فهرست مطالب alireza hosseini sadr

Adolescents who are abused and neglected face many challenges, and it is imperative to pay attention to their mental health.The purpose of the present study was to determine the effectiveness of art therapy focused on compassion on the distress tolerance of abused and neglected adolescent girls.

This study is a quasi-experimental study that was conducted with a pre-test and post-test design. The statistical population was all abused and neglected female adolescents of Bushehr City in 2023. The sample size was 30 people selected by the convenience sampling method and randomly assigned into the experimental and control groups (15 people in either group). The experimental group underwent 10 sessions of 90 minutes of compassion-focused art therapy, while the control group received no intervention. The instrument to gather data was Simons and Gaher's (2005) Disturbance Tolerance Scale. Data were analyzed using multivariate analysis of covariance.

Art therapy focused on compassion was effective in tolerating the turmoil of abused and neglected adolescents. Eta squared showed that 18.5% of tolerance variance, 18.7% of absorption variance, 16.9% of evaluation variance, and 20.6% of adjustment variance are due to the effectiveness of art therapy focused on compassion (p<0.001).

Art therapy focused on compassion has been effective in increasing tolerance of emotional disturbances in abused and neglected adolescent girls. Therefore, it is recommended that this treatment be used in organizations interacting with injured people to increase the tolerance of disturbance and increase their mental health.

In many paintings attributed to Behzad, regardless of his artistic style and structure, works have been mistakenly attributed to this artist. for this reason; The working method in space creation, figures and decorations in the works of this artist is of special importance and their examination has determined the painter's style and has been one of the important factors in identifying the paintings. So the main purpose of this research checking decorations painting, ways figure and atta oh ments and also comparisom human portrait in selected effect of Kamaluddin Behzad, to find portrait painting of dervish effect relat to Behzad. The main hypothesis of the research is proposed as follows: By examining and analyzing Behzad's selected works, the portrait of a dervish is not Behzad's work. The results of the survey show that figure decorations and related objects (clothes, hats, turbans, etc.), can be specific signs for recognizing Behzad's works in any period. By examining the pictorial and decorative patterns and presenting the analytical documents in the presented tables, it is realized that the portrait of a dervish located in the Topkapi Museum in Istanbul can be a work of another artist attributed to Behzad. This work does not use the style used in Behzad's works and does not have its distinctive characteristics.This work according to the existing signs; It probably belonged to an Osmani painting. Osmani painters tried to get influence from Iranian painters as well, which contrast between Iranian painting and Western painting can be seen in the works of these artists. Finally, by examining the pictorial and decorative patterns of the paintings, one can get a better understanding of Behzad's works.

Maulana Vali Allah has been a mastermind who has probably followed him more than any other artist, for his delicate engravings and his ability to convey meaningful meanings in his paintings. In many paintings attributed to Behzad, due to the historical and technical connection in paint- ing, due to the position and rank of Behzad, some paintings are attributed to him, regardless of his artistic style and structure. It is one of the important visual elements and completely defines the style of the painter, and the way it is designed and drawn is influenced by the basics of Irani- an aesthetics and follows certain patterns. The method of work in creating space, figures and decorations in the works of Kamaluddin Behzad is of special importance. Therefore, the basis of this research is to investigate the method of drawing ornaments and its accessories in the works of Kamaluddin Behzad with the aim of recognizing the main patterns of ornaments in schools of Herat (Greater Khorasan) and its effects in Tabriz Il school and to study and recognize decorative patterns in figures and accessories in Behzad's works. This research has been done by descrip- tive, analytical, historical and analytical methods and the method of collecting library informa- tion has been done using Corel software and the results show the decorations of figures and re- lated objects in several categories of hats (turbans), clothes, shields, swords, shoes, etc. in each period. It can be specific signs for recognizing the works. By examining the pictorial and decora- tive patterns and presenting analytical documents in the presented tables, he realized that the camel and camel guard located in the Topkapi Palace Museum in Istanbul can be a work of Mau- lana Vali... which is one of the works. It is attributed to Behzad. It does not use the style used in Behzad's works and does not have the obvious characteristics of Kamal al-Din Behzad's works. Evidence shows that this painting bears no resemblance to Behzad's works. By examining the pictorial and decorative patterns, we can get a better understanding of Kamaluddin Behzad's paintings.

Painting therapy has been widely used and although it has yielded positive results in clinical practice, it has rarely been researched. Therefore, the aim of this research was to determine the effectiveness of painting therapy based on mindfulness on emotional expression in female students with test anxiety disorder.

The present study was a quasi-experimental research and the statistical population of the research was all female students in the middle school in the 9th district of Tehran during the academic year 2021-2022, among which 30 girls (15 girls in both the control group and the experimental group) were selected using convenience sampling method and random assignment. The experimental group was trained in painting therapy based on mindfulness (10 sessions of 60 minutes). The control group did not receive any training. In this study, the Test Anxiety Inventory of Abolghasemi et al., the Emotional Expression Questionnaire of King and Emmons, and the Mindfulness-Based Painting Therapy Protocol of Seyedesmaili Ghomi et al. were used to collect data. Descriptive statistics (mean and standard deviation) and multivariate analysis of covariance were applied to analyze the data.

The results showed that painting therapy based on mindfulness was effective in modulating emotional expression in the post-test phase (p<0.001). The eta square showed that 0.681 of the variance of positive emotion expression, 0.632 of the variance of intimacy , and 0.695 of the variance of negative emotion expression were caused by the experimental conditions.

Based on the findings of the present research, it is recommended to use painting therapy based on mindfulness as a psychological intervention to improve the mental and physical conditions of children with test anxiety.

