Showing 13 results for Tile
Roqiyeh Movahedi Mehrabad , Reza Vahidzadeh,
Volume 1, Issue 2 (10-2017)
Abstract
The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.
The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.
Roqiyeh Movahedi Mehrabad , Reza Vahidzadeh,
Volume 2, Issue 1 (6-2019)
Abstract
The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.
The Shah Hamzeh mausoleum, located in the city of Qom, is a monument from the Safavid period. The eastern porch of this monument was decorated blue and white tiles during the Qajar period. The aim of this article is to introduce the historical monument of Shah Hamzeh and its decorations. In this regard, a sample of the blue and white tiles of the monument was technologically examined using library studies, optical and digital microscope methods, and SEM-EDX and XRD methods. Based on the studies conducted, the paint layer was applied directly to the stone body without a preparatory layer, and then a glass layer was applied on it.
Seyyedeh Elahe Alavi Dehkordi, Mehernaz Azadi Boyaghchi,
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.
Marziyeh Chelbi, Mohammad Taghi Ashouri, Shahrzad Amin-Shirazi-Nejad, Fatemeh Alimirzaei,
Volume 2, Issue 4 (1-2020)
Abstract
Storage facilities constitute a core element in the structure of any cultural, scientific, and research institution. Addressing their functions, optimizing their design, and equipping them to ensure the proper preservation of objects, as well as preventing damage and deterioration, is of paramount importance. The significance of storage facilities lies in the fact that the majority of objects and artifacts within a collection are preserved in storage. Consequently, these spaces must meet high standards of conservation and security and require continuous care and monitoring.This article examines, as a pilot case, the textile repository of the Anthropological Research Institute, which houses a large volume of textiles belonging to diverse Iranian ethnic groups and cultures, representing a collection of exceptional value and importance. The current storage facility is unsuitable for the preservation of this collection and requires redesign and renovation in line with the specific vulnerabilities of textiles and international preventive conservation standards. The ultimate aim of this study is to improve the storage conditions of the ethnographic clothing collection through a newly designed system that complies with these standards.The research methodology relies on a review of library resources and the findings of similar projects. Although deterioration is inevitable, particularly in sensitive objects such as textiles, implementing appropriate storage strategies and environmental control systems can significantly prolong the lifespan of these invaluable objects and slow down the process of degradation.
Maryam Kian Asl,
Volume 4, Issue 2 (11-2021)
Abstract
In 1282 A.H. (1865 C.E.), the Shams-ul-Amara building was commissioned by Naser al-Din Shah Qajar and constructed under the supervision of Dost Ali Khan Moaierol Mamalek in the eastern part of the Tehran Citadel. As the first five-story building in Tehran, Shams-ul-Amara holds significant architectural and historical importance. The plinths of the rooms across its five floors are adorned with oil-painted tile decorations, executed in a predominantly European style. These paintings were created by a group of artists and their students, as evidenced by variations in
their execution techniques. The method of oil painting on glazed tiles was a unique innovation that was not replicated in subsequent architectural projects. However, these paintings are now experiencing extensive deterioration, including disintegration, pulverization, and collapse. This article aims to identify and analyze the factors contributing to the damage of these oil-painted tile artworks. It is hypothesized that the varying degrees of damage observed on each floor are influenced by differences in the tiles' placement, the composition of the lining materials, the application methods, and other mechanical and environmental factors. Additionally, the prolonged exposure of these tiles to moisture absorption from the walls, combined with the tension caused by the oil painting technique, has led to physical stress. This stress manifests in the form of paint detachment, separation of relief patterns along tile seams, and breakage at the corners of rhombus-shaped tiles installed on the walls. This study employs a descriptive-analytical approach, with a focus on the lining layer as the most critical factor in the deterioration process. The findings suggest that the lining layer fails to adequately protect the painted surface, leading to the eventual collapse of the paint layer.
