Posts Tagged With: ancient Ireland tours

Fiber art on the Aran Islands

A traditional doll from the Aran Islands

This is an interesting article via Irish Archaeology about an Aran Islands doll. For artists and fiber artists, it offers a glimpse into the simplest of ways to create with what you have…

On our tours we often visit the Aran Islands, a place of magic and mystery, old stone forts and fields separated with stones brought from the sea.

Doll from Aran Islands

This beautiful little doll comes from Inisheer on the Aran Islands. In 1939 it was handed into the folklore collections of theNational Museum of Ireland, where it is now stored in Castlebar, Co. Mayo. Simply made, the body of the doll is fashioned from a single piece of timber, most likely driftwood, that was roughly shaped. Eyes are provided by two iron tacks/nails, which are hammered into the ‘face’. The doll is dressed  in a colourful woollen head-scarf, shawl and felt dress that mirrors Aran Island clothing of the 1930s (see image below). Although rudimentary in nature, it is not hard to imagine how this small doll was once a much loved toy.

doll folklore

 

Irish doll

 

DSC_0038

 

Aran islanders

by on October 6, 2015 in Archaeology blogs, Irish treasures

Categories: Fiber art tours, Ireland | Tags: , , , , , ,

I have visited and taken groups of people to Newgrange often, and have never lost my awe for this ancient place. the mysteries still remain about the purpose-for example- it is completely overbuilt, and much, much larger than it needs to be for the inner structure it holds. Why? The rock carvings are stunning, but also mysterious. Volumes have been written about them, trying to decipher this language we can no longer read. This article via Irish Archaeology gives us a glimpse of this magical place through the ages. Enjoy!

Images of Newgrange through the ages

Newgrange photoThe Neolithic  passage tomb at Newgrange is the most visited archaeological site in Ireland. Over 5000 years old it pre-dates the first phase of Stonehenge by 1000 years and the Egyptian pyramids by 400 years. It is a truly massive structure measuring 76 m in diameter by 12 m in height and it contains over 200,000 tonnes of earth and stone in its fabric. Indeed, it’s glistening façade of quartz is one of the country’s most memorable vistas.  However, as the images below attest, Newgrange has not always looked so pristine.

Newgrange Edward Lhywd

1699: This image shows Edward Lhywd’s survey of Newgrange (after Stout & Stout 2008, p. 98, fig. 66). It is the first known plan of the tomb and it was drawn shortly after the entrance into the mound was rediscovered in 1699. Up until that date the entrance had actually been sealed and it was only uncovered again when the local landowner, Charles Campbell,  began quarrying the mound for stones.

Newgrange tumulus1775: A view of  Newgrange from c. 1775 by the noted antiquarian artist Gabriel Beranger. It shows a large mound of earth and stone that is nearly devoid of trees. Although a number of the standing stones which surround the mound are illustrated, the tomb entrance is not visible (it is shown in a separate drawing).

 

Newgrange 18th century1790: This engraving of Newgrange was included in Edward Ledwich’s Antiquities of Ireland, which was published in 1790 (after Stout & Stout 2008, p. 97, fig. 65). The mound is once again shown largely treeless and in this image the passage entrance can be clearly seen. A large triangular stone, which formerly stood directly in front of the entrance is also illustrated.

 

Old photograph Newgrange

1892: A photo of Newgrange taken by George Coffey in 1892 (source). Unlike the earlier, 18th century depictions the mound  is now covered in a thick scrub of trees and bushes.

Old photo newgrange

Late 19th century: This atmospheric shot of the passage tomb entrance shows a man emerging from its dark  interior. It  was taken by R. J. Welch sometime in the late 19th century and it shows an overgrown and partially disturbed mound. Although the roofbox, through which the winter solstice sun rays should pass, is completely blocked, its decorated stone lintel can still be partially discerned c. 1 m above the entrance passageway.

Newgrange entrance

1910: A child standing at the tomb entrance, circa 1910 (source). The area around the doorway has been cleaned up considerably since Welch’s photo and an iron gate now controls access to the passageway. The soil around the beautifully decorated entrance kerbstone has also been dug out and cleared, although the roofbox remains blocked. The photo is from the National Library of Ireland’s Tempest collection.

newgrange

1950s: This photo illustrates the mounds appearance in the 1950’s prior to the start of archaeological excavations at the site in the 1960s (source).

Newgrange tomb

1950s: A close up of the entrance into Newgrange prior to the 1960s excavations and the subsequent restoration work (photo OPW).

newgrange excavation

1967-67: These two image show the archaeological excavation underway at Newgrange (source). This extensive work was carried out between 1962 and 1967 under the expert direction of  Professor M. J. O’Kelly. It revealed a wealth of information about the monuments origins and history. However, by its very nature is saw much of the mound material removed and this had to be reinstated after the archaeological excavation was completed.

Newgrange passage

1967-74: Works on repairing the mound and its surrounds began in earnest in 1967 and were not fully completed until 1974. This image shows the  passageway being reconstructed and reinforced. Professor O’Kelly (second from the right) is pointing towards the roofbox (after Stout & Stout 2008, p. 47, fig. 30) .

Newgrange quartz

1967-74: Probably the greatest change seen during these restoration works was the addition of 3 m high quartz wall to the front of the tomb. This addition to the monument was based on M. J. O’Kelly’s interpretation of the excavation results. He had discovered a thick layer of quartz stones spreading out in front of the tomb kerbstones for a distance of approximately 7 m, which he believed  represented the remains of a collapsed wall.  Thus on his advice a quartz facade was added to the tomb. However, as the quartz wall was deemed too unstable to support the weight of the cairn on its own, a 4 m high, reinforced steel and concrete wall had to be erected behind it. The quartz stones were then embedded into the concrete.

Not surprisingly this striking quartz wall caused much debate at the time and the arguments about its authenticity still rage on.

Further reading

Stout G. & Stout M. 2008. Newgrange. Cork University Press. Cork.

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NEW! Fiber Arts in Ireland tour and workshop June 2016

DSC_0422 - CopyWe are very excited to announce a new offering, a combination tour and hands-on workshop to be held in Ireland in June 2016.

Authentic Travel and Tours presents:

“Fiber Arts in Ireland: A Wooly Trail Along the Wild Atlantic Coast

Fiber Arts Workshop and Tour      June 19-July 1, 2016

The Irish landscape beckons to be interpreted in art: from the lush green fields to theDSCF8217 rugged coastlines, the inspiration is endless. Join us for this fiber art tour along the western coast known as the Wild Atlantic Way, as we explore the landscape, craft traditions in wool, and our creativity. We will be creating tapestry weavings and learning to make “pictorial” felt landscapes, and will learn about sheep and wool processes, and watch demonstrations of spinning, sheepherding, dyeiDSC_0613ng and knitting. We will watch tweed weavers work magic at their looms, and Irish artists create with hand-dyed fleece. Interspersed will be visits to craft villages, galleries and ancient prehistoric and Celtic sites, and days of immersion creating our own art with the luscious Irish yarns and fleeces.

The tour and workshop will include the exploration of out-of-the-way glens and coves, walks along stunning seascapes, and majestic mountain vistas, where we’ll gather photographs and sketches which will inspire our hands-on workshop days in felt-making and tapestry weaving.

Your tour guide and one of the felt-making instructors, Joan Molloy Slack, has led art and cultural tours to Ireland for over 18 years, and is an avid felt maker who enjoys interpreting landscapes of all kinds.

 

See all the details here Fiber art tour to Ireland

 

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