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Showing 3 results for Conservation and Restoration
Narjes Zamani, Hossein Ahmadi,
year 5, Issue 18 (3-2022)
year 5, Issue 18 (3-2022)
Abstract
Abstract
Chehelsotoun Palace has always been a source of traditional and new interventions in the restoration of murals, which indicates the evolution of views on this issue in Iran. This study aims to understand the evolution of conservation and restoration approaches to murals by referring to the tradition of previous repairs and new approaches to conservation and restoration has studied murals in Chehelsotoun Palace and has sought to answer these questions: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning. The research findings indicate that the previous repairs were performed in the form of repainting on the original murals, in the continuation of the life of Iranian Traditional Paintings. Such repainting, while following the visual elements of the original murals, also has different expressions from the artist in charge of the repair, which was rooted in the tradition of previous mural repairs and their contexts. New approaches were based on historical authenticity and aesthetic integrity, and led to the removal of some of the stages of mural development and reintegrated of the lacunas with a distinction from the original murals. The aesthetic and historiographical approaches of the West were the source of the differences between the new interventions and the semantic procedures of traditional repair which always focused on the nature of things.
Keywords: Repair Tradition, Conservation and Restoration Approaches, Mural, Chehelsotoun, IsMEO Group.
Introduction
In recent years, the need to pay attention to the tradition of indigenous conservation in accordance with the specific cultural, intellectual, religious, historical and social contexts of each land; has been considered by international forums. In Iran, there are still many points about the tradition of heritage protection and repair that need researched and will cause to be known, like Western societies, the origins and evolution of views, procedures and approaches in the field of conservation and restoration in Iran. Chehelsotoun Palace murals have always been the subject of a variety of interventions, from previous repairs to new conservation and restoration approaches that became common in the mid-1940s. Today, only a few traces of the previous procedures of repairing murals in Iran have been left. In particular, the undesirable evaluation of traditional repair procedures has left no opportunity for their recognition. While in international treaties and documents have always been emphasized the importance of indigenous conservation traditions in each region and the role of recognizing these traditions as an intangible aspect of heritage in its preservation has been considered important. On the other hand, despite the continuation of many new approaches to the conservation and restoration of murals those took place in the mid-1940s; their constructive principles and criteria, and how they deal with previous procedures, have not been studied. This study will also explore the tradition of previous repairs to some of Chehelsotoun murals and how they were transformed into new conservation principles.
The aim of the present study is to gain an understanding of the tradition of previous repairs and the foundations of new approaches to conservation and restoration in Chehelsotoun murals, and finally an analytical cognition of how they differ from each other.
In conducting the research, the following questions were considered: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning.
Discussion
In previous procedures, the purpose of the artist in charge of repair was to Continuing the spiritual dimension of the heritage. The artist performed traditional repairs according to the moral, intellectual and spiritual functions that traditional art had given him. Such repairs to the murals in question took the form of repainting performed by the artist directly on the original mural. These repainting, while having visual elements and general similarities with the original murals, also displayed different expressions from the artist in charge of the repair. The traditional repairs in imitation of the original murals, along with different expressions from the artist in charge of the repair, were a kind of mimesis of the original murals, as a representation of the original mural through the wishes, thoughts and ideology of the artist in charge of the repair. Also, the process of traditional repairs of murals had a hierarchy in the tradition of teaching art techniques. Such repairs, in the midst of the prevalence of the eclectic style of Qajar painting and then the abandonment of past traditions and covenants, were a kind of revival of the themes and features of traditional painting in the form of murals.
Restoring the Safavid identity and recovering the older layers of the murals was one of the main approaches of the new currents of conservation and restoration in Chehelsotoun Palace, As the IsMEO group seldom left evidence of traditional repairs on murals. IsMEO also used a system recognizable of distinct restorative additions to older sections in order to avoid misleading restoration operations in addition to establishing aesthetic integrity. Following the emphasis on preserving all the remains of the surviving murals from the Safavid period, the treatment of the murals with strategies resulting from the application of science gained a lot of importance. Thus, the use of new materials to help materials that no longer had the desired function, found a new place in the conservation and restoration of murals in Iran. It should be noted, however, that with the exception of a few experiments, the results of an accurate assessment of the compatibility between such solutions and the main materials of the murals and the traditional methods of their construction have not been published by IsMEO.
