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(a) Two example photographs of a warrior taken at slight offsets, out of a larger set covering this entire warrior, and (b) a sparse point cloud of the same warrior along with reconstructed camera positions.
Source publication
Structure-from-motion and multiview-stereo together offer a computer vision technique for reconstructing detailed 3D models from overlapping images of anything from large landscapes to microscopic features. Because such models can be generated from ordinary photographs taken with standard cameras in ordinary lighting conditions, these techniques ar...
Contexts in source publication
Context 1
... models and these can either be acquired from existing collections or captured fresh. For the individual warrior and warrior ear models, we collected a new set of photographs taken with a modern digital SLR (without tripod) under normal daytime lighting conditions in Pit 1. Significant overlap between images is a key prerequisite for success (Fig. 1a) and we collected horizontal bands of images at approximately 15 offsets (i.e. 24 per band) and with further ver- tical overlap between bands. After image acquisition, the (fully- automatic) SfMeMVS process begins by assessing each photograph to identify distinct groups of pixels that constitute features that are likely to be ...Context 2
... images (Lowe, 2004). After these features have been described for each image, they are matched across multiple images to produce a network of spatial relation- ships from which individual camera position for each photograph can be reconstructed. The end result is a sparse cloud of 3D point locations that mark the successfully matched features (Fig. 1b). Thereafter, a much denser set of 3D points can be created by grouping the image sequence into sub-sequences of images covering similar parts of the surface and then looking for more detailed feature matches over a coarse search grid (Furukawa and Ponce, 2010). Parameter choices such as the minimum necessary number of matched features ...Context 3
... initial results with this sample of ears from the Qin terra- cotta warriors strongly indicates that, while there is a core of approximately similar shapes (e.g. Fig. 3 (2, 17, 29), Fig. 4a (28)), there is also considerable variation to the extent that, in contrast to the warriors' highly standardised bronze weapons for example (Martin on- Torres et al., 2013;Li et al., 2014), no two ears are strictly the same. Likewise, there is as yet little evidence for a close rela- tionship between ear microstyle and the ...Citations
... Table 4 lists the top 20 cited articles related to this study worldwide. The 20 articles mainly cover the following research contents and topics: Summary of cultural technologies used in China's museum 65 Driving factors, key technologies and impacts of digital museum promotion 51,54,60,66,67 ; Application and impact of VR in digital museum/ cultural heritage display 9,10,61 ; Analysis and discussion of cultural heritage digital narrative and its role in improving audience engagement 18,58 ; Application of cultural relics' digital platforms 21,46 ; Exploration and practice of 3D cultural heritage technology 68 ; Exploration and practice of artificial intelligence (machine vision processing) for traditional Chinese relics or arts 34,69 ; Discussion on future development trends of museums 59,70 . From the above 8 points, it is not difficult to see that scholars have a broad range of research on cultural heritage digitization in Chinese museum, from application technology research and analysis, analysis of development factors of digital heritage in museums, related research on popular technologies, platform development and prediction of future development trends. ...
... For example, Nanjing Museum, National Palace Museum, Emperor Qin Shihuang Mausoleum Site Museum, National Museum of China, Beijing Capital Museum, Hubei Provincial Museum, etc. In addition, some articles are about cultural heritage digitization but are not limited to a specific museum, such as literature [2][3][4][15][16][17][18]31,32,34,38,44,45,50,52,53,55,59,64,65,[68][69][70]72,77,84,[123][124][125] and so on. ...
... At the technical level, requirements for accuracy and efficiency, high costs, system compatibility, and complexity can affect the application and popularity of digital technologies in the presentation and dissemination of cultural heritage information in museums. For example, the cost and performance limitations of high-end equipment [7][8][9]14,27,35,46,69 ; system complexity and compatibility issues [15][16][17]29,35,45,85 ; algorithm and model accuracy issues 34,37,45,71,80,126 ; data collection and processing complexity 10,31,33,73,127 ; data standardization and sample size 36,128,129 , etc. At the level of culture-technology integration, technology faces many obstacles in conveying cultural authenticity and historical context, especially in presenting intangible cultural heritage, which can lead to compromised user immersion and educational effects. ...
