The purpose of
archaeological illustration is to record material evidence,
features of a site, archaeological activities that disturb the
site, context of the finds in situ, and information for
catalogue identifications. Although, photography would seem
appropriate and an
even better solution, the accurate illustration of the
archaeological evidence allows for information that a photograph
may not be able to portray properly. For example, the technical
drawing of a lithic piece, or stone implement, allows for study
of the stone's manufacture by the indication of the strike patterns on the surface. This
allows scholars to assist in the identification of lithic place
manufacture and often helps in the chronology of the site. The
study of ceramics is often based on decorative elements found on
the pottery. Proper recording of the design elements allows for astylistic study and
a better understanding of the culture or its influences.
Archaeological illustration requires knowledge of the materials
coupled with the ability to portray the information accurately.
Dr. Dorothy Dvorsky-Rohner, Classics Department, worked
on the site of Ftelia, an archaeological site dating from
the Neolithic period, 6,000 - 5,000 BC. The UNCA student
group participated in the work on this site in conjunction with
the International Study Abroad Program in Greece.
Study Abroad Programs
Visit the Oxford Journal
UNCA offers exciting summer programs in
and Oxford, as well as a semester or year
Chester, England. You
can also study in other English-speaking countries like
and Ireland. Or you can participate
in study abroad programs where courses are
especially taught in English. Such programs are offered in
My assignment in Greece was threefold. I was commissioned to
secure still and moving digital images for use in the creation
of an online course on art and archeology in ancient Greece. The
panoramas will be moving images on the website, but the stills
are quite strong. Also, I was encouraged to obtain images of ancient sites for use (with
rights and/or permission) by UNCA’s humanities program.
I was asked to document the work of UNCA’s students as they
engaged in archeological research, as well as their general
participation in this study abroad program.
there I took the opportunity to sample images of contemporary
Greek life and culture, and many of those are presented here.
most personal response to the experience came with the
development of a fascination with the faces depicted in ancient
stonework. At times
the faces simply present themselves.
Some present character as the image is enhanced.
I have found great personal reward in working to pull the
personality of the individual to the surface of the stone.
from Rhodes, Crete and Cambridge Universities offered an
additional opportunity when they asked my assistance in
documenting previously unrecorded and unpublished finds.
Those photos will appear in their separate publications
over the next two years.
was shot using a Sony Mavica, and processed with Photoshop 6.
The smaller images were printed on a 600 dpi inkjet
printer. The larger
images were laser printed at a local print shop.
exhibit I attempted to give the viewer an idea of the
visual memories I have from my adventures in Greece during June
and July 2001.
From my history studies I was familiar with Greek Art and
Architecture, and as the “go-fer” in the Art Department, I
have filed Greek Art Slides a gazillion times. However with the
exception of Elgin’s thievery (and pieces in other museums all
over the world), I had never seen Greek art in Greece. Even
though Ancient Greece isn’t my primary area of interest, it
was with great excitement that I tagged along with Dorothy,
Alan, Mary Chakales and the students on their archeological dig.
photographs selected are a hodge-podge, with little in common
except that they are all of Greece.
However, that is how my memories are…fleeting images of
of rocky, arid countryside surrounded by multiple shades of blue
water; blindingly white buildings in various stages of disrepair
against deep shadows and the bluest sky which I thought was only
seen in picture postcards; always brilliant sun and hot in most
places but cool and extremely windy in others; within this harsh
brightly lighted land—the kind of light which plays havoc with
camera light meter—were shadowed and secluded places of
refreshment and solitude; countryside which is mostly dull olive
or brown sun-dried grass but many wildflowers marginally
persevere among the rocks and more exotic plants thrive in some
protected areas—the geraniums were small trees and the huge,
brilliant bougainvillea draped the courtyards in splendor;
wonderful people who drove like maniacs in the city but rode
their burros or walked in the countryside; small, very
hard-working women clad in black from head to toe contrasted
with nude beaches and people having fun; a deeply religious
country with Orthodox churches and small chapels far
outnumbering the hotels yet many aspects of the pagan still
I hope you
enjoy my “postcards” of Greece.