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Kerongsang yang mula-mula dibuat sebagai alat pengencang pakaian pada [[Zaman Besi]] dan zaman penjajahan Romawi ini secara khusus dikaitkan dengan kerongsang-kerongsang berhiasan banyak dari logam mulia yang dibuat untuk dipakai orang-orang kalangan atas di [[Irlandia]] dan [[Skotlandia]] sejak sekitar tahun 700 sampai 900, yakni kerongsang-kerongsang yang secara luas dikenal dengan sebutan kerongsang Kelt atau dengan istilah-istilah serupa lainnya. Kerongsang-kerongsang ini adalah karya-karya terpenting dari kriya logam sekuler bermutu tinggi yang dihasilkan [[seni rupa Kelt]] Abad Pertengahan Awal, yang suka diistilahkan sebagai [[seni rupa Insular|seni rupa Insuler]] oleh para sejarawan. Kerongsang jenis penanuler terus dibuat dalam bentuk-bentuk yang lebih sederhana semisal '''kerongsang waga-waga''' sampai memasuki abad ke-11, yakni sepanjang kurun waktu yang kerap disebut sebagai Zaman [[Viking]] di Irlandia dan Skotlandia.
Baik kerongsang penanuler maupun kerongsang penanuler-semu terdiri atas sebatang jarum dengan pangkal berlubang yang disangkutkan pada sebentuk cincin; jarum ini dapat digeser-geser di sepanjang badan cincin sampai ke ujung-ujungnya. Ujung-ujung cincin pada kerongsang jenis penanuler tidak menyatu; ada celah kecil yang dapat dilewati batang jarum. Ujung-ujung cincin pada kerongsang jenis penanuler-semu terlihat menyatu, tetapi sesungguhnya kedua ujungnya tetap dibuat terpisah, kemudian disisipi bagian penyambung yang mengantarai kedua ujung tersebut. Pemakaian kerongsang jenis penanuler merupakan cara sederhana dan efisien untuk menyemat wastra tenunan longgar (tusukan jarumnya tidak meninggalkan bekas yang permanen pada wastra semacam ini), sedangkan pemakaian kerongsang jenis penanuler-semu jelas-jelas merupakan cara menyemat yang kurang efisien untuk menyemat wastra.
Kerongsang digunakan oleh pria maupun wanita, lazimnya disangsangkan di bahu jika digunakan oleh pria, dan di dada jika digunakan oleh wanita, dengan ujung jarum mengarah ke atas. Menurut salah satu pasal hukum bangsa Irlandia, jika ada orang yang celaka tertusuk jarum kerongsang, maka pengguna kerongsang tersebut, baik pria maupun wanita, tidak dapat dipersalahkan apabila kerongsangnya disematkan dengan ujung jarum mengarah ke atas.<ref>Youngs, 89, NMI, O'Floinn, 172–173</ref> Kerongsang-kerongsang yang paling rumit buatannya jelas mencerminkan kedudukan tinggi penggunanya di tengah masyarakat. Kerongsang jenis ini juga digunakan kaum rohaniwan, setidaknya di Irlandia,<ref>Youngs, 72, NMI, O'Floinn, 177.</ref> kendati kemungkinan besar digunakan untuk menyemat [[korkap]] atau [[vestimentum]] lain, alih-alih digunakan sebagai perlengkapan busana sehari-hari.<ref>Laing, 304</ref> ''Senchas Mór'', salah satu risalah [[hukum bangsa Irlandia terdahulu]], menetapkan bahwa selama menjadi [[anak piara]], anak-anak lelaki raja-raja besar wajib mengenakan "kerongsang emas bertatah [[kristal|batu hablur]]" sedangkan anak-anak lelaki raja-raja kecil cukup mengenakan kerongsang perak.<ref>Laing, 304</ref>
