Abstract:Three-dimensional (3D) digital technology is an essential conservation method that complements the traditional restoration technique of cultural artifacts. In this study, 3D scanning, virtual restoration modeling, and 3D printing were used as a noncontact approach for restoring a damaged stone-seated Bodhisattva (stone Buddha statue). First, a 3D 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 … Show more
“…In addition, the lid was modeled using the numerical data recorded in the condition investigation and its size alone was adjusted to fit the studied bomb shell (Kim and Huh, 2020). 2019b; Jo et al, 2020a;Lim and Choi, 2020;Higueras et al, 2021). In this study, the modeling results of the bomb shell were output to the 3D printing technology using the material extrusion method (Ultimaker 3 Extended, Ultimaker B.V., NLD).…”
Section: Three-dimensional Modeling and Reproductionmentioning
The Bigyeokjincheolloe (bomb shell), a scientific cultural heritage, has outstanding historical value for sustaining a gunpowder weapon of Joseon. In this study, the bomb shell was modeled through three-dimensional (3D) scanning centered on the external shape and γ-ray radiography-based on the internal shape. In particular, to improve the contrast in the radiographic image, optimization and image processing were performed. After these processes, the thickness of the inner wall (2.5 cm on average) and the positions of the three mold chaplets were clearly revealed. For exhibition purposes, the 3D model of the bomb shell was output to a 3D printer and the output was rendered realistic by coloring. In addition, the internal functional elements, such as Mokgok, fuse, mud, gunpowder, and caltrops, were reproduced through handwork. The results will contribute to the study of digital heritages in two ways. First, the internal and external shapes of the bomb shell were modeled by fusing two different technologies, namely, 3D scanning and γ-ray radiography. Second, the internal shape of the bomb shell was constructed from the original form data and the reproduction was utilized for museum exhibitions. The developed modeling approach will greatly expand the scope of museum exhibitions, from those centered on historical content to those centered on scientific content.
“…In addition, the lid was modeled using the numerical data recorded in the condition investigation and its size alone was adjusted to fit the studied bomb shell (Kim and Huh, 2020). 2019b; Jo et al, 2020a;Lim and Choi, 2020;Higueras et al, 2021). In this study, the modeling results of the bomb shell were output to the 3D printing technology using the material extrusion method (Ultimaker 3 Extended, Ultimaker B.V., NLD).…”
Section: Three-dimensional Modeling and Reproductionmentioning
The Bigyeokjincheolloe (bomb shell), a scientific cultural heritage, has outstanding historical value for sustaining a gunpowder weapon of Joseon. In this study, the bomb shell was modeled through three-dimensional (3D) scanning centered on the external shape and γ-ray radiography-based on the internal shape. In particular, to improve the contrast in the radiographic image, optimization and image processing were performed. After these processes, the thickness of the inner wall (2.5 cm on average) and the positions of the three mold chaplets were clearly revealed. For exhibition purposes, the 3D model of the bomb shell was output to a 3D printer and the output was rendered realistic by coloring. In addition, the internal functional elements, such as Mokgok, fuse, mud, gunpowder, and caltrops, were reproduced through handwork. The results will contribute to the study of digital heritages in two ways. First, the internal and external shapes of the bomb shell were modeled by fusing two different technologies, namely, 3D scanning and γ-ray radiography. Second, the internal shape of the bomb shell was constructed from the original form data and the reproduction was utilized for museum exhibitions. The developed modeling approach will greatly expand the scope of museum exhibitions, from those centered on historical content to those centered on scientific content.
“…In recent years, 3D scanning has become a widespread technique for collecting 3D images of cultural heritage artifacts, in the areas of small historic objects [40][41][42], sculptures [43][44][45][46], rooms [47,48], or large buildings and entire architectural sites [49][50][51][52]. Structured lighting technology is suitable for the digitization of cultural heritage objects because it is a contactless method for 3D digitization [53].…”
In recent years, digitization of cultural heritage objects, for the purpose of creating virtual museums, is becoming increasingly popular. Moreover, cultural institutions use modern digitization methods to create three-dimensional (3D) models of objects of historical significance to form digital libraries and archives. This research aims to suggest a method for protecting these 3D models from abuse while making them available on the Internet. The proposed method was applied to a sculpture, an object of cultural heritage. It is based on the digitization of the sculpture altered by adding local clay details proposed by the sculptor and on sharing on the Internet a 3D model obtained by digitizing the sculpture with a built-in error. The clay details embedded in the sculpture are asymmetrical and discreet to be unnoticeable to an average observer. The original sculpture was also digitized and its 3D model created. The obtained 3D models were compared and the geometry deviation was measured to determine that the embedded error was invisible to an average observer and that the watermark can be extracted. The proposed method simultaneously protects the digitized image of the artwork while preserving its visual experience. Other methods cannot guarantee this.
“…In recent years, technologic innovation and advances in 3D virtual reconstruction, visualization and computing permitted high-precision virtual reconstruction of fragmented objects [1][2][3][4], but practical reassembly of real parts remains a challenging task. Of course, virtual reconstruction is very helpful to guide the restorer in manual procedures [5].…”
The RestArt method is an innovative mechatronic-based procedure for high-precision reassembly of stone fragments intended to improve the restoration of ancient statues and architectural elements. The procedure comprises high-accuracy 3D laser scanning of two fragments positioned on the RestArt machine. After software simulated best-fitting of the two homologous fractured faces, the calculated roto-translation matrix is sent to the machine control system that moves one fragment to match the other one. The machine integrates a numeric-controlled moving drilling device for high-precision boring of the fractured surfaces at selected points for optimal rods insertion. This permits a very effective fixing of the fragments and allows multi-point fixing, which is practically impossible with conventional methods. Several stone specimens were experimentally recomposed through the RestArt and the traditional method. Then, they were compared in terms of mechanical resistance by shaking table tests, reproducing extreme strong-motion vibrations. The specimens recomposed through the RestArt method resulted less time-consuming and much more resistant to vibration excitation than the ones by traditional reassembly method. The RestArt method was applied to reassemble some original ancient statues currently exhibited at several Italian museums.
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