100, and includes many artifacts excavated at an Anglo-Saxon
burial mound in Sutton Hoo, England. To mark the new display, curator Rosie Weetch offers
an illuminating primer on how to decode the symbols and stories in a piece of
Anglo-Saxon metalwork that might otherwise look like mere decoration. Here at
The Eye, she shares a recent post from the British Museum blog.
One of the most enjoyable things about working with the British Museum’s
Anglo-Saxon collection is having the opportunity to study the
intricate designs of the many brooches, buckles, and other pieces of decorative
metalwork. This is because in Anglo-Saxon art there is always more than meets
the eye.
The objects invite careful contemplation, and you can find yourself spending
hours puzzling over their designs, finding new beasts and images. The dense
animal patterns that cover many Anglo-Saxon objects are not just pretty
decoration; they have multilayered symbolic meanings and tell stories.
Anglo-Saxons, who had a love of riddles and puzzles of all kinds, would have
been able to "read" the stories embedded in the decoration. But for us it is
trickier as we are not fluent in the language of Anglo-Saxon art.
|
Illustration by Craig Williams, courtesy of the British
Museum.
|
Anglo-Saxon art went through many changes between the 5th and
11th centuries, but puzzles and storytelling remained central. The
early art style of the Anglo-Saxon period is known as Style I and was popular in
the late 5th and 6th centuries. It is characterised by
what seems to be a dizzying jumble of animal limbs and face masks, which has led
some scholars to describe the style as an "animal salad." Close scrutiny shows
that Style I is not as abstract as first appears, and through carefully
following the decoration in stages we can unpick the details and begin to get a
sense for what the design might mean.
One of the most exquisite examples of Style I animal art is a
silver-gilt square-headed brooch from a female grave on the
Isle of Wight. Its surface is covered with at least 24 different beasts: a mix
of birds’ heads, human masks, animals, and hybrids. Some of them are quite
clear, like the faces in the circular lobes projecting from the bottom of the
brooch. Others are harder to spot, such as the faces in profile that only emerge
when the brooch is turned upside down. Some of the images can be read in
multiple ways, and this ambiguity is central to Style I art.
|
Top part of brooch (above) turned upside down. Image from British Museum. |
Once we have identified the creatures on the brooch, we can begin to decode
its meaning. In the lozenge-shaped field at the foot of the brooch is a bearded
face with a helmet underneath two birds that may represent the Germanic god
Woden/Odin with his two companion ravens (see the first image in this post). The
image of a god alongside other powerful animals may have offered symbolic
protection to the wearer like a talisman or amulet.
|
Illustration by Craig Williams, courtesy of the British
Museum.
|
The great
gold buckle from Sutton Hoo is decorated in this style. From
the thicket of interlace that fills the buckle’s surface 13 different animals
emerge. These animals are easier to spot: The ring-and-dot eyes, the birds’
hooked beaks, and the four-toed feet of the animals are good starting points. At
the tip of the buckle, two animals grip a small doglike creature in their jaws
and on the circular plate, two snakes intertwine and bite their own bodies. Such
designs reveal the importance of the natural world, and it is likely that
different animals were thought to hold different properties and characteristics
that could be transferred to the objects they decorated. The fearsome snakes,
with their shape-shifting qualities, demand respect and confer authority, and
were suitable symbols for a buckle that adorned a high-status man, or even
an Anglo-Saxon king.
Animal art continued to be popular on Anglo-Saxon metalwork throughout the
later period, when it went through further transformations into the
Mercian Style (defined by sinuous animal interlace) in the
8
th century and then into the lively
Trewhiddle Style in the 9
th century.
Trewhiddle-style animals feature in the roundels of the
Fuller Brooch, but all other aspects of its decoration are
unique within Anglo-Saxon art. Again, through a careful unpicking of its complex
imagery we can understand its visual messages. At the center is a man with
staring eyes holding two plants. Around him are four other men striking poses:
one, with his hands behind his back, sniffs a leaf; another rubs his two hands
together; the third holds his hand up to his ear; and the final one has his
whole hand inserted into his mouth. Together these strange poses form the
earliest personification of the five senses: Sight, Smell, Touch, Hearing, and
Taste. Surrounding these central motifs are roundels depicting animals, humans,
and plants that perhaps represent God’s Creation.
|
Fuller brooch. Illustration by Craig Williams, courtesy of the British
Museum.
|
This iconography can best be understood in the context of the scholarly
writings of King Alfred the Great (died 899), which emphasized sight and the
“mind’s eye” as the principal way in which wisdom was acquired along with the
other senses. Given this connection, perhaps it was made at Alfred the Great’s
court workshop and designed to be worn by one of his courtiers?
Throughout the period, the Anglo-Saxons expressed a love of riddles and
puzzles in their metalwork. Behind the nonreflective glass in the newly opened
Sir Paul and Lady Ruddock
Gallery of Sutton Hoo and Europe A.D. 300-1100, you can do
like the Anglo-Saxons and get up close to these and many other objects to decode
the messages yourself.