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The availability of 3D scanning devices allows performing the process of digitisation of a growing number of diverse museum artefacts. After the properly conducted processing of the acquired point cloud, the authors obtained a photorealistic digital copy that can be presented in many ways. With regard to the objects from archaeological excavations, the vast majority are the artefacts that are more or less damaged or only partially preserved. Their state of preservation, specialised archaeological knowledge and the use of appropriate 3D computer technologies allow their complete digital reconstruction. The present work concerns the development of alternative methods and algorithms of conduct, the selection of programs and tools to recreate the surface of the outer and inner side and the bottom of a 12th century pitcher from the Afrasiab excavations in Uzbekistan.

In the era of the global pandemic caused by the COVID-19 virus, 3D digitisation of selected museum artefacts is becoming more and more frequent practice, but the vast majority is performed by specialised teams. The paper presents the results of comparative studies of 3D digital models of the same museum artefacts from the Silk Road area generated by two completely different technologies: Structure from Motion (SfM)—a method belonging to the so-called low-cost technologies—and by Structured-light 3D Scanning (3D SLS). Moreover, procedural differences in data acquisition and their processing to generate three-dimensional models are presented. Models built using a point cloud were created from data collected in the Afrasiyab museum in Samarkand (Uzbekistan) during “The 1st Scientific Expedition of the Lublin University of Technology to Central Asia” in 2017. Photos for creating 3D models in SfM technology were taken during a virtual expedition carried out under the “3D Digital Silk Road” program in 2021. The obtained results show that the quality of the 3D models generated with SfM differs from the models from the technology (3D SLS), but they may be placed in the galleries of the vitrual museum. The obtained models from SfM do not have information about their size, which means that they are not fully suitable for archiving purposes of cultural heritage, unlike the models from SLS.

Historical costumes are part of cultural heritage. Unlike architectural monuments, they are very fragile, which exacerbates the problems of their protection and popularisation. A big help in this can be the digitisation of their appearance, preferably using modern techniques of three-dimensional representation (3D). The article presents the results of the search for examples and methodologies of implementing 3D scanning of exhibited historical clothes as well as the attendant problems. From a review of scientific literature it turns out that so far practically no one in the world has made any methodical attempts at scanning historical clothes using structured-light 3D scanners (SLS) and developing an appropriate methodology. The vast majority of methods for creating 3D models of clothes used photogrammetry and 3D modelling software. Therefore, an innovative approach was proposed to the problem of creating 3D models of exhibited historical clothes through their digitalisation by means of a 3D scanner using structural light technology. A proposal for the methodology of this process and concrete examples of its implementation and results are presented. The problems related to the scanning of 3D historical clothes are also described, as well as a proposal how to solve them or minimise their impact. The implementation of the methodology is presented on the example of scanning elements of the Emir of Bukhara's costume (Uzbekistan) from the end of the nineteenth century, consisting of the gown, turban and shoes. Moreover, the way of using 3D models and information technologies to popularise cultural heritage in the space of digital resources is also discussed.

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The article discusses the possibility of using 3D laser and 3D structured light scanning technology to support the restoration of museum objects and presents the concept of applying techniques of 3D scanning and CAD processing to create a model of the missing fragment of a museum object, based on scans of the damaged surface and fragments of the object with a similar shape. The resulting model can be used as a base element in the restoration of the original shape of the artifact, both virtually and in reality. The paper also presents the proposal of a process of reconstructing a missing fragment model of an actual museum object (an exhibit from the Zamoyski Museum in Kozłówka) using the method in question and mobile 3D scanning equipment.