Due to the complex corrosion mechanism of the bronze objects, explaining the structure of different layers of corrosion in these objects at microscopic levels is possible. Typically copper oxide(I) is the first corrosion layer on surface of bronze objects that are excavated of historical sites. However, depending on the environmental conditions، various forms of corrosion layer of tin or copper-rich oxide are formed that are effective in corrosion resistance of objects. Identification of tin oxides or copper-tin corrosion products is not simple by using of routine methods of instrumental analysis.However in this research the formation process of copper and tin oxides of some of historical bronze objects of Iran were studied by using the optical microscope with polarized light that show colored corrosion products and in some cases the method of scanning electron microscopy equipped with elemental analysis (SEM-EDX) was used to complete the identification process of oxide layers. According to the results, identify of evidence of differences in distribution of copper and tin in the microstructure that is result of macroscopic and microscopic segregation, formation of a solid solution of copper besides the copper-copper oxide eutectic mixture during the solidification process, the appearance of copper oxide inclusions in the microstructure of metal, moving The tin-rich layer of copper oxide layer to the outside, formation of copper oxide-tin oxide sandwiching layers, selective dissolution of tin in the outer layers, decuprification phenomenon in corrosion layers  and condensation of tin oxides in the center of sample and finally the usual formation or degradation of copper oxide layer under certain conditions have been studied with microscopic imagesof selected samples of bronze objects which confirmed the ability of microscopic techniques in the study of oxide layers of bronze objects.

 Synthetic green copper-arsenic pigments include two pigments: shale green (CuHAsO3) and emerald green (3Cu(AsO2)2.Cu(CH3CO)2)
,which were common in Europe in the 18th and 19th centuries. During the Qajar period, these two pigments were introduced to Iran due to trade with the West, and due to their cheapness and transparency, they quickly replaced other green pigments such as verdigris and malachite. The purpose of this study is to investigate the presence of these pigments in Qajar period paintings and to choose the best method to identify these two pigments. For this purpose, green was sampled from a painting on glass, a painting on wood, a mural, and a manuscript, all of which belonged to the Qajar period. To identify the pigments, instrumental methods such as Fourier transform infrared spectroscopy (FTIR) equipped with an ATR reflection cell, X-ray diffractometry (XRD) and scanning electron microscopy equipped with an X-ray dispersive X-ray (SEM/EDX) were used . The results proved the presence of emerald green in the painting behind the glass of the Rashvand Khaneh in Qazvin, the wall painting of the Karimkhani Citadel in Shiraz and the decorations used in a Quranic manuscript and Shaileh green in the painting on the wood of the Saqanfar in Babylon. The results also showed that the best and fastest method for analyzing these two compounds is FTIR, which can identify these two pigments with a minimum sample and distinguish them from each other due to their structural differences.

 Paper works in Iran include various types, including documents, books, and Muraqqas. Variety and quantity Many of these documents have caused some of these works to be less noticed, investigated and studied. Among these cases are the Muraqqas of the National Quran Museum, which are among the most prominent works of this museum that have not yet been studied. Accordingly, this study examines the Muraqqas of the National Quran Museum. Based on this, in this study, the research of the National Museum of the Qur'an has been done. The number of these Muraqqas is 7 manuscripts.
In this study, it has been studied in an analytical way, its different parts, which include the decorations of the cover and pages. Due to the fact that various arts are used in making and decorating the muraqqas. On the one hand, one can see exquisite examples of the arts of emblazonment, vassali, sector, bordering, text and bordering in its structure, and on the other hand, in the markings, arts such as calligraphy, painting, Illumination and tasheer can be seen in muraqqas. Accordingly, the aim of this research is to analyze different parts of seven muraqqas in the National Museum of the Quran. In this research, the decorations of the muraqqas have been examined.
In this research project, after conducting documentary research, the designs and type of calligraphy were analyzed, and their text was reread to determine what the subject matter of the margins was and how the arts used in book layout were used in these Muraqqas.

