Size: 1 1/8″ pendant with a 20″ chain
Material: Zinc Alloy metal with bronze finish with a glass inset
Includes: Pendant and chain
In the early middle ages, the mystical cult of the Celts roamed throughout Europe. By wearing any of these symbols, the Celts believed they would be in harmony with the virtue of the symbol.
Tree of Life: The tree is the bearer of food, a provider of shelter, and fuel for cooking and warmth.
Various forms of Trees of Life also appear in folklore, culture and fiction, often relating to immortality or fertility. These often hold cultural and religious significance to the peoples for whom they appear. For them, it may also strongly be connected with motif of the world tree. The tree, with its branches reaching up into the sky, and roots deep into the earth, can be seen to dwell in three worlds – a link between heaven, the earth, and the underworld, uniting above and below. It is also both a feminine symbol, bearing sustenance; and a masculine, phallic symbol – another union. In Germanic Paganism, trees play a prominent role, appearing in various aspects of surviving texts and possibly in the name of gods. The tree of life appears in Norse religion as Yggdrasil, the world tree, a massive tree (sometimes considered a yew or ash tree) with extensive lore surrounding it. Perhaps related to Yggdrasil, accounts have survived of Germanic tribes honoring sacred trees within their societies. In Norse mythology it is the apples from Iounn’s ash box that provides immortality for the gods. The Tree of Life is thought by some as the axis mundi (also cosmic axis, world axis, world pillar, columna cerului, center of the world) is a ubiquitous symbol that crosses human cultures. The image expresses a point of connection between sky and earth where the four compass directions meet. At this point travel and correspondence is made between higher and lower realms. Communication from lower realms may ascend to higher ones and blessings from higher realms may descend to lower ones and be disseminated to all. The spot functions as the navel, the world’s point of beginning. The axis mundi image appears in every region of the world and takes many forms. The image is both feminine (an umbilical providing nourishment) and masculine (a phallus providing insemination into a uterus). It may have the form of a natural or manufactured objects (such as a tree, vine, staff or maypole), and is found in cultures having shamanic practices or animist beliefs, major world religions, and technologically advanced “urban centers.”
An attractive symbol of your heritage and faith.
The Celts were a people who lived close to nature, and who recognized the spirit within all things. They closely identified with the elemental forces of a living land, the cycle of the seasons, and the patterns of the stars. They believed in the continuity of life, rebirth, and regeneration. This belief is symbolized in the highly complex, interwoven patterns that reoccur throughout Celtic design over the centuries.
Celtic art is the highly stylized curvilinear art that originated during the second half of the 1st millennium BC among the Celtic peoples of Iron Age Europe. The term refers to two separate traditions: La Tene art, which was named for a major Celtic site in Switzerland and was produced by the pre-Christian Celts from the 5th century BC until the 2d century AD; and Christian Celtic art, which was produced in Britain and Ireland from AD 400 to 1200. The term also sometimes refers to Scottish and Irish works of the 16th century to the present that borrow freely from Celtic Christian art.
La Tene art is distinctive of the La Tene phase that followed the Hallastat phase (c.750-500 BC) of the Celtic Iron Age. First developed in an area extending from the upper Danube to the Marne and centered in southern Germany, the La Tene art style spread widely through continental Europe. It appeared principally on objects of fine metalwork, including bracelets, torcs (neck rings), weaponry, and household and ritual vessels fashioned of bronze, gold, silver, and iron. A few objects of decorated woodwork and painted pottery have survived, but examples in other materials have for the most part perished.
La Tene art grew out of the native art of the Hallstatt Celts, who had evolved their own tradition of geometric patterns and stylized animals. During the period of the early La Tene style (early 5th to mid-4th century BC), the Celtic artist experimented with new forms and a great diversity of ornament. Highly influential were Greek and Etruscan motifs. Through other contacts, the Celts also became acquainted with a wide array of fantastic animal forms derived from the Steppe art of the nomadic Scynthians.
After the 2d century AD Celtic art effectively died out in Britain. It was revived in the 5th century with the production of brooches, hanging bowls, and other objects. The revival represents a separate tradition from that of the La Tene Celts, which was rapidly transmitted to Ireland, where some La Tene art may have survived, and there reached its greatest heights. The objects decorated in the new Christian tradition are mainly ecclesiastical and include metal reliquaries, stone crosses and cross-decorated stone slabs, and gospel books produced in the Early Christian monasteries. These Illuminated Manuscripts were decorated with the graceful interlaced lines and stylized animal heads reminiscent of pagan Celtic art. The Book of Kells , an illuminated manuscript believed to date from the 9th century, is generally regarded as one of the finest examples of Christian Celtic art.