Volumes / Journal / 12 - 2001 / Camiz S., Rova E.

Exploratory analyses of structured images: a test on different coding procedures and analysis methods

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Fig. 1 – Examples of different image patterns. a) simple pattern consisting of a single repeated icon; b) simple structured image (two different icons of the same size, alternating on thesame line); c)simple structured image (two different icons of the same size, repeated on two superimposed lines); d) more complex structured image (repetition of a group formed by two different superimposed icons alternating with a single larger icon,ofthesame shape of the latter one).

Fig. 1 – Examples of different image patterns. a) simple pattern consisting of a...

Fig. 2 – Examples taken from the analysed seal image corpus of: a) different iconographic elements: a1 = man with open arms, passing by;a2=sitting woman, with parallel arms; a3 = passing caprid; a4 = vessel; b) fixed sub-patterns: b1 = a woman with open arms sitting on a bench carrying a vessel; b2 = two rampant lions in front of each other with an object in-between; c) overall image composition: c1 = image composed by three identical sub-patterns, each formed by two elements (Seal no. 4); c2 =image composed by two sub-patterns, each onesubdivided into three smaller sub-patterns. Notice how the different elements and sub-patterns are associated to form a complex image (Seal no. 450).

Fig. 2 – Examples taken from the analysed seal image corpus of: a) different ico...

Fig. 3 – Seals of different theme and style portraying passing caprids. a)Seal no. 3; b)Seal no. 4;c) Seal no. 767.

Fig. 3 – Seals of different theme and style portraying passing caprids. a)Seal n...

Fig. 4 – Seals of different theme and style portraying human beingscarrying objects. a) Seal no. 19; b) Seal no. 901; c) Seal no. 750; d) Seal no. 930.

Fig. 4 – Seals of different theme and style portraying human beingscarrying obje...

Fig. 5 – Examples of different composition patterns on single-row seal images. a) Seal no. 455; b) Seal no. 51; c) Seal no.430; d) Seal no. 387.

Fig. 5 – Examples of different composition patterns on single-row seal images. a...

Fig. 6 – Examples of different groups of seal images: “naturalistic” (nos. 1-4) and “schematic” (nos. 6-9); no.9shows intermediate features. a)Seal no. 566 (war scene); b) Seal no. 750 (sacred ceremony); c) Seal no. 351 (storage scene); d) Seal no. 50 (complex animalistic composition); e) Seal no. 774 (row of vessels); f) Seal no. 833 (row of caprids); g) Seal no. 455 (row of spiders); h) Seal no. 796 (sitting women manipulating vessels);i)Seal no.429 (standing women carrying objects); j) Seal no. 335 (human beings alternating with animals and objects).

Fig. 6 – Examples of different groups of seal images: “naturalistic” (nos. 1-4) ...

Fig. 7 – Three seal images (nos. 50, 51, 778) with corresponding descriptive texts (original coding; codings nos. 1, 2 as used for the here discussed analyses).

Fig. 7 – Three seal images (nos. 50, 51, 778) with corresponding descriptive tex...

Fig. 8 – Representation of the images on the plane spanned by MCA axes 1 and 2. Seals mentioned inthe text areemphasised. A:Warscenes; B: Hunting scenes; C: Naturalistic sacred scenes; D:Schematic sacred scenes (processions ofwomen carrying standards); E:Naturalistic storage and craftsman scenes; F: Schematic craftsman scenes (sitting women manipulating vessels); G: Spiders; H: Vessels.

Fig. 8 – Representation of the images on the plane spanned by MCA axes 1 and 2. ...

Fig. 9 – Qualitative (presence/absence) TCA on coding no. 1. Representation of theimages ontheplane spanned byaxes1 and2. A:War scenes; B: Hunting scenes; C: Naturalistic sacred scenes; D: Schematic sacred scenes (processions of women carrying standards); E: Naturalistic storage and craftsman scenes; F: Schematic craftsman scenes (sitting women manipulating vessels);G:Spiders; H1: Schematic vessels; H2: Non schematic vessels;I:Scenes with humans, animals and objects; L: Animals alternating with “ladders”; M: Hybrids and “special animals”.

Fig. 9 – Qualitative (presence/absence) TCA on coding no. 1. Representation of t...

Fig. 10 – Quantitative (frequency) TCA on coding no. 1. Representation of theimages ontheplane spanned byaxes1and 2.A:Warscenes; B: Hunting scenes; C: Naturalistic sacred scenes; D: Schematic sacred scenes (processions ofwomen carrying standards); E: Naturalistic storage and craftsman scenes; F: Schematic craftsman scenes (sitting women manipulating vessels);G:Spiders; H1: Schematic vessels; L:Animals alternating with“ladders”; M: Hybrids and “special animals”; N: Animals alternating with vessels; O: Rows of animals.

Fig. 10 – Quantitative (frequency) TCA on coding no. 1. Representation of theima...

