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.

Abstract
The more specialized and technical studies of historical paintings are the greater will be the history of Iranian art and, in fact, Iranian art and the identity of Iranian culture. Therefore, each of the historical cases will be valuable and influential. The purpose of this article is studying the nature of a destroyed paining on canvas and its overall shape, subject and identity which found in the storeroom of Mary Church of Isfahan. Accordingly, this article tries to answer the question of what is the nature of the painting discovered from the Mary Church of Isfahan? In order to achieve this goal, the library and field studies as well as laboratory studies including microscopic imaging and elemental analysis (SEM-EDS) was used for data collecting. In the following, it is attempted to prove the identity of the painting as Canvas-Marouflaged mural by comparative study of it with similar murals of the three churches of Vank, Maryam and Bethlehem. One of the main results of the research is the recognition of the painting from a technical and thematic point of view as well as its identification as a Canvas-Marouflaged mural and its presentation place at the time of the creation of the painting in front of the altar of Mary Church Isfahan.
Keywords: Canvas-Marouflaged Mural, Isfahan Mary Church, Painting, Angel of Seraphim.

Introduction
Murals as visual art works are among the most significant architectural decorations that have undergone many changes over time. The factor that distinguishes these works from other paintings is their dependence to the architectural space, which is known as the determining factor of their identity and authenticity (ICOMOS, 1964). In fact, a mural is designed and executed to complement the architectural space. It is completely coordinated with that space, so separating it from the architecture and displaying it in another place can changes or loses the values of mural and endanger its identity. Therefore, the detailed study of paintings in order to know their identity and nature is necessary.  Accordingly, the following points can be mentioned that clarify the necessity of this study: a) unknown specific characteristics for studied painting (marouflage), b) the lack of definite and specific criteria for displaying this painting, c) recognizing and differentiate the studied painting from the marouflage. Based on this, in this article, detailed studies have been carried out on an Iranian special painting, which at first glance seems to be the easel painting on canvas, which detailed investigations and studies present a hypothesis that it was a marouflage. The term marouflage refers to those paintings that are painted on a canvas and pasted on the wall in such a way that it is considered a part of the architecture. The marouflage separation from the original location distort its integrity and authenticity (Hamzavi et al., 2015: 131). This article aimed to find the nature of a historical painting discovered from Maryam Church in Isfahan, relying on technical studies and conservation issues, and tries to answer the main question of the research: What is the nature of discovered painting from Maryam Church in Isfahan?

Materials and Methods
The article is a qualitative and quantitative research based on the content of the research question and the achievement of the research aim. According to the type and necessity of the research, two theoretical and technical approaches can be introduced. In this research, primary data and information have been collected using the documentary and field methods as well as laboratory studies. Then the data has been analyzed according to the subject of the painting and its technical information to clarify how to perform the painting and display it (Figure 1). 
     The images, other than the ones mentioned in the reference, were took using a Canon EOS 700D / KissX7i DSLR camera with a Kit 18-135 lens. The metallography microscope model IMM 420 manufactured by Isfahan Optical Industries Company and fiberoptic device brand LECA CLS 100X connected to DSLR camera Canon EOS 700D / KissX7i used for imaging from the painting layers. Field emission electron microscope (FE-SEM) model MIRA3 manufactured by TESCAN company equipped with X-ray diffraction spectrometer (EDX) with resolution of 1.5 nm at 15 KV voltage and 4.5 nm at 1 KV voltage was used to determine the percentage of constituent elements and microscopic imaging with high magnification.

