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SCIENCE CHINA Information Sciences, Volume 61, Issue 9: 092105(2018) https://doi.org/10.1007/s11432-017-9308-x

Dating ancient paintings of Mogao Grottoes using deeply learnt visual codes

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  • ReceivedSep 6, 2017
  • AcceptedNov 30, 2017
  • PublishedAug 14, 2018

Abstract

Cultural heritage is the asset of all the peoples of the world. The preservation and inheritance of cultural heritage is conducive to the progress of human civilization. In northwestern China, there is a world heritage site – Mogao Grottoes – that has a plenty of mural paintings showing the historical cultures of ancient China. To study these historical cultures, one critical procedure is to date the mural paintings, i.e., determining the era when they were created. Until now, most mural paintings at Mogao Grottoes have been dated by directly referring to the mural texts or historical documents. However, some are still left with creation-era undetermined due to the lack of reference materials. Considering that the drawing style of mural paintings was changing along the history and the drawing style can be learned and quantified through painting data, we formulate the problem of mural-painting dating into a problem of drawing-style classification. In fact, drawing styles can be expressed not only in color or curvature, but also in some unknown forms – the forms that have not been observed. To this end, besides sophisticated color and shape descriptors, a deep convolution neural network is designed to encode the implicit drawing styles. 3860 mural paintings collected from 194 different grottoes with determined creation-era labels are used to train the classification model and build the dating method. In experiments, the proposed dating method is applied to seven mural paintings which were previously dated with controversies, and the exciting new dating results are approved by the Dunhuang experts.


Acknowledgment

This work was supported by National Basic Research Program of China (Grant No. 2012CB725303), Major Program of Key Research Institute on Humanities and Social Science of the Chinese Ministry of Education (Grant No. 16JJD870002), and National Natural Science Foundation of China (Grant Nos. 91546106, 61301277). The authors would like to thank the Dunhuang Research Academia for providing the moral paintings of Dunhuang-P7, and thank Mr. Hui-Min WANG for helpful suggestions and discussions.


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  • Figure 1

    (Color online) (a) shows a part of the grotto $\texttt{\#}$206 and (b) shows a mural painting. (c) and (d) show the detail information of the DunHuang-E6 dataset: (c) Sample painting images of the DunHuang-E6. (d) The distribution of the paintings in DunHuang-E6, as regarding to the dynasty when the paintings were drawn, the number of paintings from each dynasty, the indices of the grottoes where the paintings were drawn. Note that, the marks on the top stick in (d) display the start year and the end year of each dynasty.

  • Figure 2

    (Color online) The system overview.

  • Figure 3

    (Color online) Architecture of the proposed DunNet neural network.

  • Figure 4

    (Color online) Classification accuracies obtained by binary classifiers (%). (a) RCC; (b) IFV; (c) IFV+RCC +DunNet.

  • Figure 5

    (Color online) Seven mural paintings from Mogao Grottoes. Note that, (a)–(f) are from grotto $\texttt{\#}$205, and (g) is from grotto $\texttt{\#}$206. (a) A mural painting located on the south wall of grotto $\texttt{\#}$205; (b) a mural painting on the south side of the west wall; (c) a mural painting on the north side of the west wall; (d) a mural painting of Peacock King, on the aisle's ceiling of grotto $\texttt{\#}$205; (e) a painting of Guanyin Buddha on south side of the west wall of grotto $\texttt{\#}$205; (f) a painting from the central ceiling of grotto $\texttt{\#}$205; (g) a Flying-Apsaras painting from grotto $\texttt{\#}$206. The classification results are shown in the two bar chars. (I) Voting results on the seven paintings using the 6-class classifier. (II) Voting results of the seven painting images using binary classifiers. (III) The possible creation era of the seven paintings in (a)–(g). The green denotes the up-to-date official creation era given by the Dunhuang Research Academia, and the red with question mark denotes the most probable creation era in alternative.

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