Restoration has evolved from humanity's need to repair and reconstruct the objects and structures around them, and it has played various roles throughout history. What we recognize today as the practice and term of scientific restoration in Iran dates back approximately 52 years ago. This was when the first scientific laboratory for restoration was established at the Museum of Ancient Iran, and a few years later, in 1977, experts and professors from the National Organization for Conservation of Antiquities, in collaboration with Farabi University, founded the field of historical artifacts restoration in Isfahan. The first graduates and specialists in restoration were employed by governmental institutions and gradually, the profession became recognized among the cultural and artistic community. However, there was still a long way to go before scientific restoration would be fully accepted as a profession in society. After the Islamic Revolution, along with an expansion of university programs and various branches of restoration studies, there was a marked increase in graduates entering this field. While this created job opportunities within cultural heritage for some individuals. Over time due to various reasons, the cultural heritage sector could not absorb all graduates. As a result, since the late 1990s, unemployment rates within the field of restoration have significantly risen. This article reflects on past experiences within this profession based on numerous accounts from individuals working in related fields of restoration. The aim is to highlight both challenges and opportunities regarding career prospects for restorers working with historical artifacts and objects both now and
into the future.

A part of Islamic architecture studies are architectural arrays, which are actually an integral part of the architectural work. Among the most important architectural arrays of the Islamic period in Iran are mural paintings, which can be valuable in many ways. mural paintings can connect the audience with architectural works both aesthetically and conceptually. In order to preserve the valuable works of architecture, the first step is a complete and comprehensive knowledge of these works. If a historical painting has an ambiguous identity, it must first be known for correct restoration and display so that correct interventions can be made on it and correct decisions can be made for correct display. In the present study, a painting on canvas was found from the storage of Hasht Behesht Palace in Isfahan. At first, it was thought that it was a tripod painting, but after careful examination and comparative studies, it was concluded that this work was actually a mural painting that was separated from the substrate in the previous decades using the strappo method and placed on it. It is glued on the canvas. In this article, with the description of scientific investigations on the effect and comparison of paintings on canvas and murals and conducting various scientific experiments such as chemistry, EDS and FTIR on pigments and metal sheet and metal Leaf adhesive, to a relative knowledge We achieved about painting. Further, relying on the laws of cultural heritage and the principles and theoretical foundations of restoration, a decision was made for the restoration
intervention and the correct display of the work, and the executive operation was carried out on it.

The importance of conservation and restoration of historical objects has caused the role of function, the meanings of words and their use to be surveyed in such a way as to preserve the concept of its cultural validity. This validity of words will arise in practical communication and their concepts, although appreciating will not be possible without understanding and inferring them. Also, it seems necessary to analyze the meanings and the clarity of difference and similarity of the words used for the lost areas of the painting. Objective: The aim of this research is to check the concepts of the words "lack" and "defect" in the field of conservation and restoration until their correct use is specified and also to find the appropriate word for the missing areas of paintings or lacuna. Research Method: This essay is based on a descriptive-analytical and comparative research method. It collects information from the research of predecessors, benefiting from sources related to theoretical reviews in connection with the restoration and reintegration of the lost areas of painting, and uses encyclopedias of different languages. It deals with the approaches presented by the thinkers and evaluates the special concepts of lack and defect in restoration discourse. Findings and Conclusion: In this research, it seems that lacuna in the science of Conservation and restoration means an empty space and a missing part. The word "lack" also refers to the missing part, while the "defect" part is the absence of a part from the very beginning. On the other hand, the words lacuna and lack in Latin, equivalent to Lack and Loss, indicate the missing part, although the word deficiency is equivalent to Defect. The discussion and results acknowledge that the missing areas of the painting is the same as lack, in other words, it was there from the beginning and is not present now. While the word defect represents the absent areas of the painting that were not there from the beginning and are not there now. Therefore, it seems that the word lack is a suitable equivalent for the missing part and the word lacuna..

