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.

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.

This article explores the professional trajectory and experiences of the author in the field of conservation and restoration of cultural and historical objects. Mitra Ettezadi, a graduate in the restoration of historical artifacts, combines academic knowledge with personal passion to develop innovative methods and approaches for addressing damaged artifacts and mitigating their deterioration. Critiquing the abstract and often  impractical approaches found in academic literature, the author emphasizes the importance of practical, hands-on experience. Through a reevaluation of academic training and professional ethics, Ettezadi has shaped a new perspective in the restoration of historical artifacts. The article also highlights the role of visual documentation and practical case studies in restoration education, asserting that the presentation of real-world examples is the most effective teaching method in this field. Reflecting on the history of the restoration discipline in Iran, the author shares her experiences through images and case studies, underscoring the necessity of transforming rigid, dogmatic perspectives and advancing applied knowledge in the restoration of historical artifacts.

The coffeehouse painting of the Ashura Tribulation, belonging to the Hosseinieh Kabbabi Endowment, is particularly popular among the people
of Birjand as one of the manifestations of Ashura culture. This work was commissioned based on an existing inscription by Agha Mirza Mashallah
Tehrani, who was one of the pioneers of coffeehouse painting in Iran, and was created by one of his students, Mohammad Hossein, in 1338
(A.H.), probably in Yazd. This article presents the authors' conservation and restoration experiences on the coffeehouse painting of the Ashura
Tribulation, which dates back to the late Qajar period and is exhibited in one of the old Hosseiniehs of Birjand in the first decade of Muharram.
The first step in the conservation and restoration of this work was the accurate identification of the damages, the most important of which in
this particular work is related to the damages caused by wear and tear and repeated installation of the work. After identifying the damage to
the work, appropriate conservation and restoration measures were taken, the first step being its cleaning, which was carried out in two stages. In the first stage, dust was removed. A vacuum cleaner with a soft brush and a thin mesh was used to remove dust to prevent damage to the work during sweeping. In the second stage, stains were cleaned. Inappropriate restorations were then removed, and after repairing the tears and defects, the work was strengthened to make it more stable. Conservation operations for the work included protection during display and the construction of a storage container and packaging of the work. By carrying out conservation and restoration measures, the coffeehouse painting of the Ashura tragedy of the Husseiniyeh Kabbabi was protected from further damage and its visual quality was significantly increased. This painting is kept in a designed container and will be exhibited in the first decade of Muharram at the Husseiniyeh Kabbabi location.

The architectural decorations used in historical buildings are among the most prominent distinguishing features and reliable criteria for identifying and understanding the style, period, identity, and architectural characteristics of each era. It appears that the execution framework, style, and construction materials of historical buildings and their architectural decorations have had a direct or indirect relationship with factors such as invasions, the dominance and maturation of styles and tastes, the duration of historical periods, the exercise of power, perspectives, and shifts in attitudes over time. This report is based on case studies and library research conducted by the author on the restoration efforts and supervision of the architectural decorations of the Timurid-era mausoleum of Qotb al-Din Haydar from 2011 to 2023. These studies raised significant questions regarding the historical background, diversity of styles and materials used in the building's foundation, as well as the number and variety of decorative layers. The allocation of funding and meticulous examination for the preparation of the executive action plan for conservation and restoration in 2023 provided a valuable opportunity to analyze and identify components of the tangible and intangible heritage of the architecture and architectural decorations. These components included variables such as the discovery of diverse underlying decorative layers during executive actions, intricacy, color schemes, symbols, motifs, signs, styles, inscriptions, and written documentation. These elements were intertwined with the overall complex of Qotb al-Din Haydar's mausoleum, the architecture of the mosque, caravanserai, surrounding area, the mystical persona of Qotb al-Din Haydar, and civic devotion. The process of executive actions and the details of the action plan were modified and enhanced in such a way that the necessity of analyzing hidden aspects, preventive conservation, and the presentation and display of architectural and decorative evidence in the form of a museum titled "From Architecture to Decorations" was proposed and deemed feasible. This museum could serve as an effective step toward preserving and showcasing this valuable heritage.

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.

Due to the instability and sometimes sensitivity of archaeological objects, conservation and restoration of them usually require a complex procedure along with basic studies and pathology in the restoration process. Since pottery objects are more stable than other objects, they can be restored after preliminary investigation regarding the level of strength and hardness of surface sediments, if there is no special problem. In this report, we introduce and describe the conservation and restoration process of a number of Zanjan salt men collection pottery, transferred from the Zulfiqari Museum of Zanjan to the pottery department of the Research Center for Conservation of Cultural Relics for conservation and restoration operations. These objects, which were sometimes cleaned and temporarily patched at the excavation site, were thoroughly checked and all connections were opened. The parts were cleaned separately using various mechanical and chemical methods and after finding the correct parts, the connection was made again. Finally, the parts that needed to be reconstructed were reconstructed with plaster following the pattern designed for this collection and considering the basics of restoration.

The Tepe Silveh site is one of the ancient sites in the Piranshahr region. During excavations conducted in 2015, several terracotta pots were uncovered. The purpose of this project is to restore and protect two terracotta artifacts belonging to this site, This project is therefore of great importance Silweh hill has been completely destroyed in the exploitation plan of Silweh dam and these pottery are the only remaining information from this ancient site. The project aims to prevent further damage to these artifacts in the future by adopting the most appropriate  conservation methods.These pottery pieces were found in a very poor and unstable condition, and immediate strengthening was among  the most essential initial measures. After conducting the necessary comparative historical studies, efforts were made to adopt the most efficient intervention methods. These pottery were found in a very disorderly and unstable condition, and immediate strengthening was among the most essential initial measures. After conducting the necessary comparative historical studies, efforts were made to adopt the most efficient intervention methods.

Lacquer paintings hold not only historical significance but also aesthetic value. The motifs and materials used in these artworks can vary depending on the cultural context of the society. Examining these types of works can provide valuable insights into the culture, economy, technology, and native materials of different ethnic groups. Lacquered paintings are considered highly valuable and require careful conservation measures. The purpose of this report is to present the protective process carried out on a lacquered bookbinding from the Qajar era. The initial investigation revealed the need for consolidation, separation of the leather from the bookbinding, surface cleaning, patching, restoration of the corners, priming, coloring, and final coating. To achieve this, the following materials and methods were employed: 5% Plextol for consolidation, a mixture of tissue paper pulp with gelatin and marble dust as a putty to restore the corners, a combination of HV360 adhesive with distilled water and marble dust for the primer layer, acrylic paint for coloring, and a final 3% polyvinyl butyral layer for further protection of the paint layers.