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Volume 7, Issue 4 (2-2025)
KCR 2025, 7(4): 1-18 |
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Razani M, Haddadian M A, Esmaeilnezhadteymourabadi J. Conservation and Display of Unstable Artifacts in Museums: A Novel Approach Using Balancing Mounts. KCR 2025; 7 (4) :1-18
URL: http://journal.richt.ir/kcr/article-1-228-en.html
URL: http://journal.richt.ir/kcr/article-1-228-en.html
Abstract: (3073 Views)
Designing stabilizing mounts for objects, particularly unstable ones, is of great importance for museum display cases. These mounts can serve as platforms that aid in the exhibition of artistic works and valuable historical and cultural artifacts. The aim of this article is to design and implement a sample mount to stabilize a vessel that lacks proper physical balance, making it unsuitable for safe and secure display in a museum case without risking damage. To achieve this goal, a sample ceramic vessel from the scientific excavations of Tepe Dalma, which lacked structural stability and balance, was selected as the case study. In this process, after 3D modeling the object, a suitable mount was designed and fabricated to provide the necessary balance and stability. Another significant aspect of this study, following a review of the literature on modern technologies, is the examination and introduction of criteria and features that must be considered in the design and production of such mounts to ensure their functionality for various objects. The most important of these criteria, in order, include: the use of low-risk materials for constructing the mounts, ensuring the mount does not come into direct contact with the object in a way that could cause damage, considering the aesthetic values of the object in terms of color harmony and the shape of the mount in relation to the object's visual characteristics and function, and finally, ensuring sufficient strength to support the object's weight and balance.
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.
Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.
Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.
Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.
Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.
Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.
منابع/ References
Abedi, Akbar.(1400). Report of the archaeological excavations of Dalma hill in Malkan city of East Azarbaijan province, Tehran: National Institute of Archeology.
[عابدی، اکبر. (1400). گزارش کاوشهای باستانشناسی تپه دالما در شهرستان ملکان استان آذربایجانشرقی، تهران: بایگانی پژوهشکده باستانشناسی کشور.]
Antlej, K., Celec, K., Sinani, M., Mirtič, E., & Ljub, D. (2012). Restoration of a stemmed fruit bowl. Review of the National Center for Digitization, 141-146.
Bakhshandefard, H. (2010). A study of metallic historical artifacts in conservation. Isfahan: Isfahan University of Art.
[بخشندهفرد، حمیدرضا. ( 1389). بررسی آثار تاریخی فلزی در مرمت. اصفهان: دانشگاه هنر اصفهان.]
Balletti, C., & Ballarin, M. (2019). An application of integrated 3D technologies for replicas in cultural heritage. International Journal of Geo-Information, 8(6), 285. https://doi.org/10.3390/ijgi8060285
Balzani, M., Fabbri, M., Maietti, F., & Santopuoli, N. (2005). Survey, modelling and scientific integrated researches for restoration and enhancement of cultural heritage – A study of the bas-relieves of the Camerino dei Marmi di Alfonso I for the Estense Castle. The 6th International Symposium on Virtual Reality, Archaeology and Cultural Heritage (pp. 1-8). Pisa, Italy: ISTI-CNR.
Barreau, J. B., Nicolas, T., Bruniaux, G., Petit, E., Petit, Q., Bernard, Y., Gaugne, R., & Gouranton, V. (2014). Ceramics fragments digitization by photogrammetry, reconstructions and applications. Computer Science, 1-8.
Cåsver, Chez. (2009, July 4). Flickr. https://www.flickr.com/photos/rosemania/4121248676
Comes, R., Buna, Z., & Badiu, I. (2014). Creation and preservation of digital cultural heritage. Journal of the American Heart Association, 50-56.
DOI, A., & ONO, K. (2010). Digital archiving of archaeological remains using X-ray CT. Computer Science, 204-209.
Du, H., Liu, L., Zhang, F., Zhao, W., Leng, J., & Liu, Y. (2017). Thermal-mechanical behavior of styrene-based shape memory polymer tubes. Polymer Testing, 119-125.
Fararu (Analytical News). (2011, April 10). Preservation of ancient artifacts in a museum on CD boxes! + Photo. Retrieved April 15, 2012, from https://fararu.com/fa/news/73207
Hartley, J. (2023). Ancientartifax. Accessed September 25, 2023, from https://www.ancientartifax.com/stands.htm
Hay, J. (2011). Creating steel mounts for the exhibition of totem poles. Journal of the Canadian Association for Conservation, 29-38.
