جستجوی مقالات مرتبط با کلیدواژه "restoration" در نشریات گروه "هنر و معماری"

The mosque is one of the important socio-cultural symbols in the Islamic Iran. One of the important mosques is Vakil mosques, where different designs have been used in the decoration of Haft Rang (seven-colored) tiles. The purpose is to investigate the impact of changes in socio-cultural perspectives of governments on the design of Haft Rang tile. What effect the socio-cultural perspective has had on the design of mosque designs and what is the nature of design changes in the Haft Rang tiles in these mosques? The research method is descriptive-analytical. The results show that the patterns in the seven-colored tile during the Zand period are influenced by the Zandi Ethnic-Illyrian view and are associated with simplicity and beauty. These patterns are drawn in an abstract way and have less variety in terms of design and color. In contrast, the designs in the Qajar period are influenced by the westernize perspective and are very colorful and rich, reflecting nature realistically. Repairs made in the Qajar period introduced this type of design and color to the Vakil Mosque, causing changes in the structure of Haft Rang tile designs. Therefore, it can be said that the difference in socio-cultural attitudes in different eras will have an important impact on changing artistic perspective.

Statement of the problem: Tile decorations are among the most important and common architectural elements in the Islamic era. Tilework flourished from the 14th century onwards. Notably, despite the introduction of Western decorative elements in Iranian art and architecture during the Qajar era, tilework remained widely used, demonstrating its special status. Given this significance, the conservation and restoration of such architectural decorative elements should be a high priority. However, a comprehensive set of guidelines for tilework conservation and restoration remains absent.Consequently, diverse approaches have been employed in tilework restoration projects. These approaches have sometimes led to serious errors, including misinterpreting context and design neglecting the color quality, symmetry as well as proportions and other aspects has led to grave mistakes. Aiming to understand the evolution of different tilework restoration approaches, this study critically reviews past restoration cases. It explores how traditional restoration approaches were implemented and what advantages current practices offer to avoid past mistakes.  This study focuses on the restoration of tilework in five diverse monuments with four different functions. The restoration activities undertaken are critically analyzed to reveal the architectural nature of the examined monuments.This research utilizes a qualitative-analytic methodology, with data collected through field studies and library resources. The study adopts a functional objective, and the results indicate that the primary factors leading to improper restoration include the lack of a formalized restoration guide, the neglect of conservation, restoration and aesthetics, ,inattention to vernacular culture as well as lack of appropriate understanding of the monuments by the restoration expert.

How to revive and develop the historical contexts of Iranian cities today has become an important and challenging issue. One of the suggestions and solutions is to create nightlife in historical contexts. In fact, the use of historical textures at different times has attracted the attention of researchers and restorers. Experience has shown that in the historical contexts of different countries where night life is going on, due to the presence of people after work and during the night hours, the economy has been more prosperous. Also, due to the proper lighting and the large number of people in these neighborhoods, crime and misdemeanors are less. In fact, proper lighting in historical contexts increases the quality of life and creates safety and attractiveness in the context. The historical textures of Tehran have a great potential to create night life. One of these historical contexts that has been investigated and proposed for revitalization with a nocturnal approach is the historical context of Tehran Citadel in the 12th district of Tehran. A descriptive-analytical method was used in this research. Primary documents were collected through library studies and objective observations. Using a quality and quantity rating table, various factors of the researcher have been evaluated and analyzed, and suggestions have been made based on these analyses. According to the observations and analysis, the historical context of Tehran Citadel has been revived and turned into a context with night life by changing the use and proper lighting and suitable furniture. By creating 24-hour uses such as restaurants, cafes and holding parties and night shows or appropriate furniture, the historical context of the citadel has been revived. Lighting has had a positive effect on the development of night tourism in Tehran Citadel, and lighting projects, in addition to being an ornamental activity, were an effective method for night life and spending leisure time in the context of Tehran Citadel.

