Maui Celtic - Celtic Art, A Celtic Art Gallery, Celtic Art Prints, Celtic Artwork Pictures, the Celtic Art of Hamish Burgess, Celtic Artist, a Celtic Artwork resource on Maui, Hawaii

A CELTIC ART GALLERY - THE CELTIC ART OF HAMISH BURGESS

Hamish Douglas Burgess, also known as Jim or Seumas, is an artist living on the island of Maui, in the Hawaiian Islands. He continues the ancient practice with his own Celtic art, traditional and modern, in various mediums. Coming from Celtic stock (Scottish), and living for many years in a Celtic area of Britain (Cornwall), he has a love of Celtic art and music instilled in him, producing Celtic artwork in different media, photography from the Celtic Lands, and playing the bagpipes. He regularly spends time in the ancient Celtic areas of Britain, Ireland and Europe, studying ancient works of Celtic art, and visiting other artists. Recent works have included album covers, book illustrations, commissioned pieces, original celtic tattoos, temporary celtic tattoos and even an entire car! For a forward for renowned celtic artist Courtney Davis' latest 'Celtic Tattoo Workbook' (Volume 2) - see bottom of page.

ORIGINAL CELTIC ART BY HAMISH BURGESS, RECENT WORKS

'ST.PATRICK' © Hamish Burgess 2012

'ST.PATRICK' © Hamish Burgess 2012. Original Celtic and folk art by Hamish Burgess, a piece for the cover of The Celtic Connection newspaper in Vancouver BC and Seattle, the March issue.

The art shows St.Patrick in later life wearing clerical robes, with his famous bell in one hand, and his treasured staff or crozier and a shamrock in the other. He is depicted with a clerical tonsure, or shaved head, possibly referred to by his opponents the druids, who prophesied his converting the pagan folk of Ireland: “Across the sea will come Adze-head, crazed in the head, his cloak with hole for the head, his stick bent in the head. He will chant impieties from a table in the front of his house; all his people will answer: "so be it, so be it.""
Behind him is the Paschal fire he lit to challenge the High King of Ireland, and the cross represents an invisible circle of divine protection, that he invoked with a chant which is now called “St.Patrick’s Breastplate”. It changed his own party into deer to escape the pagan warriors, and became known as “The Deer’s Cry”.
In the air around him are the ‘serpents’ of Ireland, in tradition likely referring to paganism, and two dragon-like creatures he is said to have cast down, the Caoránach, and the Oilliphéist. Read on for details……

Saint Patrick is the most famous of the saints, celebrated the world over on March 17th as the patron saint of Ireland, but most information about him is open to speculation. The ancient traditions surrounding him, most taken from accounts of his life written many years after his death, are disputed by scholars. Even his birth and death dates vary in different sources. St.Patrick himself left two written texts, the ‘Epistle to Coroticus’, and the ‘Confessio’ containing an account of his own life, in the ‘Book of Armagh’ now in Trinity College Library in Dublin.

St. Patrick was born around 387-390 AD with the Celtic name Maewyn Succat, in a village called Bannavem Taburniæ in Western Britain, either Wales or Scotland, under Roman rule. His parents were Calpurnius (a deacon, son of Potitus, a priest), and Conchessa. He adopted the title Patricius, or Patrick, upon becoming a priest. He died at Saul, Downpatrick Ireland, on the 17th of March 460 or some say 492. All dates are the subject of some debate.
At the age of 16 he was kidnapped by Irish pirates under Niall of the Nine Hostages, and brought to pagan Ireland. Sold as a slave to Meliuc, a landowner in Antrim, he tended sheep on Slemish Mountain for six years. During this time he learnt to speak Irish and exposed to druidism, as his master was a druid high priest, but found solace in his Christian faith. In a dream a voice told him to escape, and he traveled south for 200 miles and found a ship leaving for Gaul. After landing on 28 day journey with his starving pagan shipmates, he was taunted to use his faith to find them food, and upon praying, a herd of pigs appeared – one of his first religious experiences helping to convert his companions.