Data
After attaching the pieces of painting on canvas, the subject of the painting was revealed, which is a painting with the theme of a six-winged angel named Serafin (or Seraphim) (Hospian, 2014). Based on the visual and artistic characteristics of the painting and according to the date of construction of the Church of Maryam, its approximate date is attributed to the 18th century. The studied painting is in the form of Pābārik under the dome. Pābārik is one of the components of Kārbandi and is in the form of a kite. The painting is done on a cotton fabric support, which consists of sewing two pieces of fabric together (Figure 15). Being two pieces due to the small width of the fabric can be interpreted in the direction of the traditional weave of the fabric and attribute the time of the work to at least before the invention of weaving machines in the 19th century. Also, the texture of the fabric shows the non-uniformity of the thickness of the threads that make up the fabric, which can be a sign of manual and traditional spinning. There is the trace of frame in the edge of the painting (Figure 13) and in this part, there was a nail trace along with rust (Figure 14). Microscopic examinations of the cross-section of the painting in the gilded part show the existence of six layers and in the blue part of the painting background five layers (Figure 16). No trace of crushed gold particles (pigment) which is used in the production of gold color was seen, and a continuous and uniform sheet is visible in the scanning electron microscope image.

Discussion
Based on the shape, dimensions of the work, this hypothesis was created that the painting was probably custom made and adapted to one of the parts of the church building. According to the traces of nails left on the edge of the canvas, it installed on the wall after the execution. The subject of the painting is also related to the subjects of religion of Christians and is consistent with their beliefs. Visual observations of the interior of Maryam Church, Vank Church and Bethlehem Church in Isfahan show that the studied painting is compatible with other wall paintings in Armenian churches in terms of design, shape and subject. In such a way that the similar works are also in a Pābārik frame and they are executed as murals along with the image of the Seraphine angel with gilded wings under the dome. X-ray Electron Diffraction Spectroscopy (EDS) elemental analysis on the brown colored spots around the place of the nails in the edge of the support canvas (Figure 19, Table 1) shows the amounts of calcium oxide and sulfur oxide, which reinforces the possibility of the presence of calcium sulfate (gypsum). It strengthens the hypothesis of connecting the painting to a plaster wall.
The field survey of Maryam Church showed that the entire interior is covered with murals with various religious themes, except for the space in front of the altar, which it is contradictory by Christians believed in relation to the necessity of painting in all levels of churches. The existence of such a space inside the church creates the assumption that probably there were four murals in the Pābāriks in these parts as well. The size of the diameters of these Pābāriks is a little bigger than the studied painting. Comparing the Pābāriks of the three studied churches, it was determined that a decorative border was implemented around the angel.

Conclusion
According to the research on the nature of the painting, it can be concluded from the investigations that the studied painting is a marouflage that is pasted on the surface of the wall, and the place of its display was probably a Pabarik in the architectural space of the altar of Maryam Church in Isfahan.

Acknowledgments
The authors thank Tabriz Islamic Art University for providing the technical study of the painting.

Abstract
The reign of the Qajar dynasty is one of the most important eras of the evolution of Iranian art, especially in the form of murals. In the geographical area of Iranian cities, the connection between religion and art according to the Shiite religion of the society of this era is obvious. In the present article, an attempt has been made to identify the effective factors of geographical territory in the way of reflecting Shiite themes in the mentioned works in the important Shiite cities of the Qajar era. The authors seek to answer these questions: What are the influential factors of the geographical territory in the way of reflecting Shiite themes in the murals of religious Monuments of the Qajar era? Which cities of the Qajar era had the greatest influence in the way of reflecting Shiite themes in the murals of religious buildings of the Qajar era? The present research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information was library and field and the method of qualitative analysis. Findings indicate that the effective factors of geographical territory in how these murals are reflected are included in these sections: the refuge of the Prophet’s family in mountainous areas, the rule of the Zaidi Alawites, the rule of Sadat Marashi, the formalization of the Shiite religion in the Safavid era, religious architecture Iran, the support of princes for Shiite art, pilgrimage to places on pilgrimage. The results of the research show that the geographical territory of each religious building is a link between indigenous architecture and the religious view of Islam to the Shiite religion.
Keywords: Qajar, Religious Monuments, Murals, Qajar Politics, Shiite Themes.

