Danesh
Hefazat va Maremat
Search published articles
Showing 26 results for Razani
Mehdi Razani,
Volume 2, Issue 4 (ویژه نامه 2020)
Volume 2, Issue 4 (ویژه نامه 2020)
Abstract
The Journal of Knowledge of Conservation and Restoration, as a specialized publication in the field of cultural heritage, experienced significant interruptions in its publication schedule between 2017 and 2020 due to structural and operational challenges. In 2017, 2019, and 2020, only one issue was published each year, while in 2018 no issue was released at all. These interruptions resulted in delays in the dissemination of submitted articles. To address these shortcomings, the decision was made in August 2024 to publish compensatory special issues. These special issues were prepared and released with the collaboration of invited guest editors and included a selection of outstanding papers presented at the 10th and 12th Conferences on Conservation and Restoration, along with newly submitted articles. Consequently, from August 2024 to September 2025, the backlog of delayed issues was resolved with the publication of a total of 31 issues, comprising 10 special issues and 21 regular issues. This initiative was undertaken to restore the trust of the scholarly community, disseminate postponed articles, and contribute to the advancement of knowledge in conservation and restoration.
Mehdi Razani,
Volume 3, Issue 2 (9-2020)
Volume 3, Issue 2 (9-2020)
Abstract
The Knowledge of Conservation and Restoration Journal, as one of the specialized journals in the field of conservation and restoration of historical and cultural heritage, began its activities in the spring of 2017. With the aim of publishing the latest scientific findings, research, and experiences related to the conservation and restoration of cultural heritage, the journal has gained a distinguished position among researchers, conservators, and enthusiasts in this field after publishing more than 22 issues. However, after the release of its first issue in the spring of 2017, the journal faced interruptions in
its publication schedule; the second issue was published in the spring of 2018, and the third issue in the spring of 2019. These prolonged interruptions caused the journal to deviate from its regular publication cycle and completely halt its activities for four years. This four-year hiatus resulted in a backlog of 16 issues, until the journal resumed its activities in the summer of 2023 with fundamental changes in its structure and approach. These changes not only led to the revival
of the journal but also placed it in a stable and progressive state. In this note, we will examine the revival process, the actions taken, and express our gratitude to the esteemed colleagues who accomplished this significant task within eight months. After eight months of operation, the journal successfully entered the evaluation process of scientific journals by the Iranian Ministry of Science & technology ubsequently, in February of 2025 it was awarded and recognized with a **Grade B** ranking.
its publication schedule; the second issue was published in the spring of 2018, and the third issue in the spring of 2019. These prolonged interruptions caused the journal to deviate from its regular publication cycle and completely halt its activities for four years. This four-year hiatus resulted in a backlog of 16 issues, until the journal resumed its activities in the summer of 2023 with fundamental changes in its structure and approach. These changes not only led to the revival
of the journal but also placed it in a stable and progressive state. In this note, we will examine the revival process, the actions taken, and express our gratitude to the esteemed colleagues who accomplished this significant task within eight months. After eight months of operation, the journal successfully entered the evaluation process of scientific journals by the Iranian Ministry of Science & technology ubsequently, in February of 2025 it was awarded and recognized with a **Grade B** ranking.
Mehdi Razani, Mitra Taghizadeh ,
Volume 3, Issue 3 (12-2020)
Volume 3, Issue 3 (12-2020)
Abstract
Historical canvas paintings are subject to many destructions due to their age. Among these damages, environmental pollution such as moisture, light, atmospheric pollution, biological pollution and vandalism can be mentioned. The settling of SO2 and SO3 gases in the air next to the humidity on the paintings causes acidification of the canvas, which in addition to weakening the support of the painting, weakens the connections of the paint to the underlying layer and ultimately results in the deterioration of the work. Therefore, deacidification of painting canvas will be a serious and very effective measure to prevent the destruction of the work. The traditional methods of deacidification, which have been used until today, unfortunately left adverse effects on the work, such as dandruff and weighting of the painting fabric. With the advancement of technology and nanotechnology, new methods have been presented for deacidification of historical works, including cloth, wood and paper. The use of calcium hydroxide nanoparticles makes it possible to spray materials in restoration operations. Due to the small size of nanoparticles and the lack of concentration of solutes on the surface of the effect and the high penetration depth due to the ability of nanoparticles to be absorbed by cotton fibers, it causes the high efficiency of nanoparticles compared to coarse particles. In this article, firstly, the use of calcium hydroxide nanoparticles in deacidification of canvas painting canvas is investigated, then the methods and method of calcium hydroxide nanoparticle production, its stability and lifespan are discussed.
