ramin mohammadi sefidkhani

Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster. Conservation in archaeological excavations involves creative and rapid methods aimed at minimal intervention and maximum preservation of findings until their transfer to well-equipped and specialized laboratories. Given that the first professional interaction with discovered artifacts falls within the realm of conservation and restoration, and considering that all related actions, including comprehensive and scientific sampling, ensure the preservation of both hidden and visible data, it is essential to focus on expanding methods and practices in this field. The lack of reports on practical conservation measures in archaeological excavations, and occasionally the absence of specialists on-site or acceptable specialized actions, highlights the necessity of paying greater attention to this area. This article aims to document the conservation and restoration measures undertaken in Trench 12 of the Qareh Tepe Segaabad cemetery in the Qazvin Plain, detailing the processes of grave block-lifting, ceramic bandaging, stabilization and consolidation of ceramic, metal, and bone artifacts, and their retrieval. The tools used in the conservation and restoration of the mentioned trench include transparent adhesive tape, aluminum foil, various brushes, tweezers, cotton, polyester fibers, banana crates, injection syringes, jute sacks, wooden skewers, scalpel blades, and pipettes. The chemical materials used for joining, stabilization, and consolidation include alcohol, acetone, toluene, transparent epoxy adhesive (Ghaffari brand), Paraloid B72 resin, polyurethane resin, and plaster.

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

The Reconstruction of damaged cultural-historical artifacts is essential for facilitating communication with the audience and, in some cases, in their conservation. The methods used for reconstructing pottery artifacts vary based on their destructive characteristics, missing parts, and the requirements of the cultural-social context. These methods have been carried out using different materials and techniques throughout different periods. Naturally, as science advances in the field of conservation and restoration, these methods and materials continue to evolve. This article not only introduces some restoration methods for pottery objects but also delves into the restoration of delicate pieces using the papier-mâché technique. Reconstructing delicate objects presents challenges concerning stability and balance due to the added weight the use of numerous filling materials during the reconstruction of missing parts can create problems in maintaining the balance and stability of the artifact. Therefore, in order to assess the papier-mâché method in restoring delicate and lightweight pottery artifacts, a fine and lightweight vessel acquired from the archaeological excavations at the Silveh tepe, situated in West Azarbaijan province, was restored. The main objective of this article is to introduce and implement a fresh approach for reconstructing fragile pottery objects with papier-mâché, which is deemed a thoughtful method due to its lightness, strength, ease of modification, and ability to preserve the balance and stability of the artifacts.