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.

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.

Across the world, several museums are committed to accessibility and accommodations for the general public, such as closed captions for the D/HH (deaf and hard-of-hearing) visitors and ramps for wheelchair users. However, not all disabilities and disorders are visible, it is critical that museum professionals be aware of what should be done to ensure that visitors with disabilities or disorders have a pleasant experience in the museum. Numerous museums have already created programs for people with specific disabilities or disorders. Autism spectrum disorder is one of the most challenging disorders in statistical guidelines and diagnosis of mental disorders. How can individuals with Autism benefit from museums? What additional features can museums provide as services to the Autism community? The importance of museums' attention to all people in the society, including people with autism, is necessary to pay attention to their programs and to change society's attitude toward this spectrum of individuals, as well as to reduce social deprivation of these people. These people with disabilities have ideals in their individual and social lives, such as "interpretation of landscapes, entertainment, self-examination, escapism, the ability to forget everyday problems without the help of others, feelings of relief, etc., which today is possible through cultural activities. But the question is, what is the duty of the museum as a cultural and social institution to these people and how can it be effective in increasing the presence of these people in society? For this reason, it is essential to examine a number of issues related to each other, namely, access, participation and interaction of the museum with these people. One of the needs of these people is access. Access to museums is not only physical access and entrance to the building, but also conceptual, intellectual and intuitive access in real and virtual online, as well as the ability to read text, listen to audio and video media, etc. In this regard, on World Museum Day (May 18th), The Art Museum of Iran held a workshop in two days. On the first day that presented by professionals and guest speakers to spread awareness to train personnel in how to deal with ASD children and to identify this disorder and how museums can be made more accessible to them. On the second day, a group of autistic children with families visited the Museum, the group also consisted of young individuals with low, middle, and high-functioning abilities (low being low verbal skills and high being Asperger syndrome), and after visit the museum held an art-making activity with the theme of museum experience. Finally, questionnaires were given to autism children and their families, to examine behaviors of children with ASD while in the museum, and to see if an art-making activity after the museum visit is directly tied to the museum experience. Results indicated that museums continue to be stressful for families, and parents would like materials to help reduce anxiety in their children before and during the visit. Art-making after the museum visit allowed children to reflect back on what they saw and did during their experience.

Isfahan's Chaharbagh School-Mosque is considered as a valuable relic of the art and architecture of the Safavid era, which has preserved its splendor after more than three centuries. Knowing the basics and principles used in the design and construction of this building and the arrangements thought for its social and historical meaning can be a model for today's architecture, in order to achieve excellence in terms of form and meaning. The purpose of the current research is to explain and analyzing the various aspects of stability and reliability of this building and to discover its unique physical and spatial features. The mentioned research is descriptive-analytical in terms of method, and data collection has been done in documentary and field form. For this purpose, the climatic, social, economic, historical and aesthetic aspects are analyzed and evaluated in a qualitative way, taking into account the physical, semantic and spiritual characteristics of the building. The results show that the building of the Chaharbagh School mosque not only considered the climatic characteristics from an environmental point of view to provide a pleasant environment compatible with the surrounding nature, but it was also socially and economically stable. The use of Islamic art in the arrays of covering surfaces has made the building beautiful in terms of beauty. In such a way that you can see a dynamic and lasting treasure of art and architecture in it.

Environmental graphics is a wide branch of design that is used in the design of many buildings and complexes today. In this regard, this art can also provide valuable help to designers and architects in the design of art museums, which has been examined in this research; Therefore, this research was conducted with the aim of investigating the structure and environmental graphic design in the contemporary art museum. The information required for this research was collected by the library and field method by visiting related libraries and museums and was noted and recorded with a recording tool and a camera. Then this information was analyzed in a descriptive-analytical way and the results showed that the current interior graphics of art museums in Iran do not follow a certain standard and their implementation methods of interior graphics are also not appropriate. By using the available space in contemporary museums, the problem can be solved; Because the space in the works of contemporary museums can be in the structure and graphic design of the interior environment in the contemporary era.More about this source textSource text required for additional translation informationSend feedbackSide panels

Since the first sets of Islamic art collections were formed in Europe and then in America from the late eighteenth to the twentieth century, our understanding of Islamic art is influenced by the dominant heritage and discourses of temporary exhibitions and permanent collections of Islamic art in the West and the approaches of these museums. The present study, which is based on descriptive-analytical method and documentary and library resources attempts to reveal how the meaning of Islamic art is turned in the historical course of the early museums. In this research, by analyzing texts related to Islamic art collections, three dominant Orientalist discourses, art history in the West, and interdisciplinary studies in museums will be introduced and the implications of these three discourses on the reproduction of the concept of Islamic art will be examined. The findings of the research show that the domination of the approaches mentioned in the historical course of Islamic art museums has led to the rotation of meaning and the introduction of Islamic works as "material goods", "art" and "cultural goods" and the assignment of different values to Islamic art.

Among the Sassanid artifacts is a disc at the Cleveland Museum of Art. There is no information about person engraved on the disk, just in the Cleveland Museum's recorded information, and idea of Dorothy Shepard, this hunter man is Ardeshir II of Sasanian Dynasty. Due to the unusual form and uniqueness of disc among the Tape Hesar Bronze Age culture works, and despite the fact that the motif and subject engraved on it are characteristic of the art of the Sassanid period; But with the help of archaeological data, interesting information can be provided. The objectives of this study are to understand the person engraved on this marble disk In this study, In addition, the authors try to evaluate the origin of the marble disk based on archaeological findings so that they can speculate about the geographical area production of this object and determine whether this work is the production of the area from which it was found. Or was it produced elsewhere in the realm of the Sassanid kingdom? the authors have shown similar examples of disks from the prehistoric period and have shown that the construction site of this object in North and Northeastern Iran is in sites that contain both Bronze Age cemetery and the Sassanid period remains. And the original disk belongs to the Bronze Age and the culture of Hesar / Gorgan, examples of which have been found in the tombs of this period. Also, considering the form and decoration of the crown engraved on this disc and its comparison with the crown of Ardeshir II in the Taq-e Bostan and the plate of Ardeshir II recovered from the Mes Aynak site in Afghanistan, it seems that Ardeshir II could not be the king engraved on this disk. The depicted person on this plate is probably one of the Sassanid princes who ruled the Northern region or one of the local dynasties kings; during early Islam of the region, dynasties that remained faithful to the Sassanid traditions for several centuries. However, we will need more information from archaeological or incidental findings to reinforce these ideas or change it.