Mehdi Razani, Leyli Nemani Khiyavi ,
Volume 3, Issue 4 (3-2021)
Volume 3, Issue 4 (3-2021)
Abstract
Historical structures, often constructed using porous materials such as stone, brick, and mortar, have been exposed to environmental and anthropogenic stressors over centuries, leading to their gradual deterioration. Consolidation, a critical intervention in the conservation of porous historical materials, aims to enhance their mechanical stability, mitigate further degradation, and prolong their lifespan. This process becomes essential when the structural integrity of an artifact is compromised due to factors such as weathering, salt crystallization, and biological growth. However, the effectiveness of consolidation treatments is highly dependent on the selection of appropriate consolidants, which must meet specific criteria, including deep and uniform penetration, minimal surface residue, chemical compatibility, reversibility, and the preservation of the material’s breathability. Despite its importance, the field faces significant challenges, including a lack of standardized protocols and comprehensive understanding of the long-term performance of consolidants. This research seeks to bridge the gap between theoretical principles and practical applications by evaluating the performance of various consolidants on-site and optimizing intervention strategies for porous historical materials. The findings aim to contribute to the development of more effective and sustainable conservation practices for cultural heritage.
Mehdi Razani , Jalil Esmailnezhad Teymurabadi ,
Volume 4, Issue 3 (12-2021)
Volume 4, Issue 3 (12-2021)
Abstract
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
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
Somayeh Samadian, Mehdi Razani,
Volume 4, Issue 3 (12-2021)
Volume 4, Issue 3 (12-2021)
Abstract
Carpet, as a piled and knotted hand-woven with a structure consisting of organic materials, is always exposed to damages during the various time processes of weaving, consumption, and storage. These can generally be divided into two categories of internal damages (how primary actions for preparing and dying fibers and also knitting are done) and external ones (defects during use and maintenance). Considering that the scope of the attitude is more on the samples in the museum and private collections, which apart from the aspect of consumption need favorable conditions for long-term protection, in this research, we tried to describe the four harmful factors and their sub-categories, which includes physical factors (light, atmospheric pollution and two factors of temperature and humidity), chemical factors (effect of acids, alkalis, oxidants), macroscopic biological agents (insects and rodents) and microscopic ones (fungi, molds and bacteria), to create a wider insight into the process of keeping these exquisite objects and prevent them from entering the structure.
Sana Kazemzad Bagha, Mahdi Razani,
Volume 5, Issue 1 (3-2022)
Volume 5, Issue 1 (3-2022)
Abstract
The following article aims to conserve and restore a part of the rock door and stone tower of the Pasargad World Heritage Site. The rock piece belongs to the right wing of the stone tower and is decorated with six lotus flowers. This object had much damage that caused the preservation and protection of the work to problems such as fracture and lack of integrity. Therefore, the restoration practice started on the stone piece. The best intervention method is selected after the historical, physical, and chemical knowledge of the effect. In this regard, studies have been conducted in the field of knowing and investigating the political history, architecture, nature, and use of the rock tower, and instrumental analyses such as petrography, X-ray diffraction (XRD), X-ray fluorescence (XRF) have been performed to identify the physical and chemical dimension of the object. The results show that the work belonged to the stone tower and was probably built during the reign of Darius. The rock used to build the artefact is dolomitic limestone. Finally, with the help of the mentioned analyses and according to the restoration principles of restoration, practical procedure, and preventive conservation were carried out on the stone piece. Finally, the work was placed inside a frame made of Teflon sheet for display so that the work has both visual integrity and can be reversed for future restorations.
Mohammad Yaghizayi, Mehdi Razani, Atefeh Fazel Najafabadi,
Volume 5, Issue 2 (9-2022)
Volume 5, Issue 2 (9-2022)
Abstract
The pathology of pottery works is considered one of the most fundamental pillars of conservation and restoration, as understanding the damage will pave the way for its preservation and restoration. Pottery works are generally more stable than many other materials found in archaeological excavations. However, when these works are buried in inappropriate conditions and unfavorable factors, they can suffer from significant damage. Without proper care in their protection, the result may be complete deterioration of the pottery. Damage to ceramic bodies occurs in two forms: Physical and chemical, along with mechanical factors, can accelerate these processes. In the pathology of clay bodies, it is essential to identify the origins and causes of these damages to implement the effective treatments aimed to enhance the longevity of the ceramics., In the pathology of clay bodies, we can refer to cracks, fractures, crystallization of various salts, damages from firing processes, biological damages, stains, delamination, and more. This research, will provide an overview of the most prevalent damages of clay bodies and the factors that cause them, and the relationship between the formation of one type of damage and its influence on the emergence of other damages. Recognizing these connections can inform more effective methods for the protection and restoration of pottery artifacts.
