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The triquetra ( // ; from the Latin adjective triquetrus "three-cornered") is a triangular figure composed of three interlaced arcs, or (equivalently) three overlapping vesicae piscis lens shapes.
It is used as an ornamental design in architecture, and in medieval manuscript illumination (particularly in the Insular tradition). Its depiction as interlaced is common in Insular ornaments from about the 7th century. In this interpretation, the triquetra represents the topologically simplest possible knot.
The term triquetra in archaeology is used of any figure consisting of three arcs, including a pinwheel design of the type of the triskeles. Such symbols become frequent from about the 4th century BC ornamented ceramics of Anatolia and Persia, and it appears on early Lycian coins.
The triquetra is found on runestones in Northern Europe and on early Germanic coins.[ citation needed ] It bears a resemblance to the so-called valknut , a design of three interlacing triangles, found in the same context.
The triquetra is often found in insular art, most notably metal work and in illuminated manuscripts like the Book of Kells . It is a "minor though recurring theme" in the secondary phase of Anglo-Saxon sceatta production (c. 710–760).It is found in similar artwork on early Christian High Crosses and slabs. An example from early medieval stonework is the Anglo-Saxon frith stool at Hexham Abbey.
The symbol has been interpreted as representing the Christian Trinity, especially since the Celtic revival of the 19th century. The original intention by the early medieval artists is unknown and experts[ who? ] warn against over-interpretation. It is, however, regularly used as a Trinitarian symbol in contemporary Christian iconography.
The triquetra has been a known symbol in Japan called Musubi Mitsugashiwa.[ citation needed ] Being one of the forms of the Aryan Iakšaku dynasty signs, it reached Japan with the dynasty's Kāśyapīya spreading technology and Buddhism via Kingdom of Khotan, China and Korea.[ citation needed ]
The triquetra is often used artistically as a design element when Celtic knotwork is used, especially in association with the modern Celtic Nations. The triquetra, also known as a "trinity knot", is often found as a design element is popular Irish jewelry such as claddaghs and other wedding or engagement rings. [ page needed ]
Celtic pagans or neopagans who are not of a Celtic cultural orientation, may use the triquetra to symbolise a variety of concepts and mythological figures. Due to its presence in insular Celtic art, Celtic Reconstructionists use the triquetra either to represent one of the various triplicities in their cosmology and theology (such as the tripartite division of the world into the realms of Land, Sea and Sky),or as a symbol of one of the specific Celtic triple goddesses, for example the battle goddess, The Morrígan. The symbol is also sometimes used by Wiccans and some New Agers to symbolise the Triple Goddess, or as a protective symbol.
In the TV series The Walking Dead (2010), Michonne's katana features a triquetra, chosen for its meaning as a "triple goddess symbol".
In the German Netflix series Dark (2017), it symbolizes the caves' closed time loops with each loop being 33 years apart, with the past affecting the future and the future influencing the past. The Triquetra is of significant symbolic value to the time travelers. This symbol can be seen on the Cave's metal door, on the Emerald Tablet, in The Stranger's papers and in the Sic Mundus photo.
Celtic knots are a variety of knots and stylized graphical representations of knots used for decoration, used extensively in the Celtic style of Insular art. These knots are most known for their adaptation for use in the ornamentation of Christian monuments and manuscripts, such as the 8th-century St. Teilo Gospels, the Book of Kells and the Lindisfarne Gospels. Most are endless knots, and many are varieties of basket weave knots.
The Lindisfarne Gospels is an illuminated manuscript gospel book probably produced around the years 715–720 in the monastery at Lindisfarne, off the coast of Northumberland, which is now in the British Library in London. The manuscript is one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements.
A high cross or standing cross is a free-standing Christian cross made of stone and often richly decorated. There was a unique Early Medieval tradition in Ireland and Britain of raising large sculpted stone crosses, usually outdoors. These probably developed from earlier traditions using wood, perhaps with metalwork attachments, and earlier pagan Celtic memorial stones; the Pictish stones of Scotland may also have influenced the form. The earliest surviving examples seem to come from the territory of the Anglo-Saxon kingdom of Northumbria, which had been converted to Christianity by Irish missionaries; it remains unclear whether the form first developed in Ireland or Britain.
