Viking Art: Oseberg, Borre And Jellinge

Viking art is first and foremost a very confident art. The most distinguished styles of Oseberg, Borre, Jellinge, Mammen, Ringerike and Urnes each show distinctly what Vikings valued in their art. It focused heavily on animal ornament. This tradition lasted from the beginning to the end of Viking art. Excavations have revealed much more abstract art than naturalistic which leads us to believe that abstract art was in the main stream. However, it has been noted that abstract art has been found on objects of daily use rather than very important objects. Many scholars agree that Early Viking art shows a great deal more innovation than Late Viking art, though they do not always agree on which style was at the height of Viking art. Graham-Campbell says, “Their art can be seen as a direct reflection of their character, vigor and vitality,” and goes on to say that their art becomes more
However this phrase can and has been used for many of the subsequent styles. It seems that between Borre, Jellinge, Mammen and Ringerike there is always a tentatively dated transition. Borre is uncertainly dated between the mid ninth century and the second half of the tenth century while the Jellinge style is dated between the late ninth century and the late tenth century. Borre did not occupy the Scandinavian mainstream the way that Jellinge did so Borre is often over shadowed, but it does have some distinct characteristics. One of the most prominent charcteritics is the ‘ring-chain’ which is “an interlace pattern made up of a double ribbon, bound by a series of rings and surrounding hollow areas.” Over the hollowed areas there is often an animal mask with a triangular shape and mouse-like ears. The ring-chain is very evident in the Asen Brooch (Image 3). Another common piece to the Borre style is the continuation of the gripping beast from the Oseberg