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Ornament has been evident in civilizations since the beginning of recorded history, ranging from Ancient Egyptian architecture to the assertive lack of ornament of 20th century Modernist architecture. Ornaments also depict a certain philosophy of the people for the world around.
Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the 8th-11th centuries.
The beginnings of the Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by James Ballantine (1806–1877). His major works included the great west window of Dunfermline Abbey and the scheme for St. Giles Cathedral, Edinburgh.
A versatile architect and designer, he was also one of the most influential design theorists of the nineteenth century. [1] He helped pioneer modern colour theory, [2] and his theories on flat patterning and ornament still resonate with contemporary designers today.
It used a vocabulary of ornament that was shared with pottery, metalwork and other media, and had an enormous influence on Eurasian art, especially after Buddhism carried it beyond the expanded Greek world created by Alexander the Great.
Typically, Celtic art is ornamental, avoiding straight lines and only occasionally using symmetry, without the imitation of nature central to the classical tradition, often involving complex symbolism.