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THE PINNING STONES Culture and Community in Aberdeenshire
THE PINNING STONES Culture and community in Aberdeenshire When traditional rubble stone masonry walls were originally constructed it was common practice to use a variety of small stones, called pinnings, to make the larger stones secure in the wall. This gave rubble walls distinctively varied appearances across the country depend- ing upon what local practices and materials were used. Historic Scotland, Repointing Rubble First published in 2014 by Aberdeenshire Council Woodhill House, Westburn Road, Aberdeen AB16 5GB Text ©2014 François Matarasso Images ©2014 Anne Murray and Ray Smith The moral rights of the creators have been asserted. ISBN 978-0-9929334-0-1 This work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 4.0 UK: England & Wales. You are free to copy, distribute, or display the digital version on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. Designed by Niamh Mooney, Aberdeenshire Council Printed by McKenzie Print THE PINNING STONES Culture and community in Aberdeenshire An essay by François Matarasso With additional research by Fiona Jack woodblock prints by Anne Murray and photographs by Ray Smith Commissioned by Aberdeenshire Council With support from Creative Scotland 2014 Foreword 10 PART ONE 1 Hidden in plain view 15 2 Place and People 25 3 A cultural mosaic 49 A physical heritage 52 A living heritage 62 A renewed culture 72 A distinctive voice in contemporary culture 89 4 Culture and -
Highland Archaeology Festival Fèis Arc-Eòlais Na Gàidhealtachd
Events guide Iùl thachartasan Highland Archaeology Festival Fèis Arc-eòlais na Gàidhealtachd 29th Sept -19th Oct2018 Celebrating Archaeology,Historyand Heritage A’ Comharrachadh Arc-eòlas,Eachdraidh is Dualchas Archaeology Courses The University of the Highlands and Islands Archaeology Institute Access, degree, masters and postgraduate research available at the University of the Highlands and Islands Archaeology Institute. www.uhi.ac.uk/en/archaeology-institute/ Tel: 01856 569225 Welcome to Highland Archaeology Festival 2018 Fàilte gu Fèis Arc-eòlais na Gàidhealtachd 2018 I am pleased to introduce the programme for this year’s Highland Archaeology Festival which showcases all of Highland’s historic environment from buried archaeological remains to canals, cathedrals and more. The popularity of our annual Highland Archaeology Festival goes on from strength to strength. We aim to celebrate our shared history, heritage and archaeology and showcase the incredible heritage on our doorsteps as well as the importance of protecting this for future generations. The educational and economic benefits that this can bring to communities cannot be overstated. New research is being carried out daily by both local groups and universities as well as in advance of construction. Highland Council is committed to letting everyone have access to the results of this work, either through our Historic Environment Record (HER) website or through our programme of events for the festival. Our keynote talks this year provide a great illustration of the significance of Highland research to the wider, national picture. These lectures, held at the council chamber in Inverness, will cover the prehistoric period, the early medieval and the industrial archaeology of more recent times. -
