The digitization of the two-dimensionality of cave paintings to create three-dimensional works through 3D printing

Authors

DOI:

https://doi.org/10.31637/epsir-2025-1469

Keywords:

3D printing, Sculpture, Rock Art, Digitization, Contemporary Art, Image, Shape, Memory

Abstract

Introduction: This research focuses on the results obtained through the creation and interpretation of female rock art forms inscribed on rock, using 3D printing. The study selected rock paintings from Abrigo I at Barranco de los Grajos (Cieza, Murcia). Methodology: The process began with the manual creation of sculptural prototypes, followed by the digitization of the works, and ultimately, 3D printing of the results. This study explores the connection between technology and creativity in artistic creation, aiming to generate a digital archive of the inscribed rock works. Results: The study went beyond the simple digital reproduction of rock paintings, creating 3D interpretations of the flat figures inscribed on rock, offering new perspectives on this cultural heritage. Discussion and Conclusions: It is concluded that 3D digitization and printing not only facilitate the preservation and reproduction of rock paintings but also allow for the creation of new works inspired by these elements, expanding our understanding of prehistoric art.

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Author Biography

Bartolomé Palazón Cascales, University of Zaragoza

International PhD in Sculpture from the University of Seville and CODEMA Nacional de La Habana. He has received scholarships from different institutions, such as the campus of International Excellence in Heritage 'PatrimoniUN10'. He is currently a professor at the University of Zaragoza, and is developing a research project on the image and form of parietal art graphics and their three-dimensional vision thanks to 3D technology. He has given lectures and courses on sculpture, and published several books and articles on artistic casting, 3D printing, formal analysis of images and public art. As a visual artist he has participated in various solo and group exhibitions both nationally and internationally. In the curatorial field, his career is supported by numerous curatorships.

References

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Espinosa, J. (2014). La aplicación de las nuevas tecnologías al estudio de las pinturas rupestres del abrigo I del Barranco de los Grajos, Cieza, Murcia, España. En M. M. Alberto Muñoz y M. Pérez Sánchez (Eds.), Territorio de la memoria. Arte y patrimonio en el sureste español (pp. 15-43). Ed. Universidad de Murcia EDITUM. https://doi.org/10.6018/editum.2704 DOI: https://doi.org/10.6018/editum.2704

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Ruiz López, J. F. (2019). Tecnologías actuales al servicio de la documentación, estudio, conservación y divulgación del arte rupestre. I Jornades Internacionals d’Art Rupestre de l’Arc Mediterrani de la Península Ibèrica, Montblanc. pp. 341-373.

Santos Gómez, S. (2017). El empleo de las tecnologías 3D en la conservación del patrimonio y su aplicación en la realización de reproducciones de bienes culturales. Observar, 11, 97-114.

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Published

2025-02-04

How to Cite

Palazón Cascales, B. (2025). The digitization of the two-dimensionality of cave paintings to create three-dimensional works through 3D printing. European Public & Social Innovation Review, 10, 1–18. https://doi.org/10.31637/epsir-2025-1469

Issue

Vol. 10 (2025)

Section

Research and Artificial Intelligence

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Copyright (c) 2025 Bartolomé Palazón Cascales

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