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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.
Hamid Fadaei,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Although documentation in the field of cultural heritage plays a pivotal role in the preservation, management, and transmission of knowledge related to tangible and intangible assets, such processes, as a key tool for identifying, evaluating, and recording various cultural and historical features and values, have received limited attention in various international instruments (such as charters, conventions, regulations, and recommendations). The lack of systematic documentation and recording of cultural heritage and the loss of data not only lead to irreparable damage to cultural heritage knowledge but also create challenges for conservation, restoration, and education processes. Therefore, this article seeks to clarify the position of cultural heritage documentation in the aforementioned instruments and to examine its tools and methods. However, the utilization of these frameworks at the national and local levels often faces challenges, including the absence of localized execution standards, a shortage of expertise in employing advanced technologies, and insufficient financial and educational resources. Methodologically, this article is based on a systematic analysis of international instruments related to cultural heritage. By employing a qualitative content analysis approach, it examines the position and emphasis of documentation within these instruments, along with its methods and tools. For greater accuracy, a correlation between key concepts and theoretical frameworks associated with cultural heritage conservation was established. The research findings indicate that, in general, international instruments emphasize the importance and necessity of documentation as a fundamental pillar for the proper preservation and management of cultural heritage. Such efforts enhance transparency in conservation activities and facilitate international cooperation, particularly in cases where cultural properties are threatened by natural or human factors. Some of these instruments highlight documentation as an integral part of education and research in the field of cultural heritage, considering it a means to transfer knowledge and experiences to future generations. This process, by providing comprehensive and accurate information, plays a vital role in preserving the authenticity, values, and sustainability of cultural properties at a global level and contributes to decision-making and policymaking related to cultural heritage.
Mohammad Reza Alikhah, Anisa Shiri , Shahrazad Amin Shirazi , Mohammad Hossein Boroumand,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Restoration of historical monuments relies heavily on comprehensive documentation conducted both before and after conservation and restoration processes. This study focused on documenting the cleaning process of Iran's Salt Men through the integration of various photographic techniques and specialized focus stacking software. Specifically, it examined the documentation of Salt Man, No. 1, housed in the National Museum of Iran by utilizing a combination of focus stacking and panorama techniques. The project aimed to produce high-resolution images from 5 different angles, capturing the complete depth of field before and after cleaning. The largest image generated in this project boasted a pixel density of 649.4 megapixels, showcasing the frontal view of the artifact. Several challenges arose during the project. The presence of hair on the head and face of Salt Man, No. 1, posed difficulties in photo alignment. Additionally, documenting the gold earrings using macrography presented another set of challenges. It is important to note that the documentation, conservation, and restoration of the artifact were carried out simultaneously. Consequently, close coordination with other members of the conservation and restoration team was crucial and meticulous recording of lighting angles, camera settings, and photometry were prioritized. Detailed documentation was carefully recorded both before and after the cleaning process, taking special care to note the conditions during photography and ensuring accurate color, light, and texture matching. This comprehensive approach established a robust foundation for artifact's future scientific monitoring.
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.
Maryam Shirvani, Sara Zareiyan Jahromi ,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Documenting is an important and significant part in the field of conservation and restoration of historical monuments. The information obtained in this process can play a significant role in how to deal with emergency protection methods. In the past, most of the documenting process was done manually, which could be accompanied by various errors. With the arrival of new technologies, various methods were investigated and evaluated in this case. Historical buildings built in Iran have various characteristics and different arrays are used in the decoration of these buildings. One of the best examples of these decorations is the wooden ceilings, which were used in historical buildings, especially during the Qajar period in Shiraz, and suffered various damages. The purpose of this research is to make a detailed pathological study of the changes applied to the wooden ceilings known as Marjoek in the Kazeronian house in Shiraz, which are decorated with paintings. The main question raised is what the best way of is documenting the damage of this category of works and whether short-range photogrammetry can be effective in this field. The research method is applied and experimental. Which has been evaluated using survey and field research. The results obtained state that the use of photogrammetry is a safe method that is very effective in damage imaging and can show the amount of changes made in the main structure of wood. In this method, the degree of bending and change of the wooden beams of the roof of Kazeronian house was evaluated and analyzed, and then the best method for strengthening and restoring the effect to its original state was selected and used.
