Árbók Hins íslenzka fornleifafélags - 01.01.1993, Side 69

YNGRI VÍKINGAALDARSTÍLAR Á ÍSLANDI
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From the transition period between the Mammen and the Ringerike style: the panels from
Möðrufell in northern Iceland, inv. nr. Þjms. 6096 a-e and 7015 a-h (fig. 2). From close to the
Urnes style: the hollowed bone from Rangá in south-western Iceland, inv. nr. Þjms. 329
(Eldjárn 1956: 421, fig. 193); and from the period when the Urnes style and the Romanesque
style probably existed side by side: the Agnus Dei brooch, inv. nr. Þjms. 5998 (fig. 8 shows a
comparable Danish example).
Although unimpressive at first sight, the Ljótsstaðir plate with its mask competently
carved on 'indigenous' material shows that the Mammen style was also well known in
Iceland. The mask appears face on, which signifies authority, unlike a view in profile or from
above.
The cascade of acanthus stems and leaves on the panel from Gaulverjabær signifies
dynamic, centrifugal movement and asymmetry, which are among the new factors the
Mammen style contributed to the Viking Age art in the North. Seen iconographically the
divine acanthus is a symbol of the Tree of Life, which is known in most cultures but especial-
ly important in Christianity.
The decoration on the panels from Möðruvellir is a unique example of the close connec-
tion between the Mammen and Ringerike styles. The Eyrarland statuette in early Ringarike
style is often identified with the heathen God Thor. This interpretation is rejected. The statu-
ette shows a small, slender and genderless figure sitting with dangling feet on a low stool.
Seen from the side it can be seen that the figure is holding up a bearded mask against its face
(Eldjárn 1983: fig. 1, the fig. seen from the side). Seen face on, the mask ends in a forked
beard, which becomes transformed under the hands of the figure into a cross which is turned
on its head. Forked beards on masks are common within the Mammen and the Ringerike
styles. Pendant crosses tumed upside down are found for instance at three Icelandic sites,
Foss, inv. nr. Þjms. 6077, Rauðnefsstaðir, inv. nr. Þjms. 10919 (fig. 4) and Keldur, inv. nr.
Þjms. 11258, and for instance at a Norwegian site, inv. nr. UO C 13216. On the picture rune-
stone Sö 112 Kolunda the same motif constellation is given: mask at the top, cross below. The
Flatatunga panels show, at the top a stylized divine acanthus/ = pars pro toto representation
of the Tree of Life, below it an undecorated band, and at the bottom a row of half naturalisti-
cally represented holy men, of which one (Christ?) performs an act of blessing with the hand
motion Benedictio Latina, while a saint on the hierarchical right side of the first mentiond
performs the pointing gesture gestus Hodegetria.
Tlre hollowed bone from Rangá is dominated in an elegant way by a conscious alterna-
tion between stylized representation (the motifs with the highest saintly status: the Tree of
Life represented front on in a mid-axe orientation, the cosmos signs and the animal tangle
seen from above) and a naturalistic representation (the deer seen in profile, unambiguously
strong Christian symbols).
The brooch from Tröllaskógur is an elegant example of the Urnes style, but is not unique:
two further examples of the same type are known from Norway (figs. 6 and 7) and one from
Sweden.
An example of an Agnus Dei brooch also known from Tröllaskógur. In Denmark this type
is known often to come from the same places as Urnes brooches and brooches of the so-
called Álborg group.
Guðrún Sveinbjamardðttir þýddi.