Conclusion
The new approaches to the preservation and restoration of the murals discussed at Chehelsotoun were based on an assessment of the aesthetic and historical aspects of the murals. IsMEO’s methods for reintegrating the lacunas of murals were also linked to the two fundamental categories of the historical authenticity and artistic integrity of murals. Aesthetic approaches in the new currents of conservation and restoration, derived from the perspective of art for art and beauty in a pleasant and enjoyable sense. Following this view; Attention to the main intention of the artist, and subjectivity, found a special place in many approaches to conservation and restoration. In contrast, traditional repairs were semantic in nature rather than aesthetic in appearance. Previous procedures were subject to spiritual concepts and also used visual values to express spiritual and epistemological expressions.
Emphasis on the historical authenticity in new currents was another way of distinguishing it from previous procedures. This view arose following the disintegration of Western societies from the past and the formation of historical consciousness, and forbade the process of re-creation and competition with the original artist in restoration. But in contrast to the new approaches focused on the nature of things and their semantic and epistemological aspects, they were independent of the time and place of the phenomena.
Chehelsotoun Palace has always been a source of traditional and new interventions in the restoration of murals, which indicates the evolution of views on this issue in Iran. This study aims to understand the evolution of conservation and restoration approaches to murals by referring to the tradition of previous repairs and new approaches to conservation and restoration has studied murals in Chehelsotoun Palace and has sought to answer these questions: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning. The research findings indicate that the previous repairs were performed in the form of repainting on the original murals, in the continuation of the life of Iranian Traditional Paintings. Such repainting, while following the visual elements of the original murals, also has different expressions from the artist in charge of the repair, which was rooted in the tradition of previous mural repairs and their contexts. New approaches were based on historical authenticity and aesthetic integrity, and led to the removal of some of the stages of mural development and reintegrated of the lacunas with a distinction from the original murals. The aesthetic and historiographical approaches of the West were the source of the differences between the new interventions and the semantic procedures of traditional repair which always focused on the nature of things.
Keywords: Repair Tradition, Conservation and Restoration Approaches, Mural, Chehelsotoun, IsMEO Group.
Introduction
In recent years, the need to pay attention to the tradition of indigenous conservation in accordance with the specific cultural, intellectual, religious, historical and social contexts of each land; has been considered by international forums. In Iran, there are still many points about the tradition of heritage protection and repair that need researched and will cause to be known, like Western societies, the origins and evolution of views, procedures and approaches in the field of conservation and restoration in Iran. Chehelsotoun Palace murals have always been the subject of a variety of interventions, from previous repairs to new conservation and restoration approaches that became common in the mid-1940s. Today, only a few traces of the previous procedures of repairing murals in Iran have been left. In particular, the undesirable evaluation of traditional repair procedures has left no opportunity for their recognition. While in international treaties and documents have always been emphasized the importance of indigenous conservation traditions in each region and the role of recognizing these traditions as an intangible aspect of heritage in its preservation has been considered important. On the other hand, despite the continuation of many new approaches to the conservation and restoration of murals those took place in the mid-1940s; their constructive principles and criteria, and how they deal with previous procedures, have not been studied. This study will also explore the tradition of previous repairs to some of Chehelsotoun murals and how they were transformed into new conservation principles.
The aim of the present study is to gain an understanding of the tradition of previous repairs and the foundations of new approaches to conservation and restoration in Chehelsotoun murals, and finally an analytical cognition of how they differ from each other.
In conducting the research, the following questions were considered: What were the procedures of the previous repair tradition? What were the new approaches to the conservation and restoration of murals and their fundamentals? What were the differences between the two? Data collection was done by documentary method. First, by adopting a comparative and descriptive method, the previous repairs will be examined. Then, the research, which has a qualitative and interpretive approach, uses an analytical method to explain the issues about the tradition of previous repairs and the fundamentals of new approaches. In the end, the results will be explained with logical reasoning.
Discussion
In previous procedures, the purpose of the artist in charge of repair was to Continuing the spiritual dimension of the heritage. The artist performed traditional repairs according to the moral, intellectual and spiritual functions that traditional art had given him. Such repairs to the murals in question took the form of repainting performed by the artist directly on the original mural. These repainting, while having visual elements and general similarities with the original murals, also displayed different expressions from the artist in charge of the repair. The traditional repairs in imitation of the original murals, along with different expressions from the artist in charge of the repair, were a kind of mimesis of the original murals, as a representation of the original mural through the wishes, thoughts and ideology of the artist in charge of the repair. Also, the process of traditional repairs of murals had a hierarchy in the tradition of teaching art techniques. Such repairs, in the midst of the prevalence of the eclectic style of Qajar painting and then the abandonment of past traditions and covenants, were a kind of revival of the themes and features of traditional painting in the form of murals.