Ali Shahabinejad, Mahdiyeh Jafari ,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
The documentation of historical buildings is one of the most important issues in their study, conservation and restoration. From the past to the present, different methods have been developed for documenting such buildings. One of the most common methods in documenting historical buildings is architectural mapping or the preparation of measured drawings of historical buildings. For this purpose, traditional, manual methods or advanced digital techniques can be used. However, aarchitectural mapping alone enhances our understanding of the architectural model of the building but it cannot capture many other details, such as color, material type and texture, lighting and interior objects. Metric visualization, as one of the advanced documentation methods, provides detailed and precise information. This article introduces the concept of metric visualization and presents an example of its application as a sectional-elevation view of the Kolahdoozha House in Yazd, currently serving as the Yazd Water Museum. This method is based on precise architectural surveys and technical drawings, and the details and features of this visualization are thoroughly discussed in the article.
Mohammad Reza Rokni, Hamid Fadaei , Marjan Keyfargir ,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
Persepolis, as one of Iran's most prominent archaeological sites, symbolizes the grandeur of the Achaemenid Empire's culture and art. The stone carving art and architectural ornaments of this era, drawing from the experiences and knowledge of various cultures, created a novel and artistic style that is evident in the stone reliefs of Persepolis. Due to the delicacy and precision of these reliefs, they have attracted the attention of many researchers, raising questions about their artistic values and execution methods. This study aims to analyze the execution techniques of Persepolis' reliefs by documenting examples of these reliefs on the eastern staircase of Apadana Palace and the northern staircase of the Treasury Palace. To document and create 3D models of the reliefs, advanced photogrammetry methods, with a particular emphasis on photo-scanning technology, were employed. Images were processed using specialized software such as Agisoft, 3D Zephyr, and Reality Capture. The results of this study reveal a part of the creation process of these artworks that has been less explored until now. Furthermore, the effectiveness of the photogrammetry-based documentation method in extracting precise technical and artistic data is confirmed. This method not only enables a more detailed analysis of the reliefs' intricacies and geometric proportions but also contributes to a deeper understanding of their artistic values and their place in the history of art. This approach can serve as a valuable model for future research in the field of documenting and extracting technical and artistic data from historical stone reliefs.
Pouya Talebnia, Elham Ghaderyan ,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
The documentation of rural settlements, a crucial element in effective planning and management, requires a systematic and goal-oriented approach. This process involves the integration of various scientific disciplines and methodologies, applied meticulously at each stage. The present research aims to share the experiences of documenting rural settlements within the unique cultural landscape of Hawraman. The documentation process encompasses 3D mapping through photogrammetry, the application of Geographic Information Systems (GIS), and the development of a detailed building inventory database. Additionally, comprehensive surveys are conducted to analyze structural elements such as pathways, plans of key buildings, architectural details, and openings. This study not only introduces modern and practical documentation techniques tailored to the cultural landscape of Hawraman but also evaluates the strengths and specific capabilities of each stage within a step-by-step, integrated methodology. Collecting precise quantitative and qualitative data throughout the process is paramount, particularly given the unique and challenging conditions of terraced rural settlements. The methods employed aim to minimize systematic errors and ensure high accuracy. The documentation efforts are part of a broader initiative to support the inclusion of the Hawraman cultural landscape on the UNESCO World Heritage list. Data gathered from 20 rural settlements in the region have been consolidated into a comprehensive documentation framework, which serves as a valuable resource for future scientific research, conservation, monitoring, promotion, and sustainable development initiatives. The findings and methodologies presented in this research offer a replicable model for documenting other historical rural and urban settlements, providing practical guidelines for heritage conservation and management.
