In the neuralgic field of restoration of delicate sculptural artworks, the contribution of high-precision, contactless three-dimensional (3D) recording in the documentation of their current condition and their further digital investigation are proven valuable. However, the incredible possibilities of the digital sphere oppose the limitations of the matter, raising case-specific ethical and practical issues that highlight the complexity of the restoration process. The nature of the construction material(s) of any cultural artifact determines not only their aging and deterioration ratio in relation to their exposure to environmental conditions but also the ethically acceptable and practically feasible degree of intervention for their conservation. So far, the digital conservation approaches concern artifacts made of rigid materials, such as ceramic and stone. Their very nature determines their conservation treatment in the real world and dictates their digital approach, which orbits around the repositioning of their detached fragments, the supplementation or reconstruction of their lost parts, the design of support structures for display or storage, etc.

The singularity of the ‘Xenophanes’ figurine lies in its strong plasticity and the malleable contemporary construction materials (wax and plasticine), which require specialized conservation interventions to be preserved. Over time, the inclination of the figurine has changed significantly, posing stability and deformation issues; its head and stick are detached, and both hands are lost. The timeline of the weathering of this particular artwork is documented at two points in time, in 2005 and 1994.

This paper presents the first stage of an ongoing investigation. It includes the documentation of the artworks with both active and passive recording methods, their post-processing methodology offering the opportunity to combine their strengths and integrate them in the resulting 3D model. This final model was subsequently used to accomplish the digital restoration of the figurine to its earlier state(s). The workflow of 3D keyframe animation facilitated the restoration of our non-rigid figurine in digital time. The complexity of the decision-making process for the digital restoration of flexible artworks is highlighted by a series of ethical and applied considerations that arise during the procedure, along with the desire for a digital 3D object that corresponds to the singularity of the authentic artwork in order to evaluate the restoration possibility of the latter. The nature and needs of the figurine studied here allow a dynamic digital post-processing conservation approach that moves beyond reassembly, and within the limits of the tolerances of its construction materials for its reformation, in order to study the restoration steps to earlier states as well as the simulation of a possible physical approach to the object. In such an approach, where the materiality and plasticity of the authentic artifact are interwoven with the protocol for the digital conservation approach, the knowledge and experience of an Information and Communication Technology (ICT) skilled conservator was instrumental.

在修复精美雕塑艺术品的神经痛领域，高精度、非接触式 3D (3D) 记录在记录其当前状况和进一步数字化研究方面的贡献被证明是有价值的。然而，数字领域令人难以置信的可能性与问题的局限性相反，引发了特定于案例的伦理和实践问题，突出了恢复过程的复杂性。任何文物的建筑材料的性质不仅决定了它们与暴露于环境条件相关的老化和劣化率，而且决定了对其保护的道德上可接受和实际可行的干预程度。到目前为止，数字保护方法涉及由刚性材料制成的人工制品，如陶瓷和石材。它们的本质决定了它们在现实世界中的保护处理，并决定了它们的数字方法，围绕它们分离的碎片的重新定位、丢失部分的补充或重建、用于展示或存储的支撑结构的设计等进行。

“色诺芬”雕像的独特之处在于其强大的可塑性和可塑的当代建筑材料（蜡和橡皮泥），需要专门的保护干预措施来保存。随着时间的推移，小雕像的倾斜度发生了显着变化，带来了稳定性和变形问题；它的头和棍子脱落了，失去了双手。这件特定艺术品的风化时间线记录在两个时间点，即 2005 年和 1994 年。

本文介绍了正在进行的调查的第一阶段。它包括使用主动和被动记录方法记录艺术作品，他们的后处理方法提供了结合他们的优势并将它们整合到生成的 3D 模型中的机会。此最终模型随后用于将小雕像数字恢复到其早期状态。3D 关键帧动画的工作流程有助于在数字时间中恢复我们的非刚性小雕像。过程中出现的一系列伦理和应用考虑突出了灵活艺术品数字修复决策过程的复杂性，以及对与真实艺术品的奇异性相对应的数字 3D 对象的渴望，以评估后者的修复可能性。此处研究的小雕像的性质和需求允许采用动态数字后处理保护方法，该方法超越重新组装，并在其重建材料的公差范围内，以便研究恢复到早期状态的步骤作为对物体可能的物理方法的模拟。在这种方法中，真实文物的物质性和可塑性与数字保护方法的协议交织在一起，信息和通信技术 (ICT) 熟练保护者的知识和经验起到了重要作用。此处研究的小雕像的性质和需求允许采用动态数字后处理保护方法，该方法超越重新组装，并在其重建材料的公差范围内，以便研究恢复到早期状态的步骤作为对物体可能的物理方法的模拟。在这种方法中，真实文物的物质性和可塑性与数字保护方法的协议交织在一起，信息和通信技术 (ICT) 熟练保护者的知识和经验起到了重要作用。此处研究的小雕像的性质和需求允许采用动态数字后处理保护方法，该方法超越重新组装，并在其重建材料的公差范围内，以便研究恢复到早期状态的步骤作为对物体可能的物理方法的模拟。在这种方法中，真实文物的物质性和可塑性与数字保护方法的协议交织在一起，信息和通信技术 (ICT) 熟练保护者的知识和经验起到了重要作用。为了研究恢复到早期状态的步骤以及对物体可能的物理方法的模拟。在这种方法中，真实文物的物质性和可塑性与数字保护方法的协议交织在一起，信息和通信技术 (ICT) 熟练保护者的知识和经验起到了重要作用。为了研究恢复到早期状态的步骤以及对物体可能的物理方法的模拟。在这种方法中，真实文物的物质性和可塑性与数字保护方法的协议交织在一起，信息和通信技术 (ICT) 熟练保护者的知识和经验起到了重要作用。