Archaeological Heritage Research Paper

Digital Restoration of Archaeological Heritage
Supriya Deshpande
Dept of CSE
PESIT, South Campus
Bangalore-560100

Ms.Preeti Sangamesh
Asst.Professor, Dept. of CSE
PESIT-South Campus
Bangalore - 560100

Abstract: Virtual Restoration of archaeological heritage stems from the need to create a clearer and better image of the beautiful historic monuments now in ruins. It gives the viewer a sense and feel of how the heritage originally looked. For this, there are many restoration projects of the major historic sites, paintings etc, going on across the world. Computers have been introduced to archaeology and cultural heritage as tools for promoting scientific work and as electronic aids for providing users with substantial information on archaeological

Introduction

Today’s society can very effectively be referred to as the ‘Image Society’. This is not just because image is a powerful used medium of communication but also because it is an easy, compact and widespread way to represent the physical world around us. We rely on images. A huge amount of digital information is available today. The increase in capacity of computers and the advancement made in the image acquisition devices have led to this phenomenon [1]. Digital restoration of archaeological heritage stems from the need to create a more realistic image of the beautiful historic monuments, paintings etc, which are now in ruins. It gives the viewer a sense and feel of how the original was. It creates an allusion, a virtual replica of the original.

Traditionally, skilled craftsmen did the work of restoration manually. However, more recently, the use of computers to enable image restoration has gained a lot of interest. Various Image processing techniques have been employed over the time to get better and more accurate results when applying digital

In this approach, the user provides a mask provided specifying the portions of the input image to be retouched. The algorithm treats the input image as three separate channels (R, G and B). For each channel, it fills in the areas to be inpainted by propagating information from the outside of the masked region along level lines (isophotes). The algorithm also introduces the importance of propagating both the gradient direction (geometry) and gray-values (photometry) of the image in a band surrounding the hole to be filled-in. Isophote directions are obtained by computing at each pixel along the inpainting contour a discretized gradient