THE RINGERIKE AND URNES STYLES: SCANDINAVIAN ARTISTIC INNOVATION IN THE VIKING AGE
- Hrolfr
- Mar 19
- 4 min read
The Viking Age was an era of both conquest and cultural exchange, and its artistic legacy is particularly evident in the development of Scandinavian animal styles. Two significant artistic styles that flourished in the 11th century were the Ringerike and Urnes styles. These intricate, stylized designs were used in metalwork, woodcarving, and stonework, playing an essential role in Viking-age artistic expression. Their influence extended across the Norse world, particularly into England under King Cnut (r. 1016–1035) and his son Harthacnut (r. 1035–1042), where Scandinavian culture left a lasting impact on art, architecture, and ornamentation. The style crossed a time of Heathenry and conversion to Christianity.
The Ringerike Style: Origins and Characteristics
The Ringerike style emerged in the late 10th century, following the earlier Mammen style. Named after the Ringerike region of Norway, this style is characterized by highly stylized animal motifs, sinuous ribbon-like forms, and elaborate plant designs, particularly foliate scrolls and tendrils. It is often seen on rune stones, metalwork, and wooden objects.
The creatures depicted in the Ringerike style often include serpents, birds, and wolves with long, slender bodies and looping limbs. These motifs can be seen on a variety of objects, from weapons and brooches to carved stones across Scandinavia and the Viking diaspora.
Notable examples of the Ringerike style include the Vang Stone from Norway and the Jelling Stone from Denmark, which showcase the elaborate interlaced creatures and ornamental flourishes characteristic of this period. In England, the style was especially prominent in stone carvings and jewelry under Danish rule, with many Anglo-Scandinavian sculptures in churches displaying this influence.
By the mid-11th century, the Ringerike style began evolving into what is now known as the Urnes style. Named after the wooden stave church at Urnes in western Norway, this new artistic phase refined the elaborate designs of its predecessor, emphasizing even more elongated and fluid forms. The transition is evident in rune stones and metalwork, where the rigid, compact structures of the Ringerike style gave way to sleeker, intertwined figures with graceful curves.
The creatures in the Urnes style are particularly notable for their elongated eyes, slender limbs, and interwoven, ribbon-like bodies. The Urnes style represents the final phase of Viking Age art, blending Norse traditions with emerging Romanesque influences. It remained popular well into the 12th century and influenced Scandinavian art in the Christian era.
Silver brooches found across Scandinavia and the British Isles are some of the finest examples of the Urnes style. These brooches often depict stylized animal figures intertwined in elegant compositions. Many of these pieces have been discovered in Viking burials, showcasing their significance as both decorative and symbolic objects.
Several notable Urnes-style brooches have been unearthed in Norway, Sweden, and Denmark. One example is the brooch found in Hedeby, an important Viking trading center. The fluidity of the animal motifs on these brooches illustrates the advanced craftsmanship of Norse metalworkers, who combined intricate patterns with high-quality silverwork.
The Urnes Stave Church and Its Portal
The Urnes stave church in western Norway is one of the most famous surviving monuments of the Viking Age. Built in the late 11th or early 12th century, the church contains a highly stylized Urnes-style portal, featuring serpentine creatures locked in an intricate struggle. This wooden portal is considered a masterpiece of Viking Age woodcarving, demonstrating the sophisticated craftsmanship of Scandinavian artists.
While the Urnes style is most famously associated with Norway, it likely originated in Sweden. Many of the earliest examples of this style appear on Swedish rune stones, where the transition from Ringerike to Urnes-style carvings can be traced. The stylized creatures seen on these rune stones, such as those at Södermanland and Uppland, provide crucial evidence of the development of this artistic tradition before it spread to Norway and Denmark.
During the reigns of King Cnut and Harthacnut in England, Scandinavian artistic styles became integrated into Anglo-Saxon art. The Danish influence on English culture can be seen in stone carvings, jewelry, and manuscript illumination. Many churches in England, particularly in the Danelaw regions, adopted Scandinavian motifs, incorporating them into their architecture and sculpture.
One clear example of this is the Gosforth Cross in Cumbria, which, while earlier than the Urnes style, shows a fusion of Norse artistic traditions with Christian iconography. Similar artistic integration can be seen in the Anglo-Scandinavian stone carvings of Yorkshire and Lincolnshire, where Ringerike and Urnes-style designs were carved onto crosses and church decorations.
The Ringerike and Urnes styles represent two of the most significant artistic developments of the Viking Age, demonstrating the creativity and craftsmanship of Scandinavian artists. The transition from the bold, ornamental designs of Ringerike to the fluid elegance of Urnes showcases the dynamic evolution of Viking art. As these styles spread through the Norse world, their influence left a lasting mark on England during the rule of Cnut and Harthacnut, blending with Anglo-Saxon traditions to create a rich artistic heritage. The legacy of these styles endures today, visible in the surviving rune stones, silver brooches, and the remarkable Urnes stave church portal, which continues to inspire admiration for the artistic achievements of the Viking Age.
All Images by the Chieftain: Jelling Stones, bronze pins in Urnes style from the Danish National Museum, and recreation in silver of an Urnes style pin by “Northan Viking Silver.”
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