Aminallah Kamali,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
The Bahabad zinc smelting site, located 71 km north of Bahabad in Yazd Province, Iran, spanning 220 m² within the Tabas-Posht-e-Badam metallogenic belt, is a key ancient metallurgical center. This study aims to identify the extracted metal, analyze metallurgical processes, and reconstruct the employed technologies through petrographic and geochemical analyses of ceramic nails and furnace slags. Thirty ceramic nails and 20 slag samples were collected, with five samples from each group selected for petrographic study and chemical analysis using inductively coupled plasma optical emission spectroscopy (ICP-OES). Petrographic results revealed that the ceramic nails, made from fired clay, exhibit a porphyritic texture with ~20% quartz and minor calcite, while slags contain fayalite (Fe₂SiO₄), melilite, pyroxene, and wüstite (FeO), indicating high-temperature, reducing conditions. Chemical analysis showed an average of 1.21% ZnO in nails, confirming their role in collecting zinc vapors as tutia (ZnO) over centuries, and 3.74% ZnO in slags, suggesting incomplete zinc extraction. Low lead (669 ppm in nails, 315 ppm in slags) and sulfur (1053 ppm in nails, 361 ppm in slags) concentrations indicate the use of oxidized ores like smithsonite (ZnCO₃) or hemimorphite rather than sulfides like sphalerite (ZnS), consistent with the region’s oxidized lead-zinc deposits. Two-tier furnaces, with a lower heating chamber and an upper perforated clay plate holding ceramic nails (10–20 cm long, 2–4 cm diameter), facilitated upward distillation. This technology contrasts with India’s downward distillation (sphalerite, square furnaces) and China’s condenser-based upward method (rectangular furnaces), highlighting Iran’s indigenous innovation using charcoal and ceramic nails. The study underscores the technology’s adaptation to local conditions and its significance in global metallurgical history.
Azadeh Moghadam , Shahrzad Amin-Shirazi Nezhad, Ali Nazari ,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
A novel method utilizing eucalyptus extract for the protection of woolen artifacts against invasive insects has been developed. This eco-friendly approach is highly compatible with environmental ecosystems, poses no risk to humans, and is safe for historical textiles. The application of this extract does not adversely affect the artifacts, their physical properties, appearance, or fiber strength. The eucalyptus extract is obtained using a Soxhlet extraction method with ethanol 96°, and neutral pH paper strips are impregnated with the extract. These eucalyptus-infused strips serve as an environmentally friendly, human-safe, and artifact-compatible insect repellent. They can be employed in various applications, such as packaging material, display linings, storage boxes, and protective layers between artifacts in storage. The production cost is low, and the method offers higher safety and efficacy compared to existing alternatives.
Sajjad Kalantari, Alireza Baghbanan ,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
To estimate the strength parameters of materials such as concrete and rock, the micro-drilling technique can be used to quantitatively and qualitatively check the comparative strength of historical monuments and to qualitatively evaluate various building materials in depth and in situ. This technique can be used as a relatively minimally invasive, non-destructive, fast and reliable method in the field of restoration and treatment of historical monuments. In this method, by drilling in millimeter dimensions of the building surface and simultaneously measuring various drilling parameters such as thrust force, torque, penetration rate and bit rotation speed, it is possible to assess the deep condition of historical monuments in terms of the amount of erosion and weathering caused by various climatic and environmental factors. There is also an examination of the quality of treatment before and after treatment. However, various studies as drilling resistance in other countries, it has not been used in our country yet. Now that the construction of this type of equipment has become more capable in the country, we can also benefit from this system in the field of restoration and treatment of historical monuments. Simultaneous measurement of several drilling parameters and use of its data can provide additional relative advantages, including controlling the effect of bit wear in this technique. Therefore, we have provided this possibility by constructing and developing a device with this capability. Using this technique to measure drilling resistance is affected by bit wear. In this paper, we will introduce this technique, present a method for estimating reliable and comparable drilling resistance, and assess the principles of using the method in this regard.
