mohammad khazaei

The Mongol invasion of Iran [551-663 H] laid the foundation of an integrated empire from far east Asia to east Europe and led to the formation of the so-called Ilkhānid dynasty and the decline of Persian Empire. For a time, Ilkhānid dynasty removed former obstacles in east-west contacts. This resulted in the promotion of mutual Iran-China cultural relations and the formation of a new artistic outlook. Throughout the history of Persian Art, some foreign ideas and forms have been borrowed by Iranian artists. The occupation of Iran and China, along with the prosperity of trade relations, caused the reciprocal influence of arts and crafts of these countries. Loyalty to traditions made each one mingle imported cultural elements with their own culture. Consequently, the Chinese art, brought to Iran by Ilkhānid dynasty, caused Iranian artists, who were concurrently affected by Seljuk art, to present their works by reproducing the Chinese art. The Mongol rulers influenced by the Chinese rich culture and art, transmitted their artistic tendencies to their ally in Iran through political, commercial, and cultural connections and laid the foundations for the mutual impact of Iranian and Chinese art in various fields, namely, painting. In this regard, due to the influence of Chinese painters and the use of paper, pen & ink, techniques of coloring and drawing animals, a new style of painting was developed in Iran. The bookmaking in the Mongol period owed its boom to the powerful Ilkhānid central government, who put an end to the political and intellectual domination of the ruling caliphs and transferred the centrality of illustrated book publication from Baghdad to Tabriz; the capital of the Ilkhānate. A significant artistic development was noticeable in Iranian art of painting during the last decades of Ilkhānid period (653-754 H). Iranian paining was generally used in book design, drawing images of mythical figures, royal family, hunting scenes, battlefields, and different related ceremonies. During this time, book illustrations fall deeply under the influence of Song and Yuan periods. It is because, art-loving Ilkhānid rulers; namely, Ghāzān Khān (694-703 H) and Öljaitū (703-716 H), along with the courtiers, namely, Rashid al-Din Fazlullah Hamadāni promoted and encouraged Chinese’s art styles. In view of the evolution of Iranian art during the Mongol Ilkhānid period and the development of its painting under the impact of Chinese art in the last decades, the present research attempts to study the position of horse images in the paintings of these two periods. The goals of this research were to gain access to the evolution of horse images during Ilkhānid period in Iranian civilization and Song and Yuan periods in Chinese civilization and to distinguish the similarities, differences in horse images during these periods. The research questions are: 1.What transformations have horse images undergone in Iran (the Ilkhānid period) and China (Song and Yuan periods)? 2. What are the similarities, differences and representations of horse image in the abovementioned periods? Bearing in mind different artistic viewpoints, the present study was carried out based on the historical and descriptive-analytical methods of research, along with, the library and citations techniques. To examine horse images in the illustrations of the Ilkhānid period, the book "Manif’-al-Ĥaiwān" -available in the Morgan Library in New York- in addition to the collection of illustrations related to Sultan Abu Said's Shahnameh in the Metropolitan Museum of America were studied. Relating to different horse poses, three paintings were chosen from Iranian Ilkhānid and two from the Chinese paintings of Song and Yuan periods. Initially, the horse image and its characteristics were defined and then comparatively studied using a descriptive-analytic method. The results of the research indicated that, for a while, horse images -of interest to both Iranian and Chinese artists- were depicted in various forms of visual arts. Although, Chinese paintings enjoyed more variation in performance and expression than Iranian paintings, comparative analysis of the paintings indicated that Iranian works had adopted limited elements from the Chinese art. Iranian artists with their inherent genius absorbed parts of the Chinese art and combined them with their own style. In the former Iranian paintings, the limited poses of horses and riders and their faces were drawn in either profile or oblique profile. Nevertheless, from the time of the Mongol rule, due to the contact with Chinese art, Iranian artists paid more attention to the variety of poses from different viewpoints. Although, color variations were clearly noticeable in the design of the Ilkhānid horse, the Chinese artist, especially in the Song period, used the sole color of the paper with linear designs and tried to show the horse in a free and peaceful nature. The findings indicated that the principal of mutual impact of cultures held true between Iranian and Chinese civilizations. As a result, the idea of unilateral impact of Chinese art on Iranian art is no more acceptable.