Historical and cultural relics made of paper are among the most important artifacts of any culture and civilization and are valuable from a historical, artistic, scientific, economic, technical, and religious perspective. All paper materials change over time, so that this process cannot be completely stopped, but the speed of change can be controlled with conservation and restoration operations.
The manuscript studied in this research is a manuscript document belonging to the year 1287 AH, and the Qajar period.
The purpose of this research is to examine the used materials, pathology and finally to present a restoration plan for this manuscript. In this regard, after examining library resources, the fibers, glue, and materials used in the document were identified using laboratory studies, the type of ink used, and other tests for this document. Tests showed that the fibers of the document are wood and the sample contains a small amount of lignin, and the presence of starch and sugars was confirmed in the paste test. The acidity of the paper is 45.5 and the ink used in the document is of the metal-mazonite type and is sensitive to water. After completing the restoration stages of the document, the document was delivered to its owner.

 Studying and examining Quranic works is of great importance due to their respect and sanctity among Muslims, so ‎that the historical, cultural and religious value of such works doubles the importance of their protection and ‎preservation. The work examined in this study is a Quran scroll sample belonging to the Haj Rahim Mosque in ‎Tabriz. According to field research and statements by the board of trustees of the mosque, this scroll was placed ‎inside the mosque wall at an unknown time as a vow or talisman and was discovered in ‎‏1350‏‎ AH during the ‎reconstruction of the mosque through the thatched wall. During this study, the paper making technique and ink ‎used in the work were studied. In line with this goal, the type of paper fibers and paper pulp and the inks used in the ‎work, including black, red and gold pigment, and finally the glue used to join the sheets together were examined. All ‎the identifications made in this research were done using chemical methods except for the identification of the type ‎of glue used at the beginning and end of the sheets, which was done using a Fourier transform infrared spectroscopy ‎device. The results indicate the use of linen and rag fibers and polysaccharide starch to prepare the paper and ‎carbon black ink, rosin pigment for the red ink, and copper oxide compounds for the gold color. Also, the glue used ‎at the beginning and end of the sheets was identified as -Serish- animal glue‏‏‏‏.

 Why should a specialized authority for artifact authentication—specifically in the fields of antiques, gemstones, and manuscript heritage—be established within the Official Experts Association of the Judiciary? And why should this authority, regardless of time or institutional fluctuations, most be reserved exclusively for certified experts with an academic degree in the conservation of historical, artistic, and cultural objects?

Cleaning and washing of historical artifacts and textiles remain one of the most critical and challenging aspects of conservation and restoration. To evaluate the quality of detergents used in the conservation of historical textiles, laboratory samples are required. However, due to the unique characteristics of historical artifacts, existing standardized soiling methods are insufficient for researchers in this field. Therefore, this study aims to prepare artificially soiled cotton fabric samples subjected to accelerated aging. To achieve this goal, the type and amount of soiling were first determined, followed by monitoring and analyzing the degradation of samples during accelerated aging. The research methodology was based on analytical-comparative approaches, with data collected through experiments such as Fourier Transform Infrared (FTIR) spectroscopy, tensile strength testing, equilibrium moisture content, electrical conductivity, color measurement, and pH assessment. The procedure involved preparing, soiling, and aging cotton fabrics, with degradation changes monitored and compared to those of clean samples. Results indicate that after approximately 700 hours of accelerated aging under elevated temperature and humidity (110°C and 90% relative humidity), the samples reached a relatively stable state in terms of degradation changes. This stability allows minor adverse effects of detergents to be clearly detectable. Thus, the minimum time required for aging and preparing laboratory samples of soiled fabrics is approximately 700 hours at 110°C and 90% relative humidity.

with the entry of carpets into museums and private collections, their function changed, and new values such as historical and cultural significance were attributed to them. Gradually, they became subject to modern concepts of preservation and restoration. Many methods used for centuries by traditional restorers in repairing and maintaining carpets were deemed unnecessary for treating museum carpets. Consequently, most treatment decisions, guided by the principles of minimal intervention and reversibility, became synonymous with various stabilization techniques. Given the historical background and role of traditional restoration in the process of preserving and restoring damaged carpets from the past to the present, this question arises: Can museum carpets be conserved without considering the positive potentials of traditional restoration? Answering this question has always been one of the most important debates between advocates of traditional and modern restoration in the conservation of carpets with museum value. Accordingly, this article aims to precisely understand traditional restoration, its goals and duties, as well as its place in the conservation of museum carpets. This research is applied and based on library studies, collection and examination of case studies through field methods, and personal experiences. The results indicate that techniques commonly used in traditional restoration can play a significant role in treating museum carpets and ensuring their preservation and longevity. Moreover, there is a continuous professional relationship between traditional restoration and conservation.