This article explores the professional trajectory and experiences of the author in the field of conservation and restoration of cultural and historical objects. Mitra Ettezadi, a graduate in the restoration of historical artifacts, combines academic knowledge with personal passion to develop innovative methods and approaches for addressing damaged artifacts and mitigating their deterioration. Critiquing the abstract and often  impractical approaches found in academic literature, the author emphasizes the importance of practical, hands-on experience. Through a reevaluation of academic training and professional ethics, Ettezadi has shaped a new perspective in the restoration of historical artifacts. The article also highlights the role of visual documentation and practical case studies in restoration education, asserting that the presentation of real-world examples is the most effective teaching method in this field. Reflecting on the history of the restoration discipline in Iran, the author shares her experiences through images and case studies, underscoring the necessity of transforming rigid, dogmatic perspectives and advancing applied knowledge in the restoration of historical artifacts.

Soluble salts are known as serious threat for monuments and historical porous materials. The alteration mechanism related by soluble salts such as rocks is essentially a physical process based on the stress level generated by the crystallization of the salts in the pores. In recent years many ways have been developed to extract or deactivate these salts. The efficiency of every desalination system is being evaluated by the amount of extracted soluble salts and the depth of treatment in material. In fact, ionic transport is result of a consortium of energies: kinetic energy, electric energy and chemical energy. These three energies are united together to move and extraction of soluble salts in an optimum  desalination system. The electro kinetic technique is a non-destructive method to extract soluble salts based on electric migration of ions inside the material. This method is even applicable for matrixes with very fine porosity and very low hydraulic permeability. In recent years this method
has been specially considered in European countries. High amount of extracted salts and deep effect on materials have been caused to happen many researches on this topic on historical heritage and considerable results have been gained. This article is a review of background, principles and generals of this method in conservation and desalination of historical porous materials which are threatened by soluble salts alteration. Results from traditional desalination ways are compared with this method as a pioneer technique show an improvement of the quality of desalination, saving time and high efficiency of this method.

Pigments play a crucial role in identifying the authenticity of historical and cultural artworks and hold a special position in conservation and restoration practices. Among them, recognizing the methods of identifying pigments used in historical manuscripts plays a significant role in determining the identity and authenticity of these artifacts. This study aims to review various methods of identifying pigments employed in historical manuscripts. Investigations in this paper have been conducted using non-destructive analytical techniques such as Scanning Electron
Microscope with Energy Dispersive X-ray Spectroscopy (SEM-EDX), Fourier Transform Infrared Spectroscopy (FTIR), X-ray Fluorescence (XRF), X-ray Diffraction (XRD), Polarized Light Microscopy (PLM), Particle Induced X-ray Emission (PIXE), Atomic Force Microscopy (AFM), micro-Raman spectroscopy, and optical imaging for elemental and compositional identification of pigments. Among these methods, SEM-EDX and point analysis
have been more commonly used in identifying historical pigments. Additionally, the combination of multiple techniques can be a suitable solution for identification purposes, but depending on the purpose of identification and the sensitivity of the artifact, factors such as the feasibility of on-site analysis or transferring artifacts to various laboratory facilities, using non-destructive methods, the possibility of sampling, and the significance and value of the artifact should be considered to adopt the best possible method. If necessary, combining tests and instrumental methods can lead to a more accurate understanding of pigments alongside their chemical composition.

The coffeehouse painting of the Ashura Tribulation, belonging to the Hosseinieh Kabbabi Endowment, is particularly popular among the people
of Birjand as one of the manifestations of Ashura culture. This work was commissioned based on an existing inscription by Agha Mirza Mashallah
Tehrani, who was one of the pioneers of coffeehouse painting in Iran, and was created by one of his students, Mohammad Hossein, in 1338
(A.H.), probably in Yazd. This article presents the authors' conservation and restoration experiences on the coffeehouse painting of the Ashura
Tribulation, which dates back to the late Qajar period and is exhibited in one of the old Hosseiniehs of Birjand in the first decade of Muharram.
The first step in the conservation and restoration of this work was the accurate identification of the damages, the most important of which in
this particular work is related to the damages caused by wear and tear and repeated installation of the work. After identifying the damage to
the work, appropriate conservation and restoration measures were taken, the first step being its cleaning, which was carried out in two stages. In the first stage, dust was removed. A vacuum cleaner with a soft brush and a thin mesh was used to remove dust to prevent damage to the work during sweeping. In the second stage, stains were cleaned. Inappropriate restorations were then removed, and after repairing the tears and defects, the work was strengthened to make it more stable. Conservation operations for the work included protection during display and the construction of a storage container and packaging of the work. By carrying out conservation and restoration measures, the coffeehouse painting of the Ashura tragedy of the Husseiniyeh Kabbabi was protected from further damage and its visual quality was significantly increased. This painting is kept in a designed container and will be exhibited in the first decade of Muharram at the Husseiniyeh Kabbabi location.