Hein, G. E. (2002). Learning in the Museum. routledge.
Hernández-Muñoz, Ó., Sterp, M. E., & Sánchez-Ortiz, A. (2023). Stabilization of an anatomical wax model of the Complutense Veterinary Museum with the help of 3D digital technologies. International Journal of Conservation Science (IJCS), 45-56.
Unknown. (2023, June 6). Christies. Accessed August 25, 2023, from https://www.christies.com/lot/an-anasazi-black-on-white-jar-4647475/?intObjectID=4647475&lid=1
Lowry, M. (2012). Short communication: Exploring process and design for visually unobtrusive object mounts. Journal of the American Institute for Conservation, 59-67. https://doi.org/10.1179/1945233014Y.0000000027
Lord, B. (2002). The manual of museum exhibitions. Altamira.
Osama Shukir, M. A. (2014, November 27). Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Carved_ivory_plaque_fragment_showing_the_legs_and_eagle-like_feet._Nimrud_ivory,_Sulaymaniyah_Museum.jpg
Paul, J. (2008). Advances in the protection of museum collections from earthquake damage. Getty Museum.
Rahman, I., Adcock, K., & Garwood, R. (2012). Virtual fossils: A new resource for science communication in paleontology. Evolution: Education and Outreach, 635-641.
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2016). The use of rapid prototyping technologies in the reconstruction of missing parts of glass artifacts with a focus on historical glassware. Restoration and Architecture of Iran, 85-101.
[رازانی، مهدی؛ حدادیان، محمدعلی؛ پورعباس، صفر. ( 1395). “استفاده از فناوریهای نوین نمونهساز سریع در بازسازی بخشهای مفقود آثار شیشهای با رویکرد استفاده در شیشههای تاریخی.” مرمت و معماری ایران. 85-101.]
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2018). The use of rapid prototyping technologies in the reconstruction of missing parts of archaeological pottery. Iranian Archaeological Research, 193-212.
[رازانی, مهدی, محمدعلی حدادیان و صفر پورعباس.( 1397). “استفاده از فناوریهای نوین نمونهسازی سریع در بازسازی بخشهای مفقود سفالینههای باستانشناسی.” پژوهش های باستانشناسی ایران 193-212.]
Razani M, Bater M.( 2024) A Guide to Documentation and Recording of Ceramic and Pottery Objects in Conservation and Restoration Operations. KCR; 7 (2) :29-46
[رازانی، مهدی؛ باتر، مسعود. (۱۴۰۳). راهنمای مستندسازی و ثبت اشیاء سفالی و سرامیکی در عملیات حفظ و مرمت. دانــش حـفـاظـت و مـرمـت.؛ ۷ (۲): ۲۹-۴۶.]
Schilling, R., Jastram, B., Wings, O., Schwarz-Wings, D., & Issever, A. M. (2013). Reviving the dinosaur: Virtual reconstruction and three-dimensional printing of a dinosaur vertebra. Radiology, 864-871.
Souri, E., Chang Maryam, A. A., Hosseini, S. A., & Keshavarzian, B. (2015). Design and construction of a machine tool for 3D printing. Conference on Advanced Machining and Machine Tools. Tehran: Tarbiat Modares University. 436-439.
[سوری، احسان؛ چنگ، علیاصغر؛ سیدعباس حسینی، مریم؛ کشاورزیان، بهنام. (1394). “طراحی و ساخت ماشین ابزاری برای انجام پرینت سهبعدی.” کنفرانس ماشین کاری و ماشینهای ابزار پیشرفته. تهران: دانشگاه تربیت مدرس. 436-439.]
Tabnak (Analytical News). (2014, May 19). Unique collection of Iranian coins and banknotes 2, https://www.tabnak.ir/fa/news/401529
[تابناک (خبری-تحلیلی)، (1393)، مجموعه بینظیر سکه و اسکناس ایران 2، تاریخ انتشار: 14:45- 1393/02/29. https://www.tabnak.ir/fa/news/401529[
Unger, A., Unger, W., & Schniewind, A. (2011). Conservation of wooden art objects (Translated by Asghar Taramian & Ali Naghi Karimi). Tehran: Tehran University
[یونگر، الف و یونگر و آ شنیویند.( 1390). حفاظت آثار هنری چوبی. با ترجمه اصغر طارمیان و علی نقی کریمی. تهران: دانشگاه تهران]
Introdocatis
In museums, the effective display of historical and cultural artifacts is vital. For structurally unstable objects, designing supports that align with conservation standards is essential. These supports stabilize artifacts by reducing mechanical forces, considering factors like dimensions, weight, and strength (Paul, 2008). Modern technologies, such as 3D modeling and rapid prototyping, have transformed artifact display methods. These innovations allow precise physical models to be created from digital designs, enabling customized support fabrication (Razani et al., 2018). Using 3D printers, supports are produced layer-by-layer, ensuring accuracy and safety. This method enhances artifact stability, protection, and visual presentation in museum exhibitions.
