To preserve valuable architectural works, the first step is to have a complete and comprehensive understanding of these works. Among the valuable parts of architectural works are their decorations and murals. Canvas murals are a type of mural that differs from regular and continuous murals in terms of materials, execution method, and generally in nature. Considering that the first step in preserving a work of art is its understanding and perception, the difference between these works is such that carrying out the usual methods of conservation and restoration (without a correct understanding of the work) will damage their authenticity and integrity. In the research conducted on the subject of canvas murals, some researchers place these works in the group of paintings on canvas, and some researchers also recognize these works as murals, and there is insufficient knowledge in this field. The restoration theories that have been presented and published at the national and international levels have references to the preservation and restoration of historical paintings, but they have not directly mentioned how to preserve and restore canvas murals. In order to reach the theoretical principles and foundations of the preservation and restoration of this type of murals, it is necessary to examine international charters, theories, and guidelines in the field of the preservation of historical paintings so that, according to these theories and also the studies that are carried out in the field of identifying the criteria for the preservation of canvas murals, it is possible to systematically recognize, restore, and display canvas murals correctly. In this article, the constituent layers of historical Iranian murals are first introduced, and then the results of the studies of written sources in the theoretical field of the restoration of historical paintings are presented. In fact, these studies and discussions are an introduction to the preservation and restoration of Iranian canvas murals.

The comprehensive and remarkable expansion and progress of sciences, especially in the fields of natural, basic and engineering sciences, has caused a huge leap in scientific and methodological approaches in the fields of humanities, medicine, agriculture and art. This leap has created interdisciplinary knowledge or a common language between different sciences and specialties, and their integration has formed a compatible interaction. Among these, archaeometry is one of the interdisciplinary sciences that was often considered as a side specialty and an addition to archaeological analysis and restoration of historical monuments, but today, with the systematic use of natural, basic and technical and engineering approaches, archaeometry has become a common language of the aforementioned sciences with humanities and arts, especially in the field of cultural heritage studies, and has become more important as an independent specialty than ever before. In the present study, an applied and preliminary model of the position of archaeometric approaches and studies in the recognition and study of architectural heritage and its elements has been presented. The need and demand of conservation researchers for controlled and scientific information and data in recent years has doubled the importance of archaeological approaches, but the lack of data in the field of conservation of Iran's historical monuments, especially architectural heritage, is still clearly felt.

Modern management has increasingly attracted the attention of executive and organizational systems in recent decades. The application of its key components, such as systems thinking, contingency decision-making, the importance of leadership and effectiveness, goal and strategy setting, motivation, and self-regulation, constitutes part of the success factors for today’s human resource managers.
Preservation, restoration, and protection of historical buildings are among the fundamental objectives in the field of cultural heritage. This descriptive–survey study, conducted through a qualitative–analytical method and based on the author’s field experience in supervising 25 projects on the conservation, restoration, and documentation of architectural decorations in historical buildings across Khorasan Razavi province between 2007 and 2016, demonstrates that restoration teams are often composed of academic experts, traditional craftsmen, or a blend of related competencies, each possessing a unique insight and professional commitment to the authenticity of the buildings.
Managers who identify the most qualified individuals and adopt a participatory management approach not only achieve better outcomes in the given projects but also ensure job satisfaction, productivity, synergy, and the professional growth of their teams. Furthermore, they establish sustainable career paths and create opportunities to train and nurture skilled groups for future specialized projects.

The expansion of the scope of ideas and discussions of conservation and restoration, as an interdisciplinary field, in today's world is in harmony with the growth of science in other branches and fields. This movement and flow cause new categories and concepts to enter the theoretical foundations and literature of this field every day. The birth of new ideas and concepts itself causes a change in the view of issues that previously seemed obvious and unchanged. The nature of the movement towards expanding the boundaries of thought and considerations in the science of conservation and restoration leads to the emergence of new perspectives and the proposal of new issues that, in turn, can be effective in judging and evaluating the measures designed and carried out. Studying and reflecting on the new ideas and perspectives raised in the field of conservation and restoration of historical-cultural objects shows a large gap in the country's collection of awareness and knowledge of conservation and restoration regarding the relationship between the audience and the restorer, which was the main factor in choosing and addressing the subject of the present article. On the other hand, some have pointed out that building an audience is not a one-time thing. An audience is always subject to loss and gain, and as a result, a direct and lasting relationship between the artist and his audience is essential. By measuring each of these factors in Iran, we encounter shortcomings in the audience-building process, especially in the field of cultural heritage.