Introduction
Statement of the problem: The historical investigation of the developments of the Qajar period is very important due to the scope and intellectual, cultural, religious and political diversity and due to the continuity of its results until the present day. Religious buildings are one of the most basic structural and formative elements of cities. The continuity of the presence of religious buildings in the shape of the city has been known since the dawn of the first cities and has been intertwined with the life of the cities until today. In the historical context of Iranian cities, religious buildings as an important use with various functions have played a basic role in shaping urban spaces and hierarchies, and the link between religion, culture and politics with art is found in different spaces in Islamic cities. Examining these relationships with works of art is a topic that provides a wide field for research. Islam in general and Shia religion in particular are the creators of unique works of art in the field of architecture, such as takayas and saqanfars. Religious mural painting in connection with the formalization of Shi’ism in the beginning of the Safavid period and in the Qajar era, because the Qajar rule is one of the most important periods in the evolution of Iranian art, especially in the form of mural painting. In this era, due to developments after the constitution, religious painting was mainly limited to folk paintings. This particular type of mural painting is aimed at popular artists. These artists have acquired the themes of their works from popular beliefs and beliefs.
Objectives and Necessity of the Research: The research was carried out with the aim of knowing the effective factors of the geographical territory in the way of reflecting the themes in the murals of the religious buildings of Qajar cities. In this research, the wall paintings of the religious buildings of the mosque, the saqanfars and the tekke of the important Qajar cities are examined with an emphasis on the Shia themes of folk art, as well as the study of the role of the Shia religion and its development in mural painting under the influence of historical and geographical conditions in the Qajar period, which is a necessity in the study. The valuable effects of its wall paintings are noted.

Methods
The current research is developmental in terms of purpose and descriptive-analytical in terms of nature and method. The method of collecting information is library and field. The most important tool for collecting information is the preparation of an ID card, the use of tables and forms made by researchers, observation cards and visual documents. The research community, among dozens of murals in numerous religious buildings, 14 murals from among 6 historical and religious monuments of Qajar era Iran from the provinces of Mazandaran (2 murals from Babylon and 4 murals from Babolsar), Kermanshah (6 murals) and Fars (2 murals). It is purposefully selected. The authors have examined the most representative samples in a selective manner (non-probability sampling) based on the factor of Shia religion and geographical location using the qualitative data analysis method.
First, the themes and factors of the emergence of numerous themes in the murals of religious buildings of the Qajar era are discussed. Then, the effective factors of the geographical territory in the way the themes are reflected in the murals of the religious buildings of this era are evaluated and read. In this essay, an attempt is made to study the wall paintings of Qajar era religious buildings, which represent a relationship between art and geographical location, with a methodical scientific and structural approach.

Discussion  
Factors have caused the emergence of numerous religious and non-religious themes in the murals of religious buildings of the Qajar era. Among these factors can be mentioned: the shock of the rule of the rulers, the tendency to ancient Iran, relations with Europe, the constitutional movement, the need for spiritual space, the need for a religious hero, alignment with the function of religious buildings, belief in propaganda and dissemination Shiite religion, messaging based on Quranic stories and narrations, instruction and lessons from the life events of the Imams.
Shiism as one of the Islamic religions was created almost at the same time with the advent of Islam. The main claim of this religion was the legitimacy of the succession of Imam Ali (AS) after Prophet Muhammad (PBUH), which according to the followers of Shiism, the Prophet had publicly announced this issue in the event of Ghadir Khumm in the last year of his life. This religion has always been in the minority in terms of the number of followers and this issue has undergone serious changes in its continuation until today. (Kowsari, 1390: 9 and 35) One of the influential factors in the emergence of various themes in the murals of religious buildings of the Qajar era is the geographical territory; This factor also has factors that have been effective in the way of reflecting the Shiite (religious) and non-religious themes in the murals of religious buildings of the Qajar era (Table 1). Factors such as attention and importance as the origins of ancient Iranian art and the increase of trade and cultural exchanges and correspondence with other nations by placing some cities on the trade route are factors that have been effective in reflecting non-religious themes, but in this article the most important themes. Shiites are being explored.