Restoring the Safavid identity and recovering the older layers of the murals was one of the main approaches of the new currents of conservation and restoration in Chehelsotoun Palace, As the IsMEO group seldom left evidence of traditional repairs on murals. IsMEO also used a system recognizable of distinct restorative additions to older sections in order to avoid misleading restoration operations in addition to establishing aesthetic integrity. Following the emphasis on preserving all the remains of the surviving murals from the Safavid period, the treatment of the murals with strategies resulting from the application of science gained a lot of importance. Thus, the use of new materials to help materials that no longer had the desired function, found a new place in the conservation and restoration of murals in Iran. It should be noted, however, that with the exception of a few experiments, the results of an accurate assessment of the compatibility between such solutions and the main materials of the murals and the traditional methods of their construction have not been published by IsMEO.
Conclusion
The new approaches to the preservation and restoration of the murals discussed at Chehelsotoun were based on an assessment of the aesthetic and historical aspects of the murals. IsMEO’s methods for reintegrating the lacunas of murals were also linked to the two fundamental categories of the historical authenticity and artistic integrity of murals. Aesthetic approaches in the new currents of conservation and restoration, derived from the perspective of art for art and beauty in a pleasant and enjoyable sense. Following this view; Attention to the main intention of the artist, and subjectivity, found a special place in many approaches to conservation and restoration. In contrast, traditional repairs were semantic in nature rather than aesthetic in appearance. Previous procedures were subject to spiritual concepts and also used visual values to express spiritual and epistemological expressions.
Emphasis on the historical authenticity in new currents was another way of distinguishing it from previous procedures. This view arose following the disintegration of Western societies from the past and the formation of historical consciousness, and forbade the process of re-creation and competition with the original artist in restoration. But in contrast to the new approaches focused on the nature of things and their semantic and epistemological aspects, they were independent of the time and place of the phenomena.
hamid-Reza Bakhshandehfard, Soraya Mohammadi, Hooman Bakhshandehfard,
year 7, Issue 24 (8-2023)
year 7, Issue 24 (8-2023)
Abstract
The artifact studied in this paper is a bimetallic sword made of bronze handle and an iron blade, which was excavated from the Tol ancient cemetery, located in Talash city, Gilan province, in 2001 by Mohammad Reza Khaltabari. This research aims to study the technology and pathology of the mentioned object by conducting comparative and archeological studies using the library method, conducting technological studies using the laboratory methods of radiography, metallography, and microstructural observations using a scanning electron microscope (SEM-EDS). The phase analysis of corrosion products was done by X-ray diffraction (XRD), as well as knowing the manufacturing method and identifying the types of damage and corrosion. The result shows that this work belongs to the Iron Age. Also, the tests performed on the two parts of the handle and the blade showed that the material of the iron blade is iron-carbon alloy. The amount of carbon in different parts of the body of blade is not the same and the handle is made of bronze alloy with casting and hammering techniques. It also has a galvanic corrosion effect.
Peymaneh Pornak, Hamid Reza Bakhshandefard, Ali Asghar Noroozi,
year 8, Issue 28 (8-2024)
year 8, Issue 28 (8-2024)
Abstract
Abstract In excavation of the tepe Zaghe the Dam 4-karun,were found different metal objects from middle-Illam.ln this article four metal earrings was studies experimental and analytical. For this purpose use of electron microscopy (SEM-EDS) to identify alloy combination and also microstructure of manufacturing and use of X-ray radiography and Optical Microscopy (OM) to identify construction method and shaping objects. Chemical analysis result show that they made from brass, pure copper, bronze and silver. Microscopic studies showed that the microstructure of the samples including of metallic matrix with sulfide inclusions and lead cells. Brass earrings mading is in the cycle of cold and annealing work and final step in shaping is also cold method. copper and silver earrings are made in alternating cycles of hammering and molding. In the bronze earrings, the presence of dendrites also indicates made from casting method. Also Energy Dispersive X-ray Spectroscopy (XRD), electron microscope (SEM-EDS) and Optical Microscopy (OM) used to identify layers formed. The phenomenon found in the all samples is oxidation. In The copper corrosion samples Copperite and Malachite.Also in the silver sample corrosionlayer, the amount of chlorine and oxygen was increased that made to silver oxide or acanthite. Keywords: Tepe Zaghe The Dam 4-Karun, Late Bronze /Early Iron Age–Second Millennium BC, Metal Earring, Conservation and Restoration. Introduction According to archaeological findings the use of metals in the plateau of Iran and other neighboring areas expands significantly in the second millennium BC. At the end of the