[[File:Brit Mus 17sept 016.jpg|thumb|left|Detail [[Kerongsang Londesborough]] (akhir abad ke-8 atau awal abad ke-9)]]
Batang tubuh kerongsang biasanya dibuat dengan cara cetak tuang, dan telah ditemukan beberapa bagian dari cetakan dua pelat.<ref>Youngs, 170–171, 189–193; NMI, 176–177</ref><!-- Banyak kerongsang memiliki cells for studs or bosses that are most often round hemispheres, buttetapi maybisa bejuga squarepersegi, lozenges ormaupun otherbentuk-bentuk shapeslain; verysering oftenkali the studs themselvesitu aresendiri sekarang nowsudah missinghilang. These are in a variety of materials including kaca, email, [[amber]], anddan gemstonesbatu-batu foundpermata locallylokal, although not including any of the classic modern "ratna mutu manikam", or even the [[garnet]]s found in perhiasan Inggris-Saksen. However the kaca ''[[millefiori]]'' glass rods sometimesyang usedadakalanya appeardigunakan totampaknya havediimpor beendari imported from ItalyItalia, likecontohnya thoseseperti usedyang interdapat thepada perhiasan-perhiasan Saksen-Inggris jewellery fromdari [[Sutton Hoo]]; examplescontoh-contoh of the rods havesudah ditemukan beendalam excavatedekskavasi di Irlandia maupun di Inggris.<ref>Youngs, 202–204</ref>
LikeSebagaimana thecawan-cawan InsularInsuler chalicesdan andbarang-barang otherkriya metalwork,logam thelainnya, verysebagian ornatebesar kerongsang-kerongsang Irlandia wereyang mostlypaling madesarat inhiasan manydibuat piecesdalam whichbanyak arebagian pinnedyang ornantinya slotteddisambung-sambungkan satu sama lain dengan menggunakan jarum atau togetherbaji. Filigree decoration was often made on "trays" which fitted into the main ring — onpada theKerongsang Tara Brooch many of these are now missing (most were still in place whenketika itditemukan waspada found intahun 1850).
[[File:Brit Mus 13sept10 brooches etc 015-crop.jpg|thumb|[[Kerongsang Breadalbane]], Irlandia, abad ke-8, diubah dari bentuk penanuler semunya di Skotlandia pada abad ke-9.<ref>Youngs, 94–95</ref>]]
TechniquesTeknik-teknik includemencakup [[chip-carving]], cast "imitation chip-carving", [[filigree]], [[engraving]], inlays of various types including [[niello]], kaca dan email [[champlevé]], serta berbagai macam teknik tempa dan tatah: "the range of materials and techniques is almost the full range known to man."<ref>Youngs, 171–173, quote 171</ref> Two techniques that do not appear are the "true pierced openwork ''[[interasile]]'', much used in Byzantine jewellery",<ref>Youngs, 171–173</ref> and the [[cloisonné]] work that typified muchbanyak Westernperhiasan EuropeanEropa jewelleryBarat, anddan especiallyteristimewa largefibula-fibula fibulaebesar, at the time, whether in enamel or stone inlays like the garnets used so effectively at Sutton Hoo and in the Anglo-Saxon [[Khazanah Staffordshire Hoard]]. InPada thekerongsang-kerongsang gildedbersepuh broochesemas, enamelpenggunaan isemail restricteddibatasi topada studs that punctuate the composition like gems; the larger areas of champlevé found on the flared terminals of earlier types perhaps continue in simpler types, though dating is difficult.
