Transparent reversible prosthesis, a new way to complete the conservation–restoration of a Black Ding bowl with application of 3D technologies

Abstract

In recent years, 3D technology has been widely used in various aspects of the entire workflow of conservation–restoration. However, in the majority of cases, researchers have mainly relied on 3D technologies to assist the conventional conservation–restoration process, and its advantages have not truly been exploited. In this paper, we applied a combination of digital acquisition, virtual anastylosis, virtual reconstruction, and 3D printing of a transparent reversible prosthesis with slots for the restoration of a gold foil decorated Black Ding bowl collected by the Chifeng Museum of the Inner Mongolia Autonomous Region. While completing the physical/aesthetic restoration of the artifact, the conservation–restoration principles of the integrity and authenticity of cultural heritage, minimal intervention and reversibility were followed to the utmost extent. At the same time, we also conducted preliminary performance tests on the 3D printing material of the prosthesis, and the results showed that the material has excellent mechanical properties and stain resistance, contributing to the long-term, stable preservation of the artifact. This work presents an innovative solution applicable to other pieces of cultural heritage and has high significance for promotion.

[Retracted] Display and Analysis of Virtual 3D Technology in Interior Design

“…Using 3D technology to restore cultural relics enables our future generations to reunderstand the exquisite technology and wisdom of ancestors at that time [4]. The Black Ding Bowl in Inner Mongolia was restored, and the restored appearance was obtained by virtual reconstruction through 3D technology, and prosthetic materials were used for long-term preservation of cultural relics [5]. For animation design of ancient buildings in film and television works, it is necessary to set up the mutual unity of ancient buildings and characters according to the specific characters and environment at that time [6].…”

Systematic integration of 2D and 3D sources for the virtual reconstruction of lost heritage artefacts: the equestrian monument of Francesco III d’Este (1774–1796, Modena, Italy)

“…The method originated from similar approaches mainly dealing with lost architectural heritage but, here, the target is set on lost statues and other similar artefacts, and the workflow has been specifically modified and expanded to include the contribution of iconographic sources, which frequently flank physical models or heritage fragments of the artefacts. In [4,[39][40][41][42][43][44][45], authors presented several approaches to reconstruct 3D digital model of partially existing artefacts with a smaller size with respect to architectures, and generally with free form shapes, requiring a dedicate approach based on 3D modelling. Due to the multiplicity and complexity of cases, we tried to address the most general problem, dealing with various and heterogeneous retrieved sources-both 2D and 3D, including iterative assessment phases to guarantee consistency with the 2D and 3D data.…”

A Systematic Review on Virtual Reality Technology for Ancient Ceramic Restoration

“…Unlike the manual techniques evolved from ancient sawing nails, gold manufacturing and modern chemical reagents [12], VR technology utilizes scientific theories and computer technology to achieve a high restoration degree of cultural relics [13]. As a digital display method, VR technology generates multisensory three-dimensional information, such as vision, hearing, and touch, to give users an immersive experience and interact with the environment [14].…”