Conclusion 
The geographical territory of every religious building is the connection of native architecture with the ritual attitude of Islam to Shiism, so the wall paintings of religious buildings of the Qajar era were created from the ritual transformations of Shiism and influenced by the culture and political developments of the society of their time. According to the findings of the research, the answers to the questions can be stated as follows:
What are the effective factors of geographical territory in the way themes are reflected in the murals of religious buildings of the Qajar era? One of the influential factors in the appearance of numerous themes in the murals of religious buildings of the Qajar era is geographical territory, this factor also has factors that have been effective in the way of reflecting the themes of the murals of religious buildings of the Qajar era. The most important factors include the following: decisive historical events (refuge of the Prophet’s family to the mountainous areas from the evil of the Caliphs of Baghdad, the presence of the Zaydi Alawites and the establishment of their government in 250 AH, the rule of Sadat Marashi of the Shiite religion in the 8th and 9th centuries AH ., the formalization of the Shiite religion in the Safavid era, Islamic-Shiite religious architecture in Iran), princes’ support of Shiite art in prominent cities, pilgrimages to religious places with some cities being on the pilgrimage route, the manifestation of folk beliefs of different cities on murals. s, attention and importance as the origins of ancient Iranian art, the influence of lithographic books and the increase of commercial and cultural exchanges and correspondence with other nations with the location of some cities on the trade route (Table 1).
What was the way of reflecting Shiite themes in the murals of religious buildings in different cities of the Qajar era? The manifestation of Shia themes and topics in all the murals of different cities was not the same, according to the nature and climatic characteristics of that city, they were a more suitable source and platform for the manifestation of such themes. For example, the cities of Mazandaran, Gilan and Kermanshah have been effective in reflecting Shiite themes in Qajar era wall paintings, considering the conditions of their geographical territory.
Wall paintings are the borrowers of Shia spiritual heritage among the common people and have high values of Shia anthropology and sociology. All the murals are like a valuable treasure that shows the life and livelihood of the native people and contains their culture, habits, customs and beliefs. It is hoped that by identifying and introducing these works, they will respect their roots and gems more and respect themselves and their origin. Let’s come back.

Abstract
Among the architectural arrays of Imamzadeh Hossein in Qazvin that can provide valuable information to researchers, are the remaining parts of the murals. Considering that Qazvin was the capital during the second period of Safavid rule, the study of Safavid and Qajar period buildings in this city can be of great importance. Compared to the existing historical monuments, few studies have been done on the technical knowledge of the layers of historical murals.In the present study, the identification and recognition of pigments related to the remaining murals of this monument and gilded layers has been considered. Also, in order to complete the technical information of the murals, the mortar of the fine coat (finishing plaster) and scratch coat (levelling coat) under the paint has been studied in terms of structure and chemical composition. To identify the pigments used in the murals as well as the materials used in the mortar of the underlying layers of the mural and the floor mortar, the hydraulic properties and the mineral and chemical composition of the mortar from X-ray diffraction, scanning electron microscopy coupled with energy dispersive spectroscopy and digital microscope have been used. As a result of the studies, it was found that the Pastiglia in the murals is made of a mixture of gypsum and Bole (Armenian Bole, Hormoz Bole). Apply a white Primary layer on the pastiglia on which the gold leaf is applied with low copper impurity. In this murals, three types of gold sheets have been executed. Green: A mixture of arsenic pigment with azure blue and Prussian blue; Green-blue: a mixture of green earth pigment (Celadonite) with white lithopone; Blue: a mixture of azure and Prussian blue pigments with White lead; Red: A mixture of ocher red and orange arsenic; Primary layer filler: a mixture of Huntite and White lead; black: It is a mixture of cobalt black and iron black. The structure and composition of mortars were also identified.
Keywords: Mural, Pigment, Gilding, Structural Study, Mortar, Qazvin.

