Key pattern - Revision history

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2025-06-02T02:35:39Z

Open access bot: hdl updated in citation with #oabot.

← Previous revision		Revision as of 02:35, 2 June 2025
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	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X\|url-access=subscription}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182\|url-access=subscription }}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X\|url-access=subscription}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182\|url-access=subscription }}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890\|url-access=subscription}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890\|url-access=subscription\|hdl=11511/64376\|hdl-access=free}}</ref>

	== Gallery ==		== Gallery ==

OAbot: Open access bot: url-access updated in citation with #oabot.

2025-05-23T20:03:21Z

Open access bot: url-access updated in citation with #oabot.

← Previous revision		Revision as of 20:03, 23 May 2025
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	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X\|url-access=subscription}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182\|url-access=subscription }}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890\|url-access=subscription}}</ref>

	== Gallery ==		== Gallery ==

Epicgenius: Adding short description: "Type of interlocking geometric motif"

2024-09-16T15:56:59Z

Adding short description: "Type of interlocking geometric motif"

← Previous revision		Revision as of 15:56, 16 September 2024
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			{{Short description\|Type of interlocking geometric motif}}
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

HarJIT at 13:53, 1 August 2024

2024-08-01T13:53:04Z

← Previous revision		Revision as of 13:53, 1 August 2024
Line 1:		Line 1:
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

Peachseltzer: /* Gallery */ added example

2024-01-29T21:30:14Z

Gallery: added example

← Previous revision		Revision as of 21:30, 29 January 2024
Line 19:		Line 19:
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)		File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)
			File:Kongo Cushion Cover.jpg\|Cushion Cover, 17th century. Kongo textiles, Kongo peoples; The Kingdom of Kongo. Ethnographic Museum, Stockholm.
	</gallery>		</gallery>

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2023-01-04T08:24:26Z

Alter: pages. Add: jstor, authors 1-1. Removed parameters. Formatted dashes. Some additions/deletions were parameter name changes. | Use this bot. Report bugs. | Suggested by SemperIocundus | #UCB_webform 1543/2500

← Previous revision		Revision as of 08:24, 4 January 2023
Line 1:		Line 1:
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|~~last~~=Allen\|~~first~~=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|~~last~~=Jablan\|~~first~~=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|~~last~~=Beck \|~~first~~=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|~~last~~=Özkar\|~~first~~=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>

	== Gallery ==		== Gallery ==

Peachseltzer: Fixed a reference

2023-01-03T13:27:26Z

Fixed a reference

← Previous revision		Revision as of 13:27, 3 January 2023
Line 2:		Line 2:
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref ~~name~~=":7" /> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last=Beck \|first=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>

Peachseltzer: Added a new sentence and reference

2022-12-26T00:38:15Z

Added a new sentence and reference

← Previous revision		Revision as of 00:38, 26 December 2022
Line 2:		Line 2:
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref>{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref name=":7" /> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>

