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Overview
Symbol and Image in Celtic Religious Art explains how the detailed study of Celtic cult-imagery can contribute to our understanding of Celtic belief systems in Europe before and during the Roman period (around 500 BC-AD 400). Miranda Green explores a number of iconographic themes in depth, and examines the tribal and regional differences in artistic cult expression. Her discussion of the use of the male and female image, and the Divine Marriage reveals the very varied concepts embraced by anthropomorphic imagery.The artistic expression of animal cults and that of natural forces such as the sun, water and trees, is also discussed. The effect of religious beliefs on artistic styles is also explored. Dr. Green argues that other stylistic features, such as schematism, emphasis, and exaggeration in divine representation also express the religious viewpoint of Celtic patrons and artists.
Synopsis
Symbol and Image in Celtic Religious Art explains how the detailed study of Celtic cult-imagery can contribute to our understanding of Celtic belief systems in Europe before and during the Roman period (around 500 BC-AD 400). Miranda Green explores a number of iconographic themes in depth, and examines the tribal and regional differences in artistic cult expression. Her discussion of the use of the male and female image, and the Divine Marriage reveals the very varied concepts embraced by anthropomorphic imagery.
The artistic expression of animal cults and that of natural forces such as the sun, water and trees, is also discussed. The effect of religious beliefs on artistic styles is also explored. Dr. Green argues that other stylistic features, such as schematism, emphasis, and exaggeration in divine representation also express the religious viewpoint of Celtic patrons and artists.
Booknews
Green (classics, Open Univ., Wales) has compiled an impressive list of statues, reliefs, and some coins that represent Celtic religious iconography in Gaul under Roman artistic influence, 500 B.C.-A.D. 400. The discussions are thematic: male and female images, the divine marriage, the natural world, and multiple images. What the book lacks is an idea--if not an inspired vision then at least an innovative concept of Celtic religious belief--for which her impressive list is evidence. She does make a few hesitant guesses as to what this or that attribute may signify; repeats the now safe theory that images were "desecularized" by deliberate distortion from what we (after the Romans) call normal perception; and silently assumes the imperial, bureaucratic notion that dieties had distinct departments and jurisdictions. But the jacket's promise of a "radical new interpretation" is unfulfilled. She has examined the stones closely and widely, but apparently has not seen the dieties within them, or the believers behind them. Annotation c. Book News, Inc., Portland, OR (booknews.com)