Knowledge of Conservation and Restoration

An Introduction to the Islamic principles of Conservation and Restoration of Historical Tombstones Based on Sharia Laws and Requirements

Mehdi Razani

Tombstones are composed of various stones adorned with different patterns and decorations, and their role in Islam and Iranian culture is considered integral cultural artefacts, with respect to the concept of life after death and their educative function to living people in reminding the concept of death and the eternal abode. In past societies, stones were perceived as the abodes of souls. This research employs a descriptive-analytical approach and library research method by exploring the various types of tombstones and diverse decorations associated with them in different Islamic periods, as well as the methods of conservation and restoration of tombstones. The paper also investigates the Islamic perspective on this matter. Restoration of Islamic tombs and tombstones is seen as a scholarly and practical endeavor, as evidenced by Islamic sources emphasizing the conservation of the tombs of divine figures, including the Imams, as a clear example of venerating religious symbols, a commendable practice and an emphasized aspect of Islam. Additionally, the restoration of the tombs of ordinary deceased individuals is justified due to its prominent role in reminding survivors of the concept of death and readiness for the journey to the eternal abode.

Damage Map of Rostam and Ashkboos Relief in Divan Khaneh Building Using Photogrammetry, Based on Illustrated Glossary on Stone Deterioration Patterns -- ICOMOS

Maryam Shirvani

The heritage remaining from the short era of Zandiyeh in Shiraz are very diverse and decorated with various decorations. The use of stone can be seen in different parts of these buildings, such that it is used in the external and internal plinths of the building, columns, paving yard and ponds. The plinth walls are sometimes decorated with paintings and sometimes with sculptures, and one of the unique plinths is the battle of Rostam and Ashkboos in the courtyard of Divan Khaneh complex. The purpose of this paper is the scientific pathology of the changes and destructions created in the carvings of Divan Khaneh building. The main question raised is how short-range photogrammetry technology can help accurately document damage to historical relief monuments. The research method is applied and experimental. which has been evaluated using survey and field research. The obtained results state that the use of photogrammetric method is a safe method that is very effective in damage imaging and can show the amount of changes made in the main structure of the stone. In this method, the amount of decay and various destructions of the sculptural effect was evaluated and analyzed, which includes separation, cracks and fissures, material loss, erosion, discoloration, and sedimentation.

Consolidation, Conservation and Restoration of the Relief of North Western Gate of Sad-Sotūn, Persepolis World Heritage Site

Mohsen Ghaseminezhad Rayeni

The present research report describes the rescue operation conservation and restoration of the relief on block No. 4 of the eastern part of the Northwest Gate of the Sad Sotūn (Hundred Pillars) Palace of Persepolis complex that consists of east and west parts. During the years 1980 and 1981, only on western part of this structure, some restoration, anastylosis, reconstruction and consolidation measures were carried out by the conservation specialist office of Persepolis under the supervision of Master Hassan Rahsaz by some traditional masters. Therefore, no actions had been taken regarding the eastern part until 2017. following the monitoring and analysis of the destruction process on the motifs on this part of the gate, conservation and restoration experts decided to run a conservation and restoration workshop and carry-out rescue operations for these motifs. Undertook to act on the basis of modern methods based on new materials and trained by Iranian and Italian expert’s restoration methods. This report will specifically address one of the blocks. The authors hope to describe, analyze, and present a portion of the efforts undertaken to expand modern conservation initiatives at the UNESCO World Heritage site of Persepolis.

Investigating the Coloring Materials Used in "Sang Bismillah" of Azarbaijan Museum, Tabriz

Hamidreza Irani

The “Bismillah stone” inscription is one of the significant works of the Qajar era in the Azarbaijan Museum of Tabriz since 1993. This work was crafted in Cairo, Egypt by an Iranian artist named Mohammad Ali Quchani known as Mirza Sangalakh. The artifact comprises five segments, collectively weighing approximately more than three tons. Most of damages caused in this work, considering its delicate decorations and substantial weight, has been attributed to its multiple relocations. In addition to very delicate carvings, the surface of the work is decorated with blue, gold, green, black, white and red colors. It seems that in addition to the ups and downs history of this work and its cultural significance within contemporary society, particularly among the people of Tabriz, only a review of its history will not be enough to express its status, value and unique characteristics. Therefore, a more detailed and scientific study could significantly enhance the understanding and appreciation of this work. Furthermore, for improved preservation and potential restoration of the work, documentation and scientific studies are needed for this magnificent work. To identify the materials and origins of existing colors, the application of scientific and laboratory methods was put on the agenda. To achieve this, two methods of classical chemistry testing and EDX analysis were employed to identify the present colors. the results confirmed the presence of indigo, copper rust (cuprous oxide), gold powder, Shangraf (cinnabar), bone soot and sheikh white (white lead) in the coloration of the artifact.

The Study of Semi-Precious Stone Samples from the Ahmad Shahi Pavilion in the Niavaran Cultural-Historical Complex

Seyed Iraj Beheshti

The Niavaran Cultural-Historical Complex is situated within a vast garden of approximately 11 hectares garden in northern Tehran, characterized by its rich natural beauty and historical significance. The buildings in this complex date back to the Qajar and Pahlavi eras, including the Sahebqaranieh Palace, the Ahmad Shahi Pavilion, Niavaran Palace, a private library, and the Jahan Nama Museum. Among these, the Ahmad Shahi Pavilion, one of the Qajar palaces in the complex, lacks any dated inscriptions or historical markers.; however, evidence suggests that this building was constructed during the reign of Ahmad Shah Qajar. This two-story building houses personal belongings of Reza Pahlavi. On the ground floor, in the western section of the building, there are two rooms separated by glass display cases. Four large glass display cases segregate these two rooms, containing 106 pieces of rough and cut precious and semi-precious stones, along with several fossils. The primary objective of this article is to study and identify the stone and fossil specimens present in these display cases. The studied stones are primarily quartz in various colors, alongside mineral specimens such as pyrite, chalcopyrite, stibnite, sulfur, and precious stones like beryl, as well as various types of fish fossils, ammonites, trilobites, and contemporary fossils such as corals and fish. Three notable specimens in these display cases include a natural diamond associated with a kimberlite host rock, likely originating from South African mines; a tektite meteorite sample brought from the moon, which was gifted by then-President t Nixon; and several beautiful rough turquoise mineral samples with a host rock originating from the Nishapur turquoise mine. A significant drawback of this collection is the lack of historical information regarding how these collectible specimens were gathered, purchased, or gifted, and by whom.

Typology, Characterization and Preservation-Digital Reconstruction of the Tombstone of Ohadi Maraghei

Parisa Zahedi

The use of tombstones to mark the burial place of the dead is an ancient tradition. Over time, its types, shapes, and sizes depending on the traditions, culture, and religion, as well as the impact that the deceased had on his family and society during his lifetime has been changed. Tombstones also play an important role in preserving history, as they often have inscriptions that provide insight into the people buried beneath them and the cultural practices of that historical period. The tombstones of the Islamic period play an important role in recognizing Islamic culture in the past ages. Ohadi Maragheh is a poet of the late 7th and early 8th century AH, and his tomb is in a cemetery in Maragheh and his tombstone is a sandstone box with decorations and inscriptions. In this article, using field, library, and laboratory studies, the typology, characterization and preservation-digital reconstruction of the tombstone of Ohadi Maraghei have been studied. Using this method before carrying out physical conservation and restoration activities can be helpful in showing what will happen. The restorer can give researchers a general picture of the restored work by performing digital reconstructions.