Geometric documentation and virtual restoration of the rock art removed in Aragón (Spain)

Bea, Manuel Martínez; Angás, Jorge

doi:10.1016/j.jasrep.2016.11.025

Cited by 12 publications

(11 citation statements)

References 21 publications

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“…Como se puede traslucir de las páginas precedentes, los resultados obtenidos mediante un SDI como el propuesto permiten abordar un amplio campo de aplicaciones para los conjuntos rupestres atendiendo a campos y funciones diversificados, todos ellos igualmente importantes en la consideración global y valorización de un bien excepcional como el que nos ocupa. Quizá un ejemplo aglutinante de las técnicas no invasivas referidas en el anterior apartado pueda referirse la documentación y restitución de los conjuntos rupestres destruidos de la cuenca del Matarraña (Bea y Angás, 2017;Angás y Bea, 2019b), en el que se articulan valores no sólo relacionados con la investigación, administración, gestión o conservación si no también con otros conceptos inherentes al arte rupestre como puedan ser su propia valorización a través de una difusión de calidad. Mediante ésta se pretende, igualmente, despertar la concienciación pública acerca de la importancia del arte rupestre y de la necesidad de protegerlo, al tiempo que puede actuar como un elemento complementario dentro de una oferta cultural más amplia que incentive el desarrollo socioeconómico del territorio.…”

Section: Resultsunclassified

Criterios de documentación no invasivos para el estudio y difusión del arte rupestre

Bea

Angás

2020

Libro De Actas - I Simposio Anual De Patrimonio Natural Y Cultural ICOMOS España

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Todo estudio relacionado con el Patrimonio, sea cual sea la naturaleza de éste, encuentra en la documentación una de las bases esenciales para su correcto desarrollo. Esa documentación, que puede encontrar diferentes métodos y técnicas en función del objetivo (investigación, administración, conservación, didáctica, difusión…), ha de ser lo más exhaustiva posible pero siempre atendiendo a parámetros y criterios de conservación. El arte rupestre es un bien patrimonial excepcional y singular por múltiples aspectos y presenta dificultades en su documentación que determinan una falta de normativa homogénea y globalmente aceptada. En este trabajo abordamos la propuesta de un sistema de documentación integral e integrador aplicado en numerosos ejemplos, tanto paleolíticos como postpaleolíticos, que hemos llevado a cabo desde la investigación pero siempre atendiendo a diversos propósitos teniendo en cuenta, como un elemento básico, la conservación y protección de los conjuntos rupestres.

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Section: Resultsunclassified

Criterios de documentación no invasivos para el estudio y difusión del arte rupestre

Bea

Angás

2020

Libro De Actas - I Simposio Anual De Patrimonio Natural Y Cultural ICOMOS España

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“…Applications of terrestrial multi-view image-based modeling and texturing for large-scale heritage applications vary considerably. This technique has been implemented towards high resolution documentation and virtual restoration of small artefacts [8], damaged pottery [9], rock art [10], wall paintings [11] and decorative friezes [12], comprehensive investigations on pre-historic engravings [13], ancient Egyptian coffins [14] and ancient inscriptions [15], and evaluation of damage [16] and restoration works [17] on painted surfaces.…”

Section: Multi-view Image Recordingmentioning

confidence: 99%

Image-based metric heritage modeling in the near-infrared spectrum

Adamopoulos

Bovero

Rinaudo

2020

Preprint

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Digital photogrammetry and spectral imaging are widely used in heritage sciences, towards the comprehensive recording, understanding, and protection of historical artefacts and artworks. The availability of consumer-grade modified cameras for spectral acquisition, as an alternative to expensive multispectral sensors and multi-sensor apparatuses, along with semi-automatic software implementations of Structure-from-Motion (SfM) and Multiple-View-Stereo (MVS) algorithms, has made more feasible than ever the combination of those techniques. In the research presented here, the authors assess image-based modeling from near-infrared (NIR) imagery acquired with modified sensors, with applications on tangible heritage. Three-dimensional meshes, textured with the non-visible data, are produced and evaluated. Specifically, metric evaluations are conducted through extensive comparisons with models produced with high-resolution visible (VIS) spectrum image-based modeling, to check accuracy of results. Furthermore, the authors observe and discuss, when the implemented NIR modeling approach, enhances the preservation of surface detail on the reconstructed spectral models or counteracts certain problems arising from lighting conditions during VIS acquisition. Radiometric properties of the produced results are evaluated on the capacity to enhance observation towards the characterization of surface and under-surface state of preservation, and consequently, to support conservation interventions, in comparison to the respective results in visible spectrum.

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“…The inherent limitation of all 2D representations of rock art (sketches, traces, rubbings, and even photographs) is the attempt to portray an object or scene that has three dimensions in just two dimensions (Chippindale & Taçon, 1993;Simpson et al, 2004). Orthogonal measurements cannot be obtained from any of the old methods of recording, including photographs (unless extensive calibrations are applied), due to numerous distortions (Bea & Angás, 2017;Domingo et al, 2013;Jalandoni, Domingo, & Taçon, 2018). Integrating 2D image enhancement and 3D modeling techniques allows for the most comprehensive digital recording with fewer downsides (Domingo et al, 2013).…”

Section: D Modeling and Gismentioning

confidence: 99%

“…Conventional methods of recording rock art, such as sketching, manual tracing, and rubbing, have many inadequacies. First, the results can be gravely inaccurate (Bea & Angás, ; Loendorf, ; Lymer, ; Simpson, Clogg, Diaz‐Andreu, & Larkman, ). Manual recordings of the same site at different times, sometimes by the same recorders even, are demonstrated to be highly variable (see Lymer, ; Simpson et al., ).…”

Section: Introductionmentioning

confidence: 99%

Rock art as microtopography

Jalandoni

Kottermair

2018

Geoarchaeology

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Structure from motion (SfM) photogrammetry and geographic information system (GIS) tools were used to document an engraving site in Bontoc, Philippines. The natural discolorations of the rock obfuscated the engravings rendering traditional recording methods ineffective. Using a GIS software not only highlighted the engravings by applying an algorithm, but also allowed for a pioneering way to digitally trace and classify motifs, resulting in a spatially linked database. The digital tracings were also compared with manual tracings and proved to be more accurate. The database was then quantitatively analyzed for the seminal inventory of the rock art of Alab, Bontoc. This combination of SfM photogrammetry and GIS tools introduces a cost‐efficient method to effectively enhance, document, and analyze engraved rock art.

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Geometric documentation and virtual restoration of the rock art removed in Aragón (Spain)

Cited by 12 publications

References 21 publications

Criterios de documentación no invasivos para el estudio y difusión del arte rupestre

Criterios de documentación no invasivos para el estudio y difusión del arte rupestre

Image-based metric heritage modeling in the near-infrared spectrum

Rock art as microtopography

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