The expansion of the scope of ideas and discussions of conservation and restoration, as an interdisciplinary field, in today's world is in harmony with the growth of science in other branches and fields. This movement and flow cause new categories and concepts to enter the theoretical foundations and literature of this field every day. The birth of new ideas and concepts itself causes a change in the view of issues that previously seemed obvious and unchanged. The nature of the movement towards expanding the boundaries of thought and considerations in the science of conservation and restoration leads to the emergence of new perspectives and the proposal of new issues that, in turn, can be effective in judging and evaluating the measures designed and carried out. Studying and reflecting on the new ideas and perspectives raised in the field of conservation and restoration of historical-cultural objects shows a large gap in the country's collection of awareness and knowledge of conservation and restoration regarding the relationship between the audience and the restorer, which was the main factor in choosing and addressing the subject of the present article. On the other hand, some have pointed out that building an audience is not a one-time thing. An audience is always subject to loss and gain, and as a result, a direct and lasting relationship between the artist and his audience is essential. By measuring each of these factors in Iran, we encounter shortcomings in the audience-building process, especially in the field of cultural heritage.
In the educational system of conservation, the main focus has always been on the transfer of technical and specialized knowledge regarding structures, techniques, and conservation interventions. Although this scientific foundation constitutes an inseparable part of training in this discipline, recent developments in the field of cultural heritage conservation demonstrate that social competencies, soft skills, teamwork, and professional ethics also play an effective role in improving the quality of specialists’ performance. The Isfahan University of Art, with a long-standing tradition in higher education in the arts, is one of the pioneering and influential centers in the country in the field of safeguarding and revitalizing cultural and historical heritage. Established in 1977 with the foundation of the “Isfahan Campus” affiliated with “Farabi University,” this academic institution has, from the outset, aimed to train experts in the conservation and restoration of historical monuments and traditional architecture, and has become an unparalleled center at the national level. This paper reviews the history of the establishment of the Faculty of Restoration as well as the current structure of conservation education in specialized faculties, emphasizes the necessity of integrating technical training with complementary domains, and proposes strategies for revising educational programs in order to train responsible and competent conservators.
