sem- edx

Pottery is one of the artistic-technical craft that has persisted for several millennia from prehistoric times to the present day. Such artifacts, particularly in Iran, exhibit high stylistic and technological diversity. In most archaeological excavations, consistently various types of these artifacts from different historical periods and styles have been discovered, whose technical study and form recovery can provide valuable information to researchers in various fields. Among these excavations is the Tappeh-Silveh in Piranshahr, where diverse pottery dating back to the Chalcolithic, Early Bronze Age, Iron Age, as well as remnants from the Parthian period and the subsequent Islamic period have been uncovered. The specimen studied in this article is a decorated orange pottery piece with black and red colors and geometric patterns, belonging to the Bronze Age from this site. This piece has sustained damages such as fractures, losses, and deposits, , which have been improperly repaired. It requires cleaning, reattachment, and reconstruction of the missing parts, while adhering to the theoretical principles of conservation. Accordingly, after necessary pathological and technical studies of the artifact using laboratory methods, an appropriate cleaning method was selected, and essential actions were taken towards its protection and restoration.

The Mosalla of Paein Khiaban of Mashhad is one of the largest and most beautiful historic mosallas in Iran, built at the order of King Suleiman I during the Safavid era. according to inscription on the tile of the central porch, the date of construction and completion of the building is 1087 A.H. The architectural structure of the building consists of a high central porch in the middle and two domed porticoes on the sides. Both the internal and external surfaces of the building are decorated with various architectural elements, such as stucco work, tile work, painting and muqarnas. Among the various decorative employed in this structure, the mosaic tiles of the mihrab are unparalleled in terms of beauty and sophistication. Laboratory analysis of the chemical composition of the glaze of the altar tiles using SEM-EDX method demonstrated strong agreement with findings from other researchers, indicating a continuity of the tile-making tradition and glaze production with similar technology throughout the Safavid era across various r regions of Iran. A petrological study of the mineral composition of the body of the tiles also revealed the use of a similar and appropriate mineralogical composition, paired with good firing in their production, which contributed to the strength and durability of the tiles. The pathology of the building and its decorations indicated that a combination of different physical, chemical and human factors caused the destruction and erosion of the structure and its decorations, including the mosaic tiles. Among these, human activities and irregular urban development surrounding the building, along withimproper and careless restorations, played the main role in the destruction and erosion of the tiles. Considering the importance and sophistication of the mosaic tiles of the altar, following laboratory studies, the tiles of this part of the building were conserved and restored. For this purpose, after the primary conservation measures through cleaning and consolidation, the missing parts were restored according to the principles and theoretical foundations of restoration in the method of complementary restoration through color-matching.

The wall paintings of Qazvin Chehelsotoun Mansion include two periods in the early Safavid period and one period in the Qajar period. This topic has received little attention in the field of structural studies and stylistics. Investigating these decorations in order to understand the evolution of this art and considering the temporal precedence over other murals in the Safavid period seems necessary. The city of Qazvin is located in the northern part of Iran and west of its capital. Qazvin has been the capital city of Iran for more than half a century in the Safavid era.Today only a few important monuments of that era remained. That is why they all need special attention to identify, maintain and introduce.Among these monuments, the Chehelsotoun mansion is very important because of the remaining of the early Safavid murals.Pastiglia and gilding is one of the most complex and special methods of surface decoration in Islamic architecture of Iran, the flourishing of which should be sought in the Safavid period; This architectural array, which is a combination of organic materials as well as metallic and non-metallic minerals, was processed and executed during a special process. In order to properly protect the work and also to retrieve the technical information contained in it, as well as to obtain the technical information of this type of architectural arrangement in Safavid Iran, its artistic and technical recognition in Qazvin Chehelsotoun as one of the most important buildings in the capital. Safavidism becomes important and necessary. From the first capital of the Safavid period (in Tabriz) there is no layered and gilded array and Qazvin before Isfahan was considered and appropriate measures have been taken to create architectural arrays. The present study has studied the structure of layered and gilded arrays in the two Safavid periods (Shah Tahmaseb period and Shah Abbas period) in Qazvin Chehelsotoun. This research has been done with a laboratory approach with the aim of analyzing and understanding the structure of different parts of these arrays, including the organic and inorganic structure of the pastiglia layer, as well as the golden layer used on the pastiglia layer, called gilding. In this regard, sampling was done from the layer of pastiglia and gilding related to Shah Tahmaseb period and also the layer related to Shah Abbas Safavid period, which was evaluated using analyzes (SEM-EDS, FT-IR, GC-MS) and These samples were compared. The result of EDS analysis from the surface of the metal layer indicates high purity gold. Also, the mineral part of the pastiglia layer is composed of gypsum and a type of soil with a high percentage of iron (Hormuz or Armenian mud). Examination of SEM images on the samples showed the presence of residues of organic matter used in pastiglia and gold-plated arrays. Examination of the samples with GC-MS indicates the use of vegetable oils, which due to the significant amount of eighteen carbon compounds and their oxides, it can be attributed to flaxseed oil as a gold leaf adhesive in pastiglia layer arrays and Gilding has been used.

