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Aminallah Kamali,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
The Bahabad zinc smelting site, located 71 km north of Bahabad in Yazd Province, Iran, spanning 220 m² within the Tabas-Posht-e-Badam metallogenic belt, is a key ancient metallurgical center. This study aims to identify the extracted metal, analyze metallurgical processes, and reconstruct the employed technologies through petrographic and geochemical analyses of ceramic nails and furnace slags. Thirty ceramic nails and 20 slag samples were collected, with five samples from each group selected for petrographic study and chemical analysis using inductively coupled plasma optical emission spectroscopy (ICP-OES). Petrographic results revealed that the ceramic nails, made from fired clay, exhibit a porphyritic texture with ~20% quartz and minor calcite, while slags contain fayalite (Fe₂SiO₄), melilite, pyroxene, and wüstite (FeO), indicating high-temperature, reducing conditions. Chemical analysis showed an average of 1.21% ZnO in nails, confirming their role in collecting zinc vapors as tutia (ZnO) over centuries, and 3.74% ZnO in slags, suggesting incomplete zinc extraction. Low lead (669 ppm in nails, 315 ppm in slags) and sulfur (1053 ppm in nails, 361 ppm in slags) concentrations indicate the use of oxidized ores like smithsonite (ZnCO₃) or hemimorphite rather than sulfides like sphalerite (ZnS), consistent with the region’s oxidized lead-zinc deposits. Two-tier furnaces, with a lower heating chamber and an upper perforated clay plate holding ceramic nails (10–20 cm long, 2–4 cm diameter), facilitated upward distillation. This technology contrasts with India’s downward distillation (sphalerite, square furnaces) and China’s condenser-based upward method (rectangular furnaces), highlighting Iran’s indigenous innovation using charcoal and ceramic nails. The study underscores the technology’s adaptation to local conditions and its significance in global metallurgical history.
Azadeh Moghadam , Shahrzad Amin-Shirazi Nezhad, Ali Nazari ,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
A novel method utilizing eucalyptus extract for the protection of woolen artifacts against invasive insects has been developed. This eco-friendly approach is highly compatible with environmental ecosystems, poses no risk to humans, and is safe for historical textiles. The application of this extract does not adversely affect the artifacts, their physical properties, appearance, or fiber strength. The eucalyptus extract is obtained using a Soxhlet extraction method with ethanol 96°, and neutral pH paper strips are impregnated with the extract. These eucalyptus-infused strips serve as an environmentally friendly, human-safe, and artifact-compatible insect repellent. They can be employed in various applications, such as packaging material, display linings, storage boxes, and protective layers between artifacts in storage. The production cost is low, and the method offers higher safety and efficacy compared to existing alternatives.
Sajjad Kalantari, Alireza Baghbanan ,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
To estimate the strength parameters of materials such as concrete and rock, the micro-drilling technique can be used to quantitatively and qualitatively check the comparative strength of historical monuments and to qualitatively evaluate various building materials in depth and in situ. This technique can be used as a relatively minimally invasive, non-destructive, fast and reliable method in the field of restoration and treatment of historical monuments. In this method, by drilling in millimeter dimensions of the building surface and simultaneously measuring various drilling parameters such as thrust force, torque, penetration rate and bit rotation speed, it is possible to assess the deep condition of historical monuments in terms of the amount of erosion and weathering caused by various climatic and environmental factors. There is also an examination of the quality of treatment before and after treatment. However, various studies as drilling resistance in other countries, it has not been used in our country yet. Now that the construction of this type of equipment has become more capable in the country, we can also benefit from this system in the field of restoration and treatment of historical monuments. Simultaneous measurement of several drilling parameters and use of its data can provide additional relative advantages, including controlling the effect of bit wear in this technique. Therefore, we have provided this possibility by constructing and developing a device with this capability. Using this technique to measure drilling resistance is affected by bit wear. In this paper, we will introduce this technique, present a method for estimating reliable and comparable drilling resistance, and assess the principles of using the method in this regard.