He trained as a cleric in France, in monasteries at Tours and Lerins, and was ordained a priest by St. Germain, bishop of Auxerre, then sent to teach Christianity to the Irish. He was to assist Palladius, already there on a mission, but he died and Patrick was ordained bishop himself in 432.
According to the ‘Annals of Ulster’ he landed in Ireland at Strangford Lough, and his first convert under Dichiu gave him land at Saul, and a building for a church. He spent time on his mission at the Ulster capital of Emain Macha and Ard Macha (Armagh), at the court of King Daire.
Murchiú's ‘Life of Saint Patrick’ (‘Vita sancti Patricii’), one of the first accounts of the fifth-century saint, contains a supposed prophecy by druids showing how Patrick was seen by his opponents at the time:
“Across the sea will come Adze-head, crazed in the head,
his cloak with hole for the head, his stick bent in the head.
He will chant impieties from a table in the front of his house;
all his people will answer: "so be it, so be it."'
Patrick knew that he would have to convert King Laoghaire, the High King of Tara, to take his message around pagan Ireland. On the traditional start of spring all fires in Ireland were extinguished, to be ceremoniously lit from sacred druid fires. In legend, the night before Easter on March 25th 433, Patrick built a Paschal fire on the Hill of Slane, visible in the darkness from the Kings hall, which was strictly forbidden. King Laoghaire was infuriated and rode with his men to see who had challenged him.
According to tradition, he was challenged by the druid Lochru who abused his faith, and Patrick called upon divine retribution – Lochru was raised to a great height and dashed on the rocks below smashing his skull ! Patrick summoned heavy darkness and earthquakes, dispersing King Laoghaire’s host, leaving him with only 7 followers. He then incanted a lorica - a ‘Caim’ or chant to invoke an invisible circle of divine protection, which is now called “St.Patrick’s Breastplate”. It changed his own party into deer to escape the pagan warriors, and became known as “The Deer’s Cry”.
The next day Patrick went to the court of King Laoghaire, and was challenged to various trials of power by the druid Lucetmael. In the final one, a hut was to be burnt, built with one half dry wood, and the other new green wood. The druid stood on the wet side wearing Patrick’s cloak, and a young follower of Patrick wore the druids cloak on the dry side. The hut was burnt, and miraculously the boy survived unscathed with the druid’s cloak destroyed - but the druid died, with Patrick’s cloak remaining intact ! This convinced many of the people of the power of the new Christian faith, although the king refused to convert, he allowed Patrick the freedom to preach his message.
Folktales say that Patrick used the shamrock with three leaves to explain the Trinity - the Father, the Son and the Holy Spirit. An easy conversion for people used to triple goddesses. In a comparatively short 30 years Patrick managed to convert much of Ireland to Christianity, and effectively destroy paganism.

Irish legends say Patrick dealt with two monsters. The eel-like lake dwelling Caoránach, was said to be the mother of demons and devils, and was banished by Patrick to Lough Derg, or Red Lake, so called after the dragon’s blood. The dragon-like Oilliphéist heard that Patrick had come to drive out it’s kind, and in a rage fled Ireland slamming it’s tail on the land and cutting the route of the River Shannon !
It is said that St. Patrick drove the snakes from Ireland, most likely a reference to paganism. On March 17th every year, thousands of pilgrims climb 2,500 feet to the top of Croagh Patrick in pilgrimage. According to legend, at lent one year Patrick was fasting on the mountain (originally called Cruachan Aigli, or Hill of the Eagles) near Westport, Co Mayo. He was attacked by a horde of demons and serpents, rang his holy bell to turn them away, and had to throw it at them in order to make them flee, banishing them to Log na Deamhan, the Hollow of the Demons.
The bell, with it’s elaborate bell shrine container of gold and silver, is now in the National Museum of Ireland in Dublin. The ancient simple bell is made of iron coated in bronze, and according to the ’Annals of Ulster’ is first mentioned in the Book of Cuanu in the year 552. The bell ‘Clogh Dubh Phadraig’ was one of the three ‘relics of Patrick’ taken from his tomb sixty years after his death by Colum Cille, to be used as religious relics. The others were Patrick's goblet and an ancient book, "The Angels Gospel".

