Anglo-Saxon art in the context of "Bayeux Tapestry"

Ivory carving is the carving of ivory, that is to say animal tooth or tusk, generally by using sharp cutting tools, either mechanically or manually. Objects carved in ivory are often called "ivories".

Humans have ornamentally carved ivory since prehistoric times, though until the 19th-century opening-up of the interior of Africa, it was usually a rare and expensive material used for small luxury products. Very fine detail can be achieved, and as the material, unlike precious metals, has no bullion value and usually cannot easily be recycled, the survival rate for ivory pieces is much higher than for those in other materials. Ivory carving has a special importance to the medieval art of Europe because of this, and in particular for Byzantine art as so little monumental sculpture was produced or has survived.

The medieval art of the Western world covers a vast scope of time and place, with over 1000 years of art in Europe, and at certain periods in Western Asia and Northern Africa. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves.

Art historians attempt to classify medieval art into major periods and styles, often with some difficulty. A generally accepted scheme includes the later phases of Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic art, as well as many other periods within these central styles. In addition, each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Viking art.

The Lindisfarne Gospels (London, British Library Cotton MS Nero D.IV) is an illuminated manuscript gospel book probably produced around the years 715–720 in the monastery at Lindisfarne, off the coast of Northumberland, which is now in the British Library in London. The manuscript is considered one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements.

The Lindisfarne Gospels are presumed to be the work of a monk named Eadfrith, who became Bishop of Lindisfarne in 698 and died in 721. Current scholarship indicates a date around 715, and it is believed they were produced in honour of St. Cuthbert. However, some parts of the manuscript were left unfinished so it is likely that Eadfrith was still working on it when he died. It is also possible that he produced them prior to 698, in order to commemorate the elevation of Cuthbert's relics in that year, which is also thought to have been the occasion for which the St Cuthbert Gospel (also in the British Library) was produced. The Gospels are richly illustrated in the insular style and were originally encased in a fine leather treasure binding covered with jewels and metals made by Billfrith the Anchorite in the 8th century. During the Viking raids on Lindisfarne this jewelled cover was lost and a replacement was made in 1852. The text is written in insular script, and is the best documented and most complete insular manuscript of the period.

England in the Middle Ages concerns the history of England during the medieval period, from the end of the 5th century through to the start of the early modern period in 1485. When England emerged from the collapse of the Roman Empire, the economy was in tatters and many of the towns abandoned. After several centuries of Germanic immigration, new identities and cultures began to emerge, developing into kingdoms that competed for power. A rich artistic culture flourished under the Anglo-Saxons, producing epic poems such as Beowulf and sophisticated metalwork. The Anglo-Saxons converted to Christianity in the 7th century, and a network of monasteries and convents were built across England. In the 8th and 9th centuries, England faced fierce Viking attacks, and the fighting lasted for many decades. Eventually, Wessex was established as the most powerful kingdom and promoted the growth of an English identity. Despite repeated crises of succession and a Danish seizure of power at the start of the 11th century, it can also be argued that by the 1060s England was a powerful, centralised state with a strong military and successful economy.

The Norman invasion of England in 1066 led to the defeat and replacement of the Anglo-Saxon elite with Norman and French nobles and their supporters. William the Conqueror and his successors took over the existing state system, repressing local revolts and controlling the population through a network of castles. The new rulers introduced a feudal approach to governing England, eradicating the practice of slavery, but creating a much wider body of unfree labourers called serfs. The position of women in society changed as laws regarding land and lordship shifted. England's population more than doubled during the 12th and 13th centuries, fueling an expansion of the towns, cities, and trade, helped by warmer temperatures across Northern Europe. A new wave of monasteries and friaries was established while ecclesiastical reforms led to tensions between successive kings and archbishops. Despite developments in England's governance and legal system, infighting between the Anglo-Norman elite resulted in multiple civil wars and the loss of Normandy.

Gaelic Ireland (Irish: Éire Ghaelach) was the Gaelic political and social order, and associated culture, that existed in Ireland from the late prehistoric era until the 17th century. It comprised the whole island before Anglo-Normans conquered parts of Ireland in the 1170s. Thereafter, it comprised that part of the country not under foreign dominion at a given time (i.e. the part beyond The Pale). For most of its history, Gaelic Ireland was a "patchwork" hierarchy of territories ruled by a hierarchy of kings or chiefs, who were chosen or elected through tanistry. Warfare between these territories was common. Traditionally, a powerful ruler was acknowledged as High King of Ireland. Society was made up of clans and, like the rest of Europe, was structured hierarchically according to class. Throughout this period, the economy was mainly pastoral and money was generally not used. A Gaelic Irish style of dress, music, dance, sport and art can be identified, with Irish art later merging with Anglo-Saxon styles to create Insular art.

Gaelic Ireland was initially pagan and had an oral culture maintained by traditional Gaelic storytellers/historians, the seanchaidhthe. Writing, in the form of inscription in the ogham alphabet, began in the protohistoric period, perhaps as early as the 1st century. The conversion to Christianity, beginning in the 5th century, accompanied the introduction of literature. In the Middle Ages, Irish mythology and Brehon law were recorded by Irish monks, albeit partly Christianized. Gaelic Irish monasteries were important centres of learning. Irish missionaries and scholars were influential in western Europe and helped to spread Christianity to much of Britain and parts of mainland Europe.

Migration Period art denotes the artwork of the Germanic peoples during the Migration period (c. 300 – 800). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in Britain and Ireland. It covers many different styles of art including the polychrome style and the animal style. After Christianization, Migration Period art developed into various schools of Early Medieval art in Western Europe which are normally classified by region, such as Anglo-Saxon art and Carolingian art, before the continent-wide styles of Romanesque art and finally Gothic art developed.

Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of Great Britain and Ireland. The term derives from insula, the Latin term for "island"; in this period 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 gives the style its special character.

Most Insular art originates from the Irish monastic movement of Celtic Christianity, or metalwork for the secular elite, and the period begins around 600 with the combining of Celtic and Anglo-Saxon styles. One major distinctive feature is interlace decoration, in particular the interlace decoration as found at Sutton Hoo, in East Anglia. This is now applied to decorating new types of objects mostly copied from the Mediterranean world, above all the codex or book.