Danesh
Hefazat va Maremat
Search published articles
Showing 8 results for Yazd
Tahereh Shishehbori, Hossein Ahmadi,
Volume 1, Issue 1 (6-2018)
Volume 1, Issue 1 (6-2018)
Abstract
Among the artistic and historical works of the Islamic era, architectural inscriptions hold a special place due to their connection with architectural spaces, and they have consistently garnered the attention of specialists and experts. These valuable works, created using various materials, are inevitably subject to damage over time. The protection and restoration of inscriptions have long been a significant concern within the conservation community. Despite numerous conferences, congresses, and the development of various principles and theories in the field of restoration, comprehensive guidelines for this valuable category of written works remain elusive. This gap has led to confusion and the application of inconsistent methods in addressing these works. In this research, the focus is on the restorations carried out on the inscriptions of several buildings in the historic city of Yazd. Specifically, the study examines how the principles of restoration and their theoretical foundations have been applied in the conservation of these inscriptions. Given the prominence of calligraphy and handwriting in these works, the existing principles can serve as a valuable framework for their restoration. The findings of this research indicate that the absence of clear criteria and comprehensive principles for the restoration of such works has caused confusion within the conservation community. As a result, some restorations have been carried out based on subjective preferences or, at times, incorrect methods. This study employs an analytical research method, drawing on library sources and field studies to investigate the topic.
Vahid Aghaie, Mohammad Hossein Dehghani , Zahra Danesh Heidari ,
Volume 3, Issue 2 (9-2020)
Volume 3, Issue 2 (9-2020)
Abstract
In Gallery No. 455 of the Metropolitan Museum of Art, New York, USA, there is a historical tombstone, originally said to be from Yazd, Iran. The inscription on the stone dates to 759 AH. According to information provided by the museum on its website, the tombstone is attributed to a man named «Sheikh Mahmoud ibn Sada Muhammad,» who is described as the leader of a religious brotherhood. However, the study of the stone›s inscriptions, which, fortunately, are fully available
in both the original script and translation (Arabic and English) thanks to the museum, offers clues for further research into the true owner and the story behind it. Research into the gathered information, beginning with the inscriptions on the tombstone, reveals that the stone actually belongs to Sheikh Mahmoud ibn Taqi al-Din Dada Muhammad Yazdi, one of the great leaders of the Dada’iya Sufi order in Yazd, and a renowned Sufi of medieval Islamic Iran. His name and lineage have been mistakenly recorded, and the name of the Sufi order under his leadership, «Dada’iya,» was erroneously interpreted as a common colloquial term for «brother» in the local dialects of central Iran, particularly in cities like Isfahan and Yazd, where «Dadash» and «Dada» are used informally. This error led to his misidentification as the head of a religious brotherhood. According to descriptions from scholars based on local accounts, the tombstone—along with other gravestones of disciples and sheikhs of the Dada’iya order buried around Mahmoud Shah in the Bundarabad complex in Yazd—was taken abroad at an unknown time, likely in the late 19th to early 20th century, and later ended up in the Metropolitan Museum of Art, New York. This research note presents a description and narrative of this tombstone and the life of its owner, a story that begins in Bundarabad, Yazd, and continues in New York, USA.
in both the original script and translation (Arabic and English) thanks to the museum, offers clues for further research into the true owner and the story behind it. Research into the gathered information, beginning with the inscriptions on the tombstone, reveals that the stone actually belongs to Sheikh Mahmoud ibn Taqi al-Din Dada Muhammad Yazdi, one of the great leaders of the Dada’iya Sufi order in Yazd, and a renowned Sufi of medieval Islamic Iran. His name and lineage have been mistakenly recorded, and the name of the Sufi order under his leadership, «Dada’iya,» was erroneously interpreted as a common colloquial term for «brother» in the local dialects of central Iran, particularly in cities like Isfahan and Yazd, where «Dadash» and «Dada» are used informally. This error led to his misidentification as the head of a religious brotherhood. According to descriptions from scholars based on local accounts, the tombstone—along with other gravestones of disciples and sheikhs of the Dada’iya order buried around Mahmoud Shah in the Bundarabad complex in Yazd—was taken abroad at an unknown time, likely in the late 19th to early 20th century, and later ended up in the Metropolitan Museum of Art, New York. This research note presents a description and narrative of this tombstone and the life of its owner, a story that begins in Bundarabad, Yazd, and continues in New York, USA.