Elaheh Pourabdollah, Danial Harandi ,
Volume 4, Issue 3 (12-2021)
Abstract
This study focuses on the techno-functional analysis, preservation and restoration of a silk textile attributed to the Safavid period, belonging to a private collection in Tabriz. This research aimed to implement appropriate conservation measures and restoration based on the condition of the work for its display and preservation. The findings indicate that, through technical and comparative studies with several similar specimens, the artifact is likely from the Safavid era. The fabric exhibits various forms of degradation, including loss of warp and revealing of weft threads, perforation, tearing, holes, stains, and surface dirt. Conservation procedures applied to the textile included washing with sodium lauryl sulfate, consolidating the fibers, and reattachment of detached fibers using a thin film prepared by Klosel-G and backing support for the fabric. Finally, the textile was placed on a wooden frame for further preservation and display.
Masoud Bater, Malieh Saberniya ,
Volume 5, Issue 2 (9-2022)
Abstract
The Mosalla of Paein Khiaban of Mashhad is one of the largest and most beautiful historic mosallas in Iran, built at the order of King Suleiman I during the Safavid era. according to inscription on the tile of the central porch, the date of construction and completion of the building is 1087 A.H. The architectural structure of the building consists of a high central porch in the middle and two domed porticoes on the sides. Both the internal and external surfaces of the building are decorated with various architectural elements, such as stucco work, tile work, painting and muqarnas. Among the various decorative employed in this structure, the mosaic tiles of the mihrab are unparalleled in terms of beauty and sophistication. Laboratory analysis of the chemical composition of the glaze of the altar tiles using SEM-EDX method demonstrated strong agreement with findings from other researchers, indicating a continuity of the tile-making tradition and glaze production with similar technology throughout the Safavid era across various r regions of Iran. A petrological study of the mineral composition of the body of the tiles also revealed the use of a similar and appropriate mineralogical composition, paired with good firing in their production, which contributed to the strength and durability of the tiles. The pathology of the building and its decorations indicated that a combination of different physical, chemical and human factors caused the destruction and erosion of the structure and its decorations, including the mosaic tiles. Among these, human activities and irregular urban development surrounding the building, along withimproper and careless restorations, played the main role in the destruction and erosion of the tiles. Considering the importance and sophistication of the mosaic tiles of the altar, following laboratory studies, the tiles of this part of the building were conserved and restored. For this purpose, after the primary conservation measures through cleaning and consolidation, the missing parts were restored according to the principles and theoretical foundations of restoration in the method of complementary restoration through color-matching.
Negar Kafilli, Fatemeh Alimirzaei, Somayeh Garakhani,
Volume 5, Issue 3 (12-2022)
Abstract
The protection of historical monuments has two aspects: one that considers the material features, and the other that considers its spiritual, artistic, historical, and aesthetic values. Therefore, the introduction, documentation and recording various historical works, as a part of the conservation and restoration process, not only promote the understanding and recognition of the values of art and culture, but also aid in their protection and revive. This research aims to address this protective need by introducing the collection of tiles of from the UNESCO World Heritage site of Takht-e Soleiman, as one of the valuable collections of Iranian art, known for its antiquity and diversity. To achieve this goal, a descriptive and analytical method was employed along with the examination and collection of field documentation and library studies. As a result of this study, over 5400 tiles were identified, including all kinds of exquisite luster tiles in diverse shapes and patterns, azure, turquoise, gilded tiles with embossed patterns, geometric tiles, samples of monochromatic tiles, and some brick tiles.
Mehdi Alavi,
Volume 5, Issue 3 (12-2022)
Abstract
In the past, the art of designing and painting tiles was passed from master to apprentice, and each time the creativity of different artists gave a different effect to these works. Therefore, the methods of drawing these motifs have never been written down. As we know, most of the motifs used in the decoration of historical tiles have a geometric origin, and their analysis or drawing requires knowledge of projection. Therefore, in this note, an attempt has been made to propose the hypothesis of the matching of symmetrical elements in the patterns of historical tiles with the symmetrical elements of material crystals, while examining the geometric structure of different motifs, rules based on symmetry data are presented for drawing these motifs. It is believed that with the help of this method, the rearrangement of traditional motifs in the tile production industry, as well as their recovery for the restoration of damaged parts using formula writing and marking, will become easier.
