Behind the Patterns and Designs that Cross Cultural Boundaries: Towards a Holistic Approach
In examining the history of migrating ideas through the decoration of artefacts it is often the style of the drawing that is examined. For example, in Carolingian Europe the distribution and usage of objects that have been characterized by labyrinthine patterns and zoomorphic features have been classified as Insular style. The classification infers that the influence of these artefacts has come from Ireland and Britain. However, this form of classification can be deceptive as it fails to note the major changes in the construction of the patterns from the Insular style. The Insular style of labyrinthine patterns has a very rigid structure designed to very strict and distinct geometrical rules. In turn these patterns are influenced by ancient literate sources. Many of the zoomorphic and labyrinthine patterned artefacts of Carolingian Europe lacked this important geometrical structure, inferring that the influence was not directly from Ireland and Britain. Using a more multi-disciplinarily approach to the history of art allows for the development of a clearer picture of migrating ideas. This paper examines a more holistic approach to the mapping of the transference of designs and patterns across cultures.
Tessa Morrison (Australia)
School of Fine Art
The University of Newcastle
(Virtual Presentation, English)