Despite 60 years of urban planning education in Iranian universities and 55 years of centralized government planning for cities based on comprehensive urban plans, which brings uniformity to all, there is a lack of satisfaction among almost two-thirds of the population in cities. Traces of reducing the city to a building layout and seeking a solution about their arrangement are evident in the first approved master design of the city, created by “Victor Gruen” in 1969. Restoration efforts in the “damaged parts” of Iranian cities started a few decades after Western modernists dominated the cities. Redefining restoration was done in imitation of the West, whose own cities were damaged by modernist urbanization. Contrary to the systemic and holistic view, originality in the modernist worldview is an element. This process is more precise and original if it can lead to a smaller element, which is ultimately the atom. According to this perspective, only things that are tangible and observable can be quantified as real. Based on this perspective, different degrees of restoration of objects, buildings, textures, and the city have been defined. “Objectivity” and “thingness” are the themes of restoration in all degrees of this classification. The Cultural Heritage Organization of Iran developed restoration guidelines for identifying, defending, and interfering in valuable urban textures. The common features of all guidelines are the importance of the architectural form and the emphasis on the city as a real and external object. The perceptual layer of the city, which is derived from the observer’s interpretation when facing the city, cannot be replaced by the evolution and expansion of layers of knowledge about the city or even the dimensions of intervention in the city. As a result, improving fundamental data and adding more layers contributing to city knowledge cannot make up for mistakes made concerning city knowledge. Therefore, how can restoration preserve the place’s existence and dynamism if it is based on an architectural form-centered approach and depends on the architectural form’s proportions, shape, and historical functions while ignoring values, and semantic textures?

In the urban landscape design process at Tehran University, one phase is dedicated to the “design imagination” (see A Landscaped Approach in Urban Design, Mansouri & Farzin, 2016) Students are supposed to read the place of the design and functional planning of the project and then conceive a single and integrated identity for the final product. In addition to the actual requirements for the design of an area such as geographical and functional conditions, historical monuments, and the transportation network, they incorporate citizens’ understanding of the area. The outcome of such integration is a narrative of the design that is reminiscent of fantasy which preserves the design’s spatial identity while maintaining the area’s actual and spatial capabilities. This method is the product of a new approach to place and landscape, which plays a fundamental role in the process of space restoration by helping to understand the target area for design.
By highlighting this point of view in the reading space of city restoration, landscape, architecture, and related arts, the journal of “Revitalization School” hopes to contribute to the development of scientific literature, highlighting the significance of using modern knowledge in the process of development and progress of society. In doing so, this journal intends to get the support of academic specialists while also enlisting the involvement and help of young scientists in their ongoing research and the use of novel techniques to address societal issues. This journal  declares that it is prepared to accept and present research findings within the journal scope from Iranian and foreign scholars.
The picture on the cover of this issue was prepared by Alireza Afzali, who designed the surrounding environment of Toghrol Tower in Ray city to create a communal space. His depiction is a fantasy-like and surrealist narrative, like a nightdream of reality, whose characteristic elements can be distinguished.