Fatemeh Alamirzaei, Parasto Naeimi Taraei,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
The study of corrosion mechanisms in ancient bronze artifacts, particularly those from the salty and humid region of Hormuz, is crucial due to severe corrosion. This article examines a bronze dagger attributed to excavations in Hormuz to analyze its corrosion behavior influenced by the environment. Techniques such as X-ray imaging, stereomicroscopy, X-ray diffraction (XRD), polarized light microscopy (PLM), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) were employed. Results show that most of the dagger has transformed into corrosion products, including copper and tin oxides, as well as basic chloride compounds like atacamite and paratacamite, forming a three-layered corrosion structure. The corrosion mechanism involves selective dissolution of copper, its migration to outer layers, and the concentration of tin oxide compounds in the central regions, accompanied by chloride ion penetration. This process has preserved patterns of grain structure and thermal twinning in the inner oxide layers, with periodic deposition of copper and tin oxides indicating the formation of a colloidal solution of copper and tin salts beneath the soil (Scott, 2002; Robbiola et al., 1998).
Talhe Ghodousiyan, Mehdi Razani, Amir Hossein Mehdikhani, Arash Keshtkar, Ali Kh Mirzaie, Alireza Mansouri, Ali Akbar Kiaei , Hossein Shirazi , Mustafa Dehpahlavan, Abdolbasir Hosseinbor,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
Artificial intelligence (AI) and machine learning (ML) have emerged as transformative tools in preserving, analyzing, and representing cultural heritage and arts. This article provides a systematic and comprehensive review of AI applications in this domain, exploring their potential to address longstanding challenges such as natural degradation, limited accessibility, and complex documentation. By integrating classical and advanced ML algorithms, we examine case studies including the Time Machine Europe project, the Ithaca model for ancient Greek texts, and metaverse-based heritage digitization. These initiatives demonstrate AI’s capacity to enhance precision, speed, and interactivity in heritage tasks, from virtual reconstruction to multimodal data analysis. However, limitations such as data quality, ethical concerns, and computational complexity pose significant barriers to widespread adoption. Emerging technologies like non-fungible tokens (NFTs), prompt engineering, and quantum AI are highlighted as future directions that promise further innovation. This study underscores the need for interdisciplinary collaboration and ethical frameworks to ensure sustainable advancements, offering a roadmap for researchers and policymakers in the digital era.
Ramin Mohammadi Sefidkhani, Mostafa Dehpahlavan,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster. Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster.
Mehdi Razani, Mohammad Ali Haddadian, Jalil Esmaeilnezhadteymourabadi ,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Designing stabilizing mounts for objects, particularly unstable ones, is of great importance for museum display cases. These mounts can serve as platforms that aid in the exhibition of artistic works and valuable historical and cultural artifacts. The aim of this article is to design and implement a sample mount to stabilize a vessel that lacks proper physical balance, making it unsuitable for safe and secure display in a museum case without risking damage. To achieve this goal, a sample ceramic vessel from the scientific excavations of Tepe Dalma, which lacked structural stability and balance, was selected as the case study. In this process, after 3D modeling the object, a suitable mount was designed and fabricated to provide the necessary balance and stability. Another significant aspect of this study, following a review of the literature on modern technologies, is the examination and introduction of criteria and features that must be considered in the design and production of such mounts to ensure their functionality for various objects. The most important of these criteria, in order, include: the use of low-risk materials for constructing the mounts, ensuring the mount does not come into direct contact with the object in a way that could cause damage, considering the aesthetic values of the object in terms of color harmony and the shape of the mount in relation to the object's visual characteristics and function, and finally, ensuring sufficient strength to support the object's weight and balance.
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.
Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.
Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.
Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.
Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.
Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.