OnPada somebeberapa broocheskerongsang, the decoration is too detailed to be appreciated whenbilamana thekerongsang broochsedang is being worndikenakan, and some of the most elaborate brooches have their backs, invisible when worn, decorated almost as elaborately as their fronts. TheKerongsang Tara Brooch shows both features, and in addition, shares with some others a difference in decorative styles between front and back, with "Celtic" [[triskele]]s and other spiral motifs restricted to the back, while the front has more [[Interlace (visual arts)|interlace]] and zoomorphic elements.<ref>NMI, O'Floinn, 177; Youngs, 207</ref> These features are also shared by the most ornate brooches in London anddan Edinburgh, respectively the Londesborough and [[Hunterston Brooch]]es.<ref>Youngs, nos. 69 and 71; [http://nms.scran.ac.uk/database/results.php?offset=1&no_results=12&scache=73160e864v&searchdb=scran&sortby=&sortorder=ASC&field=&searchterm=%2B%22Melbrigda%22 Hunterston Brooch from NMI]; see external links for the other museum pages.</ref> This may be because decoration on the backs relies more on engraving than filigree, which would risk wires getting caught in the clothing on which the brooch was worn.<ref>NMI, 183</ref>
Few of the major brooches, or indeed other metalwork, have been found in contexts that can be easily dated, and much of the dating of at least the earlier ones comes from comparison with Insular naskah-[[illuminatednaskah manuscriptberiluminasi]]s Insuler, though the dating of these is often itself far from certain. The Tara Brooch has long been recognised as having clear stylistic similarities to the [[Lindisfarne Gospels]], thought to date to about 698–715. Many of the similarities are to the [[carpethalaman pagepermadani]]s, highly detailed ornamental pages filled with decoration, which share with the brooch a certain ''[[Horror vacui (art)|horror vacui]]'' that leaves no area unembellished, and also complex decoration that is extremely small and perfectly executed, and best appreciated when seen at a larger than actual scale, whether in the original or in photographs. Both--> combineKedua-duanya elementsmemadukan fromunsur-unsur manydari stylisticpelbagai originsgagrak intoseni arupa styleyang thatmembentuk isgagrak distinctlyseni Insular:rupa Layang Tènekhas Celtic artInsuler, Germanicyaitu gagrak seni rupa Kelt La Tène, [[animalgagrak stylesatwa]] khas Jermani, andserta classicalgagrak andklasik dan berbagai othergagrak MediterraneanMediterania styleslainnya.
<gallery widths="200px" heights="200px">
File:NMSHunterstonBrooch4 (cropped).jpg|RearBagian of thebelakang [[HunterstonKerongsang BroochHunterston]], ankerongsang earlygaya andIrlandia elaborateawal Irish-styledan broochrumit foundyang inditemukan Scotlanddi Skotlandia, showingdengan atulisan muchyang laterditambahkan belakangan oleh pemiliknya yang berbangsa [[Viking]] owner's inscription
File:St Ninian's Isle TreasureDSCF6199.jpg|TheKerongsang-kerongsa [[Pict|Pikti]]ish broochesdi in thedalam [[StKhazanah Ninian'sPulau IsleSanto TreasureNinianus]erta], with typical Pictish lobeddengan terminalsujung-ujung berbonggol khas Pikti
File:St Ninian's Isle TreasureDSCF6202det.jpg|PictishUjung-ujung confrontedkerongsang animalberbentuk terminalssatwa bersemuka, [[StKhazanah Ninian'sPulau IsleSanto TreasureNinianus]]
File:Brit Mus 17sept 014-crop.jpg|"Brambled"Ujung-ujung terminalberbonggol on"menduri" apada thistlekerongsang broochwaga-waga
</gallery>
=== Kerongsang terkemudian dan kerongsang Viking ===
===Later brooches, and the Vikings===
[[File:Britishmuseumpenrithhoardbrooches.jpg|thumb|Kerongsang-kerongsang penanuler zaman [[Viking]] period penanuler brooches from thedari [[PenrithKhazanah HoardPenrith]], threetiga ofdi theantaranya adalah kerongsang "[[thistlerumput duri|waga-waga]]" type.]]