This article is about the research on the Design and Restoration of the inlaid floor of the Laurentian Library by Michelangelo Buonarroti with the approach of Cesare Brandi's theory. This review is based on the concepts and tools of restoration with the aim of preserving works of art and cultural heritage. The purpose of this study is to know and understand the aesthetics and history of the studied subject in an outstanding work of art; by Michelangelo; The main character of the Golden Age of Italy, which has defined the next artistic generations and gave them a strong motivation for the Mannerism movement, and also reflects the views of Cesare Brandi's restoration theory. Hence, the first definition of restoration: "Restoration is the methodological moment of knowing the work of art, in its physical consistency and in its dual polarity of aesthetics and history, with regard to its transfer to the future". What is meant by physical consistency? This is the place of manifestation of the image, the substance on which the form is born and then exists in the world. Hence, the first principle of restoration: "only the substance of the work of art is restored". Then we come to the second principle of restoration: "Restoration should be aimed at re-establishing the potential Unity of the work of art, provided that this is possible without committing artistic forgery or historical forgery and without erasing the work." (Brandi, 2000). Della cultura non si dà ricetta: ma, poiché la cultura non è l'erudizione, cultura diviene solo quella che, entrando a far parte della conoscenza, accresce la coscienza.»-Cesare Brandi. "There are no prescriptions for culture: but since culture is not wisdom and knowledge, culture is the only thing that increases conscience by becoming part of knowledge" (Brandi, 1992). Cesare Brandi (1906-1988) was an Italian art historian, art critic, essayist and specialist in restoration theory. The Central Restoration Institute was established in Rome in 1932 with the collaboration of Brandi (Brandi, 2011). He was trained as an art historian and also in contemporary aesthetics. He is a follower of Crochanism in philosophical and literary fields, especially in relation to a form of criticism that considers primarily or exclusively the aesthetic values of a work of art. The philosopher he considered closest to him was Martin Heidegger, although their positions did not coincide; For this reason, he also felt closer to Derrida, especially to his commentary on difference (Fasoli, 2007). His extensive scientific experience and phenomenological references from Plato to Kant, passing through Benedetto Croce, Martin Heidegger and Friedrich Hegel, culminated in what became known as Critical Recovery Theory (Burnett). Brandi's proposals had a great influence on the restoration of Italy in 1972 and, consequently, on the current practice of restoration throughout the world (Heloisa do Carmo, 2016). The restoration of an outstanding work of art begins with its recognition, and then at the first moment of intervention, the work of art is recognized, and restoration is understood as any intervention aimed at restoring its full function. In addition to materials, from visual elements such as: form, space, light, color, decorations, signs and symbols and in place of visual factors: rhythm, contrast, movement and atmospheric and geographical effects, materials and construction techniques created by the artist in the artwork has been investigated. Therefore, knowing the concept of restoration, the subject of the work of art, the potential Unity of the work of art, environmental effects on the work of art and restoration, restoration according to the historical example, restoration according to the aesthetic and historical approach, the space of the work of art and preventive restoration, the moment Intervention is coming. The research method in the studied research is using the descriptive-analytical method, in order to express the research objectives with field studies, library studies, translation of reliable scientific sources, technical methods and tools (photography and design with graphic software) in data analysis. The basis of a certain sequence is presented in the restoration of the artwork. Therefore, by knowing the concept of restoration, it is done according to the historical example and the aesthetic approach, which seeks to respect the authenticity of the artwork. As a result, it emphasizes the recognition of the potential Unity of the work of art with regard to its transfer to the future.

the importance of textile historical works is not hidden from anyone In the field of preservation and restoration of historical and cultural objects. due to the organic structure of cellulose, Historical cotton fabrics are exposed to spontaneous oxidation and the degradation process will not stop even in an isolated environment. Keeping such sensitive works in the unfavorable conditions of the museum warehouse has accelerated the destruction, and if methods can be found to reduce the rate of deterioration of cellulose, it will be helpfull to the conservators in the proper preservation of these works. In addition to the visual changes that indicate changes and chemical interactions in the structure of the cellulose polymer, the process of cellulose deterioration can also be traced by examining the physical and mechanical properties of cellulose.
The topic of using antioxidants to protect materials from oxidation has been discussed in many industries such as textile, chemical, polymer, food and pharmaceutical industries, and researchers are investigating the effect of different materials in reducing the process of oxidation and decay of the goods of the mentioned industries.
Considering the wide application of tocopherol (vitamin E) in the fields of textile, food polymer and medicine, in this research, it was tried to evaluate its suitability by examining the advantages and disadvantages of this antioxidant substance in the conservation of historical cotton fabrics. To reach such an aim, it is necessary to evaluate its effectiveness in reducing the rate of cellulose oxidation over time and its destructive effects in cotton fabrics. The method of this research is based on comparative-analytic and the data has been gathered via relevant experiments such as ATR-FTIR, colorimetery,tensile strength and pH.
the aged cotton textiles are treated by the different concentration of vitamin E, and they are examined before and after accelerated aging. The results indicate that the mentioned substance has no detrimental effect on cellulose and can be useable as an antioxidant in conservational processes of historical cotton fabrics.