منابع/ References
Abedi, Akbar.(1400). Report of the archaeological excavations of Dalma hill in Malkan city of East Azarbaijan province, Tehran: National Institute of Archeology.
[عابدی، اکبر. (1400). گزارش کاوشهای باستانشناسی تپه دالما در شهرستان ملکان استان آذربایجانشرقی، تهران: بایگانی پژوهشکده باستانشناسی کشور.]
Antlej, K., Celec, K., Sinani, M., Mirtič, E., & Ljub, D. (2012). Restoration of a stemmed fruit bowl. Review of the National Center for Digitization, 141-146.
Bakhshandefard, H. (2010). A study of metallic historical artifacts in conservation. Isfahan: Isfahan University of Art.
[بخشندهفرد، حمیدرضا. ( 1389). بررسی آثار تاریخی فلزی در مرمت. اصفهان: دانشگاه هنر اصفهان.]
Balletti, C., & Ballarin, M. (2019). An application of integrated 3D technologies for replicas in cultural heritage. International Journal of Geo-Information, 8(6), 285. https://doi.org/10.3390/ijgi8060285
Balzani, M., Fabbri, M., Maietti, F., & Santopuoli, N. (2005). Survey, modelling and scientific integrated researches for restoration and enhancement of cultural heritage – A study of the bas-relieves of the Camerino dei Marmi di Alfonso I for the Estense Castle. The 6th International Symposium on Virtual Reality, Archaeology and Cultural Heritage (pp. 1-8). Pisa, Italy: ISTI-CNR.
Barreau, J. B., Nicolas, T., Bruniaux, G., Petit, E., Petit, Q., Bernard, Y., Gaugne, R., & Gouranton, V. (2014). Ceramics fragments digitization by photogrammetry, reconstructions and applications. Computer Science, 1-8.
Cåsver, Chez. (2009, July 4). Flickr. https://www.flickr.com/photos/rosemania/4121248676
Comes, R., Buna, Z., & Badiu, I. (2014). Creation and preservation of digital cultural heritage. Journal of the American Heart Association, 50-56.
DOI, A., & ONO, K. (2010). Digital archiving of archaeological remains using X-ray CT. Computer Science, 204-209.
Du, H., Liu, L., Zhang, F., Zhao, W., Leng, J., & Liu, Y. (2017). Thermal-mechanical behavior of styrene-based shape memory polymer tubes. Polymer Testing, 119-125.
Fararu (Analytical News). (2011, April 10). Preservation of ancient artifacts in a museum on CD boxes! + Photo. Retrieved April 15, 2012, from https://fararu.com/fa/news/73207
Hartley, J. (2023). Ancientartifax. Accessed September 25, 2023, from https://www.ancientartifax.com/stands.htm
Hay, J. (2011). Creating steel mounts for the exhibition of totem poles. Journal of the Canadian Association for Conservation, 29-38.
Hein, G. E. (2002). Learning in the Museum. routledge.
Hernández-Muñoz, Ó., Sterp, M. E., & Sánchez-Ortiz, A. (2023). Stabilization of an anatomical wax model of the Complutense Veterinary Museum with the help of 3D digital technologies. International Journal of Conservation Science (IJCS), 45-56.
Unknown. (2023, June 6). Christies. Accessed August 25, 2023, from https://www.christies.com/lot/an-anasazi-black-on-white-jar-4647475/?intObjectID=4647475&lid=1
Lowry, M. (2012). Short communication: Exploring process and design for visually unobtrusive object mounts. Journal of the American Institute for Conservation, 59-67. https://doi.org/10.1179/1945233014Y.0000000027
Lord, B. (2002). The manual of museum exhibitions. Altamira.
Osama Shukir, M. A. (2014, November 27). Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Carved_ivory_plaque_fragment_showing_the_legs_and_eagle-like_feet._Nimrud_ivory,_Sulaymaniyah_Museum.jpg
Paul, J. (2008). Advances in the protection of museum collections from earthquake damage. Getty Museum.
