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Showing 7 results for Edx
Technology of Three Samples of Black-Glazed and Turquoise-Glazed Pottery from Ancient Jorjan
Arman Razm, Hossein Ahmadi, Abbas Abed Esfahani ,
Volume 1, Issue 2 (10-2017)
Abstract
Many artifacts found in the places where ancient communities lived in Jurjan indicate the antiquity of life in this region. Much evidence of Jurjan's importance in historical periods, including the Achaemenid, Sassanid, and Seleucid periods, can be found in inscriptions from that period. During the Seljuk period, Jurjan was the cradle of science, literature, art, and industry in northern Iran, and was one of the country's important centers for glassmaking, pottery, and metalworking, and the use of glazes on pottery. The use of black patterns and turquoise glazes is abundant in pottery objects excavated in Jurjan. In this study, three samples of pottery with this type of glaze in the Jurjan region were examined in terms of technology, and the manufacturing method and materials used in them were studied. In this regard, the glazes were identified using digital microscopy, polarizing optical microscopy, scanning electron microscopy, and X-ray diffraction analysis. According to microscopic images of the cross-sections of the samples, the glazing method is underglaze and three layers are visible to create the glaze. First, a milky layer called engobe is created on the surface of the pottery, then black patterns are applied on it, and finally a layer of transparent turquoise glaze covers the entire surface.

Identifying the Structure of Pigments Used in the Context of Five Manuscripts Related to Safavid Period
Masoud Bagherzadeh Kasiri, Sepideh Naghibi,
Volume 2, Issue 1 (6-2019)
Abstract
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.

A Report of Technological and Pathological Factors, and Presentation of a Conservation Proposal for the Preserved Kaaba Curtain at the Qasr-e Ayeneh va Roshanaei Museum, Yazd
Mona Montazeri Hedesh, Seyyedeh Haniyeh Ghavami Masouleh,
Volume 2, Issue 3 (1-2020)
Abstract
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.

Review of Methods Used in Identifying Pigments Employed in Manuscripts
Elahe Pourabdollah,
Volume 4, Issue 1 (10-2021)
Abstract
Pigments play a crucial role in identifying the authenticity of historical and cultural artworks and hold a special position in conservation and restoration practices. Among them, recognizing the methods of identifying pigments used in historical manuscripts plays a significant role in determining the identity and authenticity of these artifacts. This study aims to review various methods of identifying pigments employed in historical manuscripts. Investigations in this paper have been conducted using non-destructive analytical techniques such as Scanning Electron
Microscope with Energy Dispersive X-ray Spectroscopy (SEM-EDX), Fourier Transform Infrared Spectroscopy (FTIR), X-ray Fluorescence (XRF), X-ray Diffraction (XRD), Polarized Light Microscopy (PLM), Particle Induced X-ray Emission (PIXE), Atomic Force Microscopy (AFM), micro-Raman spectroscopy, and optical imaging for elemental and compositional identification of pigments. Among these methods, SEM-EDX and point analysis
have been more commonly used in identifying historical pigments. Additionally, the combination of multiple techniques can be a suitable solution for identification purposes, but depending on the purpose of identification and the sensitivity of the artifact, factors such as the feasibility of on-site analysis or transferring artifacts to various laboratory facilities, using non-destructive methods, the possibility of sampling, and the significance and value of the artifact should be considered to adopt the best possible method. If necessary, combining tests and instrumental methods can lead to a more accurate understanding of pigments alongside their chemical composition.

