An exact physical replica of the boat was created with a powder 3D printer. Size, shape, colours, surface markings, even evidence of past damage and previous episodes of restoration, were all recorded. For this reason a campaign of 3D data acquisition was planned to create an accurate digital replica of the artwork with the aim of making a physical replica to substitute the real object. Recently it was chosen to be part of a travelling exhibition to the Smithsonian Museum (USA), but due to its fragility could not be moved. It was found within a tomb at the Kazafani village (Cyprus) in 1963. The 13th century artifact is made of pottery and it is permanently exhibited at the Cyprus Museum. This paper presents the case study of the physical replica of the so called Kazafani boat. Furthermore, a 3D replica can be a valid substitute of lost museum artifacts. 3D physical replicas can replace original objects that are inaccessible or not available due to their conservation state, their fragility or that cannot be moved because too valuable. Despite the problems of ambiguity arisen, I aim at discussing the types of cloth and clothing detected in Aegean Late Bronze Age religious iconography and their role in specific rituals, with reference to their possible correlation with terms testified on Linear B tablets.ģD printing is considered the new revolution in the field of cultural heritage and archaeology, contributing to the definition of new horizons in the conservation and communication sector. Data offered by miscellaneous media (figurines, vases, sarcophagi, faience models etc.) remain valuable though disparate.
Usually however, features related to the limited sphragistic surface (miniature scale, lack of details, schematization), as well as the occasional poor preservation of the scenes, make their interpretation difficult. onwards, often fills the gaps of the fragmentary wall paintings. Drawing upon a common iconographical tradition, the much richer seal imagery, from the 16th century B.C.
So, we deal with partial (often) or dubious (occasionally) restorations, let alone the stylistic conventions. Pictorial wall paintings, which appear in Crete from late MM III and spread afterwards to Cyclades, Rhodes, Miletus and Mainland Greece, are in their vast majority poorly preserved, with the exception of Akrotiri (Thera) frescoes. wall paintings and various sphragistic media (signet rings, seals and seal impressions/sealings). Nevertheless, their identification involves problems related to both our main iconographical sources, i.e. The implication of cloth and/or clothing in ritual actions is amply testified in Aegean Late Bronze Age iconography.
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