Archaeologia Islandica - 01.01.2004, Side 133

Archaeologia Islandica - 01.01.2004, Side 133
The Visual Archive in Icelandic Archaeology Fig. 10. Chart showing ratio of the four principal subjects of images in Arbók by decade. than 3% of all photographs (admittedly there is ambiguity around some shots which include a person or part of a per- son even though the main subject is something else such as the structure or feature). Only in a couple of instances were there drawings of people - these were sketches of a site, and these occur at the tum of the century in Bruun's papers and also Erlingsson's Ruins of the Saga Time. Indeed, both Bruun's and Erlingsson's perspective drawings of sites and features stand out as exception- al. Photographs on the whole therefore, are used to cover exactly the same sub- ject as drawings, though obviously pro- ducing a different representation than a drawing (and, noticeably, almost always lack a scale in the frame). Indeed, this does not mean photographs double up on line drawings - rather it seems photo- graphs are often substitutes for drawings. This is clear if we compare the ratios of the four main types of subject according to media (Figure 9); the most common subject of a drawing is a structure, fol- lowed by specifíc features and then loca- tion plans, while artefact drawings con- stitute the smallest of all; in contrast, almost the inverse ratio is seen with pho- tographs, where objects comprise the greater portion of photographs, closely followed by features, then sites and loca- tions. This reliance on photography espe- cially for artefacts, explains the clear dif- ference in the quality of drawings of finds in Icelandic archaeology, compared to site plans. There simply has not been any tradition of finds illustration to set any standards. Although this condenses data from over a century, there is little temporal variability to this pattern - certainly none which seems significant; however, there 131
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Archaeologia Islandica

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