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m Adding short description: "Type of interlocking geometric motif"
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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>

Revision as of 15:56, 16 September 2024

An example of a key pattern in Insular stone art from Groam House, Scotland.

Key pattern is the generic term for an interlocking geometric motif made from straight lines or bars that intersect to form rectilinear spiral shapes.[1][2][3] 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.”[4]

Key patterns have been discovered and used in ornamentation by a number of global cultures in human history, and are thought to largely have been designed independently of each other.[4][5] The earliest examples of key patterns are seen in textile ornaments from Mezin, Ukraine, dated to approximately 23,000 B.C.[5][6][7] Key patterns were also common in textile and ceramic ornamentation during the Neolithic period, with examples found among archeological discoveries in present-day Fiji, Peru, Mexico, Moldova, Romania, Hungary, Yugoslavia, and Greece,[4][5][6][7] as well as in pre-Christian Celtic art.[1][2][3] 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.[8] In addition, extant examples of early medieval Insular art, such as stone decorations and illuminated manuscripts, as well as Japanese, Chinese, and Islamic decorative arts from different periods, feature key patterns.[3][4][9][10]

Celtic mazes, Greek frets, and xicalcoliuhquis are examples of well-known designs that are considered to be key patterns.[2][4][11]

  • Key patterns forming a border in the Roman Mosaic of Dioscorides as seen in the Handbook of Archaeology, Egyptian - Greek - Etruscan - Roman (1867)
    Key patterns forming a border in the Roman Mosaic of Dioscorides as seen in the Handbook of Archaeology, Egyptian - Greek - Etruscan - Roman (1867)
  • Key patterns seen in architectural details at El Tajín, a pre-Columbian archaeological site in southern Mexico.
    Key patterns seen in architectural details at El Tajín, a pre-Columbian archaeological site in southern Mexico.
  • 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
    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
  • A fragment of an engaged column carved from limestone, with key patterns, rosettes, and acanthus leaves, from a 6th-century monastic community in Bawit, Egypt.
    A fragment of an engaged column carved from limestone, with key patterns, rosettes, and acanthus leaves, from a 6th-century monastic community in Bawit, Egypt.
  • A fragment from a limestone frieze with diagonal key patterns and rosettes from 6th century Byzantine Egypt, in the collection of the Metropolitan Museum of Art.
    A fragment from a limestone frieze with diagonal key patterns and rosettes from 6th century Byzantine Egypt, in the collection of the Metropolitan Museum of Art.
  • Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the Shang dynasty.
    Rectilinear key patterns seen among other ornaments on a bronze Chinese cooking vessel from the Shang dynasty.
  • A decorative paper sheet with paisley and Greek key patterns printed in relief from 18th century Italy in the collection of the Metropolitan Museum of Art.
    A decorative paper sheet with paisley and Greek key patterns printed in relief from 18th century Italy in the collection of the Metropolitan Museum of Art.
  • A wool rug ca.1900-1920 from the Navajo people in the Early Crystal style, with key patterns forming the outer border.
    A wool rug ca.1900-1920 from the Navajo people in the Early Crystal style, with key patterns forming the outer border.
  • Vintage Japanese designs of key patterns from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
    Vintage Japanese designs of key patterns from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
  • Vintage Japanese border designs using key patterns from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
    Vintage Japanese border designs using key patterns from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
  • Antique Greek border designs of key patterns and other ornaments from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
    Antique Greek border designs of key patterns and other ornaments from The Practical Decorator and Ornamentist by G.A & M.A. Audsley
  • 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)
    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)
  • Cushion Cover, 17th century. Kongo textiles, Kongo peoples; The Kingdom of Kongo. Ethnographic Museum, Stockholm.
    Cushion Cover, 17th century. Kongo textiles, Kongo peoples; The Kingdom of Kongo. Ethnographic Museum, Stockholm.

References

  1. ^ a b Hull, Derek (2003). Celtic and Anglo-Saxon art : geometric aspects. Liverpool: Liverpool University Press. ISBN 0-85323-549-X. OCLC 52695754.
  2. ^ a b c Bain, Iain (1994). Celtic key patterns. New York: Sterling Pub. Co. ISBN 0-8069-0740-1. OCLC 29428299.
  3. ^ a b c Thickpenney, Cynthia (2020). "Making Key pattern in Insular art: The Harley Golden Gospels and Kilmartin Cross". Peopling Insular Art: Practice, Performance, Perception. Cynthia Thickpenny, Katherine Forsyth, J. Geddes, Kate Mathis. Oxford, UK: Oxbow Books. ISBN 978-1-78925-455-6. OCLC 1180971230.
  4. ^ a b c d e Allen, J. Romilly; Anderson, Joseph; Society of Antiquaries of Scotland (1903). The early Christian monuments of Scotland. Edinburgh: Printed by Neill & co., limited. p. 308.
  5. ^ a b c Radovic, Ljilana; Jablan, Slavik (2001). "Antisymmetry and Modularity in Ornamental Art" (PDF). Bridges: Mathematical Connections in Art, Music, and Science [Conference Proceedings]: 55–65.
  6. ^ a b Jablan, Slavik (2005). "Modularity in Art". Modularity : understanding the development and evolution of natural complex systems. Werner Callebaut, Diego Rasskin-Gutman. Cambridge, Mass.: MIT Press. ISBN 978-0-262-26969-8. OCLC 62098419.
  7. ^ a b Jablan, Slavik; Radović, Ljiljana (2011-08-09). Glanville, Ranulph (ed.). "Do you like paleolithic op‐art?". Kybernetes. 40 (7/8): 1045–1054. doi:10.1108/03684921111160287. ISSN 0368-492X.
  8. ^ Beck, Ulrike; Wagner, Mayke; Li, Xiao; Durkin-Meisterernst, Desmond; Tarasov, Pavel E. (2014-10-20). "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". Quaternary International. The Bridging Eurasia Research Initiative: Modes of mobility and sustainability in the palaeoenvironmental and archaeological archives from Eurasia. 348: 224–235. doi:10.1016/j.quaint.2014.04.056. ISSN 1040-6182.
  9. ^ Herringham, Christiana J. (1909). "Notes on Oriental Carpet Patterns-VI. Meander and Key Patterns". The Burlington Magazine for Connoisseurs. 15 (74): 98–104. ISSN 0951-0788. JSTOR 857910.
  10. ^ Wilson, Eva (1988). Islamic designs for artists and craftpeople. New York: Dover Publications. ISBN 0-486-25819-X. OCLC 18134247.
  11. ^ Özkar, Mine; Lefford, Nyssim (2006). "Modal relationships as stylistic features: Examples from Seljuk and Celtic patterns". Journal of the American Society for Information Science and Technology. 57 (11): 1551–1560. doi:10.1002/asi.20431. ISSN 1532-2890.
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