Ali Shahabinejad,
Volume 4, Issue 2 (11-2021)
Volume 4, Issue 2 (11-2021)
Abstract
One of the most serious disturbances that historic urban spaces face today is confusion to their appearance and landscape. Among the most significant factors contributing to visual disturbances in the appearance of historic urban spaces are urban utilities, including electrical, gas, telecommunications infrastructure, and similar facilities. One of the successful experiences in addressing the visual damage caused by urban utilities is the regeneration project of Vakht-o-Saat Square in Yazd.This square, dating back to the Safavid era, and whose historical site has roots
in the Ilkhanate period, suffered from numerous visual and aesthetic problems before the implementation of the Vakht-o-Saat Square regeneration project. In the regeneration project of Vakht-o-Saat Square, prepared in 2018 by the Yazd University's Institute of Indigenous Architecture and implemented between 2020 and 2023 by Yazd Historical District Municipality in collaboration with the Yazd Provincial Department of Cultural Heritage, Handicrafts and Tourism, significant portions of the square's visual and aesthetic damages caused by urban utilities were eliminated. This article aims to describe the process of this project using a descriptive-analytical method and to explain the
implementation actions taken to the visual and aesthetic damages caused by urban utilities in this square.
in the Ilkhanate period, suffered from numerous visual and aesthetic problems before the implementation of the Vakht-o-Saat Square regeneration project. In the regeneration project of Vakht-o-Saat Square, prepared in 2018 by the Yazd University's Institute of Indigenous Architecture and implemented between 2020 and 2023 by Yazd Historical District Municipality in collaboration with the Yazd Provincial Department of Cultural Heritage, Handicrafts and Tourism, significant portions of the square's visual and aesthetic damages caused by urban utilities were eliminated. This article aims to describe the process of this project using a descriptive-analytical method and to explain the
implementation actions taken to the visual and aesthetic damages caused by urban utilities in this square.
Tahereh Shihebori, Elahe Khakbaz Alvandiyan,
Volume 6, Issue 1 (6-2023)
Volume 6, Issue 1 (6-2023)
Abstract
Historical monuments have always had a special place in historical-cultural studies as one of the indicators of identifying the cultural heritage of nations. The following paper aims to present a report on the restoration andconservation of metal objects of the cultural heritage treasure of Yazd city. Protection of this treasure which is one of the richest collections in terms of the variety of historical works, which put the restoration and conservation of the present objects on the agenda in the past years, and restoration and conservation operations were carried out on these valuable works. For this purpose, an effort was performed in this research during 7 years at different times to select metal objects with special features from this rich collection, and its report is presented in this article. Various types of objects such as silver, iron, and bronze objects were restored and protected. Improper maintenance conditions in the past have caused these works to be covered by environmental sediments or corrosion products, which sediments and corrosion products cause the illegibility of designs and patterns and sometimes the complete destruction of objects. So, in the operation procedure of restoration and conservation observing theoretical principles, cleaning operation was done as far as possible mechanically and chemically if needed. Low percentages of consumable materials were used and materials were selected that do not harm the environment as much as possible. The most important step after the restoration operation is the conservation of objects in desirable conditions and periodic reviews, so that if any damage is observed, it should be repaired immediately. The following paper describes the steps of restoration and conservation of metal objects of different types and protects them to keep them in standard conditions to be shown in the museum.
Hamed Yaqbzadeh, Yaser Hamzavi,
Volume 6, Issue 4 (3-2024)
Volume 6, Issue 4 (3-2024)
Abstract
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.
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.
In some places, the walls need careful reinforcement by the building restorers. However, the presence of murals in these areas, limits the possibility of any reinforcement measures. Thus, the murals at these points should be separated carefully from the walls and preserved. After completing structural reinforcement, the murals should be reinstalled in their original locations. The main goal of this project was to stabilize the existing arrays in the king's room and also to create suitable conditions for any structural restoration interventions in the building. Therefore, in line with the projectives objectives as the conditions of placement and considering the placement conditions of works and materials, as well as the type and extent of damage in different parts of the room, an emergency strengthening method was selected. Restoration materials were prepared according to each method, as presented in Table 1. This article is not a result of comprehensive research. but rather an account of an emergency
intervention experience. The intervention focused on a strengthening approach, to achieve the needed stability, allowing building restorers to carry out structural reinforcement and restoration without concern. In this context, understanding the remaining of architectural arrays is crucial, Subsequently, key the questions were addressed to guide the restorers: what is the type and extent of the damage? Which damages require strengthening at this stage? to what extent should this operation progress? What method should be adopted for each architectural array with various damages? Ultimately, emergency strengthening was carried out on the ceiling and walls of the palace, encompassing plaster arrays, mirror and glass arrays, as well as murals. In several parts of the murals, due to the sever condition of the underlying layers (cause by Saudi humidity), it was decided to separate the mural pieces. This article provides a detailed, description of the practical emergency reinforcement measures undertaken on the architectural arrays of Eram House in Yazd.