Khanqah of Sultan Ibrahim Khorrambid is a unique relic of the Timurid period. This building has exquisite stucco decorations, combined stone and tile decorations, and mosaic tiles. The building has a central domed chamber (gonbadkhaneh), the dome of which almost completely collapsed due to the earthquake and only a small part of it remains. Considering the climatic conditions, public expectations, and the need to preserve the decorative elements, reconstruction of the dome is deemed necessary. In the reconstruction of the dome, there are obstacles such as the weakness of the existing structure, the type of structure to be reconstructed, and the style of the dome. In this study, three methods for reconstructing the dome have been proposed: constructing the dome with bricks and implementing a wooden ring in the arch, implementing a combined metal and brick structure, and implementing the dome with a wooden structure. Considering that a small volume of the dome remains and on the other hand, preserving the decorations is important, implementing the dome with a light structure (the last case) is suggested.

Dry plate glass negatives are important part of the cultural, historical and visual heritage in history of Iran. Structural changes due to factors affected them over time, can cause deterioration in the image. Identifying deteriorations in dry plate glass negatives can help to provide better solutions in preserving them. The investigation of sample by Fourier transform infrared spectroscopy (FTIR) and x-ray microprobe analyzer (XPMA) indicated that the technique of sample is gelatin and silver halide on glass, and the chemical damages are fading and silver mirroring. Improper washing after fixing and residual of hypo on the surface of image is the main cause of fading. The formation of the silver mirroring is due to the oxidation of silver ions in the emulsion layer and migrate to the surface of the negative.

Studying various aspects of the manuscripts may be important in explaining the actual values of work, and the ways of protecting these values. Therefore, in this research 10 paint samples (blue and red) from the five manuscripts related to Safavid period (16th century) were analyzed to explore their nature and structure. First, the related literature regarding the frequent types of the paints in Safavid period and their preparing recipe were thoroughly reviewed. Then, after sampling of the paints, the analytical techniques including scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy (FTIR) were used to identify red and blue pigments structure. Obtained results confirmed that all the used red and blue pigments in these five manuscripts were of mineral origin. Moreover, the results proved that all of the red pigments used in this manuscript were of vermilion, ocher and red lead (Lead oxide), while the blue pigments are of ultramarine type. Also, the strong peak of FTIR at 2340 cm-1 proved that the ultramarine pigment used is of natural type.

The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.
The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.

Decorations and paintings are integral components of Iranian-Islamic architecture. Among the structures that continually evolve in their architectural ornaments and decorations are the mausoleums and shrines of religious figures. One such monument, adorned with diverse wall decorations, is the Imamzadeh Hamzeh ibn Musa (AS) mausoleum located in Dehneh Shirin village, Esfarayen, North Khorasan Province. This study aims to investigate the construction techniques of the wall decorations at the Imamzadeh through laboratory methods, including petrographic thin-section analysis (OPM) to identify the layers and their compositions, and Fourier Transform Infrared Spectroscopy (FTIR) to identify red and blue pigments. Petrographic analysis revealed four distinct layers in the wall paintings: the paint layer, the ground layer, the lower primer, and the upper primer. FTIR analysis could not identify the pigments, detecting only bands indicative of calcium sulfate and calcium carbonate in the studied samples. For more precise pigment identification, additional analyses such as Scanning Electron Microscopy with Energy Dispersive X-ray Spectroscopy (SEM-EDX) and X-ray Diffraction (XRD) are required.