The romantic gaze and perspective of lovers, especially in the tale of Layla and Majnun, is a recurring theme in Persian poetry. This article compares the poetic themes of Attar and Jami with the visual representation in Jami’s “Haft Orang” manuscript. It examines the similarities and differences in their narratives, focusing on the climax of the lovers’ meeting. Attar emphasizes the union and Majnun’s well-being, while Jami provides more details about Layla and Majnun’s eye contact and Majnun’s loss of consciousness. The visual representation captures Majnun’s arrival at Layla’s tent but not their meeting gaze. The research method is descriptive-analytical, using library sources and manuscripts. Findings indicate both poets use the tale according to their poetic styles, with notable differences in form and content. In Attar’s text, the climax is the union of the lovers, focusing on Majnun’s well-being and his loss of consciousness. In contrast, Jami’s narrative includes more details about Layla recognizing Majnun, their eye contact, and Majnun losing consciousness. Attar’s narrative concludes with a sarcastic conversation emphasizing Majnun’s self-sacrifice, while Jami’s narrative describes the lovers’ meeting until dawn and then returns to the metaphor of returning to one’s previous state. The visual representation depicts Layla’s tent in a tranquil space, surrounded by flowers and rocks, with Majnun hidden among the flowers. The painting captures the moment Majnun arrives at Layla’s tent dressed as a shepherd, gazing at Layla, who is caressing a lamb

The motifs obtained from the early civilizations had a conceptual value and were not based on symbols, legends or religious rituals just to express beauty. These same values ​​and conceptual expression have turned the patterns into a kind of signs, and drawing them became a contract and symbol that the prehistoric tribes used to convey messages. From the very beginning of humanity's understanding of its surroundings, man has symbolically depicted the influential factors in his life in his handmade works. In most of the historical periods of ancient Iran, artists used the motif of the sun as a symbol and drew it on works of art, and this process can be seen in various works of art until modern times. The sun is the largest star in the solar system and is located in its center. The sun is a complete sphere made of hot plasma and is the main source of light, energy, heat and life on earth. This important fact has been revealed to man since the beginning of creation, that is why it has a significant presence in the mythology of all the nations of the world. Even in some ancient civilizations, the sun has been considered and worshiped as God and creator. When man turned to agricultural life and realised that the sun would make the earth fertile, grow plants, warm and give strength to man, they worshiped the sun. Also, in different eras, it has had different genders, so that sometimes the sun is known as the female sun and sometimes as the male sun, and it has been depicted and honored. The most popular prayer in the world is addressed to our Father who is in heaven. The sun star has always had its own special place in Iranian civilization and has had a significant and symbolic presence in culture and art in all historical periods before and after Islam. The sun is reflected in Iran's art as a symbol and symbol in different forms in the historical periods of Iran. This bold presence of the symbol of the sun in Iranian arts has always been beyond formal decoration with a belief support and the attitude of the living society. After the arrival of Islam in the land of Iran, the beliefs and teachings of the previous religions were removed or adapted to the Islamic religion with gradual changes and took place in the mysticism, thought and culture of the people of this land. The motif of the sun is considered one of the visual elements that still maintains its previous position in the art of Islamic Iran and has a special place in the art and culture of Islamic Iran, especially the Seljuk period. In ancient Turco–Mongol myths and legends, the sun is embodied as a man and a woman; That is, in one period based on ethnic beliefs, the sun was imagined as masculine and male, and in another period it was imagined as femal. Even the creation of mankind is attributed to the sun in this people. The researches conducted on the mythological texts of the Turk and Mongol people show that among these people, the sun is shown as the source of reproduction and creation. After expanding their rule from Central Asia to Egypt, the Seljuks created new conditions, a scientific-cultural renaissance in the Islamic world, especially in Iran. The cultural atmosphere of the society and the emergence of many scientists and artists made the sultans and the rich always patronise artists and craftsmen. These supports caused the emergence of a certain style and method in arts and industries. The period of Seljuk rule in Iran is another period of flourishing of Iranian-Islamic culture. During this period, Iranian art experienced a tremendous change and it led to the fact that the history of Iranian art recorded another of its most brilliant periods in this period. The art of this period has progressed in all fields and fields of art and continues and completes the art of the previous era. Art developed and expanded to its highest extent in Iran during the Seljuk period. Seljuk sultans always supported artists and scientists and tried to expand culture and art based on Iranian, Islamic and Turkish beliefs. The art of this period is influenced by the rich treasure of ancient