Studying various aspects of the manuscripts may be important in explaining the actual values of work, and the ways of protecting these values. Therefore, in this research 10 paint samples (blue and red) from the five manuscripts related to Safavid period (16th century) were analyzed to explore their nature and structure. First, the related literature regarding the frequent types of the paints in Safavid period and their preparing recipe were thoroughly reviewed. Then, after sampling of the paints, the analytical techniques including scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDX) and Fourier transform infrared spectroscopy (FTIR) were used to identify red and blue pigments structure. Obtained results confirmed that all the used red and blue pigments in these five manuscripts were of mineral origin. Moreover, the results proved that all of the red pigments used in this manuscript were of vermilion, ocher and red lead (Lead oxide), while the blue pigments are of ultramarine type. Also, the strong peak of FTIR at 2340 cm-1 proved that the ultramarine pigment used is of natural type.

Frist Quran manuscripts remained from early centuries of Islam, have been written on skin in Quran script, and are considered as the most important works of that times. Due to the very small amount of organic matter left over the past years, the study of these works has been very limited, so the information about these works is based only on library studies, including the information contained in the old books and comparative-historical studies. One of these works is a folio of a Quran manuscript with the size of 14.5 × 9.5 cm (Property no.: 1315) which is preserved in the Quran and Redaction Museum of Tabriz. According to the materials contained in the birth certificate, this manuscript has been transferred from Golestan Palace of Tehran to this museum during the past years. Experts have identified the material and information on this skin according to the type of textbook and eventually, its adaptation to similar works. Despite its historical and cultural values, it has not been yet investigated scientifically, neither from historical nor artistic point of view. Structural study not only can be useful in assessing the authenticity of the manuscript, but also provides a detailed account of the treatment of skin in the early stages of Islamic era. It should be noted that the results of the processing method can be cited if the authenticity of the manuscript could be proved. During this research, the processing technique and constituent elements, including bedding, type of bedding, and black and red inks on it were identified and studied. The objectives of this study include examining the authenticity of the work and, in the case of authenticity, obtaining documented results in the basin of the method of dermatology in the early years of Islam. Due to the historical, cultural and religious importance and, ultimately, the sampling constraints, non-destructive methods that require less sample were used. The strategies of this research are based on ancient metamorphic and laboratory studies, including spot tests as well as instrumental techniques. In this research, this artifact has been studied using UV photography to evaluate the authenticity, FTIR investigation to recognize the support material and make distinguish between the paper and skin, electron microscopy studies to identify the type of the animal whose skin has been used, SEM imaging to explore the morphology of cross section of the skin sample, and finally, SEM-EDX analysis to study the ink which has been used to write the manuscript. The spectra of the Fourier transform infrared spectrometry indicate the proteinaceous structure of the artwork, so the support of this manuscript is of skin and not paper, thus it can be called “skin” or “parchment”. The results obtained indicate that the support material of this folio is the skin of a type of sheep. The results of the analysis of the images obtained from the SEM are such that in some places there are microcircuits and gaps in the surface of the fiber that can be caused by the pressures introduced in the production process as well as by the effects of different factors over the time (such as atmospheric and environmental factors). It is worth noting, however, that these cracks and cracks do not have a serious effect on appearance, and the skin just has somewhat lost its softness. Regarding the dark ink, the result is not certain due to the presence of too many elements, however, according to the presence of copper, Motavvas (peacock) ink is suggested. Regarding the red ink, cinnabar is suggested as mercury and sulfur elements were identified. Authenticity investigation confirms that there is no evidence of erased or added line in this folio and it can be concluded that there is no evidence of forgery in the text and signature.

