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

Historical coins, as invaluable material documents, not only hold financial significance but also serve as vivid evidence of the history, culture, art, and economy of past civilizations. In Iran, with a rich heritage spanning over 2,500 years, coins play a pivotal role in reconstructing national and cultural identity. However, the preservation and restoration of these historical treasures, particularly in private collections, face numerous challenges. Addressing these challenges requires collaboration and a sense of responsibility among collectors, conservators, and governmental institutions. Raising awareness and providing education on scientific methods of preservation and restoration, along with fostering trust between
conservators and collectors, are essential strategies for safeguarding this valuable heritage. The Ministry of Cultural Heritage, Tourism and Handicrafts (MCTH) and the Research Centre for Conservation- Restoration of Cultural Relics (RCCCR) can play a significant role by offering specialized training and necessary support. Ultimately, historical coins, as an integral part of national and cultural identity, require meticulous and responsible preservation, maintenance, and study to endure as a lasting legacy for future generations.

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

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

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

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

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

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

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

Cultural heritage, as a mirror of human ingenuity, reflects the diversity of human civilization and serves as a bridge between the past and present, shaping our collective understanding of our shared history. The protection and maintenance of this rich and valuable treasure is a vital responsibility that requires comprehensive and multilateral strategies, as well as the joint efforts of all relevant experts and specialists. In this context, the principles and practices
of health, safety, and environmental engineering (HSE) can significantly contribute to the protection of cultural assets and the individuals involved in their preservation. HSE engineering plays an essential role in risk assessment and management during restoration projects and develops specific safety practices and procedures for safeguarding cultural heritage. By implementing risk management strategies and taking appropriate measures, potential risks to cultural works can be mitigated to an acceptable level. In this article, after identifying and evaluating the threats facing cultural relics, the application of HSE engineering and risk management tools will be explained, along with innovative suggestions and strategies for ensuring the safety and protection
of these invaluable treasures.

The Qajar-era Qalamkar cloths belonging to the Golestan Palace had been folded in wooden boxes in the warehouses for a long time. In alignment with the objective of preventing physical and biological damage to the fabrics, the process of organizing and restoring them was investigated. This was accomplished through library studies and the performance of necessary analyses, which will be explained quantitatively throughout the article. The
activities carried out to achieve the goals of the mentioned project are as follows: after photographing and documenting the fabrics, a technical and restoration certificate was prepared, and labels made from cotton fabric were sewn onto the cloth. Additionally, cleaning and dusting were performed, and the process of smoothing the folds was conducted to prevent deformation and physical damage at the fold points. Subsequently, the pH level was checked using pH meter strips. Fungal cultivation was carried out on Qalamkar works suspected of having fungi, and fungi cultivation was also performed in both the former and new storage areas. A fiber identification test was conducted to determine the type of fiber present. The results of the analyses indicate that the pH of the fabrics is within the neutral range. The fungal culture analysis revealed that Aspergillus niger grew on one of the fabrics and the door of a wooden box used for storage. Due to the presence of this type of fungus, periodic monitoring was recommended. The fiber identification analysis also confirmed that the fabric is made of cotton cellulose fiber. Finally, the Qalamkar fabrics were covered with cotton fabric and secured. Identification tags
were attached to the works, and with sufficient care and precision, they were transferred to the standard reservoir of Golestan Palace. Furthermore, protection and restoration solutions were provided to maintain the fabrics in the best possible condition.