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year 4, Issue 13 (11-2020)
Abstract
Applying preventive conservation methods to protect the cultural heritages is one the most important subjects among the conservators. Preventive conservation is the best method that can be implemented in the museums. But the point comes out when one notices that numerous valuable cultural heritages are protected in the private homes or what is called private collections. That is why there are various attempts to extend the practice of preventive conservation in these collections around the globe. In Iran, despite the large numbers of private collections, there are many problems regarding preventive conservation which comes out of various reasons. Due to the importance of preventive actions toward the cultural heritages, this article tries to determine the effect of applying preventive conservation practice in private collections in Iran regarding the cultural values of their items. The applied method is a quantitative-qualitative one. In the qualitative section we have interviwed 14 experts in the field of cultural heritages, collection owners and museum. The reliability and narration of the deep interviews have been checked. Analyzing the obtained information was done by using Stevick-Collaizzi-Keen method. In the second and quantitative part, we have used the results of the first part to determine the details of a questionnaire and using Cochran formula, the size of sample society has been determined. Based on that, the questionnaire has been completed by 96 collectors around the country, Friedmann test gave us the priority of the components. Our results show that the effects of not applying or improper applying of preventive conservation methods in private collections can be expressed in three levels which contains the physical destruction of the items, destruction of their cultural values and at last, material and spiritual loss for the collectors. Based on the results, the most important effects of not applying or improper applying of preventive conservation methods in private collections, is cultural values destruction.
Keywords: Preventive Protection, Private Collections, Cultural Value, Protection, Collection Management.
Introduction
Historical items are quite important from the cultural point of view and require special treatments. Some of these valuable items are collected and kept in private collections. Although these historical items commonly registered by Cultural Heritage, Handicrafts and Tourism Organization of Iran, they do not receive the governmental supervision, continuously. In most cases these items are in private collections because they are family heritages or the owner is interested in keeping historical items. This implies that most of the collectors do not have proper information or experience in modern conservation methods practice. As the private collections are the key component to prevent the cultural heritages from trading out of the country. In addition, the values of the items in private collection is not normally less than the ones in the museums and they are maintained in a completely different condition compared to the museums, thus in the first place, the collectors should protect them from being damaged or lost. These heritages are our valuable cultural heritages, there needs to be more serious efforts by experts in the field or the governmental organization to assist the owners for better preservation of the items. These days, preventive conservation is the most noticed action toward the cultural heritage items. in this method there is just indirect actions toward the item to make their surrounding environment more suitable i. e. adjusting temperature, light, gases, insects and etc. In this way the item is less likely to get damaged or at least the speed of damage will decrease dramatically. Although these actions are not expensive but not applying them will make problems for our cultural heritage or damages for the whole nation culture. The main concern regarding is to know the most important effects of not applying the preventive conservation actions or the improper one. It seems that the most important one is damaging the cultural values.
The Effects of not Applying Preventive Conservation
One of the key point in preserving the historical items is their “Values”, because all is being done regarding them has direct connection with their values in the society or nation. Recognizing the values of historical heritages and finding their priority is determining in applying conservations toward them. There are various definitions and charters for defining the different values of an item.
As the items in private collection are not less valuable than the ones in the museums it is required for the responsible organizations to take proper action toward protecting them. The connections between the academic expert in conservation and the collectors has two sided benefits for both of them. In one way it will decrease the potential damage which can happen to the historical heritages, and in the other hand it will increases the experts knowledge about the history and inherited items.
Here we have used a qualitative-quantitative method to analyze the effects of not applying or improper applying of preventive conservation practice. In this way we have interviewed conservation 14 experts and collectors to analyze using Collaizi -con method the outcomes so that we can design a questionnaire. The resultant questionnaire has been completed by the 95 collectors and last we have found the most important effects of not applying preventive conservation or the improper one using Friedmann test. We have also used Cronbach’s alpha and One Sample T-Test to check the reliability and the priorities and equalities of the variables (here the negative effects), respectively. Based on the Friedmann test, “loss of cultural values” of the historical heritages is the most important effect of not applying or improper applying of preventive conservation.
Conclusion
We have studied the effects of not applying preventive conservation in the private collections in Iran. Our qualitative results show that the consequences of not applying the preventive conservation can be categorized in three level and three classes.
The first class is causing damage to the historical items such as damages to the cultural heritages of the country, damages to the items, causing damages to other items, continuing the damage process, damages to the completeness of the item. the second one which seems to be the most important one includes the loss of values of the item. This class has three subclasses itself: 1- direct loss of the values which can be scientific, historical, cultural and etc. values; 2- loss of their identity which will end up to the loss of nation culture as they will not keep their completeness; 3- loss of family traditions and cultural identities.
The last class of negative consequences of not applying preventive conservation is the material and spiritual loss for the collectors. These damages includes: the items to be stolen, to be lost, decrease the life of the item and finally requiring expensive repairing or restoring actions.
A quantitative study using Friedmann test shows that between all of the possible results of not applying preventive conservation, the most important one is “the loss of cultural values”. As the “values” of an item is the most important factor for collecting the historical heritages, our results make a firm reason for the responsible organizations to take more serious decisions for applying preventive conservation in private collections.
year 8, Issue 30 (1-2025)
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.
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