The Ballochmyle cup and ring marks were first recorded at Ballochmyle (NS 5107 2552), Mauchline, East Ayrshire, Scotland in 1986, [1] very unusually carved on a vertical red sandstone cliff face, forming one of the most extensive areas of such carvings as yet found in Britain. [2] They have been designated a scheduled monument. [3]
These carvings or petroglyphs were first recorded in 1986 (although a '1751' carved date suggests an earlier discovery) when the Kingencleugh Estate decided to clear an area of vegetation along the north side of the Liddell Burn that is a minor tributary stream of the River Ayr in an area famous for its quarrying of red sandstone. The removal of vegetation exposed the carvings that are distributed across two faces of a vertical outcrop of rock and they were reported to the Dick Institute in Kilmarnock. [4] The presence of possible medieval carvings, the extensive quarrying with numerous workmen employed in the area, especially during the construction of the Ballochmyle Viaduct, emphasises how surprising it is that these glyphs were overlooked for so long, especially as they are only about 2 km south-east of Mauchline's town centre. [5]
The rock here is described as being a "pink dessert sandstone from the Permian age showing clear signs of dune bedding". [6] The cup and ring marks are composed of two 'panels' with several hundred 'cup and ring' and other glyphs or carvings in a range of styles, ranging from single shallow cups through to deeper cups with multiple rings. Less common, but unique in the Scottish context are ‘square with cup’ carvings; ‘ringed stars’ are also present. Three deer-like carvings and some other inscriptions with Lombardic style letters [7] were also carved into the rockface and these are thought to be medieval in date. [8]
Several feet of soil were removed from the bottom of the corner that divides the two main halves of the site and this uncovered three 'trilithon-like' carvings [9] [10] and others may await discovery where the soil has not been removed. The carvings were protected by the vegetation and began to deteriorate after this was removed and in addition vandalism and theft of a panel has taken place. [11] It is likely that they were historically hidden from direct view by trees and shrubs.
The Ballochmyle glyphs or motifs are carved on red sandstone, however they are found elsewhere on other sedimentary rocks such as Millstone Grits, as well as the harder igneous and metamorphic rocks such as granites and schists. [12]
The basic 'cup' is the most common carving however a wide range of glyphs exist with single to multiple concentric circles that are sometimes cut through in various ways by channels, etc. Where concentric rings exist the central cup often appears to dominate in depth and size [13] suggesting that they were subject to repeated reworking over a period of time. Some incomplete or poorly formed glyphs exist here suggesting that different persons were involved in making them and frequent overlays of existing glyphs with either 'cups' or 'cup rings' suggests that they were created over an extended period of time. [14]
Studies suggest that distinct stylistic groupings may be present with one panel area having simple cups and cups with grooves, whilst another area has predominately bold cups with multiple concentric rings. [15] An area with an apparent Lombardic style lettering may read 'ASAID' with two or three unreadable leading letters and a likely lost section. The final element is a date '1751' that is considered authentic but did not lead to further recorded investigation. [16]
Evidence suggests that cup and ring art was created from the Neolithic through to the Bronze Age, that is approximately 4000 BC to 1500 BC. [17]
Cup and ring mark stones are frequently found throughout Britain, with over 2500 sites in England alone, [18] however an unusual feature of those at Ballochmyle is that they have been carved on nearly or actual vertical surfaces rather than horizontal and often 'altar-like' exposed stone outcrops. [19] [20] These types of carvings were created using 'hammerstones' or 'peckers', examples of these have been found elsewhere, hitting the surface of the rock repeatedly or using a grinding motion until the desired design was formed [21] Some of the long grooves appear to be a series of cups that were then joined together. The soft nature of the stone at Ballochmyle gives insights into how the glyphs were created with many small holes that could not have been formed by a hammering action.
