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Viking Jewelry AN

Viking Jewelry AN INTRICATE CULTURAL HISTORY In celebration of our Norwegian heritage, we take a closer look at the traditional skills and artistry showcased in these intricate designs The Vikings were much more than legendary seafaring explorers. A closer look at their jewelry, available to guests on board through the Viking Heritage exhibit, reveals a high level of artistic skill and a fascinating design vocabulary that evolved over the duration of the Viking Age, which historians agree is roughly the period from 789 to 1066 AD. The volume of fine silver jewelry recovered from burial hoards across Europe suggests that silver coinage obtained through trade was melted down and used as adornments. Worn by men and women, these indicated social status and may have also functioned as amulets. As the Viking Age progressed, the style of the designs changed. Historians generally classify Viking artifacts into six styles, each named after the area where a pivotal decorative object was unearthed. Throughout this period, design styles sometimes coexisted side by side, at times even combined in a single piece, and some artifacts demonstrated a melding of Viking designs with those of other cultures. The earliest recognizable style, dating to the 9th century, is known as the Oseberg style and features twisting animal forms and a gripping beast motif—a hallmark design element that appears well into the next century. The style’s name references the famous Oseberg ship found in a large burial mound in Norway; the ship is currently on display at the Viking Ship Museum in Oslo. From the late 9th century and continuing to the middle of the THE MAJORITY OF ARTIFACTS . . . WERE MADE OF METAL OR STONE, ALTHOUGH SOME RARER ITEMS FASHIONED FROM BONE, WOOD, IVORY AND EVEN TEXTILES HAVE ALSO BEEN PRESERVED 10th century, a new set of designs known as the Borre style emerged. We continue to see the gripping beast, but the once sinuous feel of the Oseberg creatures has shifted to triangular-headed animals with round eyes and protruding ears. Named for a set of bridle mounts recovered from a ship burial site in Borre, Norway, this style appears to be purely Norse and shows up in finds from countries including Iceland, Russia and England. The Jelling style, from the 10th century, is named after the two massive carved runestones found in 36 VIKING.COM EXPLORE MORE

VISUAL & PERFORMING ARTS THESE BEAUTIFUL EXAMPLES OF VIKING AGE JEWELRY DEMONSTRATE THE PROGRESSION OF TECHNIQUES AND DESIGN VÅRBY BROOCH 10th century, Vårby hoard, Sweden This disc-shaped pin is loaded with ornamentation, complete with faces and entwined knots. BORRE TREFOIL 9th–10th century Named after bridle mounts found in a ship grave, this Borre-style jewelry shows interlacing knots and animals. LUNETTE PENDANT 10th–11th century, Gnezdovo, Russia This elaborate crescent pendant is from one of the major Varangian centers in Kievan Rus territory. BRISINGAMEN NECKLACE 11th–12th century, Gotland, Sweden The smoothness of the rock crystal spheres contrasts against the nubby texture of the tiny granulated dots in this necklace. ROSCREA BROOCH Late 9th century, Tipperary, Ireland This pin, combining silver, gold and amber, demonstrates the melding of Irish and Viking influences. URNES-STYLE BROOCH Circa 1100 AD, Tröllaskógur, Iceland This brooch epitomizes the late Urnes style in its sinuous, interwoven loops, formed by stylized, entwined serpents. Jelling, Denmark. The carvings on these huge rocks feature stylistic S-shaped, intertwined animal forms with profiled heads and spiral hips, as well as pigtails. The decorated stones were commissioned by two kings as memorials. The smaller one was raised by King Gorm the Old in honor of his wife, Thyra. The other was erected by his son, Harald Bluetooth, in memory of his parents, his conquests of Denmark and Norway, and his conversion of the Danes to Christianity. The patterns were much copied and appeared on decorative items throughout this period. Developed out of the Jelling style, the Mammen style was prominent in the last half of the 10th century. It features images of naturalistic lions, birds, snakes and foliate elements. The striking style is named after an ax-head found in a burial site in Mammen, Denmark. The first half of the 11th century, an era in which standing stones were becoming more commonplace, is represented by the Ringerike style. It often featured curvy, thin animals such as lion-like beasts with almond-shaped eyes; thin, long tendrils on plant motifs; and leafy, floral patterns. Finally, from 1050 to the 12th century, the Urnes style came to be regarded as the ultimate expression of Viking art. Named after the carvings that adorn the northern gate of the Urnes stave church in Norway, this style boasts sinuous, interlaced and interwoven animals with long eyes, serpent-like creatures, and plants. The majority of artifacts related to these chronological phases of Scandinavian art were made of metal or stone, although some rarer items fashioned from bone, wood, ivory and even textiles have also been preserved. Ongoing archaeological finds continue to add to our understanding of this fascinating evolution of style and craftsmanship. Clockwise, from below: Karine Hagen wearing a replica brooch; a selection of authentic replicas are available for purchase on board; Oseberg ship bow; outer garment fastened with an ornamental brooch EXPLORE MORE VIKING.COM 37