Fatemeh Alamirzaei, Parasto Naeimi Taraei,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
The study of corrosion mechanisms in ancient bronze artifacts, particularly those from the salty and humid region of Hormuz, is crucial due to severe corrosion. This article examines a bronze dagger attributed to excavations in Hormuz to analyze its corrosion behavior influenced by the environment. Techniques such as X-ray imaging, stereomicroscopy, X-ray diffraction (XRD), polarized light microscopy (PLM), and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX) were employed. Results show that most of the dagger has transformed into corrosion products, including copper and tin oxides, as well as basic chloride compounds like atacamite and paratacamite, forming a three-layered corrosion structure. The corrosion mechanism involves selective dissolution of copper, its migration to outer layers, and the concentration of tin oxide compounds in the central regions, accompanied by chloride ion penetration. This process has preserved patterns of grain structure and thermal twinning in the inner oxide layers, with periodic deposition of copper and tin oxides indicating the formation of a colloidal solution of copper and tin salts beneath the soil (Scott, 2002; Robbiola et al., 1998).
Talhe Ghodousiyan, Mehdi Razani, Amir Hossein Mehdikhani, Arash Keshtkar, Ali Kh Mirzaie, Alireza Mansouri, Ali Akbar Kiaei , Hossein Shirazi , Mustafa Dehpahlavan, Abdolbasir Hosseinbor,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
Artificial intelligence (AI) and machine learning (ML) have emerged as transformative tools in preserving, analyzing, and representing cultural heritage and arts. This article provides a systematic and comprehensive review of AI applications in this domain, exploring their potential to address longstanding challenges such as natural degradation, limited accessibility, and complex documentation. By integrating classical and advanced ML algorithms, we examine case studies including the Time Machine Europe project, the Ithaca model for ancient Greek texts, and metaverse-based heritage digitization. These initiatives demonstrate AI’s capacity to enhance precision, speed, and interactivity in heritage tasks, from virtual reconstruction to multimodal data analysis. However, limitations such as data quality, ethical concerns, and computational complexity pose significant barriers to widespread adoption. Emerging technologies like non-fungible tokens (NFTs), prompt engineering, and quantum AI are highlighted as future directions that promise further innovation. This study underscores the need for interdisciplinary collaboration and ethical frameworks to ensure sustainable advancements, offering a roadmap for researchers and policymakers in the digital era.
Ramin Mohammadi Sefidkhani, Mostafa Dehpahlavan,
Volume 7, Issue 3 (11-2024)
Volume 7, Issue 3 (11-2024)
Abstract
Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster. Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster.
Mehdi Razani, Mohammad Ali Haddadian, Jalil Esmaeilnezhadteymourabadi ,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Designing stabilizing mounts for objects, particularly unstable ones, is of great importance for museum display cases. These mounts can serve as platforms that aid in the exhibition of artistic works and valuable historical and cultural artifacts. The aim of this article is to design and implement a sample mount to stabilize a vessel that lacks proper physical balance, making it unsuitable for safe and secure display in a museum case without risking damage. To achieve this goal, a sample ceramic vessel from the scientific excavations of Tepe Dalma, which lacked structural stability and balance, was selected as the case study. In this process, after 3D modeling the object, a suitable mount was designed and fabricated to provide the necessary balance and stability. Another significant aspect of this study, following a review of the literature on modern technologies, is the examination and introduction of criteria and features that must be considered in the design and production of such mounts to ensure their functionality for various objects. The most important of these criteria, in order, include: the use of low-risk materials for constructing the mounts, ensuring the mount does not come into direct contact with the object in a way that could cause damage, considering the aesthetic values of the object in terms of color harmony and the shape of the mount in relation to the object's visual characteristics and function, and finally, ensuring sufficient strength to support the object's weight and balance.
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.
Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.
Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.
Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.
Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.
Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.
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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.