St.Patrick’s Crozier, ‘An Bachall Iosa’ (The Staff of Jesus), was made of wood, and supposedly handed to him by Jesus on an island in the Mediterranean, before he began his mission in Ireland. The ancient books ‘The Annals of Ulster’ and ‘The Four Masters’ both say that it was a symbol of Patrick’s authority. Patrick held the staff in such high esteem that he had an elaborate casing made for it by his companion the goldsmith Assicus, or St.Tussach. Described by St. Bernard of Clairvaux it was ‘covered with gold and adorned with the most costly gems’. As a national relic, oaths and treaties were signed on it, and it survived storms and invasions. It was tragically destroyed during Henry VIII’s Reformation in the 1500s, burnt in front of Christchurch Cathedral in Dublin.

Limited edition prints available on watercolour paper - approx 8 x 10 inches - $60 plus shipping. 11 x 14 inches - $90 plus shipping. The original piece measures approx 8 x 10 inches. Original commissioned works to your own concepts are available. Please contact us for details - email Hamish at hamish@mauiceltic.com

'THE IRISH ROVERS - THE TITANIC' © Hamish Burgess 2012

Original Folk and Celtic art by Hamish Burgess, a commissioned piece by George Millar founder of the legendary Irish Rovers, for the cover of the latest Irish Rovers single 'The Titanic', a more serious track from the pen of George Millar, featured on the fun upcoming 'Drunken Sailor' CD, available soon at www.irishroversmusic.com. The album contains fine traditional sea shanties and nautical songs, as well as great new original songs such as this single.
The Irish singer commissioned Hamish after his previous artwork for the band's 'Gracehill Fair' CD, the Christmas album "Merry Merry Time of Year", and the upcoming 'Drunken Sailor' CD (see artwork for all below).

George Millar wrote the great new single 'The Titanic' as a centennial year tribute to the pride of Belfast, the folks who built her, and the legacy she leaves today. "Irish pride was at its highest, and the sinking devastated the shipyards, and its workers. To this day they say with a wry smile, "She was alright when she left here!" "
The sinking of the RMS Titanic is one of the largest peacetime maritime tragedies in history. The legend of this mighty ship has both intrigued and haunted Irish Rover, George Millar all these years. That may be because he shares his birthday of April 14th, with the date the ship met its icy end on her maiden voyage a century ago. "Being from Northern Ireland and born on April 14th, the legend of the Titanic has been with me all my life. It took the labour of fifteen thousand Irishmen to build her - she was the pride of Belfast" says Millar.
The song gives us a feeling of descending the ocean depths to meet the great ship at her resting place, then she quickly sweeps us away on a journey to her glory days, charging across the high seas.

For a brilliant video of the single, opening with the above image then with great archival photos, created by Maui Celtic's Jennifer Fahrni, please visit A Behind the Scenes Video by JJ Fahrni.

Hamish created this original piece after hearing the epic song, with the Celtic decorated porthole as a tribute to the grand ship's home of Belfast in Northern Ireland. The knotwork on the porthole is based on 7th century art from one of the ancient illuminated books, with bolts in-between, and surrounded by grey steel with rivets.
The Titanic image is based on photographs and paintings, with the actual colours researched. The funnel's are the correct colour for the White Star Line, and notice no smoke coming from the back one - only three of the funnels expelled smoke and waste gasses - the fourth was a dummy, added to make the ship look more powerful.
The bow-wave contains the The Irish Rovers name, and all the lettering is ettering is Art Nouveau style to reflect the era.

The RMS Titanic was built in Belfast by the shipbuilding company Harland and Wolff, owned by Lord Pirrie, a friend of the managing director of the White Star Line, Bruce Ismay. Construction of the ship began in 1909, and she was launched in 1911, with the next ten months spent completing the interior of the ship. The total cost of the RMS Titanic was $7.5 million, a lot of money in 1912.

