بهرام احمدی

The close affinity and link between painting and literature characterizes Persian painting. However, towards the end of the Qajar era, the use of painting for illustration "in" literary or historical books decreased for various reasons. Meanwhile, the Qahvehkhaneh painting tradition took up this age-old mode, placing the illustration of verbal narratives at the center of attention. Qahvehkhaneh painters employed various modes of illustrative narration. The extent and combination of these modes appears to have reached a novel stage in Iranian painting history. The present article investigates the structural link between text and image in the Qahvehkhaneh painting. For this aim, drawing upon Wichkoff's taxonomy in identifying types of visual narrative and Lessing's crucial concepts in distinguishing painting from literature, it examines the following questions: (1)  "What" types of visual narration are there in the works of this school and (2) “How” the narrative time crystallizes in Qahvehkhaneh painting?The study is conducted using a descriptive- comparative method. According to the findings, many of this school's paintings have been restricted to the pregnant moment. These paintings only illustrate the culmination of the verbal narrative. Thus, in an instance of time imagination, the audience could imagine the events before or after this frozen moment. Therefore, although in this method that Wichkoff describes as Isolated Method, time is restricted and limited in the visual narrative, in the final analysis, these illustrations have some hidden timing. It means they put forward the time sequence subjectively rather than objectively. Utilizing this method constitutes a strategic compromise between the essentially spatial medium of painting and the time-bound medium of literature.However, in an intriguing initiative in some works in Qahvehkhaneh painting, these distinct illustrations come together in one single frame, displaying the whole fictional narrative, i.e., its numerous moments consecutively. This method is unprecedented in the Persian painting tradition. Among Qahvehkhaneh painters, Mohammad Modabber, a forerunner of this school, created most of his works in this style. This method came to be embraced and employed by the next generation of Qahvehkhaneh painters in numerous forms. In the works of painters such as Fathollah Ghoullar Aghasi, Hossein Hamedani, Hasan Esmaeilzadeh, Ahmad Khalili, Mostafa Hamidi, Mohammad Hamidi, Abbas Boloukifar, Mohammad Farahani, and Ali Akbar Larni, these parts were arranged more diversely. The potential of this mode of visual narrative is in its compatibility with Western aesthetic principles. In these works, the pregnant moment could be drawn by placing the subject in perspective. As seen in the works of Modabber, every part of the numerous illustrations in a painting frame has its unique perspective. The teachings and academic taste of some of the teachers of Mohammad Modabber, who were influenced by Kamal-Ol-Molk's teachings, appear to have been instrumental in adopting and expanding this visual narrative method. It is true that foreign aesthetics and techniques gradually increase in the works of Qahvehkhaneh painters. However, the Qahvehkhaneh painting renders these techniques its own by consecutively arranging distinct illustrations of pregnant moments, adapting them to polish its unique aesthetics.In addition to the isolated method, the Qahvehkhaneh painters drew upon the continuous method in displaying the numerous illustrations of a narrative. Notably, shunning the sequence of distinct illustrations, Hossein Ghoullar Aghasi used this method for a detailed articulation of the narrative. This method illustrates the personages in a spatial continuum without changing the stage in the succession of events in a time sequence. The canvas is full of sequences and time lapses. Different times and places assume a narrative continuity and singularity on the canvas. Even though this method was present in religious iconography since the age of the Safavid and the Zand dynasties in Persian visual tradition, the Qahvehkhaneh painter revived this tradition, notably in depicting the battle of Karbala. Today the works of this school are characterized by this tendency. Besides Hossein Ghoullar Aghasi, many Qahvehkhaneh painters, such as Mohammad Modabber, Hasan Esmaeilzadeh, Abbas Boloukifar, and Mohammad Farahani, employed this method of visual narrative in their early works.The close link between the Qahvehkhaneh painting and the religious, literary, and popular narratives seems to have expanded and deepened novel methods of visual narratives. The works of this school each represent the height of affinity between verbal and visual narratives, where time penetrates the space and the canvas, taking on a visible manifestation. This manifestation can be regarded as the last and the brightest link between text and image in the Iranian painting’s tradition.

