OTHERS_CITABLE ﺑﺮای ﺣﻔﻆ آﺛﺎر ارزﺷﻤﻨﺪ ﻣﻌﻤﺎری، در ﻗﺪم اول ﻧﯿﺎز ﺑﻪ ﺷﻨﺎﺧﺖ ﮐﺎﻣﻞ و ﻫﻤﻪ ﺟﺎﻧﺒﻪ از ایﻦ آﺛﺎر اﺳﺖ. از ﺑﺨﺶ‌ﻫﺎی ارزﺷﻤﻨﺪ آﺛﺎر ﻣﻌﻤﺎری، آرایﻪ‌ﻫﺎ و دیوارنگاره‌های آن اﺳﺖ. دیوارنگاره ﺑﻮم‌ﭘﺎرﭼﻪ ﮔﻮﻧﻪ‌ای از دیوارنگاره‌ها اﺳﺖ ﮐﻪ از ﻧﻈﺮ ﻣﻮاد و ﻣﺼﺎﻟﺢ، روش اﺟﺮا و ﺑﻪ ﻃﻮر ﮐﻠﯽ از ﻧﻈﺮ ﻣﺎﻫﯿﺖ، ﺑﺎ دیوارنگاره‌های ﻣﻌﻤﻮل و ﻣﺘﻮاﺗﺮ ﺗﻔﺎوت دارد. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ این ﻧﮑﺘﻪ ﮐﻪ اولین مرحله ﺑﺮای ﺣﻔﻆ اﺛﺮ ﻫﻨﺮی، ﻓﻬﻢ و ادراک آن اﺳﺖ، ﺗﻔﺎوت این آﺛﺎر ﺑﻪ ﮔﻮﻧﻪای اﺳﺖ که اﻧﺠﺎم روشﻫﺎی ﻣﻌﻤﻮل ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ (ﺑﺪون ادراک ﺻﺤﯿﺢ اﺛﺮ) ﺑﺎﻋﺚ ﺧﺪﺷﻪدار ﺷﺪن اﺻﺎﻟﺖ و ﺗﻤﺎﻣﯿﺖ آنﻫﺎ ﺧﻮاﻫﺪ ﺷﺪ. در ﭘﮋوﻫﺶﻫﺎی اﻧﺠﺎم ﺷﺪه در ارﺗﺒﺎط ﺑﺎ ﻣﻮﺿﻮع دیوارنگاره‌ ﺑﻮم ﭘﺎرﭼﻪ، ﺑﺮﺧﯽ از ﻣﺤﻘﻘﺎن این آﺛﺎر را در ﮔﺮوه ﻧﻘﺎﺷﯽ روی ﮐﺮﺑﺎس ﻗﺮار ﻣﯽدﻫﻨﺪ. و  ﭘﮋوﻫﺸﮕﺮاﻧﯽ ﻧﯿﺰ این آﺛﺎر را در زﻣﺮه دیوارنگاره‌ها ﻣﯽﺷﻨﺎﺳﻨﺪ و ﺷﻨﺎﺧﺖ ﮐﺎﻓﯽ در این ﺣﻮزه وجود ندارد. ﻧﻈﺮیهﻫﺎی ﻣﺮﻣﺘﯽ ﮐﻪ در ﺳﻄﺢ ﻣﻠﯽ و ﺑﯿﻦاﻟﻤﻠﻠﯽ اراﺋﻪ و ﻣﻨﺘﺸﺮ ﺷﺪهاﻧﺪ، اﺷﺎرهﻫﺎیی ﺑﻪ ﺣﻔﻆ و ﻣﺮﻣﺖ ﻧﻘﺎﺷﯽﻫﺎی ﺗﺎریخی دارﻧﺪ، وﻟﯽ ﺑﻪ ﺻﻮرت ﻣﺴﺘﻘﯿﻢ ﺑﻪ ﭼﮕﻮﻧﮕﯽ ﺣﻔﻆ و ﻣﺮﻣﺖ دیوارنگاره‌های ﺑﻮم ﭘﺎرﭼﻪ اﺷﺎره ﻧﺸﺪه اﺳﺖ. ﺑﺮای رﺳﯿﺪن ﺑﻪ اﺻﻮل و ﻣﺒﺎﻧﯽ ﻧﻈﺮی ﺣﻔﻆ و ﻣﺮﻣﺖ این ﮔﻮﻧﻪ از دیوارنگاره‌ها، ﻧﯿﺎز اﺳﺖ ﺗﺎ ﻣﻨﺸﻮرﻫﺎ، ﻧﻈﺮیهﻫﺎ دﺳﺘﻮراﻟﻌﻤﻞﻫﺎی ﺑﯿﻦاﻟﻤﻠﻠﯽ در ﺣﻮزه ﺣﻔﺎﻇﺖ از ﻧﻘﺎﺷﯽﻫﺎی تاریخی ﻣﻮرد ﺑﺮرﺳﯽ ﻗﺮار ﮔﯿﺮﻧﺪ ﺗﺎ ﻃﺒﻖ این ﻧﻈﺮیهﻫﺎ و ﻫﻤﭽﻨﯿﻦ ﻣﻄﺎﻟﻌﺎﺗﯽ ﮐﻪ در ﺣﻮزه ﺷﻨﺎﺧﺖ ﻣﻌﯿﺎرﻫﺎی ﺣﻔﺎﻇﺖ دیوارنگاره‌های ﺑﻮم ﭘﺎرﭼﻪ اﻧﺠﺎم ﻣﯽﺷﻮد، ﺑﺘﻮان ﺑﻪ ﺻﻮرت روﺷﻤﻨﺪ دیوارنگاره‌های ﺑﻮمﭘﺎرﭼﻪ را ﺷﻨﺎﺧﺖ، ﻣﺮﻣﺖ ﮐﺮد و ﺑﻪ ﺷﮑﻞ ﺻﺤﯿﺢ ﻧﻤﺎیش داد. در این ﻣﻘﺎﻟﻪ اﺑﺘﺪا ﻻیهﻫﺎی ﺗﺸﮑﯿﻞ دﻫﻨﺪه دیوارنگاره‌های تاریخی ایران ﻣﻌﺮﻓﯽ ﺷﺪه و ﺳﭙﺲ ﻧﺘﯿﺠﮥ ﻣﻄﺎﻟﻌﺎت ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮب در ﺣﻮزه ﻧﻈﺮی ﻣﺮﻣﺖ ﻧﻘﺎﺷﯽﻫﺎی تاریخی اراﺋﻪ ﺷﺪه اﺳﺖ، در واﻗﻊ این ﻣﻄﺎﻟﻌﺎت و ﻣﺒﺎﺣﺚ، ﻣﻘﺪﻣﻪای اﺳﺖ ﺑﺮ ﺣﻔﻆ و ﻣﺮﻣﺖ دیوارنگاره‌های ﺑﻮم ﭘﺎرﭼﮥ ایران. http://journal.richt.ir/kcr/article-1-301-fa.pdf 2025-09-22 1 11 نظﺮیهﻫﺎی ﻣﺮﻣﺘﯽ ﺣﻔﺎﻇﺖ ﻧﻘﺎﺷﯽﻫﺎی تاریخی دیوارنگاره‌های ﺑﻮم ﭘﺎرچه. To preserve valuable architectural works, the first step is to have a complete and comprehensive understanding of these works. Among the valuable parts of architectural works are their decorations and murals. Canvas murals are a type of mural that differs from regular and continuous murals in terms of materials, execution method, and generally in nature. Considering that the first step in preserving a work of art is its understanding and perception, the difference between these works is such that carrying out the usual methods of conservation and restoration (without a correct understanding of the work) will damage their authenticity and integrity. In the research conducted on the subject of canvas murals, some researchers place these works in the group of paintings on canvas, and some researchers also recognize these works as murals, and there is insufficient knowledge in this field. The restoration theories that have been presented and published at the national and international levels have references to the preservation and restoration of historical paintings, but they have not directly mentioned how to preserve and restore canvas murals. In order to reach