This Original work shown above is now SOLD. The piece measures approx 8.5 x 8.5 inches. Original commissioned works like this are available, specific to your concept. Please contact us for details - email Hamish at hamish@mauiceltic.com

'BRIGID' © Hamish Burgess 2012

'BRIGID' © Hamish Burgess 2012. Original Celtic and folk art by Hamish Burgess, a piece for the cover of The Celtic Connection newspaper in Vancouver BC and Seattle, the February Imbolc/St.Brigit's Day issue.

Imbolc - the coming of Spring – a time to honour the feminine aspect of the divine. The great wheel of the year turns again on February 1st, with the ancient sacred day of the Celtic goddess Brigid - Mother Goddess of Ireland and daughter of The Morrigan and the Daghda. She was also called Brigit, Bride, Brighid, Brig, and Brigantia. The root of her name means 'bright' or 'exalted', and possibly 'firebrand'. Tradition has it that she walks the earth Imbolc eve, and the portrait shows Bride with her white wand and open mouth said to “breathe life into the mouth of dead Winter, and bring him to open his eyes to the tears and smiles, the sighs and laughter of Spring” (Carmina Gadelica Vol.1).
She is goddess of the home and hearth, and associated with sacred flames, representing the return of the sun and warmth, coming with the lengthening days. Legend has it that the fire goddess was born at sunrise, in a house that burst into flames, and a pillar of fire was said to have risen from her head when she took the veil. Her 3 fires are the hearth, the forge and inspiration.

Brigid is the triple goddess of Smithcraft (with Celtic warriors invoking her protection before battle) represented here by the hammer and tongs; Healing represented by the serpent (still seen on the medical staff of today); and Poetry and the Arts represented by the smoke coming from the fire of inspiration on her head. The early La Tène style Celtic art of the smoke is based on the Turoe Stone in Bullaun, Co.Galway, Ireland, with connections to Brigid as a fertility stone. As patroness of Druids and Bards, she ruled over inspiration, poetry, and divination – tradition has it that she curled her palm and ‘looking through it’s pipe’ could see the future.

She is also goddess of Weaving, shown here by her tartan cloak, which in legend she could throw over Ireland for protection, and was famously said to have hung it up to dry on a ray of the sun.
Along with healing, she is the goddess of Childbirth, with the ancient fertility symbol of the Sheelagh na Gig on her right cloak. Her season Imbolc, also spelled Imbolg, has one translation as 'in the belly’.

Our goddess was to cross from the old world into the new - in the later Celtic Christian Church, an extraordinary woman was to become a famous abbess, who after her death in 523AD, became Brigit's counterpart as Saint Brigit. Imbolc is celebrated today as St.Brigit's Day - her sanctuary at Kildare, or Cill-dara (Church of the Oak), was likely continued worship on an older Druidic site to the goddess. The saint had a sacred flame tended by nuns, which was kept alight for about a thousand years. The following church day is Candlemass, a continuation of the sacred fire tradition.
The wickerwork St.Brigit's Cross, a popular talisman since the 17th century, is thought to have origins in the ancient symbol for the sun, a stylized version seen here on her left cloak.

Another symbol of Brigid is the Serpent, who at this time of year was said to come out of her hole, like the badger, to see if the warming weather will affect her winter sleep. A fine frosty day forbode more winter ahead, but a cloudy day meant the quick end of winter. This tradition continued in the Americas, with European settlers seeing this habit from a new animal, and is now Groundhog Day..

'IRISH ROVERS WHORES AND HOUNDS' © Hamish Burgess 2011

Original Folk and Celtic art by Hamish Burgess, a commissioned piece by George Millar founder of the legendary Irish Rovers, for the cover of the latest Irish Rovers single 'Whores and Hounds' (whores is pronounced 'hoors' in this case), from the upcoming 'Drunken Sailor' CD, available soon at www.irishroversmusic.com. It contains fine traditional sea shanties and nautical songs, as well as great new original songs such as this single, from the pen of George Millar.

The Irish singer commissioned Hamish after his previous artwork for the band's 'Gracehill Fair' CD, the Christmas album "Merry Merry Time of Year", and the upcoming 'Drunken Sailor' CD (see artwork for all below).

