امیر حسنوند
شناسایی فنی و آسیب‌شناسی و ارائه‌ی طرح حفاظت و مرمت نقاشی‌های صخره‌ای میرملاس
پایان‌نامه‌ی کارشناسی ارشد، دانشکده‌ی هنرهای کاربردی، دانشگاه هنر، 1387
استاد راهنما: محمد ربانی; علیرضا بهرمان

Abstract: The pictographs of Mir Malas are one of the most important and valuable works of Rock Art in Iran and element such as wind, salt, side rain and biological agents and ... are constantly threatening them. Through a technical survey and a scientific pathology, this research has been attempted to identify their bed, materials, and stuff, erosive environment and find a way to keep this painting survive. Regarding the sensitivity of these paintings and their stone beds against chemical materials, some proper ways for cleaning, salt eliminating and fixing is proposed. And, through the result coming out of the laboratory work, some applicable methods with the minimum damage and interference on the works, has been offered for repairing them. And, the compatible material with the painting has been introduced. The propositions and solutions presented in this study are based on practice and the result of the laboratory and field research. With the aim of repairing of these painting, this study is presented in seven chapters. First chapter is a survey of the art in the Stone Age. Second chapter is about to introduce the region of Lorestan, its primary inhabitance and the historical geography of this region. Third chapter introduce the Pictography of Lorestan and argues about the artistic style of the works. In forth chapter, methods of recognizing and the laboratory examining of the work and sampling them is presented. In the fifth chapter, harmful elements and the erosion process of the paintings are noticed and different types of them are mentioned, the patterns of repairing and up keeping of the paintings are presented in the sixth chapter. And, in the seventh chapter means of strengthening the upkeep and the upkeep instruction of the repaired works is considered, also there are some suggestion for a better recognition of the works. In the end, there is a conclusion of all the contents of this study. And, id has been expected that if repairing would be practical through these means, it will be led to permanence of the paintings.



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