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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]
Sahar Ahmad Khan Beigi,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
Aminallah Kamali,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Yazd Province, with its diverse mineral resources and long history of metallurgical activities from prehistoric to contemporary times, is considered one of the primary centers of ancient metalworking in the Central Iranian Plateau. The Dehneh Lashkar metal smelting site, located near Robat Posht-Badam village, was identified during regional geological surveys and studied for the first time. From this site, covering an area of 140 square meters, 10 slag samples were collected, with 4 samples subjected to petrographic analysis and 4 samples analyzed chemically using ICP-OES. The examined samples exhibited distinct macroscopic characteristics, including dark green to black coloration, irregular morphology, porous to dense textures, and dimensions ranging from 2 to 7 cm. Petrographic studies revealed that the slags primarily consist of fayalite (Fe₂SiO₄), pyroxene, and glassy phases, with spinifex and porphyritic textures indicative of rapid cooling and incomplete melt crystallization. Polished section analyses further confirmed the presence of copper sulfide phases, including bornite (Cu₅FeS₄), covellite (CuS), and native copper (Cu) within the slags. Chemical analyses indicated an average copper concentration of 1.96 wt% and zinc concentration of 0.88 wt%, suggesting the use of Cu-Pb-Zn polymetallic ores as the primary raw material. The average calcium oxide (CaO) content of 24 wt% points to the use of carbonate rocks (likely limestone and dolomite) as fluxes to adjust viscosity and lower the melting temperature. The chemical composition of the slags suggests an average smelting temperature of 1100–1200°C, consistent with the use of siliceous and carbonate fluxes to enhance metal separation. This study provides evidence of an ancient metalworking industry at the site based on petrographic and chemical analyses of the slags. The main research questions addressed the types of metals extracted and the metallurgical processes employed. Based on the findings, the site was primarily exploited for copper extraction. Although insufficient surface evidence was available for precise dating, petrographic and chemical studies indicate the use of advanced metallurgical technologies capable of achieving temperatures of 1100–1200°C and employing combined siliceous-carbonate flux systems to optimize the reduction and metal separation processes.
Hamid Fadaei,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
Air pollution is one of the major challenges of modern life, exacerbating environmental crises, particularly in developing countries, and posing a serious threat to cultural heritage. Marvdasht, due to its ongoing development, is among the regions facing this issue. The presence of numerous historical sites registered on national and world heritage lists has made the impact of air pollution—especially considering the region's industrial expansion—a significant concern for cultural heritage specialists. This concern is further amplified by the presence of limestone-based stone heritage sites, such as the UNESCO-listed Persepolis and the Naqsh-e Rostam historical complex. These monuments, composed primarily of calcite, are highly susceptible to direct and indirect erosion and degradation caused by acid rain. This research aims to identify the sources of air pollutants in the region and assess their impact on the erosion of cultural heritage and stone monuments. Through a review of theoretical sources, field investigations, and laboratory analyses, the major sources of air pollution in the Marvdasht plain were identified and evaluated. The collected data were analyzed using qualitative and quantitative methods. To measure the impact of air pollution, air samples were collected from Persepolis and Naqsh-e Rostam as key stone heritage sites, as well as from the Marvdasht Petrochemical Complex, the primary pollution source in the area. The concentrations of NO₂, SO₂, O₃, and NH₃ in the air samples were measured using ion chromatography and stoichiometric calculations. The findings of this study indicate a high potential for pollutant-induced damage in the region.
Zohreh Motalebi, Omid Oudbashi, Sohrab Veiseh, Dariush Heydari,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
Bardia Hajirasouliha, Mohammad Hossein Dehghani, Sarmad Bakhtiari,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The Qariha Historical House is a surviving structure from the Mozaffari era in the city of Yazd, reflecting transformations across various historical periods. This building, along with other structures from the same era, holds significant value due to its association with the golden age of Ilkhanid art and architecture, making it a compelling subject for multidisciplinary studies within the field of conservation science. To mitigate the deterioration of its structural elements and address existing damage, a series of conservation and restoration interventions have been implemented. These measures include localized foundation reinforcement, restoration and reconstruction of portals, repair and realignment of damaged arches, stabilization of wall layers and coatings, and the clarification of architectural decorative elements. This article aims to provide a comprehensive account of the conservation and restoration efforts undertaken for this historical building.