Rahman, I., Adcock, K., & Garwood, R. (2012). Virtual fossils: A new resource for science communication in paleontology. Evolution: Education and Outreach, 635-641.
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2016). The use of rapid prototyping technologies in the reconstruction of missing parts of glass artifacts with a focus on historical glassware. Restoration and Architecture of Iran, 85-101.
[رازانی، مهدی؛ حدادیان، محمدعلی؛ پورعباس، صفر. ( 1395). “استفاده از فناوریهای نوین نمونهساز سریع در بازسازی بخشهای مفقود آثار شیشهای با رویکرد استفاده در شیشههای تاریخی.” مرمت و معماری ایران. 85-101.]
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2018). The use of rapid prototyping technologies in the reconstruction of missing parts of archaeological pottery. Iranian Archaeological Research, 193-212.
[رازانی, مهدی, محمدعلی حدادیان و صفر پورعباس.( 1397). “استفاده از فناوریهای نوین نمونهسازی سریع در بازسازی بخشهای مفقود سفالینههای باستانشناسی.” پژوهش های باستانشناسی ایران 193-212.]
Razani M, Bater M.( 2024) A Guide to Documentation and Recording of Ceramic and Pottery Objects in Conservation and Restoration Operations. KCR; 7 (2) :29-46
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Schilling, R., Jastram, B., Wings, O., Schwarz-Wings, D., & Issever, A. M. (2013). Reviving the dinosaur: Virtual reconstruction and three-dimensional printing of a dinosaur vertebra. Radiology, 864-871.
Souri, E., Chang Maryam, A. A., Hosseini, S. A., & Keshavarzian, B. (2015). Design and construction of a machine tool for 3D printing. Conference on Advanced Machining and Machine Tools. Tehran: Tarbiat Modares University. 436-439.
[سوری، احسان؛ چنگ، علیاصغر؛ سیدعباس حسینی، مریم؛ کشاورزیان، بهنام. (1394). “طراحی و ساخت ماشین ابزاری برای انجام پرینت سهبعدی.” کنفرانس ماشین کاری و ماشینهای ابزار پیشرفته. تهران: دانشگاه تربیت مدرس. 436-439.]
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[تابناک (خبری-تحلیلی)، (1393)، مجموعه بینظیر سکه و اسکناس ایران 2، تاریخ انتشار: 14:45- 1393/02/29. https://www.tabnak.ir/fa/news/401529[
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[یونگر، الف و یونگر و آ شنیویند.( 1390). حفاظت آثار هنری چوبی. با ترجمه اصغر طارمیان و علی نقی کریمی. تهران: دانشگاه تهران]
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.
Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.
Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.
Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.
Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.
Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.
منابع/ References
Abedi, Akbar.(1400). Report of the archaeological excavations of Dalma hill in Malkan city of East Azarbaijan province, Tehran: National Institute of Archeology.
[عابدی، اکبر. (1400). گزارش کاوشهای باستانشناسی تپه دالما در شهرستان ملکان استان آذربایجانشرقی، تهران: بایگانی پژوهشکده باستانشناسی کشور.]
Antlej, K., Celec, K., Sinani, M., Mirtič, E., & Ljub, D. (2012). Restoration of a stemmed fruit bowl. Review of the National Center for Digitization, 141-146.
Bakhshandefard, H. (2010). A study of metallic historical artifacts in conservation. Isfahan: Isfahan University of Art.
[بخشندهفرد، حمیدرضا. ( 1389). بررسی آثار تاریخی فلزی در مرمت. اصفهان: دانشگاه هنر اصفهان.]