TheSerbuan [[VikingsViking|bangsa Viking]] beganke toIrlandia raidyang Irelandbermula pada fromtahun 795, withmenimpakan catastrophickerugian effectyang forsangat thebesar, khususnya bagi [[monasterybiara (tempat tinggal)|monasteriesbiara]] in particular-biara.<!-- However, although the Vikings established several [[longphort]]s, initially fortified encampments for over-wintering, and later towns like [[Dublin]], [[Wexford]], [[Cork (city)|Cork]], and [[Waterford]] (the first real urban centres in Ireland), the native Irish were more successful than the English and Scots in preventing large-scale Viking takeovers of areas for settlement by farmers. By about the year 1000, the situation was relatively stable, with a mixed population of [[Norse-Gaels]] inint the towns and areas close to them, while the Gaelic Irish, whose elite often formed political alliances, trading partnerships and inter-marriages with Viking leaders, remained in control of the great majority of the island, and were able to draw tribute from the Viking towns.<ref>Ship, Doherty, 34–35</ref>
[[File:Roscrea Brooch.jpg|thumb|left|upright=1.0|The [[Kerongsang Roscrea Brooch]], 9thabad century.ke-9, [[National Museum ofNasional IrelandIrlandia – ArchaeologyArkeologi|National Museum ofNasional IrelandIrlandia]]]]
[[File:Silver brooch in thistle pattern.jpg|thumb|[https://www.huntmuseum.com/explore/item/97d6216a-0317-33fd-9330-fc3dd1bf4dbe/?s%3Dhca+508&pos=1 SilverKerongsang broochperak inberpola thistle patternwaga-waga], 9thabad ke-10th9 centurysampai AD. Theke-10, [[Hunt Museum Hunt]], ([[Limerick]], Ireland)Irlandia]]
The period is characterised by a greatly increased availability of silver, presumably the result of Viking raiding and trading, and most brooches are made from silver throughout, as gilding and decoration in other materials nearly disappears. The brooches are often large and relatively massive, but plainer than the most elaborate earlier ones, neither using older local decorative styles nor the Viking styles that were adopted in other media. This continues a trend that can be detected in later brooches from the preceding period, before much Viking influence can have made itself felt. The 9th century [[Roscrea Brooch]] is one of a number of transitional brooches; though its form is highly ornate, with a large flat triangular pin head, the ring is thick plain silver, the gold filigree panels occupy relatively small areas, and their workmanship is a "coarse" or "crude" imitation of that of earlier works.<ref>NMI, 215–216, and 230, "crude"; Youngs, no. 79, "coarse". [http://www.unc.edu/celtic/catalogue/brooches/roscrea.html Illustration here]</ref> The Kilamery Brooch is another ornate and high quality example, with a marked emphasis on plain flat silver surfaces.<ref>NMI, 215; [http://www.unc.edu/celtic/catalogue/brooches/kilamery.html photo]</ref> There are rare exceptions in which a highly decorated brooch shows Scandinavian stylistic and technical influence, notably an Irish brooch from [[Rathlin Island]], with areas stamped where the Irish tradition would have used casting.<ref>Ship, O'Floinn, 90;</ref>
TheKerongsang-kerongsang broochestersebut appeartampaknya todibuat haveoleh beenpara madepekriya bylogam "nativebumiputra" metalworkers, buttetapi worndipergunakan byoleh bothorang VikingsViking andmaupun Gaelsorang Gael.<ref>NMI, Wallace, 213–216</ref> The very popular '''thistleKerongsang-kerongsang broocheswaga-waga''' haveyang terminalssangat andpopuler oftenitu pin-headsmemiliki thatbonggol arepada likekedua [[thistle]]ujung flowers,cincin withdan akepala balljarum toppedyang bydibuat amenyerupai roundkuntum projectionbunga [[rumput duri|waga-waga]], oftenseperti bola-bola flaredberduri; they are called by the term regardless of whether or not the ball is "brambled"—that is, formed with a regular pattern of small tapering projections, like the two lowest brooches from the [[Penrith Hoard]] illustrated here. These, and other globular endings to terminals and pin-heads, were common, but flattened terminals continued to be made, now ornamented by round silver bosses amid simple repeated patterns, or interlace that is larger in scale than in the earlier ornate badges. In these, the ring often ends in a "gripping beast" biting the terminal plate. The mixture of types seen in the 10th century Penrith Hoard is typical.<ref>Compare the very similar selections of brooches illustrated at NMI 238 and 240.</ref>