Museum digitization provides feasibility for preserving, displaying, and sharing cultural heritage and increases public engagement and education. This study aims to systematically examine the progress of Chinese museums’ digitization and understand its achievements and limitations in the last decade. To this end, a systematic literature review was conducted in three scientific databases: Web of Science, Scopus, ScienceDirect, and Google Scholar as a supporting database. The sample was selected based on the PRISMA guidelines. The results indicate that the digital reform of Chinese museums includes the digital management system, digitization information collection, online exhibitions, virtual tours, and the application of virtual reality, augmented reality, big data, and artificial intelligence. These technologies offer visitors new and exciting experiences, enrich exhibition forms, and promote public learning. Immersive technologies and interactive experiences are the hot topic of research. Therefore, the effectiveness of museum exhibitions can be improved by encouraging visitor engagement and interaction.
... With the advancement of technology today, the 3D modeling of cultural structures and documentation through these models, as well as inventorying, are generally accomplished through two different methods [15]. The first method involves active remote sensing techniques such as laser scanning or radar-based systems, while the second method involves passive/optical image-based modeling (photogrammetric, Structure from Motion (SfM) or computer vision methods) [16,17]. ...
The historical structures are one of the cornerstones of cultural heritage, shedding light on humanity's past. With their artistic and architectural values, they serve as significant monuments reflecting the lifestyles, beliefs, and technological advancements of past civilizations. Therefore, the aim of this study is to identify and document the deteriorations occurred after the restoration of Ishak Pasha Palace located in the Doğubayazıt district of Ağrı province, using a UAV (Unmanned Aerial Vehicle) obtained 3D model and orthophotos. Within the scope of the study, three main types of deterioration arising from physical, chemical, and biological effects on Ishak Pasha Palace were investigated using the 3D model. Subsequently, all obtained results were visualized in detail. Identification of these types of deterioration is crucial for the preservation and restoration of historical structures, enabling appropriate interventions to be made. Regular maintenance and conservation of architectural structures are of critical importance in the transmission of cultural heritage to future generations. Ultimately, it is believed that this study will contribute to the widespread adoption of UAV usage in the detection of deteriorations observed in historical structures.
... TLS is a good option for indoor mapping due to its high-point density and accuracy generating ability (Şasi & Yakar, 2017). However, it is an expensive method for 3D mapping in large and complex indoor mapping (Bevan et al., 2014;Polat, 2020). TLS provides 3D geometric information about the object being measured and the power of the laser beam backscattered by the scanned surface. ...
... The virtual restoration of CH is becoming increasingly important in the field of archaeology, influenced by the development of various forms of visualization media [27], [28], [29]. Laser scanning and photogrammetry are mainly used to create digital records of CH (e.g., buildings, artifacts) or existing sites [36]. ...
Court painting is a traditional Korean type of painting that depicts royal events. It should be understood in the context of royal rituals and historical writing. Therefore, it is only possible for visitors of a museum with historical knowledge to interpret the content accurately. This problem is often identified in traditional paintings in other countries, and existing methods have attempted to deal with it using digital media technologies. Most methods aim to reconstruct paintings as 3D virtual objects for visitors to view them. However, these methods prevent visitors from interacting with the historical events depicted in the paintings and do not explain the essential historical facts and stories that the paintings leave out. In this study, we propose an augmented reality system that provides 3D virtual restorations of information necessary for understanding court paintings and supports historical context experiences of royal events. Specifically, we restore the information required for the interpretation of the painting to a virtual 3D object so that visitors can intuitively understand the historical stories missing from the painting. In addition, the system allows visitors to experience royal events through various interactions. The structural design combines experiential learning theory and digital storytelling so that visitors can be exposed to historical knowledge in a stepwise manner. According to the user study results, our system provides visitors with a more immersive experience and gives more accurate information about royal events compared to the existing method. This result suggests that the proposed system effectively communicates historical information and stories of court paintings to visitors who view paintings that require prior historical knowledge.
... In the last decades, the role of 3D techniques in the field of archaeological heritage has assumed, on the one hand, an increasingly importance for the web diffusion of cultural contents, public outreach and education [1][2][3][4], also thanks to different mediums of visualization [5] that improves the spread of Cultural Heritage artefacts [6]. On the other hand, 3D technologies have a key role in documenting and supporting archaeologists who deal with continuous work of restoration and their associated studies, generating 3D models for archival purposes, for conservation records [7][8][9], for 3D visualization [10][11][12][13][14] and reconstructive interpretation of lost artefacts [15][16][17][18][19][20][21]. ...