Kārbandi is one of the important elements in Iranian architecture. It is recognized for its successful combination of geometric knowledge and the architectural skill of artists and architects. It is seen as an example of the genius blend of geometry and architecture in Islamic-era Iranian architecture. Kārbandi is also considered one of the techniques used for arch coverings. This structural and decorative element, like other architectural ornamentes, becomes worn and damaged over time. According to studies, the usual approach to its preservation and restoration involves superficial examination and localized repairs without considering its theoretical and practical geometry. The distinction made between Kārbandi and Rasmi-bandi is not highly trusted by restorers, and neglecting the background of Kārbandi leads to differences in form and even structure during restoration planning. Therefore, when beginning any intervention for the restoration of Kārbandi, it is essential to fully identify the related theoretical and practical geometric aspects. With this goal, the present research is developed to critique the restoration of the historic Sedqiani House's Kārbandi, which was carried out in 2013 by the Technical Office of the Islamic Art University of Tabriz. The results show that in the restoration and execution of Kārbandi, alongside geometry, the materials used, the context of its formation, and the desires, taste, and creativity of the traditional architect also play a decisive role.

Kahgel plaster has been a common method for protecting architectural structures at the Takht-e Soleyman World Heritage Site. Primarily applied to stone and brick structures, this plaster has proven inadequate in the site's mountainous, high-rainfall climate with sub-zero temperatures, leading to significant erosion. This study investigates the potential of replacing Kahgel plaster with traditional half-baked, half-crushed gypsum plaster as a protective coating for walls and architectural remains. The aim is to prevent moisture penetration while minimizing the new coating's own deterioration. Field research, including observation and documentation, was employed to gather data. Results indicate that the use of traditional gypsum mortar as a restoration material at the site has been successful. Derived from pounded and crushed kiln-fired gypsum stone, this mortar exhibits similar characteristics to the original mortars and offers adequate strength in the region's harsh climate. Consequently, it presents a viable sacrificial coating alternative to Kahgel plaster.

One of the most serious disturbances that historic urban spaces face today is confusion to their appearance and landscape. Among the most significant factors contributing to visual disturbances in the appearance of historic urban spaces are urban utilities, including electrical, gas, telecommunications infrastructure, and similar facilities. One of the successful experiences in addressing the visual damage caused by urban utilities is the regeneration project of Vakht-o-Saat Square in Yazd.This square, dating back to the Safavid era, and whose historical site has roots
in the Ilkhanate period, suffered from numerous visual and aesthetic problems before the implementation of the Vakht-o-Saat Square regeneration project. In the regeneration project of Vakht-o-Saat Square, prepared in 2018 by the Yazd University's Institute of Indigenous Architecture and implemented between 2020 and 2023 by Yazd Historical District Municipality in collaboration with the Yazd Provincial Department of Cultural Heritage, Handicrafts and Tourism, significant portions of the square's visual and aesthetic damages caused by urban utilities were eliminated. This article aims to describe the process of this project using a descriptive-analytical method and to explain the
implementation actions taken to the visual and aesthetic damages caused by urban utilities in this square.

In 1282 A.H. (1865 C.E.), the Shams-ul-Amara building was commissioned by Naser al-Din Shah Qajar and constructed under the supervision of Dost Ali Khan Moaierol Mamalek in the eastern part of the Tehran Citadel. As the first five-story building in Tehran, Shams-ul-Amara holds significant architectural and historical importance. The plinths of the rooms across its five floors are adorned with oil-painted tile decorations, executed in a predominantly European style. These paintings were created by a group of artists and their students, as evidenced by variations in
their execution techniques. The method of oil painting on glazed tiles was a unique innovation that was not replicated in subsequent architectural projects. However, these paintings are now experiencing extensive deterioration, including disintegration, pulverization, and collapse. This article aims to identify and analyze the factors contributing to the damage of these oil-painted tile artworks. It is hypothesized that the varying degrees of damage observed on each floor are influenced by differences in the tiles' placement, the composition of the lining materials, the application methods, and other mechanical and environmental factors. Additionally, the prolonged exposure of these tiles to moisture absorption from the walls, combined with the tension caused by the oil painting technique, has led to physical stress. This stress manifests in the form of paint detachment, separation of relief patterns along tile seams, and breakage at the corners of rhombus-shaped tiles installed on the walls. This study employs a descriptive-analytical approach, with a focus on the lining layer as the most critical factor in the deterioration process. The findings suggest that the lining layer fails to adequately protect the painted surface, leading to the eventual collapse of the paint layer.

