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.

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.

Fungal contamination and increased acidity are the most fundamental factors contributing to the erosion and destruction of historical manuscripts, including the manuscript of the Bible from the year 1150 AD. This work is housed in the museum of Archbishop Ardak Manoukian of Hazrat Maryam Church in Tehran. It is regarded as a significant treasure of Armenian cultural and artistic heritage, as well as an integral part of the cultural identity of the Christian community. Given the importance of this topic, the main objective of this research is to investigate the extent of fungal damage and the acidity level of
the manuscript in question. This study is experimental in nature, consisting of laboratory investigations conducted over the span of one month in the laboratory of the Conservation and Restoration Faculty at Iran University of Art. To measure the acidity of the paper, a colorimetric method was employed following the standard of direct titration. Additionally, to assess fungal contamination, samples were cultured on Sabouraud Dextrose Agar Solid Medium, and a transmission polarizing microscope was utilized for examination. Chaetomium and Penicillium fungi were isolated from one of the eight samples tested, and an increase in acidity was observed in the manuscript's paper. Due to the complexities of technology, pathology, and environmental
sensitivity, this manuscript requires specific guidelines in museums and repositories to minimize fungal contamination and acidity levels in the paper.

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.