{"title":"Digital Imaging Techniques in Archaeometry: The Case of an Ancient Crucifixion Icon","authors":"M. Stoyanova, Diego Stoyanov, Lilia Pavlova","doi":"10.55630/dipp.2022.12.16","DOIUrl":null,"url":null,"abstract":"An ancient Crucifixion icon has been studied using imaging techniques integrated with appropriated visualizations. Relevant parameters and suitable algorithms have been selected in a proper sequence to segment the studied images into meaningful elements functional to the attribution of the icon through analysis of the employed materials and techniques. The cross-referencing of the results allowed to identify three main phases in the realization of the painting, to describe their extension, character and determine the possible authors as: Cretan/Ionian painters, '500-' 600 (1 st phase); Hristofor Žefarović, Western Balkans or Vienna, 1730-1753 (2 nd phase); Placido Fabris / Michelangelo Barbini, Venice, mid 19 th c. (3 rd phase).","PeriodicalId":268414,"journal":{"name":"Digital Presentation and Preservation of Cultural and Scientific Heritage","volume":"5 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Digital Presentation and Preservation of Cultural and Scientific Heritage","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.55630/dipp.2022.12.16","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
An ancient Crucifixion icon has been studied using imaging techniques integrated with appropriated visualizations. Relevant parameters and suitable algorithms have been selected in a proper sequence to segment the studied images into meaningful elements functional to the attribution of the icon through analysis of the employed materials and techniques. The cross-referencing of the results allowed to identify three main phases in the realization of the painting, to describe their extension, character and determine the possible authors as: Cretan/Ionian painters, '500-' 600 (1 st phase); Hristofor Žefarović, Western Balkans or Vienna, 1730-1753 (2 nd phase); Placido Fabris / Michelangelo Barbini, Venice, mid 19 th c. (3 rd phase).
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