the theoretical principles and foundations of the preservation and restoration of this type of murals, it is necessary to examine international charters, theories, and guidelines in the field of the preservation of historical paintings so that, according to these theories and also the studies that are carried out in the field of identifying the criteria for the preservation of canvas murals, it is possible to systematically recognize, restore, and display canvas murals correctly. In this article, the constituent layers of historical Iranian murals are first introduced, and then the results of the studies of written sources in the theoretical field of the restoration of historical paintings are presented. In fact, these studies and discussions are an introduction to the preservation and restoration of Iranian canvas murals. http://journal.richt.ir/kcr/article-1-301-en.pdf 2025-09-22 1 11 Restoration theories conservation historical paintings canvas murals. Yaser Hamzavi y.hamzavi@richt.ir yaserhamzavi99@gmail.co m 1 PhD student, Restoration of Historical and Cultural Objects, Isfahan University of Art, Iran. AUTHOR

OTHERS_CITABLE ﮔﺴﺘﺮش و پیشرفت ﻫﻤﻪﺟﺎﻧﺒﻪ و چشمگیر ﻋﻠﻮم ﺑﻪویﮋه در ﺣﻮزهﻫﺎی ﻋﻠﻮم ﻃﺒﯿﻌﯽ، ﭘﺎیدﺳﯽ ﻣﻮﺟﺐ ﺟﻬﺸﯽ ﻋﻈﯿﻢ ﺑﺎ رویکردﻫﺎی ﻋﻠﻤﯽ و روﺷﻤﻨﺪ در زﻣﯿﻨﻪﻫﺎی ﻋﻠﻮم اﻧﺴﺎﻧﯽ، ﭘﺰﺷﮑﯽ، ﮐﺸﺎورزی و ﻫﻨﺮ ﺷﺪه اﺳﺖ. این ﺟﻬﺶ ﺑﺎﻋﺚ ایجاد داﻧﺶﻫﺎی ﺑﯿﻦرﺷﺘﻪای یﺎ زﺑﺎن ﻣﺸﺘﺮک ﺑﯿﻦ ﻋﻠﻮم و ﺗﺨﺼﺺ ﻫﺎی ﻣﺨﺘﻠﻒ ﺷﺪه و ﺗﻠﻔﯿﻖ آنﻫﺎ ﺗﻌﺎﻣﻠﯽ ﺳﺎزﮔﺎر را ﺷﮑﻞ داد اﺳﺖ. در این ﻣﯿﺎن ﺑﺎﺳﺘﺎنﺳﻨﺠﯽ یا آرﮐﺌﻮﻣﺘﺮی ازﺟﻤﻠﻪ داﻧﺶﻫﺎی ﺑﯿﻦ رﺷﺘﻪای اﺳﺖ ﮐﻪ اﻏﻠﺐ ﺑﻪﻋﻨﻮان یک ﺗﺨﺼﺺ ﺟﺎﻧﺒﯽ و اﻓﺰوده ﺑﺮ ﺗﺤﻠﯿﻞﻫﺎی ﺑﺎﺳﺘﺎنﺷﻨﺎﺧﺘﯽ و ﻣﺮﻣﺖ آﺛﺎر تاریخی به آن ﺗﻮﺟﻪ ﻣﯽﺷﺪ، اﻣﺎ اﻣﺮوزه ﺑﺎ ﺑﻬﺮهﺟﻮیی روﺷﻤﻨﺪ از رﻫﯿﺎﻓﺖﻫﺎی ﻋﻠﻮم ﻃﺒﯿﻌﯽ، پایه و ﻓﻨﯽ مهندسی، ﺑﺎﺳﺘﺎنﺳﻨﺠﯽ ﺑﻪ زﺑﺎن ﻣﺸﺘﺮک ﻋﻠﻮم ﻣﺬﮐﻮر ﺑﺎ ﻋﻠﻮم اﻧﺴﺎﻧﯽ و ﻫﻨﺮ ﺑﺎﻷﺧﺺ در ﺣﻮز ﻣﻄﺎﻟﻌﺎت ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ ﺗﺒﺪیل ﺷﺪه و در ﻗﺎﻟﺐ ﺗﺨﺼﺼﯽ ﻣﺴﺘﻘﻞ ﺑﯿﺶ ازﭘﯿﺶ اﻫﻤﯿﺖ یافته اﺳﺖ. در ﭘﮋوﻫﺶ ﭘﯿﺶ رو ﻣﺪﻟﯽ ﮐﺎرﺑﺮدی و ﻣﻘﺪﻣﺎﺗﯽ از ﺟﺎیگاه رﻫﯿﺎﻓﺖﻫﺎ و ﻣﻄﺎﻟﻌﺎت ﺑﺎﺳﺘﺎنﺳﻨﺠﯽ در ﺷﻨﺎﺧﺖ و ﻣﻄﺎﻟﻌﻪ ﻣﯿﺮاث ﻣﻌﻤﺎری و ﻋﻨﺎﺻﺮ آن اراﺋﻪ ﺷﺪه اﺳﺖ. ﻧﯿﺎز ﺗﻘﺎﺿﺎی ﻣﺤﻘﻘﯿﻦ ﻋﻠﻢ ﺣﻔﺎﻇﺖ ﺑﻪ اﻃﻼﻋﺎت و دادهﻫﺎی ﮐﻨﺘﺮلﺷﺪه و ﻋﻠﻤﯽ در ﺳﺎﻟﯿﺎن اﺧﯿﺮ، موجب دوﭼﻨﺪان ﺷﺪن اﻫﻤﯿﺖ رﻫﯿﺎﻓﺖﻫﺎی ﺑﺎﺳﺘﺎن‌سنجی ﺷﺪه، اﻣﺎ ﻫﻤﭽﻨﺎن ﮐﻤﺒﻮد داده در زمینه ﺣﻔﺎﻇﺖ از آﺛﺎر تاریخی ایران ﺑﻪﺧﺼﻮص میراث ﻣﻌﻤﺎری ﺑﻪوﺿﻮح اﺣﺴﺎس ﻣﯽﺷﻮد. http://journal.richt.ir/kcr/article-1-302-fa.pdf 2019-03-20 12 21 ﺑﺎﺳﺘﺎن‌سنجی میراث ﻣﻌﻤﺎری ﺷﻨﺎﺧﺖ مطالعه آﺛﺎر تاریخی. The comprehensive and remarkable expansion and progress of sciences, especially in the fields of natural, basic and engineering sciences, has caused a huge leap in scientific and methodological approaches in the fields of humanities, medicine, agriculture and art. This leap has created interdisciplinary knowledge or a common language between different sciences and specialties, and their integration has formed a compatible interaction. Among these, archaeometry is one of the interdisciplinary sciences that was often considered as a side specialty and an addition to archaeological analysis and restoration of historical monuments, but