Many scholars believe that Islamic arts do not intend to represent the real world. This view goes back to the Sufi view of Iranian-Islamic art, which emphasizes meaning than appearance. Even though studying an artwork from a religious and mystical view is generally not wrong, limiting the view to the mystical concepts while examining an Islamic artwork may prevent us from considering other aspects of this art. For this reason, Islamic visual artworks need to be analyzed from a variety of perspectives such as realistic. In this article, the painting “The Battle of Camels”, attributed to Kamal al-din Behzad was selected. Camel fighting is popular entertainment in countries such as Pakistan, Afghanistan, and Turkey. Therefore, the painting “The Battle of Camels” was examined in a historical-analytical manner hypothesizing that Iranian paintings are not only images specific to texts and manuscripts but also have artistic values and historical and social concepts, Also, to answer the question of how this painting shows the painter’s influence on the real world, similar types of paintings and real photos of this event were studied. Finally, we found that Kamal al-din Behzad probably observed such an event closely and was also influenced by similar drawings. Through his new perspective, he was able to portray this issue in the form of the principles of Iranian painting and managed to include the real aspects of this event in the work by showing realistic details

Vaginal candidiasis infection is the second most common disease after bacterial vaginitis, affecting about 75% of women at least once in their lifetime. 85 to 90% of these infections are caused by Candida albicans species. Various factors, including genetic and immunology factors, play an important role in the development of this disease . Interleukin 19 is one of the important cytokines in the immune system and has several polymorphisms in the promoter region. The aim of the present study was to determine the association between IL-19 gene polymorphisms (rs2243191 and rs1028181) and recurrent candidiasis vulvovaginitis.

The present case-control study was performed on 100 patients with recurrent vaginal candidiasis and 110 healthy individuals during 2016-2019. Five mL venous blood was taken from each participant and transferred to a tube containing EDTA anticoagulant. Genomic DNA was isolated using a special kit; the PCR chain reaction was performed by ARMS method and data were analysed in patients and control subjects using Chi square test and SPSS software.

The results of the present study revealed that no significant difference was seen in frequency of GG, AG and AA genotypes in the position of both rs2243191 and rs1028181 IL-19 gene in both patients and the control group (P> 0.05). Also, no significant difference was observed in frequency of both A and G alleles in the mentioned positions between patients and the control group (P> 0.05).

No significant association between IL-19 gene polymorphism at positions (rs2243191 T / C and rs1028181-513T / C) and recurrent vulvovaginal candidiasis was observed.

Ecological problems are among the concerns of the contemporaryworld. In recent years some artists in Iran have been using the new artmedia to express and understand these problems in order to challenge theaudience. Urban art, in addition to providing aesthetic aspects, can play amore effective role in raising public awareness of the issue of ecologyprotection through its proximity to interactive art and by consideringcitizen audiences as the primary target of such artwork. In this regard, itseems that the many commonalities between the new art media and theurban art have made it possible for artists in this city to reach theiraudiences more than ever. Studying and recognizing the ecologicalartworks in urban spaces of Iran shows that among the new media,environmental art is more aligned with the artist's goals and expressingecological concerns in the city because of its quick and easycommunication with the environment and the audience. Other media havebeen favored by artists. In this descriptive-analytical study, an ecologicalapproach is used to examine the reasons for artists' attention to new mediain Iranian urban spaces by evaluating the extent of their presence in theurban context and how they succeed in conveying the ecological conceptsin their creative works.

Dermatophytes create the most common fungal disease in humans, called dermatophytosis. The two species of Trichophyton rubrum and Trichophyton interdigital are responsible for over 80% of types of dermatophytosis. So far, several morphological and physiological methods have been used to differentiate these very similar species, but these methods are generally time-consuming and have low specificity. The purpose of this study was to introduce a simple and rapid duplex polymerase chain reaction (PCR) reaction to differentiate these two species from each other. This research was an analytical and experimental study that was carried out from 2017 to 2018 in the Medical Mycology Laboratory, School of Public Health, Tehran University of Medical Sciences, Iran. For this purpose, the nucleotide sequences of the 4 regions of internal transcribed spacer (ITS), beta-tubulin, elongation factor 1 alpha and calmodulin in the two considered species of fungi were conducted bioinformatics analysis. The differences and similarities of nucleotides between two species in each of these genes were studied for selecting the primer. The specificity of selected primers was tested for duplex PCR reaction against sequenced isolates of dermatophyte species. According to the total data, the specific primers were selected from elongation factor 1 alpha gene. These primers produced a product of 173 and 384 bp, in Trichophyton rubrum and Trichophyton interdigital, respectively. They had high specificity in the face of various dermatophytes. The length of nucleotide sequences found in the genebank of this gene in the two species is between 700 and 770 bp. The similarity of the two species in this region is 94.6% and differs by 78 bp. Of the 107 extracted DNAs from clinical dermatophyte isolates, in duplex PCR 24 isolates were positive with Trichophyton interdigital primer and 71 isolates against Trichophyton rubrum. The remaining isolates, which included 6, were negative in this reaction, which included other dermatophyte species. This method is a specific and fast differential method compared to conventional methods for identifying Trichophyton rubrum and Trichophyton interdigital from each other.

