Showing 16 results for Museum
Manijeh Hadian Dehkordi, Rasoul Vatandoost, Christoph Herm, Stefan Simon,
Volume 1, Issue 1 (4-2017)
Abstract
The dangers posed by O3to historical properties and art works, as well as limited accessibility and inapplicable instrumental methods for measuring O3concentrationhave made it much more necessary to use low tech and inexpensive methods for this purpose in almost all museum environments. On the other hand, elastomers are known as polymers with high reactivity to ozone and latex as a natural elastomer is the most sensitive one to this gaseous pollutant. Hence this polymer has been considered as an ozone dosimeter.
In this scientific investigation, in order to attain the ozone dosimeter, the effect of this gas on the latex strips prepared in artificial condition was studied. For this purpose an aging chamber equipped with ozone generator was used. Since the oxidation of latex strips can also occur as a result of UV radiations, in order to study and compare the process with Ozone gas, testing samples were aged using UV lamps of 254 and 366 nm wavelengths. All the examinations were carried out at 24 oC and 40% RH. The aged and intact latex strips were studied by means of ATR-FT-IR and digital microscope.
The results demonstrate the diverse and discernible oxidizing effects of O3 and UV radiations on latex. Furthermore, it is possible to estimate the concentration of ozone in the environment by the calibration of latex strips. The verification of the results obtained by latex dosimeters in museum environments was carried out by Ozone sensor over a day, confirming the results acquired.
Fezeh Rahimi Kharvana,
Volume 1, Issue 3 (10-2017)
Abstract
Paper works in Iran include various types, including documents, books, and Muraqqas. Variety and quantity Many of these documents have caused some of these works to be less noticed, investigated and studied. Among these cases are the Muraqqas of the National Quran Museum, which are among the most prominent works of this museum that have not yet been studied. Accordingly, this study examines the Muraqqas of the National Quran Museum. Based on this, in this study, the research of the National Museum of the Qur'an has been done. The number of these Muraqqas is 7 manuscripts.
In this study, it has been studied in an analytical way, its different parts, which include the decorations of the cover and pages. Due to the fact that various arts are used in making and decorating the muraqqas. On the one hand, one can see exquisite examples of the arts of emblazonment, vassali, sector, bordering, text and bordering in its structure, and on the other hand, in the markings, arts such as calligraphy, painting, Illumination and tasheer can be seen in muraqqas. Accordingly, the aim of this research is to analyze different parts of seven muraqqas in the National Museum of the Quran. In this research, the decorations of the muraqqas have been examined.
In this research project, after conducting documentary research, the designs and type of calligraphy were analyzed, and their text was reread to determine what the subject matter of the margins was and how the arts used in book layout were used in these Muraqqas.
Maryam Maryam Abdolmaleki,
Volume 1, Issue 3 (1-2019)
Abstract
Environmental pests are one of the most important risk factors in museums, museum buildings, archives and libraries around the world. Although these pests do not have a wide range, if they are present in the environment, the amount of damage they cause to material heritage will be very significant. Prevention and control of these pests is one of the tasks of the Comprehensive Pest Management Program, which has replaced traditional pest control methods in museums. This is an emerging, multifaceted and holistic strategic program in the field of preventive conservation that provides the conservator with a variety of treatment methods and considers the use of pesticides only as a last resort. Given the importance of being aware of the strategies of this program, this article provides a brief overview of all treatment strategies. Since the type of pest and the type of museum artifact are very important in determining the treatment method, a more detailed classification of their types is provided, including separation based on the degree of impact on the type of pest (insects and microorganisms) and applicability with respect to the materials used and the technique of making the artifacts.
Hamid Fadaei, Majid Ayasi , Parisa Babar Shams Mogouei, Masoud Bater, Kazem Borhani-Ahang, Elahe Khakbaz Alvandian, Mohammad-Saeid Saedi , Roozbeh Shamseh, Reza Sheykh-Al-Eslami, Majid Oloumi , Mahdi Koliaei, Nahid Harati-Ardestani , Reza Hormehr , Soheila Zakavi ,
Volume 1, Issue 4 (3-2019)
Abstract
Archaeological excavations at the ancient site of Haft-Tepe commenced in the winter of 1965 under the direction of Dr. Negahban and continued for fourteen seasons until 1978. These excavations led to the discovery of a significant assemblage of architectural remains and diverse historical artefacts. Among the finds were various ceramic vessels and objects, a collection of clay tablets, seals and seal impressions, a range of bronze artefacts, numerous fragments of painted mud plaster, coffins, stone objects, clay busts, as well as decorative items such as necklaces, plaques, glass vessels, and bone tools. A considerable portion of these artefacts is today preserved in the Haft-Tepe Museum. In response to the quantity and importance of the discoveries, the idea of establishing a museum adjacent to the archaeological site was raised during the second season of excavations. Construction began in 1970 and, upon completion, the museum was inaugurated in the spring of 1973. With the outbreak of the Iran–Iraq War in 1980, the museum was closed; part of its prominent collection was transferred to Tehran, while other objects remained in situ. In the spring of 2001, research and conservation activities were resumed under the auspices of the Chogha Zanbil - Haft Tepe Cultural Heritage Base. One of the first major undertakings during this period was the reorganisation of the museum’s collection, carried out in collaboration with graduate students of conservation from the University of Art, Esfahan. In this process, artefacts that had previously been kept in unsuitable and scattered conditions were collected, classified, recorded, documented, and systematically arranged. This initiative laid a crucial foundation for the long-term preservation and safeguarding of the invaluable heritage of Haft-Tepe.