The role of 3D virtual reconstruction of lost heritage artefacts is acquiring ever-greater importance, as a support for archaeological research and art history studies, as well as a vehicle for the cultural and evocative involvement of the end-user. The main risk of virtual reconstruction is the lack of a faithful restitution but, conversely, very often the artefact conservation state does not allow a complete 3D reconstruction. Therefore, 2D sources, both textual and iconographic, represent a precious integration and completion of the existing 3D sources. This paper proposes an operating systematic workflow to integrate retrieved 2D and 3D sources and assess their compatibility for the virtual reconstruction of lost heritage artefacts using and integrating 3D survey and digital modelling. As a case study, we virtually reconstructed the lost equestrian monument of Duke Francesco III d'Este, 7 m high, built in 1774 in Modena, Italy, by the sculptor Giovanni Antonio Cybei and completely destroyed a little over 20 years later during the revolutionary uprisings. Following the proposed workflow, we integrate data coming from: a still preserved preparatory stucco model, paintings and engravings showing the missing details of the 3D model, a series of urban views returning the proportion and positioning of the monument (statue, pedestal and base), a fragment of the right foot providing the statue size and the appearance of the original white Carrara marble. The final 3D digital model shows a faithful correspondence to the 2D sources and guarantees an effective user’s fruition thanks to dedicated virtual applications. Besides the scientific and cultural goal, we highlight the evocative role of this work, which has contributed to the restitution of a monument that is unknown to most citizens and visitors.
... So far, the analysis of the body dimensions of terracotta warriors has indicated there is a remarkable resemblance to the modern population [13]. More detailed, the variability of the ear shape of the warriors was also examined and reveals that no two ears are strictly the same [12]. ...
... To build a precise 3D model of each sample, 3D laser scanning technology is used to capture 3D point clouds in this study. 3D laser scanning technology and computer vision or photogrammetry technology are able to acquire high-precision 3D data in archaeological research and applications [12,18]. The technology provides new and unlimited access to fragile and valuable remains once 3D models are generated [19]. ...
The striking realism of the life-sized ceramic terracotta warriors has been attracting the interest of the public and archaeologists since they were discovered from the mausoleum complex of the first Chinese Emperor Qin Shihuang in the 1970s. It is still debated whether the life-size models were based on individual people or were just crafted from the standardized models. This research examined the facial features of the terracotta warriors in a quantitative and contactless way with the support of the High-precision 3D point cloud modelling technology and the anthropometric method. The similarities and dissimilarities were analyzed among the facial features of terracotta warriors and 29 modern Chinese ethnic groups using mathematical statistics methods such as MDS, ANOVA, ranking analysis and cluster analysis. The results reveal that the features of the terracotta warriors highly resemble those of contemporary Chinese people and indicate that terracotta warriors were crafted from real portraits and intended to constitute a real army to protect the Emperor Qin Shihuang in the afterlife.
... The research of Komlos [5] on the height measurement data of more than 700 terracotta warriors showed that the height of the terracotta warriors is close to people in the current era. Bevan [6] used the computer vision method to obtain the 3D model data of the 30 terracotta warrior ears and statistically concluded that the ears of the terracotta warriors and the ears of modern people are almost the same. These digital quantitative studies preliminarily confirmed that the terracotta warriors In addition to height and ears, head and face features are also important research objects because their measurements are an important part of anthropometry [7] . ...
The terracotta warriors excavated from Qin Shihuang’s mausoleum are precious materials of the Qin Dynasty. They have great historical, scientific and artistic research value and are considered to be the true portrayal of the Qin people. In anthropology, the measurement of head and face features is one of the important means to analyze the ethnic relationship. In this paper, the 3D laser scanner is used to collect the high-precision 3D point cloud data of the terracotta warriors, extract the head and face features of the terracotta warriors, and variance analyze (ANOVA) and cluster analysis with the collected head and face features of 29 modern ethnic groups. Variance analysis shows that there is no significant difference between the terracotta warriors and modern people in the shape of morphological facial length, bizygomatic breadth, nose height, the height of mucons lips, and mouth breadth. Cluster analysis based on head and face features shows that the terracotta warriors belong to the same group with 10 ethnic groups including Mongolian, and they have more similar head and face features.
... Photogrammetric methods have been used extensively in a variety of disciplines to generate models across a range of scales, from landscapes to small objects (Bevan et al., 2014;Hassett & Lewis-Bale,-2017;Hess, MacDonald, & Valach, 2018;James & Robson, 2012). ...
Objectives
The recent proliferation of methods of 3D model generation has enabled the development of new approaches to the analysis of dental form, function and wear. This article assesses whether Structure‐from‐motion (SfM) photogrammetry is capable of producing virtual 3D models of teeth of adequate quality for assessing fine scale surface details, such as dental macrowear patterns. Reference models were generated using a high resolution structured light scanner to assess the accuracy of the photogrammetric models generated.