today, with the systematic use of natural, basic and technical and engineering approaches, archaeometry has become a common language of the aforementioned sciences with humanities and arts, especially in the field of cultural heritage studies, and has become more important as an independent specialty than ever before. In the present study, an applied and preliminary model of the position of archaeometric approaches and studies in the recognition and study of architectural heritage and its elements has been presented. The need and demand of conservation researchers for controlled and scientific information and data in recent years has doubled the importance of archaeological approaches, but the lack of data in the field of conservation of Iran's historical monuments, especially architectural heritage, is still clearly felt. http://journal.richt.ir/kcr/article-1-302-en.pdf 2019-03-20 12 21 Archaeometry architectural heritage recognition study historical monuments. Talhe Ghodousiyan t.ghodusiean@gmail.com 1 M.A in Archaeometry, Tabriz Islamic Art University, Iran. AUTHOR Abdolbasir Hosseinbor 2 M.A in Restoration of Cultural and Historical Objects, Isfahan University of Art. Iran. AUTHOR

OTHERS_CITABLE یﮑﯽ ﻣﺪیﺮیﺖ ﻧﻮیﻦ در دﻫﻪ ﻫﺎی اﺧﯿﺮ ﺗﻮﺟﻪ ﺑﺴﯿﺎری از ﻧﻈﺎم ﻫﺎی اﺟﺮایﯽ و ﺳﺎزﻣﺎﻧﯽ را ﺑﻪ ﺧﻮد ﺟﻠﺐ ﮐﺮده اﺳﺖ. ﺑﻪ ﻃﻮری ﮐﻪ ﺑﻪ ﮐﺎرﮔﯿﺮی ﻋﻨﺎﺻﺮ ﮐﻠﯿﺪی ایﻦ رویﮑﺮد ﻣﺎﻧﻨﺪ ﻧﮕﺎه ﺳﯿﺴﺘﻤﯽ، ﺗﺼﻤﯿﻢ ﮔﯿﺮی اﻗﺘﻀﺎیﯽ، اﻫﻤﯿﺖ رﻫﺒﺮی و اﺛﺮﺑﺨﺸﯽ، ﺗﻌﯿﯿﻦ اﻫﺪاف و راﻫﺒﺮد، ایﺠﺎد اﻧﮕﯿﺰش و ﺗﻘﻮیﺖ ﺧﻮدﮐﻨﺘﺮﻟﯽ ﺑﺨﺸﯽ از ﻋﻮاﻣﻞ ﻣﻮﻓﻘﯿﺖ ﻣﺪیﺮان اﻣﺮوزی را در ﻣﻨﺎﺑﻊ اﻧﺴﺎﻧﯽ ﺗﺸﮑﯿﻞ ﻣﯽدﻫﺪ. ﺣﻔﺎﻇﺖ، ﻣﺮﻣﺖ و ﺻﯿﺎﻧﺖ از ﺑﻨﺎﻫﺎی ﺗﺎریﺨﯽ از اﻫﺪاف ﺑﻨﯿﺎدیﻦ در ﺣﻮزه ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ ﺑﻪ ﺷﻤﺎر ﻣﯽ آیﻨﺪ. ایﻦ ﻣﻘﺎﻟﻪ ﺑﺎ رویﮑﺮدی ﺗﻮﺻﯿﻔﯽ–ﭘﯿﻤﺎیﺸﯽ و روش ﮐﯿﻔﯽ-ﺗﺤﻠﯿﻠﯽ ﺑﺎ ﺑﻬﺮه ﮔﯿﺮی از ﺗﺠﺮﺑﻪ ﻣﯿﺪاﻧﯽ ﻧﮕﺎرﻧﺪه در ﻧﻈﺎرت ﺑﺮ 25 ﭘﺮوژه ﺣﻔﻈﺖ، ﻣﺮﻣﺖ و ﻣﺴﺘﻨﺪﺳﺎزی ﺗﺰﺋﯿﻨﺎت ﻣﻌﻤﺎری ﺑﻨﺎﻫﺎی ﺗﺎریﺨﯽ اﺳﺘﺎن ﺧﺮاﺳﺎن رﺿﻮی در ﻓﺎﺻﻠﻪ ﺳﺎل ﻫﺎی 1386 ﺗﺎ 1395، ﺑﻪ ﺑﺮرﺳﯽ ﻧﻘﺶ ﻣﺪیﺮیﺖ ﻣﺸﺎرﮐﺘﯽ در ﺗﺤﻘﻖ اﻫﺪاف ﭘﺮوژه ﻫﺎی ﻣﺮﻣﺘﯽ ﻣﯽ ﭘﺮدازد. ﻧﺘﺎیﺞ ﭘﮋوﻫﺶ ﻧﺸﺎن ﻣﯽدﻫﺪ ﻣﺪیﺮیﺖ ﻣﺸﺎرﮐﺘﯽ در ﭘﺮوژهﻫﺎی ﻣﺮﻣﺘﯽ ﻣﯽﺗﻮاﻧﺪ اﺛﺮﺑﺨﺸﯽ ﻋﻤﻠﯿﺎت را اﻓﺰایﺶ دﻫﺪ و ﺑﺎ ایﺠﺎد ﻣﺴﯿﺮ ﺷﻐﻠﯽ ﭘﺎیﺪار، ﻓﺮﺻﺖ ﺗﺮﺑﯿﺖ و ﭘﺮورش ﮔﺮوه ﻫﺎی ﻣﺘﺨﺼﺺ ﺑﺮای ﭘﺮوژه ﻫﺎی آﺗﯽ را ﻓﺮاﻫﻢ  آورد. http://journal.richt.ir/kcr/article-1-303-fa.pdf 2019-03-20 22 30 پاتین آﺛﺎر ﺑﺮﻧﺰی تاریخی ﺧﻮردﮔﯽ ارزشﻫﺎ اﺻﻮل و ﻣﺒﺎﻧﯽ ﻧﻈﺮی ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ تزئینات ﻣﻌﻤﺎری مدیریت ﻣﺸﺎرﮐتی ﺑﻨﺎﻫﺎی تاریخی. Modern management has increasingly attracted the attention of executive and organizational systems in recent decades. The application of its key components, such as systems thinking, contingency decision-making, the importance of leadership and effectiveness, goal and strategy setting, motivation, and self-regulation, constitutes part of the success factors for today’s human resource managers. Preservation, restoration, and protection of historical buildings are among the fundamental objectives in the field of cultural heritage. This descriptive–survey study, conducted through a qualitative–analytical method and based