The development of intertwining zoomorphic
art is traced here from its first signs in the artistic achievements of the civilizations
of the Tigris-Euphrates region, through time and across Europe, to its beautiful
expression in the hands of inspired Irish Christian manuscript and metalwork artists of
the 7th and 9th century A.D.
One of the first records of this style
appearing can be found in cylinder seal designs of the proto-literate period of ancient
Mesopotamia (3500 - 3000 B.C.). The seals were often done in a narrative style but had the
disadvantage of reproducing only part of a narrative. An alternative style was animal
frieze. The repetitive design must be harmonious, and there is a plan of antithetical
correspondence which unites the composition. Even spacing and continuity of design are
here obtained by the intertwining of the necks and tails of heraldic, monstrous
quadrupeds.
The interlaced form continued to be developed
in this area. Examples of this can be seen throughout the Neo- Sumerian period (2125 -
2025 B.C.) and also in the bronze work of Luristan. These bronzes are without parallel in
either Mesopotamia or Persia. Iranian peoples were nomadic. They applied their art to
portable gear such as that of horses, as well as to metal plate sewn onto clothing,
daggers, axes, cups and cauldrons.
