Bunyan-i hunar; justarha-yi muzah/dari, marimmat, bastanshinasi va tarikh-i hunar
Year:2024 | Volume:2 | Issue:1 (پیاپی 3)|Papers Count:12

AbstractYazd, a significant city located on the outskirts of the desert in Iran, has been sustained by a network of historic qanats (Persian aqueducts) drawing water from the underground sources in the neighboring cities of Taft and Mehriz. These qanats, originating from the slopes of Shirkoh Mountain, have played a crucial role in the growth and prosperity of Yazd over the centuries. The vast Yazd-Ardakan plain, around which these qanats revolve, has provided ample space for the city's expansion. Since the 14th century AD, ambitious projects involving gardens and agriculture have been meticulously planned on the borders of this plain, particularly in the southern and southeastern regions surrounding the city of Yazd. The dedication of nobility, rulers, courtiers, and the general populace in funding and executing numerous projects in this area laid the foundation for the creation and evolution of garden neighborhoods (Bagh-Mahaleh) that flourished in size and number until the end of the Qajar Period. However, the haphazard urbanization that plagued Yazd, along with many other historical cities in Iran in the past century, posed a serious threat to these garden neighborhoods, leading to their gradual decline and eventual disappearance. Old aerial photographs serve as an affecting reminder of the once vibrant gardens, now reduced to slender leftovers of their former glory.       The research aims to merge old sources and visual records through a historical methodology in order to reveal the origins, design, and creator of one of these gardens. The garden was situated in the southeastern vicinity of the region that now delineates the borders of the historic neighborhoods of "Abshahi" or "Naeem Abad". Along the northern front's outer edge, there is relatively well-preserved evidence of a structure that may have functioned as a gate-palace or "Aali Qapu". Amidst the Chaharbagh, the structure of a two-story pavilion has been identified, offering a view of the Chaharbagh and the main four corners of the complex through four eyvans or porticos. The architectural style of this pavilion is reminiscent of the "Hasht-Behesht", which later became the predominant design of pavilions in Chaharbaghs during the late centuries of the Islamic era.       This complex, believed to have been named "Bagh-e-Eram", was likely established during the reign of Fath Ali Shah Qajar by Abdul Reza Khan Amir Muayid (1827-1829 AD), the 20th offspring of Muhammad Taqi Khan Bafqi (1748-1802 AD), and was constructed in 1829 AD, the final year of his official governance in Yazd.Keywords: Islamic Architecture, Qajar Period, Chaharbagh, Pavilion, Yazd. IntroductionThe city of Yazd in Iran is situated on the edge of the desert and has been sustained by numerous qanats drawing water from the underground sources of the Shirkuh slopes in Taft and Mehriz. These qanats have played a crucial role in the city's formation and development over the centuries. The Yazd-Ardakan plain, through which these qanats pass, has allowed for the expansion of land, leading to the clever construction of qanats by the city's planners. This area, covering the southern and southeastern parts of Yazd, saw the initiation of large garden projects in the late 14th century AD. Not only rulers and governors, but also courtiers and the public contributed significantly to these projects. However, during the late Pahlavi period, the physical development of Yazd led to the destruction of these garden neighborhoods. The neighborhoods, which were once independent and located a league away from the city, were gradually absorbed into the center and lost their historical and functional identities due to disorganized constructions. The historic nature of these neighborhoods, characterized by gardens and pavilions, laid the foundation for their development. Upon analyzing the historical aerial photographs of Yazd, it becomes apparent that the remains of the surrounding walls and occasionally the structures within them have been carefully documented in the old neighborhoods. These remnants, although scarce, serve as a testament to the artificial nature of cities like Yazd, extending beyond the present-day prominent gardens. It is apparent that the city had a distinct appearance in the past. Research Methodology This paper is basic in research purpose and historical in nature. Thus, the data are analyzed using a “historical approach”. Despite attempts to conduct field investigations, the extensive damage to the site hindered the acquisition of valid results. As a result, data collection was primarily carried out through comprehensive desk research.Conclusion Several valid researches have been conducted regarding the city of Yazd, particularly its neighborhood gardens and the significant garden of Dolat-Abad. However, the sample under study has not been researched yet. The necessity of exploring this issue arises from the problem of the destroyed historical garden, which can still be identified in old aerial images. The perimeter wall, parts of the middle pavilion, and the gate-palace have been carefully examined and studied. This garden was situated in the immediate southeast neighborhood of the current historical neighborhood of Abshahi or Naeem-Abad, specifically at the northeast end of the Safaiyah neighborhood. The research findings reveal that the existing architectural structure, measuring 148 x 265 meters, was the perimeter wall of a chaharbagh. On the outer side of the northern front of this structure, remnants of a building can be observed, indicating its use as a gate-palace or Aali Qapo. The middle building, a two-story pavilion, offers views of four gardens and the main sides of the complex through four eyvans.       The trees planted on either side of the four walkways enhance the beauty of the eyvans. The architectural style of this pavilion, reminiscent of the upper Eshkob plan of the Qajar model of Ezzat-Abad garden in Abarkouh County, is the same Hashtbehesht style that became the dominant design of the pavilions of Chaharbaghs and Cheshma-e-Amarts in the later centuries of the Islamic Period. The fountain and pond inside the central pavilion are additional elements that can be identified in this structure. One of the qanats that ran through the western part of the complex terminated in the western rampart. This could be Qanat-e-Najaf Abad which one of its streams runs through the pond. It is feasible to contemplate a flat and beamed covering for the eyvans and corner rooms, based on the stability of the remaining structures and the ratio of the wide opening of the eyvans to the small width of the load-bearing beams. This design choice is evident in the Ezzat Abad pavilion. Similarly, the covering of the middle opening can be likened to Hashtbehesht of Isfahan Domed, supported by historical evidence and the presence of the pond. The dados of the eyvans were crafted from marble, suggesting that the floors of the spaces were likely covered with the same material.       The historical complex known as Bagh-e-Eram was most likely constructed during the reign of Fath Ali Shah Qajar by Abdolreza-Khan AmirMuayid, the 20th son of Muhammad Taqi Khan Bafqi. It was built in 1829 AH. In the 1960s, a four-walled building was added to the north and northwest, overlapping with the southern fence of the complex. The construction of the Yazd-Kerman railway in the 1970s led to the destruction of parts of the eastern and northern ramparts. Over the years, due to the city's development, the Garden Square was occupied, the gate-palace was destroyed, and the middle hut was demolished in the 1980s and early 1990s. Today, only broken remains of the western rampart serve as a reminder of this once-historical complex.