intervention experience. The intervention focused on a strengthening approach, to achieve the needed stability, allowing building restorers to carry out structural reinforcement and restoration without concern. In this context, understanding the remaining of architectural arrays is crucial, Subsequently, key the questions were addressed to guide the restorers: what is the type and extent of the damage? Which damages require strengthening at this stage? to what extent should this operation progress? What method should be adopted for each architectural array with various damages? Ultimately, emergency strengthening was carried out on the ceiling and walls of the palace, encompassing plaster arrays, mirror and glass arrays, as well as murals. In several parts of the murals, due to the sever condition of the underlying layers (cause by Saudi humidity), it was decided to separate the mural pieces. This article provides a detailed, description of the practical emergency reinforcement measures undertaken on the architectural arrays of Eram House in Yazd.
Ali Shahabinejad, Mahdiyeh Jafari ,
Volume 7, Issue 2 (9-2024)
Volume 7, Issue 2 (9-2024)
Abstract
The documentation of historical buildings is one of the most important issues in their study, conservation and restoration. From the past to the present, different methods have been developed for documenting such buildings. One of the most common methods in documenting historical buildings is architectural mapping or the preparation of measured drawings of historical buildings. For this purpose, traditional, manual methods or advanced digital techniques can be used. However, aarchitectural mapping alone enhances our understanding of the architectural model of the building but it cannot capture many other details, such as color, material type and texture, lighting and interior objects. Metric visualization, as one of the advanced documentation methods, provides detailed and precise information. This article introduces the concept of metric visualization and presents an example of its application as a sectional-elevation view of the Kolahdoozha House in Yazd, currently serving as the Yazd Water Museum. This method is based on precise architectural surveys and technical drawings, and the details and features of this visualization are thoroughly discussed in the article.
Bardia Hajirasouliha, Mohammad Hossein Dehghani, Sarmad Bakhtiari,
Volume 7, Issue 4 (2-2025)
Volume 7, Issue 4 (2-2025)
Abstract
The Qariha Historical House is a surviving structure from the Mozaffari era in the city of Yazd, reflecting transformations across various historical periods. This building, along with other structures from the same era, holds significant value due to its association with the golden age of Ilkhanid art and architecture, making it a compelling subject for multidisciplinary studies within the field of conservation science. To mitigate the deterioration of its structural elements and address existing damage, a series of conservation and restoration interventions have been implemented. These measures include localized foundation reinforcement, restoration and reconstruction of portals, repair and realignment of damaged arches, stabilization of wall layers and coatings, and the clarification of architectural decorative elements. This article aims to provide a comprehensive account of the conservation and restoration efforts undertaken for this historical building.
Ali Shahabinejad , Hadi Lookzadeh ,
Volume 8, Issue 1 (6-2025)
Volume 8, Issue 1 (6-2025)
Abstract
The timekeeping device of the Rokniyeh school complex, known as Rasad-e-vaght o saat, was built in 725 AH in the current vicinity of the Vaght-o-saat square in Yazd, at the request of Sayyed Rukn al-Din. This mechanical device was a type of tower for determining time (annual calendar) and hours (daily timekeeping) based on the gravity energy of water fluid, and it is considered a significant achievement in the history of science and technology in Iran. Although this device existed until the Timurid era and during the compilation of two important local Yazd historical books, History of Yazd and new History of Yazd, after this period, the Rokniyeh complex and its famous Rasad declined, and no trace of it has remained from the Safavid era to the present day. However, what the local history books of Yazd describe about this building indicates the grandeur, complexity, and notable technical details of this device for displaying times and hours. With regard to the importance of this device, numerous researchers have referred to it in their studies, but this device had not been recreated until now, and no image or document of its appearance and functional components had been prepared. For this reason, in 2022, the project for the recreation of this device was undertaken with the support of the Yazd Regional Water Company, and it was completed in 2024 through the joint cooperation of Mazdabad Company and Yazd University. In the recreation of this device, for the first time, the overall appearance of the device along with all its main functional elements was recreated, and the operational mechanism of each component of the clock for displaying times and hours, including the wooden wheel, day and night hour houses, the ball and cymbal and pot mechanism, the minaret of metal sign, and the rooster minaret, has been shown. In addition, a small-scale replica of this device, capable of displaying all the main functions of the clock in accordance with its historical mechanism, has been built and is displayed at the Yazd Water Museum. This article present a description of the research process and the recreation of the device, along with explanations of the functioning of the chronological elements in this clock, while also introducing the historical documentation of the research.
| Page 1 from 1 |