Research background
in recent decades, 3D technologies such as digital modeling and 3D printing have become standard tools for documenting and preserving cultural heritage. These methods allow users to record and analyze the shape, geometry, and dimensions of artifacts without physical contact. Advances in 3D printing have enabled digital data to be transformed into physical models quickly and at low cost (Balletti and Ballarin, 2019). These technologies have been applied in various fields of cultural heritage, including museum curation and restoration, for reconstructing missing parts, creating molds, replication, and casting. Researchers have utilized 3D models for data collection and enabling direct interaction between visitors and artifacts (Rahman, Adcock, and Garwood, 2012; Comes, Buna, and Badiu, 2014). Razani et al. (2018) used FDM 3D printing to reconstruct missing parts of an ancient pottery sample (Razani et al., 2018), and a similar approach was applied to historical glass objects (Razani et al., 2016). In international studies, these technologies have been employed to print missing parts of a porcelain vessel at the National Museum of Slovenia (Antlej et al., 2012) and produce a mold of a 16th-century marble relief at the Hermitage Museum in Russia (Balzani et al., 2005). Additionally, Doi and Ono (2010) introduced methods for creating ceramic object molds using computed tomography and VRML software for 3D modeling and FDM printing (DOI and ONO, 2010). The present study focuses on designing bases to establish stability and balance for unbalanced objects, offering a novel approach that incorporates criteria such as using low-risk materials, preserving aesthetic values, and designing bases tailored to the physical and visual characteristics of each artifact. This approach enhances its applicability in the conservation and principled display of historical and cultural objects.
Challenges - Principles and Proposed Foundations for the Display of Museum Objects
Displaying unbalanced objects in museum vitrines presents challenges such as ensuring security, preserving aesthetic values, and preventing physical damage. Many historical objects lack sufficient stability for direct display due to unique designs or structural damage. To address this, the use of appropriate support bases that evenly distribute weight and are made from safe materials is essential (Paul, 2008). The principles of museum object display encompass four key aspects: 1) Maximizing the visibility of an object’s features so that all details, dimensions, and subtle characteristics are clearly observable (Lord, 2002). 2) Visualizing the object’s functionality, especially for items with specific or symbolic uses that may be unfamiliar to modern audiences (Hein, 2002). 3) Preventing physical damage through the design of secure bases and vitrines, along with managing environmental conditions like temperature, humidity, and lighting. 4) Preserving the object’s aesthetic values by using appropriate display tools such as lighting, color, and texture. These principles help maintain the physical and aesthetic integrity of artifacts while enhancing the visual and educational experience of visitors.
Materials and Methods
The studied artifact is a ceramic drinking cup from the Iron Age (1200–800 BCE), excavated at Dalma Teppe in Malekan, East Azerbaijan Province, Iran. It has minimal base contact, causing instability. Precise measurements were taken using calipers and micrometers, and technical drawings were prepared in Solidworks 2016. A 1:1 scale 3D model was created in Rhino 7, and Keyshot was used to apply textures for realism. A custom support base was fabricated using a Kitech M1 3D printer. For aesthetic enhancement, the base was velvet-coated using a handheld electrostatic sprayer (Quantum brand, 90 kV output) by Dayer Sanat Iranian Company, ensuring stability and visual harmony.
Results and discotions
The artifact was precisely measured, and technical drawings were prepared. A 3D virtual model was created in Rhino 7, replicating details like handle design, surface textures, and cracks, essential for determining the object’s center of gravity. A hand-shaped support base with a flat bottom was designed for stability within the vitrine. The fingers were shaped to securely hold the artifact based on its dimensions. Stability tests confirmed acceptable balance with and without the artifact. Proper installation in the vitrine ensured functionality in terms of resistance, balance, and aesthetics. For aesthetic enhancement, the base was coated with 1mm dark red polyester velvet fibers. ST180 water-based adhesive was used for bonding, ensuring durability and strong adhesion. This method combined functionality with aesthetic refinement, making the base suitable for museum display.