Abstract Studies of mortuary practice mostly contemplate the rituals and religious beliefs of human societies and apply their data to recognize and evaluate hierarchical structures and where the deceased persons fit into them. Along with human burials, there have been numerous reports of animal burials such as dogs, and cats, both individually and in association with humans around the world. Dogs were the first and one of the most important animals domesticated by human beings, and their burials have frequently been documented in human settlements from the Upper Paleolithic period to the present day. Archaeological evidence indicates that dogs were the first animals domesticated by humans, and the practice of burying them is considered a universal phenomenon, as abundant samples have been discovered from different sites of the Old and New Worlds. Dog burials occur both individually and accompanied by human skeletons, a sign of mutual social adaptation between dogs and humans. In Iran, dog burials have been reported at the sites of Shahr-i Sokhteh, Gohar Tappeh, Qaleh Kash of Qaemshahr, Tape Rivi, Khoramabad cemetery of Meshgin Shahr, and Narges Tape (Golestan Province). The present article outlines these burials and considers their social and ritual contexts, concluding that some seem to be ritualistic, and others can be explained by the social affinity between humans and dogs. Introduction Dogs were the first and one of the most important animals domesticatedby human beings, and their burials have frequently been documentedin human settlements from the Upper Paleolithic period to the presentday (see Crockford 2000; Morey 2006, 2014).There are many debatesregarding the time, location, ancestry, and processes of dog domestication.Some scholars (Shannon et al. 2015; Pang et al. 2009) date back thedomestication of dogs 15,000 years, while others (Germonpreet al. 2009;Druzhkovaet al. 2013; Skoglund et al. 2015) argue for a date as long as30,000 years ago. Many areas of the ancient Near East (von Holdt et al.2010), Far East (Savolainen et al. 2002; Pang et al. 2009) and severalother areas (Axelsson et al. 2013) have been proposed for the origin of dogdomestication. Given the archaeological evidence, it seems that the coevolutionof humans and dogs took place in the Upper Paleolithic period.Extensive studies across the world provide many possible reasons for the phenomenon of dog burial from prehistory to contemporary times in some Western countries. Based on their mythology, some scholars believe that in certain cultures dogs were assigned to guide spirits to the world of the dead. After having been a person’s companion in daily life, the dog would remain with them, serving as their guide upon their death. Since dogs were a vital part of everyday life in prehistoric times, other scholars believe they naturally made their way into the spiritual world and were therefore placed with human bodies in the burials. Another theory suggests that animal burials in general, and dog burials with humans in particular, are a sign of shamanism. Citing more recent examples, some scholars have discarded the ritual aspect of dog burials, believing that the evidence implied that the animal deserved to be buried as a member of the human group or family. According to Wilson’s biophilia hypothesis, the human desire to pay attention to and feel connected with animals is a biological tendency. For Mornement, the notion of “biophilia” referred to an innate and genetically determined affinity of humans with the natural world as it manifests itself in their tendency to interact and form emotional attachments with other living organisms.Accordingly, animals seem to attract attention of human beings more than objects and it is assumed that paying attention to animals conferred a fitness and survival benefit from an evolutionary perspective. In ancient Iran, dogs, like horses, camels and buffalos, are highly valued. As Ahura Mazda’s animal, the dog had a profound presence in ancient Iranian religion. An entire chapter of the Zend Avesta is devoted to dogs – span in Avesta, svan in Sanskrit addressing their positive role, their proper training, and the punishment of those who mistreat them. In addition to Zoroastrianism, dogs are an important iconographic motif of ancient Mithraism and are one of the few animals fed by the blood of bulls killed by Mithra. This sacred scene is often related to the myth of world creation and the dog symbolizes the forces of good. Scholars believe that the roots of Mithraism are to be found in the beliefs of the inhabitants of ancient Media who occupied the northern half of modern Iran. The Medes too apparently believed in dog-sanctification. According to Herodotus (book 1: 140), the Magi (one of the six Median tribes) killed all animals with their own hands except dogs and humans. He also stated that Astyages, king of the Medes, had a shepherd named Mithradates, who along with his Median wife named Spako, meaning ‘female dog’ in Median, secretly raised Cyrus out of sight of the king.Interestingly, the same word for dog is used today in certain Iranian languages and dialects, which are common mainly in Median areas, for example, Taleshi, Sangsari, Semnani, Shahmirzadi, and Kashani. In addition, modern followers of the Yarsan (Ahl al-Haqq) religion in Guran and Qalkhani of western Kermanshah Province cook a special bread for their dogs referred to as Sapek (“dog bread”). Discussion  In Iran it is clear that dog burials occurred in different contexts. In a simple subdivision, the burials can be divided into four groups: 1) Dogs buried with humans, such as TappehEshgh and Narges Tappeh, and the crock burial of a dog from Gohar Tappeh. 2) Dogs presented as offerings or sacrifices as at Shahr-i Sokhteh and the Khoramabad cemetery of Meshgin Shahr. 3) Simple dog burial without specific rituals, such as at TaleqaniTappeh of Ghaemshahr. 4) Dog carcasses that may have been accidentally buried as at TappehRivi and Gohar Tappeh (specimen A). Dogs are considered one of the first animals to have been domesticated by humans. For a variety of reasons, including their inherent loyalty to humans, dogs have held an important place in various cultures, even in religious and ritual beliefs. The effective and vital role of dogs in urban, rural, pastoral, and nomadic life has led in some cases to their burial with respect, much like humans, after their death, even if their burial was not a consistent tradition in ancient settlements and cannot be taken as a universal practice. Furthermore, we have seen that dogs were not the only animals to have been buried. The results of the present study show that dog burial in Iran was not a widespread phenomenon. Conclusion  With the exception of Shahr-i Sokhteh, all dog burials identified in Iran have been reported from sites in the northern parts of the country and all date between the mid-third millennium BCE and the first millennium BCE. Unlike the Levantine and Mesopotamian instances where the dog burials were purely ritual, the burials of Shahr-i Sokhteh and Khoramabad cemetery of Meshgin Shahr were ritualistic.In fact, at thesesites, the dog played a victim role that might be reminiscent of a ritual act. The presence of the dogs in burials from sites such as Taleghani Tappeh or Gohar Tappeh, however, may reflect the animal’s strong presence in people’s lives and the owners’ attachment to their dogs. Although dogs were an important part of ancient Iranian beliefs, the results of this study suggest that this belief did not lead to systematic and purposeful burial of dogs, and no dog burial has been reported at all from the Achaemenid period in Iran.

AbstractOne of the key strategies to engage visitors with museums is by effectively communicating the significance of museum artifacts and works. The primary goal of drawing in audiences to museums is to inspire changes in individual behaviors and societal norms. The messages conveyed by museum objects should stimulate a shift in perspectives and attitudes, fostering critical thinking and providing a conducive environment for intellectual growth and understanding of human behavior among visitors. This study aims to highlight the ethical and behavioral aspects of a historical artifact housed in the museum, which held great importance during a crucial period in Iran's history. Focusing on the case of Darius the Great at the National Museum of Iran, the authors aim to explore how the messaging of museum objects can be utilized to captivate audiences and effectively convey the essence of a museum piece. Also, this paper aims to address the following research question: How do museum works and objects alter the attitude and motivation, ultimately influencing the behavior of the audience? The research methodology employed in this article is a descriptive analysis of a quantitative-qualitative nature. Data was gathered from library resources, websites, and the VTS method. The measurement tools utilized in this study include the Excel software program and a self-made questionnaire distributed at the museum. The findings of the research indicate that museum objects can initially offer significant historical insights into Iran's past politics to contemporary audiences. Furthermore, by focusing on the three key elements of engaging the audience - conveying the message of museum objects, persuasion, and personal experiences - the study underscores the importance of the moral content embedded in the message of museum objects. This approach aims to transform the mindset and attitude of the audience.IntroductionOne of the primary objectives in drawing visitors to museums is to exert social influence, aiming to enhance human skills and behaviors within society, thereby fostering a shift in individual attitudes. Altering mindsets is a key strategy in this endeavor, as it enables audiences to undergo diverse personal experiences. This study digs into imparting the moral and social significance of justice through the portrayal of the renowned historical figure, Darius the Great, at the National Museum of Iran. The research encompasses preliminary investigations into the significance of justice during the Achaemenid Period, the rationale behind highlighting the theme of justice, the tools and methodologies employed for data collection, as well as the development of a customized questionnaire in collaboration with the museum. The ultimate goal is to obtain research insights on how museum artifacts can effectively engage audiences through the message they convey, thereby guiding museum managers in curating their collections.BackgroundThe book A new look at the Experience of visiting a Museum, written by John H Falk - Lynn D. Dierking (2016) - The book The Power of objects in Learning and object-based education, written by Christian Hardy (2015) - The book Changing minds, art and science, changing your mind and others, written by Howard Gardner (2007) - The book of methods of persuasion and propaganda, written by Rehane Ahmadi Dehka (1395) - The book of theories, concepts, and basics of audience studies in the museum, written by Marzieh Hekmat-Lila Qadr (2018) - a valuable model article for the attention of visitors The Museum, written by Stephen Bitgood (2010) - The essay Unique Experiences with Museum Objects, written by Christine F. Latham (2013) addresses the issue of empiricism through the mind.DescriptionThe museum has three primary objectives in attracting the audience: conveying the message of the artworks and objects, persuading the audience, and altering their attitudes towards individual experiences. Its ultimate goal is to transform minds and attitudes to restore the societal values that enhance individual skills and abilities, contributing to the progress of society. These values possess the potential to expand and strengthen through both objective and subjective elements. The objective aspect involves displaying objects, while the subjective aspect entails selecting the subject of display. There are various methods to change one's mindset, and paying attention to works of art is one of them. However, the two crucial pillars in attracting the audience are capturing their attention and the appeal of the objects. Through the physiological processes of the brain and the ability to captivate attention, the museum's persuasive message can have a profound impact on the audience. One of the techniques and tools employed to attract the audience to the museum is creating experiences that offer enjoyment, visualization, creativity, playfulness, and a personal connection with historical figures. Additionally, storytelling, object-based education, and the design of emotionally-charged and morally-driven exhibitions serve as means to engage and captivate the audience. The purpose of storytelling is to persuade individuals to change their mindset and develop a new attitude. Another effective approach is object-based education, which provides numerous opportunities to attract an audience.The Audience of Darius the GreatThe Audience of Darius the Great is a significant motif from the Achaemenid Period, dating back 2500 years, and is currently housed in the National Museum of Iran. This portrayal emphasizes the grandeur of the kingdom, and royal authority, and serves as a symbol of judgment and governance exclusive to the king.The public scene of Persepolis is a crucial historical image highlighting the pursuit of justice. This scene has been depicted on various archives and treasury seals, indicating a tradition where the oppressed could seek justice. The strength of the royal system stemmed from the Achaemenid kings' commitment to implementing strict laws, as evidenced in the ancient inscriptions of Darius' era. Darius, also known as Daria and Homeneh, was recognized for supporting righteous ideas, as reflected in the Gatha. His emphasis on establishing and upholding laws is evident in his title. Darius Achaemenid's reign was characterized by his dedication to protecting and maintaining loyalty to his laws. Through his inscriptions, Darius the Great consistently sought divine assistance in ensuring justice prevailed among his people.                                 Discussion and analysisBased on the objectives of engaging the audience with the museum (self-created survey), a total of 21 questions were formulated. The responses from the survey were then used to create a chart using Excel, which is categorized into four sections (the impact of the work's message, the persuasiveness of the work's message, the personal and interpersonal experiences evoked by the work's message, and the work's social impact on the audience). The chart comprises subjective feedback, audience perceptions derived from focusing on the narrative, critical thinking and intellectual engagement with the subject matter, and the significance of the Achaemenid era judiciary, which held moral and behavioral importance among the ancient people of Iran. As per the statistical analysis conducted through the Excel program, the data in chart 1, based on responses to the 21-question survey, indicates the following: 65% audience engagement (impactful message), 60% audience engagement (persuasive message), 68% audience engagement (personal and interpersonal experiences), and 88% audience engagement (social impact of the message). The significant 88% increase in audience engagement with the social impact of the message demonstrates a shift in audience mindset and attitude towards the content, showing a stronger connection to this historical era.ConclusionThe works and artifacts found in museums serve as crucial sources of information and enlightenment. By utilizing the moral and social message conveyed by the remarkable figure of Darius the Great in the National Museum of Iran, a method for imparting moral and educational teachings has been established within the museum. This approach enables the transfer and reinforcement of behavioral skills at the community level. As mentioned, museums strive to imbue their works and objects with meaning, thereby altering the audience's perspective and facilitating their mental engagement. This, in turn, creates a conducive environment for the transmission of moral, social, and even aesthetic messages, ultimately fostering pro-social behaviors. The interaction between the audience and the museum's content, as well as the mental representations, imagination, and visualization evoked by the objects, are significant outcomes of the museum experience. These outcomes contribute to individual experiences and, ultimately, interpersonal connections.