on the author’s field experience in supervising 25 projects on the conservation, restoration, and documentation of architectural decorations in historical buildings across Khorasan Razavi province between 2007 and 2016, demonstrates that restoration teams are often composed of academic experts, traditional craftsmen, or a blend of related competencies, each possessing a unique insight and professional commitment to the authenticity of the buildings. Managers who identify the most qualified individuals and adopt a participatory management approach not only achieve better outcomes in the given projects but also ensure job satisfaction, productivity, synergy, and the professional growth of their teams. Furthermore, they establish sustainable career paths and create opportunities to train and nurture skilled groups for future specialized projects. http://journal.richt.ir/kcr/article-1-303-en.pdf 2019-03-20 22 30 Conservation and Restoration Architectural Decorations Participatory Management Historical Monuments. Mozhgan Mousazadeh mosazadehm@yahoo.com , acckhr2017@gmail.com 1 Supervisor of Architectural Decorations in Historical Monuments of Khorasan Razavi, Mashhad, Iran. AUTHOR

REVIEW_ARTICLE از دیرﺑﺎز ﺗﺎ ﮐﻨﻮن ﻣﻮﺿﻮع ﺛﺒﺖ در ﺣﻮزه ﻫﺎی ﻣﺨﺘﻠﻒ زﻧﺪﮔﯽ، ﻫﻤﻮاره ﺑﺎ ﺑﺸﺮ ﻫﻤﺮاه ﺑﻮده اﺳﺖ. ﺛﺒﺖ ﻣﻮﺿﻮﻋﯽ ﻓﺮﻫﻨﮕﯽ اﺳﺖ و ﺑﺎزﺗﺎب ﻋﺮﺻﻪ ﻫﺎی ﻣﺨﺘﻠﻒ ﻓﺮﻫﻨﮕﯽ ﺑﺸﺮ ﻣﺤﺴﻮب ﻣﯽﺷﻮد. هر اﺛﺮی ﮐﻪ از ﮔﺬﺷﺘﻪ از اﻧﺴﺎن ﺑﻪ ﺟﺎی ﻣﺎﻧﺪه، ﭼﻪ آﻧﮕﺎه ﺑﻪ ﺻﻮرت تصویر ﺑﻮده و یا ﺑﻪ ﺷﮑﻞ ﺧﻂ خودنمایی ﮐﺮده، ﺟﻬﺎﻧﯽ از اﻃﻼﻋﺎت و داﻧﺶ ﻣﺎدی و ﻣﻌﻨﻮی را ﻣﺎﻧﻨﺪ آﺋﯿﻨﻪ‌ای ﺻﺎدق بی‌هیچ ﺗﻈﺎﻫﺮ و ﻧﻘﺼﯽ، ﻣﻨﻌﮑﺲ و روﺷﻦ ﻣﯽﺳﺎزد. ﺷﺎﺧﺼﻪ ﺗﻤﺎم ﻣﻮﺿﻮﻋﺎت ﺛﺒﺖ ﺷﺪه در طول تاریخ «ارزش و اﻫﻤﯿﺖ  آن‌ﻫﺎ» ﺑﻪ ﺟﻬﺖ ﻣﺎﻧﺪﮔﺎری بیشتر و اﻧﺘﻘﺎل ﺑﻪ ادوار ﭘﯿﺶِ روی ﺧﻮد ﺑﻮده اﺳﺖ و این اﻧﺘﻘﺎلِ ارزش ﺑﻪ آیندگان اﻣﺮوزه نیز اداﻣﻪ دارد. در ﺣﻮزه ﻣﯿﺮاث ﻓﺮﻫﻨگی ﺣﻔﺎﻇﺖ از ﺑﻨﺎﻫﺎ و ﺷﻬﺮﻫﺎی تاریخی، ﻣﻮﺿﻮع ﺛﺒﺖ ﺑﺴﯿﺎر ﭘﺮارزش و ﺑﺎ اﻫﻤﯿﺖ اﺳﺖ. نکته ﻗﺎﺑﻞ ﺗﻮﺟﻪ در این ﺣﻮزه، ﻣﻮﺿﻮﻋﯿﺖ ﺛﺒﺖِ دوﺑﺎره ارزشﻫﺎﺳﺖ. ﭼﺮا ﮐﻪ اﺛﺮ ﻣﺎدی یا ﻣﻌﻨﻮی ﺛﺒﺖ ﺷﺪه در دوران آفرینش را، دوﺑﺎره ﺑﻪ ﺛﺒﺖ ﻣﯽرﺳﺎﻧﯿﻢ ﺗﺎ ﺣﻔﺎﻇﺖ ﺷﻮد و ﻣﻮرد حمایت ﻗﺎﻧﻮنی و ﺗﻮﺟﻪ ﻫﻤﮕﺎنی و از ﻫﻤﻪ ﻣﻬﻢ ﺗﺮ در فرایند ﺗﻮﺳﻌﻪ پایدار ﻗﺮار ﮔﯿﺮد و ﺑﻪ آیندگان ﺳﭙﺮده ﺷﻮد. این ﻣﻘﺎﻟﻪ ﮐﻪ ﺣﺎﺻﻞ ﻣﺸﺎﻫﺪات عینی و ﻣﻄﺎﻟﻌﺎت ﮐﺘﺎﺑﺨﺎﻧﻪای و اﺳﻨﺎدی اﺳﺖ، ﺑﻪ ﺻﻮرت تحلیلی- توصیفی ﺑﻪ ﺗﺸﺮیح این ﻣﻮﺿﻮع ﻣﯽﭘﺮدازد ﮐﻪ ﻣﺎﻫﯿﺖ و اﻫﻤﯿﺖ ﺛﺒﺖ ﭼﯿﺴﺖ و ارﺗﺒﺎط ﺛﺒﺖ ﺑﺎ ارزش، ﺣﻔﺎﻇﺖ و ﺗﻮﺳﻌﻪ پایدار ﭼﮕﻮﻧﻪ تعریف ﻣﯽﺷﻮد. ﺑﺮرﺳﯽ  ﻧﻘﺶ ﺛﺒﺖ در ﺣﻔﺎﻇﺖ از ارزشﻫﺎی میراث فرهنگی و جایگاه آن در فرآیند ﺗﻮﺳﻌﻪ پایدار از دیگر اﻫﺪاف این ﻣﻘﺎﻟﻪ اﺳﺖ.  http://journal.richt.ir/kcr/article-1-304-fa.pdf 2019-03-20 31 37 ﺛﺒﺖ ارزش‌های ﻓﺮهنگی ﺣﻔﺎﻇﺖ ﺗﻮﺳﻌﻪ پایدار میراث فرهنگی. Since ancient times, the issue of registration in various areas of life has always been with mankind. Registration is a cultural issue and is considered a reflection of various cultural areas of mankind. Every work left by man in the past, whether it was in the form of an image or a line, reflects and illuminates a world of material and spiritual information and knowledge like an honest mirror without any pretense or imperfection. The characteristic of all registered