Sutton Hoo in the context of "Vendel era"

Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs ("empty tombs"), tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living.

The deposit of objects with an apparent aesthetic intention is found in almost all cultures – Hindu culture, which has little, is a notable exception. Many of the best-known artistic creations of past cultures – from the Egyptian pyramids and the Tutankhamun treasure, to the Terracotta Army surrounding the tomb of Qin Shi Huang, the Mausoleum of Halicarnassus, the Sutton Hoo ship burial and the Taj Mahal – are tombs or objects found in and around them. In most instances, specialized funeral art was produced for the powerful and wealthy, although the burials of ordinary people might include simple monuments and grave goods, usually from their possessions.

Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.

Anglo-Saxon art survives mostly in illuminated manuscripts, Anglo-Saxon architecture, a number of very fine ivory carvings, and some works in metal and other materials. Opus Anglicanum ("English work") was already recognised as the finest embroidery in Europe, although only a few pieces from the Anglo-Saxon period remain – the Bayeux Tapestry is a rather different sort of embroidery, on a far larger scale. As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the English Reformation after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour, and an effort of the imagination is often needed to see the excavated and worn remains that survive as they once were.

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.

The Sutton Hoo helmet is a decorated Anglo-Saxon helmet found during a 1939 excavation of the Sutton Hoo ship-burial. It was thought to be buried around the years c. 620–625 AD and is widely associated with an Anglo-Saxon leader, King Rædwald of East Anglia; its elaborate decoration may have given it a secondary function akin to a crown. The helmet was both a functional piece of armour and a decorative piece of metalwork. An iconic object from an archaeological find hailed as the "British Tutankhamen", it has become a symbol of the Early Middle Ages, "of Archaeology in general", and of England.

The visage contains eyebrows, a nose, and moustache, creating the image of a man joined by a dragon's head to become a soaring dragon with outstretched wings. It was excavated as hundreds of rusted fragments; first displayed following an initial reconstruction in 1945–46, it took its present form after a second reconstruction in 1970–71.

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.