Abstract                                                 Bones and human skeletal remains are among the most important materials found in many archeological excavations. Bones are composite materials consisting of organic and inorganic parts. Minerals constitute 70% of the dry weight of bones and organic substances the rest. This valuable material is degraded by environmental factors and microorganisms and its physical and mechanical properties are lost. Therefore, it is necessary to preserve bones. The Iron Age Cemetery of Tabriz with its buried human remains and the items found inside the tombs in the natural environment has been converted into a museum site. This paper describes the preservation and reconstruction of a sample of human skeleton belonging to this museum site taking into account the available pictures related to the excavation and removal of the factors damaging the skeletons. The results of the tests on soil EC, type of soil granulation and pH, the qualitative identification of the dissolved salts (anions), and the determination of the moisture content in the burial site indicated that the soil had a high moisture content, strong saline salts, and a loamy texture. The soil and skeleton had neutral (weakly alkaline) pH values. After carrying out the necessary studies, the skeleton was transferred to the workshop to be preserved and reconstructed and the soil in the bottom of the tomb was removed and desalinated with distilled water. Nano hydroxyapatite was used to improve the strength of the bones and Moldano and Simacryl R83 to reconstruct the lost parts of the skeleton. Plexiglas was employed as the insulator in the bottom of the tombs to cope with the rising moisture content. Samples and MethodsSamples:The skeleton under study was obtained from the excavations in 2003 at the Iron Age cemetery (Blue Mosque Site) under the supervision of Alireza Hojabri Nobari. Currently, it is on display at the Iron Age Museum. This skeleton, identified as number 82/51, was discovered during the fifth season, in Workshop 3 and Trench A.Laboratory Methods:To identify the compounds present in the burial environment and the soluble salts within the bones, sampling was conducted on the bone and the surrounding soil. Initially, the collected samples were air-dried to remove the free water present in the soil tissue and then divided into two portions. The first portion was used for particle size analysis. The second portion was utilized for qualitative identification of the soluble salts (anions), pH measurement, and determination of water content and organic matter. Additionally, the identification of soluble salts and pH measurements were performed on the bone samples.Soil Particle Size Analysis:Particle size analysis plays a crucial role in determining the water-holding capacity of soil and is also one of the conventional methods for identifying soil types. To this end, the soil particle size identification method using the hydrometer method based on ASTM D422-63 standard, available at Kimia Gostaran Novin Azmaye Tabriz Soil Laboratory, was employed. The results of this analysis indicated that the burial soil is classified as loam clay soil.Soil Organic Matter (SOM) Test:To measure the amount of water and organic matter present in a soil sample, the tested sample measured the percentage of water and organic matter. The water content in the burial soil is 10.5%, and the organic matter content in the soil is 3.9%.Moisture Measurement:To measure the moisture inside the burial and environmental moisture, a digital moisture meter TFA 44.1004 was used, which was available at the Iron Age Museum. The average moisture inside the burial and environmental moisture in July 2019 was 87% and 25%, respectively.Temperature Measurement:The temperature inside the burial was measured using a mercury thermometer with minimum and maximum temperature readings in degrees Celsius. The average maximum and minimum temperatures in July 2019 were 21°C and 10°C, respectively.pH Measurement:To measure the pH of the soil and bone samples, the Metrohm pH 827 pH meter model from Switzerland and litmus paper at the Islamic Art University of Tabriz were used, following the ASTM D4972-01 standard.Soil pH is influenced by various factors such as the presence of soluble salts and their type and composition, and it plays an important role in soil processes and chemical reactions. Soil pH indicates the physicochemical environment of the soil in an area. According to the conducted experiment, the pH of the soil was determined to be 5.7 using litmus paper and 7.7 using the pH meter, while the pH of the bone was determined to be 5.7 using litmus paper and 3.7 using the pH meter. Based on the test results, the pH of the soil and burial bone samples can be classified as weakly alkaline with a value of 8.2.Soil Electrical Conductivity (EC):Soil electrical conductivity can indicate the level of salinity and soil fertility and can determine the presence of soluble salts. The result of soil electrical conductivity for the burial indicates 12.17 ds/m. The obtained result indicates that the soil sample had a high electrical conductivity, indicating the salinity of the soil.Qualitative Identification of Soluble Salts:To identify soluble salts in the soil and bone, 5 gr of each sample was taken, powdered, and dissolved in 20 ml of distilled water and heated. The solution containing the sample was placed in a centrifuge to separate the sediment from the solution. The sediment was tested for the presence of carbonate ions (CO32-), and the solution was used to identify chloride ions (Cl-), nitrate ions (NO3-), phosphate ions (PO43-), and sulfate ions (SO42-).Conservation and Preservation Measures:The following conservation and preservation measures were carried out for the implementation of this archaeological and conservation research article:1. Documentation and extraction of the human skeleton from the burial site and its transfer to the conservation and preservation workshop at the Iron Age Museum in Tabriz.2. Soil desalination at the burial location.3. Consolidation of the grave walls.4. Cleaning the bones of the human skeleton.5. Desalination of the bones.6. Consolidation of the bones of the human skeleton.7. Fragmentation and reassembly of the bones.8. Restoration and color matching according to conservation theoretical principles and foundations.9. Design and implementation of a moisture barrier using Plexiglas and its placement inside the burial site.10. Reburial of the remains and arrangement according to the archaeological excavation images. Conclusion:According to the conducted experiments, it has been established that high relative humidity and the presence of salts are detrimental factors for human skeletal remains. The high humidity causes salts to enter the pores and cavities of the bones, leading to the dissolution of mineral components and an increase in bone porosity. Consequently, when the humidity decreases and the bones dry out, the salts crystallize and exert mechanical pressure, resulting in surface cracks. To address this issue, a desalination process was performed on both the bones and the soil in the grave. Additionally, a moisture barrier made of Plexiglas was utilized to prevent moisture-related damage. Nano-hydroxyapatite, a substance consisting of calcium and phosphate compounds that closely resemble the inorganic part of bone, was employed to enhance the structural integrity of the bones. This substance forms a chemical and structural bond with the inorganic components of the bone, facilitating desirable adhesion.