Iranian art, Islamic art, and the art of immigrant Turks, which combined the special art of the Seljuk period. The Seljuk period is considered one of the most brilliant periods in the history of Islamic Iran in terms of the development of science and technology, art and literature. Persian language developed and spread more and more. The construction and establishment of military schools, caravanserais, monasteries, mosques, libraries and other scientific centers had a great impact on the development of culture and art of this period. In this period, great progress was made in most fields of arts and sciences. Seljuk sultans were great patrons of industry and art and gathered artists and professionals in their palaces and government headquarters in Merv, Nishapur, Herat, Ray and Isfahan. After accepting the religion of Islam according to Sharia, Iranians tended to live a simple life. Since the Islamic laws forbade the making of decorative works of gold and silver, the attention of Iranians was more focused on the making of clay works. Also, the progress of construction techniques, special elegance, skill and variety of pottery works caused the further development of Seljuk pottery art. With the development of Seljuk pottery, the golden age of Iranian pottery emerged. As a result, the potter was able to sign their name and the date of creation of his work on their pottery. The Seljuk period is one of the dynamic periods of the Islamic world in the field of culture and art. The Seljuks ruled in different regions (Iran, Central Asia, Türkiye). The support of the Seljuk rulers (presentations of Iranian scientific ministers) to artists and sages caused a remarkable expansion of culture and art in this period. Despite the extent of the political geography of the Seljuks and the occupied regions, art has made significant progress in all fields and has continued the path of ancient Iranian art. In fact, one of the prominent features of Iranian Islamic art is the continuity and evolution of different art schools influenced by the art of previous eras. In this way, the process of creating works of art in every school and period of history, in subsequent schools and periods, has continued and has taken an evolutionary approach. With this premise, examining and analysing works of art in the historical periods of Islamic Iranian art requires a theoretical approach to investigate and study the influence and relationships between works of art in different periods of this vast land. For this purpose, in this study, the intertextual approach was chosen to study and analyse the data. The primary purpose of man in making earthenware vessels was to store water and food, but over time, he gave importance to its beauty and the structure and surfaces of these vessels were a place to express aesthetics derived from their culture and worldview. Although the pottery of Iran has been studied and examined by Iranian and Western researchers in different historical periods, but the role of the sun on Iranian clay canteens has been independently studied for the first time in this research. In different historical periods of Iran, very beautiful and practical canteens were made, and in each period, the types of decorations and pictures drawn on them are different and sometimes repeated. This research seeks to understand the concepts of the motif of the sun drawn on Seljuk clay canteens. The main goal of this research is to know how the depiction of the motif of the sun in two Seljuk and Parthian terracotta flasks is related to Genette's hypertextual approach. In the intertextual relationship, it is not possible to create text (b) without the presence of text (a) or pretext. In this type of relationship, attention is paid not to the inspiration and partial influence, but to the overall impact of one text on another text. With this theoretical background, this research aims to investigate and analyse the role of the sun in two Seljuk and Parthian terracotta works. The main problem of this research is to understand the hidden meaning behind the motif of the sun on the Seljuk works, and the main goal is to understand the way and type of connection between this motif and the previous motifs from the perspective of intertextuality. This research is of a developmental type and a qualitative method. The method of data collection is using library sources and objective observation of the works, and the data analysis is descriptive and analytical with Gerard Genette's multitextual approach. This research seeks to answer two questions: Which type of hypertextuality tends more towards the influence of the drawing of the motif of Khurshid Khanum on the Seljuk terracotta canteen than the Parthian terracotta canteen? And in this process, what changes have been made in drawing this role?? In order to answer the research question, at first, two Seljuk and Parthian terracotta canteens inscribed with the motif of the sun were selected in a purposeful way and were studied and investigated in terms of thematic aspects of the period in question. Then, structurally based on Gerard Genette's dual indicators (function and relationship) it was examined and analysed and the research questions were answered. The results show that the effect of Khursheed Khanum drawing in Seljuk canteen from Parthian canteen based on Genette's typology of polytextuality in the category transposition and transposition have a serious function. The transpositions created in the bitext include changes (gender, shape, composition and color) and the Seljuk artist did not just look at imitation in creating a new and independent bitext and completed it very creatively.

