TEA Photo Contest 2024: “Archaeology: Art or Science?”

Archaeology is art. And science.

João Vincíus Chiesa Back

University of Minho & University of Évora

This image simulates a Bronze Age funerary context from the northwest of the Iberian Peninsula. Based on photogrammetry and 3D modeling, the image symbolizes the use of a horizontal rim vessel discovered in a grave at the Quinta do Amorim 2 archaeological site (Braga, Portugal), which was the main focus of my presentation at EAA 2024.

Since the late 19th century and throughout the 20th century, archaeologists have observed traces on the inner walls of this type of vessel, particularly on the side opposite the handle, which they interpreted as possibly being soot and/or organic residues. Recently, studies jointly coordinated by Dr. César Oliveira (Hercules/University of Évora) and Dr. Ana Bettencourt (Lab2PT/University of Minho) have investigated the chemical nature of these residues in well-documented funerary contexts using Gas Chromatography-Mass Spectrometry (GC-MS). The detailed analysis of these traces demonstrates how closer collaboration with the so-called ‘hard sciences’ can provide crucial insights into the probable contents of these types of vessels, which are characteristic of Bronze Age funerary contexts from Northwest Portugal and Spain.

The present digital drawing of the vessel and the grave, created from plans drawings and based on both 3D modeling and photogrammetry of the vessel, demonstrates the essential link between science and art in archaeology. Whether through analytical chemistry techniques or the use of digital art software, archaeological interpretations clearly highlight – just as the fire likely used in the Bronze Age ritual practices mentioned – how we can further enrich our understanding of the human past.

Just as Leopold von Ranke argued that history is both art and science, and that this dual nature does not diminish its credibility, we hold the same view regarding archaeology. Archaeology is art. And science.

NB: This issue’s cover is graced with a simulation of a horizontal rim vessel from the Bronze Age site of Quinta do Amorim 2 (Portugal).

Archaeology: Art, Science and the beauty of stress

Heide Wrobel Nørgaard

Moesgaard Museum, Denmark

Archaeological science can also be a work of art! This is not a picture made by Hundertwasser or a famous cubistic artist; instead, it shows the metallographic structure of a small piece of metal that hides the secrets of crafting. In fact, this microphotograph comes from a Scandinavian neck collar from 1300 BC, and it shows the effects of stress!

All the fine black lines are caused by stress through deformation within the last working step. However, the artefact has already been exposed to greater stress, which is reflected in the crystals. The crystals show that major deformation processes have taken place during manufacture. The evidence of this old stress is much more colorful and shows itself in the linear color differences in the single blue or purple crystals, the so-called annealing twins. Such twins are formed when highly stressed and deformed crystals are annealed (heated) and the crystal structure relaxes. This beautiful mixture of colours, shapes and shadows is the reward of working with archaeometallurgy. The metals do not reveal their beauty without work (and science!). The archaeologist needs to ask the right questions, needs to do the correct preparations and needs to know which crystallographic structure can inform about which crafting process.

The work with metallography can help to inform about craft techniques, technological shifts, raw materials and skills and even about regional differences and styles. But it is only valuable when used on a source critical investigated material base. Thus, in order to see this beauty (both aesthetic and informational), you really need to know your material!

In this case, the neck collar is cast and then hammered afterwards into its final shape. The decoration (the area of the biggest stress) is applied post casting, and the collar is not annealed after the last working process.

Archaeology is art, and science and the art of science all at once.

“Seeing through”

Nicolas Vanderesse

PACEA, CNRS, University of Bordeaux

"The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and true science." It is with these words from Albert Einstein that we would like to introduce this funerary urn, originating from the Gallo-Roman necropolis of Excisum, France (1st century AD). Displayed here in false colours, it has been analyzed by X-ray microtomography, a noncontact technique that produces three dimensional images of the internal structure of objects. The bones are clearly evident due to the relatively high density that make them appear brighter than the sedimentary content of the urn. This visualisation helps in the assessment of the spatial distribution of the bones before their manual removal for further analysis.

The mystery of this urn is doubled: What does the urn contain, and what were the funerary practices that led to the conception of this funerary vessel? The study of the bones has led to the conclusion that one third of them are of animal origin, and the rest belong to a single, 10–14-year-old person. Ancient written sources show that in Gallo-Roman times, funeral ceremonies were ritualized and codified: burying the dead was an art. However, only the final deposit has survived to the present day. It is up to the archaeologist to gather all the clues needed to retrace this process, possibly with the help of advanced characterization techniques that complement his or her expertise.

So, what about archaeology, art and science? Let's just say that some images speak for themselves: given a reasonable amount of post-processing in an image analysis software (Comet's Dragonfly in the present case), archaeological mysteries can turn into aesthetic experiences.