Iconography Laws

The specific rules and traditions around the iconography and representation of Irish deities is something that we are sadly no longer privy to in Irish paganism. It is likely that even with the wealth of information from Irish legend and Brythonic and Gaulish examples we will still be missing so much.

This lack of information has led to a situation that can be considered nothing less than disgraceful. The gods are depicted not as deities of the Irish or even dressed in historical clothes but rather more akin to fantasy heroes or Marvel characters. This ignores the importance of certain parts of iconography and can even at times sexualize them which is humiliating to see as a pagan.

To remedy this the Society has instituted a standard of iconography. Not just for each deity but for the gods in general, this page will describe the general rules for iconography for all of the gods but also for specific types of gods. Hopefully in the future artists will follow this example, we shall post examples we can find.

General Rules:

The following covers some of the more basic rules about depicting divinity.

Colours:

The colours of the Otherworld are famously White and Red. Red being an especially important colour, in fact sometimes figures who are gods, Sidhe or goddesses are coloured entirely red, from skin to hair to eyes. This should always be remembered when depicting the gods, the colouration is a very careful thing.

Green and gold are also important colours for clothing. Gold decorations entails wealth and nobility, so generally speaking a god should always be depicted having accents or details done in gold unless otherwise specified.

Hair and Eye colour:

Generally speaking, the gods either have golden hair or red hair and blue eyes unless it is specified. While the Society understands that yes, there is a marked stigma against depicting figures as blonde hair and blue eyed, this is the iconographic depiction, and it should be followed.

Seating:

Following Gaulish artwork and references in Irish literature. A god should be found standing, however when seated the god should be seated either on a chair, throne or cross legged like Cernunnos is in his artworks. Additionally, a god can be depicted on one leg, with one arm out and with one eye closed in the stork stance as this is a common form of meditation, prayer and magic and several figures practice this.

Torcs:

Fundamental to all gods in Senchus is the presence of a Torc. The torc is a sign of nobility and importance in Irish culture, as such every single god should be depicted wearing a torc. To do any less would be to say that they hold a lower position, which is simply not true to the faith.

Mantles:

The gods are often said to be wearing cloaks or mantles and it can be assumed that even when not described the god or figure would be wearing one. A mantle refers normally to what is known as a Brat. The colouration of the Brat should follow the description or the colouration rule.

Brooch:

Brooches are a symbol of importance in Celtic culture and are almost always described. They mark out importance and office much akin to a torc, as such whenever a god is depicted, they should wear a brooch of some sort. Silver and gold seem to be the metals most heavily associated with the gods as they are considered the metals of high nobility.

Chariot:

The gods are often said to ride in chariots or otherwise it can be assumed to have ridden in chariots. The Chariots should follow Celtic rather than roman examples and can be drawn by a number of animals, of particular note chariot models are found driven by waterbirds in Gaul. This might be to give a sense of divinity or a connection to heaven and the otherworld to the gods.

Knotwork:

The knotwork or extra decoration of any depiction should follow one of four artistic traditions found amongst the Celts:

Traditional La Tene art, which was common to almost all celts before Christianisation.

Insular art, which is found amongst the early Irish and is distinct as the origin of modern Celtic knotwork.

Pictish Art, as in the knotwork and traditions found on the Pictish standing stones. The picts being a famously pagan people preserved many possible pagan tales and teachings in their art.

Numantian Art, the artwork found in the city of Numantia which famously fought against Rome. Well respected as one of the only instances of a Druid being depicted by a contemporary people.

This should be followed as these four traditions record many traditions and motifs that are not found in neoceltic art. An artist should make sure to pay special attention to how the art works and do well to replicate it for their religious artwork.

Lón Láith:

The lón láith or 'Hero's Light' is described as belonging specifically to Cu Chulainn and lightly looked something not disimilar to a Halo or a flame radiating around the head. However, a similar light is found in Homer concerning Heroes and Lugh, who Cu Chulainn might've inherited his lón láith from, is also described as radiant. In any instance it was decided that gods can and perhaps should be depicted with Lón Láith or Halos. Especially among large crowds of gods and mortal men to denote which is a god/hero and which is just a man or even an enemy.

Mounts:

Gods may be depicted mounted, the most likely animal for this a horse. Many gods are depicted standing on horses or other animals as well and in general this tradition can be followed. The animal is generally a horse unless another animal is specified.

Animals:

The gods are most often associated with a number of animals. This should be very important to consider, waterfowl for example are well known for their divinity because of their ability to be in the waters, on land and in the air. Birds in general are also an option because they carry the messages of the gods onto man.

AI:

As of now there has been much issue with AI bots making art. Some pagans have taken to using these bots and their art to depict the gods. The Society strongly speaks against this, an AI is merely colleting a series of artworks off the internet, including artwork that would be considered degrading to the gods. It cannot follow the Iconographic rules and most importantly the AI lacks devotion or love to the gods, it simply makes, as such it cannot possible understand or create devotional artworks.

War gods:

The following should be applied to gods and heroes associated with warfare. There are many war gods in Ireland, perhaps even one for each tribe and most heroes will follow a similar iconographic ruling.

Belts:

Any deity of war needs to be depicted with a belt from which a scabbard from a sword hangs, even if associated with other weapons. This is because swords were a sign of nobility and considered one of the best of weapons during warfare and the gods and heroes should also be depicted as the best.

Heads:

A war god or warrior should be shown holding a severed head or a skull, this was seen as important to the head-hunting Celts. It's a sign of skill and ability of the warrior, famous examples can be found in Roquepertuse but also in Irish mythology and literature.

Seating:

Seating cross legged is connected more so to the warrior class than other groups, the soldiers of Roquepertuse and the position of Cu Chulainn confirm this. As such it is necessary that if the god is not standing or seated on a mount or chariot that they are seated cross legged.

Clothing:

It is recorded in Irish and Roman writings that warriors often took to the field naked, therefore it is acceptable to represent war gods or heroes without any clothes on except for their belt. Additionally, armour may also be applied to the gods, only if it matches Celtic finds and styles.