A few volumes of the water that exist in the cement slurry may be absorbed by the formation due to enough pressure and temperature exerted on it. This phenomenon can lead to miss-hydration. Filtration control additives are used to bridge the porous media and prevent liquid migration across it. Insufficient filtration control may cause gas migration. In this area, there are many effective parameters but the free water and filtrate volume are essential. In this article, for controlling the filtrate volume, after studying different additives with different formulation, it was tried to couple a powder FLC with a liquid one. The results had a good effect on rheological properties and decreased the transition phase between liquid and solid behavior. The filtrate volume was controlled at 1000 psi between 150F and 180F. The rheological characteristics were controlled in the API range. The mixing time was decreased and the free water was omitted.

The purpose of this study was to investigate the level of pollution and concentration of heavy metals in agricultural soil, wheat and flour and to evaluate the consequent health risks in the residents of Bijar city in 2021.

To determine the total content of heavy metals, after acid digestion, the dry soil samples were converted into powder and prepared according to the steps of acid digestion for reading by graphite furnace atomic absorption spectrometry (GFAAS). Extraction from the samples was also done by acid digestion method. In the flour sample, direct acid digestion was done. For non-carcinogenic risk assessment studies, two routes including direct consumption (ingestion) and dermal absorption of heavy metals were considered. To calculate carcinogenic and non-carcinogenic risks, we considered heavy metals including cadmium, lead, zinc and arsenic.

The concentrations of heavy metals studied in the soil, wheat and flour samples of four regions were similar to one another and no significant differences were observed. The results of the risk assessment showed that the soil samples of all four studied areas were in class III (moderate risk) in regard to the carcinogenic risk of arsenic. Also, the soil samples of all four regions showed a low cancer risk in relation to cadmium. All other samples showed a low risk less than 10-6. In all of the samples of flour, wheat and soil from the four regions, we found no risk higher than 10-4 and, thus they were considered safe.

The results of this study showed non-carcinogenic risk in relation to zinc, lead, arsenic, and cadmium based on the results of examined samples, but the concentration of some of these metals, such as arsenic, is close to the risk level for the vulnerable populations such as children, and appropriate measures should be taken to evaluate and reduce these heavy metals concentrations.

The purpose of this study was to investigate the role of self-confidence on the sports success of students participating in volleyball leisure activities. The present study was applied in terms of purpose and descriptive-correlational based on structural equation modeling in terms of type, the information of which was collected by questionnaires. The statistical population of the research included students participating in volleyball classes in the city of Mashhad. In this regard, 200 questionnaires were distributed and after collecting and removing the incomplete questionnaires, 160 of them were selected and entered the analysis stage. In order to collect data in this study, three standard questionnaires of sports success (Mousavi and Vaez Mousavi, 2015), sources of sport-confidence (Vealey et al., 1998) and various types of sport-confidence (Vealey and Knight, 2002) were used. The results showed that there is a significant relationship between sources of sport-confidence and its components and the various types of sport-confidence and its components with sports success and the components of these two variables predict changes in sports success. Finally, the structural equation model had a good fit between the resources and types of sports self-confidence and sports success. Therefore, it can be said that having an appropriate amount of sources and types of sport-confidence, can lead to sports success for students participating in leisure classes in volleyball and generally in sports.

