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Roya Bahadori ,
Volume 1, Issue 3 (10-2017)
Volume 1, Issue 3 (10-2017)
Abstract
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.
,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.
Atefeh Sadat Sadr , Mehrnaz Azadi Boyaghchi, Niusha Momeni ,
Volume 1, Issue 3 (10-2017)
Volume 1, Issue 3 (10-2017)
Abstract
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.
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.
Fezeh Rahimi, ,
Volume 2, Issue 1 (6-2019)
Volume 2, Issue 1 (6-2019)
Abstract
Many literatures have been published about decorative motif and the colors used in these motifs in manuscripts. These studies can be suitable sources for more information about such decorations; still more accurate studies are necessary in the field of identifying the applied pigments in order to have a better understanding of historical objects. The applications of gold in decorative motif of manuscripts is what this study has focused on, in some similar dated works. Many specialists have reported the golden color as gold in catalogs and property IDs and with regard to this point that using gold in historical works and objects of Islamic period was restricted, this question arises whether gold was restricted to be used in Quran manuscripts; Or if other materials were used instead. This research aims to study golden color used in Quran manuscripts of Qajar era in order to determine what material has been used in such valuable works.
Five samples of golden parts were taken from five gilded and inlayed manuscripts recorded in the List of National Works. These works are being kept in National Museum of Quran. To achieve our purpose we have used Polarized Light Microscopy (PLM) and Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS). We discovered that gold was used as pigment in golden decorations of our case studies.
Seyyedeh Elahe Alavi Dehkordi, Mehernaz Azadi Boyaghchi,
Volume 2, Issue 3 (1-2020)
Volume 2, Issue 3 (1-2020)
Abstract
Given the significance of historical artifacts, the approach and provision of strategies for extending their lifespan are of paramount importance. To undertake a correct and appropriate intervention, commensurate with the condition of the artifact, a comprehensive understanding of the damaged object's state, as well as thorough knowledge of executable conservation and restoration methods, are essential. In this regard, with the aim of introducing executable conservation and restoration methods, a rectangular-shaped Termeh textile sample—measuring 75 cm (minimum) by 79 cm (maximum), featuring a dark blue (sormeh) background with a repeating boteh (paisley) motif and framing—was studied, conserved, and restored. This project, titled "Executive Methods for the Conservation and Restoration of a Termeh Textile Attributed to the Late Qajar or Early Pahlavi Era," involved a piece from a private collection. The research methodology employed was both library and field research. Ultimately, based on the damages identified on the artifact, two methods—stitching and adhesive treatment—were utilized for its conservation and restoration.
Shokoufeh Mesbahi,
Volume 2, Issue 3 (1-2020)
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.
Alireza Amiri Baghbahadorani, Fariba Majidi , Mohsen Charesaz ,
Volume 4, Issue 3 (12-2021)
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.
Leyli Nemani Khiyavi, Alireza Amiri Baghbadorani, Naser Zavari,
Volume 4, Issue 3 (12-2021)
Volume 4, Issue 3 (12-2021)
Abstract
Historical inscriptions, especially in religious and educational buildings, are considered prominent and unique cultural and historical heritage symbols. One of these inscriptions, located at the entrance of the Talebiyyeh School in Tabriz, is a remarkable example of Iranian Islamic calligraphy and architecture. These stone carvings, with their writings and texts, bear profound messages about their time's history, culture, and social and political status. This paper focuses on the detailed analysis and reading of the inscription on the facade of the Talebiyyeh School, located at the entrance of Tabriz's covered bazaar. The inscription, written in the Thuluth script, offers important information not only on the artistic and architectural values but also on the endowment deeds and governmental orders of the time. The inscription, created in 1216 AH by the order of the ruling authorities of Tabriz and signed by prominent figures of the era, contains significant legal and religious concepts reflecting the spiritual and social dimensions of the period. This study, from the perspectives of linguistics, epigraphy, and the analysis of historical implications, introduces and explains the inscription, aiming to reveal its complex meanings through a deep examination of the actions taken on the monument, including the color harmonization. The main research questions are: What are the texts and writings of the inscription on the facade of the Talebiyyeh School in Tabriz, and what information does it convey? What changes have occurred on the inscription over time? How can the stone inscription be replicated to extract the maximum amount of information from this monument? To answer these questions, historical studies, field investigations, and modern documentation methods, including photogrammetry and digital design of the inscription's text, were employed. After completing these stages, the re-reading of the inscription text and examining its changes over time were accomplished. Preserving and maintaining this cultural heritage can pave the way for future research in the fields of conservation and the history of Islamic art.
