부산대학교 도서관

Archaeology as a scientific area follows this unchangeable law. It is obvious to state that archaeological work in our time is largely unlike 100 years ago. It is likewise apparent that difficulties considered and epistemological bases are different. An early-XXI century archaeologist drastically differs from a colleague from the middle XX century. We are amply entitled to state that tempora mutantur, nos et mutamur in illis. Yet, within this incessant change we can discern a relic. An element has stayed steady, without substantial change. Namely, the drawing of architectonic antiques. This is a paradox. One of the essential topics in archaeology, particularly of that devoted to ancient architecture, has remained unaware of the changes underwent by archaeological practice. Thus, an archaeological draughtsman from the XXI century hardly distinguishes from one from the early XX century. Indeed, novel instrumentation and equipment are employed nowadays, but the concept behind has remained essentially unaffected. Therefore, regarding archaeological structural drawing, a new Latin expression should be conceived: omnia mutantur, nos non et mutamur in illis. It can be easily observed that the epistemological consideration of archaeological drawing has been historically postponed ad calendas graecas. A deep and critical reflection on the reasons why drawing is actually needed, on the definition of archaeological drawing itself, and on its purposes has not been contemplated. Nor has there been a well-defined idea of which expression mechanisms should be implemented in order to achieve the expressive objectives of archaeological drawing, either. These deficiencies coincide presently at an historical moment in which the development and implementation of novel massive data acquisition (MDA) technologies are challenging the traditional documentation and graphical representation. In order to cope with and to overcome these challenges, this Thesis considers in the first place the definition of archaeological drawing, with the purpose of establishing its restrictions and the background in which it should be situated. This is linked directly to the parameters of general graphical representation. Archaeological drawing is, first of all, drawing, and hence it is not possible to make a reflection on this topic without determining the intrinsic nature of graphical representation. And it is drawing on the basis that it allows the reproduction, the analysis, the comprehension, and the explanation of reality. The third aspect considered in this work is that of the draughtsman’s role and training. The present role, desirable training and abilities that should constitute the background of the person who must generate this graphical documentation are also analysed herein. Once defined the draughtsman’s role, the available tools are considered, and a reflection is done on the implementation of novel technologies, their benefits and drawbacks, and above all the future challenges to be met. An epistemological discussion at this revolutionary historical moment is introduced on this topic. In order to look into the future, it is absolutely necessary to sketch the historical development of archaeological drawing, from its beginnings to the present day. Based on the study of this evolution, an attempt is done to understand the present ways of drawing as well as to foresee which its fate could be in case a deep and critical reflection on this topic be not undertaken. Next, a specific grammatical basis for graphical language is proposed. Drawing is seen as a language, and as so a specific grammar, semantics, as well as orthography, are required. From the consideration of these aspects, this Thesis proposes a graphical language focused on the specific needs of the archaeological-architectonical drawing. Finally, conclusions for future prospects are drawn from the different aspects examined in this work. The current capacity to actually address the present changes and the unavoidable future challenges which will shake up the field of graphical documentation is considered, while pointing up to existing epistemological gaps and proposing correction tools, with the ultimate purpose of contributing to transform a periculum in mora into a post nubila, Phoebus in the area of architectonical-archaeological drawing.