Tea holds a special place in Iranian culture, ranking as the most widely consumed beverage after water. A significant portion of Iran’s domestic tea production (approximately 70%) originates from the lush landscapes of Gilan province. The Iranian Tea Research Center (ITRC) claims that Iranian tea is pesticide-free. However, there is a concern that tea farms in the foothills may be exposed to pesticide spraying from nearby citrus gardens. This study aimed to investigate the presence of the 17 organophosphorus pesticides in tea leaf samples collected from tea plantation areas in Gilan province. Sample preparation was carried out using the quick, easy, cheap, effective, rugged, and safe (QuEChERS) extraction method, followed by the determination of pesticide concentrations using the gas chromatography (GC) method. To assess the non-carcinogenic risk associated with the consumption of black tea due to pesticide residues, we followed the guidelines provided by the United States Environmental Protection Agency (USEPA). The results were striking, revealing the presence of pesticide residues in all tested samples, raising concerns about the purity of Iranian tea. Notably, the hazard quotient (HQ) for children (<15 years old) exceeded that for adults (>15 years old). Furthermore, spring-harvested tea samples demonstrated higher HQs compared to their autumn counterparts.

Decorations are an integral part of Islamic art. Islamic art is formed based on decorations to accurately represent nature. Decorations in Islamic art have emerged as three main elements including: Islamic pattern, geometric pattern and calligraphy (inscription) and two secondary elements: animal motifs and human motifs. These motifs may be engraved separately or in combination with each other. Among these decorative elements, the role of Slimi has a special place. In fact, this role is considered one of the noblest and most original creative elements of Islamic art in Iran and the Islamic world. This role is used not only to decorate religious places and objects, but also to decorate everyday items. The role of Islimi as a fundamental role has a special place in the history of decorative arts of the world.Due to the fact that the Islamic pattern is the most important pattern used for decorations by artists, but compared to other decorative elements such as khatnagareh (inscription) and garh (geometric patterns), it has been less researched and analyzed. The oldest document that is currently available that uses the word 'Islimi' belongs to "Zaradeh" which was prepared by the librarian of Sultan Baysanghar Mirza (802-837 AH) during the Timurid period. This "offered" is actually a working report on the state of the royal library, it is currently kept in the library of Topkapi Museum in Istanbul (Khazaei, 1398, 125). Sadeghi Beyk Afshar, an artist and writer of the Safavid era, who was once the librarian of Shah Abbas, in his book "Qanun al-Sour" which he wrote around the end of the 10th century of Hijri, considers Islimi as one of the seven main painting. Qazi Mir Syed Ahmad Manshi Qomi in his book Golestan Art describes the decorative elements of painting and gilding as seven principles, the first of which is "Islamic" (Manshi Qomi, 132, 1366). In the preface of Dost Muhammad, Bahram Mirza considers Motif As-Islimi to be the invention of Imam Ali (A.S.) (Khazaei, 1398, 119).Although Europe's attention to Islamic art has its roots in the Renaissance and the Middle Ages, in the 19th and 20th centuries, this category received more attention and many articles were written about geometric decoration in Islamic architecture. In these studies, the term "Arabesque" is used to express Muslim decorations and they consider it the gem of the unity of Islamic visual culture (Necipoglu, 1995, 87). Several different definitions for arabesque have been expressed in such a way that most consider it equivalent to all decorative elements such as calligraphy, plant motifs, geometric motifs and even iconography. Some people have mentioned it only for plant motifs. In Islamic art, the Islamic motif is a single form of a plant ornament, in which the rhythmic leaves are attached to wavy or spiral stems and along each other, they induce repetition and the desire to move.It seems that the special place of Iranian art in the origin and evolution of motifs has not been evaluated in choosing the word Arabesque. This issue could be due to the fact that this term was chosen by orientalists, who focused more on the cultural elements of the western Islamic world, including Morocco, Egypt, North Africa, and Spain, than on Iran and the eastern lands.Although many studies have been conducted by orientalists in the field of Islamic decorative arts, the first person to seriously investigate the Islamic pattern under the title "Arabesque" was Alois Riegel (1858-1905), an Austrian art scholar in the book The quality of style was published in Berlin in 1893 (Riegl, 1992). The subject of arabesque was followed later by the articles of researcher Dimand (Dimand, 