Mehdi Razani, Arina Rashid Zadeh, Ramin Mohammadi Sefidkhani,
Volume 5, Issue 3 (12-2022)
Volume 5, Issue 3 (12-2022)
Abstract
The Reconstruction of damaged cultural-historical artifacts is essential for facilitating communication with the audience and, in some cases, in their conservation. The methods used for reconstructing pottery artifacts vary based on their destructive characteristics, missing parts, and the requirements of the cultural-social context. These methods have been carried out using different materials and techniques throughout different periods. Naturally, as science advances in the field of conservation and restoration, these methods and materials continue to evolve. This article not only introduces some restoration methods for pottery objects but also delves into the restoration of delicate pieces using the papier-mâché technique. Reconstructing delicate objects presents challenges concerning stability and balance due to the added weight the use of numerous filling materials during the reconstruction of missing parts can create problems in maintaining the balance and stability of the artifact. Therefore, in order to assess the papier-mâché method in restoring delicate and lightweight pottery artifacts, a fine and lightweight vessel acquired from the archaeological excavations at the Silveh tepe, situated in West Azarbaijan province, was restored. The main objective of this article is to introduce and implement a fresh approach for reconstructing fragile pottery objects with papier-mâché, which is deemed a thoughtful method due to its lightness, strength, ease of modification, and ability to preserve the balance and stability of the artifacts.
Mehdi Razani, Parisa Zahedi, Omid Omidian,
Volume 5, Issue 4 (Knowledge of Conservation and Restoration 2023)
Volume 5, Issue 4 (Knowledge of Conservation and Restoration 2023)
Abstract
Tombstones are composed of various stones adorned with different patterns and decorations, and their role in Islam and Iranian culture is considered integral cultural artefacts, with respect to the concept of life after death and their educative function to living people in reminding the concept of death and the eternal abode. In past societies, stones were perceived as the abodes of souls. This research employs a descriptive-analytical approach and library research method by exploring the various types of tombstones and diverse decorations associated with them in different Islamic periods, as well as the methods of conservation and restoration of tombstones. The paper also investigates the Islamic perspective on this matter. Restoration of Islamic tombs and tombstones is seen as a scholarly and practical endeavor, as evidenced by Islamic sources emphasizing the conservation of the tombs of divine figures, including the Imams, as a clear example of venerating religious symbols, a commendable practice and an emphasized aspect of Islam. Additionally, the restoration of the tombs of ordinary deceased individuals is justified due to its prominent role in reminding survivors of the concept of death and readiness for the journey to the eternal abode.
Mehdi Razani, Zahre Shojai Maleki,
Volume 6, Issue 1 (6-2023)
Volume 6, Issue 1 (6-2023)
Abstract
the issue of forgery is of great importance in studying the authenticity of artistic and historical objects in the field of cultural artifacts. Ceramic, has been one of the most important human achievements that has subjected to various forms of forgery throughout history. Determining the authenticity of ceramic works requires understanding the multi-faceted nature of the material composition, construction methods, and decoration of the objects, as well as recognizing different types of forgery. Evaluating forgery in ceramic objects requires an assessment of the artistic-historical and aesthetic aspects of the crafted object, the authenticity of the manufacturing technology and production component, and the authenticity of subsequent interventions and additions. Therefore, determining authenticity in the face of forgery requires a specialized perspective and approach towards suspicious objects. This article aims to explore the various types of forgery in ceramics and examine the typology and methods of forgery in historical and cultural ceramics of Iran. The results, regardless of the historical context of forgery, indicate the development of forgery in ceramic objects during recent centuries and its presence in the antique market and the conservation of historical artifacts.