The piece shows an old fashioned dockside sunset scene in Ireland, with sailors from the ship anchored offshore enjoying their shore-leave as the sun goes down, visiting the town ale houses, and having a good time with the local 'ladies' ! One 'lady of the night' is beckoning to the young lad to come up for a visit. The dogs on the left are Irish Red Setters, the top one being a nod to the band's own record label Rovers Records. The dog on the bottom right is an Irish Wolfhound. The dogs ears and tail become traditional Celtic knotwork.

This Original work shown above is now SOLD. The piece measures approx 8.5 x 8.5 inches. Original commissioned works like this are available, customized to feature stylized likenesses or animals, specific to your concept. Please contact us for details - email Hamish at hamish@mauiceltic.com

'IRISH ROVERS MERRY MERRY TIME OF YEAR' © Hamish Burgess 2011

Original Folk and Celtic art by Hamish Burgess, a commissioned piece by George Millar founder of the legendary Irish Rovers, for the cover of the latest Irish Rovers Christmas CD 'Merry Merry Time of Year', available now at www.irishroversmusic.com. It contains fine traditional seasonal songs, as well as great new original songs from the pen of George Millar.

The Irish singer commissioned Hamish after his previous artwork for the band's 'Gracehill Fair' CD and the upcoming 'Drunken Sailor' CD (see below).

The piece shows an old fashioned Yuletide or Christmas scene, with traditional musicians playing for dancers at a snowy village crossroads after the sun has gone down, the street-light glowing on the snow-covered thatched roofs of the houses. The musicians are backing the singer with a flute, lute, fiddle, concertina and an old pipe.
The Christmas wreath is Holly and Ivy knotwork, and based on a tree of life in the ‘Book of Kells’. The Celtic knotwork corners are icicles.
Notice the wee 'character' at the back of the village, a nod to the band's landmark million selling single from 1967, 'The Unicorn'.

This Original work shown above is now SOLD. The piece measures approx 8.5 x 8.5 inches. Original commissioned works to your own concepts are available. Please contact us for details - email Hamish at hamish@mauiceltic.com

'IRISH ROVERS YULE TREE' © Hamish Burgess 2011

A second original by Hamish Burgess, commissioned by George Millar of the Irish Rovers, for the liner notes booklet of the latest Irish Rovers Christmas CD, 'Merry Merry Time of Year'. The new album for The Irish Rovers' 46th year of touring, is out now and available at www.irishroversmusic.com. It contains fine traditional seasonal songs, as well as great new original songs from the pen of George Millar.

The design is a modern Celtic knot in the shape of a Yule or Christmas Tree, decorated with lights and music notes, with presents under the tree including the instruments of original members - George Millar's guitar, and Wilcil McDowell's accordion. There is a seasonal tribute to the band's landmark million selling single from 1967, 'The Unicorn', with the animals from the world-famous song amongst the branches of the Tree. As the song said - "There were green alligators and long-necked geese, Some humpty backed camels and some chimpanzees, Some cats and rats and elephants, but sure as you're born, The loveliest of all was the unicorn" (Shel Silverstein).

'MILLAR TREE OF LIFE' © Hamish Burgess 2011

This original piece was a 1st anniversary gift for some great friends, Anne & George Millar, customized to feature the happy couple. Original Celtic art on watercolour paper by Hamish Burgess, with watercolour background, acrylic paint colours, and acrylic black ink outline.

It is a Celtic Tree of Life coming out of a traditional cauldron, with the seven creations of the ancient Celtic world - plants, humans, animals, birds, fish, reptiles and insects. In this piece the tree has traditional medieval leaves as in the ‘Book of Kells’ on George’s side to represent Ireland, and Maple leaves on Anne’s side to represent Canada. Then of course the couple, George's red setter dog, a gecko, a dragonfly, a rooster, and a salmon (with water).