1937 & 1952). Studies about Islimi in the entries of the two editions of the Encyclopedia of Islam by Ernst Herzfeld (1938) and Ernst Kühnel (1960) and some recent publications such as Necipoglu (Necipoglu, 1995) and Khazaie (1999) continued. has been found.It should be noted that the role of Islam did not suddenly appear at the time of the emergence of Islam, but the origin of this role was rooted in pre-Islamic art. In the same way that the artists of the first centuries of Islam based their innovations on the foundation of pre-Islamic art. The origin and continuation of the artistic development of this role before Islam has been widely described and expressed by Orientalists, and most of them refer its origin to Greco-Roman (ancient classical) art. Alois Riegl refers the origin of the salami motif to a plant that has its roots in ancient (Greece) palm and ivy decorations (Riegl, 267, 1992). Ernst Herzfeld claims that its origin is certainly derived from classical foliage decorations (Herzfeld, 363, 1938). Ernst Kühnel traces the origins of the Islimi motif to the Late Classical period, noting that it acquired its typical form in the 3rd century AH under Abbasid rule (749-1258 AD) and was fully developed in the 5th century (Kühnel , 561, 1960). Arthur Pope suggests that the Iranian Slimi pattern does not represent any real object in nature at all, but is taken from the beautiful Greek architectural ornament, Anthemion (Palmetto) (Pope, 39, 1356).Islimi Motif was born from the idea of Bali-shaped motifs before Islam - Sassanid. In the Islamic era, the role of the wing is simplified to such an extent that it often lost its identity and became an abstract form that we know today as Islami. In the following, he describes and explains the different stages of the role of Balishaq until reaching the role of Slimi.It seems that the use of these Bali-shaped motifs was not only decorative, but had religious significance. It was said that this spiritual connection with the "divine wisdom of ancient Iran" is fully evident in Iranian art before Islam (Sehrvardi, 2018, 1377). This connection caused the Sasanian wing pattern to be present among the decorations of the Islamic forehead long after the fall of the empire. Patterns with two symmetrical wings or palm wings are one of the most original and honorable forms among pre-Islamic patterns. The most obvious one is the role of an angel, which is achieved by adding two wings to the body of an earthly human. This angel has holiness and is considered a symbol of the extraterrestrial world. The role of Fereshte is one of the services of Iranian artists in the history of ancient art, which was given to the world of art. The role of the angel without changing its form and even its meaning continues to make its way from ancient art to Islamic art.

The famous Kitâb al-Diryâq of the National Library of France, which was written and illustrated by Muhammad ibn Abi al-Fath ‘Abd al-Wahhab ibn Abi al-Hassan ibn Abi al-Abbas Ahmad in Rabi‘ al-Awwal 595 A. H. in Iranian Kufic script(cursive), is famous for its beautiful writing and page images. The page layout of this manuscript, which is centered on the arrangement of text and its creative combination with images, can be considered as an excellent example of typography in the history of Iranian calligraphy. The purpose of studying this manuscript is to analyze its script and typography elements to introduce it as a source of inspiration for contemporary typography. Typography, as a branch of Graphic Design, has specific principles and rules, that applying them in a work of art would turn it into an outstanding one. The al-Diryâq book available in the National Library of France has a high level of such characteristics. The principled and well-considered layout of the text, the variety of font sizes in the lines, the variety of colors and the original composition have made this manuscript very rich in terms of graphics. In the arrangement of letters, words and lines, the positive and negative spaces are carefully adjusted. The form proportion in the calligraphy of this manuscript is well considered and the elements of the composition are well adjacent. This manuscript has many and valuable graphical aspects, and the scribe's artistic taste has had a significant effect on the beauty and uniqueness of it and its script. Among the distinguishing items of this manuscript, is the common way of writing during the production of it. The book size, the colours , the pagination, the style of illustrations, the type of paper and many other things that were common during the Seljuk era had an effect on the distinctiveness of the manuscript.Typography means the arrangement of letters and words based on aesthetic principles, in order to convey the written message as best as possible. The type of arrangement of letters and words and changes in the form and size of letters can be effective in connecting the typography text with the subject and conveying the message as much as possible. But typography, in the sense of arranging