Faezeh Asaadi ,
Volume 2, Issue 3 (1-2020)
Abstract
Zilu, a traditional mat characterized by a firm texture, smooth surface, and lint-free quality, has origins predating Islam. The warp and weft used in Zilu weaving are typically made of cotton and dyed with natural materials. The unique weaving techniques and patterns distinguish Zilu from rugs and other tapestries. This craft was registered on Iran's National Heritage List in 2011 (1390 in the Persian calendar) under registration number 246. Currently, a section of the Shah Abbasi Caravanserai in Maybod is dedicated to a museum showcasing Zilu. The Zilus displayed in the museum, some of which are approximately 500 years old, are often in poor condition and highly susceptible to damage from environmental factors such as moisture, dust, air pollutants, light, and temperature fluctuations. This study is based on the premise that dust, influenced by the local climate, is a primary factor contributing to the deterioration of Zilus in Maybod. The research aims to identify harmful environmental factors affecting the museum's Zilus and propose methods to mitigate their damaging effects. The primary objective is to enhance the preservation of these historical and cultural artifacts. The current storage conditions in the museum are inadequate, and the continuation of these conditions could result in irreparable damage to these valuable objects. The study seeks to identify environmental factors causing damage to the museum's Zilus through comprehensive environmental monitoring. Data were collected from library research, field observations, and laboratory analysis, employing both empirical and analytical methods. Field studies focused on monitoring the museum's environmental conditions and comparing them to international standards. The findings indicate that the museum's environmental conditions are substandard, with dust and temperature fluctuations identified as significant contributors to deterioration. Notably, human factors were found to cause the most substantial damage.
Shokoufeh Mesbahi,
Volume 2, Issue 3 (1-2020)
Abstract
The Golestan Palace World Heritage Collection serves as the premier reference for the study of Qajar-era carpets. The carpets within this collection can be classified into various categories based on dimensions, design, pattern, region of production, material composition, age, and historical period. A significant number of these carpets, particularly the large-format ones, were commissioned works. Among them, the carpet presented by Sultan Abdul Hamid II of the Ottoman Empire to Naser al-Din Shah Qajar is of particular importance due to the distinctive manner in which it was conserved and displayed, representing the first museological approach to carpets in Iran. The research methodology combined library and field studies focusing on the carpets of Golestan Palace, the Abdul Hamid carpet, and the White Palace (Kakh-e Abiyaz), alongside an analysis of visual and documentary materials available at the Golestan Palace Documentation Center.
Mona Soltani,
Volume 2, Issue 4 (1-2020)
Abstract
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.
Hamid Fadaei, Amirhossein Karimi, Anahita Oliaei,
Volume 2, Issue 4 (1-2020)
Abstract
A portion of the historical documents related to the history of Haft-Tepe Museum and the general state of cultural heritage in the region is preserved within the museum building. Following the establishment of the Chogha Zanbil Cultural Heritage Research Office in the museum—which had been closed during the eight-year imposed war—the organization of the remaining research objects, as well as the old documents, became a priority. This collection primarily includes administrative letters (in Persian and English), visitor statistics, letters of introduction, old object inventories, personnel files of former staff, and registers of correspondence and attendance. The existing documents, dating from 1970 to 1981, were kept under inadequate conditions. The collection was reviewed and systematically organized in two stages during 2001 and 2003, which is the focus of the present article. These documents are significant as they reflect aspects of the museum’s history and events. Due to the fragility and deterioration of many items, they were categorized, catalogued, and initially examined before being placed in transparent plastic covers and archived in corresponding binders. Additionally, digital scanning and the recording of important correspondence were undertaken as part of the organization process. These measures have facilitated a deeper study of the museum’s past, its collections, and the status of regional cultural heritage in the years preceding the revolution and the onset of the imposed war.
Ehsan Harati, Mahmoud Bakhtyari Shahri ,
Volume 3, Issue 1 (6-2020)
Abstract
Reflection and fluorescent imaging techniques play a very important role in conservation of cultural heritage. Visible images are the best tool to register and inspect an art work in the absence of it. Nowadays modern digital camera facilitate this process. Additionally, ultraviolet (UV) images are a good tool to analyse painting surface layer and investigate the conservation state of objects. Also, UV florescent reveals information about chemical nature of varnish, pigments, restoration treatment and retouches. This technique is fast, inexpensive and in-situ. In current paper, we investigated the potential of ultra-violet fluorescence and visible reflectance technique to investigate the current conservation state of an oil painting and two manuscripts. The apparent characteristics of the work were examined and recorded by image of Visible light and image of fluorescence. The Florence image has patched up areas that have lost their color or identified areas that had been restored, so the Florence image, in the absence of a history of the effect, gives a clear picture of the condition of the previous restoration and the damage done to the painting. Also, in examining a historical-cultural version, it was possible to identify the areas that had been biologically attacked. Examination of another manuscript with ultraviolet fluorescence radiation showed that the red color used in the prescription is probably a discolored pigment.
