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.
Evaluation of the degradation and stability of soot ink made based on ancient texts under aging conditions. Soot ink is one of the inks that has been widely used in written works. Some of which are currently in our custody, so it is necessary to examine their degradation in order to prevent their further degradation. In this regard, in the present study, the degradation rate and stability of soot ink were investigated. The question of this study is what level of degradation and stability do the manufactured inks have? The purpose of this study was to examine soot ink, which was used in paper works, using laboratory instruments, pH meter, FTIR, optical microscope, colorimeter, and tensile strength meter.
To prepare the samples, the immersion method was used to impregnate the paper with ink, and an incubator was used to age the samples. The results of the acidity test (pH measurement) of the ink-impregnated papers show that the accelerated moisture-thermal aging process, especially after a period of 12 days, causes a decrease in pH compared to the samples before aging. The results of microscopic observations show that the aged sample has suffered from breakage in addition to the ink of the paper fibers. Analysis of the ATR-FTIR spectra in the carbon black sample indicates that cellulose undergoes structural changes during aging, but most of the changes are in the structure of the ink. According to the studies conducted, the results of this research indicate that the carbon black ink has relatively good stability during aging.
Khatam Kari is one of the traditional Iranian arts with a long history, and numerous works of this art have survived from past eras. Considering the limited technical studies on these works, their study plays an important role in better understanding the process of making Khatam in the past. The diversity of Khatam materials and their different reactions to conservation methods have a great impact on adopting the optimal conservation and treatment method. As a result, identifying their constituent materials will be necessary to choose the correct method of dealing with this type of works. Fourier transform infrared spectroscopy (FTIR) is one of the methods that can be used to identify the nature of the organic materials that make up the khatam. Therefore, in this study, the khatam door khatam of the Seyyed Mosque of Isfahan from the Qajar period was examined as a case study. For this purpose, FTIR spectroscopy was used to investigate the structure and identify the materials used in its construction. The results showed that the red-brown and black pieces in this khatam sample are made of wood and the white pieces are made of bone. Also, Animal Glue was used as an adhesive in wrapping the khatam and lining it, and a mixture containing terpenoid resins was used to finish and coat the khatam .
Studying various aspects of the manuscripts may be important in explaining the actual values of work, and the ways of protecting these values. Therefore, in this research 10 paint samples (blue and red) from the five manuscripts related to Safavid period (16th century) were analyzed to explore their nature and structure. First, the related literature regarding the frequent types of the paints in Safavid period and their preparing recipe were thoroughly reviewed. Then, after sampling of the paints, the analytical techniques including scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy (FTIR) were used to identify red and blue pigments structure. Obtained results confirmed that all the used red and blue pigments in these five manuscripts were of mineral origin. Moreover, the results proved that all of the red pigments used in this manuscript were of vermilion, ocher and red lead (Lead oxide), while the blue pigments are of ultramarine type. Also, the strong peak of FTIR at 2340 cm-1 proved that the ultramarine pigment used is of natural type.
Textiles, akin to other organic materials, possess significant historical and cultural backgrounds. Their conservation and restoration have consistently been among the most critical concerns for specialists in this field, particularly in recent decades. This heightened focus on conservation may be attributed to the cessation of production for certain types of textiles in recent years—textiles that also hold considerable cultural heritage. Given their organic nature, textiles are rarely encountered in archaeological findings and have consequently received less attention compared to other artifact categories.This research focuses on developing a conservation proposal for a section of the entrance curtain (parde) of the Kaaba, an artifact of considerable cultural, political, social, and artistic significance. Through investigating the raw materials of this artifact and proposing an appropriate methodology for preserving its current structure, this study aims to both document its structure and safeguard this precious intangible heritage. Furthermore, it seeks to propose a suitable strategy for the preservation and presentation of such artifacts, thereby contributing to the preservation of shared artistic, intellectual, and cultural values among nations. Utilizing a comparative study and laboratory analyses via SEM and FTIR, various technological aspects of the artifact were examined. Subsequently, by identifying deteriorating factors and existing damages, a tailored conservation proposal commensurate with the artifact's condition was formulated. As this fragment is an intricately worked piece from the entrance curtain of the Kaaba, and one of eleven fragments donated to Iran over many years, it is hoped that this proposal can serve as a guideline for the conservation and restoration of other existing fragments of this artifact housed in other museums.
Promotional cinema facade paintings were created in the early 1950s to attract audiences to cinemas. With the advent of digital printing technology in the 1980s, these paintings lost their prominence and gradually fell into oblivion. Over time, they have become historical artifacts that require preservation and restoration. This study aims to identify the materials used in cinema facade paintings. The research employs a descriptive methodology, utilizing classical chemical laboratory techniques, digital and polarizing microscopes, and infrared spectroscopy. The results indicate that the paintings consist of three layers: support, base, and pigment. The support layer is made of cotton and fabric fibers, and silk is used in restoration efforts. The base composition includes gypsum, calcite, and white lead, while the pigments contain compounds such as white lead, calcite, Prussian blue, and black iron oxide.