In this research, considering the necessity of conservation and restoration of wooden doors and their significance in Iranian architecture, as well as understanding the structure of historical wooden artifacts, necessary actions were taken to study, restore, and conserve a two-leaf wooden door belonging to the ivan of Sukiass house in Isfahan. Following preliminary damage assessment, various tests (including pH testing, colorimetry, equilibrium moisture content measurement, species identification, and Fourier-transform infrared spectroscopy) were conducted on the study sample. The results indicated the acidic nature of the structure of the sample under study, minimal color changes before and after the restoration process, standard equilibrium moisture content, the use of Oriental Plane tree wood (Platanus orientalis L) in the construction of the artifact, and the absence of significant structural damage on the sample surface. Historical wooden artifacts are typically classified into three main categories of physical, chemical, and biological damages. The study sample exhibited physical damages such as abrasion, cracking, and microcracks, environmental temperature effects resulting in color changes on the artifact,s surface, as well as the impacts of dust and debris. In the chemical damage category, tissue acidification in the artifact was observed, along with noticeable impacts of pollution. Biological damages caused by insect infestations, categorized under wood biological damages, were visible as multipleboreholes on the artifact,s surface. Additionally, the presence of a burnt section at the lower part of one of the door leaves is another damage incurred by the study artifact. In line with conservation and aesthetic principles, necessary measures include cleaning the door and its frame, addressing deficiencies and cracks, protecting the artifact from pests, and applying polish and acid treatment.

In this report we wanted to remind parts of principles and methods of conservation and restoration of pottery objects, and to present reconstruction process of two large pottery Jar (Khomreh) belong to Sassanian period during a written and illustrated report. also, we explained the difference created when choosing materials and methods. The jars were obtained from excavating Varamin Plain by Dr. Morteza Hesari in 2017. They were restored at the conservation pottery workshop of the Research Institute of Cultural Heritage & Tourism Research center for conservation and restoration of relics (RCCCR).

The "Illustrated Atlas of Pathology of Historical-Cultural Textiles" by Fatemeh Alimirzaei and Shahrzad Aminshirazi is specially designed for conservators,restorers, students, museum curators, and collectors handling different categories of textiles. The book is divided into three chapters, addressing the pathology of historical textiles from three perspectives: physical-mechanical, chemical, and photochemical. However, the distinction of photochemical from chemical is rejected as unjustified since photochemical reactions are a subtype of chemical reactions induced by photons. A more suitable third type could be biological effects, which involve harm inflicted with the help of living organisms, including microbes, rodents, and insects.

One of the most important historical architecture in Iran is Atiq Jame mosque in Isfahan which contains large variety of structures and decorations from different eras. Due to this it is called as the encyclopedia of Islamic Architecture in Iran. This building is also important and valuable from the point of view of interventions during the time. The firs decades of contemporary history were a turning point in history of restoration and conservation in Iran. These years were starting of modern restoration and have been imitated during the next years. So review of these interventions is necessary to improve our today restoration activities based on principles such as the minimal intervention and conserving the authenticity. In case on the south Iwan in Jame Atiq mosque there was not any written document of the damages and the interventions. So these questions arise that what damages had this Iwan had before the interventions of the years between 1938-51 and how did it change after the restorations? To answer these questions historical visual documents from the elevation of the south Iwan were gathered and the texts related to the restoration activities were read. Then the photos were sorted based on the time. In next step the documents were compared to the current situation and the changes were found. One of the most important results is finding the name of the calligrapher. After the survey and study of the interventions, it can be deduced that those interventions were more than it was needed and to somehow personal. It seems the interventions were done without considering photos of the previous situation of the building. This article emphasizes on the importance of surveying and criticizing of historical visual documents to improve the restoration interventions with conserving of the authenticity.

