Stone Country – Landscapes and Lifescapes

A Crow Dictionary Feannag –  black asterisk of the sky,   fitheach  – a quartz-glinting raven’s eye, starrag  – the hoodie prowling the shore, cathag  – the sea-eyed jackdaw,   cnàmhach  – blood-billed chough of the machair, pioghaid  – chuckling, piebald joker, ròcas  – the belfry’s raucous rook, garagg  – what the carrion bird took, sgreuchan-coille  – my own oak-guide jay, we look to each to show us the way.   In their very names the Scottish hills call out the dwelling place of birds. A toponymical survey of most Scottish mountain ranges or lochs reveals the legacy of Scotland’s familiar montane birds. Around Loch Lomond and its parent hill we have: Meall an t-Seabhaig (mound of the peregrine), Creag na h Iolaire (rock of the eagle), the high stony Ptarmigan Ridge on Ben Lomond, or Coire na Baintighearna (corrie of the mountain linnets). By far the most common toponym is for crags and hills named after the ubiquitous mo...

Shamanistic zoomorphs, lithic graffiti, hallucinogenic tableaux, territory markings, knife-sharpeners … rock art – l'art rupestre – is so far beyond our traditional 'linguistic' history, it does not have an interpretative alphabet or a single line of confirmed meaning. There are many interpretations of the 'gravures' (carvings) and 'abris ornés' (decorated caves) in the hidden bivouacs throughout the forest of Fontainebleau. The sandstone marks easily under the nib of a hard flint from the deeper calcareous geology and this soft stone canvas has allowed our European ancestors to carve the stylised and modernistic strokes we might note as remarkable in a Picasso painting. Most of the carvings involve complex hash-marks and grids, overlaying each other, occasionally with mandala-like boxes. Sometimes there have been carved astonishingly beautiful anthropomorphs, (stylised human-like figures), or zoomorphs, (deities or humans manifesting in animal form) or argu...

Glencoe by Horatio McCulloch Landscape is a notoriously slippery thing to capture. It seems simple enough and is usually framed with the romantic grammar of dramatic vistas, through photography, painting and film. The modern thrill is delivered by drone's-eye view as you whir smoothly through mist and cloud over a Highland loch or corrie, when you might feel the similar emotional rapture of Edwin Landseer, Horatio McCulloch or the early photographers such as Robert Moyes Adam and Frank S. Smythe. This visual drama of the Highlands as natural wilderness and freedom from human influence is a view which has been painstakingly constructed over centuries, but it means little if you were to ask what is valued, and the landscape seems more fragile if you do. Emigrants to Canada would clutch sods of turf to their chest, taking a little bit of home to lay on their new burial grounds. Clearance victims would carry a particular stone or wooden beam from their ruined homes, and an oral...

Living Stones ‘ For although we are accustomed to separate nature and human perception into two different realms, that are in fact indivisible. Before it can ever be a repose for the senses, landscape is a work of the mind. Its scenery is built up as much from strata of memory as from layers of rock .’ Simon Schama, Landscape & Memory The American anthropologist A. Irving Hallowell spent most of his research time amongst the Ojibwe culture of Canada. This culture he discovered did not distinguish between the animate and the inanimate. In fact, any object or being could find itself attributed to a living being with answerable qualities. He found the Ojibwe exhibited a seamless ability to 'see' a stone or tree as alive or animated with some spirit of being in much the same way a person is, and the waking world to be as mutable as the dreaming world. Any phenomenon, whether it be a bird, a stone, a tree, or even the sound of thunder, could all act as tempo...

'Tha tìm, am fiadh, an coille Hallaig ...' Hallaig - the lost village of Raasay - is a powerful place. Arguably, it has become a shibboleth for the soul of Gaelic culture. To visit it, to just be there momentarily and feel the resonance of the place, is to know the fragility of place and home, of how kinship can be shattered and how loss can invade a land. Aptly, Hallaig is now a site of pilgrimage for those who value the universal lessons of history.  There are t errible reasons for the loss of Hallaig. Its silent mouths of abandoned shielings, the dumb sheep meandering amongst the ruins, whisper with Sorley MacLean's poetry. The place misses the sounds of day-to-day community, and all around the woods and burns and slopes this tough but rich landscape once made this a hardy paradise under the eastern cliffs of Raasay. Facing east to the dawn and overlooking the peninsula of Applecross and the berry-dark depths of the Inner Sound, the walk to Hallaig leads quietly...

The Moray Firth’s sand-bitten southern coast, between Findhorn and Nairn, is home to Scotland’s most cautionary tract of land. Now a wilderness of maritime forest, dunes, salt marsh and spits of sand, its human history has been dated to the Bronze Age, around 1300 BC, but it is a territory that since glacial times would have been mobile and mutable. The Laich of Moray is the fertile strip of plain squeezed between the foothills of the Cairngorms and the Moray Firth’s south coast. In Gaelic it is called Machair Mhoireibh (the machair of Moray), a perfect habitat for golf courses and rich arable farmland, threaded by the glacially-rivered straths of Nairn, Findhorn and Spey. Culbin is an old parish which is now buried under 28 square kilometres of duneland and recent forestry. Sweeping east of Narin and curving in to rise up to its greatest heights above the estuary of the River Findhorn, it is now managed by Forestry Commission Scotland, but it is notable that this is a humanl...

Many volumes have been written on risk from the point of view of Economics, Evolutionary Theory, Society, etc.but risk on the hills is becoming a lot more topical with the sheer volume of people approaching mountains as something akin to 'instant freedom' from the urban world or as a monetised escape. The recent criticism of mountaineering as rich people building their CV and measures to limit ascents of Everest, for example, have brought this issue to the fore. What are our mountaineering responsibilities and rights in a 'post-exploration' world? Our author Francis Sanzaro (author of 'The Boulder'), now editor of Rock & Ice, has written an intriguing piece for the New York Times on our right to take risks in the mountains.