2.3.9 Scotland's wider context

Art historians working on Scotland's early medieval carved stones have typically been at pains to elucidate artistic connections with neighbouring parts of Britain and Ireland and, where relevant, further afield (e.g. Fisher 2001; Hawkes 2005; Henderson 1967; 1983; 1986; 1994; 1999a; Henderson and Henderson 2004; Higgitt 1997; Driscoll 1988; Lang 1972; Mowbray 1936; Stevenson 1956; Thomas 2013). The most comprehensive attempt to put a Scottish monument in its international context is the various contributions to Foster 1998a (St Andrews Sarcophagus). Each of the seven International Insular Art Conferences held since 1985 have featured papers on Scottish material, including sculpture, and this had been an important means of bringing developments in Scottish research to a wider audience art-historical audience (e.g. Alcock 1993; Dransart 2001; Forsyth 1995a; Foster 2013a; G Henderson 2013; Henderson 1987b; Driscoll 1988; Pulliam 2013). Archaeologists whose main focus lies outside Scotland are taking increasing account of Scottish material, and scholars working on the Scottish material are increasingly looking furth of Scotland for comparisons (Gotland–Foster 2012; 2013a; Ireland–Forsyth and Driscoll 2009; Ulster and Sweden–Busset 2016).

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