Peachseltzer: /* Gallery */ added images

2022-10-14T20:17:37Z

Gallery: added images

← Previous revision		Revision as of 20:17, 14 October 2022
Line 11:		Line 11:
	File:El Tajin (9785936503).jpg\|Key patterns seen in architectural details at [[El Tajín]], a [[Pre-Columbian era\|pre-Columbian]] archaeological site in southern Mexico.		File:El Tajin (9785936503).jpg\|Key patterns seen in architectural details at [[El Tajín]], a [[Pre-Columbian era\|pre-Columbian]] archaeological site in southern Mexico.
	File:02 2020 Grecia photo Paolo Villa FO190065 bis (Museo archeologico di Atene) Terracotta dipinta, Anfora del Maestro detto di Dipylon (dettaglio), opera funebre geometrica con salma su catafalco, piangenti, Kerameikos Atene, VIII sec a.C.jpg\|A detail of key patterns from a Greek painted terracotta amphora from 8th century B.C. in the collection of the Archaeological Museum of Athens		File:02 2020 Grecia photo Paolo Villa FO190065 bis (Museo archeologico di Atene) Terracotta dipinta, Anfora del Maestro detto di Dipylon (dettaglio), opera funebre geometrica con salma su catafalco, piangenti, Kerameikos Atene, VIII sec a.C.jpg\|A detail of key patterns from a Greek painted terracotta amphora from 8th century B.C. in the collection of the Archaeological Museum of Athens
			File:Engaged Column Part with Meander Pattern MET DP350385.jpg\|A fragment of an [[engaged column]] carved from limestone, with key patterns, [[Rosette (design)\|rosettes]], and [[Acanthus (ornament)\|acanthus leaves]], from a 6th-century [[Monasticism\|monastic]] community in [[Bawit]], Egypt.
			File:Fragment from a Frieze with Meander Pattern and Diamond-Shaped Rosettes MET 09.217.1a, b.jpeg\|A fragment from a [[limestone]] [[frieze]] with diagonal key patterns and rosettes from 6th century [[Roman Egypt\|Byzantine Egypt]], in the collection of the [[Metropolitan Museum of Art]].
	File:Ding (cooking vessel), China, Shang dynasty, 1300-1046 BC, bronze - Royal Ontario Museum - DSC03993.JPG\|Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the [[Shang dynasty]].		File:Ding (cooking vessel), China, Shang dynasty, 1300-1046 BC, bronze - Royal Ontario Museum - DSC03993.JPG\|Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the [[Shang dynasty]].
	File:Sheet with Greek key and paisley pattern Met DP887050.jpg\|A decorative paper sheet with [[Paisley (design)\|paisley]] and Greek key patterns [[Relief printing\|printed in relief]] from [[History of Italy (1559–1814)\|18th century Italy]] in the collection of the [[Metropolitan Museum of Art]].		File:Sheet with Greek key and paisley pattern Met DP887050.jpg\|A decorative paper sheet with [[Paisley (design)\|paisley]] and Greek key patterns [[Relief printing\|printed in relief]] from [[History of Italy (1559–1814)\|18th century Italy]] in the collection of the [[Metropolitan Museum of Art]].
Line 17:		Line 19:
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)		File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)
	</gallery>		</gallery>

Peachseltzer: /* Gallery */ added image

2022-10-14T20:05:45Z

Gallery: added image

← Previous revision		Revision as of 20:05, 14 October 2022
Line 12:		Line 12:
	File:02 2020 Grecia photo Paolo Villa FO190065 bis (Museo archeologico di Atene) Terracotta dipinta, Anfora del Maestro detto di Dipylon (dettaglio), opera funebre geometrica con salma su catafalco, piangenti, Kerameikos Atene, VIII sec a.C.jpg\|A detail of key patterns from a Greek painted terracotta amphora from 8th century B.C. in the collection of the Archaeological Museum of Athens		File:02 2020 Grecia photo Paolo Villa FO190065 bis (Museo archeologico di Atene) Terracotta dipinta, Anfora del Maestro detto di Dipylon (dettaglio), opera funebre geometrica con salma su catafalco, piangenti, Kerameikos Atene, VIII sec a.C.jpg\|A detail of key patterns from a Greek painted terracotta amphora from 8th century B.C. in the collection of the Archaeological Museum of Athens
	File:Ding (cooking vessel), China, Shang dynasty, 1300-1046 BC, bronze - Royal Ontario Museum - DSC03993.JPG\|Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the [[Shang dynasty]].		File:Ding (cooking vessel), China, Shang dynasty, 1300-1046 BC, bronze - Royal Ontario Museum - DSC03993.JPG\|Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the [[Shang dynasty]].
			File:Sheet with Greek key and paisley pattern Met DP887050.jpg\|A decorative paper sheet with [[Paisley (design)\|paisley]] and Greek key patterns [[Relief printing\|printed in relief]] from [[History of Italy (1559–1814)\|18th century Italy]] in the collection of the [[Metropolitan Museum of Art]].
	File:RugNavajo-BMA.jpg\|A wool rug ca.1900-1920 from the [[Navajo]] people in the Early Crystal style, with key patterns forming the outer border.		File:RugNavajo-BMA.jpg\|A wool rug ca.1900-1920 from the [[Navajo]] people in the Early Crystal style, with key patterns forming the outer border.
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 10.jpg\|Vintage Japanese designs of key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 10.jpg\|Vintage Japanese designs of key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)		File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)
	</gallery>		</gallery>

← Previous revision		Revision as of 15:56, 16 September 2024
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			{{Short description\|Type of interlocking geometric motif}}
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