The Mashhad Musalla is one of the largest and most beautiful historic musallas in Iran. Mashhad Musalla has been built during the Safavid Empire, ordered by Suleiman I. Tile's inscription on the Iwan of Musalla gateway gives the date of the end of construction, in the year 1087 AH. This monument is located at the east of Mashhad. The building has a high porch and two porticoes on both sides. Musalla of Mashhad is constructed of bricks and it was previously using for prayers of the two Eids. The building has been decorated with stucco decoration, tile-working, wall painting and Muqarnas. The building is decorated with stucco decoration, tile-working, painting and Muqarnas. The glazed tile decorations of the Mashhad Musalla include glazed haft-rang and mosaic tiles. During Safavid period, all religious buildings were embellished with tiling decorations. The most prominent decorative element in Mashhad Musalla is tile-working. The tiles in the Mashhad Musalla are predominantly white, black, blue, turquoise, green, yellow and brown. The subject studied in this paper is the creating colorants elements and identification of the chemical composition of the glazed tiles in Mashhad Musalla. Scientific and analytical research was done by Scanning electron microscopy in combination with energy dispersive X-ray microanalysis (SEM-EDX) and Polarized light microscopy (PLM). Scanning electron microscopy (SEM) and energy dispersive X-ray spectroscopy (EDX) were used to determine the elemental compositions of the tile glazes. According to the results obtained, tin (II) oxide together with lead glaze has yielded white color, manganese oxide had been responsible for black color, cobalt (II) together with magnesium oxide and fluorine has yielded blue color, copper oxide was responsible of the turquoise color, lead glaze with the low content of iron oxides has yielded a brown hue, yellow color is attained by lead antimonite and copper oxide together with lead glaze had been responsible for green color. The comparison of the results of the chemical analysis of the Safavid glazed tiles in historic Musalla of Mashhad and results obtained by other scholars who have worked on the identification of the elemental composition of the glaze of Safavid tiles in the other monuments of Iran, indicated that the creating colorant elements were the same, with a little difference, during the seventeenth century and over the Safavid period in Iran. Finally, thin-section analysis under a polarizing microscope was applied to study the petrographic composition on the tile samples. The results of structural study and mineralogical composition of the body mosaic tiles of Mashhad historical Musalla by petrography method showed that the presence of Muscovite, Hornblendes, Biotite, Quartz and Feldspar minerals as the main crystalline phases within the samples. Based on the applied methods, the mineralogical analysis of tile bodies has revealed some considerable results on the composition of this kind of tiles. Apart from minor differences related to the groundmass composition, all the tile bodies examined by thin-section analysis show similar microstructure characteristics and analogous petrographic compositions. On the other hand, the results of the elemental analysis of the glaze of Safavid tiles and considering little difference between chemical composition of the Safavid glazed tiles of the Mashhad historical Musalla and the elemental composition of the glaze of Safavid tiles in the other regions of Iran, it can be deduced that the raw materials used have probably been provided from the local resources.

