Tag Archives: Scotland’s Rock Art Project

Buntait, Glenurquhart: A Bronze Age Landscape?

by James McComas (NOSAS)

The larger barrow at Buntait – feature ‘X’ on the map below.

Although I have lived in Glen Urquhart for some years, it was only comparatively recently that I first visited Buntait, a hamlet just to the north of the Clava type chambered cairn at Corrimony. This was despite me hearing from a number of local people about the amount of upstanding archaeology that was there. I think I must have presumed that because there are no scheduled monuments there it could not be that interesting – an assumption I will not be making in the future. Later research confirmed that Buntait is in fact full of prehistoric (and post medieval) features – including hut circles, field systems, burnt mounds and rock art. Not only are the field systems extensive and some of the hut circles very well preserved, but also there are a couple of ditched barrow features. Locally, only Garbeg is comparable in terms of prehistoric remains.

Consequently Buntait became the subject of three archaeological field trips in 2017; two led by NOSAS, and one as part of the Archaeology Scotland Summer School planned with the assistance of NOSAS. There were also numerous smaller sorties for quadcopter flying, polecam photogrammetry, rock art recording (for SCRAP) and general investigation.

OS map of Buntait annotated with huts, barrows and buildings in red, cairns in green and dykes in brown. Blue dots show the location of records on Canmore. BM = burnt mound.

NOSAS field visit to Buntait January 2017

“The Glenurqhuart Story” by Alistair Mackell published in 1982, provides a useful if perhaps now outdated introduction:

Not far from the Corrimony Burial Cairn, on Buntait lands, was a settlement of some considerable size where clearly marked hut circles and cairns suggest a community practising primitive agriculture and a boundary wall, which can still be traced, may have served to protect domestic animals from prowling wolves or other marauding wild animals. Some of these circles are 30 feet in diameter and in the centre of at least one, is a depression which may have been a fireplace. These circles are low banks of stones covered with grass or heather about 2 feet high and 4 feet wide at the base. It is difficult to imagine one large roof covering such an expanse, but if so, it would probably have been formed of wattles and thatched with heather or turf, giving, when complete, a dome – shaped appearance. In each case there is a break in the circle at the south east which indicates the entrance. In other parts of Scotland where these structures have been carefully examined, hearth paving stones have been discovered, but we are unable to reconstruct much of the everyday life of the people of these long bygone days, and we can merely conjecture that they combined hunting with their primitive agriculture, for the Highlands were rich in wildlife.

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

SCRAP banner

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. Continue reading