The Book of Kells: The Alteration of Irish Identity with the Adaptation to Christian Ideals

The Book of Kells contains a myriad of Irish art and history enveloped in its pages. One must question the motivations of its making, and the ideology of the images and techniques being used to truly understand its multifaceted dimensions. The adaptation of Roman antiquity with the implementation of pagan Celtic styles proves to be crucial in identifying the concept of Irish identity.

Before examining the impact of a foreign concept on the shaping of a cultures ever mutating identity, one must understand the images that are already in place. In relation to the Book of Kells, Celtic and Classical Roman imagery will be explored. New ideas from continental Europe managed to surface despite a lack of propinquity. Previously, due to Ireland's detachment from mainland Europe, the Irish community developed an artistic style in isolation, without the benefit of constant continental influence. Fortunately for all, the Book of Kells is currently fastidiously preserved at Trinity College in Dublin, where it had been received after the restoration. (Croinin).

Within the manuscript's pages, curvy linear art can be observed, a means believed to be evolving from the age-old concentric circles and spirals, which can be found in the ancient passage grave of New Grange Co. Meath. Interlacing was also an instrument of expression used in Celtic art. As its name implies, it consists of intertwining bands and images. This strap work is believed to have been a pagan protection device from evil demons. Additionally, hole punching or dotting was a primary source used in Celtic imagery. Rudimentary tools were more than likely the original source for use of a heavy outline, however, the early Irish peoples kept this image as an aspect of a growing source of identification for their embryonic approach. Naturally, when Christian ideals and identity swept over Ireland's green hills, many of these artistic techniques survived into the Book of Kells, adding some traditional panache to a new principle. However, although the classic philosophy of Irish identity was not completely overwhelmed, a definite change was about to transpire.

Christianity, while not consuming Ireland instantaneously, proved to be a catalyst for the exchange of classical imagery and artistic method. It is crucial to understand the connotations of the symbols used by early Christians to comprehend the eventual Irish interpretation of them. Rome, the Mecca of the Christian movement as well as culture and artistic expression boasted several sacred images. The vine is often an image of the Catholic Church, with the ideal being that without the fundamental source the leaves would wither and die. However, the vine can also symbolize everlasting life and feasting, as do challises. Several animal images were employed in the representation of the divine in Romanesque art. "The peacock symbolized the incorruptibility of Christ because…its flesh is so hard it does not putrefy" (Meelan, 57). Fish represented the Eucharist, or the new converts swimming in the nascent waters of baptism. A legend pertaining to lions explains their common use in art. "Lion cubs were born dead, but on the third day were revived by their father's breathing on their faces or by roaring" (53). Naturally, this parable reverberates the resurrection of Christ. Furthermore, colour being an aspect of style, can be viewed in "Mediterranean models…(with) the purple backgrounds, the gold and silver script" (Henry 68). All of these images will be used fully and unabashedly in the Book of Kells, showing Rome's influence on Irish identity and thought. This cultural renovation may not have been blatantly intentional by continental Europe, for it was not done forcibly by means of war, however, a nation may be even more fluently subjugated by this distinct means of incursion.

The Book of Kells proves to be a fundamental paradigm of how the acclimatization of Roman antiquity with the incorporating of pagan Celtic styles proves to display concepts of Irish identity. Although one may argue that there is a prolific use of pagan imagery in the Book of Kells, there is also a significant amount of Classical imagery that cannot be ignored in relation to style. The illuminated manuscript itself is composed in Latin, stating the four gospels by the respective Evangelists pertaining to Christianity. From these humble keystones one can already become witness to the permutations in Irish thought, for they must have excepted these foreign concepts, as well as given them their own interpretation and understanding. Composed in approximately 800 AD, the Book of Kells, "Though it retains archaic features, it looks towards the future and in a way by-passes Carolingian art on a direct route to Romanesque. There can be little doubt that the painters of the Book of Kells were aware of its existence and familiar with the work of those Continental scriptoria" (Henry, 66). Thus, the mainland influence was clearly a factor in the manuscripts making.