[[File:Brit Mus 13sept10 brooches etc 036.jpg|thumb|left|Brooches made in Scandinavia, mostly in base metal]]
=== Kebangkitan Kelt ===
TheKerongsang-kerongsang broochesyang weada havesaat todayini haveadalah beenkerongsang-kerongsang discoveredyang sinceditemukan thesejak 17thabad centuryke-17, and their odds on their survival once found have increased greatly over that period, as their value as artefacts has overtaken their scrap value. In thePada 19thabad centuryke-19, as part of the [[Celtic Revival]], many brooches copying or inspired by earlier styles were made.<ref>[https://collections.vam.ac.uk/search/?listing_type=imagetext&offset=0&limit=15&narrow=0&q=penannular+brooch&commit=Search&quality=0&objectnamesearch=&placesearch=&after=&after-adbc=AD&before=&before-adbc=AD&namesearch=&materialsearch=&mnsearch=&locationsearch= Victorian penannular brooches] from the [[V&A Museum]].</ref>
[[File:Brit Mus 17sept 036-crop.jpg|thumb|left|Early medieval Irish brooch, bronze and glass. The pin lies entirely in front of the ring in this example.]]
Much of the responsibility for the fashion for high-quality Celtic Revival jewellery belongs to George Waterhouse, a jeweller from [[Sheffield]], England, who moved to [[Dublin]] in 1842. Before the end of the decade, he and the long-established Dublin firm [[West Jewellers|West & Son]] of [[College Green, Dublin|College Green]] (later moving to [[Grafton Street]]) were finding it necessary to register their designs to prevent copying. Of the various types of objects made, the brooches were both the "most resonant" and those which could be sold with the least alteration to the original form and design, although the jewellers generally reduced their size and fitted them with conventional pins and catches behind, even though the [[Kashmir shawl]]s that were also fashionable at the time were often loosely woven and not unsuitable for fastening in the original way.<ref>Gere anddan Rudoe, 444.</ref> Different versions were made at different price levels, though even the most expensive struggled to recreate the full intricacy of the originals.
The [[National Museum of Ireland]] is clearly not correct in saying that the fashion began after [[Queen Victoria]] was presented with a [[replica]] of the "Cavan Brooch" on her visit to Dublin to see the [[Great Industrial Exhibition (1853)|Great Industrial Exhibition]] in 1853;<ref>NMI, 5:21</ref> the [[Royal Collection]] has two brooches that [[Albert, Prince Consort|Prince Albert]] bought for her from West & Son in 1849 on an earlier visit to Dublin, which were already being made in editions. Albert presented them in November and at Christmas that year: "...such beautiful souvenirs, both made after those very curious old Irish ornaments we saw in [[Trinity College, Dublin|the College]] in Dublin, one a silver shawl brooch, in smaller size than the original" was her reaction to the November gift.<ref>[http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=12457&row=15&detail=about Royal Collection] {{webarchive |url=https://web.archive.org/web/20110609042602/http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=12457&row=15&detail=about |date=June 9, 2011 }}, Brooch given in November 1849, and [http://www.royalcollection.org.uk/egallery/object.asp?searchText=brooch&x=10&y=7&pagesize=20&object=4833&row=16&detail=about Christmas 1849]. Their fabrication was sub-contracted to Edward Johnston's workshop. See also the V&A text at the link above, also dating the fashion to the 1840s.