Balletti, C., & Ballarin, M. (2019). An application of integrated 3D technologies for replicas in cultural heritage. International Journal of Geo-Information, 8(6), 285. https://doi.org/10.3390/ijgi8060285
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Sahar Ahmad Khan Beigi,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
Aminallah Kamali,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Yazd Province, with its diverse mineral resources and long history of metallurgical activities from prehistoric to contemporary times, is considered one of the primary centers of ancient metalworking in the Central Iranian Plateau. The Dehneh Lashkar metal smelting site, located near Robat Posht-Badam village, was identified during regional geological surveys and studied for the first time. From this site, covering an area of 140 square meters, 10 slag samples were collected, with 4 samples subjected to petrographic analysis and 4 samples analyzed chemically using ICP-OES. The examined samples exhibited distinct macroscopic characteristics, including dark green to black coloration, irregular morphology, porous to dense textures, and dimensions ranging from 2 to 7 cm. Petrographic studies revealed that the slags primarily consist of fayalite (Fe₂SiO₄), pyroxene, and glassy phases, with spinifex and porphyritic textures indicative of rapid cooling and incomplete melt crystallization. Polished section analyses further confirmed the presence of copper sulfide phases, including bornite (Cu₅FeS₄), covellite (CuS), and native copper (Cu) within the slags. Chemical analyses indicated an average copper concentration of 1.96 wt% and zinc concentration of 0.88 wt%, suggesting the use of Cu-Pb-Zn polymetallic ores as the primary raw material. The average calcium oxide (CaO) content of 24 wt% points to the use of carbonate rocks (likely limestone and dolomite) as fluxes to adjust viscosity and lower the melting temperature. The chemical composition of the slags suggests an average smelting temperature of 1100–1200°C, consistent with the use of siliceous and carbonate fluxes to enhance metal separation. This study provides evidence of an ancient metalworking industry at the site based on petrographic and chemical analyses of the slags. The main research questions addressed the types of metals extracted and the metallurgical processes employed. Based on the findings, the site was primarily exploited for copper extraction. Although insufficient surface evidence was available for precise dating, petrographic and chemical studies indicate the use of advanced metallurgical technologies capable of achieving temperatures of 1100–1200°C and employing combined siliceous-carbonate flux systems to optimize the reduction and metal separation processes.
Hamid Fadaei,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Air pollution is one of the major challenges of modern life, exacerbating environmental crises, particularly in developing countries, and posing a serious threat to cultural heritage. Marvdasht, due to its ongoing development, is among the regions facing this issue. The presence of numerous historical sites registered on national and world heritage lists has made the impact of air pollution—especially considering the region's industrial expansion—a significant concern for cultural heritage specialists. This concern is further amplified by the presence of limestone-based stone heritage sites, such as the UNESCO-listed Persepolis and the Naqsh-e Rostam historical complex. These monuments, composed primarily of calcite, are highly susceptible to direct and indirect erosion and degradation caused by acid rain. This research aims to identify the sources of air pollutants in the region and assess their impact on the erosion of cultural heritage and stone monuments. Through a review of theoretical sources, field investigations, and laboratory analyses, the major sources of air pollution in the Marvdasht plain were identified and evaluated. The collected data were analyzed using qualitative and quantitative methods. To measure the impact of air pollution, air samples were collected from Persepolis and Naqsh-e Rostam as key stone heritage sites, as well as from the Marvdasht Petrochemical Complex, the primary pollution source in the area. The concentrations of NO₂, SO₂, O₃, and NH₃ in the air samples were measured using ion chromatography and stoichiometric calculations. The findings of this study indicate a high potential for pollutant-induced damage in the region.
Zohreh Motalebi, Omid Oudbashi, Sohrab Veiseh, Dariush Heydari,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
Bardia Hajirasouliha, Mohammad Hossein Dehghani, Sarmad Bakhtiari,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The Qariha Historical House is a surviving structure from the Mozaffari era in the city of Yazd, reflecting transformations across various historical periods. This building, along with other structures from the same era, holds significant value due to its association with the golden age of Ilkhanid art and architecture, making it a compelling subject for multidisciplinary studies within the field of conservation science. To mitigate the deterioration of its structural elements and address existing damage, a series of conservation and restoration interventions have been implemented. These measures include localized foundation reinforcement, restoration and reconstruction of portals, repair and realignment of damaged arches, stabilization of wall layers and coatings, and the clarification of architectural decorative elements. This article aims to provide a comprehensive account of the conservation and restoration efforts undertaken for this historical building.
