Interlace (art) in the context of "Arabesque (Islamic art)"

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.

The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes, which were combined with spiralling stems". It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns.

Arabesques are a fundamental element of Islamic art. The past and current usage of the term in respect of European art is confused and inconsistent. Some Western arabesques derive from Islamic art, however others are closely based on ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art, arabesque decoration is often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.

The Tara Brooch is an Irish Celtic brooch, dated to the late 7th or early 8th century. It is of the pseudo-penannular type (with a fully closed head or hoop), and made from bronze, silver and gold. Its head consists of an intricately decorated circular ring, and overall, its front and reverse sides are equally decorated; each holds around 50 inserted cast panels packed with filigree. The brooch was constructed from numerous individually made pieces; all of the borders and terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree, and Celtic spirals. It is widely considered the most complex and ornate of its kind, and would have been commissioned as a fastener for the cloak of a high-ranking cleric or as ceremonial insignia of high office for a High King of Ireland.

The Tara Brooch was hidden on the east coast of Ireland sometime during the 11th or 12th century, most likely to protect it from Viking or Norman invaders. It was rediscovered around 1850, but the exact find-spot and circumstances are unclear. Despite its title, it was not found at the Hill of Tara but on or near the beach around Bettystown on the coast of County Meath. The name by which it became known was chosen by its first commercial owner, the Dublin-based jeweller George Waterhouse, as a marketing ploy for selling copies during the height of the 19th century Celtic Revival. For this reason, many art historians describe it with inverted commas as the "Tara" brooch.

Irish art is art produced in the island of Ireland, and by artists from Ireland. The term normally includes Irish-born artists as well as expatriates settled in Ireland. Its history starts around 3200 BC with Neolithic stone carvings at the Newgrange megalithic tomb, part of the Brú na Bóinne complex which still stands today, County Meath. In early-Bronze Age Ireland there is evidence of Beaker culture and widespread metalworking. Trade-links with Britain and Northern Europe introduced La Tène culture and Celtic art to Ireland by about 300 BC, but while these styles later changed or disappeared elsewhere under Roman subjugation, Ireland was left alone to develop Celtic designs: notably Celtic crosses, spiral designs, and the intricate interlaced patterns of Celtic knotwork.

The Christianization of Ireland in the fifth century AD saw the establishment of monasteries, which acted as centres of scholarship and artistic production, and led to the flowering of the Insular art style with its highly decorative illuminated manuscripts, metalwork and stonework (High crosses). From around 1200 to 1700, however, Irish art was relatively stagnant, and Irish culture was left comparatively untouched by the influence of Renaissance art.

The Celtic cross is a form of ringed cross, a Christian cross featuring a nimbus or ring, that emerged in Ireland and Britain in the Early Middle Ages. It became widespread through its use in the high crosses erected across Ireland, Britain and parts of France, especially in regions evangelised by Irish missionaries, from the 9th through the 12th centuries.

A staple of Insular art, the Celtic cross is essentially a Latin cross with a nimbus surrounding the intersection of the arms and stem. Scholars have debated its exact origins, but it is related to earlier crosses featuring rings. The form gained new popularity during the Celtic Revival of the 19th century; the name "Celtic cross" is a convention dating from that time. The shape, usually decorated with interlace and other motifs from Insular art, became popular for funerary monuments and other uses, and has remained so, spreading well beyond Ireland.

A high cross or standing cross (Irish: cros ard / ardchros, Scottish Gaelic: crois àrd / àrd-chrois, Welsh: croes uchel / croes eglwysig) is a free-standing Christian cross made of stone and often richly decorated. There was a unique early medieval tradition in Ireland and Great Britain of raising large sculpted stone crosses, usually outdoors. These probably developed from earlier traditions using wood, perhaps with metalwork attachments, and earlier pagan Celtic memorial stones; the Pictish stones of Scotland may also have influenced the form. The earliest surviving examples seem to come from the territory of the Anglo-Saxon kingdom of Northumbria, which had been converted to Christianity by Irish missionaries; it remains unclear whether the form first developed in Ireland or Britain.

Their relief decoration is a mixture of religious figures and sections of decoration such as knotwork, interlace and in Britain vine-scrolls, all in the styles also found in insular art in other media such as illuminated manuscripts and metalwork. They were probably normally painted, perhaps over a modelled layer of plaster; with the loss of paint and the effects of weathering the reliefs, in particular scenes crowded with small figures, are often now rather indistinct and hard to read.