Viking Cruises

viking.com | 15 W I N T E R I S S U E 3 0 THE BORRE STYLE From the late 9th century to the mid 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 like Iceland, Russia and England. THE JELLING STYLE The Jelling style, from the 10th century, is named after the two massive carved runestones found in Jelling, Denmark. The carvings on these 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 honour 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. THE MAMMEN STYLE 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 RINGERIKE STYLE 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. VÅRBY BROOCH 10th century, Vårby, 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 epitomises the late Urnes style in its sinuous, interwoven loops, formed by stylised, entwined serpents. THESE BEAUTIFUL EX AMPLES OF VIKING AGE JEWELLERY DEMONSTR ATE THE PROGRESSION OF TECHNIQUES AND DESIGN THE URNES STYLE 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 artefacts 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.

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