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.

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

The 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.

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.

The Mosalla of Paein Khiaban of Mashhad is one of the largest and most beautiful historic mosallas in Iran, built at the order of King Suleiman I during the Safavid era. according to inscription on the tile of the central porch, the date of construction and completion of the building is 1087 A.H. The architectural structure of the building consists of a high central porch in the middle and two domed porticoes on the sides. Both the internal and external surfaces of the building are decorated with various architectural elements, such as stucco work, tile work, painting and muqarnas. Among the various decorative employed in this structure, the mosaic tiles of the mihrab are unparalleled in terms of beauty and sophistication. Laboratory analysis of the chemical composition of the glaze of the altar tiles using SEM-EDX method demonstrated strong agreement with findings from other researchers, indicating a continuity of the tile-making tradition and glaze production with similar technology throughout the Safavid era across various r regions of Iran. A petrological study of the mineral composition of the body of the tiles also revealed the use of a similar and appropriate mineralogical composition, paired with good firing in their production, which contributed to the strength and durability of the tiles. The pathology of the building and its decorations indicated that a combination of different physical, chemical and human factors caused the destruction and erosion of the structure and its decorations, including the mosaic tiles. Among these, human activities and irregular urban development surrounding the building, along withimproper and careless restorations, played the main role in the destruction and erosion of the tiles. Considering the importance and sophistication of the mosaic tiles of the altar, following laboratory studies, the tiles of this part of the building were conserved and restored. For this purpose, after the primary conservation measures through cleaning and consolidation, the missing parts were restored according to the principles and theoretical foundations of restoration in the method of complementary restoration through color-matching.

Due to the instability and sometimes sensitivity of archaeological objects, conservation and restoration of them usually require a complex procedure along with basic studies and pathology in the restoration process. Since pottery objects are more stable than other objects, they can be restored after preliminary investigation regarding the level of strength and hardness of surface sediments, if there is no special problem. In this report, we introduce and describe the conservation and restoration process of a number of Zanjan salt men collection pottery, transferred from the Zulfiqari Museum of Zanjan to the pottery department of the Research Center for Conservation of Cultural Relics for conservation and restoration operations. These objects, which were sometimes cleaned and temporarily patched at the excavation site, were thoroughly checked and all connections were opened. The parts were cleaned separately using various mechanical and chemical methods and after finding the correct parts, the connection was made again. Finally, the parts that needed to be reconstructed were reconstructed with plaster following the pattern designed for this collection and considering the basics of restoration.

The ceramic objects are one of the most important evidence of the Neolithic era. Due to the physical and mechanical damages, they need proper conservative strategies. The reconstruction of historical ceramic objects with a large number of missing parts has been a challenge for conservators. The importance of this matter is owing to the historical, technological, and aesthetic values of objects. So, their conservation and reconstruction must be in line with the conservation protocols to conserve their integrity. In this paper, we describe reconstructing process of a historical ceramic object belonging to the Neolithic period recovered from Silve Tepe in Piranshahr City in the northwest of Iran. In this process, we are trying a new method for casting on a sample with numerous missing parts. After preliminary studies of the sample, the reconstruction of it is described.

The Tepe Silveh site is one of the ancient sites in the Piranshahr region. During excavations conducted in 2015, several terracotta pots were uncovered. The purpose of this project is to restore and protect two terracotta artifacts belonging to this site, This project is therefore of great importance Silweh hill has been completely destroyed in the exploitation plan of Silweh dam and these pottery are the only remaining information from this ancient site. The project aims to prevent further damage to these artifacts in the future by adopting the most appropriate  conservation methods.These pottery pieces were found in a very poor and unstable condition, and immediate strengthening was among  the most essential initial measures. After conducting the necessary comparative historical studies, efforts were made to adopt the most efficient intervention methods. These pottery were found in a very disorderly and unstable condition, and immediate strengthening was among the most essential initial measures. After conducting the necessary comparative historical studies, efforts were made to adopt the most efficient intervention methods.