Introduction
The technical diversity of murals in the Safavid and Qajar periods is one of the important issues of knowing historical murals. To technical understanding historical mural, its different layers are subjected to careful scientific study. The main layer is the color layer which consists of two parts: dye and binder. It should be noted that the array of gilding in the mural and the borders of the mural is also considered as a mural. Imamzadeh Hossein is one of the prominent buildings of Qazvin city. Most of the murals of this building belong to the Qajar period. Evidence shows that traces of the Safavid periodare also left in this building in the lower layers.
The aim of the current research is to obtain technical information about the layers of murals of this historical building. Identifying and recognizing the pigments in historical murals from archeology point of view helps completing the technical information about the use of pigments by artists. Some pigments have a specific starting date, which helps clarify the date of making the murals.
In archeology, studies have been conducted regarding the technical knowledge of different layers of historical murals in Iran, but very few studies have been done considering the volume of murals in Iran in different periods. Therefore, it is necessary to more complete these studies over time which its result is to complete the database in this field. In the upcoming research, in order to know more about the murals, technological studies were done on it. After field studies, the pigments used in the murals were sampled and identified. To complete the information, the lining layers and the substrate and a sample of the floor mortar were also studied. In this regard, the main questions of the current research are: What pigments are used in the murals of Imamzadeh Hossein in Qazvin? What method was used for gilding in these murals? What are the physical and structural characteristics of the lining layers and substrate of the studied murals?

Discussion in the Results and Findings
a. Scanning Electron Microscope: In the sample (2021.Q.IH.1) there is a large accumulation of gypsum crystals and intertwining has been created between them. The empty space between the crystals is little and also the crystals are irregularly placed together at different angles. In 2021.Q.IH.10 sample, needle- shaped gypsum crystals that are intertwined can be seen in many parts. In 2021.Q.IH.11 sample, gypsum crystals in different sizes are placed at different angles. In this sample, there is no long needle crystal and instead, the crystals have grown a lot in the width direction. In 2021.Q.IH.12 sample, the gypsum crystals are slightly different in terms of shape from the samples of the floor and lining layer.
b. Energy-dispersive X-ray spectroscopy (EDX): In 2021.Q.IH.1 sample, there is a small amount of silicon, aluminum and magnesium, which is related to soil. In 2021.Q.IH.2 sample, the amount of sulfur is about 13% which some part of it is related to yellow pigment and some part is related to blue pigment. In 2021.Q.IH.3 sample, elements of potassium, aluminum, iron, magnesium and silicon can be seen next to oxygen. These elements are related to Verona green or green earth pigment. In 2021.Q.IH.5 sample, a high percentage of gold and a relatively low percentage of copper were detected in the sample. In 2021.Q.IH.6 sample, two coloring elements, iron and arsenic, along with sulfur have been detected. In 2021.Q.IH.7 sample, the main filling material is huntite or chalk. On the other hand, a small amount of lead has been detected in this sample. Gold, copper and iron have been detected in 2021.Q.IH.8 sample. In 2021.Q.IH.9 sample, two elements, cobalt and iron, along with sulfur, are significant and influential elements in making black color. In 2021.Q.IH.10 sample, the highest percentage of elements is related to calcium and sulfur. In 2021.Q.IH.11 sample, except the main elements of gypsum, a very small amount of elements of silicon, aluminum and magnesium have also been detected.
c. X-ray diffraction spectroscopy: As a result of the phase analysis of 2021.Q.IH.1 sample which is related to the lay-up under the gold sheet, quartz has been detected. The quartz detected in the lay-up is related to the red flower (Armenian flower) that was added to the plaster during the mortar processing. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.10 sample which is related to the floor coating mortar, quartz has been detected. The next identified phase is gypsum. As a result of the phase analysis of 2021.Q.IH.11 sample, which is related to the floor coating mortar, anhydrite phase has been detected in the studied sample. The amount of anhydrite in the lining layer is higher than gypsum. As a result of phase analysis of 2021.Q.IH.12 sample, which is related to the substrate layer in the studied mural, quartz has been detected. The granularity of the quartz phase in the substrate was much finer than the previous samples. The next identified phase is gypsum.