Lacquer paintings hold not only historical significance but also aesthetic value. The motifs and materials used in these artworks can vary depending on the cultural context of the society. Examining these types of works can provide valuable insights into the culture, economy, technology, and native materials of different ethnic groups. Lacquered paintings are considered highly valuable and require careful conservation measures. The purpose of this report is to present the protective process carried out on a lacquered bookbinding from the Qajar era. The initial investigation revealed the need for consolidation, separation of the leather from the bookbinding, surface cleaning, patching, restoration of the corners, priming, coloring, and final coating. To achieve this, the following materials and methods were employed: 5% Plextol for consolidation, a mixture of tissue paper pulp with gelatin and marble dust as a putty to restore the corners, a combination of HV360 adhesive with distilled water and marble dust for the primer layer, acrylic paint for coloring, and a final 3% polyvinyl butyral layer for further protection of the paint layers.

Caucasus is the region between the Caspian and Black seas. The Caucasus Mountains divide it into northern and southern parts. The North Caucasus is a part of Russia where has seven autonomous republics and two krais. From the east, the republics are: 1- Dagestan, 2- Chechnya, 3- Ingushetia, 4- North Ossetia, 5- Kabardino-Balkaria, 6- , Karachay-Cherkessia, and 7- Adygea, and the krais are Krasnodar Krai and Stavropol Krai. South Caucasus also includes 3 countries, the Republic of Azerbaijan, Armenia and Georgia. This text describes a research trip to Derbent, Dagestan. The goal was to find and prepare identity card from Persian inscriptions and some buildings with inscriptions in this city. Derbent is a small coastal city that was separated from Iran by the Golestan Treaty. This city has 150 registered artifacts and about 100 Persian inscriptions (Pahlavi and Dari Persian) from the Sassanid, Safavid, and Qajar periods. Juma Mosque in Derbend, after Narin Castle and Hesar, is the most important heritage work in the city of Derbend, which has always been the focus of regional governments, so it has valuable inscriptions from the Mongol, Turkish, Arab and Iranian governments. The mosque's 1330-year-old age, as well as its architectural style, were the criteria for registering this valuable work under the Derbend World File in UNESCO.

This article examines and identifies the tombstone of the late Seyyed Rouhollah Kashfi Darabi and discusses how to carry out its restoration, reconstruction, and display. The necessity and importance of this research is the attention to the conservation and restoration of outdoor stone artefacts in the museum that are exposed to environmental factors in open areas. This has been accomplished through laboratory studies identifying stones using petrographic methods and examining similar past experiences in the region through field and library research. After documenting, analyzing, and evaluating the intervention and reconstruction methods, the incomplete interventions of previous restorations were cleaned up and rectified. In continuation, the reconstruction of the tombstone was carried out using silicone molds and polyester resin. The restoration intervention was done by examining and comparing various reconstruction methods for such works and the less-considered idea was innovatively implemented by reconstructing the missing parts with polyester resin (simulating marble stone) while considering technical and aesthetic principles. Finally, conservation and restoration measures were carried out using 4% Paraloid B-72 as a coating-stabilizer and it was entrusted to the technical office of Tabriz Islamic Art University with arrangements for display and conceptual space. Despite the positive aspects of the reconstruction measures in terms of technical and aesthetic principles, due to the location of the artifact in the outdoor environment and exposed to destructive environmental factors, follow-up researches are needed to investigate the behaviour of stone and restoration materials.