Conclusion
This paper examines the design and use of stabilizing bases for unbalanced artifacts in museum vitrines using modern 3D technologies. Results indicate that supports must avoid physical or aesthetic damage while remaining visually appealing, enhancing viewer comprehension and engagement. Supports should accommodate diverse artifacts and enable dimension perception, functionality, and quick production via 3D printing. Symbolic designs and contextual descriptions can deepen audience understanding. The designed base for the ceramic artifact can also display jewelry, showcasing versatility. It is recommended to extend this approach to complex artifacts like glass or ivory objects.
Acknowledgments
The authors would like to express their gratitude to the Islamic Art University of Tabriz for providing the material and spiritual support necessary for the successful completion of this research.
Authors' Contributions: The first author was responsible for conceptualization, methodology, and final editing. The second author was in charge of design, illustration, and data collection. The third author contributed to data collection and text editing.
Conflict of Interest: None. Support: This research was supported by the Tabriz Islamic Art University, both financially and institutionally.
Data Availability: The raw data of this study are available to the authors and can be accessed upon request through correspondence.
منابع/ References
Abedi, Akbar.(1400). Report of the archaeological excavations of Dalma hill in Malkan city of East Azarbaijan province, Tehran: National Institute of Archeology.
[عابدی، اکبر. (1400). گزارش کاوشهای باستانشناسی تپه دالما در شهرستان ملکان استان آذربایجانشرقی، تهران: بایگانی پژوهشکده باستانشناسی کشور.]
Antlej, K., Celec, K., Sinani, M., Mirtič, E., & Ljub, D. (2012). Restoration of a stemmed fruit bowl. Review of the National Center for Digitization, 141-146.
Bakhshandefard, H. (2010). A study of metallic historical artifacts in conservation. Isfahan: Isfahan University of Art.
[بخشندهفرد، حمیدرضا. ( 1389). بررسی آثار تاریخی فلزی در مرمت. اصفهان: دانشگاه هنر اصفهان.]
Balletti, C., & Ballarin, M. (2019). An application of integrated 3D technologies for replicas in cultural heritage. International Journal of Geo-Information, 8(6), 285. https://doi.org/10.3390/ijgi8060285
Balzani, M., Fabbri, M., Maietti, F., & Santopuoli, N. (2005). Survey, modelling and scientific integrated researches for restoration and enhancement of cultural heritage – A study of the bas-relieves of the Camerino dei Marmi di Alfonso I for the Estense Castle. The 6th International Symposium on Virtual Reality, Archaeology and Cultural Heritage (pp. 1-8). Pisa, Italy: ISTI-CNR.
Barreau, J. B., Nicolas, T., Bruniaux, G., Petit, E., Petit, Q., Bernard, Y., Gaugne, R., & Gouranton, V. (2014). Ceramics fragments digitization by photogrammetry, reconstructions and applications. Computer Science, 1-8.
Cåsver, Chez. (2009, July 4). Flickr. https://www.flickr.com/photos/rosemania/4121248676
Comes, R., Buna, Z., & Badiu, I. (2014). Creation and preservation of digital cultural heritage. Journal of the American Heart Association, 50-56.
DOI, A., & ONO, K. (2010). Digital archiving of archaeological remains using X-ray CT. Computer Science, 204-209.
Du, H., Liu, L., Zhang, F., Zhao, W., Leng, J., & Liu, Y. (2017). Thermal-mechanical behavior of styrene-based shape memory polymer tubes. Polymer Testing, 119-125.
Fararu (Analytical News). (2011, April 10). Preservation of ancient artifacts in a museum on CD boxes! + Photo. Retrieved April 15, 2012, from https://fararu.com/fa/news/73207
Hartley, J. (2023). Ancientartifax. Accessed September 25, 2023, from https://www.ancientartifax.com/stands.htm
Hay, J. (2011). Creating steel mounts for the exhibition of totem poles. Journal of the Canadian Association for Conservation, 29-38.
Hein, G. E. (2002). Learning in the Museum. routledge.
Hernández-Muñoz, Ó., Sterp, M. E., & Sánchez-Ortiz, A. (2023). Stabilization of an anatomical wax model of the Complutense Veterinary Museum with the help of 3D digital technologies. International Journal of Conservation Science (IJCS), 45-56.
Unknown. (2023, June 6). Christies. Accessed August 25, 2023, from https://www.christies.com/lot/an-anasazi-black-on-white-jar-4647475/?intObjectID=4647475&lid=1
Lowry, M. (2012). Short communication: Exploring process and design for visually unobtrusive object mounts. Journal of the American Institute for Conservation, 59-67. https://doi.org/10.1179/1945233014Y.0000000027
Lord, B. (2002). The manual of museum exhibitions. Altamira.