subjects throughout history has been their "value and importance" for greater permanence and transmission to the periods ahead of them, and this transfer of value to future generations continues today. In the field of cultural heritage and the protection of historical buildings and cities, the issue of registration is very valuable and important. A noteworthy point in this field is the relevance of re-registration of values. Because we re-register the material or spiritual work registered during the creation period so that it is protected and subject to legal protection and public attention, and most importantly, in the process of sustainable development and handed down to future generations. This article, which is the result of objective observations and library and document studies, describes in an analytical-descriptive manner the nature and importance of registration and how the relationship between registration and value, conservation, and sustainable development is defined. Another goal of this article is to examine the role of registration in the protection of cultural heritage values and its place in the sustainable development process. http://journal.richt.ir/kcr/article-1-304-en.pdf 2019-03-20 31 37 Registration cultural values protection sustainable development cultural heritage. Abdullah Nasrollahi abdollahnasrollahi@yahoo.com 1 University Lecturer, Young Researchers and Elites Club, Robat Karim Branch, Islamic Azad University, Iran. AUTHOR

OTHERS_CITABLE گسترش داﻣﻨﻪ  اﻧﺪیﺸﻪ ﻫﺎ و ﻧﯿﺰ ﻣﺒﺎﺣﺚ ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ، ﺑﻪ ﻋﻨﻮان زﻣﯿﻨﻪ ای ﻣﯿﺎن ﺑﺨﺸﯽ، در دﻧﯿﺎی اﻣﺮوز ﻫﻤﺎﻫﻨﮓ ﺑﺎ روﻧﺪ رﺷﺪ ﻋﻠﻢ در ﺳﺎیﺮ ﺷﺎﺧﻪ ﻫﺎ و زﻣﯿﻨﻪ ﻫﺎﺳﺖ. ایﻦ ﺣﺮﮐﺖ و ﺟﺮیﺎن ﺑﺎﻋﺚ ﻣﯽ ﺷﻮد ﺗﺎ ﻫﺮ روز ﻣﻘﻮﻟﻪ ﻫﺎ و ﻣﻔﺎﻫﯿﻢ ﺟﺪیﺪی ﺑﻪ ﻣﺒﺎﻧﯽ ﻧﻈﺮی و ادﺑﯿﺎت ایﻦ ﺣﻮزه وارد ﺷﻮد. زایﺶ اﻧﺪیﺸﻪ ﻫﺎ و ﻣﻔﺎﻫﯿﻢ ﺟﺪیﺪ ﺧﻮد ﺑﺎﻋﺚ دﮔﺮﮔﻮﻧﯽ ﻧﮕﺎه ﺑﻪ ﻣﺴﺎﺋﻠﯽ ﻣﯽ ﺷﻮد ﮐﻪ ﺗﺎ ﭘﯿﺶ از ایﻦ ﺑﻪ  ﻧﻈﺮ ﺑﺪیﻬﯽ و ﺑﺪون ﺗﻐﯿﯿﺮ ﻣﯽ رﺳﯿﺪ. طبیعت ﺣﺮﮐﺖ ﺑﻪ ﺳﻮی ﮔﺴﺘﺮش ﻣﺮزﻫﺎی اﻧﺪیﺸﻪ و ﻣﻼﺣﻈﺎت در ﻋﻠﻢ ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ، ﻣﻮﺟﺐ ﺑﻪ وﺟﻮد آﻣﺪن دیﺪﮔﺎه ﻫﺎ و ﻧﯿﺰ ﻃﺮح ﻣﺴﺎﺋﻠﯽ ﺟﺪیﺪ ﻣﯽ ﺷﻮد ﮐﻪ ﺑﻪ ﻧﻮﺑﻪ ﺧﻮد ﻣﯽ ﺗﻮاﻧﺪ ﺑﺮ ﻗﻀﺎوت و ارزیﺎﺑﯽ اﻗﺪاﻣﺎت ﻃﺮاﺣﯽ ﺷﺪ اﻧﺠﺎم ﮔﺮﻓﺘﻪ ﻣﻮﺛﺮ ﺑﺎﺷﺪ.  ﻣﻄﺎﻟﻌﻪ و ﺗﻔﮑﺮ در اﻧﺪیﺸﻪ ﻫﺎ و دیﺪﮔﺎه ﻫﺎی ﺟﺪیﺪ ﻣﻄﺮح ﺷﺪه در ﺣﻮزه ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ اﺷﯿﺎء تاریخی- فرهنگی، ﺧﻸ ﺑﺰرﮔﯽ را در ﻣﺠﻤﻮﻋﻪ آﮔﺎﻫﯽ ﻫﺎ و داﻧﺶ ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ ﮐﺸﻮر در ﺧﺼﻮص راﺑﻄﻪ ﺑﯿﻦ ﻣﺨﺎﻃﺐ و ﻣﺮﻣﺘﮕﺮ ﻧﺸﺎن ﻣﯽ دﻫﺪ ﮐﻪ ﻋﺎﻣﻞ اﺻﻠﯽ اﻧﺘﺨﺎب و ﭘﺮداﺧﺘﻦ به موضوع ﻣﻘﺎﻟﻪ ﺣﺎﺿﺮ ﺷﺪ. از ﻃﺮﻓﯽ، ﺑﺮﺧﯽ ﺑﻪ ایﻦ ﻧﮑﺘﻪ اﺷﺎره ﮐﺮده اﻧﺪ ﮐﻪ ﺳﺎﺧﺖ ﻣﺨﺎﻃﺐ، یﮏ ﺑﺎر ﺑﺮای ﻫﻤﯿﺸﻪ ﻧﯿﺴﺖ. ﻣﺨﺎﻃﺐ ﻫﻤﻮاره در ﻣﻌﺮض از دﺳﺖ رﻓﺘﻦ و ﺑﻪ  دﺳﺖ آﻣﺪن اﺳﺖ و در ﻧﺘﯿﺠﻪ راﺑﻄﻪ ای مستقیم و پایدار میان ﻫﻨﺮﻣﻨﺪ و ﻣﺨﺎﻃﺒﺎﻧﺶ ﺿﺮوری اﺳﺖ. ﺑﺎ ﺳﻨﺠﺶ هریک از این ﻋﻮاﻣﻞ در ایران، ﺑﺎ ﮐﺎﺳﺘﯽﻫﺎی ﻓﺮایﻨﺪ ﻣﺨﺎﻃﺐ ﺳﺎزی ﺧﺼﻮﺻﺎً در زمینه میراث فرهنگی مواجه می‌شویم. http://journal.richt.ir/kcr/article-1-305-fa.pdf 2019-03-20 38 47 ﻣﺮﻣﺘﮕﺮ ﻣﺨﺎﻃﺐ ﺣﻔﺎﻇﺖ ﺧﻮاﻧﺶ اﺛﺮ ﻫﻨﺮی. The expansion of the scope of ideas and discussions of conservation and restoration, as an