Nowadays, museums have an effective role in increasing people's knowledge and awareness. They are regarded as centers for the preservation and dissemination of culture in a community that has consistently maintained and then expanded its culture. Preservation of a museum artifact as the first step in the process of becoming a museum has an effective role in its survival, a process that takes place in several stages and under the supervision of several experts with museum, archeology, documentation and restoration trends. In addition to the mentioned items.Museum archives can be the most important part of protecting museum information documents, Archives are one of the effective parts of a museum since they can raise the museum audience's awareness by providing researchers with comprehensive information. Thus, the archives of a museum must follow classifications and principles which make them accessible to everyone. The status of archives in three Iranian museums was investigated and the results showed that they lack desirable archives. Based on international principles of creating archives, some solutions were suggested. Observing the principles and creating standard archives help us have better access to museums' documents. The archive is not only significant and important from the point of view of identity, but also plays an effective role in the production of educational and research content in the museum and is important as a platform for the content production infrastructure for the object. A process that becomes richer in different ways like the object itself with the passage of time. Perhaps the museums that have not been able to defend their museum identity and exhibited objects and provide accurate information due to not having a comprehensive and basic archive. Paying attention to this part of the museum, which is considered as a small part of the documentation unit in some museums, needs more introduction and description. The archive forms a large collection that includes the documents of various departments, such as the preparation and arrangement of information related to birth certificates and documentation, conducting laboratory and restoration studies, only a part of this whole, which ultimately includes a comprehensive and integrated whole of the state of the object. It covers the beginning to the way of showing, after the show and everything related to it inside and outside the museum.As a result, it can be said that the archive in every museum is not just a place for filing documents, a misconception that is also common among museum professionals. Rather, it is a place that is closely related to the research department of the museum, and in this way, it is possible to find what is related to the object. Documents and documents or even the object's birth certificate form only a part of the museum's archive. According to the studies that have been done regarding the archives of the famous museums of the world, as well as the correspondence with their archive department, Iran's museums do not have a favorable situation in terms of archival resources. This is despite the fact that in many museums of the world, including in France, there are favorable methods for the archive of artifacts, which types of information are classified based on the variety of objects. The archives of prominent museums in the world follow standard principles for organizing and classifying their archival documents. For example, the Guggenheim Museum and the American Museum of Modern Art use the DACS standard to describe their archival materials. Although the Ministry of Cultural Heritage, Handicrafts and Tourism has prepared a relatively good archive for the works by creating the Jam system, but this system is only focused on the museums of this ministry and many other museums are in this information registration system. They have not done so, including the Astan Quds Razavi museums, private museums, Mustafafan Foundation museums and many other museums in the country. Among the country's museums, the condition of archives in three national museums of Iran, Malek Museum and Museum of Contemporary Arts was examined, although efforts have been made to improve the condition of the archive of object documents, but it is not enough, it also does not meet the needs of researchers. The use of new archival methods in museums should be started seriously and museums should be required to create such a section in the museum, this is necessary and vital for the museum. For this purpose, some suggestions are provided for the Iranian museums to take steps in the direction of creating a desirable archive:Although the Cultural Heritage, Crafts and Tourism Organization has created a relatively good archive cup system for the artworks, it is exclusively for the museums of the organization, and many other museums have not recorded the information in this system. Including Museums of Private Museums, Museums of the Mostazafan Foundation and many other museums in the country among the country's museums, the status of archives at the three national museums of Iran, the Malek Museum and the Museum of Contemporary Art, has been examined. Although efforts have been made to improve the status of the archive, it is not enough to meet the needs of researchers. The use of new methods of archiving in museums should begin seriously and museums should be required to create such a part of the museum. This is vital for the museum. To this end, suggestions are made for taking Iranian museums on the path to creating a favorable archive:1. Museums should collect information about objects after recording the primary information of the work (public and professional identification). Including photographs and articles and archaeological reports and this requires the serious efforts of museum managers and librarians working in libraries and documentation centers and museum research units. What adds up to an object at the museum is object-related documentation to complement the knowledge and knowledge about the object all documentation must be classified and accessed manually and digitally.2. An entity or committee to coordinate, develop, and develop a software and database that can cover the works and items of all museums to be designated under the authority of the Cultural Heritage Organization, which is responsible for the preservation of historical and cultural sites and sites in the country. Undertake the activities of studying, reviewing, coordinating, and developing a comprehensive software and database. And shall comply with the standards set forth by the National Library and Documentation Organization of Iran.3. In order to protect the historical, cultural and ... monuments of the country, the Cultural Heritage Organization requires all museums (private, public, vaudeville, etc.) to use this software.4. The software in question should provide all the information classified and make it easy for all researchers to use.

AbstractHistorical ceramic objects discovered in ancient sites have a great informational value. In the science of archaeology, the preservation and classification of this information is significant. Therefore, keeping their physical health seems important in storage, transportation, and use. These historical objects are often fragile and vulnerable due to the material used in their construction and their age, especially in the transportation and use stages, including the measurement and evaluation of the discovered object. Proper packaging can minimize the possibility of damage in the mentioned steps and guarantee the preservation of the physical health of the object.To design suitable packaging for these historical objects, one must first have a detailed and complete understanding of their specifications. The chosen object in this packaging design process is a drinking container belonging to the Iron Age of northwest Iran, which was obtained during the archaeological excavations of Dalma Tepe in Malekan County of East Azarbaijan province under the supervision of Akbar Abedi in 2021. The packaging of the mentioned historical pottery must adhere to the minimum criteria to fulfill its primary function of preserving the physical integrity of these artifacts. To ensure this, ten specific criteria have been established for guidance.Based on the obtained criteria, some solutions and concepts were generated, and finally, the most promising idea was selected according to the stated historical pottery. The main idea of this packaging design is to use memory foam. The historic and fragile ceramic object in the selected packaging is placed between two 6 cm layers of memory foam and surrounded by a 5-layer cardboard box. The selected package has 4 parts, the body, the lid, and two pieces of memory foam. Because the structure of the packaging is considered telescopic, it makes it possible for the packages to bear more weight during the storage stage. It means more packages can be placed on top of each other.The selected packaging design can cover all the criteria mentioned for suitable packaging for historical ceramic objects and guarantee their physical health during the stages of storage, transportation, and use.IntroductionThe discovery of historical ceramic objects at ancient sites has a significant amount of information. In the discipline of archaeology, it is important to preserve and categorize this information. It seems that maintaining their physical health is crucial when it comes to storage, transportation, and use. These historical objects are often fragile and vulnerable due to the material used in their construction and their age, especially in the transportation and use stages, including the measurement and evaluation of the excavated object. The object's physical health can be preserved and the possibility of damage during the mentioned steps can be minimized through proper packaging.The first step in designing suitable packaging for these historical objects is to gain a complete understanding of their specifications. The classification for ceramic products is silica and they are typically one-piece and solid. Despite their limited circulation, they have a diverse range of features. Their colors, textures, and shapes vary. Ceramic objects are more likely to undergo mechanical (physical) destruction and damage than chemical destruction, which is generally very slow. Physical damage can be caused by impact, scratches, thermal shock, and frost damage. These historical objects usually have stages of transportation (transportation from ancient sites to temporary warehouse, and then to the museums), storage and maintenance (temporary or permanent storage), and use (Removing the object from the package, conducting the required tests and checks, and putting it back into the package).The chosen ceramic object in this packaging design process is a drinking container belonging to the Iron Age of northwest Iran, which was excavated during the archaeological excavations of Dalma Tepe in Malekan County of East Azarbaijan province under the supervision of Akbar Abedi in 1400. The suggested range is between Iron Age 1 and 2 and approximately 1200 to 800 BC. As it appears from the excavation report, the above work was found as a gravestone and belongs to the burials related to the upper layers of Dalma Tepe cemetery. Discussion To obtain the exact dimensions of the desired object, it was measured by accurate measuring tools such as Digital calipers, ordinary calipers, and micrometers in the measurement laboratory of Tabriz Islamic Art University, Faculty of Design. A suitable packaging was created by utilizing the measurements taken to prepare a three-view drawing, which includes the top view, front view, and side view.By defining the specifications and completing the information related to the mentioned historical pottery, its packaging should meet the minimum criteria to achieve the main function of packaging in this type of goods, which is to keep physical health. Ten criteria were established to be followed. 