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60 PROCEEDINGS OF THE SOCIETY, 1939-40. VI. THE CHRONOLOGY OF THE EARLY CHRISTIAN MONUMENTS OF SCOTLAND. BY CECIL L. CURLE, F.S.A.ScoT. (C. L. MOWBBAY). Thi st a completintende papeno e b s i ro t de stud ye earlth of y Christian monuments of Scotland. It is an endeavour to establish a classification and a tentative chronology, and to review the comparative material. Althoug e wholth h e collectio f earlo n y sculptured stone Scotlann i s d forms a very varied series, there is a main group of Christian monuments of a distinctive type of which there are more £han a hundred still in existence. These are distributed over an area extending northwards fro e Shetlane Riveth mth s a r r dFort fa Islandss ha westwardd an , o t s Hebridese th majoritye th , , however ,eas e beinth t n coasgo e tTh (fig . .1) uniformly Celtic characte theif o r r decoration make t scleai r tha origin i t n thee perio Celtie baco th th yg o f kt dco Church, thad an t they form part e greaoth f t grou f earlo p y Christian monuments -which extend over Ireland Isle Manf th ,eo , Wales partd an ,Englandf so wels a , Scotlands a l . But, although belongin thio t g s series e Scottisth , h 1 sculptures showa definite originality. The slab with a cross, as opposed to the free-standing cros f Irelano s d Northumbriaan d , developed e Isl f Manth e o n i ,s inta , o nationae th l typ monumentf eo erectn a s i , t rectangulaI . -
A Guide to Ten of the Best Pictish Symbol Stones in Aberdeenshire
Pictish Symbol Stones The Pictish Period 300 AD – 900 AD MAIDEN STONE ST PETER’S CHURCH, FYVIE As one of the heartlands of the Pictish community, Aberdeenshire is home to a large The origin of the Picts can be found in the tribal society of the Iron Age. Their society was number of the elaborately decorated Symbol Stones for which the Picts are famed – around hierarchical, with a warrior elite and a lower farming class. They lived in Scotland, North of PICARDY STONE 20% of all Pictish stones recorded in Scotland can be found in Aberdeenshire. the Forth and Clyde rivers, between the 4th and 9th Centuries AD, with a particularly strong presence in what is now Aberdeenshire. This can be seen in the frequent occurrence of place The stones, incised or carved in relief, are decorated with a variety of symbols, ranging from names beginning “Pit”, thought to indicate the site of a Pictish settlement, as well as the BRANDSBUTT geometric shapes and patterns, to animals (real and mythical), human figures, objects, evidence from the archaeological record such as Symbol Stones and fortifications. and Christian motifs. Some earlier Pictish stones are also incised with a script known as Ogham, which comprises a pattern of short linear strokes crossing a vertical line. Said to They acquired the name Pict, or Picti, meaning “Painted People”, from the Romans – indeed, have originated around the 4th Century AD, it is an early form of the Irish language. Most much of what is known of the Picts is derived from historical writers from outside of examples of Ogham inscriptions are thought to represent personal names. -
A Reconsideration of Pictish Mirror and Comb Symbols Traci N
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2016 Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols Traci N. Billings University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Archaeological Anthropology Commons, European History Commons, and the Medieval History Commons Recommended Citation Billings, Traci N., "Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols" (2016). Theses and Dissertations. 1351. https://dc.uwm.edu/etd/1351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Anthropology at The University of Wisconsin-Milwaukee December 2016 ABSTRACT GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings The University of Wisconsin-Milwaukee, 2016 Under the Supervision of Professor Bettina Arnold, PhD. The interpretation of prehistoric iconography is complicated by the tendency to project contemporary male/female gender dichotomies into the past. Pictish monumental stone sculpture in Scotland has been studied over the last 100 years. Traditionally, mirror and comb symbols found on some stones produced in Scotland between AD 400 and AD 900 have been interpreted as being associated exclusively with women and/or the female gender. This thesis re-examines this assumption in light of more recent work to offer a new interpretation of Pictish mirror and comb symbols and to suggest a larger context for their possible meaning. -