Conclusion
The lay-up used in the murals of this building is made of a mixture of plaster and red flower (Armenian flower, Hormoz flower). Green color is a mixture of arsenic pigment with lapis lazuli and Prussian blue. Blue-green color is a mixture of green earth pigment with lithopone white. The blue color is a mixture of lapis lazuli and Prussian blue pigment along with white lead. The golden color of embossing is gold sheet with a small amount of copper impurity. The layer that is applied on the lay-up is also a gold sheet with a small impurity of copper. In line with the studies on the shiny brown sample, it was concluded that this layer is a gold sheet with copper and iron impurities, which its surface has corroded and darkened over time. In fact, three types of gold sheets have been used in the studied murals that two of them are similar and seem to belong to the same period. A layer that is different in terms of the composition of elements and impurities belongs to later periods. The red color in these murals is a mixture of red ocher and orange arsenic. The white color filling the preparatory layer is a mixture of huntite and white lead. Black color of embossing is a mixture of cobalt black and iron black. Contrary to imagination, the floor mortar is a gypsum mortar with two phases of gypsum and anhydrite to which some sand and soil have been added. Due to proper processing, this mortar has adequate strength, although humidity has caused damage to the work over time. The lining layer and the substrate in the studied murals are made of plaster mortar. There is a difference that the thickness of the lining layer is greater than that of the substrate and it has coarser graining and more impurity. On the other hand, the looser mortar of the substrate is due to the way of processing, and the arrangement of gypsum crystals is different from that of the lining layer.

Abstract
In this study, the colors used in the Inscription and mural paintings of tomb of Ghadmagah in Neishabour were analyzed by instrumental analytical methods. Ghadmagah is located in the center of the Zabarkhan section, on the Neyshabur-Mashhad Road. Ghadmagah tomb-garden is located in the village of the same name 24 kilometers east of Neyshabur, Iran, and was built in the early seventeenth century. According to historical sources Ghadmagah was built in the early eleventh century AH (ca. 1600 AD), and the origin of this site dates back to Islam. Some believe that the Ghadmagah monument was designed by Sheikh Baha’i. The architectural decoration of this building is most importantly tiling, plastering and mural paintings. Given that the building was built in different periods and originally dates back to the Safavid period. The present study aimed to study the color bedding and pigments in the Inscription and mural paintings of the building to find out what period the mural paintings in the building belong to. Mural painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially mural paint, is the identification of the nature of paintings used to decorate the walls. Identification of pigments is also important not only from the perspective of archeology but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples. 
Keywords: Pigment, Neyshabur Ghadmagah, Inscription, Mural Painting, Analytical Methods.

Introduction
The use of physical and chemical analysis methods to identify the constituents of works of art, before any intervention occurs, plays a key role; because the results of such an analysis are very useful for deciding whether to conserve or regenerate these materials. In addition, each of the different pigments can have a different regeneration process. On the other hand, the analysis of ancient paintings may provide information about the artistic techniques and visual materials used in the past and expand the knowledge of the customs and techniques of ancient societies. 
In fact, physical and chemical analysis provides useful information about the range of pigments present in an area and knowledge of dye preparation techniques and applications. In addition, the study of the originality and origin of pigments allows the discovery of connections and trade lines. On the other hand, restorers need detailed information about the chemical composition of the materials used in a work before restoration work. 
Identifying the materials and pigments used in this building is one of the most important questions of this research, and then by considering the history of using pigments, we can understand the dating of the paintings in this building. Do these paintings belong to the period of construction of the building, ie the Safavid period, or were they added to the building in later historical periods? Depending on the type of painting pigments, the colors can be restored. 

Materials and Methods 
In this research, empirical and analytical methods have been used to achieve the goals. Data collection is based on information from library studies and instrumental methods. The complete information of the devices used in this research is fully described in the Materials and Methods section. 
In this study, instrumental methods such as scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), Fourier- transform infrared spectroscopy (FTIR), polarized light microscopy (PLM), X-ray diffraction (XRD) and micro-Raman spectroscopy have been used for elemental and compound microanalysis of the samples. 

Data 
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O) also gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. 

Discussion 
The inscription at the top of the building used two colors, blue and gold, the result of the analysis showed that the blue color was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time. 
Green phthalocyanine copper is a new pigment that may have been used to restore painting. This pigment was first used in 1320 AD, but it is not clear on what date this pigment was used to repair or reconstruct this paint. Due to the presence of oil in the FTIR spectrum of this color, it seems that unlike other colors, oil has been used to close this color, and the technique used in this color is different from other colors. 

