Les Pierres Pictes De L' Aberdeenshire
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The Phoenician Origin of Britons, Scots & Anglo-Saxons (1924
THE PHCENICIAN ORIGIN OF THE BRITONS, SCOTS &: ANGLO-SAXONS WORKS BY THE SAME AUTHOR. DISCOVERY OF THE LOST PALIBOTHRA OF THE GREEKS. With Plate. and Mape, Bengal Government Press,Calcutta, 1892.. "The discovery of the mightiest city of India clearly shows that Indian antiquarian studies are still in theirinfancy."-Engluhm4P1, Mar.10,1891. THE EXCAVATIONS AT PAUBOTHRA. With Plates, Plansand Maps. Government Press, Calcutta, 19°3. "This interesting ~tory of the discovery of one of the most important sites in Indian history i. [old in CoL. Waddell's RepoIt."-Timo of India, Mar. S, 1904· PLACE, RIVER AND MOUNTAIN NAMES IN THE HIMALAYAS. Asiatic Society, Calcutta, 1892.. THE BUDDHISM OF TIBET. W. H. Alien'" ce., London, 1895. "This is a book which considerably extends the domain of human knowledge."-The Times, Feb, 2.2., 1595. REPORT ON MISSION FOR COLLECTING GRECO-SCYTHIC SCULPTURES IN SWAT VALLEY. Beng. Govt. Pre.. , 1895. AMONG THE HIMALAYAS. Conetable, London, 1899. znd edition, 1900. "Thil is one of the most fascinating books we have ever seen."-DaU! Chro1Jiclt, Jan. 18, 1899. le Adds in pleasant fashion a great deal to our general store of knowledge." Geag"aphical Jau"nAI, 412.,1899. "Onc of the most valuable books that has been written on the Himalayas." Saturday Relliew,4 M.r. 189<}. wn,n TRIBES OF THE BRAHMAPUTRA VALLEY. With Plates. Special No. of Asiatic Soc. Journal, Calcutta, 19°°. LHASA AND ITS MYSTERIES. London, 19°5; 3rd edition, Methuen, 1906. " Rich in information and instinct with literary charm. Every page bears witness to first-hand knowledge of the country .. -
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 -
{PDF EPUB} the Pictish Symbol Stones of Scotland by Iain Fraser ISBN 13: 9781902419534
Read Ebook {PDF EPUB} The Pictish Symbol Stones of Scotland by Iain Fraser ISBN 13: 9781902419534. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. An introduction gives an overview of work on the stones, and analyses the latest thinking as to their function and meaning. "synopsis" may belong to another edition of this title. After twenty years working in the shipping industry in Asia and America, Iain Fraser returned home in 1994 to establish The Elephant House, a caf�-restaurant in the Old Town famed for its connection with a certain fictional boy wizard. The Pictish Symbolic Stones of Scotland. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. Read More. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. Read Less. Dyce Symbol Stones. Wonder at the mysterious carvings on a pair of Pictish stones, one featuring a rare ogham inscription . The Dyce symbol stones are on display in an enclosure at the ruined kirk of St Fergus in Dyce. The older of the two, probably dating from about AD 600, is a granite symbol stone depicting a swimming beast above a cluster of symbols. -
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. -
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 -
Ancient Pillar Stones
ANCIENT PILLAR STONES OF SCOTLAND; ®inii anb §!earitiig rni (Etjjiitligir,' 818S5 0^^ BY GEORGE MOORE, M.D. M.R.O.P. bon:d., etc. EDINBURGH : EDMONSTONE AND DOUGLA^E^, WYLLIE AND SON. ■ o PREF’ Ac C^' 1, The ScU^-ptured Stones of Seoifcland are the mos-t remarkable in the world, and of these the most singular is that known as the ISeeWc^n Stone. This is uniqu^e, being inscribed wi'th characters unlike any found in Eu^i’ope, and which, though recognised as Oriental, have hitherto defied interpretation. To this stone and its inscriptions, thei'cfore, the especial att^ention o ^^Ire reader is invited, since the interest of the whole inquiry, as conducted in this volume, turns upon the significance ascribed, to this puzzling monument. 'To the serious diversion of visi'ting some Of the mos^ ancie:^^ pillar-stones of Aberdeenshire, and hunting for their mea^ning, the writer is indebted for a good holiday and the renewal of vigour for liis professional duty. He writes with a touch of gra titude, not only to kind friends who directed him to the old ston^es, but, so to say, to the grim old creatures themselves ; for their very hoariness bore a refreshing aspect, and, though reminding one of the -tomb, they uttered no coim^tlaint, however ti’eated, and the mystery ab^^t ttli<i^i& was withal o vi PREFACE. w^-fcho^'t prel^ent^i^ousness. To ran the finger along lines and letters rubbed in by human hands some two thousand years ago was like reaching back and puttying onesel^f en rappo^'t wi’th the dead and buried ages, tin the venerable memorials became alive wi'th interests thick and close as the grey lichen that covered them. -