Place-Names of Inverness and Surrounding Area Ainmean-Àite Ann an Sgìre Prìomh Bhaile Na Gàidhealtachd
Place-Names of Inverness and Surrounding Area Ainmean-àite ann an sgìre prìomh bhaile na Gàidhealtachd Roddy Maclean Place-Names of Inverness and Surrounding Area Ainmean-àite ann an sgìre prìomh bhaile na Gàidhealtachd Roddy Maclean Author: Roddy Maclean Photography: all images ©Roddy Maclean except cover photo ©Lorne Gill/NatureScot; p3 & p4 ©Somhairle MacDonald; p21 ©Calum Maclean. Maps: all maps reproduced with the permission of the National Library of Scotland https://maps.nls.uk/ except back cover and inside back cover © Ashworth Maps and Interpretation Ltd 2021. Contains Ordnance Survey data © Crown copyright and database right 2021. Design and Layout: Big Apple Graphics Ltd. Print: J Thomson Colour Printers Ltd. © Roddy Maclean 2021. All rights reserved Gu Aonghas Seumas Moireasdan, le gràdh is gean The place-names highlighted in this book can be viewed on an interactive online map - https://tinyurl.com/ybp6fjco Many thanks to Audrey and Tom Daines for creating it. This book is free but we encourage you to give a donation to the conservation charity Trees for Life towards the development of Gaelic interpretation at their new Dundreggan Rewilding Centre. Please visit the JustGiving page: www.justgiving.com/trees-for-life ISBN 978-1-78391-957-4 Published by NatureScot www.nature.scot Tel: 01738 444177 Cover photograph: The mouth of the River Ness – which [email protected] gives the city its name – as seen from the air. Beyond are www.nature.scot Muirtown Basin, Craig Phadrig and the lands of the Aird. Central Inverness from the air, looking towards the Beauly Firth. Above the Ness Islands, looking south down the Great Glen. -
Soft Rock 5-Resolis.Pdf
Soft Rock 5 Project 2 Resolis Friendship Group Introduction Over several months during 2015 five groups of older adults based on the Black Isle took part in Soft Rock 5, the latest in a series of outreach projects organised by Groam House Museum, Rosemarkie. Working with Inverness-based textile artist Ruth Black, each group learnt the art of felting, and using various techniques completed their own unique wall hanging using the work of George Bain and the imagery found on local Pictish Stones as inspiration. Over the later part of 2015 the five banners were exhibited in various locations locally, finishing their journey on display at Celtic Connections Festival 2016 in Glasgow. Thanks must go to the group leaders, volunteers and participants whose enthusiasm and commitment made the project such a success, and without whom these beautiful pieces would not exist. The project was made possible by funding from Heritage Lottery, Museums Galleries Scotland and the Highland Council Wendy Sanders Groam House Museum Project Co-ordinator Groam House Museum - Rosemarkie The second wall hanging This felt panel was made by a team of volunteers from Resolis Friendship Group under the guidance of textile artist Ruth Black. This album shows the various stages that we went through in creating the wall hanging over five action packed days working in the Resolis Memorial Hall. The wall hanging design was inspired by the work of George Bain, who in turn was inspired by the complex Pictish and Celtic designs of the early Christian and pre-Christian sculptured stone monuments that abound in the north and east of Scotland. -
The Declining Pictish Symbol - a Reappraisal the Late Gordon Murray