The contrast with the original rock surface and the effect of shadow and rain usually makes the markings stand out however hints of the use of coloured pigments have been found at other sites [22] and such things as animal fat, charcoal, plants dyes, etc. could have been used during various types of ceremonies to enhance the glyphs or as part of their cultural use. [23]
The frequency and widespread use of the same glyphs or motifs indicates that they had definite interpretive meanings and significance to the cultures that created them and these developed and then persisted over thousands of years. [24] The locations indicate that these carvings were mostly for public display and not usually intended as part of secret practices where the fact that they were hidden was important. [25]
It may be relevant that the Ballochmyle area has both spectacular geological formations and geographical features in addition to the presence of a significant liminal zone in the form of a major watercourse, the River Ayr. Carvings into rocks can have deeper meanings such as with the carved footprint Petrosomatoglyphs at Dunadd in Argyll, linking a person literally to the land. The concept of the Anima locus is pertinent here, that is the 'soul' of a place, its essential personality as perceived in the imagination and emotions of visitors. A concept linked to the belief in supernatural spirits of nature as residing in stones, springs, mountains, islands, trees, etc. [26] A form of religious significance linked to life and death, past and present, real and spiritual worlds, etc. has been proposed. [27]
A significant factor is that, as previously stated, they were created from Neolithic through to the Bronze Age, that is approximately 4000 BC to 1500 BC [28] and they ceased when the Celtic Culture began to dominate and suppress older cultural practices. During this time smaller nomadic groups that might visit certain sites seasonally developed into sedentary communities with hierarchical leadership structures and specific communal religious practices. [29]
Many 'galleries' of cup and ring mark art are in prominent places within the landscape, such as river gorges, waterfalls, outcrops, caves, etc. and it has been suggested that they may have defined territorial boundaries, either for a locality or for a significant land holding. [30] Few prehistoric track ways have been positively identified however some link with the more practical aspects of Ley lines may be indicated by the observation that cup and ring art is sometimes found overlooking natural harbours, on prominent natural landscape features, in mountain passes, along valley sides, at the entrances to inland routes, etc. [31]
It is thought that natural features of the rock faces may influence the cup and ring mark sizes, distribution and type in addition to 'framing' the carvings. Fissures, grooves, wind erosion marks, cracks, dune bedding, etc. may all have been regarded by the Cup and ring mark carvers as significant and meaningful in their own right to be copied, enhanced, removed or incorporated as possibly the work of their 'ancestors' or even the works of the gods themselves. [32]
Some cup and ring mark panels may have only been used seasonally and the varying level of complexity at sites has been interpreted as being both more and less significant in terms of the level of meaning present. [33]
The universality of cup and ring markings suggest a commonality of the origins of such glyphs that may relate to natural phenomena that are deemed significant, such as the concentricles that form on water when an object or offering is placed in it and although this may have been interpreted differently by the many cultures involved, the liminality with associated themes of thresholds and communication with the 'other side' may be one explanation for the use of cup and rings rather than the extensive use of glyphs such as ovals, boxes, triangles, star-shapes, etc.
In 2015 AOC Archaeology group were employed by the Forestry Commission Scotland to carry out a survey of laser scanning and photogrammetry on the Ballochmyle cup and ring marks. Laser scanning recorded the glyphs in 3D in minute detail, taking millions of measurements. The Photogrammetry involved photographing the site from many different angles and then bringing the data together to create a 3D model. [34] The RCAHMS carried out a survey on behalf of Historic Scotland in 1987 and a series of drawings were lodged with what is now Historic Environment Scotland. [35]
A petroglyph is an image created by removing part of a rock surface by incising, picking, carving, or abrading, as a form of rock art. Outside North America, scholars often use terms such as "carving", "engraving", or other descriptions of the technique to refer to such images. Petroglyphs are found worldwide, and are often associated with prehistoric peoples. The word comes from the Greek prefix petro-, from πέτρα petra meaning "stone", and γλύφω glýphō meaning "carve", and was originally coined in French as pétroglyphe.
Megalithic art refers to art either painted or carved onto megaliths in prehistoric Europe. Elizabeth Shee Twohig has coined the term Megalithic art in her study of 'The Megalithic Art of Western Europe'. Her original definition of Megalithic art focussed on paintings or carvings found on the structural elements, like the kerbstones, orthostats, or capstones of megalithic tombs, but recent investigations have included decorations on Stelae and Menhirs.
Cup and ring marks or cup marks are a form of prehistoric art found in the Atlantic seaboard of Europe (Ireland, Wales, Northern England, Scotland, France, Portugal, and Spain – and in Mediterranean Europe – Italy and Greece, as well as in Scandinavia and in Switzerland.
Kilmartin Glen is an area in Argyll north of Knapdale. It has the most important concentration of Neolithic and Bronze Age remains in mainland Scotland. The glen is located between Oban and Lochgilphead, surrounding the village of Kilmartin. In the village, Kilmartin Museum explains the stories of this ancient landscape and the people who dwelt there. There are more than 800 ancient monuments within a six-mile (ten-kilometre) radius of the village, with 150 monuments being prehistoric. Monuments include standing stones, a henge monument, numerous cists, and a "linear cemetery" comprising five burial cairns. Several of these, as well as many natural rocks, are decorated with cup and ring marks.
Catrine is a village in East Ayrshire, Scotland which was formerly a centre of cotton manufacture.
Dalgarven Mill is near Kilwinning, in the Garnock Valley, North Ayrshire, Scotland and it is home to the Museum of Ayrshire Country Life and Costume. The watermill has been completely restored over a number of years and is run by the independent Dalgarven Mill Trust.
There are many large stones of Scotland of cultural and historical interest, notably the distinctive Pictish stones, but also the other types discussed below.