The Celtic cross is a form of Christian cross featuring a nimbus or ring that emerged in Ireland, France and Great Britain in the Early Middle Ages. A type of ringed cross, it became widespread through its use in the stone high crosses erected across the islands, especially in regions evangelized by Irish missionaries, from the ninth through the 12th centuries.
The Book of Durrow is an illuminated manuscript dated to c. 700 that consists of text from the four Gospels gospel books, written in an Irish adaption of Vulgate Latin, and illustrated in the Insular script style.
Durham Cathedral Library, Manuscript A.II.10. is a fragmentary seventh century Insular Gospel Book, produced in Lindisfarne c. 650. Only seven leaves of the book survive, bound in three separate volumes in the Durham Cathedral Dean and Chapter Library. Although this book is fragmentary, it is the earliest surviving example in the series of lavish Insular Gospel Books which includes the Book of Durrow, the Lindisfarne Gospels, the St. Teilo Gospels and the Book of Kells.
A triskelion or triskeles is an ancient motif consisting of a triple spiral exhibiting rotational symmetry. The spiral design can be based on interlocking Archimedean spirals, or represent three bent human legs.
The valknut is a symbol consisting of three interlocked triangles. It appears on a variety of objects from the archaeological record of the ancient Germanic peoples. The term valknut is derived from the modern era, and the term or terms used to refer to the symbol during its historical employment is unknown.
The endless knot or eternal knot is a symbolic knot and one of the Eight Auspicious Symbols. It is an important symbol in Hinduism, Jainism and Buddhism. It is an important cultural marker in places significantly influenced by Tibetan Buddhism such as Tibet, Mongolia, Tuva, Kalmykia, and Buryatia. It is also found in Celtic and Chinese symbolism.
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.
Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.
Migration Period art denotes the artwork of the Germanic peoples during the Migration period. It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in Britain and Ireland. It covers many different styles of art including the polychrome style and the animal style. After Christianization, Migration Period art developed into various schools of Early Medieval art in Western Europe which are normally classified by region, such as Anglo-Saxon art and Carolingian art, before the continent-wide styles of Romanesque art and finally Gothic art developed.
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 CE. Viking art has many design elements in common with Celtic, Germanic, the later Romanesque and Eastern European art, sharing many influences with each of these traditions.
Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of the British Isles. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.
The Mac Durnan Gospels or Book of Mac Durnan is an illuminated manuscript Gospel book made in Ireland in the 9th or 10th century, a rather late example of Insular art. Unusually, it was in Anglo-Saxon England soon after it was written, and is now in the collection of Lambeth Palace Library in London.
In the visual arts, interlace is a decorative element found in medieval art. In interlace, bands or portions of other motifs are looped, braided, and knotted in complex geometric patterns, often to fill a space. Interlacing is common in the Migration period art of Northern Europe, especially in the Insular art of Ireland and the British Isles and Norse art of the Early Middle Ages and in Islamic art.
Art in Medieval Scotland includes all forms of artistic production within the modern borders of Scotland, between the fifth century and the adoption of the Renaissance in the early sixteenth century. In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish Medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.
Insular illumination refers to the production of illuminated manuscripts in the monasteries of Ireland and Great Britain between the 6th and 9th centuries, as well as in monasteries under their influence on continental Europe. It is characterised by decoration strongly influenced by metalwork, the constant use of interlacing, and the importance assigned to calligraphy. The most celebrated books of this sort are largely gospel books. Around sixty manuscripts are known from this period.
The Carolingian Cross is but one variation in the vast historical imagery of Christian symbolic representations of the crucifixion of Jesus Christ, going back to at least the ninth century. All crosses and Christian symbols have an inherent meaning arising from a multitude of sources and distinct features that set them apart from other religions. From both a design aspect and a theological perspective, the Carolingian Cross consists of a mixture of Christian and pre-Christian concepts built over a long history of cultural adaptation, religious iconography, liturgical practices and theological premises. German graphic designer Rudolf Koch in 1932 published a collection of 158 plates of drawings of Christian symbols. Under the heading of "Cross", this includes twelve drawings of Christian cross variants. One of these, the "Carolingian Cross" shows a cross of four triquetras.
We put a trinity on there – mind, body, soul. That's important to who Michonne (Danai Gurira) is. We put some squares around it. And (executive producer) Robert Kirkman wanted a symbol that was like the biohazard symbol … so we put a triple goddess on there, which looks exactly like it.