1- Convenient and safe stacking of packages 2- No damage to the color and texture of the piece by the packaging material 3- No penetration of moisture into the desired piece 4- Packaging for a wide range of sizes, shapes and colors of the piece should be suitable 5- The packaging should provide thermal insulation 6- Access to the contents of the package should be convenient and safe 7- Placing the ceramic object inside the package should be safe and convenient 8- The production of the package should be economical in low quantities 9- Available materials and manufacturing technologies should be used 10- Printing required standard signs and necessary information on the packaging.The criteria were used to generate solutions and concepts, and finally, the most promising idea was chosen based on the historical pottery mentioned. Here, an idea was selected and explained. The selected packaging design involves two main parts, one inside and one outside. The shock absorber is in the inner part and the package is formed by the outer part. The 5-layer C flute double-faced cardboard material is used for both the body and lid of the outer part. Placing the lid on the body in a telescopic form creates necessary stability and strength while also preventing small blows from the outside. The inner part includes the use of two layers of smart foam or memory foam, which can be molded according to the shape and size of the desired piece. A sheet of this foam is placed in the body, and then a ceramic object is placed on it, then the upper sheet of foam is placed on the piece, and the telescopic lid of the pack is closed. Over time, the foam takes the shape of the piece and completely covers it, making the piece remain stable in the package and not shake during transportation. This foam will be a thermal and moisture insulator to protect the piece.The main idea of this packaging design is to use memory foam. Thus, it is crucial to furnish more information about this foam type. Smart foam is also referred to as viscoelastic foam. Smart foam or memory foam is a type of super polyurethane that is produced in high densities. This product is used in the furniture industry, mattress and pillow production, and other related products. This product, which is unique and widely used, has excellent adaptability. The formation of raw memory foam takes place at a rapid pace. In less than 30 seconds, this polyurethane foam can change shape, and unlike cold foam, it is both soft and flexible. Obtaining this foam in raw form and sheets with different thicknesses from the market is possible, and cutting it to the desired dimensions can be done using tools such as cutters.When a normal foam is pressed by the hand, immediately after removing the hand, the foam quickly returns to its original state, which means that the force applied to the foam by the hand is completely transferred in the opposite direction to the hand in a fraction of a second. The intensity is also high. This occasion (the return of the foam to the first state) is delayed in the smart foam, as a result of the force coming back after removing the hand from the smart foam, the intensity of the returned force is much lower than that of normal foams, and on the other hand, the return force in the point is not focused.Two 6 cm layers of memory foam and a 5-layer cardboard box surround the historic and fragile ceramic object in the selected packaging. Despite falling from a height of one and a half meters, there is no damage to the internal ceramic object.There are four parts to the selected package: the body, the lid, and two pieces of memory foam. The telescopic packaging structure allows the packages to carry more weight during storage. This signifies that more packages can be stacked on top of each other. Additionally, the telescope structure develops thicker walls to safeguard against shocks, pressures, and punctures. Smart foam allows for the packaging of another object that has dimensions similar to the current one but with a different form. This foam also offers adequate thermal and moisture insulation to protect the internal object. The color and texture of the ceramic object are less affected by smart foam's flexibility and soft surface. Iran is where this type of foam is produced and it is readily available at a reasonable price.ConclusionAmong the standard graphic signs that can be used in the intended package are: The graphic sign that shows the direction of the top of the package, the graphic sign that shows the fragility of the contents, a graphic symbol that shows the maximum number of packages that can be placed on the package, a graphic symbol that shows that the package and its contents should be protected from moisture and also a graphic sign that emphasizes to be carried with care.Among the information required to be printed on the desired packaging, we can mention the following items: name, registration number, chronology and its whereabouts, damage condition, and the image of the object in the package.The chosen packaging design can satisfy all the requirements for appropriate packaging of historical ceramic objects and safeguard their physical security during storage, transportation, and use.

Abstract   More than fifty years after the Second Industrial Revolution, the creation of industrial factories and machine production, in addition to its economic necessities and keeping pace with the modern world, was a sign of the beginning of industrialization and the establishment of progress and development in Iran. One of the most obvious and first ones is the construction and operation of spinning and weaving factories. The South Yazd factory with an area of about 40 thousand square meters is considered the largest textile production factory, including spinning, weaving, and dyeing in the south and center of the country, and therefore, the title “Jonoub” means south has been considered for it. Its main founder “Reza Sarafzadeh Yazdi”, was one of the wealthy merchants of Yazd and completed the construction of the complex in 1329AH (1950 AD). This collection started working in 1329 AH (1950 AD) and in 1379 AH (2000 AD), its production wheels stopped working. This collection includes various sections such as; The main production hall, the second production hall, the support and production warehouse, the factory warehouse, the Sahara cinema hall, the administrative and welfare building of the employees, and the cooperative store building of the factory. The general area of the South Yazd Factory is about 40,000 square meters, and the main production hall occupies an area of 6,000 square meters. This building is constructed on one floor with dimensions of 92 x 67 meters a rectangular plan with a height of 40.8. It has an underground area of 285 meters, which is located in the northeast corner of the main hall. “Ali Akbar Mojibian”, the architect of “Iqbal” Textile Factory, “Iranshahr” High School, “Barkhordar” Mosque, and “Rasoulian” Mosque, was responsible for the construction of the South Yazd Factory. Despite not being used for a long time, the building of the main production hall of the South Yazd Factory does not have any serious and incurable structural damage. Except for a few cracks in parts of the building that are the result of the breaking of building materials and as a result the breaking of building elements locally; there is no other serious structural damage. The problem with the research is the lack of technical documentation about the physical and functional characteristics of the factory. Therefore, two questions about the characteristics of the work and the method for its preservation and repair are posed, with a historical analysis approach employed to address them. The main concern regarding the "South Factory" is to pay attention to the observance of principles in the process of revitalizing this valuable building. The importance of reusing this complex that has lost its original purpose extends beyond protection. It aligns with the objectives of sustainable development and the preservation of cultural heritage. The proposal to convert the factory into a textile museum aims to showcase the rich history of weaving in the Iranian desert, with a particular focus on Yazd. This use has a functional authenticity of hidden values in the factory. In the recent past, this factory had accepted the production of braids, which have now become a part of the history of clothing in this land and are placed in the ranks of historical braids. Now it has accepted the mission of introducing it. This use has been done with minimal intervention and keeping in mind the originality and integrity of the factory's architecture; In a way, the first goal is to introduce the factory, and the next goal is to introduce the history of woven fabrics. Based on this, the identification of the user category and the anticipated functionalities within the historical structure are contingent upon the parameters established by both the users and guardians of the building.   The South Yazd Factory, as a historical monument registered in Iran National Heritage List, requires a suitable attitude in determining the strategy of intervention and the approach to restoration and revitalization of the Warp and Weft (Tar-o-Pood) Museum. Therefore, preserving the originality of the building has been taken into consideration in the first step of the process of revitalizing the South Factory, and in the next step, attention has been paid to the design and integration of new uses according to needs assessment and feasibility studies. In a critical and collaborative process and close contact with the client, the design group considered the South factory building as an industrial heritage museum. After the presence of historical objects and properties, it has been used to transform the work into a fabric museum. He also tried to use modern technology in the ways of presentation and introduction as a useful tool so that the object itself is given priority over the introduction tool. Content design is based on object orientation. Therefore, according to the contents in the reservoirs and the feasibility of obtaining cultural property, the layout scenario was set and zoning was done focusing on historical fabrics, historical carpets, and the introduction of the South Factory. In the body and space section, an open arrangement system was used. When necessary, transparent and semi-transparent separators taken from the architecture of the building were used, and it was decorated with a lighting system that was taken from the light branching from the covers during the day.