The creativity artistry in using plaster alongside other materials to decorate buildings has long been of interest to architects. Brick and plaster are two materials that have created various forms of decoration together, and this study examines the technology of various types of these techniques. The enormous Soltanieh Dome is one of the most important mausoleums in the world, and plaster is the dominant decoration in this building. One of these decorations is the combination of plaster and brick, which stands out as a physical decoration. How this type of plaster decoration emerged, examining the various methods of its implementation, and the method of creating decorations independent of the  combination of brick and plaster are among the topics of interest in this article. The research method is based on the analytical-descriptive method. Data collection is based on objective observations and the author's workshop experiences, using books, documents, and articles on plastering techniques in Iranian architecture. In the studied example of the Soltanieh Dome, the creation of a common type of these  decorations during the Ilkhanid period is depicted on the wall. In some parts, these decorations are only on the joints and next to the bricks, and in other parts, they are worked on the entire surface of the bricks and with brick patterns. During the restoration and reconstruction
of some of these decorations, the techniques used in creating the designs have been understood, so that plastering in situ for the joints is the artist's first priority, and after the joints are covered with plaster, the decorations are applied. The use of paint, which complements the implementation of these decorations, helps to define the boundaries of the brickwork, as the presence of red ochre pigment, yellow ochre pigment, and carbon black has been partially proven in this building.

The architectural decorations used in historical buildings are among the most prominent distinguishing features and reliable criteria for identifying and understanding the style, period, identity, and architectural characteristics of each era. It appears that the execution framework, style, and construction materials of historical buildings and their architectural decorations have had a direct or indirect relationship with factors such as invasions, the dominance and maturation of styles and tastes, the duration of historical periods, the exercise of power, perspectives, and shifts in attitudes over time. This report is based on case studies and library research conducted by the author on the restoration efforts and supervision of the architectural decorations of the Timurid-era mausoleum of Qotb al-Din Haydar from 2011 to 2023. These studies raised significant questions regarding the historical background, diversity of styles and materials used in the building's foundation, as well as the number and variety of decorative layers. The allocation of funding and meticulous examination for the preparation of the executive action plan for conservation and restoration in 2023 provided a valuable opportunity to analyze and identify components of the tangible and intangible heritage of the architecture and architectural decorations. These components included variables such as the discovery of diverse underlying decorative layers during executive actions, intricacy, color schemes, symbols, motifs, signs, styles, inscriptions, and written documentation. These elements were intertwined with the overall complex of Qotb al-Din Haydar's mausoleum, the architecture of the mosque, caravanserai, surrounding area, the mystical persona of Qotb al-Din Haydar, and civic devotion. The process of executive actions and the details of the action plan were modified and enhanced in such a way that the necessity of analyzing hidden aspects, preventive conservation, and the presentation and display of architectural and decorative evidence in the form of a museum titled "From Architecture to Decorations" was proposed and deemed feasible. This museum could serve as an effective step toward preserving and showcasing this valuable heritage.

