Cup and ring marks or cup marks are a form of prehistoric art found mainly in Northern England and Scotland 1 as well as Ireland, Brittany North West Italy, Alps , Thessalia Central Greece and North West Spain 2 although similar forms are also found throughout the world including Mexico, Brazil, Greece, and India3.
They consist of a concave depression, no more than a few centimetres across, pecked into a rock surface and often surrounded by concentric circles also etched into the stone. Sometimes a linear channel called a gutter leads out from the middle.
Many engraved blocks are visible in the north west region of Italy (Piedmont): The best known places are "La Bessa" 4 and "Valchiusella" 5.
Similar patterns are known in north western Spain, which has given them the name of Galician style. These types, the cup-and-ring, cup-and-ring with gutter and the gapped concentric circles motifs are shared between this part of Iberia and the British Isles, suggesting a cultural link along the coasts of Atlantic Europe.
Precisely dating megalithic art is difficult as even if the megalithic monument can be dated, the art may be a later addition. Work at Drumirril in County Monaghan has uncovered Neolithic and early Bronze Age occupation evidence around the rock carvings there and this dating is generally accepted for most of the art. The Hunterheugh Crags cup and ring marks near Alnwick in Northumberland have recently been demonstrated to date back into the Early Neolithic through their stratigraphic relationship with other, datable features. Some cup marks have been found in Iron age contexts but these may represent re-used stones.
Where they are etched onto natural, flat stone it has been observed that they seem to incorporate the natural surface of the rock. Those at Hunterheugh are mostly connected to one another by gutters that can channel rainwater from one to the next, down the sloping top of the stone.
It has been suggested by archaeologistClive Waddington that the initial Early Neolithic impetus to create the marks was forgotten and that the practice fell into abeyance until a second phase of creation continued the basic tradition but with less precision and more variability in design. The markers of this second phase moved the art from natural stones to megaliths as its symbolism was reinterpreted by Later Neolithic and Early Bronze Age people.
Their purpose is unknown although some may be connected with natural stone outcrops exploited by Neolithic peoples to make polished stone axes. A religious purpose has been suggested.
Other examples of sites with cup and ring marks include :
Beckensall, Stan and Laurie, Tim. 1998. Prehistoric Rock Art of County Durham, Swaledale and Wensleydale. County Durham Books.ISBN 1-897585-45-4
Beckensall, Stan. 2001. Prehistoric Rock Art in Northumberland. Tempus Publishing. ISBN 0-7524-1945-5
Beckensall, Stan. 2002. Prehistoric Rock Art in Cumbria. Tempus Publishing. ISBN 0-7524-2526-9
Butter, Rachel. 1999. Kilmartin. Kilmartin House Trust. ISBN 0-9533674-0-1
Hadingham, Evan. 1974. Ancient Carvings in Britain; A Mystery. Garnstone Press. ISBN 0-85511-391-X
Morris, Ronald W.B. 1977. The Prehistoric Rock Art of Argyll. Dolphin Press. ISBN 0-85642-043-3
Proc. Soc. Antiq. Scot. 1970-71. Vol.103. Pps.33-56.
Papanikolaou Stelios. 600 Written Rocks. Channels of primeval knowledge Larissa <<ella>> Second Revised Edition 2005 spapinvest@yahoo.gr ISBN 960-8439-21-3