Yasin Sedghi, Mohsen Ghanooni,
Volume 3, Issue 2 (9-2020)
Abstract
The use of non-destructive methods has become one of the most important topics in the field of scientific studies related to the conservation and restoration of historical artifacts. Because the use of such methods has included a large amount of research in this field due to respect for the artifacts themselves and the avoidance of structural interference. This approach is central to the conservation and restoration of cultural heritage. This paper aims to define and apply a targeted methodology for selecting museum artifacts for display, exhibition, or storage in collections. Furthermore, this article examines the practices of the Dafineh Museums Group regarding the non-destructive analyses conducted on the artifacts in their possession. The research conducted is categorized into two types: portable instrumental methods and technical imaging
methods, developed to support conservation goals, museum display, and authentication of existing artifacts. Therefore, this paper briefly
reports on the major activities undertaken based on the principles of scientific conservation.
Vahid Aghaie, Mohammad Hossein Dehghani , Zahra Danesh Heidari ,
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.
Mozhgan Mousazadeh,
Volume 4, Issue 2 (11-2021)
Abstract
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.
Peyman Nemati Morderaz, Sahar Gorjipour,
Volume 4, Issue 4 (2-2022)
Abstract
The structure of archeology museums is based on historical objects, in some cases making the need to relocation museum items a priority in museum operations. In such cases, the packing of museum objects becomes one of the most important parts of this moving process. The diversity of historical objects in terms of material, delicacy, form, aesthetic condition, size, weight, etc. significantly influences the of packaging methods. In addition to determining the appropriate packaging method, , the selection of materials and adherence to ergonomic principles and transportation standards are of utmost importance The main steps involved in this process include: matching museum objects with their recorded information before and after packing, photographing and documenting the artifacts, and selecting the most suitable packaging methods. For optimal packaging, it is essential to use high-quality materials as well as skilled personnel. Furthermore, environmental conditions such as tranquility, security, and cleanliness. should be taken into consideration for optimal packaging.
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.
Tahereh Hajizadeh , Hamidreza Bakhshandehfard, Mohsen Mohammadi Achachlouyi ,
Volume 7, Issue 1 (6-2024)
Abstract
Puppets are one of the elements of performing arts, which were used by puppeteers to perform shows since ancient times. Today, these works are known as valuable historical, cultural and artistic heritage. The Kashan Puppet and Toy Museum keeps one of the oldest collections of puppets that contain valuable historical, artistic and technical information. In this article, due to the importance of knowing the materials and manufacturing techniques, and the aesthetic features of these works, the study conducted on a sample of historical doll "Furash" from the mentioned museum has been studied by performing comparative studies and laboratory investigations. For this purpose, the study of the introduction of motifs used in doll clothes, materials and manufacturing methods, as well as determining the approximate age of a doll sample from this museum was studied. The studied doll is the 150-year-old "Furash" doll from Nayin and Ardakan regions. To achieve the goal, historical and comparative studies of the doll were done. Historical studies and a comparative comparison of the doll with the sample of the Qajar era witness, as well as technical investigations on other materials of the work, as well as the identification of its fabric and motifs, and the volume of the doll's head and its surface painting, prove that the work in question belongs to the Qajar period. The parts of the work, including the fabrics used in the clothes, motifs and volume creation of the doll's head and its surface painting, were compared with the examples of the Qajar period. The results showed that the desired marionette is a simple type that the artist made from the traditional wood pulp in the Qajar period along with different fabrics, some of which were among the imported goods of the Qajar period.
Somayeh Noghani,
Volume 8, Issue 1 (6-2025)
Abstract
Preserving cultural heritage demands a strategic synthesis of scientific, technical, and policy-driven measures to safeguard irreplaceable assets for future generations. Preventive conservation, as a proactive and evidence-based approach, addresses the inevitable material degradation accelerated by environmental and human factors. Beyond regulating environmental conditions, its effectiveness lies in integrating precise documentation, advanced digital modeling and simulation, continuous monitoring, optimized storage and transport, crisis management planning, and legal and insurance frameworks. Sustained success requires interdisciplinary collaboration among specialists in conservation, risk management, heritage law, and education, underpinned by systematic risk identification, assessment, and prioritization. This study critically examines these interlinked dimensions, presenting a holistic framework that enhances resilience, prolongs the lifespan of cultural artifacts, and strengthens the sustainability of cultural heritage. By positioning preventive conservation as both a scientific methodology and a strategic management paradigm, the article underscores its indispensable role in ensuring the enduring survival of humanity’s shared legacy.