Azam Soheilipour, Mohammad Reza Miri, Roghayeh Chenari,
Volume 4, Issue 4 (2-2022)
Volume 4, Issue 4 (2-2022)
Abstract
The Qajar-era Qalamkar cloths belonging to the Golestan Palace had been folded in wooden boxes in the warehouses for a long time. In alignment with the objective of preventing physical and biological damage to the fabrics, the process of organizing and restoring them was investigated. This was accomplished through library studies and the performance of necessary analyses, which will be explained quantitatively throughout the article. The
activities carried out to achieve the goals of the mentioned project are as follows: after photographing and documenting the fabrics, a technical and restoration certificate was prepared, and labels made from cotton fabric were sewn onto the cloth. Additionally, cleaning and dusting were performed, and the process of smoothing the folds was conducted to prevent deformation and physical damage at the fold points. Subsequently, the pH level was checked using pH meter strips. Fungal cultivation was carried out on Qalamkar works suspected of having fungi, and fungi cultivation was also performed in both the former and new storage areas. A fiber identification test was conducted to determine the type of fiber present. The results of the analyses indicate that the pH of the fabrics is within the neutral range. The fungal culture analysis revealed that Aspergillus niger grew on one of the fabrics and the door of a wooden box used for storage. Due to the presence of this type of fungus, periodic monitoring was recommended. The fiber identification analysis also confirmed that the fabric is made of cotton cellulose fiber. Finally, the Qalamkar fabrics were covered with cotton fabric and secured. Identification tags
were attached to the works, and with sufficient care and precision, they were transferred to the standard reservoir of Golestan Palace. Furthermore, protection and restoration solutions were provided to maintain the fabrics in the best possible condition.
activities carried out to achieve the goals of the mentioned project are as follows: after photographing and documenting the fabrics, a technical and restoration certificate was prepared, and labels made from cotton fabric were sewn onto the cloth. Additionally, cleaning and dusting were performed, and the process of smoothing the folds was conducted to prevent deformation and physical damage at the fold points. Subsequently, the pH level was checked using pH meter strips. Fungal cultivation was carried out on Qalamkar works suspected of having fungi, and fungi cultivation was also performed in both the former and new storage areas. A fiber identification test was conducted to determine the type of fiber present. The results of the analyses indicate that the pH of the fabrics is within the neutral range. The fungal culture analysis revealed that Aspergillus niger grew on one of the fabrics and the door of a wooden box used for storage. Due to the presence of this type of fungus, periodic monitoring was recommended. The fiber identification analysis also confirmed that the fabric is made of cotton cellulose fiber. Finally, the Qalamkar fabrics were covered with cotton fabric and secured. Identification tags
were attached to the works, and with sufficient care and precision, they were transferred to the standard reservoir of Golestan Palace. Furthermore, protection and restoration solutions were provided to maintain the fabrics in the best possible condition.
Saeid Mehriar, Abdolalizade Abdolalizade, Zahra Talischianazar, Mehdi Razani,
Volume 6, Issue 2 (9-2023)
Volume 6, Issue 2 (9-2023)
Abstract
The preservation and restoration of historical monuments are among the most crucial objectives worldwide, aiming to pass cultural heritage on to future generations. These efforts encompass a wide range of activities carried out by specialists while adhering to various aspects, including the theoretical principles of historical restoration. The Sadiq Al Saltaneh Mansion, located in the Maqsoudiyeh neighborhood of Tabriz, is one of the notable buildings from the Qajar period. In addition to its unique architectural layout, the mansion features stucco decorations on the columns and fireplaces. During the restoration process, evidence from various historical periods was uncovered, highlighting the alterations the building has undergone over time. A significant challenge arose when a historical fireplace in the northwest room of the mansion,s first floor was discovered, along with a stuccoed wall dating back to the late Safavid and early Zand periods hidden behind it. This presented a dilemma regarding how to display both significant historical features. After thorough examination of the site and assessment of the artifacts, it was decided to relocate the fireplace within its original space. The goal was to enhance the understanding of the building and to better showcase both valuable historical elements. Given the historical significance and aesthetic value of both features, the relocation of the fireplace and the subsequent exposure of the historical wall behind it were deemed necessary. The technical process of relocation involved framing and supporting the fireplace, followed by carefully detaching it from the wall according to a pre-designed method. After securing the artifact with an iron frame and clearing the surrounding area, the connection to the wall was severed step by step, with reinforcement measures implemented throughout the procedure. The fireplace was then moved to its new location using a crane and installed in such a way that both features could be fully observed. It should be noted that all actions were planned and carried out based on technical and theoretical principles of historical
monument restoration.
monument restoration.
Hamed Yaqbzadeh, Yaser Hamzavi,
Volume 6, Issue 4 (3-2024)
Volume 6, Issue 4 (3-2024)
Abstract
Many projects in the field of Protection, conservation and finally restoration of historical monuments are carried out in the country every year, However, there is unfortunately no suitable platform for sharing the practical experiences in this field within the country, which could significantly enhance the quality of these protection and restoration efforts nationwide. Emergency reinforcement of architectural ornaments is often necessary during the restoration of historical buildings. For this purpose, the restorer of architectural ornaments must create safe conditions to preserve the existing ornaments during the restoration of the building. Eram House in Yazd is one of the Qajar-era buildings in Yazd city that is currently about to be restored and repurposed. This
building, in the Central Room, features plasterwork, mirror and glass ornaments, as well as wall paintings with plant motifs and inscriptions. Due to the damage in the various layers of the architectural ornaments restorers faced challenges in reinforcing the structure and restoring the deteriorated parts of the building. Structural restoration measures posed a risk of destroying these ornaments; since the cracks indicating structural movement had caused the ornaments to detach and loosen from their underlying layers, which include: support (brick), scratch coat (straw), and top-layer (fine coat), all of which require reinforcement. The entire surface of walls, except for the ceiling wall in the Eram House, has an additional layer of gypsum plaster coating, which has obscured parts of the gypsum stucco ornaments and murals. Therefore, it is necessary to identify the hidden ornaments in different parts by conducting soundings in the walls of the Central Room of Eram House.