Fig. 11 – Quantitative (frequency) TCA on coding no. 1 (syntactical links asonly active lexical forms). Representation ofthesyntactical links andof the images on the plane spanned byaxes 1 and 2. D: Schematic sacred scenes (processions of women carrying standards); F: Schematic craftsman scenes (sitting women manipulating vessels);G:Spiders; H1: Schematic vessels; L:Animals alternating with “ladders”; M: Hybrids and “special animals”; O: Rows of animals.

Fig. 11 – Quantitative (frequency) TCA on coding no. 1 (syntactical links asonly...

Fig. 12 – Qualitative (presence/absence) TCA on coding no. 2. Representation of theimages ontheplane spanned byaxes1 and2.A: Warscenes; B: Hunting scenes; C: Naturalistic sacred scenes; D: Schematic sacred scenes (processions of women carrying standards); E: Naturalistic storage and craftsman scenes; F: Schematic craftsman scenes (sitting women manipulating vessels); G:Spiders; H1: Schematic vessels; I:Scenes with humans, animals and objects; L: Animals alternating with “ladders”; M: Hybrids and “special animals”; O: Rows of animals.

Fig. 12 – Qualitative (presence/absence) TCA on coding no. 2. Representation of ...

Fig. 13 – Quantitative (frequency) TCA on coding no. 2. Representation of theimages ontheplane spanned byaxes1 and 2.A: War scenes; B: Hunting scenes; C: Naturalistic sacred scenes; D:Schematic sacred scenes (processions of women carrying standards); E: Naturalistic storage and craftsman scenes; F:Schematic craftsman scenes (sitting women manipulating vessels); G: Spiders; H1: Schematic vessels; M: Hybrids and “special animals”; O: Rows of animals.

Fig. 13 – Quantitative (frequency) TCA on coding no. 2. Representation of theima...

Fig. 14 – Quantitative (frequency) TCA on coding no. 2 (syntactical links and orientationexcludedfromactive lexicalforms).Representationoftheimages on the plane spanned by axes 1 and2. A: War scenes;B: Hunting scenes; C:Naturalistic sacred scenes; D: Schematic sacredscenes(processions of women carrying standards); E: Naturalistic storage and craftsman scenes; F: Schematic craftsman scenes (sitting women manipulating vessels); G: Spiders; H1: Schematic vessels; H2: Non schematic vessels; I: Scenes with humans, animals and objects;L: Animalsalternatingwith “ladders”;M:Hybrids and “specialanimals”; O: Rows of animals.

Fig. 14 – Quantitative (frequency) TCA on coding no. 2 (syntactical links and or...

Fig. 15 – Quantitative (frequency) TCA on coding no. 1 (syntactical links as only active lexical forms).Projection of the lexical forms on theplane spanned by axes 1 and 2. Syntactical links and lexical forms mentioned in the text are emphasised.

Fig. 15 – Quantitative (frequency) TCA on coding no. 1 (syntactical links as onl...

Fig. 16 – Quantitative (frequency) TCA on coding no. 2 (syntactical links as only active lexical forms). Projection of the lexical forms on the plane spanned by axes1 and 2. Syntactical links and lexical forms mentioned in the text are emphasised.

Fig. 16 – Quantitative (frequency) TCA on coding no. 2 (syntactical links as onl...

Fig. 17 – Examples of selected repeated segments, with corresponding icons. Nos. 1-3 type a; nos. 4-7 type b.

Fig. 17 – Examples of selected repeated segments, with corresponding icons. Nos....

Fig. 18 – Qualitative (presence/absence ) TCA of lexical forms plus type aselected repeated segments (coding no. 2). Projection of some lexical forms and segments on the plane spannedby axes 1and2.Syntactical links and lexical forms and repeated segments mentioned in the text are emphasised.

Fig. 18 – Qualitative (presence/absence ) TCA of lexical forms plus type aselect...

Fig. 19 – Qualitative (presence/absence ) TCA of type b selected repeated segments (coding no. 2). Representation oftheimages and of the repeated segments on theplane spanned by axes 1 and2. 1: War scenes; 2: Naturalistic sacred scenes; 3: Schematic sacred scenes (processions of women carrying standards); 4:Naturalisticstorage andcraftsman scenes; 5:Schematic craftsman scenes (sitting women manipulating vessels); 6: Spiders; 7: Schematic vessels (rows ofvessels type 3); 8: Schematic vessels (rows ofjugs); 9: Non schematic vessels; 10: Caprids alternating with “ladders”; 11: Caprids alternating with “panaches”; 12: Rows of caprids; 13: Rows of unidentifiable animals.

Fig. 19 – Qualitative (presence/absence ) TCA of type b selected repeated segmen...

Camiz S., Rova E. 2001, Exploratory analyses of structured images: a test on different coding procedures and analysis methods, Archeologia e Calcolatori 12