second millennium and the beginning of the first millennium BC, using of the metals such as bronze, iron, gold, and silver was common in Iran to making metal objects with different uses. The catchment area of Karun Dam 4 has been subjected to archeological investigation in 2015 so many hills and sites were discovered belonging to the prehistoric, historical and Islamic eras. One of the important works of the dam lake area is the k4-4 area under the ammunition slum, which was explored during to the 1387 and 1388 in two seasons. numerous bronze objects were discovered, that are mainly ornaments. In this research, she studied the technology and pathology of four earrings, including two small hoop earrings, one wide hoop earring, and one pendant earring. The discovery and study of this collection in terms of belonging to small groups (because the uncovered architectural findings show parts of a small village probably it,s a season that housed a small population of nomadic Elamites) and in the oher words, the normal and very influential society of the Middle Elam period. That have less known to exploreing is important. Considering that no independent research has been done on the knowledge of the technology of the metals explored in this province, and most of the investigations are archaeological research, structural study and identification of the composition of the alloy and elements in the microstructure, technology and identification of the manufacturing and objects forming. Objects, pathology and identification of the layers formed on exposed objects by relying on instrumental and laboratory methods can identify a part of the culture and art of the nomadic tribes of the region for us and multiply the importance of studying and protecting historical-cultural artifacts. On the other hand, graves and the objects inside them can be considered as a living image of special moments in the life of past societies, which provides valuable information in the fields of chronology, ethnography, anthropology, social and economic relations, and social classes (Talaee 2011). In order to reach to the above mentioned goals, two main questions 1 - elemental composition, type of alloy and how to make the four earrings in question 2 - the process of destruction and corrosion in the mentioned objects including two small hoop earrings, a wide hoop earring and a hanging earring are raised and In the process of this research, the effort was to reach an answer for them based on the studies conducted. Identified Traces Most of the studies in the catchment area of Karun Dam4 are limited to archaeological studies. This area was investigated by Aliasghar Noruzi, a member of the faculty of the Research Institute of Archaeology, during which many hills and areas belonging to prehistoric, historical and Islamic eras were discovered in 2015. In this survey of the ancient site of the slum, the most important site identified in the catchment area of Karun Dam 4 was introduced, and based on the additional investigations, this site has been expanded nearly one hectare. The excavations of the first chapter were carried out in 13 workshops and 16 boreholes in 12000 m2 areas, that has very significant results. The width of the area, the value and historical-cultural significance of the unearthed immovable works also made the second chapter of the archaeological excavations of the slum area in 2018, in accordance with the dispersion of the works and in order to further study of the historical-cultural remains in the concentrated parts.Brief reasherches have been done to Regarding the anthropology of the mentioned region and the archaeological evidences of the Elam period in the upper Karun basin, which cannot be mentioned due to the limited space (Norouzi, 2007). Different studies done by many domestic and foreign researchers technological and pathological it has been done on metal objects with different methods that has different results. As it was said in spite of that there have been studies about the metal works of different ancient sites, but few studies have been done for the works of this ancient site, that are archeological mainly and for this reason doubles research is necessaly. Conclusion The composition of the metal/alloy used in sample K4-01 brass, sample k4-02 copper, sample k4-03 bronze and sample K4-04 silver was detected. The Sample K4-01 was made in a cycle of cold work and annealing, samples K4-02 and K4-04 were made by hot hammering or cold hammering with turning, and sample K4-03 was made by casting method. Is. Corrosion of cuprite and malachite is well known in the samples K4-01 and K4-03. In sample K4-02 brocanthite in sample k4-04 acanthite and chloraragyrite can be detected. The corrosion layer in the samples includes copper corrosion products along with soil compounds. In sample K4-02, intragranular corrosion and intergranular corrosion were also observed and the surface of the sample was covered with warts. Also, there are cracks on the surface of sample K4-03 due to corrosion and environmental pressure. The phenomenon that happened in all samples is oxidation. In the samples made of copper, the amount of copper in the corrosion layer is less than of the alloy, and elements such as oxygen, chlorine, and elements related to soil have allocated a significant part of the composition of the corrosion layers. In the corrosion layer of the silver object, silver oxide is formed by increasing the amount of chlorine and oxygen.
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