Identity is one of the concepts that has a wide range of meaning in human sciences and is studied by researchers in most different branches of human sciences including psychology, sociology and philosophy. The importance of this issue is that it is impossible to find a person or an object that lacks identity. Based on this, the current article is the results of the studies conducted with the theoretical framerelic of social identity, the branch of social sciences in international documents related to the preservation and restoration of historical-cultural monuments. For this purpose, the research method of content analysis was chosen to be able to analyze a large number of related documents. The documents under review are 28 international documents related to the years 1969 to 2023. In order to conceptualize identity and its relationship with the protection and restoration of historical-cultural relics, international documents in the field of cultural heritage were analyzed. The documents were coded and categorized, this helps to extract and analyze issues related to the concept of identity faster and more accurately. The results of the content analysis carried out in these documents are in the two main branches of identity definition and the relationship between identity and protection. This issue helps to define the identity of a historical-cultural relic and use it as a tool to determine the policy of protection and restoration of historical works. used culturally. The results of the studies in this research state that there is a two-way relationship between preservation and restoration and the identity characteristics of the work. Each one affects the other, so by studying the identity characteristics of the work and its definition, it can be used as a tool to determine the policy of protection and restoration of historical-cultural works.

Authenticity and integrity are key concepts in communicatingthe values and better understanding of an artifact/site. The ambiguity in the definition of these concepts regardingarchitectural heritage has posed challenges to their effective application. Throughout history, the concepts of authenticity and integrity were not major concerns for builders, as the materials, and more importantly, techniques remainedlargely unchanged for centuries; while today, they are essential criteria for the conservation and reuse of historical monuments.The concepts of authenticity and integrityare closely related to each other, butslightly different. There is more transparency about the authenticity of architectural heritage in expertanalyses and international documents, while there is a kind of gap in the precise definition of integrity. The present study explores the role and relation of authenticity and integrity and their application in the process of architectural heritage conservation. Using a qualitative method and a strategy of content analysis and logical reasoning,initially,international documents and expert analyses are reviewed and the two concepts are defined and their criteria introducedwithin the context of architectural heritage. After summarizing the findings, in the second stage, the relationship of authenticity and integrity is examined from various perspectives, and several approaches are presented fortheir implementation. Given the unique characteristics of any architectural heritage property, the assessment of authenticity and integrity is proposedwithin a comprehensive framework of seven design factors: materials, construction techniques, context, function, traditions and intangible aspects, and the spirit of place.

Alki Caravanserai – Near Marand is considered one of the most important buildings on the way in north-west regen- Iran due to its special position in archaeological studies. It was located on the side of the ancient Silk Road and was built by the order of Khawja Rashid al-Din Fazl-Allah (Fazllullah) Hamadani. The ornaments used in the Entrance gate of this building are a combination of tiles and bricks, which have special and important place in the north of the country not only from the archeological point but also because of their position in the evolution process of making tile arrays. This shows the importance of recognition, conservation, and restoration of Alaki caravanserai. Due to the full destruction of this caravanserai building over time, some ornaments and part of the architectural plan of this caravanserai have been discovered during archaeological excavations. In Current research, the process of recognizing and classifying these ornaments has been done based on historical and decorations remain studies that lead to the protection, restoration, and revival of the caravanserai building regarding the health of the plan and the foundations of its structures. First, the separated and broken decorations were classified according to historical studies and their location was identified in the old pictures of the caravanserai. This matter was done in the feasibility of revitalizing entrance gate Then, according to the available images and parts, the geometric nodes related to the two types of designs are drawn, then according to the available parts, it is possible to check the geometric frame of a tile and brick combination frame as an example of the works of this renovation.