Mehdi Razani, Ali Mirzaei, Ramin Mohammadi Sefidkhani,
Volume 6, Issue 2 (9-2023)
Volume 6, Issue 2 (9-2023)
Abstract
This article examines and identifies the tombstone of the late Seyyed Rouhollah Kashfi Darabi and discusses how to carry out its restoration, reconstruction, and display. The necessity and importance of this research is the attention to the conservation and restoration of outdoor stone artefacts in the museum that are exposed to environmental factors in open areas. This has been accomplished through laboratory studies identifying stones using petrographic methods and examining similar past experiences in the region through field and library research. After documenting, analyzing, and evaluating the intervention and reconstruction methods, the incomplete interventions of previous restorations were cleaned up and rectified. In continuation, the reconstruction of the tombstone was carried out using silicone molds and polyester resin. The restoration intervention was done by examining and comparing various reconstruction methods for such works and the less-considered idea was innovatively implemented by reconstructing the missing parts with polyester resin (simulating marble stone) while considering technical and aesthetic principles. Finally, conservation and restoration measures were carried out using 4% Paraloid B-72 as a coating-stabilizer and it was entrusted to the technical office of Tabriz Islamic Art University with arrangements for display and conceptual space. Despite the positive aspects of the reconstruction measures in terms of technical and aesthetic principles, due to the location of the artifact in the outdoor environment and exposed to destructive environmental factors, follow-up researches are needed to investigate the behaviour of stone and restoration materials.
Saeid Mehriar, Abdolalizade Abdolalizade, Zahra Talischianazar, Mehdi Razani,
Volume 6, Issue 2 (9-2023)
Volume 6, Issue 2 (9-2023)
Abstract
The preservation and restoration of historical monuments are among the most crucial objectives worldwide, aiming to pass cultural heritage on to future generations. These efforts encompass a wide range of activities carried out by specialists while adhering to various aspects, including the theoretical principles of historical restoration. The Sadiq Al Saltaneh Mansion, located in the Maqsoudiyeh neighborhood of Tabriz, is one of the notable buildings from the Qajar period. In addition to its unique architectural layout, the mansion features stucco decorations on the columns and fireplaces. During the restoration process, evidence from various historical periods was uncovered, highlighting the alterations the building has undergone over time. A significant challenge arose when a historical fireplace in the northwest room of the mansion,s first floor was discovered, along with a stuccoed wall dating back to the late Safavid and early Zand periods hidden behind it. This presented a dilemma regarding how to display both significant historical features. After thorough examination of the site and assessment of the artifacts, it was decided to relocate the fireplace within its original space. The goal was to enhance the understanding of the building and to better showcase both valuable historical elements. Given the historical significance and aesthetic value of both features, the relocation of the fireplace and the subsequent exposure of the historical wall behind it were deemed necessary. The technical process of relocation involved framing and supporting the fireplace, followed by carefully detaching it from the wall according to a pre-designed method. After securing the artifact with an iron frame and clearing the surrounding area, the connection to the wall was severed step by step, with reinforcement measures implemented throughout the procedure. The fireplace was then moved to its new location using a crane and installed in such a way that both features could be fully observed. It should be noted that all actions were planned and carried out based on technical and theoretical principles of historical
monument restoration.
monument restoration.
Mehdi Razani, Leyli Nemani Khiyavi ,
Volume 6, Issue 4 (3-2024)
Volume 6, Issue 4 (3-2024)
Abstract
This research investigates methods for conservation, restoration, and reinforcement of the Urartian inscription of Seqindel. It also aims to propose feasible recommendations for improving the preservation and stabilization conditions of the inscription and consequently, the historical site itself. The Seqindel inscription was discovered in 1951 CE near the village of Seqindel, beside a complex archaeological site. It stands as a significant artefact from the Urartian era in northwest Iran, dating back approximately 2750 years. Stone inscriptions are inherently vulnerable to environmental factors that can lead to deterioration. To address this concern, the research incorporates structural studies, pathology assessments, and analyses of the inscription's current condition. The results indicate that priority should be given to emergency stabilization and consolidation to prevent the collapse of the inscription, followed by practical measures for ongoing protection, and finally, preventive conservation. Considering the inscription's location approximately 2 kilometers from the village of Saqindel, the following key recommendations are proposed for its preservation and promotion: 1) Community participation in protection efforts, 2) Tourism enhancement and deterrence of unauthorized excavations, 3) Road construction for improved accessibility,4) Site access and signage development, 5) Natural stone staircase construction, 6) Design and insulation of informative signage, 7) Vegetation revitalization in the adjacent valley.
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.