Knowledge of Conservation and Restoration

The basics and principles of displaying large-sized paintings with the approach of displaying coffee house painting curtains

Nadia Ghiyasi

Coffee house painting is one of the arts that emerged in coffee houses about a century ago due to the ‎need of time and the needs of today's society. This style of painting by dealing with simple and popular ‎subjects was able to take the path of progress and progress very soon and become a style of Iranian ‎painting history. In this research, an attempt has been made to identify the principles of their display and ‎preservation by reviewing coffee house paintings, how these paintings are displayed in museums. The ‎factors of formation, the characteristics of coffee house painting and the principles of display and how to ‎deal with large-scale paintings in museums are among the things that have been discussed in this article. ‎The method of collecting information for the purposes of this review article is the library and field ‎method, which examines and compares the information obtained about the way paintings are stored and ‎displayed, and how large-scale paintings are displayed and stored in museums. Considering the age of ‎these paintings, it is necessary to protect, restore and keep this style of painting alive. The protection and ‎restoration of coffee works can be examined from two physical and spiritual (conceptual) dimensions ‎due to the subjects used in them. These dimensions are complementary to each other, without considering ‎the spiritual dimension, the painting is just a design and colors on the support and has no other value for ‎the audience. Therefore, the correct presentation of the artistic aspect and the concept of coffeehouse ‎painting is very important in order to keep alive this style of Iranian painting‏.‏

Study and restoration of the Strappo wall painting, found in Hasht Behesht Mansion, Isfahan, Iran

Yaser Hamzavi

A part of Islamic architecture studies are architectural arrays, which are actually an integral part of the architectural work. Among the most important architectural arrays of the Islamic period in Iran are mural paintings, which can be valuable in many ways. mural paintings can connect the audience with architectural works both aesthetically and conceptually. In order to preserve the valuable works of architecture, the first step is a complete and comprehensive knowledge of these works. If a historical painting has an ambiguous identity, it must first be known for correct restoration and display so that correct interventions can be made on it and correct decisions can be made for correct display. In the present study, a painting on canvas was found from the storage of Hasht Behesht Palace in Isfahan. At first, it was thought that it was a tripod painting, but after careful examination and comparative studies, it was concluded that this work was actually a mural painting that was separated from the substrate in the previous decades using the strappo method and placed on it. It is glued on the canvas. In this article, with the description of scientific investigations on the effect and comparison of paintings on canvas and murals and conducting various scientific experiments such as chemistry, EDS and FTIR on pigments and metal sheet and metal Leaf adhesive, to a relative knowledge We achieved about painting. Further, relying on the laws of cultural heritage and the principles and theoretical foundations of restoration, a decision was made for the restoration
intervention and the correct display of the work, and the executive operation was carried out on it.

A comparative lexical study of lack and defect for using the equivalent of lacuna or missing areas of painting.

Azam Soheilipour

The importance of conservation and restoration of historical objects has caused the role of function, the meanings of words and their use to be surveyed in such a way as to preserve the concept of its cultural validity. This validity of words will arise in practical communication and their concepts, although appreciating will not be possible without understanding and inferring them. Also, it seems necessary to analyze the meanings and the clarity of difference and similarity of the words used for the lost areas of the painting. Objective: The aim of this research is to check the concepts of the words "lack" and "defect" in the field of conservation and restoration until their correct use is specified and also to find the appropriate word for the missing areas of paintings or lacuna. Research Method: This essay is based on a descriptive-analytical and comparative research method. It collects information from the research of predecessors, benefiting from sources related to theoretical reviews in connection with the restoration and reintegration of the lost areas of painting, and uses encyclopedias of different languages. It deals with the approaches presented by the thinkers and evaluates the special concepts of lack and defect in restoration discourse. Findings and Conclusion: In this research, it seems that lacuna in the science of Conservation and restoration means an empty space and a missing part. The word "lack" also refers to the missing part, while the "defect" part is the absence of a part from the very beginning. On the other hand, the words lacuna and lack in Latin, equivalent to Lack and Loss, indicate the missing part, although the word deficiency is equivalent to Defect. The discussion and results acknowledge that the missing areas of the painting is the same as lack, in other words, it was there from the beginning and is not present now. While the word defect represents the absent areas of the painting that were not there from the beginning and are not there now. Therefore, it seems that the word lack is a suitable equivalent for the missing part and the word lacuna..

Action-Oriented Restoration: Both Method and Goal A Review of a Professional Journey

Mitra Etezadi

This article explores the professional trajectory and experiences of the author in the field of conservation and restoration of cultural and historical objects. Mitra Ettezadi, a graduate in the restoration of historical artifacts, combines academic knowledge with personal passion to develop innovative methods and approaches for addressing damaged artifacts and mitigating their deterioration. Critiquing the abstract and often impractical approaches found in academic literature, the author emphasizes the importance of practical, hands-on experience. Through a reevaluation of academic training and professional ethics, Ettezadi has shaped a new perspective in the restoration of historical artifacts. The article also highlights the role of visual documentation and practical case studies in restoration education, asserting that the presentation of real-world examples is the most effective teaching method in this field. Reflecting on the history of the restoration discipline in Iran, the author shares her experiences through images and case studies, underscoring the necessity of transforming rigid, dogmatic perspectives and advancing applied knowledge in the restoration of historical artifacts.

