Synthetic green copper-arsenic pigments include two pigments: shale green (CuHAsO3) and emerald green (3Cu(AsO2)2.Cu(CH3CO)2)
,which were common in Europe in the 18th and 19th centuries. During the Qajar period, these two pigments were introduced to Iran due to trade with the West, and due to their cheapness and transparency, they quickly replaced other green pigments such as verdigris and malachite. The purpose of this study is to investigate the presence of these pigments in Qajar period paintings and to choose the best method to identify these two pigments. For this purpose, green was sampled from a painting on glass, a painting on wood, a mural, and a manuscript, all of which belonged to the Qajar period. To identify the pigments, instrumental methods such as Fourier transform infrared spectroscopy (FTIR) equipped with an ATR reflection cell, X-ray diffractometry (XRD) and scanning electron microscopy equipped with an X-ray dispersive X-ray (SEM/EDX) were used . The results proved the presence of emerald green in the painting behind the glass of the Rashvand Khaneh in Qazvin, the wall painting of the Karimkhani Citadel in Shiraz and the decorations used in a Quranic manuscript and Shaileh green in the painting on the wood of the Saqanfar in Babylon. The results also showed that the best and fastest method for analyzing these two compounds is FTIR, which can identify these two pigments with a minimum sample and distinguish them from each other due to their structural differences.

 Studying and examining Quranic works is of great importance due to their respect and sanctity among Muslims, so ‎that the historical, cultural and religious value of such works doubles the importance of their protection and ‎preservation. The work examined in this study is a Quran scroll sample belonging to the Haj Rahim Mosque in ‎Tabriz. According to field research and statements by the board of trustees of the mosque, this scroll was placed ‎inside the mosque wall at an unknown time as a vow or talisman and was discovered in ‎‏1350‏‎ AH during the ‎reconstruction of the mosque through the thatched wall. During this study, the paper making technique and ink ‎used in the work were studied. In line with this goal, the type of paper fibers and paper pulp and the inks used in the ‎work, including black, red and gold pigment, and finally the glue used to join the sheets together were examined. All ‎the identifications made in this research were done using chemical methods except for the identification of the type ‎of glue used at the beginning and end of the sheets, which was done using a Fourier transform infrared spectroscopy ‎device. The results indicate the use of linen and rag fibers and polysaccharide starch to prepare the paper and ‎carbon black ink, rosin pigment for the red ink, and copper oxide compounds for the gold color. Also, the glue used ‎at the beginning and end of the sheets was identified as -Serish- animal glue‏‏‏‏.

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.

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.

The conservation of historical artifacts, as a profession that closely linked to the prevailing history and culture in individual and social life, carries a heavy mission and responsibility towards the creators and owners of these artifacts in the past, present, and future. On the other hand, despite the diversity of thoughts, desires, and approaches, it is an activity that must be conducted within a specific scientific and theoretical framework. Conservators, while adhering to this specified framework, must also consider particular ethical considerations. These considerations are crucial not only for maintaining the quality and clarity of conservation activities for the conservators and their audience but also for making them aware of the ethical consequences of their actions and the ethical standards used to evaluate those actions. These ethical considerations have been variously addressed in the theories and documents related to the conservation and restoration field as the profession has evolved. In this research, an attempt is made to provide definitions and basic concepts related to the topic, alongside examples of ethical codes in the conservation profession with an interpretive approach. The aim of this research is to understand the role and function of ethics in conservation and restoration processes and some ethical considerations when dealing with artifacts. To this end, To this end, ethical conduct documents prepared by several conservation institutions, such as the American Institute for Conservation (AIC), the Canadian Association for Conservation (CAC), the International Council of Museums Committee for Conservation (ICOM-CC), the European Confederation of Conservator-Restorers' Organisations (ECCO), and the United Kingdom Institute for Conservation (UKIC), have been examined as case studies. The reviews revealed that these documents strive to define the boundaries of professional conservation, with the primary goal of protecting public assets and gaining public trust and social approval for the profession. Therefore, they focus on the interests of humanity rather than professional interests and develop conservation ethics based on attention to universal values and a focus on cultural values.

Red mineral pigments, including minium, vermilion and ocher, have historically been some of the most important and widely used colors ranges in painting, gilding, tabulation and marking verses. This color spectrum in the artworks from previous centuries has shown acceptable stability, with its brightness well-preserved. The preparation of color, as one of the most a significant tools for artists, has long been an important issue, leading to the documentation of  color preparation methods in book design in book design treatises. Minium processing is mentioned as a red pigments in three treatises: Umdeh al-Kottab, Bayan al-Sana, at and Qanun al-Sovar. In the current research the text of these treatises were reviewed, and a comparative study of minium identified in a number of illustrated manuscripts from the Safavid period was carried out using colorimetric method. Initially for this purpose, in the first step, minium was mixed with specific ratios of vermilion to prepare red color tables based on minium. Eight samples of selected miniatures from Safavid period illustrated manuscripts (including 5 illustrated manuscripts from the National Museum of Iran) and 17 prepared color samples were subjected to spectral and color analysis using a spectrophotometer. The color difference values of the prepared samples and the historical samples were then calculated. The results indicate that there is an acceptable color difference between the prepared colors and the historical samples. Therefore, this method can be used in the reconstruction and homogenization of the red spectrum resulting from the minium pigment.