Encountering mudbrick structures poses more fear and concern for restorers than excitement due to the challenges and uncertainties in protecting them with logical measures. Preserving such works, which often blur the line between passion and intellect, emotion and reason, while requiring constant care, can be unproductive and cause unsatisfactory outcomes. This is primarily because the restoration community, for various reasons, has been slower in responding to environmental factors and sometimes irrational human behaviors. It is crucial to understand that conservation, in its most scientific sense, cannot thrive without proper attention, even in its simplest form. Experience has proven that mudbrick structures demand more maintenance and care than physical interventions. This study, conducted through fieldwork, library studies, and an objective environmental assessment, aims to address the gaps in protection and enhance the conservation of the ChoghaZanbil site against current and potential threats. Furthermore, it seeks to identify the challenges facing the complex’s progress and its role in this endeavor. The protection journey of the site, from initial threats to the inception of the international ChoghaZanbil project, underscores the importance of adopting flexible defensive strategies over rigid offensive approaches for greater success. ChoghaZanbil, located in southwestern Khuzestan province, is a site situated approximately 40 kilometers southeast of the ancient city of Susa. The highest point of Chaghazanbil stands at around 90 meters above sea level. This religious urban complex, constructed in the 13th century BC, is known as the largest architectural masterpiece of the Middle Elamite period. It was commissioned by the influential king of the dynasty, Untash-Napirisha, and is dedicated to the Elamite deities, Napirisha and Inshushinak. The introduction of Chaghazanbil, once a part of the central government of Susa, to the modern world can be attributed to the activities of oil companies in the region. Aerial photographs taken for the discovery of oil fields in the area provided the first glimpse of the ancient city of Dur-Untash (ChoghaZanbil). Subsequently, the discovery of an inscribed brick in the site prompted the initial investigations conducted by "R. de Mecquenem" between 1936 and 1939. The year 1951 marked the commencement of the establishment of a management system of conservation for the site. The most extensive excavation efforts, spanning eleven years, were carried out under the supervision of "Ghirshman" from 1951 to 1962. Mudbrick, brick, and mud mortars, plaster, and bitumen have been extensively utilized in the construction of Chaghazanbil. The primary material used was mudbrick, particularly in the construction of the central core of the buildings. The majority of the mudbricks were approximately 40 x 40 x 10 cm in size and were categorized into two groups: homogeneous (uniform clay structure) and heterogeneous (mixed with brick chips or brick powder). To protect the mudbrick core of the buildings from the region's humidity and heavy rains, a brick covering was applied around them. This was especially evident in the ziggurat, where the mudbrick structure was enveloped by a brick wall around two meters thick, secured using a traditional technique known as Hasht-o-Gir. However, the thickness of this brick wall was later reduced to the width of a single brick during renovations. Additionally, a variety of materials such as stone, wood, glass, stud, and ceramic pipes were used in a more limited capacity throughout the construction. Stones were used to cover certain stairs and create door sills, glass and clay studs served as decorative elements, ceramic pipes were utilized as gutters, wooden logs were employed for building doors, and tar-coated tree trunks were used to enhance the connection between the brick cover and the mudbrick core in the ziggurat. According to Ghirshman's reports, the coatings applied in the construction included cob, plaster, Sarooj consisting of quicklime, wood ash, and animal hair, as well as a red coating primarily made of iron oxide (Okhra), possibly mixed with oyster powder. The protection management system for the ChoghaZanbil historical complex began with excavation protection from 1951 to 1962 under Ghirshman's supervision. The collection gained significant public attention when it was included in the World Heritage List in 1979. Efforts were made to conserve this historical collection until 1998, when the international project for the protection and restoration of ChoghaZanbil was formed. This joint project involved the country's cultural heritage organization, UNESCO, and the Japan Foundation. However, due to the discontinuation of conservation programs and incomplete projects, the effectiveness of conservation measures was compromised. During this period, one can witness deliberate protective actions being taken, alongside questionable and unconventional measures. Despite numerous protection and restoration efforts carried out on the architectural complex of the historical site of ChoghaZanbil since pervious excavations, they have generally been executed in a manner that preserves the historical integrity of the complex. The majority of the activities conducted, evident in the form of façade details, have utilized historical materials; particularly noticeable in the ziggurat and the water reservoir. As for the two inner and outer walls, the temples, the remnants of residential structures, and even the royal tombs, the lack of significant efforts in their initial protection and restoration has allowed them to maintain the authenticity of their excavation period. However, the absence of consistent maintenance and a dedicated conservation plan has led to noticeable erosion. Overall, the history of conservation and restoration efforts at ChoghaZanbil serves as a stark reminder of the consequences of neglecting ongoing emergency protection and maintenance. The threats facing the historical site of ChoghaZanbil can be categorized into three main branches: "Environment and Climate," "Form and Architectural Structure," and "Unconventional Encounters and Social Anomalies." Each branch presents specific cases that contribute to the overall analysis. This classification aids in identifying appropriate protective measures based on the severity and ranking of each problem, allowing for targeted solutions to address the issues within the site. Each level of threat necessitates the consideration of specific factors. The first case focuses on weather conditions and ecological elements such as plants and animals. The second case encompasses the construction characteristics of the building and materials used. Lastly, the third case highlights the impact of external behavioral factors on the vulnerability of the complex. The international project for the conservation and restoration of ChoghaZanbil has been initiated to mitigate weaknesses and reduce the severity of these threats. Upon examining the site, it becomes evident that a combination of climatic, physical, and intervention-related threats have affected ChoghaZanbil. Notably, seasonal heavy rains, extreme temperature fluctuations, the widespread presence of biological destructive factors (particularly termites), bank erosion, extreme wind and soil erosion pose the primary threats to the eco-climate. In relation to the structural and physical threats, it is important to highlight the loss of the protective brick cover and the absence of a water disposal system. This is primarily due to the damage and blockage of the gutters, which has resulted in numerous instances of moisture-related damages. Additionally, the utilization of subpar soil for mudbrick production, along with incomplete soil preparation and mud processing, has compromised the quality of materials and heightened their risk factor. Furthermore, unconventional incidents and social abnormalities, such as unwarranted repairs in the past, unauthorized alterations to the architectural structure, disturbance of the ecological equilibrium within the complex's surroundings, and invasion of its historical and natural textures, pose further challenges for ChoghaZanbil. Generally, it can be asserted that ecological and climatic dangers are unavoidable yet manageable. The structural and physical perils associated with the incident at ChoghaZanbil can be rectified gradually, whereas the hazards stemming from irresponsible interactions and societal abnormalities necessitate a shift in the mindset of intellectuals at both individual and societal levels when it comes to safeguarding our values. These threats are prominent and all-encompassing, surpassing other dangers in terms of their diversity, and their resolution is bound to be more contentious. Upon analyzing the state of ChoghaZanbil mudbrick architecture, it is evident that the process followed in constructing these architectural structures is technically successful and demonstrates a deliberate effort to create suitable conditions for integration with the surrounding environment. Merely focusing on the constructional characteristics of materials and potential damaging factors is insufficient for formulating a comprehensive conservation theory for these mudbrick structures. This is due to the fact that these remaining structures hold significant cultural value, embodying crucial aspects related to the civilization of Elam. The findings derived from field observations, environmental studies, examination of restoration and conservation records, assessment of care quality, and analysis of erosion processes in the historical region of ChoghaZanbil highlight the imperative for a significant transformation in the preparation and application methods of materials, particularly restoration mudbricks and protective cob. These materials exhibit the utmost sensitivity and are consumed on a large scale. Therefore, it is crucial to optimize and reinforce them by leveraging local resources. By ensuring precise handling and logical implementation, this approach can greatly ensure the consistency and durability of future protective measures.

