Restoration of the Damaged Korean Stone Seated Bodhisattva Sculpture Using Three-dimensional Virtual Modeling and Printing Technologies

Hong, Seokmoo; Jo, Young Hoon; Kwon, Yoon Mi; Jo, Seong Yeon

doi:10.1109/digitalheritage.2018.8809999

Cited by 2 publications

(7 citation statements)

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“…When obtaining three-dimensional information of many irregular objects, the results obtained are often true. e information differs greatly, and the expected results are not achieved [6]. e 3D model scanning equipment is expensive and limited for personal use and can only reconstruct a single object.…”

Section: Introductionmentioning

confidence: 99%

[Retracted] Sculpture 3D Modeling Method Based on Image Sequence

Liu

2021

Complexity

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This thesis first introduces the basic principles of model-based image sequence coding technology, then discusses in detail the specific steps in various implementation algorithms, and proposes a basic feature point calibration required in three-dimensional motion and structure estimation. This is a simple and effective solution. Aiming at the monocular video image sequence obtained by only one camera, this paper introduces the 3D model of the sculpture building into the pose tracking framework to provide initial depth information. The whole posture tracking framework can be divided into three parts, namely, the construction of the initial sculpture model, the posture tracking between frames, and the robustness processing during continuous tracking. In order to reduce the complexity of calculation, this paper proposes a new three-dimensional mesh model and a moving image restoration algorithm based on this model. At the same time, the influence of the intensity and direction factors in the scene is added, the simulation results are given, and the next step is discussed. The optimization work that needs to be done.

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Section: Introductionmentioning

confidence: 99%

[Retracted] Sculpture 3D Modeling Method Based on Image Sequence

Liu

2021

Complexity

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“…Zhang et al (Zhang et al, 2015) verified the digitally manufactured reconstruction, next to a traditional approach, by a couple of experts and non-experts. Virtual reconstructions also allow for digital simulations, which can provide insights on improvements of the virtual restoration and after which a mock-up or draft print can be used to visually evaluate the reconstruction, before final production (Hong et al, 2018;Yeo et al, 2018).…”

Section: Digital Vs Traditional Resultsmentioning

confidence: 99%

“…However, digital sculpting can be considered the most intuitive. It allows the usage of a haptic device, similar to holding a paintbrush, which facilitates the free form sculpting of volumes (Hong et al, 2018;Jo and Hong, 2019). Moreover, hybrid modelling strategies have been documented frequently in the case studies, switching from digital to traditional modelling (sculpting, casting and moulding) and vice versa (Allen and James, 2015;Beentjes et al, 2010;Lima et al, 2011).…”

Section: Chaptermentioning

confidence: 99%

“…Provided with documentation on the object's original state the authors actively choose for 3D technologies because of the various virtual reconstruction possibilities. These options can include virtual anastylosis (Arbace et al, 2013;Di Paola et al, 2017) and digital simulations Hong et al, 2018;Yeo et al, 2018) next to 3D modelling options such as reconstructing complex shapes (Antlej et al, 2012;Park et al, 2019;, copying (Brown and Liefkes, 2014;Garland et al, 2018;Unocad, n.d.), mirroring (Allen and James, 2015;Larkin and Porro, 2016;Zhou et al, 2016), scaling (Beentjes et al, 2010;Brown and Liefkes, 2014), accurate fitting on the fracture surfaces (Jo and Hong, 2019; and usage of the 3D model as an alternative for moulding and casting Echavarria et al, 2016;Garland et al, 2018). Virtual reconstruction also allows performing multiple copies, iterations and hypotheses Fatuzzo et al, 2011) and reproduction for future restorations (Beentjes et al, 2010;Lee and Wi, 2015a).…”

Section: Ethical Considerationsmentioning

confidence: 99%

“…The decision-making of the case studies, often mention the principles of reversibility (Beentjes et al, 2010;Festa et al, 2015;Laurenti and Idelson, 2017;Niquet et al, 2020), retractability or recognisability (3D ArcheoLab and Romana, 2017;Brown and Liefkes, 2014;Larkin and Porro, 2016;Seixas et al, 2018), compatibility (Beentjes et al, 2010;Di Paola et al, 2017;Seixas et al, 2018) and the advantage of limiting contact with the object (Di Laurenti and Idelson, 2017). The use of 3D technologies as a less invasive method, which induces less risk for (parts of) the object is a frequently stated argument Beentjes et al, 2010;Bigliardi et al, 2015;Di Paola et al, 2017;Fantini et al, 2008;Hong et al, 2018;Larkin and Porro, 2016;Seixas et al, 2018). Furthermore, the work often does not have to be done in situ, because the reconstruction process happens in a virtual environment Kalasarinis and Koutsoudis, 2019).…”

Section: Ethical Considerationsmentioning

confidence: 99%

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3D digital conservation and restoration skills for the 21st century

Acke

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Emerging technologies offer many advantages for cultural heritage preservation, and as such, 3D technologies can also be considered a new tool in the conservator-restorer’s toolbox. 3D scanning and printing are particularly useful for reconstructing missing parts on cultural heritage objects. However, the application of these innovative methods and materials is difficult for inexperienced users such as emerging, academic and professional restorers. The aim of this research is to make 3D technologies more comprehensible, by bridging the gap between the restorers’ expertise and 3D specialists, and to make them more applicable to the restoration practice, by aligning 3D technologies to the needs of restoration theory and practice. The research has enabled the construction of a digital toolbox, containing relevant information and previous case studies to guide the target audience in the generation of knowledge on the applied and suitable use of 3D technologies for loss compensation of missing parts. This toolbox consists out of three tools and is presented online on www.3drestorationtoolbox.com: the first tool, the Mind maps for decision-making, lay out the documented pros and cons of using 3D technologies, the second tool is an Overview of possibilities, which guides the restorer in a 3D restoration workflow that combines traditional, digital, and hybrid restoration methodologies, and the third tool is an Inventory of cases of the cases consulted in the other tools. This dissertation and the 3D Restoration Toolbox are as such presented as a contribution to the integrated implementation of 3D technologies in the restoration practice.

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Restoration of the Damaged Korean Stone Seated Bodhisattva Sculpture Using Three-dimensional Virtual Modeling and Printing Technologies

Cited by 2 publications

References 1 publication

[Retracted] Sculpture 3D Modeling Method Based on Image Sequence

[Retracted] Sculpture 3D Modeling Method Based on Image Sequence

3D digital conservation and restoration skills for the 21st century

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