Historical monuments have always had a special place in historical-cultural studies as one of the indicators of identifying the cultural heritage of nations. The following paper aims to present a report on the restoration andconservation of metal objects of the cultural heritage treasure of Yazd city. Protection of this treasure which is one of the richest collections in terms of the variety of historical works, which put the restoration and conservation of the present objects on the agenda in the past years, and restoration and conservation operations were carried out on these valuable works. For this purpose, an effort was performed in this research during 7 years at different times to select metal objects with special features from this rich collection, and its report is presented in this article. Various types of objects such as silver, iron, and bronze objects were restored and protected. Improper maintenance conditions in the past have caused these works to be covered by environmental sediments or corrosion products, which sediments and corrosion products cause the illegibility of designs and patterns and sometimes the complete destruction of objects. So, in the operation procedure of restoration and conservation observing theoretical principles, cleaning operation was done as far as possible mechanically and chemically if needed. Low percentages of consumable materials were used and materials were selected that do not harm the environment as much as possible. The most important step after the restoration operation is the conservation of objects in desirable conditions and periodic reviews, so that if any damage is observed, it should be repaired immediately. The following paper describes the steps of restoration and conservation of metal objects of different types and protects them to keep them in standard conditions to be shown in the museum.

Identifying the material and the main substrate of a cultural artifact, as well as the surface sediments in the process of conservation and restoration plays a significant role in determining the appropriate methods and ensuring the longevity of the artifact. To achieve this, the use of laboratory-based, instrumental, and microscopic techniques is indispensable. While some experts might be able to recognize the nature of the coin at a glance, this is not always possible, especially when it covered with substantial deposits or when its authenticity is in question.  Therefore, in addition to experimental knowledge and comparative studies, precise laboratory methods are necessary. In the research has been carried out in the workshop of conservation and restoration of metal works of the Research Center for Conservation of Cultural Relies, we encountered instances familiar to many dealing with coin collections. For example, coins with a silver appearance that have become darkened and tarnished due to deposits caused by the surrounding environment and wear and tear, might initially seem to be silver.  However, further investigation often reveals that they are of different alloy or have a Silver coating, or they have been silver-copper coins buried in soil, where deposits and extensive copper corrosion products sometimes make the identification more challenging. Various methods are employed in the study of coins to clarify the economic, social, and political conditions at the time of their minting. Techniques such as PIXE (Particle-Induced X-ray Emission) and XRF (X-ray fluorescence) have attracted more attention from researchers for reasons such as accuracy and non-destructiveness nature. However, it should be considered that in order to obtain a clear and accurate results, the surface of the coin needs to be clean and free of any kind of contamination before conducting these analyses. This underscores the importance of adhering to proper restoration processes for these historical artifacts. Before commencing cleaning, the conservator must consider factors such as the identification of the coin, its surrounding environment or burial and storage conditions, structural aspects, precision in coin minting, and its pathology. Assessment of these factors, not only helps numismatic studies and determining the authenticity of coin, but also assists in selecting the optimal method of cleaning. It should be kept in mind that the inappropriate selection of chemicals or the use of unsuitable mechanical tools can cause serious damage to the artifact's surface and disturb subsequent studies. this research introduces various methods used in the field of study of coins, both hammered and machine-struck, tend highlights the role and importance of laboratory studies in this context.

Pottery is one of the most important man-made artifacts, and with time, its manufacturing and application technology has also changed. Therefore, in most archaeological excavations, pottery artifacts occupy a major part of the discoveries, and most of these artifacts have special damages. Some of these damages are common, such as fractures and cracks, and some are special due to the burial conditions and low quality in the construction technique; Such as body layering damage that requires special protection and restoration studies. In this study, a sample of terracotta cauldron hanging on the Segzabad hill of Qazvin Plain belonging to the Iron Age period was studied. This study aimed to understand the construction technique, investigate the damages on the pottery body and the cause of these damages. To answer these questions, instrumental tests, such as XRF, and comparative historical studies have been used. All these studies will ultimately help in the way of conservation and restoration that should be done. After all the protective steps to prevent secondary damage that may occur after its restoration, a box is designed to store the pottery and, in some cases, even display it. The result obtained from all the steps was the recognition of the construction technique and the documentation of the damage in the body, which ultimately led to the protection and restoration of this historical and cultural work.