Original commissioned works like this are available, customized to feature stylized likenesses of you and your loved ones, and pets or favorite animals. Please contact us for details - email Hamish at hamish@mauiceltic.com

'LUGHNASADH' © Hamish Burgess 2011. Original Celtic and folk art by Hamish Burgess, a piece for the cover of The Celtic Connection newspaper in Vancouver BC and Seattle, the July/August issue. The last of a series of four seasonal works.

The great wheel of the year turns again on the evening of July 31st, with the Celtic festival of LUGHNASADH, as the last in the cycle of the four seasons of the Celtic world. Here the Sun Wheel, with a maze of ‘key pattern’ based on ancient Pictish art, frames scenes from ages old tradition.
This feast marks the beginning of Autumn or Fall, and the harvesting season - crops were harvested in August, fruit in September, and meat in October. The ‘first fruits’ of the harvest were crops, and are shown (left) with the cornucopia of breads, grain and fruits, accompanied by a honey bee.
The Christian church also started a feast day, where loaves of bread were baked from the first of the harvested grain, and placed on the church altar on the first Sunday of August – it was called Lammas, from an Anglo-Saxon word ‘hlaef-mas’, which meant ‘loaf mass’.
Keeping a watchful eye on her land is Macha, one side of the Triple Goddess, in the form of a crow. Top left is a traditional ‘corn dolly' - the spirit of the cut corn is kept in her winter home until ploughed into the first furrow of the next season.

Lughnasadh is named after the Celtic Sun God Lugh (shown right), ‘The Bright or Shining One’, God of the Harvest, who also presides over the arts and sciences, as he was called Lugh the Il-Dana, ‘Master of All Crafts’, or Samildanach, 'he of the many gifts'. He was expert smith, craftsman, harpist, poet, sorcerer, physician, chess player and warrior. Also called Lugh Lámhfhada 'the long-handed', as tradition has it that he carried the magical Spear of Goirias (the Gáe Assail or Lightning Spear), one of the four treasures of the Tuatha De Danann – shown here flaming in Lugh’s hand, and channelling lightning. Thunderstorms provided respite from the fierce summer heat that the threatened crops under Lugh’s care. Celtic tribes across Europe revered this deity also known as Lug, Lugaidh, Lleu, Llew Llaw Gyffes ‘of the skillful hand’, and Llud - many places and tribes bear a version of his name. Lunasa in modern Irish is the name of the month of August.

In Irish history, Lugh's mother was Eithne, Fomorian daughter of Balor, and his father was Cian of the Tuatha De Danann. In legend it was foretold that he would kill his grandfather, so afraid for his life his mother fostered him to Tailtiu, Queen of the Fir Bolg, and later to the Sidh of the Sea God, Manannán mac Lir, on the Isle of Man. He became a famous warrior of the Tuatha De Danann, and fulfilling the prophecy he killed his grandfather, Balor of the Evil Eye, at the Battle of Moy Tura, winning the day for the Tuatha.

Lughnasadh has been translated as 'the binding duty of Lugh', referring to funeral games, Áenach Tailteann (shown center), that he held in honour of his foster-mother Tailtiu, a goddess of agriculture (shown bottom right). It is said that she died from exhaustion after clearing a great forest so that the land could be cultivated, and on her death-bed she told the men of Ireland to hold funeral games in her honour - she prophesied that as long as they were held, Ireland would not be without song. Here she plays an ancient harp, the music is actually the opening of “She Moves Thro’ The Fair”.
It is said that she is buried under the hill where her Tailteann Games were held for nearly 2000 years until the 12th century. The line of chariots and carts (shown bottom) approaching the Games was said to stretch for miles. Shown among the bright tents are folks dancing to a drummer and horn player, with the Games outside – spear throwing, sword-fighting and tug-of-war just some of the athletics practised. From this tradition come the come many summer fairs, festivals and highland games that are held worldwide at this time of year.
The Tailteann Games now lend their name to the village of Teltown, near the Blackwater River (tributary of the River Boyne) not far from Kells, in County Meath. It became famous for ‘Teltown marriages’, where couples at the fair held hands through a hole in a wooden gate, without seeing who their new partner was, and were married for a year and a day. If the trial union failed, they could stand back to back at the next fair and walk away from each other, legally ending the hand fasting. The practise continued locally until the 16th century. Shown (right) by three standing stones, are two small figures at a hand-fasting ceremony officiated by a druid.
Lughnasadh has had another translation - the ‘wedding of Lugh’ - he was said to have married the beautiful Goddess Eriu, the sovereignty of Ireland. The ancient Celtic sun kings were expected to ceremoniously marry the land, and look after her and the people.