Conclusion 
Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. 
The result of the analysis showed that the blue color was used in inscription was artificial ultramarine (Na6-10Al6Si6O24S2-4) on a gypsum layer (CaSO4.2H2O). The absence of minerals such as pyrite and calcite in the PLM images indicates that the ultramarine is synthetic. The results of identification of gold color showed presence of copper and zinc alloy in the ratio of 10:1 in gold color. The blue color used in the mural paintings was also artificial ultramarine on a red layer of ochre. The result of micro-Raman showed that green pigment was copper phthalocyanine (phthalocyanine green). A synthetic organic material composed of chlorinated copper phthalocyanine (chlorinated Phthalocyanine blue). Phthalocyanine green was introduced as an industrial pigment in 1938. This pigment is unaffected by light, heat, and chemicals the use of this pigment showed that the mural paintings was restored in Contemporary period. The results of identification of the orange-red revealed the presence of a mixture of red lead (minium) and red ochre (iron oxide) in the sample. Also, according to the obtained results, ochre and mixture of iron and manganese oxides were used in red and brown colors. Identification of materials and pigments showed that the paintings are due to the presence of artificial ultramarine, were done in the Qajar period (1789-1925) and presence of phthalocyanine green in green color showed that this mural painting was restored in Contemporary period. FTIR results showed the presence of organic material only in green, indicating that it was the only reconstituted pigment, but no other organic material was detected in other colors, which may be due to the instability of organic materials during the time.

Abstract
Wall paintings drawn in the past depict valuable aspects of history and culture of the time of their creation. The goal of this paper is to explore the concept and readability in the wall paintings of Chehel Sotoun Palace in Isfahan. To what extent the approaches of traditional artists and conservators have been based upon Iranian cultural and artistic heritage. how can the meaning behind Chehel Sotoun’s paintings’ readability be evaluated? The research method used in this paper is descriptive-analytical. The goal is to examine the thoughts and theories of conservation and preservation scholars in regards to the influence of Iranian-Islamic cultural background on traditional conservation and preservation approaches in these works. It also explores the perception and significance of the main readability element during the mentioned conservation period. The analyses conducted indicate that approaches of traditional conservators and artists were based on attention to the history and art of the Iranian culture and artistic styles of their own time. Relying on emulation and reinterpretation of paintings and emphasizing on passing on the content and inner meaning of the work through the preservation of the narrative form of mural paintings in Chehel Sotoun, they have provided greater readability of these works for the audience.
Keywords: Protection, Conservation, Readability, Mural, Chehel Sotoun.

Introduction
Establishing a proper connection between the audience and artworks will not be possible unless we understand and grasp the inner meaning. The principle of readability is always based on the relationship between the creator, the art, and the audience. Mural painting have been a symbol of human enthusiasm for creating artworks. Starting from simple forms that symbolize celebration and hunting, Mural Paintings have transformed into concepts that represent the culture and national symbols of a nation or a group of people. The passage of time leads to physical damages to an artwork. When it comes to wall paintings, the conservator must make sure to adhere to scientific principles and important conservation considerations such as aesthetics, authenticity, integrity, and readability. To respect the integrity of an artwork is an essential part of artistic authenticity and will contribute to the readability of the artwork (Great, 2006, p. 6, Pollsson).
In Iran, we still observe that the restoration of historical artefacts are done based on personal views. Salvador Muñoz Viñas argues that classical conservation seeks the objective truth of an artwork and the purpose of conservation is to reinforce its structural and cognitive integrity in order to preserve its true nature. Artworks contain a wealth of information, messages, and meanings. The role of the conservator should be performed properly to enhance the readability of the artwork.
Readability has a hierarchical structure that ensures the preservation of the authenticity and cultural values of an artistic work. Understanding the various dimensions of communication between the creator of the work and the contemporary and future observer and audience has received considerable attention from conservation scholars. The audience, depending on different political, social, and cultural and personal views, can have different perceptions of the work. Conservation and preservation operations also have a significant impact on the readability of artistic works in order to understand and interpret the inner truth of the work.
Objective: 1- This study aims to explore the approaches and methods of traditional preservation and conservation in the wall paintings of Chehel Sotoun Palace in Isfahan, Iran. It aims to analyse the cultural and artistic history of Iran reflected in these paintings and to elucidate the concept and significance of readability in these artworks during the conservation process.
Question: The question is to what extent Iranian cultural and artistic history has been considered by the traditional artists and conservators. With regard to the wall paintings, the question asks how the concept of readability could be evaluated.
Hypothesis: Readability, as a principle in the preservation and conservation of historical-cultural artifacts, especially wall paintings, can depend on the theoretical and practical conservation approaches of its historical period.
Method: Following research is conducted using a descriptive-analytical method with a qualitative and interpretive approach. Data is collected through document studies, library research, observations, and fieldwork to analyze the relevant topics regarding the significance of readability in the approaches of preservation and conservation of the said wall paintings.