Although the pottery is found in a massive amount in archaeological discoveries, these materials are the most important materials for different orientations in studies on the ancient people. One aspects of the study on ancient potteries, is the investigation about the painting and different colorants used for decorating potteries in variety patterns with different colors. This study aims to explore the ancient people knowledge and their experiments on creation of color by making up dying materials that could be found close to their dwells. The present work represented an attempt to discern experimentally the base and chemical composition of colorants used as decorative elements on ancient ceramics. Thus, five pieces of late Bronze painted pottery of the eastern Lake Urmia Basin (from the archaeological site of Kul Tepe of Ajabshir) were singled out. First, to determine whether the paint came from organic or inorganic sources and also to identify the existing anions and cations the Fourier-Transform Infrared Spectroscopy (FT-IR) technique was employed. The results demonstrated that the used coloring material has a mineral origin, where the sharp and strong peak at 465 cm-1 of the spectrums confirmed that the nature of coloring agents consists of iron oxides. Next, for elemental analysis and studying the chemical structure and composition of the colorants Scanning Electron Microscope-Energy Dispersive X-Ray analysis (SEM-EDX) was used. SEM-EDX analysis result demonstrated the presence of iron and manganese (Mn) content alongside other component elements of the ceramic bodies including SiO2, MgO, Al2O3, and K2O, where the results tallied with the FT-IR spectrums. On the basis of elemental analysis results, it could be said that iron oxides are the main components of coloring agents, where they could produce a variety of colors, ranging from red to dark brown. Moreover, the presence of manganese make the paintings darker, and consequently, the brighter nature of paintings of sample no. 3 of Kul Tepe and sample no. 1 of Haftvan could be the consequence of the miserable amount of this element (1.77 and 0.49%, respectively). Finally, in order to confirm and complete the study, the specimens were subjected to X-Ray Diffraction analysis (XRD). This experiment also showed that the pigments used in ornamenting the sherds were mineral and comprised of Agite mineral (Ca(Fe, Mg)Si2O6), as the coloring mineral, alongside other minerals including sodic and calcite feldspars. The results obtained are in good agreements with the geology of the region, where the feldspars exist as the main minerals of both sites. Therefore experimental analysis on the pigments structure that used in the painting of Kul Tepe Urmia ware decorations in different ways and various laboratory equipments demonstrated that the pigments used in the pottery decorations have mineral source and presented various iron compounds in the paint of decorations. As result of this study, the presence of iron compounds in the soil of the Kul Tepe region, it could be said the ancient people did use the natural sources of colorants for decoration of their potteries. Moreover, the techniques and materials used for decoration of the potteries were the same at both side of the Lake Urmia.

This paper presents the results of the Identifying the binder and pigments used in the mural paintings in RahimAbad Historic Garden and Mansion in Birjand. Birjand was one of the most important governmental strategic cities in Qajar era (1789–1925A.D) and an important branch area of ancient Silk Road which connected India to Europe. Though many monuments, especially historical gardens remained in Birjand. RahimAbad Historic Garden and Mansion was the resident of Qaenat ruler to consider politics, businesses and accommodating foreign guests. The most important part in the Architectural decoration of RahimAbad Historic Garden and Mansion is mirror-encrusted decorations, stucco and mural paintings. Due to diversity in building decorations and multiplicity of constructing periods in RahimAbad Historic Garden and Mansion, identification of pigments used in mural paintings is a great evidential assistance in extracting chronological information. scanning electron microscopy in combination with energy dispersive X-ray microanalysis (SEM-EDX)¡ Fourier transform infrared spectroscopy (FTIR), Polarized light microscopy (PLM), X-ray diffraction (XRD) and handheld X-Ray Florescence (micro-XRF) were used for the characterization of the compound and structure of the paint layers of samples taken from mural paintings. AccordThis paper presents the results of the identification of the binder and pigments used in the mural paintings in Rahim Abad Historic Garden and Mansion in Birjand. Birjand was one of the most important governmental strategic cities in Qajar era (1789–1925 A.D.), and an important branch area of ancient Silk Road, which connected India to Europe. Many monuments, especially historical gardens have been remained in Birjand. Rahim Abad Historic Garden and Mansion is one of this gardens, which in the period of Amir Ismail Khan Shaukat Molk, was the location of Qaenat ruler to consider politics, businesses and accommodating foreign guests. The most important part in the Architectural decoration of Rahim Abad Historic Garden and Mansion is mirror-encrusted decorations, stucco and wall paintings. Due to diversity in building decorations and multiplicity of constructing periods in Rahim Abad Historic Garden and Mansion, identification of pigments and materials used in wall paintings is of a great evidential assistance in extracting chronological information. Wall painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially wall painting, is the identification of the nature of paintings used to decorate the walls. Pigments identification is also important not only from the perspective of archeology, but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. Scanning electron microscopy in combination with energy dispersive X-ray microanalysis (SEM-EDX) ¡Fourier transform infrared spectroscopy (FTIR), Polarized light microscopy (PLM), X-ray diffraction (XRD) and handheld X-Ray Florescence spectroscopy (micro-XRF) were used for the characterization of the compound and structure of the paint layers of samples taken from mural paintings. In fact, chemical and physical analysis, provides useful information from spectrum of pigments in a region and recognizing color preparation techniques and its application. Also before proceeding restoration, the accurate information from the chemical composition of materials used in object is required. According to the obtained results, mixture of gypsum and calcite as a substrate layer, red lead (Pb3O4), mixture of malachite (CuCO3.Cu(OH)2) and Prussian blue)Fe4(Fe[CN]6)3), ultramarine (Na8-10Al6Si6O24S2-4), and mixture of two metals, copper and zinc, as the pigments were used. Also, an adhesive like animal glue was that of common materials in Qajar period, as well as used to substrate color. Such pigments are further evidence that the mural painting of this monument are from the late Qajar. Oil was used as binder or varnish in this painting and there is in all of the samples. One of the interesting points of the materials used in the paintings was the application of a mixture of pigments to create colors with different tonalities. Another point is the use of imported pigments such as Prussian blue, along with other traditional pigments that were common in of that era. Also, the microscopic examination of golden color indicates the presence of chalcopyrite in this pigment. These compounds exist due to the corrosion of copper metal in golden color, and usually appears in golden colors obtained from two metals alloy, such as copper and zinc, by creating green color in a golden background.ing to the obtained results,mixture of gypsum and calcite as a preparatory layer, red lead (Pb3O4), mixture of malachite (CuCO3.Cu(OH)2) and Prussian blue ) Fe4(Fe[CN]6)3), ultramarine (Na8-10Al6Si6O24S2-4), and mixture of two metals, copper and zinc, as pigments were used. Also, an adhesive like animal glue was that of common materials in Qajar period, as well as used to substrate color. Such pigments are further evidence that the Mural Painting of this Monument are from the late Qajar. Oil was used as binder or varnish in this painting and there is in all of colors.