The importance of architectural decorations and particularly the remained inscriptions that contain valuable information from distant times is not hidden from anyone. Therefore, it is very vital to preserve these precious artworks. The upcoming research is related to one of the oldest and rarest gypsum-based architectural decorations worked with a rare technique called Tokhmeh-Gozari. The Tokhmeh- Gozari technique have been worked in a limited number due to the difficulty in implementation, and only few number of them are passed to us. This historical work is a written and two-color inscription in Thuluth script in the Sayyid Fathullah mausoleum in Varamin. This mausoleum, which was registered in the list of national monuments in 2004, belongs to the Ilkhanid era. Also, the mentioned inscription with dimensions of 65 * 150 cm, was executed in three lines and had damages such as structural cracks on the surface along with the chemical damages. According to the decision of the trustees of the mausoleum to destroy the inscription, and also knowing that this inscription is among the oldest gypsum-based cast decorations with Tokhmeh-Gozari technique, the aim of this research is to preserve the work in its original location (the northern side of the mausoleum) and
restore it according to the best possible method. In order to achieve the most appropriate method of restoration of this inscription, the ethics
of restoration interventions were adjusted according to the artwork. And the practical part of the work, respectively included; Structural consolidation of the inscription, peeling off the inscription that led to the discovery of another inscription, mechanical and chemical cleaning, consolidating the mortar structure using fabric paste, surface stabilization, filling the lacuna using colored gypsum mortar, framing the inscription. Also, after finishing the restoration process of the artwork, it became possible for the audience to read the inscription carefully and to comprehend its conceptual content thoroughly, and the date of its creation, was revealed.

Nishabur city, located in Razavi Khorasan, is one of the oldest cities in Iran, which contains various historical sites, including Shadiakh. In 2003, during archaeological excavations, a large number of gypsum-based ornaments were found in this area. One of the most important parts of this historical site is known as Public Hall. This hall consists of four porches overlooking an octagonal space in the middle, which leads to the adjacent spaces through four doors and four corners. These five pieces discussed in the current research also belong to the public hall part of this collection. This research is organized with the aim of finding the most suitable method of conservation and restoration of these valuable ornaments. The main damages on these pieces include deep cracks, surface contamination such as dust, dirt, spider webs, unprincipled repairs during excavation, missing parts, deep holes, scratches, and etc. In the following article, after examining the appearance and stating the damages on the parts, the intervention ethics are discussed and restoration procedures were carried out. These procedures include mechanical and chemical cleaning using bistoury and distilled water, stabilization using 5% Plextol in ethanol, consolidating cracks and deep holes using textile paste, testing the color of gypsum mortar and finally using Gypsum mortar to cover the cracks and bricks of the support.

Today, the use of new technologies and methods of preserving ivory objects has led to a better understanding and safe protection of objects. The purpose of this article is the feasibility of using new methods of rapid prototyping technologies, including 3D modeling and 3D stereolithography (SLA) printers, in order to achieve a suitable method for reconstructing missing parts and it is important to make a moulage of historical and cultural objects using existing equipment in order to use it in the restoration and reconstruction of sensitive objects. In line with the review of the introduced technology, an example of a chess piece made of elephant ivory was selected, with the statue of a man riding a camel carved in great detail. The selected object was missing a lot. Documentation was done from the same bead and according to the available images, 3D modeling was done with Zibrush software, which is a special software for sculpting. Settings related to print management were made in Chitubox software and 3D reconstruction to make a moulage from a stereolithography printer. The results of this research showed that the use of 3D modeling and printing with a stereolithography (SLA) 3D printer as a new method can be used in the direction of making moulage and reconstructing missing parts of sensitive objects; And they can also be useful to a great extent in the low-risk behavior of protection towards sensitive objects such as ivory. Because of advantages such as: methodical execution of most steps and minimal intervention and contact with the object, increasing precision and elegance in the execution of decorations, preventing common and unwanted mistakes of the restorer, duplicating all the object as many times as desired, sending the 3D model software file made to other research centers, they have the possibility of temporarily connecting the piece made to the main body of the object, which covers the principle of reversibility in conservation.
The main advantages of using these methods are:
• Reducing contact with sensitive objects and avoiding conventional and time-consuming, commonly used contact and to some extent destructive, such as: molding, casting and filtration processes in the rebuilding of archaeological works
• More precision in the implementation of outstanding and complex designs than the traditional method,
• Achieving similar levels of quality to historical cultural effects using a combination of modeling techniques.
•  Construction of parts in different dimensions with asymmetric geometric models, so that there is little constraint on the form and geometric shape for construction.
• Ability to evaluate and modify the 3D layout and repeat it in case of dissatisfaction with each section in the shortest possible time.
• The risk of connection to the reconstructed piece is due to the neutral properties
• Reducing the time in making missing parts