Investigating the Technology and Conservation and Restoration of the Mosaic Tile Decorative Mosaic Tiles of Musalla Historical Building in Mashhad
Masoud Bater, Malieh Saberniya ,
Volume 5, Issue 2 (9-2022)
Abstract
The Mosalla of Paein Khiaban of Mashhad is one of the largest and most beautiful historic mosallas in Iran, built at the order of King Suleiman I during the Safavid era. according to inscription on the tile of the central porch, the date of construction and completion of the building is 1087 A.H. The architectural structure of the building consists of a high central porch in the middle and two domed porticoes on the sides. Both the internal and external surfaces of the building are decorated with various architectural elements, such as stucco work, tile work, painting and muqarnas. Among the various decorative employed in this structure, the mosaic tiles of the mihrab are unparalleled in terms of beauty and sophistication. Laboratory analysis of the chemical composition of the glaze of the altar tiles using SEM-EDX method demonstrated strong agreement with findings from other researchers, indicating a continuity of the tile-making tradition and glaze production with similar technology throughout the Safavid era across various r regions of Iran. A petrological study of the mineral composition of the body of the tiles also revealed the use of a similar and appropriate mineralogical composition, paired with good firing in their production, which contributed to the strength and durability of the tiles. The pathology of the building and its decorations indicated that a combination of different physical, chemical and human factors caused the destruction and erosion of the structure and its decorations, including the mosaic tiles. Among these, human activities and irregular urban development surrounding the building, along withimproper and careless restorations, played the main role in the destruction and erosion of the tiles. Considering the importance and sophistication of the mosaic tiles of the altar, following laboratory studies, the tiles of this part of the building were conserved and restored. For this purpose, after the primary conservation measures through cleaning and consolidation, the missing parts were restored according to the principles and theoretical foundations of restoration in the method of complementary restoration through color-matching.

Report on the Conservation and Restoration of Decorated Pottery from the Tappeh-Silveh in Piranshahr; A Memorial of Artifacts Submerged in the Silveh Dam
Shiva Razavi,
Volume 5, Issue 3 (12-2022)
Abstract
Pottery is one of the artistic-technical craft that has persisted for several millennia from prehistoric times to the present day. Such artifacts, particularly in Iran, exhibit high stylistic and technological diversity. In most archaeological excavations, consistently various types of these artifacts from different historical periods and styles have been discovered, whose technical study and form recovery can provide valuable information to researchers in various fields. Among these excavations is the Tappeh-Silveh in Piranshahr, where diverse pottery dating back to the Chalcolithic, Early Bronze Age, Iron Age, as well as remnants from the Parthian period and the subsequent Islamic period have been uncovered. The specimen studied in this article is a decorated orange pottery piece with black and red colors and geometric patterns, belonging to the Bronze Age from this site. This piece has sustained damages such as fractures, losses, and deposits, , which have been improperly repaired. It requires cleaning, reattachment, and reconstruction of the missing parts, while adhering to the theoretical principles of conservation. Accordingly, after necessary pathological and technical studies of the artifact using laboratory methods, an appropriate cleaning method was selected, and essential actions were taken towards its protection and restoration.

Investigating the Coloring Materials Used in "Sang Bismillah" of Azarbaijan Museum, Tabriz
Hamidreza Irani, Gholamreza Yazdani,
Volume 5, Issue 4 (1-2023)
Abstract
The “Bismillah stone” inscription is one of the significant works of the Qajar era in the Azarbaijan Museum of Tabriz since 1993. This work was crafted in Cairo, Egypt by an Iranian artist named Mohammad Ali Quchani known as Mirza Sangalakh. The artifact comprises five segments, collectively weighing approximately more than three tons. Most of damages caused in this work, considering its delicate decorations and substantial weight, has been attributed to its multiple relocations. In addition to very delicate carvings, the surface of the work is decorated with blue, gold, green, black, white and red colors. It seems that in addition to the ups and downs history of this work and its cultural significance within contemporary society, particularly among the people of Tabriz, only a review of its history will not be enough to express its status, value and unique characteristics. Therefore, a more detailed and scientific study could significantly enhance the understanding and appreciation of this work. Furthermore, for improved preservation and potential restoration of the work, documentation and scientific studies are needed for this magnificent work. To identify the materials and origins of existing colors, the application of scientific and laboratory methods was put on the agenda. To achieve this, two methods of classical chemistry testing and EDX analysis were employed to identify the present colors. the results confirmed the presence of indigo, copper rust (cuprous oxide), gold powder, Shangraf (cinnabar), bone soot and sheikh white (white lead) in the coloration of the artifact.

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