Mitra Etezadi,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The Nasseri Carriage, a valuable historical artifact from the Qajar era, is currently housed in the Historical Car Museum of the Foundation of the Oppressed. Due to its complex structure and the diversity of materials used in its construction, the carriage had sustained significant damage, necessitating comprehensive conservation and restoration efforts. This project aimed to restore the carriage’s structural integrity and aesthetic appearance, preparing it for display in the museum. This article outlines the restoration process, along with historical and technical documentation.
Saeede Soleimani, Maryam Afsharpoor ,
Volume 8, Issue 1 (6-2025)
Volume 8, Issue 1 (6-2025)
Abstract
The biological degradation of paper-based historical artifacts is a major concern in cultural heritage preservation, particularly due to fungal contamination. Fungi thrive in environments with high humidity and poor ventilation, rapidly breaking down cellulose fibers and causing irreversible damage. Although chemical antifungal agents have traditionally been used for prevention and control, their adverse effects on human health, the environment, and sometimes the artifact itself have prompted a search for safer alternatives. This review explores the current literature on the antifungal effects of medicinal plants relevant to the conservation of paper-based artifacts. It presents a synthesis of studies on the active compounds in plant-based treatments, evaluates their effectiveness against common paper-degrading fungal species, and highlights practical applications involving direct use on paper substrates. While the results are promising, further research is needed to standardize treatment protocols, determine optimal concentrations, and assess long-term stability and safety of these natural compounds for heritage conservation.
Fatemeh Mehdizadeh Saradj, Avideh Kamrani,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
This study evaluates the curriculum of the Master’s program in Architectural and Urban Heritage Restoration in Iran, focusing on its effectiveness in preparing graduates for professional practice. The research investigates the extent to which the program aligns with contemporary labour market needs, technological advancements, and international standards in heritage conservation. Employing a mixed-methods approach, the study combines comparative analysis of curricula from leading universities with alumni surveys and semi-structured interviews, analysed through MaxQDA. Findings indicate a marked gap between academic training and professional demands, particularly in practical experience, digital technologies, legal literacy, and interdisciplinary competencies. Respondents stressed the importance of experiential learning, integration of sustainable and environmental approaches, and enhancement of both soft and hard skills. The study concludes with recommendations for comprehensive curriculum reform, including context-based learning, updated course structures, and the establishment of specialised tracks such as material-based conservation, structural interventions, theoretical perspectives, and heritage crisis management.
Mohammadali Ashraf Ganjouei, Elham Shabaninia ,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
Artificial intelligence is rapidly transforming the landscape of education, yet its potential in restoration education has remained largely unexplored.
This research investigates how various artificial intelligence tools intersect with the teaching and learning of restoration at the university level.
Drawing on three major learning theories—experiential, constructivist, and connectivist—the study analyzes research from recent years to determine where AI aligns with or departs from effective pedagogical practices. The findings show that AI-driven technologies can significantly
strengthen concrete experience, active learning, social interaction, and prior knowledge integration which are associated with experiential and
constructivist learning, and also lifelong learning, technological facilitation, networking and communication, cognitive skills, and digital collaboration in connectivist. However, certain aspects, particularly those requiring in-depth contextual and textual understanding specific to heritage sites, present ongoing challenges for AI tools. These results provide valuable insights for educators and researchers seeking to implement AI solutions in restoration-related courses.
This research investigates how various artificial intelligence tools intersect with the teaching and learning of restoration at the university level.
