Stuart McHardy examines the Pictish symbols which have been discovered on various items across Scotland. The book sets out a cohesive interpretation of the Pictish past, using a variety of both temporal and geographical sources. This interpretation serves as a backdrop for his analysis of the symbols themselves, providing a context for his suggestion that there was an underlying series of ideas and beliefs behind the creation of the symbols.
The Picts, the most powerful group in northern Britain for some 500 years, mysteriously disappeared from contemporary records in the 9th century. All that remains of their language are fragments in the names of places and people, along with symbols carved on monuments and cave walls. This book explains these symbols.
When the Romans came north to what is now modern Scotland they encountered the fierce and proud warrior society known as the Picts, who despite their lack of discipline and arms, managed to prevent the undefeated Roman Army from conquering the northern part of Britain, just as they later repulsed the Angles and the Vikings.A New History of the Picts is an accessible true history of the Picts, who are so often misunderstood. New historical analysis, recently discovered evidence and an innovative Scottish perspective will expose long held assumptions about the native people.This controversial text contests that Scottish history has long since been dominated and distorted by misleading perspectives. A New History of the Picts discredits the idea that the Picts were a strange historical anomaly and shows them to be the descendants of the original inhabitants of the land, living in a series of loose tribal confederations gradually brought together by external forces to create one of the earliest states in Europe: a people, who after repulsing all invaders, merged with their cousins, the Scots of Argyll, to create modern Scotland. All of Scotland descends from the fierce Picts.
Early historic Scotland - from the fifth to the tenth century AD - was home to a variety of diverse peoples and cultures, all competing for land and supremacy. Yet by the eleventh century it had become a single, unified kingdom, known as Alba, under a stable and successful monarchy. How did this happen, and when? At the heart of this mystery lies the extraordinary influence of the Picts and of their neighbours, the Gaels - originally immigrants from Ireland. In this new and revised edition of her acclaimed book, Sally M. Foster establishes the nature of their contribution and, drawing on the latest archaeological evidence and research, highlights a huge number of themes, including the following: the origins of the Picts and Gaels; the significance of the remarkable Pictish symbols and other early historic sculpture; the art of war and the role of kingship in tribal society; settlement, agriculture, industry and trade; religious beliefs and the impact of Christianity; how the Picts and Gaels became Scots.
“A major study of the art of the Picts.” —Library Journal Drawing on their extensive research and expertise, renowned historians George and Isabel Henderson illuminate one of the great enigmas of medieval art: the unique metalwork and sculpture of the Picts. Tribal Celtic-speaking warriors and farmers in what is now Scotland, the Picts were one of the major peoples of early medieval Britain, but their culture and their beautiful art have puzzled historians for centuries. George and Isabel Henderson’s acute analysis reveals an art form that both interacted with the currents of “Insular” art and was produced by a sophisticated society capable of sustaining large-scale art programs. The illustrations include specially commissioned drawings that help one understand the mysterious symbols found in the art.
Some years ago a revolution took place in Early Medieval history in Scotland. The Pictish heartland of Fortriu, previously thought to be centred on Perthshire and the Tay found itself relocated through the forensic work of Alex Woolf to the shores of the Moray Firth. The implications for our understanding of this period and for the formation of Scotland are unprecedented and still being worked through. This is the first account of this northern heartland of Pictavia for a more general audience to take in the full implications of this and of the substantial recent archaeological work that has been undertaken in recent years. Part of the The Northern Picts project at Aberdeen University, this book represents an exciting cross disciplinary approach to the study of this still too little understood yet formative period in Scotland's history.
The Picts were an ancient nation who ruled most of northern and eastern Scotland during the Dark Ages. Despite their historical importance, they remain shrouded in myth and misconception. Absorbed by the kingdom of the Scots in the ninth century, they lost their unique identity, their language and their vibrant artistic culture. Amongst their few surviving traces are standing stones decorated with incredible skill and covered with enigmatic symbols - vivid memorials of a powerful and gifted people who bequeathed no chronicles to tell their story, no sagas to describe the deed of their kings and heroes. In this book Tim Clarkson pieces together the evidence to tell the story of this mysterious people from their emergence in Roman times to their eventual disappearance.
This unique volume clearly demonstrates simple geometric techniques for making intricate knots, interlacements, spirals, Kellstype initials, human and animal figures in distinctive Celtic style. Features over 500 illustrations.
Who was Merlin? Is the famous wizard of Arthurian legend based on a real person? In this book, Merlin's origins are traced back to the story of Lailoken, a mysterious 'wild man' who is said to have lived in the Scottish Lowlands in the sixth century AD. The book considers the question of whether Lailoken belongs to myth or reality. It looks at the historical background of his story and discusses key characters such as Saint Kentigern of Glasgow and King Rhydderch of Dumbarton, as well as important events such as the Battle of Arfderydd. Lailoken's reappearance in medieval Welsh literature as the fabled prophet Myrddin is also examined. Myrddin himself was eventually transformed into Merlin the wizard, King Arthur's friend and mentor. This is the Merlin we recognise today, not only in art and literature but also on screen. His earlier forms are less familiar, more remote, but can still be found among the lore and legend of the Dark Ages. Behind them we catch fleeting glimpses of an original figure who perhaps really did exist: a solitary fugitive, tormented by his experience of war, who roamed the hills and forests of southern Scotland long ago.
