Animal style art is an approach to decoration found from Ordos culture to Northern Europe in the early Iron Age, and the barbarian art of the Migration Period, characterized by its emphasis on animal motifs. The zoomorphic style of decoration was used to decorate small objects by warrior-herdsmen, whose economy was based on breeding and herding animals, supplemented by trade and plunder. Animal art is a more general term for all art depicting animals.
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.
In Scandinavian prehistory, sometimes specifically Swedish prehistory, the Vendel Period, or Vendel Age (Swedish: Vendeltiden; c. 540–790 AD) appears between the Migration Period and the Viking Age. The name is taken from the rich boat inhumation cemetery at Vendel parish church, Uppland. Unlike the preceding and succeeding eras, the Vendel Period left very few precious metal artifacts or runic inscriptions. Instead, it is extremely rich in animal art on copper-alloy objects. It is also known for guldgubbar, tiny embossed gold foil images, and elaborate helmets with embossed decoration similar to the one found at Sutton Hoo in England.
During the period, Swedish expeditions began to explore the waterways of territories which later became Russia, Ukraine, and Belarus. The Elder Futhark writing system was abandoned in favor of the Younger Futhark, virtually simultaneously over the whole of Scandinavia. Some runestones survive, most notably those at Rök and Sparlösa, both from c. 800. Other written sources are few and hard to interpret: a few Icelandic sagas, the tale of Beowulf, and accounts from some southern European writers. Earlier Swedish historians tried to make use of these to create a coherent history, but this effort has largely been abandoned, and the period is now mostly studied by archaeologists.
In the context of art, zoomorphism describes art that imagines humans as non-human animals. It can also be defined as art that portrays one species of animal like another species of animal or art that uses animals as a visual motif, sometimes referred to as "animal style". Depicting deities in animal form (theriomorphism) is an example of zoomorphism in a religious context. The word zoomorphism derives from Ancient Greek: ζῶον, romanized: zōon, lit. 'animal' and Ancient Greek: μορφή, romanized: morphē, lit. 'form; shape'.
It is also similar to the term therianthropy; which is the ability to shape shift into animal form, except that with zoomorphism the animal form is applied to a physical object. It means to attribute animal forms or animal characteristics to other animals, or things other than an animal; similar to but broader than anthropomorphism. Contrary to anthropomorphism, which views animal or non-animal behavior in human terms, zoomorphism is the tendency of viewing human behavior in terms of the behavior of animals. It is also used in literature to portray the act of humans or objects with animalistic behavior or features. The use of zoomorphism served as a decorative element to objects that are typically quite simple in shape and design.