Mahsa Saidi Mehrabad, Ali Nemati-Babaylou, Hakime Afsharinezhad,
Volume 6, Issue 1 (6-2023)
Abstract
Alki Caravanserai – Near Marand is considered one of the most important buildings on the way in north-west regen- Iran due to its special position in archaeological studies. It was located on the side of the ancient Silk Road and was built by the order of Khawja Rashid al-Din Fazl-Allah (Fazllullah) Hamadani. The ornaments used in the Entrance gate of this building are a combination of tiles and bricks, which have special and important place in the north of the country not only from the archeological point but also because of their position in the evolution process of making tile arrays. This shows the importance of recognition, conservation, and restoration of Alaki caravanserai. Due to the full destruction of this caravanserai building over time, some ornaments and part of the architectural plan of this caravanserai have been discovered during archaeological excavations. In Current research, the process of recognizing and classifying these ornaments has been done based on historical and decorations remain studies that lead to the protection, restoration, and revival of the caravanserai building regarding the health of the plan and the foundations of its structures. First, the separated and broken decorations were classified according to historical studies and their location was identified in the old pictures of the caravanserai. This matter was done in the feasibility of revitalizing entrance gate Then, according to the available images and parts, the geometric nodes related to the two types of designs are drawn, then according to the available parts, it is possible to check the geometric frame of a tile and brick combination frame as an example of the works of this renovation.
Azadeh Moghadam , Shahrzad Amin-Shirazi Nezhad, Ali Nazari ,
Volume 7, Issue 3 (11-2024)
Abstract
A novel method utilizing eucalyptus extract for the protection of woolen artifacts against invasive insects has been developed. This eco-friendly approach is highly compatible with environmental ecosystems, poses no risk to humans, and is safe for historical textiles. The application of this extract does not adversely affect the artifacts, their physical properties, appearance, or fiber strength. The eucalyptus extract is obtained using a Soxhlet extraction method with ethanol 96°, and neutral pH paper strips are impregnated with the extract. These eucalyptus-infused strips serve as an environmentally friendly, human-safe, and artifact-compatible insect repellent. They can be employed in various applications, such as packaging material, display linings, storage boxes, and protective layers between artifacts in storage. The production cost is low, and the method offers higher safety and efficacy compared to existing alternatives.
Sahar Ahmad Khan Beigi,
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
Zohreh Motalebi, Omid Oudbashi, Sohrab Veiseh, Dariush Heydari,
Volume 7, Issue 4 (2-2025)
Abstract
The survival of the mosaic tile arrays of Safavid-era domes in Isfahan has been based on the committed cooperation of craftsmen, architects, and artists in this field. There is a great deal of knowledge and skill, from the baking of tiles and plaster to the artistic execution of mosaic tiles, the preparation and processing of mortar and plaster slurry, and mastery of geometry, concerning the complex process of constructing and restoring the mosaic tile arrays of the domes. Given the historical, spiritual, and aesthetic values of the three domes under study, which are also considered symbols of the city of Isfahan, this research attempts to take a step toward-better protection and preservation of these domes. These studies, relying on the process and evaluation of the restoration of the mosaic tile arrays of these domes from the past to the present, have been carried out to understand and improve the restoration technique and eliminate its problems based on library studies, field methods, and data description and analysis in line with the discussions of dome tile restoration and preventing serious damage in the future. The results of the research show that careful attention to the restoration process and analysis of errors in all stages of tile making, mortar preparation, and tile installation contribute significantly to a principled restoration with minimal errors in the tile arrays of historical domes, and as a result, better protection of these masterpieces. Among the most important factors that are effective in improving the restoration process and preventing the implementation from becoming time-consuming are the existence of a comprehensive restoration plan, a management plan, continuous supervision, forming a group and consulting with experts from various related fields, and avoiding trial and error.