Discussion
This research examines the significance of readability in the preservation and restoration of the wall paintings in the Chehel Sotoun Palace in Isfahan, Iran. The findings reveal that the techniques employed by past artists and restorers are deeply intertwined with Iran’s cultural and artistic heritage, prompting critical questions about how these methods affect the artworks’ overall readability.
The study indicates that aesthetic considerations often take precedence over traditional restoration practices, resulting in a neglect of the intrinsic value and historical context that enhance a work’s readability. This emphasis on aesthetics can lead to misunderstandings regarding the artists’ intentions and the cultural narratives embedded in the wall paintings. While restorers aim to preserve the quality and visual appeal of the artworks, their methods may inadvertently result in a loss of originality and meaning, thereby undermining the effectiveness of the narratives intended for modern audiences.
Moreover, the paper identifies a significant gap in existing research concerning the evaluation of readability after restoration. Although many studies focus on the technical aspects of restoration, few address how these interventions impact the viewer’s ability to understand, interpret, and engage with the artworks. This gap highlights the necessity for a paradigm shift in restoration practices, prioritizing readability rather than treating it as an afterthought. It is important to acknowledge the limitations of this study; the findings are specific to the wall paintings examined and may not generalize to all restoration practices. The cultural nuances and historical significance of artworks vary greatly across different regions and periods. Additionally, the subjective nature of readability complicates the creation of a standardized framework for assessing the effectiveness of restoration methods.
Based on these findings, future research should focus on developing a comprehensive methodology for evaluating readability in restored artworks. This could involve interdisciplinary collaborations among restorers, conservators, art historians, and audience researchers to better understand the impact of restoration practices on viewer experiences. Incorporating audience feedback into the restoration process could enhance readability and engagement, preserving both the aesthetic and narrative dimensions of the artworks for future audiences.
Ultimately, this research emphasizes the importance of integrating cultural heritage, artistic intent, and audience engagement in restoration methods. By doing so, it fosters a deeper appreciation of the historical narratives within artworks and the artists’ visions, ensuring their continued relevance and readability for contemporary and future audiences. This approach honors the original creators while illuminating the cultural roots of our shared heritage.

Conclusion
Previous artists and conservators made interventions in their preservation and conservation approaches to the wall paintings of Chehel Sotoun Palace in Isfahan, taking the Iranian cultural and artistic history as well as methods and techniques of their predecessors into account. These interventions are considered significant due to their consideration of the historical period, cultural-artistic perspective, style, and techniques of that era. This phenomenon also existed in European countries, where skilled painters would perform conservation work on their own or on the works of others, thereby leaving their artistic presence on the intended artwork. They aimed to keep the inner content of the work alive as well as reinterpret and transfer that content to their own era, providing a platform for the audience to receive the narrative and inner content of the work. The longevity of the narrative in the mind and memory of the audience leads to the readability of the work. This kind of understanding is what makes the art readable.
If the traditional approaches to the protection and conservation of wall paintings in their own era and time are evaluated, not only the perspective and method that is considered as part of their valuable traditional heritage and historical-cultural values will not be condemned, but it will be contemplated and protected more than ever. Looking at traditional conservation will not only face criticism but will also have the potential and value to envision a better future for the preservation and conservation of historical-cultural works in Iran.