Abstract Lusterware glaze is a notable form of ceramic and tile decoration during the Islamic era. It is skillfully applied to pottery of various shapes and sizes. An intriguing discovery is the oldest known gold decoration, found on a glass cup in Fustat (Old Cairo). The cup bears the inscription of Abdul Samad bin Ali, who was the ruler of Egypt in 157 AH (773 AD). Another piece, dating back to 163 AH (779 AD), is also believed to originate from Egypt. Mason is well aware of the production of lusterware in Iran around 1100 AD, which coincided with the same period in Syria. The technique employed in creating this type of pottery in Iran closely resembled that of the Fatimids in Egypt, utilizing tin glazing in combination with a rich and opaque lead. The main production centers for lusterware in Iran during this era included Ray, Kashan, Saveh, Gorgan, and Takht-e-Suleiman. When it comes to the manufacturing centers of lusterware, Watson argues that Kashan was the sole center during this time, with pottery being exported from this city to the surrounding regions. According to Pope, Akerman, and Bahrami, various centers such as Ray, Saveh, Jurjan, and Kashan existed during this era. Lusterware is typically categorized into three distinct periods: 1- Early golden vessels from the 3rd and 4th centuries AH (9th and 10th centuries AD), 2- Lusterware of the middle period spanning from the 5th to 9th centuries AH (11th to 15th centuries AD), and 3- Lusterware of the late period covering the 10th to 12th centuries AH (16th to 18th centuries AD). The peak of lusterware pottery production is associated with the middle centuries of the Islamic era, with key centers including Ray, Kashan, Saveh, Gorgan, and Takht-e-Suleiman. Luster Artists specialize in the production of tiles, which are a significant part of their product range. In Iran, some of the earliest examples of luster works can be found in the form of star-shaped, hexagonal, and clay tiles used in the altar of Hazrat Reza's shrine and the cover of Hazrat Masoumeh's mausoleum. The grand altars in Qom and Mashhad, adorned with star-shaped tiles, represent the pinnacle of Kashan ceramic's evolution. During the Ilkhanid period, a large number of tiles were produced, but the production of ceramic in Kashan ceased in the first half of the 8th century AH (14th century AD). Consequently, the Mihrab, marginal, and star-shaped tiles commonly seen during the Ilkhanid period were no longer manufactured. Due to space constraints, luster tiles predominantly feature inscriptions in quadrilateral shapes. Therefore, the study of these tiles, which were widely produced in the 7th century AH (13th century AD) and often adorned with inscriptions, can provide valuable insights into the motifs and artistic styles of that era. This Paper focuses on the examination of luster tiles and wares from the Iranian Art Museum, aiming to decipher the inscriptions and classify their artistic style. The research questions addressed are: What art style do the luster ware and tiles from the Iranian Art Museum represent? Which production centers were responsible for creating the samples under study? The paper employs a descriptive-analytical approach, utilizing both library and field sources for data collection. Initially, the statistical population consistedf of luster tiles and wares from the Iranian Art Museum. Subsequently, through photography, description, and comparison of the tiles and ceramics with similar artifacts in various museums and collections, their artistic style was identified, and the potential production centers were explored. The wares and tiles examined in this study are part of the exhibits showcased in the Hall of Iranian-Islamic Art and Library Hall at the Iranian Art Museum, which is under the auspices of the Cultural Institute of Museums of the Mustazafan Foundation. Situated in Marmar Palace in Tehran, the Iranian Art Museum houses 7 pieces adorned with luster glaze, including tiles and wares. The uncertainty surrounding the exact location of the discovery of these artifacts has led to the proposal of a solution to determine the potential origin of pottery production. One method involves comparing these works with similar examples found in museums worldwide, especially in cases where there is no historical background available. By examining the works of luster at the Iranian Art Museum and comparing them with authentic pieces from various museums and collections (such as the Baltimore Museum of Art, the Antiquities Collection, the Porches Museum in New York, and auctions at Michel’s and Christie's), distinct characteristics have been identified. The Kashan style, as observed in luster works, features seated figures with narrow eyes and round faces, intricate designs of plant motifs, slime, and spirals on clothing, depictions of birds in flight, elaborate background decorations, and the use of Persian and Arabic inscriptions along with quatrains from renowned poets of the era like Baba Afzal Kashani, Kamaluddin Esmail Isfahani, and verses from Shahnameh. These characteristics are indicative of the Kashan style of luster products, which is prominently displayed in the museum's collection. The Rubaʿi is written on the tiles under study; a Rubaʿi serves as a way to convey the themes of lyrical poems, a choice that was highly valued by artists during the Islamic era. Due to the limited space on the ceramic surface, it is evident that the potter primarily relied on a special format of poetry, which could concisely encapsulate judgmental and moral themes. Hence, the Rubaʿi, consisting of four lines, was deemed most suitable. In terms of the relationship between image and text, there is no direct correlation between the images and text found on the tiles at the Iranian Art Museum. One of the featured poems is the Rubaʿi “May God keep it wherever it is ". This particular verse was initially discovered on a piece of pottery in Nishapur, and subsequently, it gained popularity, appearing on tiles at Takht-e-Suleyman and potsherds in various museums. Another Rubaʿi, which discusses the night's dual nature with a clear separation and two sides of light, is also present on the tile of Takht-e-Suleyman, dating back to the 7th century AH (13th century AD). Epic themes, including the story of Bijan and Manijeh, Rubaʿi were among the popular subjects of potters and tile makers. The Rubaʿi read on the tiles of the art museum are of a romantic and philosophical type, and the potter artist used a special rule in the inscription that the writing and images did not interfere with each other, and sometimes he surrounded the inscription with a different color. Figurative and non-figurative tiles were produced in the 7th century AH (13th century AD) and were mainly decorated with Persian poems and Quranic verses and were used for non-religious buildings. Nevertheless, star and cross tiles with animal designs and couplets on the border have been obtained from tombs such as Imamzade Jafar Damghan and Abdul Samad Natanz mausoleum, which indicates the use of figural tiles in Shiite tombs. There is also a possifbility that these tiles belonged to a religious building. In general, according to the existence of chronology on one of the tiles (year 738 AH, 1337 AD) and the study of the poems and the type of motifs and comparison with the examples in other museums, it seems that these works belong to the middle Islamic ages (12th and 13th centuries AD). However, for a definitive opinion, interdisciplinary studies such as petrography and elemental analysis of samples can correctly determine their production location and provide valuable information to researchers.

The development and evolution of modernity in the field of painting restoration can be attributed to the influence of various philosophical schools and perspectives. During the 1960s and 1970s, minimalism played a significant role in shaping the theoretical foundations of restoration. This research aims to undertake a comparative and analytical study between minimalism and restoration concepts during the mid-20th century. Two distinct interpretations of minimalism's impact on restoration can be identified: "minimum intervention in historic monuments" and "minimalist approaches to preserving the original condition and addressing additions." Consequently, the research question posed is: "Can a logical connection be established between minimalism and restoration ideas about paintings in the 1960s and 1970s?" Based on the aforementioned, the research question is: "Can a coherent connection be established between the minimalist movement and the restoration concepts of the 1960s and 1970s in the context of paintings?" To accomplish this objective, a descriptive-analytical approach has been adopted to investigate the impact of minimalism on the theoretical underpinnings of restoration, while considering the existing literature on restoration theory from that period and instances of restored artworks. Ultimately, this study aims to demonstrate that both ideologies intertwined and harmonized seamlessly with the principles advocated by the minimalist school, with both realms drawing inspiration from this innovative perspective in the visual arts and its application to the restoration of paintings.   Introduction The social, cultural, and artistic patterns and structures have always been shaped by philosophical influences. These influences form the basis of various schools of thought within human societies, and they stem from the philosophical structures and intellectual foundations of these societies. In the area of visual arts and architecture, the guiding principle of the 1960s was minimalism. Minimalism emerged as a significant movement after World War II, alongside a multitude of philosophical and political artistic schools and figures. It can be seen as a chapter in the journey towards modernity. Embracing the slogan "Less is more," minimalism aimed to develop approaches that prioritize the essentials in life. Consequently, they abandoned the idea of eliminating all the intricate details and additional perspectives in art and instead focused on presenting techniques that emphasized the essence and abstraction of artworks, aiming to prevent any unnecessary expansion or exaggeration. Considering the restoration of cultural and historical artifacts, significant developments occurred following the initial principles established in the 20th century's modern world. Particularly during the post-war era and the mid-20th century, intellectuals such as Cesare Brandi played a pivotal role in advancing its theoretical foundations. It was during the 1950s and 1960s that the field found common ground with the minimalist movement. It is possible to argue that following the complex maze of extensive intervention and occupation in historical pieces, the techniques that paved the way for the full restoration of a painting, with the introduction of new minimalist and spatial ideas in the 1960s, were discovered in Italy and North America. These endeavors resulted in the establishment of principles and fundamental approaches in painting restoration during the 1970s, to the extent that they were considered and applied as essential principles until the late 20th century. The novel principles and methodologies they embraced included strategies to prevent color balancing techniques, refrain from complete reconstruction methods, avoid interpreting and finishing the work by the restorer, eliminate restoration additions, and focus on the inherent qualities and authenticity of the original material of the artwork. Furthermore, the concept of "minimal possible interference" in historical works emerged as the most significant philosophical aspect and the cornerstone of the theory envisioned by restorers concerning paintings.