Lugh’s foster father, the Celtic Sea God, Manannán mac Lir, watches over the scene from the waves (bottom left), wearing his ‘cloak of mists’, and on his horse ‘Enbarr of the Flowing Mane’, who could travel over water as easily as on land. He gave Lugh (shown right) the use of his sword Freagartach, ‘The Answerer’, and his corrbolg or ‘crane bag’ filled with magical treasures.
Also shown (bottom) are horse races through water, another old tradition associated with the time of year, likely from ancient cleansing rites, and related to the summer months of the Celtic horse goddess Epona.

The Sunday nearest Lughnasadh is called Bilberry Sunday, when folks gathered the black berries, for garlands or bracelets, or to take home to eat. The tradition continues to this day. Top right shows bilberries and flowers linked to Lughnasadh - sunflowers, poppies, dandelions and marigolds.

Also shown are of course the elements of Earth, Air, Fire and Water.

Prints available approx 12 x 12 inches on watercolour paper - limited edition - $90 plus shipping. The original piece measures approx 8.5 x 8.5 inches, and the colours are more vivid. Original commissioned works to your own concepts are available. Please contact us for details - email Hamish at hamish@mauiceltic.com

Original Folk and Celtic art by Hamish Burgess, a commissioned piece by George Millar founder of the legendary Irish Rovers, for the cover of the latest special edition of the Irish Rovers DVD "Home In Ireland", showing June 7th 2011 on Detroit Public Television. The design is based on an older logo used by the band during their 40th anniversary, brought by Hamish into the Celtic art world. It contains a tribute to the band's landmark million selling single from 1967, 'The Unicorn', with a Celtic-style unicorn, who's mane and tail are entwined with a Mandolin, a trademark instrument of the group, featuring a hand-drawn traditional Celtic knotwork border. Please visit the Irish Rovers website for the 1st edition of the DVD.

This Original work shown above is now SOLD. The piece measures approx 7.2 x 5.12 inches. Original commissioned works like this are available, customized to feature stylized likenesses or animals, specific to your concept. Please contact us for details - email Hamish at hamish@mauiceltic.com

'BELTAINE' © Hamish Burgess 2011. Original Celtic and folk art by Hamish Burgess, a piece for the cover of The Celtic Connection newspaper in Vancouver BC and Seattle, the May issue. The third of a series of four seasonal works.

The old Celtic name for May Day is Beltane, ‘bright fire’, and the coming of Summer. The great wheel of the year turns again on the evening of April 30th, with ancient Celtic festival of Beltane, Beltaine, or Bealtaine in Irish, dedicated to the Sun God Bel, ‘the bright and shining one’. This seasonal feast marks the end of the dark half of the year, and is about honouring life. The Sun God is released from the captivity of Winter, and returns to visit the Earth Goddess, with a time of joyous celebrating.

The center of the piece shows a sacred tree of ancient Ireland, the Bile Tree, one of 5 said to have grown from a tree branch with apples, nuts, acorns and berries all growing on it - brought by a giant man arriving at King Conaing’s hall at Tara. The Bile Tree was at the heart of the clan, the Irish Tree of Life, connecting the three worlds shown inside the leafy triscele of the Mother Goddess (also hiding a Green Man). Top is the Skyworld of the heavens, showing the Sun God Bel.
Right is the Middleworld of us humans - the Bile has gone, but the tradition survives as the Maypole, with it’s fertility dance of young men and maidens circling the pole with coloured ribbons, weaving around each other, making a pattern on the pole. Boys traditionally held red ribbons for the Sun God, and girls held white ribbons for the Goddess. In Padstow, Cornwall, the May Day character the Obby Oss does a fertility dance with white clad Mayers, around the town to music, sometimes capturing a maiden under his costume for good luck with marriage and children.
Left is the Otherworld of the spirits and the sidhe, or faery-folk, showing here the old Beltaine traditions of long ago. People did everything in their power to ensure the return of the Sun God, with huge Bel fires being lit on a knoll, started with 9 different types of sacred wood collected by the Druids. People and animals passed between the two need-fires to bring luck and protection, and purify the cattle before going to summer grazing pastures.

