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Showing 2 results for Harandi

Elaheh Pourabdollah, Danial Harandi ,
Volume 4, Issue 3 (12-2021)
Abstract

This study focuses on the techno-functional analysis, preservation and restoration of a silk textile attributed to the Safavid period, belonging to a private collection in Tabriz.  This research aimed to implement appropriate conservation measures and restoration based on the condition of the work for its display and preservation. The findings indicate that, through technical and comparative studies with several similar specimens, the artifact is likely from the Safavid era. The fabric exhibits various forms of degradation, including loss of warp and revealing of weft threads, perforation, tearing, holes, stains, and surface dirt. Conservation procedures applied to the textile included washing with sodium lauryl sulfate, consolidating the fibers, and reattachment of detached fibers using a thin film prepared by Klosel-G and backing support for the fabric. Finally, the textile was placed on a wooden frame for further preservation and display.

Monina Meyhami , Danial Harandi,
Volume 4, Issue 3 (12-2021)
Abstract

Photographs are significant documents for visual recovery of past cultures and civilizations in contemporary history. Structural changes in historical photographs, influenced by various factors over time, lead to numerous damages that may result in aesthetic alterations. Accordingly, this report aims to present the conservation process undertaken on three photographs dating back to the Qajar era. The photographs suffered from damage such as dirt and water stains, degradation of the gelatin layer, tears, and high acidity. To address these issues, distilled water, alcohol, and acetone were used to clean the surface contaminants. Additionally, calcium hydroxide was applied in two forms: dry and in the distilled water, for deacidification of the cardboard substrate. Acid-free cardboard and specially treated tissue paper were also used to cover for the missing parts, along with Klucel-G polymer. Finally, to ensure better protection, all photographs, they were mounted in passe-partout boards.


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