Drawing on three major learning theories—experiential, constructivist, and connectivist—the study analyzes research from recent years to determine where AI aligns with or departs from effective pedagogical practices. The findings show that AI-driven technologies can significantly
strengthen concrete experience, active learning, social interaction, and prior knowledge integration which are associated with experiential and
constructivist learning, and also lifelong learning, technological facilitation, networking and communication, cognitive skills, and digital collaboration in connectivist. However, certain aspects, particularly those requiring in-depth contextual and textual understanding specific to heritage sites, present ongoing challenges for AI tools. These results provide valuable insights for educators and researchers seeking to implement AI solutions in restoration-related courses.
Mehdi Razani, Masoud Bater ,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
This paper analyzes the evolution of the undergraduate curriculum in historic monuments restoration in Iran, from its initial approval in 1985
to its comprehensive revision in 2022. Adopting an analytical-comparative approach, the study first explores the theoretical, historical, and practical contexts of the discipline's emergence within Iran's higher education system. It then provides a structural and content-based critique
of the earlier curriculum. The findings reveal that the original curriculum, which emphasized religious principles, cultural heritage, and basic technical training, gradually became less effective due to scientific developments, shifting field requirements, and the rise of new technologies. The 2018 revision resulted from a collaborative effort by university scholars and restoration professionals aiming to modernize the program, enhance practical training, eliminate redundant courses, add applied content, and align the curriculum with international standards. Key features of the revised curriculum include a purposeful reduction in course units, content standardization, improved integration of theoretical and practical learning, and a focus on technological competencies. Furthermore, the paper addresses the implementation challenges and resource shortages of the previous curriculum and proposes strategies to enhance the quality and efficiency of restoration education. Overall, this study emphasizes the necessity of dynamic educational planning, underlines the critical role of restoration in preserving cultural identity and strengthening social capital, and provides a framework for future curriculum reforms in the field of conservation of cultural and historical artifacts.
to its comprehensive revision in 2022. Adopting an analytical-comparative approach, the study first explores the theoretical, historical, and practical contexts of the discipline's emergence within Iran's higher education system. It then provides a structural and content-based critique
of the earlier curriculum. The findings reveal that the original curriculum, which emphasized religious principles, cultural heritage, and basic technical training, gradually became less effective due to scientific developments, shifting field requirements, and the rise of new technologies. The 2018 revision resulted from a collaborative effort by university scholars and restoration professionals aiming to modernize the program, enhance practical training, eliminate redundant courses, add applied content, and align the curriculum with international standards. Key features of the revised curriculum include a purposeful reduction in course units, content standardization, improved integration of theoretical and practical learning, and a focus on technological competencies. Furthermore, the paper addresses the implementation challenges and resource shortages of the previous curriculum and proposes strategies to enhance the quality and efficiency of restoration education. Overall, this study emphasizes the necessity of dynamic educational planning, underlines the critical role of restoration in preserving cultural identity and strengthening social capital, and provides a framework for future curriculum reforms in the field of conservation of cultural and historical artifacts.
Reza Rahimnia ,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
Heritage conservation education requires a balance between theoretical foundations and practical competencies. Traditional lecture-based
instruction, while effective for content delivery, often fails to cultivate the problem-solving, creativity, and collaborative skills necessary for
professional conservation practice. This study investigates the application of problem-based learning (PBL), grounded in constructivist pedagogy,
within a course titled Conservation Practices. Grounded in action research methodology, the study combines theoretical analysis of constructivist principles with empirical evaluation of PBL’s efficacy. Over a semester, students worked in teams or single to address real conservation dilemmas, mirroring the complexities they would encounter in professional practice. Data was collected through structured reflections and post-course surveys from a purposively selected cohort of 21 graduates who completed the training. Qualitative feedback was analyzed using MAXQDA software to identify emergent themes, including skill development, confidence in decision-making, and perceived relevance of the pedagogical approach. The findings demonstrate that PBL enhanced students’ technical proficiency, critical thinking, decision-making confidence, and interdisciplinary collaboration. Thematic analysis confirmed strong alignment between PBL and constructivist outcomes, particularly adaptive expertise and metacognitive awareness.
