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Structural and Technical Study of Khatam Kari Using Fourier ‎Transform Infrared Spectroscopy: Study of the Khatam Door of ‎Seyyed Mosque of Isfahan
Alireza Kouchzaei, Mohsen Mohammadi Achachalui ,
Volume 1, Issue 3 (10-2017)
Abstract
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 ‏.

 
Preparation Methods for Storage and Display of Hats in an Ethnographic Clothing Collection
Maryam Askari Arami, Mohammad Taghi Ashouri, Shahrazad Amin Shirazi, Fatemeh Alimirzaei,
Volume 2, Issue 3 (1-2020)
Abstract
Accessories such as hats are integral components of traditional attire, and undoubtedly, hats rank among the most significant elements of historical and local clothing for both men and women. The diversity and variety of clothing accessories, including hats, preclude the application of a single, universal solution for their care. Improper display or storage of these items—due to folding, environmental contaminants, unsuitable temperature, dust, inadequate lighting, etc.—can cause severe and irreversible damage, altering their structure and form. A tailored approach to conservation, display, and storage, considering each hat’s material, form, and specific vulnerabilities, is crucial for their preservation. Moreover, systematic storage and appropriate display methods can protect hats from numerous degrading factors. This article describes the procedures performed on hats from an ethnographic collection, culminating in the implementation of a conservation plan for these artifacts. The plan included surface and mechanical cleaning, structural stabilization, and provided recommendations for optimal storage and display of the collection.

Technical Study, Pathology and Preservation and Restoration of Inlaid Mirror Frame Belonging to the Qajar period
Alireza Amiri Baghbahadorani, Fariba Majidi , Mohsen Charesaz ,
Volume 4, Issue 3 (12-2021)
Abstract
Khatamkari is a type of decoration created by the intricate arrangement of triangles made from wood, bone and metal, which together form geometric patterns. The object under discussion is a square mirror related to the Qajar period and is privately owned. According to the experiments carried out to identify the materials comprising the artifact, it was found that it consists of wood (jujube, walnut, Iranian pine, poplar or Tabrizi and plantain), bone, and metal (silver and brass), and the triangles were made of Brass, bone and wood, and the layers used are of silver, and underlying structure is of wood. The damages observed on this artifact include corrosion products forming in the parts where the silver metal has been applied, darkening of the polish, distortion and separation of connections in the underlying structure, and distortion and separation and shedding in some parts, which these damages have led to the deterioration of patterns. After removing the previous incorrect repairs and cleaning the darkened polish and strengthening the distortion of the underlying structure and inlay decorations, reconstruction, balancing and final strengthening have been done.


 
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