To preserve valuable architectural works, the first step is to have a complete and comprehensive understanding of these works. Among the valuable parts of architectural works are their decorations and murals. Canvas murals are a type of mural that differs from regular and continuous murals in terms of materials, execution method, and generally in nature. Considering that the first step in preserving a work of art is its understanding and perception, the difference between these works is such that carrying out the usual methods of conservation and restoration (without a correct understanding of the work) will damage their authenticity and integrity. In the research conducted on the subject of canvas murals, some researchers place these works in the group of paintings on canvas, and some researchers also recognize these works as murals, and there is insufficient knowledge in this field. The restoration theories that have been presented and published at the national and international levels have references to the preservation and restoration of historical paintings, but they have not directly mentioned how to preserve and restore canvas murals. In order to reach the theoretical principles and foundations of the preservation and restoration of this type of murals, it is necessary to examine international charters, theories, and guidelines in the field of the preservation of historical paintings so that, according to these theories and also the studies that are carried out in the field of identifying the criteria for the preservation of canvas murals, it is possible to systematically recognize, restore, and display canvas murals correctly. In this article, the constituent layers of historical Iranian murals are first introduced, and then the results of the studies of written sources in the theoretical field of the restoration of historical paintings are presented. In fact, these studies and discussions are an introduction to the preservation and restoration of Iranian canvas murals.

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.

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.

Many projects in the field of Protection, conservation and finally restoration of historical monuments are carried out in the country every year, However, there is unfortunately no suitable platform for sharing the practical experiences in this field within the country, which could significantly enhance the quality of these protection and restoration efforts nationwide. Emergency reinforcement of architectural ornaments is often necessary during the restoration of historical buildings. For this purpose, the restorer of architectural ornaments must create safe conditions to preserve the existing ornaments during the restoration of the building. Eram House in Yazd is one of the Qajar-era buildings in Yazd city that is currently about to be restored and repurposed. This
building, in the Central Room, features plasterwork, mirror and glass ornaments, as well as wall paintings with plant motifs and inscriptions. Due to the damage in the various layers of the architectural ornaments restorers faced challenges in reinforcing the structure and restoring the deteriorated parts of the building. Structural restoration measures posed a risk of destroying these ornaments; since the cracks indicating structural movement had caused the ornaments to detach and loosen from their underlying layers, which include: support (brick), scratch coat (straw), and top-layer (fine coat), all of which require reinforcement. The entire surface of walls, except for the ceiling wall in the Eram House, has an additional layer of gypsum plaster coating, which has obscured parts of the gypsum stucco ornaments and murals. Therefore, it is necessary to identify the hidden ornaments in different parts by conducting soundings in the walls of the Central Room of Eram House.