In investigation of production technology and provenance studies of historical objects as well as to propose and develop strategies for restoring and conservation, it is necessary to get information about studied samples. This information is different according to the type and kind of materials of historical objects.
Today, identify and accurately determine the elemental composition and constituent material of given sample is one of this essential information that be able to measure using modern laboratory instruments In this paper, was presented some results was obtained in past few years from different historical and cultural objects using micro ion beam analysis in Van de Graaff laboratory of Nuclear Science and Technology Research Institute.
Investigation of Painted enameled potteries to determine the different pigments used in, determine the thickness and purity of the gold layer in gilded enameled potteries, determine the responsible elements to brightness of wall painting in a historical place, Investigate the causes of corrosion and degradation of an old manuscript, determine purity of Elymais bronze coins and determine the type of Iranian historical and ancient glasses are some studied objects that will be presented in this paper.
The results of these analysis will significantly help to investigate the production technology, to determine the authenticity of the samples and finally to use in restoration of these historical objects.

Haj Saleh Bathhouse, located in the historical fabric of Saqqez city, dates back to the Zand period. Its entrance is situated in the city's traditional bazaar. The construction style of the building is Isfahani and features unique stucco decorations. One of the notable and significant stucco reliefs in the bathhouse is the hunting scene, which has undergone extensive deterioration. This relief consists of three layers: two lime-based layers and one paint layer.
In this study, through laboratory examination, the materials used in the stratigraphy of the relief were technically identified. Subsequently, the deterioration patterns affecting the artwork were analyzed. The conservation and restoration process of the hunting scene is also detailed: following mechanical and chemical cleaning, delaminated areas were consolidated using an injection method. A slurry made from dental gypsum combined with 5% Plextol in water was injected with the aid of a pillow (bladder) technique to reattach and strengthen the lifted layers.
The missing parts were reconstructed using a mixture of gypsum and 5% Plextol, followed by chromatic reintegration with watercolors to match the surrounding areas and faded pigments. Finally, the entire artwork underwent final consolidation using 5% Plextol solution.

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.

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.

Modern management has increasingly attracted the attention of executive and organizational systems in recent decades. The application of its key components, such as systems thinking, contingency decision-making, the importance of leadership and effectiveness, goal and strategy setting, motivation, and self-regulation, constitutes part of the success factors for today’s human resource managers.
Preservation, restoration, and protection of historical buildings are among the fundamental objectives in the field of cultural heritage. This descriptive–survey study, conducted through a qualitative–analytical method and based on the author’s field experience in supervising 25 projects on the conservation, restoration, and documentation of architectural decorations in historical buildings across Khorasan Razavi province between 2007 and 2016, demonstrates that restoration teams are often composed of academic experts, traditional craftsmen, or a blend of related competencies, each possessing a unique insight and professional commitment to the authenticity of the buildings.
Managers who identify the most qualified individuals and adopt a participatory management approach not only achieve better outcomes in the given projects but also ensure job satisfaction, productivity, synergy, and the professional growth of their teams. Furthermore, they establish sustainable career paths and create opportunities to train and nurture skilled groups for future specialized projects.

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. 

The restoration of historical monuments and the preservation of the culture of each country becomes a national duty. Considering masonry materials of traditional Iranian architecture include clay and adobe with low strength, methods such as Fiber-reinforced polymer (FRP), waterproofed mud, and the addition of natural materials like zeolite are proposed for restoration and strengthening. The zeolite used has a low specific surface area, which has increased from 23.92 to 45.16 m2/g through plasma modification, Additionally, it has modified the morphology to a fiber-like shape with no essential differences in the primary structure. Given these changes, it is expected that there will be an increase in strength and a minimum of 1.5 times lower water absorption in zeolite-based mortars.

Restoration has evolved from humanity's need to repair and reconstruct the objects and structures around them, and it has played various roles throughout history. What we recognize today as the practice and term of scientific restoration in Iran dates back approximately 52 years ago. This was when the first scientific laboratory for restoration was established at the Museum of Ancient Iran, and a few years later, in 1977, experts and professors from the National Organization for Conservation of Antiquities, in collaboration with Farabi University, founded the field of historical artifacts restoration in Isfahan. The first graduates and specialists in restoration were employed by governmental institutions and gradually, the profession became recognized among the cultural and artistic community. However, there was still a long way to go before scientific restoration would be fully accepted as a profession in society. After the Islamic Revolution, along with an expansion of university programs and various branches of restoration studies, there was a marked increase in graduates entering this field. While this created job opportunities within cultural heritage for some individuals. Over time due to various reasons, the cultural heritage sector could not absorb all graduates. As a result, since the late 1990s, unemployment rates within the field of restoration have significantly risen. This article reflects on past experiences within this profession based on numerous accounts from individuals working in related fields of restoration. The aim is to highlight both challenges and opportunities regarding career prospects for restorers working with historical artifacts and objects both now and
into the future.