interdisciplinary field, in today's world is in harmony with the growth of science in other branches and fields. This movement and flow cause new categories and concepts to enter the theoretical foundations and literature of this field every day. The birth of new ideas and concepts itself causes a change in the view of issues that previously seemed obvious and unchanged. The nature of the movement towards expanding the boundaries of thought and considerations in the science of conservation and restoration leads to the emergence of new perspectives and the proposal of new issues that, in turn, can be effective in judging and evaluating the measures designed and carried out. Studying and reflecting on the new ideas and perspectives raised in the field of conservation and restoration of historical-cultural objects shows a large gap in the country's collection of awareness and knowledge of conservation and restoration regarding the relationship between the audience and the restorer, which was the main factor in choosing and addressing the subject of the present article. On the other hand, some have pointed out that building an audience is not a one-time thing. An audience is always subject to loss and gain, and as a result, a direct and lasting relationship between the artist and his audience is essential. By measuring each of these factors in Iran, we encounter shortcomings in the audience-building process, especially in the field of cultural heritage. http://journal.richt.ir/kcr/article-1-305-en.pdf 2019-03-20 38 47 Conservator audience conservation reading of the work of art. Gholamreza Rahmani r.rahmani71@gmail.com 1 Assistant Professor, Research Institute of Cultural Heritage and Tourism (RICHT), Iran. AUTHOR Behnam Pedram 2 Faculty Member, Isfahan University of Art, Iran. AUTHOR Mehdi Hosseini 3 Faculty Member, Tehran University of Art, Iran. AUTHOR

OTHERS_CITABLE ﺧﺎﻧﻘﺎه ﺳﻠﻄﺎن ابراهیم ﺧﺮﻣﺒﯿﺪ از یادﮔﺎرﻫﺎی ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮد دوره ﺗﯿﻤﻮری اﺳﺖ. این ﺑﻨﺎ ﺗﺰﺋﯿﻨﺎت ﻧﻔﯿﺴﯽ از ﻧﻮع ﮔﭽﺒﺮی، ﺗﺰﺋﯿﻨﺎت ﺗﺮﮐﯿﺒﯽ ﺳﻨﮓ و ﮐﺎﺷﯽ و ﮐﺎﺷﯽ ﻣﻌﺮق دارد. ﺑﻨﺎ دارای گنبدخانه ﻣﺮﮐﺰی اﺳﺖ ﮐﻪ ﮔﻨﺒﺪ آن ﺑﺮ اﺛﺮ زﻟﺰﻟﻪ ﺗﻘﺮیباً ﺑﻪ ﻃﻮر ﮐﺎﻣﻞ ﻓﺮو ریخته و ﺗﻨﻬﺎ ﺑﺨﺶ اﻧﺪﮐﯽ از آن ﺑﺎﻗﯽ ﻣﺎﻧﺪه اﺳﺖ. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺷﺮایط اﻗﻠﯿﻤﯽ، اﻧﺘﻈﺎر ﻣﺨﺎﻃﺒﺎن ﻋﻤﻮﻣﯽ و ﺣﻔﺎﻇﺖ ﺗﺰﺋﯿﻨﺎت، ﻧﯿﺎز ﺑﻪ ﺑﺎزﺳﺎزی ﮔﻨﺒﺪ اﺣﺴﺎس ﻣﯽﺷﻮد. در ﺑﺎزﺳﺎزی ﮔﻨﺒﺪ موانعی ﻫﻤﭽﻮن ﺿﻌﻒ ﺳﺎزه ﻣﻮﺟﻮد، ﻧﻮع ﺳﺎزه ﺟﻬﺖ ﺑﺎزﺳﺎزی و ﺳﺒﮏ ﮔﻨﺒﺪ وﺟﻮد دارد. در این ﭘﮋوﻫﺶ، ﺳﻪ شیوه ﺑﺮای ﺑﺎزﺳﺎزی ﮔﻨﺒﺪ پیشنهاد ﺷﺪه اﺳﺖ: اﺟﺮای ﮔﻨﺒﺪ ﺑﺎ آﺟﺮ و اﺟﺮای رینگ ﭼﻮب در ﭘﺎﮐﺎر ﻃﺎق، اﺟﺮای ﺳﺎزه ﺗﺮﮐﯿﺒﯽ ﻓﻠﺰی و آﺟﺮی، اﺟﺮای ﮔﻨﺒﺪ ﺑﺎ ﺳﺎزه ﭼﻮﺑﯽ. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اینکه ﺣﺠﻢ ﮐﻤﯽ از ﮔﻨﺒﺪ ﺑﺎﻗﯽ ﻣﺎﻧﺪه و از ﻃﺮﻓﯽ ﺣﻔﻆ ﺗﺰﺋﯿﻨﺎت ﺣﺎﺋﺰ اﻫﻤﯿﺖ اﺳﺖ، اﺟﺮای ﮔﻨﺒﺪ ﺑﺎ ﺳﺎز ﺳﺒﮏ (ﻣﻮرد آﺧﺮ) ﭘﯿﺸﻨﻬﺎد ﻣﯽ‌ﺷﻮد. http://journal.richt.ir/kcr/article-1-306-fa.pdf 2019-03-20 48 57 ﺑﺎزﺳﺎزی ﮔﻨﺒﺪ ﺧﺎﻧﻘﺎه ﺳﻠﻄﺎن ابراهیم ﺳﺎزه چوبی. Khanqah of Sultan Ibrahim Khorrambid is a unique relic of the Timurid period. This building has exquisite stucco decorations, combined stone and tile decorations, and mosaic tiles. The building has a central domed chamber (gonbadkhaneh), the dome of which almost completely collapsed due to the earthquake and only a small part of it remains. Considering the climatic conditions, public expectations, and the need to preserve the decorative elements, reconstruction of the dome is deemed necessary. In the reconstruction of the dome, there are obstacles such as the weakness of the existing structure, the type of structure to be reconstructed, and the style of the dome. In this study, three methods for reconstructing the dome have been proposed: constructing the dome with bricks and implementing a wooden ring in the arch, implementing a combined metal and brick structure, and implementing the dome with a wooden structure. Considering that a small volume of the dome remains and on the other hand, preserving the decorations is important, implementing the dome with a light structure (the last case) is suggested. http://journal.richt.ir/kcr/article-1-306-en.pdf 2019-03-20 48 57 Reconstruction Dome Khanqah of Sultan Ibrahim Wooden Structure. Ehsan Rad raadehsan@gmail.com 1 Master of Architecture, Islamic Azad University, Yazd Branch, Iran. AUTHOR

REVIEW_ARTICLE  ﮐﺎوش‌های ﺑﺎﺳﺘﺎنﺷﻨﺎسی ﻣﺤﻮﻃﻪ تاریخی ﻫﻔﺖ ﺗﭙﻪ در زﻣﺴﺘﺎن 1344 خورشیدی به ﺳﺮﭘﺮﺳﺘﯽ دﮐﺘﺮ ﻧﮕﻬﺒﺎن آﻏﺎز ﺷﺪ و ﻃﯽ 14 ﻓﺼﻞ، ﺗﺎ ﺳﺎل 1357 اداﻣﻪ یافت. این ﺣﻔﺎریﻫﺎ ﺑﻪ ﮐﺸﻒ ﻣﺠﻤﻮﻋﻪای ارزﺷﻤﻨﺪ از آﺛﺎر ﻣﻌﻤﺎری و اﺷﯿﺎی ﻣﺘﻨﻮع تاریخی اﻧﺠﺎﻣﯿﺪ. از ﺟﻤﻠﻪ یافتهﻫﺎ ﻣﯽﺗﻮان ﺑﻪ ﮔﻮﻧﻪﻫﺎی ﻣﺨﺘﻠﻒ ﻇﺮوف و اﺷﯿﺎی ﺳﻔﺎﻟﯽ، ﻣﺠﻤﻮﻋﻪای از ﮔﻞ ﻧﺒﺸﺘﻪﻫﺎ، ﻣﻬﺮﻫﺎ و اﺛﺮ ﻣﻬﺮﻫﺎ، اﻧﻮاع اﺷﯿﺎی ﻣﻔﺮﻏﯽ، ﻗﻄﻌﺎت ﻣﺘﻌﺪد اﻧﺪودﻫﺎی ﮔﻠﯽ ﻣﻨﻘﻮش، ﺗﺎﺑﻮت ﻫﺎ، اﺷﯿﺎی ﺳﻨﮕﯽ، ﺳﺮدیسﻫﺎی ﮔﻠﯽ و ﻧﯿﺰ اﺷﯿﺎی تزئینی ﻫﻤﭽﻮن ﮔﺮدﻧﺒﻨﺪ، ﭘﻼکﻫﺎ، ﻇﺮوف ﺷﯿﺸﻪای و اﺑﺰار اﺳﺘﺨﻮاﻧﯽ اﺷﺎره ﮐﺮد. ﺑﺨﺶ ﻣﻬﻤﯽ از این آﺛﺎر اﻣﺮوزه در ﻣﻮزه ﻫﻔﺖ ﺗﭙﻪ ﻧﮕﻬﺪاری ﻣﯽﺷﻮد. در ﭘﯽ ﺣﺠﻢ و اﻫﻤﯿﺖ اﺷﯿﺎی ﻣﮑﺸﻮﻓﻪ، ایده ﺗﺄﺳﯿﺲ ﻣﻮزه‌ای در ﺟﻮار ﻣﺤﻮﻃﻪ ﺑﺎﺳﺘﺎﻧﯽ در ﻓﺼﻞ دوم ﮐﺎوشﻫﺎ ﻣﻄﺮح گردید. ﺳﺎﺧﺖ این ﻣﻮزه از ﺳﺎل 1349 آﻏﺎز و ﭘﺲ از ﺗﮑﻤﯿﻞ ﺑﻨﺎ، در ﺑﻬﺎر 1352 اﻓﺘﺘﺎح ﺷﺪ. ﺑﺎ ﺷﺮوع ﺟﻨﮓ ﺗﺤﻤﯿﻠﯽ در ﺳﺎل 1359، ﻣﻮزه ﺗﻌﻄﯿﻞ و ﺑﺨﺸﯽ از اﺷﯿﺎی ﺷﺎﺧﺺ آن ﺑﻪ ﺗﻬﺮان ﻣﻨﺘﻘﻞ ﺷﺪ، در ﺣﺎﻟﯽ ﮐﻪ دیگر آﺛﺎر در ﻣﺤﻞ ﺑﺎﻗﯽ ﻣﺎﻧﺪ. در ﺑﻬﺎر 1380، ﻓﻌﺎﻟﯿﺖﻫﺎی ﭘﮋوﻫﺸﯽ و ﺣﻔﺎﻇﺘﯽ در ﭼﺎرﭼﻮب پایگاه ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ ﭼﻐﺎزﻧﺒﯿﻞ – ﻫﻔﺖ ﺗﭙﻪ از ﺳﺮ ﮔﺮﻓﺘﻪ ﺷﺪ. ﻧﺨﺴﺘﯿﻦ اﻗﺪام بنیادین در این دوره، ﺳﺎﻣﺎن‌دﻫﯽ وﺿﻌﯿﺖ ﻧﮕﻬﺪاری اﺷﯿﺎی ﻣﻮزه ﺑﻮد ﮐﻪ ﺑﺎ ﻫﻤﮑﺎری ﮔﺮوﻫﯽ از داﻧﺸﺠﻮیان رﺷﺘﻪ ﺣﻔﺎﻇﺖ و ﻣﺮﻣﺖ داﻧﺸﮕﺎه ﻫﻨﺮ اﺻﻔﻬﺎن ﺻﻮرت ﭘﺬیرﻓﺖ. ﻃﯽ این فرآیند، آﺛﺎر ﭘﺮاﮐﻨﺪه ﮐﻪ ﭘﯿﺶﺗﺮ در ﺷﺮایطی ﻧﺎﻣﻨﺎﺳﺐ ﻧﮕﻬﺪاری ﻣﯽﺷﺪﻧﺪ، ﮔﺮدآوری، ﻃﺒﻘﻪﺑﻨﺪی، ﺛﺒﺖ، ﻣﺴﺘﻨﺪﺳﺎزی و در نهایت ﺑﻪ ﮔﻮﻧﻪای ﻣﻨﻈﻢ و شایسته ﺳﺎﻣﺎن‌دﻫﯽ ﺷﺪﻧﺪ. این اﻗﺪام زﻣﯿﻨﻪای اﺳﺎﺳﯽ ﺑﺮای ﺣﻔﺎﻇﺖ و ﺻﯿﺎﻧﺖ پایدار از ﻣﯿﺮاث ارزﺷﻤﻨﺪ ﻫﻔﺖ ﺗﭙﻪ فراهم آورد. http://journal.richt.ir/kcr/article-1-307-fa.pdf 2019-03-20 58 71 ﻣﻮزه ﻫﻔﺖ ﺗﭙﻪ ﺳﺎﻣﺎﻧﺪﻫﯽ ﻇﺮوف ﺳﻔﺎﻟﯽ ﮔﻞ ﻧﻮﺷﺘﻪ ﭘﯿﮑﺮکﻫﺎی ﺳﻔﺎﻟﯿﻦ اﺷﯿﺎی ﻣﻔﺮﻏﯽ اﻧﺪودﻫﺎی ﮔﻠﯽ منقوش. Archaeological excavations at the ancient site of Haft-Tepe commenced in the winter of 1965 under the direction of Dr. Negahban and continued for fourteen seasons until 1978. These excavations