Danesh
Hefazat va Maremat
Search published articles
Showing 26 results for Razani
Mehdi Razani, Masoud Bater,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Documentation and recording of cultural and historical artifacts are among the most critical stages in their conservation and restoration. However, this essential aspect is often overlooked by conservators, museums, and collectors. This article aims to familiarize students and practitioners with the fundamental principles of documenting historical ceramics. Unlike resources that focus on teaching photography, lighting, or technical drawing, this work emphasizes practical and essential guidelines for the accurate documentation of ceramic objects during the conservation and restoration process. In the documentation of ceramics, the importance of recording information as the first step in conservation and restoration is emphasized. This process includes documenting the object's current condition, recording interventions performed, and providing a comprehensive report for future research and operational use. Additionally, this study presents a background on the development of documentation in the field of conservation, illustrating how this process has evolved into a global standard. Another section of this research examines the stages and details of documentation, including the recording of physical, chemical, and pathological characteristics of artifacts. This process assists conservators and restorers in performing more effective and precise work in their projects. Moreover, the documents produced during documentation serve as reliable and credible evidence, enabling more accurate reconstruction of the object's history, analysis of manufacturing techniques, and technologies used in the production of historical artifacts. These records can also serve as a foundation for future research in the understanding and preservation of cultural heritage. This article seeks to enhance the knowledge and skills of documentation so that professionals can prepare comprehensive, accurate, and scientific reports for the future while carrying out restoration operations. The ultimate goal is to establish a foundation for sustainable conservation and valuable research in the field of cultural heritage.
Alireza Amiri Baghbadorani , Leyli Nemani Khiyavi, Mehdi Razani,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Reliefs and Inscriptions are among the most important historical documents, serving as carriers of diverse narratives, such as wars, victories, conquests, notable events, or memorials. These artifacts provide a direct and transparent expression of a certain historical moment. Over time, understanding the durability of stone, humans have recorded events on this precious material using various techniques. This practice began with primitive depictions on natural rocks; and evolved into elaborate carvings designed to document contemporary events. Early inscriptions, often executed on natural rocks, using scripts such as cuneiform; gradually along with development of skills and tools, they developed into detailed and artistic engravings, taking the form of decorative inscriptions or reliefs. This article presents a new transcription of the stone on the portal of the Hasan Pādshāh Mosque and School Complex, located in the central district of Tabriz, East Azerbaijan province, in Sahib-al-Amar Square, within the UNESCO-listed Tabriz Covered Bazaar. The inscription, carved into a stone surface dating back to the late 8th century A.H., features Thuluth script and has suffered damage due to various factors over time. The most important questions of the research are: What is the content of the inscription on the portal of Hasan Padshah Complex, and what information does it convey? What changes have occurred to the inscription over time? How can the transcription of the inscription be conducted to retrieve the maximum amount of information? To address these questions, historical and archeological studies, were complemented by fieldwork, and advanced documentation methods, including photogrammetry and digital design of the inscription text. Following these steps, a re-reading of the inscription text, along with an analysis of the changes it has undergone over time, was achieved.
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.
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
[رازانی، مهدی؛ باتر، مسعود. (۱۴۰۳). راهنمای مستندسازی و ثبت اشیاء سفالی و سرامیکی در عملیات حفظ و مرمت. دانــش حـفـاظـت و مـرمـت.؛ ۷ (۲): ۲۹-۴۶.]
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.]
Tabnak (Analytical News). (2014, May 19). Unique collection of Iranian coins and banknotes 2, https://www.tabnak.ir/fa/news/401529
[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[
Unger, A., Unger, W., & Schniewind, A. (2011). Conservation of wooden art objects (Translated by Asghar Taramian & Ali Naghi Karimi). Tehran: Tehran University
[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
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
[رازانی، مهدی؛ باتر، مسعود. (۱۴۰۳). راهنمای مستندسازی و ثبت اشیاء سفالی و سرامیکی در عملیات حفظ و مرمت. دانــش حـفـاظـت و مـرمـت.؛ ۷ (۲): ۲۹-۴۶.]
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.]
Tabnak (Analytical News). (2014, May 19). Unique collection of Iranian coins and banknotes 2, https://www.tabnak.ir/fa/news/401529
[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[
Unger, A., Unger, W., & Schniewind, A. (2011). Conservation of wooden art objects (Translated by Asghar Taramian & Ali Naghi Karimi). Tehran: Tehran University
[یونگر، الف و یونگر و آ شنیویند.( 1390). حفاظت آثار هنری چوبی. با ترجمه اصغر طارمیان و علی نقی کریمی. تهران: دانشگاه تهران]
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.
Mehdi Razani, Hamid Fadaei,
Volume 8, Issue 4 (3-2026)
Volume 8, Issue 4 (3-2026)
Abstract
Archaeological sites, as sensitive areas embodying diverse cultural, historical, and scientific values require coherent policies and mechanisms for their protection. Although in recent decades the importance of conserving such sites has been highlighted in both cultural discourse and professional practice, the absence of specific, coordinated strategic documents has led to various challenges during and after excavations. This article, grounded in field experiences and interdisciplinary collaboration among specialists and practitioners, underscores the necessity of formulating a National Conservation Document for Archaeological Excavations. The primary goal of this document is to institutionalize conservation as an integral component of the archaeological excavation process an approach that begins before excavation and continues through post-excavation long-term monitoring. This paper presents a structured proposal aimed at establishing a comprehensive framework for defining responsibilities, scheduling conservation actions, and promoting inter-sectoral coordination in conservation and restoration activities during excavations. The principles, objectives, and practical recommendations of the proposed document are presented in the form of eight main articles, each accompanied by relevant clauses and provisions.