Viking Style A Necklace Made from Glass Pearls

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Viking Style

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Single Handed Battle Axe. The Vikings were famous for using axes as their weapons of choice, this design is based on the traditional Norse bearded Berserkers were fearsome Viking warriors who were said to fight in a trance like state.

They often appeared in Norse saga Valknut Viking Axe. This Viking axe is superbly hand crafted to give a very high quality finish.

It is fully usable as a Axe and very durable. Double Headed Berserker Axe. Although not a traditional Viking design the double headed axe is a fearsome weapon!

This Axe is made completely by ha Ragnar Axe. The axe design is base Viking Bearded Axe. For Viking warriors the bearded axe was the go to weapon of choice.

The design allows for a much longer blade than traditional Viking Seax. Handmade Viking Seax with handle made from bone. Available in white or black, all orders come with leather sheath.

Worldwide Shipping Viking haircut styles are often all about long, thick hair on top with short or shaved sides.

Paired with the perfect long, full beard, the Viking warrior hairstyles look masculine and powerful.

Viking braids offer a stylish way to create a unique look. Guys can braid hair of all lengths, deciding to simply intertwine a few strands or all of their hair.

Similarly, how you braid your hair and what type of hairstyle you get braided can make all the difference.

For example, a braided part can work nicely for a modern gentleman with a pompadour fade , comb over or slicked back undercut. On the other hand, guys can loosely braid their top knot or man ponytail.

Even a braided mohawk bun can look good on the right dude. Just imagine braids on top with shaved sides and back, and you have one badass look.

Trading and merchant activities were accompanied by settlement and colonisation in many of these territories.

Wood was undoubtedly the primary material of choice for Viking artists, being relatively easy to carve, inexpensive and abundant in northern Europe.

The importance of wood as an artistic medium is underscored by chance survivals of wood artistry at the very beginning and end of the Viking period, namely, the Oseberg ship-burial carvings of the early 9th century and the carved decoration of the Urnes Stave Church from the 12th century.

As summarised by James Graham-Campbell : "These remarkable survivals allow us to form at least an impression of what we are missing from original corpus of Viking art, although wooden fragments and small-scale carvings in other materials such as antler, amber and walrus ivory provide further hints.

The same is inevitably true of the textile arts, although weaving and embroidery were clearly well-developed crafts.

With the exception of the Gotlandic picture stones prevalent in Sweden early in the Viking period, stone carving was apparently not practiced elsewhere in Scandinavia until the midth century and the creation of the royal monuments at Jelling in Denmark.

Subsequently, and likely influenced by the spread of Christianity, the use of carved stone for permanent memorials became more prevalent.

Beyond the discontinuous artifactual records of wood and stone, the reconstructed history of Viking art to date relies most on the study of decoration of ornamental metalwork from a great variety of sources.

Jewellery was worn by both men and women, though of different types. Married women fastened their overdresses near the shoulder with matching pairs of large brooches.

Modern scholars often call them "tortoise brooches" because of their domed shape. The shapes and styles of women's paired brooches varied regionally, but many used openwork.

Women often strung metal chains or strings of beads between the brooches, or suspended ornaments from the bottom of the brooches.

Men wore rings on their fingers, arms and necks, and held their cloaks closed with penannular brooches , often with extravagantly long pins.

Their weapons were often richly decorated on areas such as sword hilts. The Vikings mostly used silver or bronze jewellery, the latter sometimes gilded , but a small number of large and lavish pieces or sets in solid gold have been found, probably belonging to royalty or major figures.

Decorated metalwork of an everyday nature is frequently recovered from Viking period graves , on account of the widespread practice of making burials accompanied by grave goods.

The deceased was dressed in their best clothing and jewellery, and was interred with weapons, tools, and household goods.

Less common, but significant nonetheless, are finds of precious metal objects in the form of treasure hoards , many apparently concealed for safe-keeping by owners later unable to recover their contents, although some may have been deposited as offerings to the gods.