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. -
The Date and Context of the Glamis, Angus, Carved Pictish Stones Lloyd Laing*
Proc Soc Antiq Scot, 131 (2001), 223–239 The date and context of the Glamis, Angus, carved Pictish stones Lloyd Laing* ABSTRACT The widely accepted eighth-century dating for the Pictish relief-decorated cross-slabs known as Glamis 2 and Glamis 1 is reviewed, and an alternative ninth-century date advanced for both monuments. It is suggested that the carving on front and back of Glamis 2 was contemporaneous, and that both monuments belong to the Aberlemno School. GLAMIS 2 DESCRIPTION The Glamis 2 stone (Allen & Anderson’s scheme, 1903, pt III, 3–4) stands in front of the manse at Glamis, Angus, and its measurements — 2.76 m by 1.5 m by 0.24 m — make it one of the larger Class II slabs. It is probably a re-used Bronze Age standing stone as there appear to be some cup- marks incised on the base of the cross face. Holes have been drilled in the relatively recent past at the base of the sides, presumably for support struts. Viewed from the front (cross) face the slab is pedimented, the ornament being partly incised, partly in relief (illus 1). The cross is in shallow relief, has double hollow armpits and a ring delimited by incised double lines except in the bottom right hand corner, where the ring is absent. It is decorated with interlace, with a central interlaced roundel on the crossing. The interlace on the cross-arms and immediately above the roundel is zoomorphic. At the top of the pediment is a pair of beast heads, now very weathered, with what may be a human head between them, in low relief. -
Sueno's Stone, on the Northern Outskirts of Forres, Is a 6.5M-High Cross-Slab, the Tallest Piece of Early Historic Sculpture in Scotland
Property in Care no: 309 Designations: Scheduled Monument (90292) Taken into State care: 1923 (Guardianship) Last reviewed: 2015 HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE SUENO’S STONE We continually revise our Statements of Significance, so they may vary in length, format and level of detail. While every effort is made to keep them up to date, they should not be considered a definitive or final assessment of our properties Historic Environment Scotland – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE SUENO’S STONE CONTENTS 1 Summary 2 1.1 Introduction 2 1.2 Statement of significance 2 2 Assessment of values 3 2.1 Background 3 2.2 Evidential values 5 2.3 Historical values 5 2.4 Architectural and artistic values 6 2.5 Landscape and aesthetic values 7 2.6 Natural heritage values 8 2.7 Contemporary/use values 8 3 Major gaps in understanding 10 4 Associated properties 10 5 Keywords 10 Bibliography 10 APPENDICES Appendix 1: Timeline 11 Appendix 2: Summary of archaeological investigations 12 Historic Environment Scotland – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH 1 1 Summary 1.1 Introduction Sueno's Stone, on the northern outskirts of Forres, is a 6.5m-high cross-slab, the tallest piece of early historic sculpture in Scotland. It probably dates to the late first millennia AD.(The name Sueno, current from around 1700 and apparently in tribute to Svein Forkbeard, an 11th-century Danish king, is entirely without foundation.) In 1991 the stone was enclosed in a glass shelter to protect it from further erosion. -
Music in Scotland Before the Mid Ninth Century an Interdisciplinary
Clements, Joanna (2009) Music in Scotland before the mid-ninth century: an interdisciplinary approach. MMus(R) thesis. http://theses.gla.ac.uk/2368/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Music in Scotland before the Mid-Ninth Century: An Interdisciplinary Approach Joanna Clements Submitted in fulfilment of the requirements for the degree of MMus, Musicology Department of Music Faculty of Arts University of Glasgow February 2009 Abstract There are few sources for early medieval Scottish music and their interpretation is contentious. Many writers have consequently turned to Irish sources to supplement them. An examination of patterns of cultural influence in sculpture and metalwork suggests that, in addition to an Irish influence, a Northumbrian Anglo-Saxon influence and sources should be considered. Differences in the musical evidence from these groups, however, suggest a complex process of diffusion, innovation and local choice in the interaction of their musical cultures. The difficulty of predicting the course of such a process means that the observation of cultural influence in other disciplines is not on its own a useful tool in the study of music in Scotland before the mid-ninth century.