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The Origins And Influence Of The Celtic Cross

Photo: John Trainor

Image by John Trainor via Flickr

By Rob Mabry

The Celtic cross is a cross whose four “arms” are intersected by a central, circular ring – a function of both structural form and symbolism. While the roots of the Celtic Cross are likely in Paganism with the ring symbolizing the sun and “renewal,” it has become a potent symbol of Christianity and Irish heritage. The roots of the Celtic Cross can be traced back to Prehistoric Europe where the “sun cross” – a circle with an “x” or cross shape scratched inside began to appear on cave drawings and burial sites. The image persisted through the Bronze and Iron ages evolving into the Celtic Cross. It’s likely that the “cross” symbolized North, South, East and West.

Irish folklore tells the story of how Saint Patrick combined the Christian Cross with the “sun” to emphasize the importance of the cross to the Pagan followers, giving birth to the Celtic Cross. Though there is likely little truth to the tale. Around the 7th Century, Irish monks in the Celtic regions of Ireland and Great Britian began to erect upright or “high” crosses, many incorporating the Celtic Cross’ characteristic ringed structure. Many of these crosses survive today in Cornwall, Wales and on the island of Iona along with many others in Ireland.

Early Celtic Crosses often bore zoomorphic, or animal imagery, carved in the stone due to the influence of the animal style common in the Iron age. Not surprising given that warrior-herdsmen were so dependent on wildlife for food and clothing. This influence died off after the Iron Age as art in Ireland and Britian moved into the “Insular Period.” Artists during the Insular Art period produced many Celtic Crosses throughout Ireland, Wales and Scotland in the Hiberno-Saxon style. The “Insular Art” movement takes its name from the Latin word “Insula” which means “island.” This applied to the Isles of Britian and Ireland, and spoke to the shared nature of the artwork between the two regions that were vastly different than what was being produced throughout the rest of Europe. The Celtic crosses of this time were ornate and often bore spiraling geometric patterns that likely symbolized man’s “twisting” journey through life.

English: Photo of Muiredach's High Cross, loca...

Photo of Muiredach’s High Cross, located at Monasterboice, County Louth, in the Republic of Ireland. -Wikipedia

Around the 15th century, interest in the Celtic Cross and its influence as an art form waned. In the mid-19th century, a Celtic Revivial began that resulted in increased display and use of Celtic crosses in Ireland. The Celtic cross became fashionable as a cemetary marker in Victorian Dublin around the 1860s. This revival continued to spread across the whole of Irland and beyond and the symbol began to take on importance as a symbol of Irish heritage in addition to its religious conotation.

Today, the Celtic cross is commonly used as a gravemarker, though this is a departure from both medieval and Celtic revival periods when the symbol was used mainly as a monument and had little association with grave markings. The imagery of the Celtic cross has expanded its influence even in modern times, often spotted in jewelry as an expression of Irish pride and Christianity. The symbol is also seen in everything from T-shirts to tattoos. The Northern Ireland national football team use the Celtic Cross imagery in their logo and branding. The symbol has had some unfortunate attention as well and was recently banned from display in Germany when a prohibited neo-Nazi party co-opted the image as a symbol of their movement.

Famous Celtic Crosses that can still be seen today are at the Cross of Kells, County Meath, Ireland; Ardboe Auld Cross, Ardboe, County Tyrone, Northern Ireland; the crosses at Monasterboice, County Louth, Ireland; and the Cross of the Scriptures, Clonmacnoise, Ireland.

Article Source: articlesbase.com

About the Author

Rob Mabry is a former Army journalist, screenwriter and technologist. He is owner of Balance Bikes 4 Kids, specializing in bikes and scooters to help your child learn to ride.

Since this article was first published, there have been changes to articlesbase.com. The original links have been left intact. 

Related articles

 Dublin and Ireland’s Secret Heartland (telegraph.co.uk)

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Review – Images and Symbols by Mircea Eliade

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Mircea Eliade, Images and Symbols - Fair Use

This is the last of a long line of books by the celebrated Romanian scholar, Mircea Eliade, that have found their way into my library.

I’ve been familiar with Images and Symbols for quite some time, having browsed its pages at libraries and first run bookstores before finding an inexpensive secondhand copy.

For years I found the chapter “The ‘God Who Binds'” compelling. Here Eliade points out that the ‘binding of evil’ motif isn’t peculiar to the Christian story. However, each religious tradition has its own unique spin on the idea of knots and cords.

Some say it’s all about liberation–an untying or release from the bonds of karma, or an escape from hell or the symbolic labyrinth of the unconscious.

Other traditions more closely resemble the Christian story when telling of magically or, perhaps, spiritually binding fallen angels, demons and other invisible reprobates and sending them down below or away where they belong.

But there’s a lot more to this book than knots and cords.

The section “The Symbolism of Shells” is diverse and intriguing, as is Eliade’s treatment of the motifs of “The Center” and “Time and Eternity.”

Instead of separating religion and myth from history, Eliade makes every attempt to locate sacred stories within the cultural contexts that, at least in part, produce them.

Images and Symbols compares but does not superficially equate different world religions. This is particularly evident in the second paragraph of p. 166, where schematic similarities are noted but inner experiences are said to differ among some of the major religious traditions.

Here one could ask how Eliade knows they differ. And this is a tricky problem for religious studies and phenomenology in general. Be that as it may, I’m not convinced it’s an insoluble one.

All in all, a great book. One I’m happy to have added to my Eliade collection.

–MC