Desalination of Historical Porous Materials Using Electro Kinetic Method: A Review to last Researches

Naser Eslami

Soluble salts are known as serious threat for monuments and historical porous materials. The alteration mechanism related by soluble salts such as rocks is essentially a physical process based on the stress level generated by the crystallization of the salts in the pores. In recent years many ways have been developed to extract or deactivate these salts. The efficiency of every desalination system is being evaluated by the amount of extracted soluble salts and the depth of treatment in material. In fact, ionic transport is result of a consortium of energies: kinetic energy, electric energy and chemical energy. These three energies are united together to move and extraction of soluble salts in an optimum desalination system. The electro kinetic technique is a non-destructive method to extract soluble salts based on electric migration of ions inside the material. This method is even applicable for matrixes with very fine porosity and very low hydraulic permeability. In recent years this method
has been specially considered in European countries. High amount of extracted salts and deep effect on materials have been caused to happen many researches on this topic on historical heritage and considerable results have been gained. This article is a review of background, principles and generals of this method in conservation and desalination of historical porous materials which are threatened by soluble salts alteration. Results from traditional desalination ways are compared with this method as a pioneer technique show an improvement of the quality of desalination, saving time and high efficiency of this method.

Review of Methods Used in Identifying Pigments Employed in Manuscripts

Elahe pourabdollah

Pigments play a crucial role in identifying the authenticity of historical and cultural artworks and hold a special position in conservation and restoration practices. Among them, recognizing the methods of identifying pigments used in historical manuscripts plays a significant role in determining the identity and authenticity of these artifacts. This study aims to review various methods of identifying pigments employed in historical manuscripts. Investigations in this paper have been conducted using non-destructive analytical techniques such as Scanning Electron
Microscope with Energy Dispersive X-ray Spectroscopy (SEM-EDX), Fourier Transform Infrared Spectroscopy (FTIR), X-ray Fluorescence (XRF), X-ray Diffraction (XRD), Polarized Light Microscopy (PLM), Particle Induced X-ray Emission (PIXE), Atomic Force Microscopy (AFM), micro-Raman spectroscopy, and optical imaging for elemental and compositional identification of pigments. Among these methods, SEM-EDX and point analysis
have been more commonly used in identifying historical pigments. Additionally, the combination of multiple techniques can be a suitable solution for identification purposes, but depending on the purpose of identification and the sensitivity of the artifact, factors such as the feasibility of on-site analysis or transferring artifacts to various laboratory facilities, using non-destructive methods, the possibility of sampling, and the significance and value of the artifact should be considered to adopt the best possible method. If necessary, combining tests and instrumental methods can lead to a more accurate understanding of pigments alongside their chemical composition.

Conservation and Restoration of the Coffeehouse Painting of the Husseiniyeh Kababi in Birjand with the Theme of Ta'zieh of the Tragedy of Ashura

Hamzeh Hamzeh

The coffeehouse painting of the Ashura Tribulation, belonging to the Hosseinieh Kabbabi Endowment, is particularly popular among the people
of Birjand as one of the manifestations of Ashura culture. This work was commissioned based on an existing inscription by Agha Mirza Mashallah
Tehrani, who was one of the pioneers of coffeehouse painting in Iran, and was created by one of his students, Mohammad Hossein, in 1338
(A.H.), probably in Yazd. This article presents the authors' conservation and restoration experiences on the coffeehouse painting of the Ashura
Tribulation, which dates back to the late Qajar period and is exhibited in one of the old Hosseiniehs of Birjand in the first decade of Muharram.
The first step in the conservation and restoration of this work was the accurate identification of the damages, the most important of which in
this particular work is related to the damages caused by wear and tear and repeated installation of the work. After identifying the damage to
the work, appropriate conservation and restoration measures were taken, the first step being its cleaning, which was carried out in two stages. In the first stage, dust was removed. A vacuum cleaner with a soft brush and a thin mesh was used to remove dust to prevent damage to the work during sweeping. In the second stage, stains were cleaned. Inappropriate restorations were then removed, and after repairing the tears and defects, the work was strengthened to make it more stable. Conservation operations for the work included protection during display and the construction of a storage container and packaging of the work. By carrying out conservation and restoration measures, the coffeehouse painting of the Ashura tragedy of the Husseiniyeh Kabbabi was protected from further damage and its visual quality was significantly increased. This painting is kept in a designed container and will be exhibited in the first decade of Muharram at the Husseiniyeh Kabbabi location.