building, in the Central Room, features plasterwork, mirror and glass ornaments, as well as wall paintings with plant motifs and inscriptions. Due to the damage in the various layers of the architectural ornaments restorers faced challenges in reinforcing the structure and restoring the deteriorated parts of the building. Structural restoration measures posed a risk of destroying these ornaments; since the cracks indicating structural movement had caused the ornaments to detach and loosen from their underlying layers, which include: support (brick), scratch coat (straw), and top-layer (fine coat), all of which require reinforcement. The entire surface of walls, except for the ceiling wall in the Eram House, has an additional layer of gypsum plaster coating, which has obscured parts of the gypsum stucco ornaments and murals. Therefore, it is necessary to identify the hidden ornaments in different parts by conducting soundings in the walls of the Central Room of Eram House.
In some places, the walls need careful reinforcement by the building restorers. However, the presence of murals in these areas, limits the possibility of any reinforcement measures. Thus, the murals at these points should be separated carefully from the walls and preserved. After completing structural reinforcement, the murals should be reinstalled in their original locations. The main goal of this project was to stabilize the existing arrays in the king's room and also to create suitable conditions for any structural restoration interventions in the building. Therefore, in line with the projectives objectives as the conditions of placement and considering the placement conditions of works and materials, as well as the type and extent of damage in different parts of the room, an emergency strengthening method was selected. Restoration materials were prepared according to each method, as presented in Table 1. This article is not a result of comprehensive research. but rather an account of an emergency
intervention experience. The intervention focused on a strengthening approach, to achieve the needed stability, allowing building restorers to carry out structural reinforcement and restoration without concern. In this context, understanding the remaining of architectural arrays is crucial, Subsequently, key the questions were addressed to guide the restorers: what is the type and extent of the damage? Which damages require strengthening at this stage? to what extent should this operation progress? What method should be adopted for each architectural array with various damages? Ultimately, emergency strengthening was carried out on the ceiling and walls of the palace, encompassing plaster arrays, mirror and glass arrays, as well as murals. In several parts of the murals, due to the sever condition of the underlying layers (cause by Saudi humidity), it was decided to separate the mural pieces. This article provides a detailed, description of the practical emergency reinforcement measures undertaken on the architectural arrays of Eram House in Yazd.
intervention experience. The intervention focused on a strengthening approach, to achieve the needed stability, allowing building restorers to carry out structural reinforcement and restoration without concern. In this context, understanding the remaining of architectural arrays is crucial, Subsequently, key the questions were addressed to guide the restorers: what is the type and extent of the damage? Which damages require strengthening at this stage? to what extent should this operation progress? What method should be adopted for each architectural array with various damages? Ultimately, emergency strengthening was carried out on the ceiling and walls of the palace, encompassing plaster arrays, mirror and glass arrays, as well as murals. In several parts of the murals, due to the sever condition of the underlying layers (cause by Saudi humidity), it was decided to separate the mural pieces. This article provides a detailed, description of the practical emergency reinforcement measures undertaken on the architectural arrays of Eram House in Yazd.
Yaser Shahbazi , Najmeh Faghih Dinevari,
Volume 7, Issue 1 (6-2024)
Volume 7, Issue 1 (6-2024)
Abstract
This research aims to propose a suitable solution for covering the roof of the Sadaqiani Bath. The Sadaqiani Bath is located on the campus of the Faculty of Architecture and Urban Planning at Tabriz Islamic Art University. During the construction of a new building, remnants of an ancient structure were uncovered, leading to archaeological excavations. This bath, dating back to the Qajar period, has been officially registered as a historical site. Due to its lower elevation compared to the surrounding area, the bath required a protective cover to prevent rainwater infiltration and provide adequate shielding from sunlight. In line with the university's academic policies in architectural technology, efforts were made to design and construct a cover using innovative technologies, aiming to establish a successful and exemplary standard in this field. To address these requirements, an arc-shaped lamella structure with a fabric cover was chosen. This structure not only offers protection against weather conditions but also harmonizes with the existing buildings on the site, including the bath. It is lightweight and provides sufficient support to minimize potential damage to the main structure. With the assistance of architectural technology students from the faculty, research and design efforts were carried out, and the cover for the Sadaqiani Bath was successfully constructed, with the necessary funding provided.
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