</ref> A later gift from Albert included a setting of a [[Smoky quartz|cairngorm]] he had picked up when walking in the [[Scottish Highlands]], a more authentic type of gem than the brightly coloured foreign stones used in much Celtic Revival jewellery.<ref>[https://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=82803&partid=1 British Museum] Waterhouse replica of the Tara Brooch, with text from "catalogue of Hull Grundy Gift (Gere et aldkk 1984) no. 989" covering other replicas and the revived brooch in general</ref>
The discovery of thePenemuan [[Bros Tara|Kerongsang BroochTara]] inpada tahun 1850 could therefore not have been better timed in terms of attractingmemikat publicperhatian interestpublik. It was immediately recognised as the culminating masterpiece (though early in date) of the Irish development of large and superbly worked ornate brooches, a status it has retained ever since. The brooch was soon acquired by George Waterhouse, who used it as the centre of displays of his replicas and imitations of Celtic brooches in his Dublin shop, also exhibiting it at [[The Great Exhibition]] in London in 1851 and the Paris [[Exposition Universelle (1855)]], as well as the Dublin exhibition visited by the Queen in 1853 (Victoria had already seen it; it had been specially sent to [[Windsor Castle]] for her inspection). -->
WaterhouseNama had"Kerongsang inventedTara" thediberikan brooch'soleh name;George in factWaterhouse, ittetapi hassesungguhnya nothingkerongsang totersebut doada withkaitannya thedengan [[Hill ofBukit Tara]],. andKendati whileditemukan likelykurang foundlebih some28 28 km awaydari theBukit actualTara, circumstanceshal-ihwal ofpenemuannya itspun findmasih stilltidak remain unclearjelas (essentiallydisengaja tosupaya avoidtidak adiklaim claimpemilik by the landownertanah), anddan George Waterhouse chosememutuskan tountuk linkmenghubung-hubungkannya itdengan tositus theBukit siteTara associatedyang witherat thedikaitkan dengan raja-[[Highraja Kingtinggi]]s of IrelandIrlandia, "fullydengan awarekeinsfyafan thatpenuh thisbahwa wouldpenamaan feedtersebut theakan Irishmelambungkan middle-classkhayalan fantasymuluk ofgolongan beingmenengah descendedIrlandia fromyang menganggap dirinya sebagai keturunan raja-raja themtersebut".<ref>Gere anddan Rudoe, 444; British Museum: Waterhouse replica of the Tara Brooch, seebaca noteketerangan abovedi atas.</ref> Ketika Describingmenjelaskan thetren trendtersebut inpada thepada mid-20thpertengahan centuryabad ke-20, [[Adolf Mahr]] describedmenguraikan thekecenderungan tendencyuntuk formemberikan givingsebutan-sebutan broochessemacam —anditu morekepada importantlykerongsang-kerongsang their—dan replicas—yang suchlebih titlespenting aslagi kepada replika-replikanya— sebagai tindakan "fancifulbermuluk-muluk (anddan sometimeskadang-kadang ridiculouskonyol)...byoleh asebuah firmfirma ofpengrajin perhiasan Dublin jewellers".<ref name="b82">Briggs (2017), phlm. 82</ref> ByKetika the time theKerongsang Tara broochdiserahkan passedkepada tolembaga whatyang iskini now thebernama [[National Museum ofNasional IrelandIrlandia]] inpada thedasawarsa 1870s1870-an, the"Kerongsang "Tara brooch" hadtelah become amenjadi [[Genericizedmerek dagang trademarkgenerik|genericistilah termgenerik]] forbagi Celtickerongsang-kerongsang RevivalKebangunan broochesKelt, someyang ofbeberapa whichdi wereantaranya nowdewasa beingini madejustru bydikerjakan di sanggar-sanggar kriya [[India]]n workshopsuntuk fordiekspor exportke to EuropeEropa.<ref>Gere anddan Rudoe, 455</ref> -->
[[File:COLLECTIE_TROPENMUSEUM_Paar_zilveren_kledingspelden_met_borstversiering_TMnr_6387-2.jpg|thumb|[[Fibula Imazigen]] atau Fibula Berber dari selatan Maroko]]
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