DIGITAL RECONSTRUCTION OF MONUMENTS IN THE PROFESSIONAL TRAINING OF FUTURE ART RESTORERS

Abstract

The article provides a theoretical justification for the role of digital reconstruction of cultural heritage monuments in the professional training of future restorers of works of art in the context of the digitalization of modern art education. The relevance of the study is due to the active introduction of digital technologies into the sphere of culture, the development of 3D modeling tools, photogrammetry, virtual and augmented reality, as well as the need to modernize educational programs for training restorers in accordance with modern challenges and needs of the labor market. The paper analyzes modern scientific approaches to the digitalization of cultural heritage and defines the essence of digital reconstruction as а complex interdisciplinary process aimed at recreating monuments in a digital environment based on historical, archival, art history and technological sources. It is emphasized that digital reconstruction is not only a visualization tool, but also an important means of scientific analysis, documentation and popularization of cultural heritage. The main stages of digital reconstruction are described: digital fixation of the object, data processing, creation of three-dimensional models, their interpretation and visualization. The educational potential of modern digital technologies is determined, in particular photogrammetry, Al-oriented platforms, VR/AR environments and online resources for creating digital archives of monuments. It is substantiated that the integration of such technologies into professional training contributes to the formation of digital, research, design and communication competencies of future restorers. Particular attention is paid to the practical experience of implementing the elective educational component “Digital Reconstruction of Monuments” at the Ivan Ohienko Kamianets-Podilskyi National University. It is noted that the introduction of the discipline ensures a combination of traditional restoration approaches with modern digital practices and opens up new opportunities for students to participate in projects of digital documentation of cultural heritage. The article also outlines the main problems of introducing digital reconstruction into the art education system: insufficient material and technical support, the need to improve the digital competence of teachers, as well as the need to adhere to the principles of authenticity and ethics of digital reconstructions.