Knowledge of Conservation and Restoration

Damaging Environmental Factors to Zilus in Meybod Museum

Faezeh Asaadi

Zilu, a traditional mat characterized by a firm texture, smooth surface, and lint-free quality, has origins predating Islam. The warp and weft used in Zilu weaving are typically made of cotton and dyed with natural materials. The unique weaving techniques and patterns distinguish Zilu from rugs and other tapestries. This craft was registered on Iran's National Heritage List in 2011 (1390 in the Persian calendar) under registration number 246. Currently, a section of the Shah Abbasi Caravanserai in Maybod is dedicated to a museum showcasing Zilu. The Zilus displayed in the museum, some of which are approximately 500 years old, are often in poor condition and highly susceptible to damage from environmental factors such as moisture, dust, air pollutants, light, and temperature fluctuations. This study is based on the premise that dust, influenced by the local climate, is a primary factor contributing to the deterioration of Zilus in Maybod. The research aims to identify harmful environmental factors affecting the museum's Zilus and propose methods to mitigate their damaging effects. The primary objective is to enhance the preservation of these historical and cultural artifacts. The current storage conditions in the museum are inadequate, and the continuation of these conditions could result in irreparable damage to these valuable objects. The study seeks to identify environmental factors causing damage to the museum's Zilus through comprehensive environmental monitoring. Data were collected from library research, field observations, and laboratory analysis, employing both empirical and analytical methods. Field studies focused on monitoring the museum's environmental conditions and comparing them to international standards. The findings indicate that the museum's environmental conditions are substandard, with dust and temperature fluctuations identified as significant contributors to deterioration. Notably, human factors were found to cause the most substantial damage.

A Report of Technological and Pathological Factors, and Presentation of a Conservation Proposal for the Preserved Kaaba Curtain at the Qasr-e Ayeneh va Roshanaei Museum, Yazd

Textiles, akin to other organic materials, possess significant historical and cultural backgrounds. Their conservation and restoration have consistently been among the most critical concerns for specialists in this field, particularly in recent decades. This heightened focus on conservation may be attributed to the cessation of production for certain types of textiles in recent years—textiles that also hold considerable cultural heritage. Given their organic nature, textiles are rarely encountered in archaeological findings and have consequently received less attention compared to other artifact categories.This research focuses on developing a conservation proposal for a section of the entrance curtain (parde) of the Kaaba, an artifact of considerable cultural, political, social, and artistic significance. Through investigating the raw materials of this artifact and proposing an appropriate methodology for preserving its current structure, this study aims to both document its structure and safeguard this precious intangible heritage. Furthermore, it seeks to propose a suitable strategy for the preservation and presentation of such artifacts, thereby contributing to the preservation of shared artistic, intellectual, and cultural values among nations. Utilizing a comparative study and laboratory analyses via SEM and FTIR, various technological aspects of the artifact were examined. Subsequently, by identifying deteriorating factors and existing damages, a tailored conservation proposal commensurate with the artifact's condition was formulated. As this fragment is an intricately worked piece from the entrance curtain of the Kaaba, and one of eleven fragments donated to Iran over many years, it is hoped that this proposal can serve as a guideline for the conservation and restoration of other existing fragments of this artifact housed in other museums.

Executive Methods for the Conservation and Restoration of a Termeh Textile Attributed to the Late Qajar or Early Pahlavi Era

Given the significance of historical artifacts, the approach and provision of strategies for extending their lifespan are of paramount importance. To undertake a correct and appropriate intervention, commensurate with the condition of the artifact, a comprehensive understanding of the damaged object's state, as well as thorough knowledge of executable conservation and restoration methods, are essential. In this regard, with the aim of introducing executable conservation and restoration methods, a rectangular-shaped Termeh textile sample—measuring 75 cm (minimum) by 79 cm (maximum), featuring a dark blue (sormeh) background with a repeating boteh (paisley) motif and framing—was studied, conserved, and restored. This project, titled "Executive Methods for the Conservation and Restoration of a Termeh Textile Attributed to the Late Qajar or Early Pahlavi Era," involved a piece from a private collection. The research methodology employed was both library and field research. Ultimately, based on the damages identified on the artifact, two methods—stitching and adhesive treatment—were utilized for its conservation and restoration.

Conservation and Restoration of a Decorative Zari-Baft Fabric with Termeh Borders

Mina Kakoei

This paper examines a case study of a zari-baft (brocade) fabric with termeh borders, which had sustained damage such as tears and fiber deterioration due to improper use and suboptimal storage conditions. The fabric, utilized as a tablecloth, exhibits intricate details in the weave of its base material, termeh borders, and golabatoon douzi (gold-thread embroidery). Given the vulnerabilities of the silk base and borders, its restoration requires specialized approaches. This article outlines the treatment process—including cleaning, lining, and reconstruction of stitches—following a detailed introduction of the artifact.

Preparation Methods for Storage and Display of Hats in an Ethnographic Clothing Collection

Accessories such as hats are integral components of traditional attire, and undoubtedly, hats rank among the most significant elements of historical and local clothing for both men and women. The diversity and variety of clothing accessories, including hats, preclude the application of a single, universal solution for their care. Improper display or storage of these items—due to folding, environmental contaminants, unsuitable temperature, dust, inadequate lighting, etc.—can cause severe and irreversible damage, altering their structure and form. A tailored approach to conservation, display, and storage, considering each hat’s material, form, and specific vulnerabilities, is crucial for their preservation. Moreover, systematic storage and appropriate display methods can protect hats from numerous degrading factors. This article describes the procedures performed on hats from an ethnographic collection, culminating in the implementation of a conservation plan for these artifacts. The plan included surface and mechanical cleaning, structural stabilization, and provided recommendations for optimal storage and display of the collection.

The First Museological Approach to Carpets in Iran

The Golestan Palace World Heritage Collection serves as the premier reference for the study of Qajar-era carpets. The carpets within this collection can be classified into various categories based on dimensions, design, pattern, region of production, material composition, age, and historical period. A significant number of these carpets, particularly the large-format ones, were commissioned works. Among them, the carpet presented by Sultan Abdul Hamid II of the Ottoman Empire to Naser al-Din Shah Qajar is of particular importance due to the distinctive manner in which it was conserved and displayed, representing the first museological approach to carpets in Iran. The research methodology combined library and field studies focusing on the carpets of Golestan Palace, the Abdul Hamid carpet, and the White Palace (Kakh-e Abiyaz), alongside an analysis of visual and documentary materials available at the Golestan Palace Documentation Center.