Newgrange in the context of "River Boyne"

The prehistory of Ireland has been pieced together from archaeological evidence, which has grown at an increasing rate over recent decades. It begins with the first evidence of permanent human residence in Ireland around 10,500 BC (although there is evidence of human presence as early as 31,000 BC) and finishes with the start of the historical record around 400 AD. Both the beginning and end dates of the period are later than for much of Europe and all of the Near East. The prehistoric period covers the Palaeolithic, Mesolithic, Neolithic, Bronze Age and Iron Age societies of Ireland. For much of Europe, the historical record begins when the Romans invaded; as Ireland was not invaded by the Romans its historical record starts later, with the coming of Christianity.

The two periods that have left the most spectacular groups of remains are the Neolithic, with its megalithic tombs, and the Bronze Age, which left among other things, gold jewellery from a time when Ireland was a major centre of gold mining.

Archaeoastronomy (also spelled archeoastronomy) is the interdisciplinary or multidisciplinary study of how people in the past "have understood the phenomena in the sky, how they used these phenomena and what role the sky played in their cultures". Clive Ruggles argues it is misleading to consider archaeoastronomy to be the study of ancient astronomy, as modern astronomy is a scientific discipline, while archaeoastronomy considers symbolically rich cultural interpretations of phenomena in the sky by other cultures. It is often twinned with ethnoastronomy, the anthropological study of skywatching in contemporary societies. Archaeoastronomy is also closely associated with historical astronomy, the use of historical records of heavenly events to answer astronomical problems and the history of astronomy, which uses written records to evaluate past astronomical practice.

Archaeoastronomy uses a variety of methods to uncover evidence of past practices including archaeology, anthropology, astronomy, statistics and probability, and history. Because these methods are diverse and use data from such different sources, integrating them into a coherent argument has been a long-term difficulty for archaeoastronomers. Archaeoastronomy fills complementary niches in landscape archaeology and cognitive archaeology. Material evidence and its connection to the sky can reveal how a wider landscape can be integrated into beliefs about the cycles of nature, such as Mayan astronomy and its relationship with agriculture. Other examples which have brought together ideas of cognition and landscape include studies of the cosmic order embedded in the roads of settlements.

Brú na Bóinne (Irish: [ˈbˠɾˠuː n̪ˠə ˈbˠoːn̠ʲə], "mansion or palace of the Boyne"), also called the Boyne Valley tombs, is an ancient monument complex and ritual landscape in County Meath, Ireland, located in a bend of the River Boyne. It is one of the world's most important Neolithic landscapes, comprising at least ninety monuments including passage tombs, burial mounds, standing stones and enclosures. The site is dominated by the passage tombs of Newgrange (Sí an Bhrú), Knowth (Cnogbha) and Dowth (Dubhadh), built during the 32nd century BC. Together these have the largest assemblage of megalithic art in Europe. The associated archaeological culture is called the "Boyne culture".

Brú na Bóinne is also an important archaeoastronomical site; several of the passage tombs are aligned with the winter solstice and equinoxes. The area continued to be a site of ritual and ceremonial activity in the later Bronze Age and Iron Age. In Irish mythology, the tombs are said to be portals to the Otherworld and dwellings of the deities, particularly The Dagda and his son Aengus. They began to be studied by antiquarians in the 18th century, and archaeological excavations began in the 20th century, when some of the passage tombs underwent restoration.

The Dagda (Old Irish: In Dagda [ˈd̪aɣða], Irish: An Daghdha) is considered the great god of Irish mythology. He is the chief god of the Tuatha Dé Danann, with the Dagda portrayed as a father-figure, king, and druid. He is associated with fertility, agriculture, masculinity and strength, as well as magic, druidry and wisdom. He can control life and death (cf. his staff), the weather and crops, as well as time and the seasons.

He is often described as a large bearded man or giant wearing a hooded cloak. He owns a magic staff (lorc) of dual nature: it kills with one end and brings to life with the other. He also owns a cauldron (the coire ansic) which never runs empty, and a magic harp (Uaithne, though this may be the name of the harper), which will not play unless called by its two bynames, and the harp can fly itself to the Dagda when thus beckoned. He is said to dwell in Brú na Bóinne (Newgrange). Other places associated with or named after him include Uisneach, Grianan of Aileach, Lough Neagh and Knock Iveagh. The Dagda is said to be the husband of the Morrígan and lover of Boann. His children include Aengus, Brigit, Bodb Derg, Cermait, Aed, and Midir.

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.