This investion studies the manufacturing techniques of chimi(ridge-end roof tiles based on the) fragments excavated from the Wonju Beopcheonsa temple site(Historic site No. 466) and aids in the conservation of the fragments. The results of the investigation are categorized into the production of the body parts, the wing and the feather attachment, the production of the decorative parts, the scratches in the upper and lower part, the perforations connecting the upper and lower parts, and the formative features(bending phenomenon). The procedures in the conservation treatment of the chimi was performed in a sequential order beginning with a preliminary examination, followed by the removal of foreign substances, coating, joining and restoration, and color retouching. A three-dimensional scanning data was employed to restore the missing parts after adhesion to determine the location, size, and angle of the original shape. The restored chimi measures 118 cm in height and weighs 121 kg, which makes it the fifth largest in size among any chimi(including restored) in Korea. We expect that the pointed feathers will make the chimi from the Beopcheonsa temple site a rare reference as no specimens with these features have been found in Korea until now.
Three-dimensional (3D) digital technology is one of the most essential conservation methods that complements the traditional technique of the restoration of cultural artifacts. In this study, 3D scanning, virtual restoration modeling, and 3D printing were used as a non-contact approach for the restoration of a damaged stone seated Bodhisattva (stone Buddha statue). First, a three-dimensional model with an average point density of 0.2 mm was created by integrating the fixed high-precision scanning of the exterior and the handheld mid-precision scanning of the interior excavated hole. Through a 3D deterioration map of the stone Buddha statue, the area of the missing parts was measured as 400.1 cm 2 (5.5% of the total area). Moreover, 257.1 cm 2 (64.2% of the missing part area) of four parts such as the head, the surrounding area of the Baekho, the right ear, and the right eye, for which symmetry was applicable for modeling or there could be ascertainable historical evidence for the total missing parts, was selected for restoration. The virtual restoration of the missing parts of the stone Buddha statue was performed using a haptic modeling system in the following order. First, the location of the three fragments detached from the head was determined. Next, the reference model was selected, and its symmetrization and modification with respect to the original were conducted. Also, estimation modeling and outer shape description were performed through historical research and consultation with experts. The created virtual-restoration model’s (461 cm 3 ) heuristic-based assembly suitability was verified by design mock-up printing and digital–analog simulation. In particular, to address the assembly interference, the interface surface was modified and reprocessed several times. Accordingly, the final design mock-up’s volume size was decreased by 5.2% (437 cm 3 ). Photopolymerization 3D printing technology was used for the actual restoration of the stone Buddha statue and the layer thickness of the material used was set as 0.10 mm considering the surface roughness. Finally, the surface of the printed output was colored to prevent yellowing and joined to the missing part of the stone Buddha statue. This study presents a great case to shift from the traditional manual-contact method to the contactless digital method for the restoration of artifacts and is expected to largely contribute to increasing the usability of digital technologies in the restoration of cultural artifacts.
Three-dimensional (3D) digital technology is one of the most essential conservation methods that complements the traditional technique of the restoration of cultural artifacts. In this study, 3D scanning, virtual restoration modeling, and 3D printing were used as a non-contact approach for the restoration of a damaged stone seated Bodhisattva (stone Buddha statue). First, a three-dimensional model with an average point density of 0.2 mm was created by integrating the fixed high-precision scanning of the exterior and the handheld mid-precision scanning of the interior excavated hole. Through a 3D deterioration map of the stone Buddha statue, the area of the missing parts was measured as 400.1 cm 2 (5.5% of the total area). Moreover, 257.1 cm 2 (64.2% of the missing part area) of four parts such as the head, the surrounding area of the Baekho, the right ear, and the right eye, for which symmetry was applicable for modeling or there could be ascertainable historical evidence for the total missing parts, was selected for restoration. The virtual restoration of the missing parts of the stone Buddha statue was performed using a haptic modeling system in the following order. First, the location of the three fragments detached from the head was determined. Next, the reference model was selected, and its symmetrization and modification with respect to the original were conducted. Also, estimation modeling and outer shape description were performed through historical research and consultation with experts. The created virtual-restoration model’s (461 cm 3 ) heuristic-based assembly suitability was verified by design mock-up printing and digital–analog simulation. In particular, to address the assembly interference, the interface surface was modified and reprocessed several times. Accordingly, the final design mock-up’s volume size was decreased by 5.2% (437 cm 3 ). Photopolymerization 3D printing technology was used for the actual restoration of the stone Buddha statue and the layer thickness of the material used was set as 0.10 mm considering the surface roughness. Finally, the surface of the printed output was colored to prevent yellowing and joined to the missing part of the stone Buddha statue. This study presents a great case to shift from the traditional manual-contact method to the contactless digital method for the restoration of artifacts and is expected to largely contribute to increasing the usability of digital technologies in the restoration of cultural artifacts.
Three-dimensional (3D) digital technology is one of the most essential conservation methods that complements the traditional technique of the restoration of cultural artifacts. In this study, 3D scanning, virtual restoration modeling, and 3D printing were used as a non-contact approach for the restoration of a damaged stone seated Bodhisattva (stone Buddha statue). First, a three-dimensional model with an average point density of 0.2 mm was created by integrating the fixed high-precision scanning of the exterior and the handheld mid-precision scanning of the interior excavated hole. Through a 3D deterioration map of the stone Buddha statue, the area of the missing parts was measured as 400.1 cm 2 (5.5% of the total area). Moreover, 257.1 cm 2 (64.2% of the missing part area) of four parts such as the head, the surrounding area of the Baekho, the right ear, and the right eye, for which symmetry was applicable for modeling or there could be ascertainable historical evidence for the total missing parts, was selected for restoration. The virtual restoration of the missing parts of the stone Buddha statue was performed using a haptic modeling system in the following order. First, the location of the three fragments detached from the head was determined. Next, the reference model was selected, and its symmetrization and modification with respect to the original were conducted. Also, estimation modeling and outer shape description were performed through historical research and consultation with experts. The created virtual-restoration model’s (461 cm 3 ) heuristic-based assembly suitability was verified by design mock-up printing and digital–analog simulation. In particular, to address the assembly interference, the interface surface was modified and reprocessed several times. Accordingly, the final design mock-up’s volume size was decreased by 5.2% (437 cm 3 ). Photopolymerization 3D printing technology was used for the actual restoration of the stone Buddha statue and the layer thickness of the material used was set as 0.10 mm considering the surface roughness. Finally, the surface of the printed output was colored to prevent yellowing and joined to the missing part of the stone Buddha statue. This study presents a great case to shift from the traditional manual-contact method to the contactless digital method for the restoration of artifacts and is expected to largely contribute to increasing the usability of digital technologies in the restoration of cultural artifacts.
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