In some of the archeological museum, the variety of blue object are nominated as Egyptian Blue, Lapis lazuli and Lapis lazuli paste. In this research, it was found that there are many mistake in this classification. Lapis lazuli, a brilliant azure-blue color gemstone, is a mixture of minerals, primarily containing the lazurite (blue) with small amounts of calcite, sodalite, and gold-color flecks of pyrite. It has been prized as an ornamental stone for over 6000 years. The most valuable lapis lazuli is the uniform dark blue stone from Badakhshan of Afganistan. This semiprecious blue stone was, and still is, used for jewelry, mosaics and small carvings. Lapis lazuli was also ground and purified to make natural ultramarine blue pigments. The Egyptian blue is the earliest known multicomponent synthetic pigment produced in ancient times in Egypt since the Fourth Dynasty of the Old Kingdom in the 3rd millennium BC, where it has been found as a pigment and formed into small objects such as amulets or beads. Egyptian blue frit is a multicomponent material that was produced by firing a mixture of quartz, lime, a copper compound and an alkali flux to a temperature in the range 850-1000 ◦C. Its principal components are calcium-copper tetrasilicate crystals (cuprorivaite), which produce the blue color, and partially reacted quartz particles bonded together by varying amounts of glass phase. In Mesopotamia from about 1200 to 900 BC, the best information on artefacts of Egyptian blue comes from the destruction debris of Hasanlu in north-west of Iran. Also, the range of Egyptian blue production in the Achaemenid period is the best represented in the excavations at Persepolis. It must be emphasized that "Lapis lazuli Paste" is a wrong term which is not truly exist. In this research, considering the wrong terms which is used for nomination of the collection of blue objects; in the labels, registration records, catalogs and etc, some scientific research was done to specify their characterization. 10 objects from different archaeological sites including Hasanlu, Ziwiyh and Persepolis from the period of 1st millennium BC to Achamenid were selected for this research. These objects were in different size and dimensions, including high jug with a variety of blue color from dark to pale blue, censer, plaque, small head of a young prince or princess and etc. At first, all of the samples were documented and then, structural investigation was realized by binocular microscope, to know condition and texture of their surfaces. Scientific and analytical research was done by SEM-EDX and XRD. As a result, all of these objects was identified as Egyptian blue. Finally, it was required to consider and overview the classification of the group of blue objects, which was wrongly nominated as "lapis lazuli paste", in fact, it does not exist.