Aesthetics has many components,the most important of which is design and color. One of the most beautiful elements in the kitchen is its cabinets.This beautiful element, in addition to its application, plays the most pivotal role in shaping the interior decoration of the kitchen with color and design.This study investigates the aesthetic effect of the design and color of wooden kitchen cabinets in its selection. The research method of this article is analytical-descriptive, survey and field.The statistical population and data collection and completion of the research questionnaire is the users and manufacturers of wooden cabinets in Ardabil province. In order to determine the effect of the independent variable of design aesthetics and color on the dependent variable of wood cabinet selection, linear regression equation has been used.The results showed that the value of multiple correlation coefficient of color aesthetics regression model in wood cabinet selection is equal to 0.941.The choice of color based on the natural texture of wood is 0.800 and most changes are dependent variables.The value of multiple correlation coefficient of the aesthetic regression model of the form is equal to 0.934.The variable of non-geometric shapes with the value of Pearson correlation coefficient of 0.679 is the first priority among the aesthetics of the design and it can also be said that there is a significant relationship between the two variables studied the study. The sign of the correlation coefficient is positive between the two variables and therefore they have a direct incremental relationship with each other.

Animal painting (Zoomorphism) and the use of animal motifs in natural landscapes have been among the most widely used subjects in royal murals. Sadeghi Beyk has described the nature and importance of animal painting in his treatise Majma 'al-Khawas. This tradition of mural painting has continued in Qazvin and Isfahan schools during the Safavid period. The similarity of Chehel Sotoun Palace murals of Isfahan and Qazvin with the murals of the Tabriz school is a proof of this claim. These murals, made by artists trained in the Tabriz and Qazvin schools, also undergo changes and developments in a short period of time. The motifs of mythical and trapped animals are the least used in them.The authors' hypothesis is based on the fact that the original murals of Chehl Sotoun the palaces of Isfahan and Qazvin, which belong to the period of Shah Tahmasb and Shah Abbas I, correspond in style. They belong to the painters who studied in Tabriz and Qazvin schools.This article answers these questions: What are the similarities between the Animal drawing style in the murals of Chehel Sotoun Palace in Qazvin and Isfahan, and what are the differences that they have for about fifty years?The method in this research is descriptive-comparative, and it uses library resources and field research or field observation. The visual information in the Chehel Sotoun Palace in Qazvin and Isfahan was collected by visiting the Chehel Sotoun Palace and cooperating with Qazvin's cultural heritage. Library resources, digital resources and the statements of Hossein Aghajani, the restorer of Chehel sotoun in Isfahan, have been used during the interview. The main purpose of this article is to investigate the use of animal motifs in the Qazvin school and its continuation in the Isfahan school. Therefore, the common animal motifs between the murals of Isfahan and the Chehel Sotoun palace of Qazvin were identified and classified, and the art schools of Tabriz and Qazvin were analyzed and compared.The result of the study showed that the freedom discussed in Isfahan school is not seen in these paintings, because the murals with animal motifs in nature are related to the style of Qazvin and Tabriz schools According to Sadeghi Beyk Afshar, although murals include all three methods of animal painting, in the remaining works in two important buildings of the Safavid period, there is no motif of mythical animals such as dragons and phoenixes (Simorgh) and the scene of animal fights in these murals is very limited. The mentioned changes and developments in animal painting have started from the last years of Tabriz II School and have been displayed in the Chehel Sotoun murals of Qazvin and Isfahan. The animal motifs used in the Chehel Sotoun of Qazvin are less varied. The animals in nature are full of flowering trees and a variety of flowering shrubs, Khitan flowers, and leaves, and show paradise views similar to those in the Second Tabriz School.Plant motifs for moqarnas and plants such as flowering trees and flowering shrubs were used for landscaping in the two murals. Here, arabesque frames - in the form of Toranj and Sartoranj - are just as easily placed in the middle of the painting next to the natural landscape, just like the murals of the Chehel Sotoun of Qazvin, where the branches of the flower grow from a rocky bed. The blossoming tree is one of the characteristics of Tabriz school, but it is less found in the works of Qazvin, Mashhad and Isfahan schools. The blossoming tree is used symmetrically in the wall painting of Chehel Sotoun Palace in Isfahan in the red field. However, the artist seems to be more inclined to the Timurid school in the green field because, as in most Timurid works, the background is full of flowering plants and animals painted on the bushes' side.The plants painted in them already existed in the field of painting in Tabriz school, but here they are bigger and have been painted more clearly. The size of the bushes is so large that the animals next to them look very small. None of the murals use motifs of legendary creatures such as dragons and ostriches. This cannot indicate the obsolescence of this type of motif in the school of Isfahan because they have been used a lot in the tiles of the Hasht Behesht Palace in Isfahan.

Shah Abbas I Safavid in the year 1012 AH / 1603 AD succeeded in retaking the occupied territories of the northwest from the Ottomans.  The Ottoman government in response to these military movements, in 1013 AH / 1604 AD sent it's troops to the borders of Iran under the command of Yusuf Sinan Pasha Chaghalughli.  To counter this invasion, Shah Abbas ordered the implementation of the scorched earth tactic on Iranian soil along the route of this campaign.  By using library resources and descriptive-analytical method this study seeks to answer the question that how did the implementation of Shah Abbas's scorched earth policy towards the Ottoman army affect the security- policing  situation of Safavid Iran?  The findings of the study show that by implementing this policy, Shah Abbas compensated for the lack of military forces against the Ottoman forces and defeated the troops of Chaghal Oghli.  While providing security and order on the country's northwestern borders, Shah Abbas  took advantage of the immigrants' economic potential for the capital's commercial development and the facilitation of relations with Christian European states