The Diversity of Sacred Lands in Europe - IUCN
The Diversity of Sacred Lands in Europe - IUCN
The Diversity of Sacred Lands in Europe - IUCN
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ality <strong>in</strong>to early Christian forms are identified<br />
as follows.<br />
Pictish Scultpured Stones<br />
A seem<strong>in</strong>g transition <strong>of</strong> Celtic nature<br />
spirituality to a Christian form is evidenced<br />
<strong>in</strong> the art <strong>of</strong> the Pictish stand<strong>in</strong>g<br />
stones found through central Scotland.<br />
Leatham attributes the carv<strong>in</strong>gs<br />
to St. Kentigerns mu<strong>in</strong>ntir, where carv<strong>in</strong>g<br />
was amongst the skills practiced.<br />
<strong>The</strong> wild animals depicted <strong>in</strong> the carv<strong>in</strong>gs<br />
<strong>in</strong>clude wolf, snake, salmon, eagle,<br />
stag, bear and boar (as illustrated<br />
<strong>in</strong> Fraser, 2008). Figure on the right<br />
shows the Drosten Stone which shows<br />
an <strong>in</strong>tricately woven cross and the enigmatic<br />
Pictish symbols, wild animals<br />
<strong>in</strong>clud<strong>in</strong>g bear and boar, the latter be<strong>in</strong>g<br />
aimed at by a hunter, a domestic<br />
goat, an osprey with a salmon and a<br />
beautiful carved fawn suckl<strong>in</strong>g a doe.<br />
L<strong>in</strong>disfarne Gospels<br />
Beautifully illustrated, the L<strong>in</strong>disfarne<br />
Gospels also exhibit a rich nature imagery.<br />
‘<strong>The</strong> <strong>in</strong>itial letters are filled with a<br />
throng <strong>of</strong> <strong>in</strong>terlac<strong>in</strong>g birds and beasts<br />
partak<strong>in</strong>g <strong>of</strong> the word <strong>of</strong> God, and with<br />
a vortex <strong>of</strong> swirl<strong>in</strong>g Celtic spiral work recall<strong>in</strong>g<br />
water, air and fire. For centuries<br />
Celtic and Germanic peoples had signalled<br />
status and power by the metalwork<br />
that they wore… <strong>The</strong>se ornaments<br />
and symbols were now applied to the<br />
ultimate authority <strong>of</strong> the Word <strong>of</strong> God…<br />
This is not direct observation perhaps<br />
from the natural world...but this is totally<br />
at one with creation and build<strong>in</strong>g upon<br />
that <strong>in</strong> the way that we know that certa<strong>in</strong>ly<br />
the Celtic tradition was very <strong>in</strong>cl<strong>in</strong>ed<br />
to do’ (Brown, 2000). Thus the<br />
<strong>The</strong> Drosten Stone (839-42), front and back.<br />
Historic Scotland Museum, Abroath, Scotland.<br />
art <strong>of</strong> the L<strong>in</strong>disfarne Gospels <strong>in</strong>cluded<br />
elements <strong>of</strong> Celtic, Anglo Saxon, and<br />
Coptic art (Blackhouse, 1981; Brown,<br />
2003).<br />
Folk Christianity<br />
Further examples <strong>of</strong> the meld<strong>in</strong>g <strong>of</strong> the<br />
traditions derive from the Celtic folk<br />
Christianity <strong>of</strong> Ireland, Scotland and<br />
Wales. For example the Scottish collection<br />
<strong>of</strong> poems, prayers and <strong>in</strong>cantations<br />
<strong>of</strong> the Carm<strong>in</strong>a Gadelica (Carmichael,<br />
1900) is an extended collection,<br />
and <strong>in</strong>cludes much related to nature.<br />
This is <strong>of</strong> more recent orig<strong>in</strong> and is not<br />
necessarily directly l<strong>in</strong>ked to the era <strong>of</strong><br />
the early sa<strong>in</strong>ts. It mostly consists <strong>of</strong><br />
what is sometimes pejoratively called<br />
‘folk’ religion but can be considered<br />
‘cultural variants’ <strong>of</strong> ma<strong>in</strong>stream faiths.<br />
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