← Previous revision		Revision as of 13:53, 1 August 2024
Line 1:		Line 1:
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the [[warded lock\|wards of the lock]].”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

← Previous revision		Revision as of 21:30, 29 January 2024
Line 19:		Line 19:
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 76.jpg\|Vintage Japanese border designs using key patterns from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley		File:Vintage pattern from The Practical Decorator and Ornamentist by G.A & M.A. Audsley from rawpixel’s own original first edition of the publication 86.jpg\|Antique Greek border designs of key patterns and other ornaments from ''The Practical Decorator and Ornamentist'' by G.A & M.A. Audsley
	File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)		File:Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use (1900) (14597695089).jpg\|Variations in decorative key patterns from the ''Handbook of Ornament; A Grammar of Art, Industrial and Architectural Designing in All Its Branches, for Practical as well as Theoretical Use'' (1900)
			File:Kongo Cushion Cover.jpg\|Cushion Cover, 17th century. Kongo textiles, Kongo peoples; The Kingdom of Kongo. Ethnographic Museum, Stockholm.
	</gallery>		</gallery>

← Previous revision		Revision as of 08:24, 4 January 2023
Line 1:		Line 1:
	[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]		[[File:Key pattern detail.jpg\|thumb\|An example of a key pattern in Insular stone art from [[Groam House Museum\|Groam House]], Scotland.]]
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|~~last~~=Allen\|~~first~~=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last1=Allen\|first1=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|~~last~~=Jablan\|~~first~~=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|~~last~~=Radovic\|~~first~~=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=~~55-65~~}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|~~last~~=Beck \|~~first~~=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last1=Jablan\|first1=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last1=Radovic\|first1=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55–65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last1=Beck \|first1=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|jstor=857910 \|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|~~last~~=Özkar\|~~first~~=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last1=Özkar\|first1=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>

	== Gallery ==		== Gallery ==

← Previous revision		Revision as of 13:27, 3 January 2023
Line 2:		Line 2:
	'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>		'''Key pattern''' is the generic term for an interlocking [[Geometry\|geometric]] motif made from straight lines or bars that intersect to form [[Rectilinear polygon\|rectilinear]] [[spiral]] shapes.<ref name=":0">{{Cite book\|last=Hull\|first=Derek\|url=https://www.worldcat.org/oclc/52695754\|title=Celtic and Anglo-Saxon art : geometric aspects\|date=2003\|publisher=Liverpool University Press\|isbn=0-85323-549-X\|location=Liverpool\|oclc=52695754}}</ref><ref name=":1">{{Cite book\|last=Bain\|first=Iain\|url=https://www.worldcat.org/oclc/29428299\|title=Celtic key patterns\|date=1994\|publisher=Sterling Pub. Co\|isbn=0-8069-0740-1\|location=New York\|oclc=29428299}}</ref><ref name=":2">{{Cite book\|last=Thickpenney\|first=Cynthia\|url=https://www.worldcat.org/oclc/1180971230\|title=Peopling Insular Art: Practice, Performance, Perception\|date=2020\|publisher=Oxbow Books\|others=Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis\|isbn=978-1-78925-455-6\|location=Oxford, UK\|chapter=Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross\|oclc=1180971230}}</ref> According to Allen and Anderson, the [[negative space]] between the lines or bars of a key pattern “resemb[es] the L- or T-shaped slots in an ordinary key to allow it to pass the wards of the lock.”<ref name=":3">{{Cite book\|last=Allen\|first=J. Romilly\|url=https://catalog.hathitrust.org/Record/100968327\|title=The early Christian monuments of Scotland.\|last2=Anderson\|first2=Joseph\|last3=Society of Antiquaries of Scotland\|date=1903\|publisher=Printed by Neill & co., limited\|location=Edinburgh\|pages=308}}</ref>

	Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref ~~name~~=":7" /> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>		Key patterns have been discovered and used in [[Ornament (art)\|ornamentation]] by a number of global cultures in human history, and are thought to largely have been designed independently of each other.<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref> The earliest examples of key patterns are seen in [[textile]] ornaments from Mezin, [[Ukraine]], dated to approximately 23,000 B.C.<ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5">{{Cite book\|last=Jablan\|first=Slavik\|url=https://www.worldcat.org/oclc/62098419\|title=Modularity : understanding the development and evolution of natural complex systems\|date=2005\|publisher=MIT Press\|others=Werner Callebaut, Diego Rasskin-Gutman\|isbn=978-0-262-26969-8\|location=Cambridge, Mass.\|chapter=Modularity in Art\|oclc=62098419}}</ref><ref name=":6">{{Cite journal\|last=Jablan\|first=Slavik\|last2=Radović\|first2=Ljiljana\|date=2011-08-09\|editor-last=Glanville\|editor-first=Ranulph\|title=Do you like paleolithic op‐art?\|url=https://www.emerald.com/insight/content/doi/10.1108/03684921111160287/full/html\|journal=Kybernetes\|language=en\|volume=40\|issue=7/8\|pages=1045–1054\|doi=10.1108/03684921111160287\|issn=0368-492X}}</ref> Key patterns were also common in textile and ceramic ornamentation during the [[Neolithic\|Neolithic period]], with examples found among archeological discoveries in present-day [[Fiji]], [[Peru]], [[Mexico]], [[Moldova]], [[Romania]], [[Hungary]], [[Yugoslavia]], and [[Greece]],<ref name=":3" /><ref name=":4">{{Cite journal\|last=Radovic\|first=Ljilana\|last2=Jablan\|first2=Slavik\|date=2001\|title=Antisymmetry and Modularity in Ornamental Art\|url=http://t.archive.bridgesmathart.org/2001/bridges2001-55.pdf\|journal=Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]\|pages=55-65}}</ref><ref name=":5" /><ref name=":6" /> as well as in [[Celtic art\|pre-Christian Celtic art]].<ref name=":0" /><ref name=":1" /><ref name=":2" /> The oldest known pair of pants, wool trousers found in a grave dated to approximately 1038-926 B.C. in present-day western China, have a decorative band of key patterns woven into them.<ref>{{Cite journal \|last=Beck \|first=Ulrike \|last2=Wagner \|first2=Mayke \|last3=Li \|first3=Xiao \|last4=Durkin-Meisterernst \|first4=Desmond \|last5=Tarasov \|first5=Pavel E. \|date=2014-10-20 \|title=The invention of trousers and its likely affiliation with horseback riding and mobility: A case study of late 2nd millennium BC finds from Turfan in eastern Central Asia \|url=https://www.sciencedirect.com/science/article/pii/S1040618214002808 \|journal=Quaternary International \|series=The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia \|language=en \|volume=348 \|pages=224–235 \|doi=10.1016/j.quaint.2014.04.056 \|issn=1040-6182}}</ref> In addition, extant examples of [[Early Middle Ages\|early medieval]] [[Insular art]], such as stone decorations and [[Illuminated manuscript\|illuminated manuscripts]], as well as [[Japanese art\|Japanese]], [[Chinese art\|Chinese]], and [[Islamic art\|Islamic]] [[decorative arts]] from different periods, feature key patterns.<ref name=":2" /><ref name=":3" /><ref name=":7">{{Cite journal\|last=Herringham\|first=Christiana J.\|date=1909\|title=Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns\|url=https://www.jstor.org/stable/857910\|journal=The Burlington Magazine for Connoisseurs\|volume=15\|issue=74\|pages=98–104\|issn=0951-0788}}</ref><ref>{{Cite book\|last=Wilson\|first=Eva\|url=https://www.worldcat.org/oclc/18134247\|title=Islamic designs for artists and craftpeople\|date=1988\|publisher=Dover Publications\|isbn=0-486-25819-X\|location=New York\|oclc=18134247}}</ref>

	[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>		[[Celtic maze\|Celtic mazes]], [[Meander (art)\|Greek frets]], and [[Xicalcoliuhqui\|xicalcoliuhquis]] are examples of well-known designs that are considered to be key patterns.<ref name=":1" /><ref name=":3" /><ref>{{Cite journal\|last=Özkar\|first=Mine\|last2=Lefford\|first2=Nyssim\|date=2006\|title=Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns\|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/asi.20431\|journal=Journal of the American Society for Information Science and Technology\|language=en\|volume=57\|issue=11\|pages=1551–1560\|doi=10.1002/asi.20431\|issn=1532-2890}}</ref>