instruction, while effective for content delivery, often fails to cultivate the problem-solving, creativity, and collaborative skills necessary for
professional conservation practice. This study investigates the application of problem-based learning (PBL), grounded in constructivist pedagogy,
within a course titled Conservation Practices. Grounded in action research methodology, the study combines theoretical analysis of constructivist principles with empirical evaluation of PBL’s efficacy. Over a semester, students worked in teams or single to address real conservation dilemmas, mirroring the complexities they would encounter in professional practice. Data was collected through structured reflections and post-course surveys from a purposively selected cohort of 21 graduates who completed the training. Qualitative feedback was analyzed using MAXQDA software to identify emergent themes, including skill development, confidence in decision-making, and perceived relevance of the pedagogical approach. The findings demonstrate that PBL enhanced students’ technical proficiency, critical thinking, decision-making confidence, and interdisciplinary collaboration. Thematic analysis confirmed strong alignment between PBL and constructivist outcomes, particularly adaptive expertise and metacognitive awareness.
Hojat Golchin,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
"Dah-e-Kond" or "Kond-e-Dopanj" is the most important geometric pattern among Iranian patterns, which has been called"Ommul Gereh" (mother pattern) due to its importance.Until today, various methods have been proposed for drawing this pattern, each of which in some way allows for the drawing of a "generator" or a more complete context for it. This is while all the methods mentioned have practically become a version of drawing consecutive grammatical lines that are imitated and repeated parrot-like without clarifying their reason and basis. This has become problematic and challenging, especially when it comes to teaching drawing methods, and often, after a short period of time, it is forgotten by the audience. This article seeks to extract and express, through a geometric reading of the generator content, its geometric relationships and logic for more readable and teachable process in drawings, instead of mysteriouslines and distances. The focus of this article is on the pentagonal shape of the "Panj-e-Kond" components, which has been proven for the first time in this research to be "regular" in this pattern, achieves the main goal of the article by finding a new method of drawing pattern. Although the present study follows a qualitative research process in its entirety, namely finding and presenting a new solution to the drawing of th Ten-Kond pattern, by studying written sources, at the same time, it also presents the results of an experimental test between two groups of students to express the effectiveness of its proposed educational method compared to the usual method. Finally, the results of this research explain a new method of teaching how to draw the Dah-e-kond (Kond-e-Dopanj) pattern, which, based on what has been mentioned in the preceding text, in addition to better learning ability, also reveals aspects of "generalizability" towards teaching how to draw other geometric pattern.
Hamidreza Bakhshandeh-Fard,
Volume 8, Issue 2 (9-2025)
Volume 8, Issue 2 (9-2025)
Abstract
In the educational system of conservation, the main focus has always been on the transfer of technical and specialized knowledge regarding structures, techniques, and conservation interventions. Although this scientific foundation constitutes an inseparable part of training in this discipline, recent developments in the field of cultural heritage conservation demonstrate that social competencies, soft skills, teamwork, and professional ethics also play an effective role in improving the quality of specialists’ performance. The Isfahan University of Art, with a long-standing tradition in higher education in the arts, is one of the pioneering and influential centers in the country in the field of safeguarding and revitalizing cultural and historical heritage. Established in 1977 with the foundation of the “Isfahan Campus” affiliated with “Farabi University,” this academic institution has, from the outset, aimed to train experts in the conservation and restoration of historical monuments and traditional architecture, and has become an unparalleled center at the national level. This paper reviews the history of the establishment of the Faculty of Restoration as well as the current structure of conservation education in specialized faculties, emphasizes the necessity of integrating technical training with complementary domains, and proposes strategies for revising educational programs in order to train responsible and competent conservators.