led to the discovery of a significant assemblage of architectural remains and diverse historical artefacts. Among the finds were various ceramic vessels and objects, a collection of clay tablets, seals and seal impressions, a range of bronze artefacts, numerous fragments of painted mud plaster, coffins, stone objects, clay busts, as well as decorative items such as necklaces, plaques, glass vessels, and bone tools. A considerable portion of these artefacts is today preserved in the Haft-Tepe Museum. In response to the quantity and importance of the discoveries, the idea of establishing a museum adjacent to the archaeological site was raised during the second season of excavations. Construction began in 1970 and, upon completion, the museum was inaugurated in the spring of 1973. With the outbreak of the Iran–Iraq War in 1980, the museum was closed; part of its prominent collection was transferred to Tehran, while other objects remained in situ. In the spring of 2001, research and conservation activities were resumed under the auspices of the Chogha Zanbil - Haft Tepe Cultural Heritage Base. One of the first major undertakings during this period was the reorganisation of the museum’s collection, carried out in collaboration with graduate students of conservation from the University of Art, Esfahan. In this process, artefacts that had previously been kept in unsuitable and scattered conditions were collected, classified, recorded, documented, and systematically arranged. This initiative laid a crucial foundation for the long-term preservation and safeguarding of the invaluable heritage of Haft-Tepe. http://journal.richt.ir/kcr/article-1-307-en.pdf 2019-03-20 58 71 Haft-Tepe Museum Organisation Pottery Tablets Terracotta Figurines Bronze Objects Painted Mud Plaster. Hamid Fadaei hfadaii@yahoo.com 1 Faculty Member, Research Centre for Conservation of Cultural Relics, Research Institute of Cultural Heritage and Tourism, Tehran, Iran. AUTHOR Majid Ayasi 2 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Parisa Babar Shams Mogouei 3 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Masoud Bater 4 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Kazem Borhani-Ahang 5 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Elahe Khakbaz Alvandian 6 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Mohammad-Saeid Saedi 7 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Roozbeh Shamseh 8 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Reza Sheykh-al-Eslami 9 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Majid Oloumi 10 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Mahdi Koliaei 11 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Nahid Harati-Ardestani 12 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Reza Hormehr 13 M.A. in Conservation of Cultural and Historical Properties, Art University of Isfahan, Iran. AUTHOR Soheila Zakavi 14 Chemist, World Heritage Base of Chogha Zanbil and Haft Tepe, Khuzestan, Iran. AUTHOR