Osama Shukir, M. A. (2014, November 27). Wikimedia Commons. https://commons.wikimedia.org/wiki/File:Carved_ivory_plaque_fragment_showing_the_legs_and_eagle-like_feet._Nimrud_ivory,_Sulaymaniyah_Museum.jpg
Paul, J. (2008). Advances in the protection of museum collections from earthquake damage. Getty Museum.
Rahman, I., Adcock, K., & Garwood, R. (2012). Virtual fossils: A new resource for science communication in paleontology. Evolution: Education and Outreach, 635-641.
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2016). The use of rapid prototyping technologies in the reconstruction of missing parts of glass artifacts with a focus on historical glassware. Restoration and Architecture of Iran, 85-101.
[رازانی، مهدی؛ حدادیان، محمدعلی؛ پورعباس، صفر. ( 1395). “استفاده از فناوریهای نوین نمونهساز سریع در بازسازی بخشهای مفقود آثار شیشهای با رویکرد استفاده در شیشههای تاریخی.” مرمت و معماری ایران. 85-101.]
Razani, M., Haddadain, M. A., & Pour Abbas, S. (2018). The use of rapid prototyping technologies in the reconstruction of missing parts of archaeological pottery. Iranian Archaeological Research, 193-212.
[رازانی, مهدی, محمدعلی حدادیان و صفر پورعباس.( 1397). “استفاده از فناوریهای نوین نمونهسازی سریع در بازسازی بخشهای مفقود سفالینههای باستانشناسی.” پژوهش های باستانشناسی ایران 193-212.]
Razani M, Bater M.( 2024) A Guide to Documentation and Recording of Ceramic and Pottery Objects in Conservation and Restoration Operations. KCR; 7 (2) :29-46
[رازانی، مهدی؛ باتر، مسعود. (۱۴۰۳). راهنمای مستندسازی و ثبت اشیاء سفالی و سرامیکی در عملیات حفظ و مرمت. دانــش حـفـاظـت و مـرمـت.؛ ۷ (۲): ۲۹-۴۶.]
Schilling, R., Jastram, B., Wings, O., Schwarz-Wings, D., & Issever, A. M. (2013). Reviving the dinosaur: Virtual reconstruction and three-dimensional printing of a dinosaur vertebra. Radiology, 864-871.
Souri, E., Chang Maryam, A. A., Hosseini, S. A., & Keshavarzian, B. (2015). Design and construction of a machine tool for 3D printing. Conference on Advanced Machining and Machine Tools. Tehran: Tarbiat Modares University. 436-439.
[سوری، احسان؛ چنگ، علیاصغر؛ سیدعباس حسینی، مریم؛ کشاورزیان، بهنام. (1394). “طراحی و ساخت ماشین ابزاری برای انجام پرینت سهبعدی.” کنفرانس ماشین کاری و ماشینهای ابزار پیشرفته. تهران: دانشگاه تربیت مدرس. 436-439.]
Tabnak (Analytical News). (2014, May 19). Unique collection of Iranian coins and banknotes 2, https://www.tabnak.ir/fa/news/401529
[تابناک (خبری-تحلیلی)، (1393)، مجموعه بینظیر سکه و اسکناس ایران 2، تاریخ انتشار: 14:45- 1393/02/29. https://www.tabnak.ir/fa/news/401529[
Unger, A., Unger, W., & Schniewind, A. (2011). Conservation of wooden art objects (Translated by Asghar Taramian & Ali Naghi Karimi). Tehran: Tehran University
[یونگر، الف و یونگر و آ شنیویند.( 1390). حفاظت آثار هنری چوبی. با ترجمه اصغر طارمیان و علی نقی کریمی. تهران: دانشگاه تهران]
Type of Study: Research, Original, Regular |
Subject:
Application of modern sciences, technologies, equipment, materials and methods
Accepted: 2025/02/28 | Published: 2025/02/28
Accepted: 2025/02/28 | Published: 2025/02/28
References
1. Abedi, Akbar.(1400).Report of the archaeological excavations of Dalma hill in Malkan city of East Azarbaijan province, Tehran: National Institute of Archeology.
2. Antlej, K., Celec, K., Sinani, M., Mirtič, E., & Ljub, D. (2012). Restoration of a stemmed fruit bowl. Review of the National Center for Digitization, 141-146.
3. Bakhshandefard, H. (2010). A study of metallic historical artifacts in conservation. Isfahan: Isfahan University of Art.
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