Recently, given the increasing popularity and legality of metal-detecting , an increasing frequency of single, chance finds of metal objects and ornaments most probably representing accidental losses is creating a fast expanding corpus of new material for study.

Viking coins fit well into this latter category, but nonetheless form a separate category of Viking period artefact, their design and decoration largely independent of the developing styles characteristic of wider Viking artistic endeavour.

A non-visual source of information for Viking art lies in skaldic verse , the complex form of oral poetry composed during the Viking Age and passed on until written down centuries later.

The 9th century skald poet Bragi Boddason , for example, cites four apparently unrelated scenes painted on a shield.

A continuous artistic tradition common to most of north-western Europe and developing from the 4th century CE formed the foundations on which Viking Age art and decoration were built: from that period onwards, the output of Scandinavian artists was broadly focused on varieties of convoluted animal ornamentation used to decorate a wide variety of objects.

Both Styles D and E developed within a broad Scandinavian context which, although in keeping with north-western European animal ornamentation generally, exhibited little influence from beyond Scandinavia.

Although preliminary formulations were made in the late 19th century, the history of Viking art first achieved maturity in the early 20th century with the detailed publication of the ornate wood-carvings discovered in as part of the Oserberg ship-burial by the Norwegian archaeologist Haakon Shetelig.

Importantly, it was the English archaeologist David M. Wilson , working with his Danish colleague Ole Klindt-Jensen to produce the survey work Viking Art , who created foundations for the systematic characterisation of the field still employed today, together with a developed chronological framework.

David Wilson continued to produce mostly English-language studies on Viking art in subsequent years, joined over recent decades by the Norwegian art-historian Signe Horn Fuglesang with her own series of important publications.

Together these scholars have combined authority with accessibility to promote the increasing understanding of Viking art as a cultural expression.

The art of the Viking Age is organised into a loose sequence of stylistic phases which, despite significant overlap in style and chronology, may be defined and distinguished on account both of formal design elements and of recurring compositions and motifs:.

Unsurprisingly, these stylistic phases appear in their purest form in Scandinavia itself; elsewhere in the Viking world, notable admixtures from external cultures and influences frequently appear.

In the British Isles, for example, art historians identify distinct, 'Insular' versions of Scandinavian motifs, often directly alongside 'pure' Viking decoration.

The Oseberg Style characterises the initial phase in what has been considered Viking art. A characteristic motif of the Oseberg Style is the so-called gripping beast.

This motif is what clearly distinguishes the early Viking art from the styles that preceded it. The chief features of the gripping beast are the paws that grip the borders around it, neighbouring beasts or parts of its own body.

The Oseberg ship itself is decorate with a more traditional style of animal interlace that does not feature the gripping beast motif.

However, five carved wooden animal-head posts were found in the ship, and the one known as the Carolingian animal-head post is decorated with gripping beasts, as are other grave goods from the ship.

The Oseberg style is also characterized by traditions from the Vendel era , and it is nowadays not always accepted as an independent style.

Detail of the Carolingian animal-head post from the Oseberg ship burial, showing the gripping beast motif.

Borre Style prevailed in Scandinavia from the late 9th through to the late 10th century, a timeframe supported by dendrochronological data supplied from sites with characteristically Borre Style artifacts [12].

The 'gripping beast' with a ribbon-shaped body continues as a characteristic of this and earlier styles. As with geometric patterning in this phase, the visual thrust of the Borre Style results from the filling of available space: ribbon animal plaits are tightly interlaced and animal bodies are arranged to create tight, closed compositions.

As a result, any background is markedly absent — a characteristic of the Borre Style that contrasts strongly with the more open and fluid compositions that prevailed in the overlapping Jellinge Style.

A more particular diagnostic feature of Borre Style lies in a symmetrical, double-contoured 'ring-chain' or 'ring-braid' , whose composition consists of interlaced circles separated by transverse bars and a lozenge overlay.

The Borre ring-chain occasionally terminates with an animal head in high relief, as seen on strap fittings from Borre and Gokstad. The ridges of designs in metalwork are often nicked to imitate the filigree wire employed in the finest pieces of craftsmanship.

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