One of the Islamic subject in the Persian miniature painting is the Miraj of Prophet Mohammad. Among the famous paintings on the subject of the Miraj which is the Miraj miniature painting of Khamseh of Nizami is attributed to Sultan Muhammad contains a narrative account of message. The analysis of the Miraj of the Prophet from Panofsky's perspective analyzes the meaning of the image in three stages. This essay has used a descriptive-analytical method to use Panofsky's iconography and iconology method in order to analyze of visual elements of the Miraj miniature painting and answer the question of how to use visual element in processing and recognizing the image. In the first step, the most observable effects of this image are discussed. In the second step, we will discuss the Miraj of the Prophet and the contents. In the third step, the theme of the Miraj miniature painting, which originated from a certain period and culture and conditions governing the life of the artist, is explained. The results show that the cultural factors and social traditions of the Safavid period and the visual elements common in the painting before the Safavid period have been influenced by the characters of painting. The painter was influenced by the spiritual environment of the Safavid period and the ordering creator. Researching and contemplating in Persian miniature paintings not only improve to grasp visual questions, but also places new ideas on the choice of research methodology and analysis

Embankment Dam break is a phenomenon in which massive volume of water suddenly abandoned and big waves causes floods in downstream. Flood which was resulted by dam failure has high destructive power and in most cases, downstream river channel of the dam has not experienced such a flood and therefore is not able to contain it in its original channel. Therefore, the dam break analysis and evaluation of its consequences for all dams is a crucial issue. The current project attempts to collect the data relating to Northern Khorasan’s two embankment dams (Shirindare dam and Esfarayen dam) through HEC-RAS modeling software which has many capabilities such as flood routing in downstream of dam to be addressed and then proceed to flood zoning in the Arc Map. Esfarayen embankment dam is located in 20 km north east Esfarayen city and Shirindare dam is located in 65 km north west Bojnoord. Finding of the study showed that based on Bernoulli relations and military attack scenario the maximum output rate for Shirindare dam and the Esfarayen dam respectively was 396762/3 and 3177/5 cubic meters per second. Then, cross sections are determined in the main stream of both dams in downstream and the flood modeling was conducted. If any failure occurs for the Esfarayen dam, Based on modeling for Esfarayen dam it is predicted that the villages of Anushiravan, Parkanlu, Jan Ahmadi, Sarkanlu, Ghazaghie, Hassan Abad and some areas of Esfarayen are in crisis and will be washed with water., and based on modeling for Shirindare dam the villages of Mohammadabad, Bazar gharnas, Cheshmegah, Pishghale, Gazabad, Aghmazar, Eshghabad, sheshkhane, ghesti moaven and Khorramdarreh will be washed. Since the police commanders regularly attends as the first government agency in every crisis scenery, therefore police commander of Northern Khorasan programs to manage crises dam failure was predicted.

Pictures of angels in qajar and renaissance art periods are common and some times different properties this paper hes to deal with discovering similarities and differences of angles pictures in visual terms comparatively comparying Printed angels pictures remained form qajar and renaissance periods considerations in this paper indicates that angels pictures in printed prictures remained form qajar and renaissance periods. Considerations in this paper indicates that angles pictures in printed pictures remained form biith qajar drenaissance art periods have some similarities in the terms of type of angles deawing, their dresses, faces , According to naturalistic principles, the third dimension as well as the similarities in the presence of angels and obese children and Renaissance corresponded qajar Drnskh printed.as well as type of Configuration and inserting angles in printed versions while having trivial differences with each other. In this articles its tried to responce developed questions by descriptive – analytical method and utilizing lybrarical sonrces and taking into account samples of remaiued printed pictures.

Onychomycosis or nail fungus infection has an increasing prevalence with many effects on patients’ social life and mental health dermatophytes, yeasts and non-dermatophyte molds are among the best known agents of fungal infections of nails. The purpose of this study was to determine the prevalence of non-dermatophyte molds using morphological (direct examination and culture) and molecular (PCR) methods in patients referring to Medical Sciences Mycology Laboratory in Tehran, Iran. In this study, samples were taken from 170 patients. For direct microscopic examination (DME), 15% KOH solution was used for the culture of samples, Sabouraud dextrose agar media (S) was applied together with chloramphenicol (SC) and chloramphenicol and cycloheximide (SCC). Meanwhile, differential tests were done for mycological diagnosis (slide culture), and 28SrDNA amplification and sequencing were performed for suspect or unknown samples. Of the 170 patients, 74 cases (43.5%) had onychomycosis, of which 53 cases (71.62%) were female and 21 cases (28.38%) were male. Also, of the 74 cases of onychomycosis, 40 cases (54.05%) were reported candidiasis, 21 cases (28.37%) non-dermatophyte molds, and 12 cases (16.21 %) dermatophytes. The prevalence of onychomycosis in this study was 43.5% and the application of polymerase chain reaction (PCR) technique in cases of false positive, false negative and long-term culture was valuable meanwhile, given that all the samples that had positive results in DME with negative cultures were positive in molecular tests, this study reveals the power of molecular techniques compared with culture method.