The inclusion of historical cities in the world heritage list provides a significant advantage in demonstrating these cultural monuments on a national and international scale. It is only natural for all countries to strive for the registration of their historical and cultural landmarks on this prestigious list. However, the crucial question arises: does registration on the World Heritage List mark the culmination of efforts, or does it signify the commencement of a more critical mission focused on preserving the original and significant values of these sites, which have developed and flourished within their cultural and social contexts over time? It is evident that the establishment of a comprehensive work management program post-global registration, along with the monitoring of its implementation, holds paramount importance. This significance is heightened when considering cities and their historical textures; cities serve as the stage for the interaction and confrontation of the physical elements of the urban landscape with the social dimensions of human life, the natural components of the environment, and the artificial aspects of the surroundings, encapsulating human presence across psychological, social, economic, cultural, aesthetic, and other realms. Therefore, any decision aimed at enhancing the state of a city must prioritize the human element as the most crucial factor, underscoring the significance of non-physical aspects in the rejuvenation of historical cities. Furthermore, what becomes apparent in historical textures and their restoration post-registration on national and world heritage lists is the fulfillment of responsibilities by urban authorities. This implies that programs following the registration of sites often exhibit several characteristics; they do not ensure the desired outcomes, lack a holistic approach to restoration and revitalization in their development and formulation, and are devoid of adequate organizational backing or continuous monitoring and refinement. Hence, in general, the acceleration of changes and sometimes damage to historical structures occurs after their registration. The city of Yazd is no exception to this phenomenon, as the changes following the world registration of its texture have been rapid, uncontrolled, and emotionally driven, resulting in incorrect interventions. The unregulated and indiscriminate presence of tourists has also had a detrimental impact on the local way of life. Additionally, the creation of added value through real estate disposal has significantly reduced the occupancy rate in this area. The conversion of small urban units into non-authentic uses has further eroded the authenticity and integrity of the texture, while physical interventions in passages and arteries have transformed this area from a historical axis into a display of light, patterns, and designs, with the original life becoming less visible, if not completely absent. However, according to the accepted principles of restoration, the preservation of the identity and original nature of the texture is the foremost and most crucial aspect.  This preservation should encompass economic, social, cultural, anthropological, physical, and functional considerations. Any violation of this important principle during the registration process, after it, or during the revitalization of the affected texture would result in damage and complications. Moreover, the purpose of registering any work is to show its unique characteristics to the world. If this registration leads to the weakening of these values, it fundamentally contradicts the purpose and not only fails to contribute to the revival of the texture but also causes irreparable harm in the long term.   Introduction The historical texture of Yazd was officially registered as a world heritage on July 18, 2017, during the 41st meeting of the World Heritage Committee of UNESCO in Krakow, Poland. The process of world registration for Yazd began in 2010 and was solidified in 2015. The "Comprehensive Protection Plan of Yazd Historical Texture," established in 2008, played a crucial role in the preparation of the city's world registration file. It is important to note the emphasis placed on social values, local community, native architecture, and urban planning in the historical texture of Yazd. However, more than a decade after its world registration, there seems to be a lack of consistency in implementing plans to preserve the local, urban, and national values associated with this world heritage site.  These capabilities, encompassing both tangible and intangible values, hold great significance as they serve as the primary motivation and means to preserve and perpetuate all cultural heritages, including historical textures. These values can be found either overtly or covertly within them. The correct social relations, specific spatial relations, organic development of the texture, population composition, diversity of generations and racial composition, and above all, the natural flow of residents' lives, are among the most crucial values and prevailing norms within the historical texture of Yazd. Together with numerous other factors, these values have shaped the texture of the city. Now, the question arises: How does the world registration of a historical texture or heritage site, along with its associated policies and management, strengthen or weaken the values within the site? Does the mere registration of a site on the World Heritage list imply protection? Does it have any impact? The global registration of a site is just one part of the overall process of protecting the site. What steps should be taken after registration? In this article, based on field observations, we aim to provide a concise analysis of the state of the historical texture of the city following its global registration, and the objective changes that have occurred by accepted preservation guidelines. While our intention is not to provide specific conservation solutions, our analysis, based on a conservation pathology approach, can help identify the underlying principles for effective conservation strategies and prevent the transformation of the historical texture and its inherent values.   Conclusion The inclusion of a world heritage list for historical textures is a positive step towards bringing attention to them on a national and international scale. However, it should not be viewed as the ultimate objective. Rather, the completion of the world registration process should mark the commencement of strategic, well-informed, and scientifically-driven management planning that considers all facets of the texture, both tangible and intangible. This management plan must be designed with short-term, medium-term, and long-term goals in mind, grounded in practicality rather than unrealistic aspirations. It is essential to establish specific administrative bodies tasked with defining and overseeing activities to ensure effective implementation. Periodically, the outcomes of the interventions are evaluated, focusing on physical, cultural, and social impacts. Potential shortcomings and strengths of the plans are identified, leading to adjustments in the management plan for the subsequent phases. Disregarding the involvement of the local community is the most significant drawback of such initiatives. Without fostering civic engagement among the locals, the projects are bound to fail. Moreover, if the community does not comprehend the objectives and initiatives based on their perspectives and requirements, their participation will be minimal.

The Mina'i and Lusterware from the 13th and 14th centuries AD are renowned for their innovation and brilliance. Producing these wares requires white paste and employing new techniques in glazing and decorating which results in a magnificent and expensive product. The process involves multiple rounds of firing to achieve the desired temperature for each color, allowing artists to adorn the ware with a wide range of colorful and intricate decorations.One of the distinguishing features of these wares is the opulent and diverse human motifs, which are shown both on and beneath the glaze. These valuable miniatures draw inspiration from the Sassanid motifs, Shahnameh, and various religious, epic, astronomical, lyrical, mythological, and symbolic concepts. The scenes depicted on the ceramics include aspects of daily life, hunting, banquets, music, dance, and courtly affairs. The figures portrayed in these miniatures possess round faces, slanted and narrow eyes, small mouths, braided hair cascading down their shoulders, and a halo surrounding their heads. These facial features align with the aesthetic ideals of the Turks and have their origins in this cultural context. The execution of these images on a flat and smooth clay surface, rather than on paper, reflects the wall paintings of the Seljuk era, of which only a few samples remain.Since its beginning, this tradition has gained popularity, allowing artists to convey their aspirations and desires, as well as fulfill their aesthetic instincts through intricate linear patterns in different manifestations, creating an enigmatic symbol. The traces of this carving tradition date back to at least the fifth millennium BC, indicating a variety of incised patterns featuring geometric, botanical, zoological, and anthropomorphic motifs. Through visual and spatial components, these artists have depicted the perception of depth, spatiality, motion, and illumination in relation to tangible or conceptual phenomena in a two-dimensional realm, a process that is most beautifully seen in the mosaics of Bishapur city from the Sassanid era.The depiction of women in mina'i and lusterware images reveals various real and metaphorical situations and concepts that reflect the cultural and social changes of the time. These images portray scenes from everyday life, banquets, dance and music, court life, and astronomical symbols, showing the artistic innovations of this era. The patterns on these ceramics not only depict customs and traditions originating from women but also transcend religious restrictions by portraying the faces of women. Through their stories and narratives, women have given these dishes a unique and distinct character. These images, dating back to ancient times, hold significant importance in understanding the status and experiences of women throughout history.One of the earliest representations of women can be found in a piece of pottery dating back to the late 5th and early 4th millennium BC from the Sialk of Kashan. This pottery depicts four women holding hands in a ritual dance performance. Additionally, two potsherds from the mid-4th millennium BC were discovered in Cheshme Ali of Ray, representing women wearing hats or headbands and tight clothing, holding hands, and dancing. The depiction of women on potteries from the Chalcolithic period in various regions such as Cheshme Ali, Qazvin Cemetery, Sialk, Bakun, and Jari, Marvdasht, Iblis Kerman, Jafar-Abad, Joy, Bandbal, Susa, Choghamish, Sabz, Khazine, Musian, and Moosian suggests a common theme of group and individual dancing with rhythmic movements, possibly related to activities like harvest, prayer, and celebration in prehistoric societies. This dance originates from religious concepts and serves as a representation of the belief that the gods engage in celestial and earthly dances. What makes these motifs intriguing is their repetitive rhythm and balance, which signifies the remarkable advancement and progress of the skilled potter who was able to convey their beliefs and ideas through the creation of motifs on pottery. During historical periods, as the art of metalwork flourished, women's roles shifted from ceramic to metal vessels and wall paintings. However, in the early Islamic centuries, women's roles diminished due to religious beliefs. In the 10th and 11th centuries AD, wares featuring motifs such as women, horsemen, and bards were referred to as "Gabri" under the influence of the Sassanids. This situation was short-lived, as with the rise of literature in the Middle Ages, potters found a suitable platform to incorporate the role of women in literary and mythological tales. The Mina'i and Lusterware serve as the most compelling evidence of this assertion.The following study’s goal is to explore the techniques and interpretations of motifs, specifically focusing on women's design and allegory. The research involves analyzing examples from the Mostazafan Foundation’s Cultural Institution of Museums using both field and documentary methods. The field research includes studying a collection of wares, while the desk research involves referencing various sources such as books, papers, theses, and archaeological reports. This research focuses on the investigation, analysis, and systematic comparison of motifs. It also explores the continuity and sequence of artistic and cultural traditions, providing an accurate and comprehensive understanding of the impact of the past, particularly the Sassanid era. Additionally, it delves into various stories and myths rooted in national beliefs, the origins of technology, and the influence of culture. Furthermore, this study places significant emphasis on the construction and production of pottery, making it a crucial area of research.The research inquiries are as follows: 1- What are the common themes depicted in images of women? 2- How does the portrayal of women change with shifts in cultural and social circumstances? An effort was undertaken to explore and scrutinize the motifs of women's roles in pottery with profound contemplation. The images convey fantasies, beliefs, ideals, intellectual aspirations, and the reflection of the potters' perspectives. In order to comprehend and appreciate the technology of The mina'i and lusterware, the research investigates technical attributes, historical periods, cultural regions and production hubs, forms and functions, decorative techniques, material colors, the significance of materials, and production eras. The findings of the study reveal that the depiction of women is influenced by evolving societal attitudes, the rise of romantic literature, the dissemination of astronomical concepts linked to female symbols, the social standing of women in the realm of music, and their contribution to the development of Ramshagari immortalized on wares.