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.