Proc SocAntiq Scot, (1986)6 11 , 223-253 The declining Pictish symbol - a reappraisal The late Gordon Murray SUMMARY The paper is mainly concerned with the three commonest Pictish symbols, the crescent, the double disc with Pictish the Z-rod and 'elephant' 'beast'.BStevensonR or K ideasDr The of and Dr I Henderson are outlined, namely that for each of these symbols a stylistic 'declining sequence' can be traced that corresponds approximately to a chronological sequence, enabling the probable place of origin of the symbol to be determined. The forms and distributions of the three symbols are examined in detail and it is argued that the finer examples of each are centred in different areas. For reasons which are stated, the classification of the crescent differs here from that made by Stevenson. The different decorative forms show significantly different distributions originthe but appears be to north. far most The the typicalin examples Z-rodthe of accompanying doublethe discfoundare predominantly in Aberdeenshire, where it is suggested that the symbol may have originated. Examples Pictishthe of beast hereare graded according extentthe to that their features correspond otherwiseor with lista whatof 'classical' the appear be to features form. distributionofthe The and general quality existingof examples suggest that originthe centre thisof symbol probablyis the in area Angusof easternand Perthshire. The paper also discusses arrangementthe symbolsthe of statements, in with some tentative remarks on the relative chronology of the mirror appearing alone as a qualifier. INTRODUCTION principle Th e declininth f eo g symbo thas i l t there existe prototypda r 'correcteo ' forr mfo at least some of the Pictish symbols, to which all surviving instances approximate in varying degrees, but from which later examples tend to depart more than earlier ones. -
National Strategy for Scotland's Museums and Galleries
GOING TheNationalStrategyfor Scotland’sMuseumsandGalleries fURTHER To SUccEEd aNd floURiSH we wILL aLL Need tO pLay Our part ScoTTiSH NaTioNal PoRTRaiT GallERy National Galleries of Scotland TheScottishNationalPortraitGalleryre-opened on1December2011,followingatwoandahalfyear closureandanambitious£17.6mrestorationproject. Asaresult,amuchgreaterproportionofthe collectionwillbeonshow,bringingtolightawealth Theproject–thefirstmajorrefurbishmentinthe ofartworksthathasbeen,untilnow,largelyhidden Gallery’s120-yearhistory–hasrestoredmuchof fromview. thearchitect’soriginalvision,openinguppreviously inaccessiblepartsofthebuildingandincreasing Reviewsandfeedbackhavebeenoverwhelmingly thepublicspacebymorethan60%.Accesstothe positivewithmorethan52,000visitorsgoing exhibitionspacesonallthreelevelshasbeenopened totheGalleryduringthefirstmonthofopening. up,whiletherestorationofthemagnificentsuiteof top-litgalleriesontheupperfloorhascreatedoneof themostimpressivedisplayspacesinScotland. www.nationalgalleries.org TheNationalStrategyfor Scotland’sMuseumsandGalleries Images courtesy of the National Galleries of Scotland © Chris Watt The National Strategy for Scotland’s Museums and Galleries gOINg The National Strategy for Scotland’s Museums and Galleries further Acknowledgements contents The development of this National Strategy for Scotland’s Museums and Galleries would not have 5 FOREWORD 34 AIm fIve -
Belhelvie; Birse; Broomend, Inverurie; Cairn- Hill, Monquhitter
INDEX PAGE Aberdeenshire: see Ardiffiiey, Crudeii; Amber Object s: Necklace s :— Barra HillMeldrumd Ol , ; Belhelvie; from Dun-an-Iardhard, Skye, . 209 Birse; Broomend, Inverurie; Cairn- ,, Huntiscarth, Harray, Orkney5 21 , hill, Monquhitter; Cairnhill Quarry, ,, Lake near Stonehenge, Wilt- Culsalmond; Castlehill of Kintore; shire, .....5 21 . Colpy; Crookmore, Tullynessle; Cul- ,, Lanarkshire (amber and jet) . 211 salmond ; Culsalmond, Kirk of; Fy vie; Amphora, Handle of, found at Traprain Gartly; Glenmailen; Huntly; Huiitly Law, Haddingtonshire, ... 94 Castle; Kintore; Knockargity, Tar- Amulet, Stone, foun t Udala d , North Uist land ; Leslie; Logie Elphinstone; (purchase), ...... 16 Newton of Lewesk, Eayne; Rayne; Anderson, Archibald, death of, ... 3 Slains ; Straloch; Tarland; Tocher- Anderson , presentG. , . RevS . sR . Roman ford ; WMteside; Woodside Croft, melon-shaped Bead, .... 