Hunterheugh Crags are part of the Fellsandstone escarpment, 5 miles (8 km) north west of Alnwick, Northumberland, England and 9 miles (14 km) from the coast. The site is moorland forming part of the Bewick and Beanley Moors SSSI, although prior to the Bronze Age it is likely to have been thickly forested with broadleaf deciduous trees. This site is most famous for the cup and ring mark art present on the outcrop.
A petrosomatoglyph is a supposed image of parts of a human or animal body in rock. They occur all over the world, often functioning as an important form of symbolism, used in religious and secular ceremonies, such as the crowning of kings. Some are regarded as artefacts linked to saints or culture heroes.
Carved stone balls are petrospheres dated from the late Neolithic to possibly as late as the Iron Age mainly found in Scotland, but also elsewhere in Britain and Ireland. They are usually round and rarely oval, and of fairly uniform size at around 2+3⁄4 inches or 7 cm across, with 3–160 protruding knobs on the surface. They range from having no ornamentation to extensive and highly varied engraved patterns. A wide range of theories have been produced to explain their use or significance, with none gaining very wide acceptance.
The Ballochmyle Viaduct is the highest extant railway viaduct in Britain. It is 169 feet (52 m) high, and carries the railway over the River Ayr near Mauchline and Catrine in East Ayrshire, Scotland. It carries the former Glasgow and South Western Railway line between Glasgow and Carlisle.
Carlin Stone or Carlin Stane is the name given to a number of prehistoric standing stones and natural stone or landscape features in Scotland. The significance of the name is unclear, other than its association with old hags, witches, and the legends of the Cailleach.
The remains of the old castle of Kingencleugh or Kingenclough lies close to east of the town of Mauchline, East Ayrshire, in the old Barony of Mauchline off the A76. The castle is Category B listed.
The Gosford Glyphs, also known as Kariong Hieroglyphs, are a group of approximately 300 Egyptian hieroglyphs located in Kariong, New South Wales, Australia. They are found in an area known for its Aboriginal petroglyphs, just between Gosford and Woy Woy, within the Brisbane Water National Park. The glyphs have been since dismissed as a hoax by authorities and academics after their discovery in the 1970s, but there are still attempts to prove the belief that they were carved by the ancient Egyptians about 4,500 years ago.
Rock art has been produced in Europe since the Upper Palaeolithic period through to recent centuries. It is found in all of the major regions of the continent. One of the most famous examples of parietal art is the Grotte Chauvet in France. The cultural purpose of these remnants of the Paleolithic and other periods of prehistoric art is not known. However, some theories suggest that, because these paintings were created in parts of the caves that were not easily accessed, it is unlikely that they were intended simply as decoration.
Prehistoric art in Scotland is visual art created or found within the modern borders of Scotland, before the departure of the Romans from southern and central Britain in the early fifth century CE, which is usually seen as the beginning of the early historic or Medieval era. There is no clear definition of prehistoric art among scholars and objects that may involve creativity often lack a context that would allow them to be understood.
In the Neolithic and Bronze Age British Isles, rock art was produced across various parts of the islands. Petroglyphic in nature, the majority of such carvings are abstract in design, usually cup and ring marks, although examples of spirals or figurative depictions of weaponry are also known. Only one form of rock art in Europe, this late prehistoric tradition had connections with others along Atlantic Europe, particularly in Galicia.
Sculpture in Scotland includes all visual arts operating in three dimensions in the borders of modern Scotland. Durable sculptural processes traditionally include carving and modelling, in stone, metal, clay, wood and other materials. In the modern era these were joined by assembly by welding, modelling, moulding and casting. Some installation art can also be considered to be sculpture. The earliest surviving sculptures from Scotland are standing stones and circles from around 3000 BCE. The oldest portable visual art are carved-stone petrospheres and the Westray Wife is the earliest representation of a human face found in Scotland. From the Bronze Age there are extensive examples of rock art, including cup and ring marks and elaborate carved stone battle-axes. By the early Iron Age Scotland had been penetrated by the wider European La Tène culture, and a few examples of decoration survive from Scotland. There are also decorated torcs, scabbards, armlets and war trumpets. The Romans began military expeditions into what is now Scotland from about 71 CE, leaving a direct sculptural legacy of distance slabs, altars and other sculptures.
The Cochno Stone is a large cup and ring marked rock at Auchnacraig, Faifley, West Dunbartonshire, Scotland, next to the Cochno farm. It is also known variously as "Whitehill 1" and "the Druid Stone".
George Currie is a Scottish musician and amateur archaeologist. In the late 1970s and early 1980s Currie was the lead guitarist with the band Darts, and as an amateur archaeologist has discovered some 680 of the 3,000 known prehistoric rock carvings in Scotland.
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