The three-dimensional (3D) revolution promised to transform archaeological practice. Of the technologies that contribute to the proliferation of 3D data, photogrammetry facilitates the rapid and inexpensive digitization of complex subjects in both field and lab settings. It finds additional use as a tool for public outreach, where it engages audiences ranging from source communities to artifact collectors. But what has photogrammetry's function been in advancing archaeological analysis? Drawing on our previous work, we review recent applications to understand the role of photogrammetry for contemporary archaeologists. Although photogrammetry is widely used as a visual aid, its analytical potential remains underdeveloped. Considering various scales of inquiry—graduating from objects to landscapes—we address how the technology fits within and expands existing documentation and data visualization routines, while evaluating the opportunity it presents for addressing archaeological questions and problems in innovative ways. We advance an agenda advocating that archaeologists move from proof-of-concept papers toward greater integration of photogrammetry with research.
In this article, we provide the results of preliminary archaeological and epigraphic research undertaken at the site of Lacanjá Tzeltal, Chiapas. Field research conducted in 2018, in collaboration with local community members, has allowed us to identify this archaeological site as the capital of a kingdom known from Classic period Maya inscriptions as "Sak Tz'i'" (White Dog). Because all previously known references to the kingdom came from looted monuments or texts found at other Maya centers, the location of the Sak Tz'i' kingdom's capital has been the subject of ongoing modeling and debate among scholars. Here we synthesize prior epigraphic and archaeological research concerning Sak Tz'i', highlighting past efforts to locate the kingdom's capital. We then discuss the results of preliminary survey, mapping, and excavations of Lacanjá Tzeltal, and present the first drawing and decipherment of Lacanjá Tzeltal Panel 1, the sculpture crucial for centering this "lost" Maya kingdom.
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