256 Culsalmond. Anglian Cross-shaft, Inscription 011, from Aberfeldy, Perthshire Weeme ,se . Urswick Church8 5 , Yorkshire . , Abernethy, Fife Castle se , e Law. IslesAnguse th f , o Sea , ...lof 1 6 . Adair's Maps, ....... 26 Animal Remains from Traprain Law, Adam, Gordon Purvis, presents Tokef no Haddingtonshire, Report on, . 142 Lead, ........ 152 Anne, Silver Coins of, found at Montcoffer, Advocates' Library, Edinburgh . Map,MS s Banffshire, ...... 276 in, .......5 2 . Anniversary Meeting, ....1 . Adze, Stone, from Nigeria (donation), . 63 Antonine Itinerary, Roads in, . 21, 23, 32, 35 Ainslie, County Maps by, .... 28 Antoninus Pius, Coi , nof ...9 13 . Airieouland Crannog, Wigtownshire, Per- Antony, Mark, Coin of, ..... 137 forated Jet Ring from, .... 226 Anvil Stone foun t Mertouna d , Berwick- Alexander III., Long single cross Sterling shire, . ' . .312 of, (donation) .....5 25 . Aqua Vitae in Scotland, Note on the Early Alexander, W. Lindsay, death of,..3 . -
V-Rod, Crescent Fantastic Beast / Creature
APPENDIX F PICTISH SYMBOL STONES - OBJECTS BY LOCATION These locations are derived from entries in The Pictish Symbol Stones of Scotland - RCAHMS 2008 Object Category / Item by Location (including RCAHMS Site Number): V-rod, Crescent V-Rod & crescent - Dyce NJ81 NE 8; Bourtie NJ82SW 4; Brandsbutt, Inverurie NJ72SE 23; Broomend of Crichie NJ71NE 8; Cairnton NJ81NE 79; Deer NJ94NE 5; Daviot NJ72NE 11; Fyvie NJ73NE 1; Inverurie NJ72SE 11 (stone 1); Kinellar NJ81SW 6; Kintore, Churchyard NJ1NE 33; Logie Elphinstone NJ72NW 7 (stone 1); Logie Elphinstone NJ72NW 7 (stone 2); Logie Elphinstone NJ72NW 7 (stone 3); Park House NO79NE 44.10; Rhynie Mains NJ42NE 36; Rhynie Old Church NJ42NE 30 (stone 2); Tillypronie NJ40NW 7; Tillytarmont NJ54NW 1 (stone 1); Tillytarmont NJ54NW 1 (stone 2); Turriff Manse NJ74NW 20; Aberlemno NO55NW 8 Roadside 2; Cossans NO45SW 4; Kinblethmont NO64NW 12; Monifieth NO43SE 25 (stone 2); Strathmartine Castle NO33NE 21; Edinburgh NT27SE 130; Abdie NO21NE 10; Advie NJ13SW 2; Ballintomb NJ02SW 36; Findlarig NH92NE 3; Inverallan NJ02NW 4; Lynchurn NH92SE 1; Crosskirk ND07SW 4; Latheron ND13SE 31; Skinnet Chapel, Halkirk ND16SW 2; Ulbster ND34SW 28.01; Watenan ND34SW 57; Balblair, Kilmorack NH54NW 155 (stone 2); Garbeg NH53SW 15; Invereen NH73SE 5; Glenferness NH94SW 10; Dalnavie Farm NH67SW 55; Dingwall NH55NW 7 ( x 3); Hilton of Cadboll NH87NE 7; Poolewe NG88SE 10; Rosemarkie NH75NW 7 (x 3); Tarbat NH98SW 15; Clach Ard, Tote, Skye NG44NW 1; Fiscavaig, Skye NG33SW 3; Raasay NG53NW 3; Tobar na Maor, Skye NG24NW 3; Clynekirkton -
Glasgow Museums (£52,145), City of Edinburgh Museums and Galleries (£24,250), the Hunterian (£18,329) and Aberdeen Art Gallery and Museums (£17,027)
National Fund for Acquisitions Grants Paid 2010–2011 National Fund for Acquisitions Grants Paid 2010–2011 Hazel Williamson National Fund for Acquisitions Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF Tel 0131 247 4106 email [email protected] Cover: Colour woodblock print, Kyōbashi Takegashi from Meisho Edo Hyakkei, 1857, by Utagawa Hiroshige. Acquired by The Hunterian with a grant from the National Fund for Acquisitions. National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with curatorial staff at National Museums Scotland and the Directors and staff of the National Galleries of Scotland and the National Library of Scotland who provide expert advice to the Fund. While recognising that the financial climate is extremely difficult, National Museums Scotland was particularly dismayed to learn of a 25% cut to the NFA’s already limited funding, reducing the grant to only £150,000 in financial year 2011/12. NFA funding had remained at £200,000 per annum since 1996, a figure which in real terms has declined very considerably in value during the subsequent fifteen years. Clearly the extent of the cut means that the NFA cannot support collecting in Scotland as effectively as we would wish.