Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique
All studies concerning Palaeolithic art (parietal or movable art) are based on analytical recordings of the kind now practiced for over a century. This analytical approach is indispensable for our understanding of the thought processes of prehistoric societies. But today, new 3D technologies are hav...
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| Format: | Article |
| Language: | fra |
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Ministère de la Culture et de la Communication
2019-05-01
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| Series: | In Situ |
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| Online Access: | https://journals.openedition.org/insitu/21510 |
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| author | Oscar Fuentes Julie Lepelé Geneviève Pinçon |
| author_facet | Oscar Fuentes Julie Lepelé Geneviève Pinçon |
| author_sort | Oscar Fuentes |
| collection | DOAJ |
| description | All studies concerning Palaeolithic art (parietal or movable art) are based on analytical recordings of the kind now practiced for over a century. This analytical approach is indispensable for our understanding of the thought processes of prehistoric societies. But today, new 3D technologies are having a massive impact on research practices, as was the case with photography. An initiative by the Centre national de Préhistoire led to the development by an archaeologist specialising in parietal art, working in collaboration with a 3D-graphics designer, of a new way of applying 3D techniques to rock art. This makes it possible to go beyond the limits inherent in traditional approaches (2D recordings): graphic expressions can at last be studied in their three-dimensional context. We have chosen to use 3D resources in order to set up a dialogue between two operational frameworks (2D and 3D) which we propose to illustrate in this article, using the example of the decorated cave of Comarque (Dordogne). We base our approach on the use of Blender software (Open Source) which offers a panoply of tools useful for the analysis of parietal works. In particular, it is possible to project vectorial recordings made in 2D onto a 3D model. But above all it is possible to produce a record directly on the 3D model while keeping all the information relating to volume. This introduction of new 3D technologies for rock art recording may also encourage archaeologists to re-examine the methodological questions on which they base their analyses. |
| format | Article |
| id | doaj-art-5481c0d937c54829a385358d63d4fc05 |
| institution | OA Journals |
| issn | 1630-7305 |
| language | fra |
| publishDate | 2019-05-01 |
| publisher | Ministère de la Culture et de la Communication |
| record_format | Article |
| series | In Situ |
| spelling | doaj-art-5481c0d937c54829a385358d63d4fc052025-08-20T01:55:12ZfraMinistère de la Culture et de la CommunicationIn Situ1630-73052019-05-013910.4000/insitu.21510Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistoriqueOscar FuentesJulie LepeléGeneviève PinçonAll studies concerning Palaeolithic art (parietal or movable art) are based on analytical recordings of the kind now practiced for over a century. This analytical approach is indispensable for our understanding of the thought processes of prehistoric societies. But today, new 3D technologies are having a massive impact on research practices, as was the case with photography. An initiative by the Centre national de Préhistoire led to the development by an archaeologist specialising in parietal art, working in collaboration with a 3D-graphics designer, of a new way of applying 3D techniques to rock art. This makes it possible to go beyond the limits inherent in traditional approaches (2D recordings): graphic expressions can at last be studied in their three-dimensional context. We have chosen to use 3D resources in order to set up a dialogue between two operational frameworks (2D and 3D) which we propose to illustrate in this article, using the example of the decorated cave of Comarque (Dordogne). We base our approach on the use of Blender software (Open Source) which offers a panoply of tools useful for the analysis of parietal works. In particular, it is possible to project vectorial recordings made in 2D onto a 3D model. But above all it is possible to produce a record directly on the 3D model while keeping all the information relating to volume. This introduction of new 3D technologies for rock art recording may also encourage archaeologists to re-examine the methodological questions on which they base their analyses. https://journals.openedition.org/insitu/21510cave arttracingmethodologyUpper Palaeolithicprehistoric art3D laser scanning |
| spellingShingle | Oscar Fuentes Julie Lepelé Geneviève Pinçon Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique In Situ cave art tracing methodology Upper Palaeolithic prehistoric art 3D laser scanning |
| title | Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique |
| title_full | Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique |
| title_fullStr | Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique |
| title_full_unstemmed | Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique |
| title_short | Transferts méthodologiques 3D appliqués à l’étude de l’art paléolithique : une nouvelle dimension pour les relevés d’art préhistorique |
| title_sort | transferts methodologiques 3d appliques a l etude de l art paleolithique une nouvelle dimension pour les releves d art prehistorique |
| topic | cave art tracing methodology Upper Palaeolithic prehistoric art 3D laser scanning |
| url | https://journals.openedition.org/insitu/21510 |
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