What Is Celtic Knotwork?

Many ancient cultures used interlacing as design elements but none developed them to the extent or complexity attained by the Christian Druids ^[1] of Ireland, Scotland and Wales during the 6th to 8th centuries. Even Islamic artisans ^[2], the masters of surface pattern design, merely used interlacing in complex geometric compositions.

What are the design characteristics of Celtic knotwork that makes them distinct from interlacing of other cultures? To borrow ideas from Iain Bain's book, "Celtic Knotwork"; and mix with them my own observations, they are:

THE STRONG DIAGONALS

Based on 45 degrees or the 3:4:5 triangle ^[3] and a strict adherence to the underlying plait grid used as a design aid (even when the grid is morphed to fit an irregular panel such as a circle or ring ). The early Christians used the Greek "chi" symbol ( X ) to represent Christ. It wouldn't be surprising to discover that Celtic knotwork and fretwork was developed for the sole purpose of filling an entire surface to be decorated, with the symbol of Christ. It should be noted that the interlace designs found on Anglo-Saxon treasures of Sutton Hoo in the early 7th century simply do not follow the Greco-Roman plait grid and would suggest that the two styles developed independently.

THE POINTED SPADE LOOK

The morphing of the cord element to fit a corner.

THE CONSISTENCY OF THE INTERLACING

Over then under then repeat.

THE PATTERN REPEATS

Ancient "Lego" blocks concept!

THE CONTINUITY OF PATH

Single cord knotwork panels was the goal of the Celtic artisan. In many designs it was deliberate and forced, even if symmetry was sacrificed. Rarely would you see a Celtic knot that had more than four cords and the vast majority was either one or two cords. If the knotwork panel can survive the scissors test then it is a Celtic knot. If you can cut a single cord and pull the two ends and the panel tightens, then it is a Celtic knot. If it unravels then it is interlace.

THE SPIRAL LOOK

The ultimate evolution of Celtic knotwork ^[3] development . This characteristic actually evolved from the spirals and scroll patterns common to Celtic art prior to the introduction of Christianity to the British Isles.

When And Where Did Celtic Knotwork Develop

Evidence of the Scottish "Dirk Twist" can be found as far back as the second half of the 1st century A.D. on a pair of bracelets found in Rhayader, Wales. The bracelets were created in both the Celtic artistic style and manufacturing technique. Photo of bracelets can be found in " A Handbook of Roman Art ^[4]" by Martin Henig.

Wild Wales has a unique history with both the Roman and Celtic art styles that neither Ireland nor Scotland could claim until centuries later. Greco-Roman plait work and interlacing was readily adapted by Welsh silversmiths during the Roman occupation and later to evolve into Celtic knotwork and fretwork by Christian Druids of the late 6th century. There are many standing stones in Wales that demonstrate the earliest development of the Celtic Art style ^[5] that is not evident in other parts of the British Isles.

The Symbolism Of Celtic Knotwork

What is the symbolism behind knotwork? Not the slightest clue! The deliberate creation of single cord panels, even at the cost of symmetry is significant. I could suggest many theories on that but that would be a theory and not a fact.

Celtic Knotwork From A Christian Point Of View:

The early Christians used the Greek "chi" symbol ( X ) to represent Christ. It wouldn't be surprising to discover that Celtic knotwork and fretwork was developed for the sole purpose of filling an entire surface to be decorated, with the symbol of Christ. Everywhere in the universe, one sees God. There is only one path.

Celtic Knotwork From A Druid Point Of View:

Knotwork if seen from mathematics or geometry is an attempt to connect all points of a plane. All is one! If one travels the path of the (single cord) knot, the past and future crosses many times, reminding us that nothing is without consequence. Traveling the path, one returns to the starting point (the circle).

1. Classifying this art form as "Celtic" does as much injustice to the history of the development of this art form as classifying it as "Pictish", "Christian", "Roman", "Hiberno-Saxon", "Post-Pagan" or "Byzantine". Such attempts give an incomplete picture of those that actually created the art form. The Lindisfarne Gospels was actually the work of a Saxon but Lindisfarne itself was founded by Christian Druids. Christian Druids - this term seems like an oxymoron because anyone would stumble on the word "druid" being used in the same sentence as the word "Christian", but all evidence points to the fact that the Celtic Church and the Roman Church differed in many respects. It is best refer to them as the "X-Druids" for more reasons than one.

   Many of the early Christian churches were erected on pagan religious sites in Ireland, Scotland and Wales by converted Druids. Many of the early Christian Saints of Ireland, Scotland and Wales were in fact Druids, instructed by Druids or the children of Druids. The Christian Druids had the same social function of the Druids in Celtic culture of the pagan past. What is far more important is that the culture saw them as the same and this may explain the bloodless Christian conversion of the Celts of the British Isles. To state it simply, the Druids were a social caste and their conversion to Christianity did not change their social function in Celtic culture. Christ was simply the new Druid in charge!

   The druid tonsure and habit of the monks of the Celtic Church was a bone of contention with Pope Gregory and it wasn't until the 8th century that the monks of Iona (Scotland) adopted the tonsure of Saint Peter ( 716 ). The Druid influence was so pervasive that the Roman Church accused the Celtic Church of the sins of Simon Magus (magic).

   The conflict between the two Churches went far beyond the mere theological debates and the correct observance of religious holy days. The conflict was about power and wealth. Saxon kings were granting huge tracts of land to the Roman Church almost as soon as they were promised entry to heaven. Rome had a long history of getting the upper hand with the Celts. Centuries earlier, Caesar used German auxiliaries against the Celts of Gaul and it was in fact the Romans who used Saxon auxiliaries in Britain prior to the collapse of the Roman Empire. It wouldn't be above suspicion that the Roman Church benefited from the conflict between the Saxons and Celts! There is no doubt that the Saxon victory at the Battle of Chester in 613 A.D. received the blessings of Augustine, thereby insuring his self-fulfilling prophesy: "If the Welsh will not be at peace with us, they shall perish at the hands of the Saxons" ( 607 ).

2. The Moors of Spain were heavily influenced by Celtic designs and there may have been direct connections to Ireland. Their adaptation of Celtic knotwork was rectilinear as opposed to curvilinear in characteristics.
3. The Picts of Scotland created the highest evolution of the art form.
4. ISBN 0-8014-1539-X / 0-8014-9242-4 Photo 127 Page 159
5. The carved stones at Golden Grove, Llantwit Major and Nevern Dyfed demonstrate that Celtic knotwork was indeed developed by regular breaks and reconnections of the Greco-Roman plait as speculated by J. Romilly Allen , and George and Iain Bain . One pattern at Golden Grove uses an irregular cord element that cannot, to my knowledge, be found anywhere else in Celtic knotwork design. The reconnection of the broken plait with this cord element seemed to be the only solution.