- Published on
A Journey Through the History of Archaeological Illustration
- Authors
- Name
- Jona Schlegel
- @JonaSchlegel
My story with archaeological illustration started almost by chance, during the quiet days of the 2019 lockdowns. It began as a search for something different to do, a way to break away from the endless hours in front of screens. I found myself drawn to watercolor painting, a medium that allowed me to explore my interest in archaeology in a new, creative way. This hobby, which started as a way to turn off from the digital world, surprisingly led me towards embracing digital technology. In 2021, I got myself an iPad, and this tool changed my approach to illustrating. The iPad gave me new possibilities to explore and create. My digital drawings became a fresh way to look at archaeological themes. For those interested in how this digital shift influenced my work, I’ve shared more in a previous post, "ArchInk: A Journey Through Ink and Archaeology".
Figure 1: Different examples of archaeological illustrations by Jona Schlegel.
After finding a personal connection to illustrating through my watercolor paintings and iPad drawings, it's important to step back and consider what archaeological illustrations are and to contextualize them. As Morgan and Wright discuss in their article, archaeological illustrations are more than mere drawings. Unlike photographs, these drawings are not merely replicas of the artifacts or sites; they are about interpreting and understanding the archaeological record which is being destroyed during excavations. Every line and sketch in archaeological field drawing translates the physical and tangible into a form that can be studied, analyzed, and understood. The act of drawing itself becomes a bridge between observing and understanding the complex archaeological features, landscapes and artifacts (Morgan & Wright, 2014).
The rise of digital recording strategies in archaeology presents new challenges and opportunities for field drawing. While digital methods have not completely replaced hand-drawn records, they have introduced a new way of capturing and interpreting archaeological data. The transition from pencil and paper to digital tablets and software has changed how archaeologists engage with the record. This shift raises questions about the nature of drawing as an interpretive act and its necessity in the era of digital archaeology.
To fully understand the scope of archaeological illustration, it is also interesting to look at its historical context, origin and development over time. So, let's explore both, the traditional and digital forms of archaeological illustration.
Figure 2: Open notebook showing the different aspects one can use archaeological illustrations for. Illustration and photograph by Jona Schlegel.
Archaeological illustrations have evolved significantly over the centuries, from manual travel sketches to digital reconstructions and documentations. To understand its impact, it's essential to consider its origins and how it has evolved over time.
The first archaeological illustrations can be traced back to the Renaissance, a period marked by a renewed interest in the classical world and its artifacts. These early illustrations were often created by artists and illustrators who accompanied explorers and archaeologists on their expeditions or were explorers themselves and sketched their findings as part of their diaries. Their purpose was not only an artistic endeavor but also to document the newly uncovered artifacts and structures (Olwen 1959). One example is the illustration by Bartolomeo Landscape with the Ruins of an Archway, which beautifully captures the essence of archaeological ruins within a natural landscape, blending artistic interpretation with historical details.
Figure 3: Landschaft mit Torbogen-Ruine (Landscape with Archway Ruin), ca. 1508, by Fra Bartolommeo. This brown ink drawing on paper shows a peaceful landscape with a crumbling archway, likely created as a study. Part of the Gabburri Album collection, it reflects the Renaissance interest in depicting nature and classical ruins. Acquired by the Städel Museum in 1957.
As the field of archaeology matured, so did the techniques and purposes of its illustrations. By the seventeenth century, archaeological illustration had become a specialized discipline. Illustrators began to develop standardized methods for accurately depicting artifacts and ruins. This shift marked a move from purely artistic representations to more scientific and methodical approaches. As we progress to the era of systematic archaeology, we find illustrations like the Plan of the Citadel of Tiryns after the Excavations by Schliemann, 1884, which mark a pivotal shift. Heinrich Schliemann's work at Tiryns exemplifies how archaeological illustration evolved into an essential tool for excavation, documentation, and interpretation, reflecting the adoption of more scientific and systematic methodologies in archaeology.
Figure 4: Plan of the Citadel of Tiryns from Heinrich Schliemann’s 1884 excavations. Published in his 1885 work, Tirynthe: Le palais préhistorique des rois de Tirynthe, the plan illustrates the layout and fortifications of the Mycenaean citadel, reflecting the advanced architectural design of the period.
Outreach and transmitting results to the public are also integral to archaeological illustration. Archaeologists have various options to transmit the information gathered during excavations, making the remains more understandable. This includes site-specific guidebooks illustrated with plans and photographs, as well as materials aimed at a younger audience, creating fictional narratives that recreate daily life in the past (Guertin 2018).
Overall, illustrations in archaeology helps with understanding different details of what is being drawn, aiding in identification and interpretation. In the field, technical drawing is used to draw plans and sections, which are often digitized for publications. Finds specialists also draw artifacts, using various techniques to get exact measurements. These drawings assist in categorizing and dating artifacts, contributing to a deeper understanding of the site (Johnston 2017). The history of archaeological illustration is a fascinating and still ongoing journey from hand-drawn sketches to digital renderings and still connected to art. This aspect has not only transformed how we document archaeological finds but has also reshaped our understanding and interpretation of the past.
Figure 5: Open notebook showing a diagram of how science communication and art can be used in archaeology. Illustration and photograph by Jona Schlegel.
Still today, the role of illustrations in archaeology remains pivotal. It bridges the gap between the technical aspects of archaeological science and the public's imagination, allowing us to visualize and comprehend the complex tapestry of human history. Whether through traditional hand-drawn techniques or advanced digital tools, the art of archaeological illustration continues to be an essential element in unraveling the mysteries of our past and sharing those discoveries with the world.
References
- Guertin, Z. (2018). Birds' eye view of Aeclanum. In Illustrating Ancient History. Retrieved January 14, 2024, from https://www.museums.cam.ac.uk/illustrating-ancient-history.
- Johnston, E. (2017). Archaeological illustration. Retrieved January 14, 2024, from https://www.archaeologic.org/archaeological-illustration.
- Moser, S. (2012). Archaeological Visualization: Early Artifact Illustration and the Birth of the Archaeological Image. In Archaeological Theory Today (pp. 292-322). Cambridge: Polity.
- Morgan, C., & Wright, H. (2014). Pencils and Pixels: Drawing and Digital Media in Archaeological Field Recording. Journal of Field Archaeology, 42(3), 285-303.
- Olwen, B. (1959). Illustrating Archaeology. The Manchester Guardian.
- Wikipedia contributors. (n.d.). Archaeological illustration. Retrieved January 14, 2024, from https://en.wikipedia.org/wiki/Archaeological_illustration.