The concept of Irish identity can be noted in the time of the Book of Kells through the adoption of Roman antiquity with the implementation of pagan Celtic style. It is interesting to note the progression of an image as simple as a cross in reference to artistic style. When Christianity primarily reared its head in Ireland, the populace started building slabs in representation of the cross. On one such slab, a Greek cross is clearly defined, such as the Greek cross found on one of the carpet pages in the Book of Kells. As time progressed, the people of Ireland introduced arms to their slabs, which defined them as crosses. As these crosses developed, strap work was the main artistic style implemented. Classical scenes from the doctrine of the bible soon asphyxiated these simple crosses, ironically clad in pagan imagery. The twelve apostles first appeared on the base of one cross, and slowly enveloped later crosses entirely. (Kendrick). An excellent example of the evolution of Irish identity can be observed in folio thirty-two in the manuscript. The image was that of the ideal of Christ the saviour, with a profuse number of symbols pertaining to his identity. "Flanked…by peacocks, their wings marked with Eucharistic hosts…the feet of the peacocks are entangled in vine scrolls growing from chalices. Vertical peacocks, eight in all, recess in the columns on either side of Christ on 32V…these same symbols together-peacock, chalice, and vines-appear on many other pages, including the canon tables" (Meehan, 57). Furthermore, the image of Christ in this particular instance has his arms outstretched in a mirroring of his death position on the cross, foreshadowing the inevitable; this was a posture common in praying by Roman Popes and Deacons. Thus resulting in the art we see in the Book of Kells where the imagery is laden with biblical metaphors, and on occasion, only the shadow of Celtic style remains clinging to the borders of the pages.

Indeed, one can see the influence of antiquity throughout the Book of Kells. Recalling the use of animal imagery and also the use of colour in the Mediterranean in reference to style, the image of two saints takes on a whole new meaning when examined with this knowledge. "The great St. Matthew draped in wide folds of purple and gold…standing between tow bright coloured peacocks…St. John(s) head surrounded by a whirling halo, are the most impressive effigies ever deigned by an Irish artist" (Henry 75). Naturally, the 'Irish artist' was aided by Roman and Byzantine ideals. The use of purple and gold colour was a typical Mediterranean device, as well as the image of the peacock. The halos were a device also borrowed from ancient Byzantine.

The existing Irish identity was not extinguished by the Christian influence, however. The Irish community took the new ideas they were being presented and projected them onto their surrounding environment. Although it is argued that "The vine is a stock Christian symbol. But the spiral which the Celts derived at several periods from vegetable motifs, may well have been used fairly often instead of the vine with the same Eucharistic meaning" (Henry, 92). Among a myriad of recto-linear crosses, one can still find the curvy linear art, outlining, and other tools of customary style, that the Irish originally used in their ancient traditions. However, the Irish world would never be the same with the growing adoption of Christianity from cultures that had been alien to them thus far.

The Book of Kells was created so elaborately, and with such filigree, that it proves that the Irish had become confident in Christianity as they interpreted it, especially in relation to the art produced a mere one hundred years prior. Although the artists who composed the Book of Kells certainly added some Irish flare to the manuscript, the grip on the culture of Celtic Ireland was now loosening, as a child forgets the kite tugging on a string, to watch a butterfly fluttery by. This new jewel called Christianity would now captivate all as it dips and weaves its way through history, eluding the cumbersome fingers of those who try to comprehend the divine.

Works Cited

Henry, Françoise. Irish Art: During the Viking Invasions 800-1020A.D. London: Methuen and Co. Ltd., 1967.
Kendrick, T. D. Anglo-Saxon Art to 900A.D. London: Methuen and Co. Ltd., 1992.
Meelan, Bernard. The Book of Kells: an illustrated introduction to the manuscript in Trinity College Dublin. London: Thames and Hudson, 1996.
O'Croinin, Daibhi. Longman History of Ireland: Early Medieval Ireland 400-1200. New York: Longman Group Unlimited, 1995.
Treasures of Ireland: Irish art 3000 B.C. 1500 A.D. Dublin: Royal Irish Academy, 1983.