Beltane is a fertility festival, with young folks full of the joys of Summer. An old custom of ‘greenwood marriages’ saw couples disappearing to the woods for the night, staying out to see the new May sunrise, and collecting boughs and flowers for May Day festivities. Many of the girls ended up with a child 9 months later at Imbolc, protected by the Goddess Brigit. Shown either side of Bel, to honour the handfasting of the Goddess and Sun God, the Flower Maiden is ready to meet her consort, Cernunnos, the forest god, or the Green Man.
In Welsh mythology of ‘The Mabinogion’, a maiden Blodeuedd was made from flowers as a bride for Lleu. She fell in love with another, and plotted to kill Lleu, who escaped as a wounded eagle, later to return for revenge and transform Blodeuedd into an owl (top left), flying only by night and spurned by other birds.
Top right shows a ship - according to the ancient ‘Lebor Gabala’, the ‘Book of Invasions’, several invasions of Ireland took place at Beltane. The Partholons, the Tuatha de Danaan, arriving ‘through the air in a mist’, and finally the Milesians, ancestors of the Gaels, arrived this night.
Bottom right shows the May Morning Dew - another old May Day custom was to wash your face in the dew before dawn for luck, or to ensure maidens beauty - here a sidhe maiden looks into the dew drop.
Bottom left shows a hearth and window - household fires would be extinguished only at Beltane, so they could be re-lit from brands of the sacred fires, as a symbolic blessing. A traditional bannock sits on the hearth, a cake that would be broken and pieces thrown into the Bel fires with invocations, or left for on doorsteps as an offering to the wee folk.
In olden days, rowan branches would be hung at doors and windows for protection against mischievous spirits, because at Beltane the veil between our world and the Otherworld is at it’s thinnest, as at Samhain, the counterpart at the dark start of the year.
The two small figures below the Tree are the Faery Queen and Thomas the Rhymer. Legend has it that if you sit beneath a tree on Beltane night, you may hear the Faery Queen, or the sound of her white horse’s bells, as she rides through the night looking for folks to take to her realm. If you hide your face, she will pass by, but if you look at her, she may take you with her, as in the Scottish ballad of ‘Thomas the Rhymer’, who left with the Queen and has never been seen since.

The knotwork flower garland is based on a tree of life in the ‘Book of Kells’, and shows flowers linked to Beltane, hawthorn and marigolds.
Also shown are of course the elements of Earth, Air, Fire and Water.

Original Folk and Celtic art by Hamish Burgess, a commissioned piece by George Millar founder of the legendary Irish Rovers, for the cover of the latest Irish Rovers CD. The Irish singer commissioned Hamish after his previous artwork for the band's 'Gracehill Fair' CD (see below). The new album will be the 'Drunken Sailor', due out in a couple of months, and named after the band's signiature concert closing song. A traditional sea shanty, the group made it a classic performing it for the last 46 years ! Their YouTube version (with still image posted by a fan) has nearly 3 million hits, and their offficial recent Belfast Waterfront Hall version is the one to see. CD available soon at www.irishroversmusic.com.

The piece shows an old fashioned shoreline scene, with tall ships in the bay, one heading out to sea. The Drunken Sailor is snoozing against an anchor after a wee session on the grog - the dog seems to have joined in ! The spilled ale becomes a traditional knot, as does the anchor rope.

Maui Celtic.com

A Celebration of the triple aspect of the Mind, Body and Spirit

A CELTIC ART GALLERY - THE CELTIC ART OF HAMISH BURGESS