The Legacy of Scotland’s Rock Art Project

by Alan Thompson.

NOSAS were partners in and major contributors to Scotland’s Rock Art Project (ScRAP) which ran for five years from January 2017 to December 2021.  We enjoyed some very productive field work and learned a lot about prehistoric rock art (sometimes called cup and ring marked rocks) and also about how to run a community-based project.

Figure 1 A favourite panel at Fleuchlady

This is not an attempt to analyse the rock art in our region or to provide a critique of what was achieved during ScRAP (for that it might be best to download the booklet produced at the end of the project – Prehistoric Rock Art in Scotland).   It’s more personal, really a set of memories and reflections on what we did, and a few suggestions for the future.  There is still more rock art to record in Northern Scotland and some of us would like to continue with that.  Should we therefore establish a new, perhaps smaller project, making use of our experience with ScRAP?

A bit of history

Our interest in prehistoric rock art begins with the Ross-shire Rock Art project (RRAP) led by John Wombell in the 1990s and early 2000s (before my time with NOSAS).  John and a NOSAS team set out to find and record the rock art in (broadly) Ross-shire.  This involved research of the records, contact with local people, a good deal of ‘fossicking’, and experiments with various methods of recording.  The output was mostly on paper, i.e. forms filled in and photos printed.  Many finds were notified to the Highland HER.

Figure 2 Pre-ScRAP photography, low-angle lighting

Scotland’s Rock Art Project (ScRAP): An Update

by Alan Thompson (NOSAS)

Led by Dr Tertia Barnett, ScRAP is a five-year project which “aims to enhance understanding and knowledge of Scotland’s rock art through community co-production and research”.

NOSAS has been involved with the project since it began (see previous post), and members have tested and contributed to the design of the fieldwork during the pilot phase. For some time now we have been clear to make progress with the fieldwork, and as a result we are getting to know the prehistoric rock art in our area and beginning to appreciate its many different forms.

For our members, the attractions of rock art and of the ScRAP project are many, indoor and outdoor, group and individual. The challenge of making sense of the records in Canmore and the local HER; the challenge of finding the panels, known as well as new; fossicking (prospecting); cleaning and recording on site; examining the 3D models to confirm or amend our field observations; and getting a panel firmly and correctly on the record.

The process is now well established, and ScRAP has an excellent website at www.rockart.scot.

This blog post is an opportunity to present a few of the more interesting panels we have recorded to date, along with some personal observations.

Some Examples

When most people hear about ‘cup and ring boulders’ they think of the famous panels at Kilmartin – wide, flat outcrops of smooth rock onto which cups with multiple concentric rings have been carved. Few panels in our area are like this, but we will start first with one that is, at Easter Backlands of Roseisle.

Easter Backlands of Roseisle

This sandstone panel is both damaged and worn, but the rings around at least 9 and possibly 11 cups can be seen.  One cup has 3 concentric rings, and three others have two. Looking more closely the radial grooves which go out from some of the cups are also visible.

Easter Backlands of Roseisle

More typically in our area we find one or more simple cups generally on the highest point on rough (medium grained) schist boulders; for example Balnafoich 2.

Balnafoich 2

Balnafoich 2 is a large boulder of schist, 4.3 m by 3.0 m by 1.5 m high, with three well formed cups at its highest points. The panel is on an east facing slope, near to the confluence of the Rivers Nairn and Farnach (just visible in the background). It is one a group of four panels. A few meters away is Balnafoich 1 which is a flat slab of schist, flush with the ground. It boasts 25 cups and is quite different in character to its neighbour.

Scotland’s Rock Art Project (ScRAP) – Progress so far

The story of the Project and NOSAS’s involvement up to the end of May 2017

by Alan Thompson (NOSAS)

Background to the Project and NOSAS involvement

Scotland’s Rock Art Project is a five-year project to record and research prehistoric rock art. The scheme is run by Historic Environment Scotland (HES) and funded by the Arts and Humanities Research Council.

The aim of the project is to improve understanding and awareness of Scotland’s rock art through research.  In order to research the carvings, we need to first develop a comprehensive, detailed record of where they are and what they look like.

