Reevaluating Skin Colour Representation in Archaeological Illustrations

The representation of skin colour in archaeological illustrations carries significant influence, impacting perceptions and often reinforcing biases. Recent genetic studies, like those on Ötzi the Iceman and Cheddar Man, challenge traditional Eurocentric depictions and advocate for a more accurate and diverse portrayal of human ancestry. Addressing these biases in visual storytelling requires a thoughtful, evidence-based approach, highlighting the ethical responsibility of illustrators and archaeologists to represent history inclusively.

4 min read

The depiction of human figures in archaeological illustrations is far more complex than it might initially appear. While at first glance, choosing a skin colour for figures in reconstructions might seem purely aesthetic, the decision carries significant weight, influencing perceptions and potentially reinforcing—or challenging—biases. In this blog post, I explore the nuances of representing skin colour in illustrations for archaeology, delving into historical context, current practices, and the responsibilities that come with visual representation.

The history of skin colour in scientific and archaeological illustrations is a topic fraught with colonial legacies and biases. In many ways, the field of archaeology has long grappled with the challenges of representing human diversity, often caught between a desire for accuracy and the limitations of contemporary knowledge and artistic conventions. Historically, archaeological reconstructions have frequently defaulted to pale or “neutral” skin tones, especially in depictions of ancient European or Mediterranean cultures. This trend was not merely a reflection of artistic choices but also an unconscious reinforcement of Eurocentric perspectives. Such representations can obscure the reality of human diversity, particularly in regions with complex histories of migration and cultural interaction.

Figure 1: Revelation of Ötzis Appearance. An artists impression of Ötzi the Iceman, comparing two versions: the older theory with light skin, light eyes, and a full head of hair, and the updated depiction showing dark skin, dark eyes, and a balding head. Snowy mountains are visible in the background

Figure 1: Revelation of Ötzi's Appearance. A new study reveals that Ötzi the Iceman actually had dark skin, dark eyes, and a balding head, rather than the popular assumption of light skin, light eyes, and a full head of hair. The image shows an artist's impression comparing the new and old theories. Image by the Max Planck Institute for Evolutionary Anthropology.

Recent research has begun to challenge these assumptions. For instance, the genome sequencing of Ötzi the Iceman, published in 2023, revealed that he likely had dark skin, dark eyes, and a balding head, upending the widely held belief that he had light skin and hair. Similarly, findings from 2018 concerning Cheddar Man, another ancient European figure, revealed he had dark skin, a discovery that further contests the traditional Eurocentric portrayals of prehistoric Europeans. These scientific breakthroughs underscore the importance of empirical evidence in shaping our understanding of ancient human appearances and challenge illustrators to create more accurate and inclusive reconstructions.

Figure 2: Latest Reconstruction of the Cheddar Man. The latest reconstruction of Cheddar Man, which highlights his dark skin and blue eyes, challenges the traditional depiction of prehistoric Europeans. Image by Werner Ustorf, licensed under CC BY-SA 2.0.

The study by Heather L. Norton (2021), titled "The Color of Normal: How a Eurocentric Focus Erases Pigmentation Complexity," addresses this issue head-on. Norton critiques the prevailing bias toward lighter skin in various scientific disciplines, from dermatology to anthropology. She highlights how this Eurocentric lens has not only skewed research outcomes but also limited our understanding of human diversity. Norton's call for a more inclusive approach to studying pigmentation is crucial for advancing our knowledge and improving health outcomes. This research also has implications for archaeological illustrations, museum exhibitions, and educational materials, which should strive to portray human populations more realistically.

Reflecting on these research findings, I created an illustration depicting the imbalance of historical focus, featuring a magnifying glass over Europe against a backdrop of global histories. This visualisation of Eurocentric bias invites reflection on how we, as archaeologists and illustrators, can broaden our perspectives to embrace the full spectrum of human diversity. It serves as a reminder that our field must remain open to revising long-held beliefs in light of new evidence.

Figure 3: Illustration of Eurocentric Bias by Jona Schlegel.

In working further within any research discipline, it is vital to remain receptive to continuous learning and adaptation. As we tackle our biases—particularly Eurocentric ones—we enrich our understanding of our shared past. By committing to a path of constant reflection and updating our interpretations, we can paint a more accurate and inclusive picture of human history.

References

Norton, H.L. (2021). The Color of Normal: How a Eurocentric Focus Erases Pigmentation Complexity. American Journal of Physical Anthropology 175: 156–70. https://doi.org/10.1002/ajpa.24214
Oppenheimer, C., et al. (2023). New genomic insights into Ötzi the Iceman’s appearance and ancestry. Nature Communications 14: 1–9. https://doi.org/10.1038/s41467-023-40681-x
Brace, S., et al. (2018). Paleolithic insights into human pigmentation from Cheddar Man’s genome. Nature 555: 290–93. https://doi.org/10.1038/nature25959