Materials and Methods
Dental gypsum models of the molar teeth of human individuals from St. Michael's Litten, Chichester, Post‐medieval assemblage (n = 17) were used for 3D model generation. Photogrammetry was performed using Agisoft Metashape and reference 3D models were generated using a GOM ATOS 80 scanner. Focus stacking was explored as a method of enhancing 3D model detail. Differences between the photogrammetric and reference models were assessed using CloudCompare and the quality of the surface detail was examined quantitatively using Occlusal Fingerprint Analysis.
Results
Photogrammetric model generation was highly replicable and the tooth models produced closely approximated the overall geometry of those derived from the structured light scanner. Dental wear facet area measurements on the photogrammetric models differed significantly, however, from those derived from the structured light scanning reference models.
Discussion
Photogrammetry can create virtual dental models from which crude quantitative size and shape data can be obtained. Finer scale surface details are not accurately reproduced on SfM models using the methods outlined in the current article due to high levels of surface noise.
... Günümüzde, kültürel yapıların 3B modellenmesi ile belgelendirilmesi ve envantere geçirilmesi genellikle iki farklı yöntemle gerçekleştirilmektedir. Bunlardan ilki, aktif uzaktan algılama yöntemleri; lazer tarayıcı veya radar bazlı sistemler, diğeri ise, pasif/optik görüntü tabanlı modelleme (fotogrametrik veya yeni terimiyle hareketten oluşum (SfM)) yöntemleridir (Bevan et al., 2014;Koutsoudis et al., 2014). ...
Geçmişte yaşamış farklı medeniyetler inşa ettikleri anıtsal yapılarla
günümüze önemli kültürel miraslar bırakmışlardır. Bu yapıların en ihtişamlıları
ve döneminin özelliklerini yansıtan; kilise, cami gibi önemli tapınaklar
genellikle yerleşim yerlerinin merkezinde inşa edilmiştir. Sonrasında gelen
toplum bu yapıları kendi inançları doğrultusunda kullanarak şekillendirmişlerdir.
Estetik görünüşlerinin yanında birçok
medeniyetin kültürel hafızasını günümüze taşıyan tarihi yapıların korunması ve
gelecek nesillere aktarılması insanlığın görevlerindendir. Doğu Karadeniz Bölgesi’nde yer alan Artvin ili ve
çevresi zengin tarihe sahip olmakla birlikte farklı uygarlıklara da ev
sahipliği yaptığı bilinmektedir. Bu çalışmada Tbeti (Cevizli) kilisesinin
yapısal durumunun belirlenmesi, onarım ve güçlendirme için deplasman ölçümleri ele
alınmıştır. Deplasman ölçümleri tek periyot olarak tasarlanmıştır. Duvarların
üst kısımlarında oluşan hasarlar zemine yakın duvarlar baz alınarak incelenmiştir.
Fotogrametrik olarak elde edilen veriler robust regresyon ve polinomal eğri
uydurma yöntemleriyle değerlendirilmiştir. Değerlendirme sonucunda yapının
kuzey kesiminde bulunan duvarlarda 5 cm’ye varan deplasmanlar tespit
edilmiştir.
Bu çalışmada tek periyotluk ölçüler ile kilise ve diğer yapılarda duvarlar
boyunca meydana gelen sapmaların düşeysel olarak tespit edilebileceği ortaya
konulmuştur. Örnek bir çalışma olarak yığma yapım sistemiyle inşa edilen Tbeti
kilisesinde meydana gelen deplasmanlar sunulmuştur.
... We can also investigate recent works which are close to our application domain, i.e. the analysis of oriental statues [2,3,20,22,48,49]. Although, one previous work has achieved Thai statue recognition by using handcrafted facial features [36]. ...
... Although, one previous work has achieved Thai statue recognition by using handcrafted facial features [36]. Other related works focus on the 3D acquisition of statues [20,22] and their structural analysis [2,3], with sometimes the goals of classification too [22,49]. We should also highlight the recent use of inpainting techniques on Buddhism faces for the study and recovery of damaged pieces [48]. ...
While Buddhism has spread along the Silk Roads, many pieces of art have been displaced. Only a few experts may identify these works, subjectively to their experience. The construction of Buddha statues was taught through the definition of canon rules, but the applications of those rules greatly varies across time and space. Automatic art analysis aims at supporting these challenges. We propose to automatically recover the proportions induced by the construction guidelines, in order to use them and compare between different deep learning features for several classification tasks, in a medium size but rich dataset of Buddha statues, collected with experts of Buddhism art history.