As many of you will already know, NOSAS is a partner in this project.  Our specific role in 2017 is to work with Tertia Barnett and her team to pilot and test the recording methods to be used.  Beyond that we will be one of a number of Community groups recording rock art across Scotland.

As with all such projects, there is a challenge in ensuring that small groups, working independently in the field, make their records in a sufficiently consistent and comprehensive way that the results are meaningful for analysis by Tertia and her academic partners.

Tertia has extensive experience in recording rock art in England, including in the Northumberland and Durham Rock Art Project (NADRAP).  At that time photogrammetry was still somewhat specialised and could only be used selectively, but despite that some great results were obtained demonstrating that rock art is an ideal subject for photogrammetry.  The progress of technology since then means that our project will major on the use of photogrammetry – we intend that all panels (each discrete exposure of a piece of rock art is called a panel) should be recorded this way.

Tertia also plans an App for recording, the idea being similar to that used by the Scharp/Scape project which some of you have used.  That will take a little time to specify and program, and so in the meanwhile (for the pilot work) we are using paper forms.

Discussing how to record this CMS. (Photo Anne Cockroft)

NOSAS Involvement in the Pilot Project

NOSAS has committed to work with Tertia to record enough panels in our local area in 2017 to fully test the methods she is developing.  35 members have indicated an interest and most of these have already become involved.  If other members are interested they should contact John Wombell or Alan Thompson.

Progress to date

The project is now underway.  We have held two ‘familiarisation’ afternoons at Clava, plus training sessions with Tertia at Dingwall and Drumore.

Clava Type Cairns of the Inverness Area

by Anne Coombs (NOSAS)

Clava cairns are unique to a small area of Eastern Highlands of Scotland.  Identified originally along the valley of the River Nairn, a good start point for any tour of these sites is at Balnuaran of Clava near Culloden. Here Historic Scotland cares for a well preserved group of three circular burial cairns in a small area with a car park and interpretation panels (see the H.S. leaflet). Surrounded by trees beside the river this location can provide an atmospheric even ‘sacred’ sense of the past, especially at mid-winter or in the spring.  Two small chambered passage ‘Clava’ cairns with their associated stone circles are sited on either side of a ring cairn with its own stone circle.  The ring cairn (Highland Council HER MHG4366) appears to have been built at a similar time as the other cairns but is likely to have been used for a different purpose as it seems to have no entrance and may never have been roofed unlike the other cairns.  On the west of the site there is a later small kerb cairn part of later reuse of the cemetery 1000 years later.

The NE Cairn at Balnuaran of Clava, as seen on a NOSAS field trip in January 2015 (Alan Thompson)

The NE Cairn from the air (Scotavia Images)

The two chambered passage cairns (See HER MHG3013 and MHG3002) fit the ‘standard’ ‘Clava’ type with large stones on the inner and outer faces forming a kerb with a substantial fill of smaller stones between.  The passages are aligned to face the mid-winter sun at the solstice and experiments have shown that the sun arcs across the back wall of the cairn during the day.  The inner and outer facing stones have been selected carefully for size and colour and set into the cairn according to some lost pattern presumably in line with the use and beliefs of the builders of the cairns.  Many of the ‘Clava’ cairns have carefully positioned cup marked stones built into the cairns.  Some of the cup marked stones are visible on the outer face of the cairns, for all to see.  Others are hidden inside the cairn available originally only to those with access to the interior. Some stones are even placed so the cup marks are facing into the rubble fill of the cairn so only accessible to the builders and possibly a limited number of people, maybe the priests who knew their position?

The whole cairn would have had a corbelled roof.  Around the edge of each of the cairns at Clava a low platform was constructed.  The whole structure with its associated platform and stone circle was built in a single phase.  In the case of the ring cairn the platform was extended to three of the standing stones forming a sun ray appearance.  Although some of the stones of the associated stone circles are massive, investigation suggests they have relatively shallow socket holes as do all the inner and outer kerb stones of the cairns.  The stone circles provided another opportunity to include a carefully selected range of different types of stone of graded sizes.  The largest stones are often placed on the same axis as the passage facing the direction of the mid-winter solstice sun.