letters and words in order to convey the written message as much as possible, has a much longer history and it can even be claimed that it goes back to the history of the alphabet and writing. Along with many examples obtained from great and ancient civilizations, we also come across examples of typography in Iranian historical works. In Iran, the title of typography can be referred to more diverse and abundant examples, including calligraphy, which includes calligraphy and other types of it, letter design and the simultaneous use of script and image, which is contrary to the meaning and definition of western typography, which emphasizes the use of typefaces. With these definitions, typography in Iran is older than typography in its western and contemporary sense, and as a result, we can get an approximate meaning of "Iranian typography". As a branch of contemporary Graphic Design, typography in Iran is widely used in the design of posters, book cover titles, magazine layouts, etc. Considering the need of contemporary Graphic Design to the support of Iranian visual tradition, the examination of the typography of the Kufic script of the Paris al-Diryâq as a script with Iranian origin and visual richness in the field of typography can be a source of rich inspiration in this field, which has been less studied. Typography analysis of this manuscript can be used in the contemporary typography. The Kufic script of the Kitâb al-Diryâq is arranged and composed throughout the pages of the book in such a way that by further examination of it, the very precise and well-considered principles intended for typography can be obtained. All the pages of this book are arranged according to the rules of typography with the arrangement of words and letters. Also, each of these pages has a unique composition and arrangement, follows the principles, and has a special visual appeal. While the page grid is fixed, it has a high capability for creating various writing and page layout, and varies based on the text and the importance of the letters, words and sentences. The words in the page layout of this manuscript are sometimes normal, exaggerated and unusual. Despite having novel features and rich compositions as well as unique typography, this manuscript has been less investigated in terms of typography and graphical aspects. The present study tries to investigate the typography of the Kufic script of Paris Kitâb al-Diryâq by recognising the graphical aspects of its calligraphy and analyzing the its typography, so that its capabilities would be known and used in contemporary graphic design. This paper studies this manuscript from the perspective of graphical and typographical features, in addition to examining the Kufic script of it. Based on this, this article seeks to investigate what kind of Kufic script is written in the al-Diryâq manuscript of the National Library of France? How much legibility and Visual space does this manuscript have? What is the baseline, line spacing, kerning, tracking, leading, and text structure? The research method of this research is descriptive-analytical and its data collected through library information. The analysis method of this paper is based on qualitative studies, and in terms of purpose, it is fundamental. The result of this research shows that the al-Diryâq manuscript of the National Library of France, with the help of the Iranian Kufic script (cursive) and the personal style of the artist, the regular and beautiful rhythm in the letters and lines, the high readability of the writing and the unique compositions, has the characteristics of a proportional typography. All typography characteristics are applied in it, which is rare in its time and shines in the history of Iranian typography. The letters have a certain and regular spacing that creates a kind of rhythm. There is a calculated distance between the letters, which leads the eye from one word to the next word and leads to a more fluent reading of the text. Each part of these texts is separated from other lines by a certain size, which has a great effect on the order and beauty of the book's typography. The common diameter has created a lot of harmony in the letters.Circular compositions create symmetry and divide pages into two parts. The arrangement of words on both sides of the circle has created a different, symmetrical and beautiful composition. The similar structure of the letters makes the script strong and stable. As a result of grading pages, each page is divided into several parts, each of which has its own different texture. Fluent visual reading and understanding of the written message is easily possible. At the same time, the compositions are very innovative and unconventional, which is rare in its time. Dynamic, visual appeal, formal harmony and flexible grading have made this manuscript distinctive in terms of graphics and typography. Therefore, the al-Diryâq of the National Library of France is considered as an excellent example of typography in the history of Iranian calligraphy among Its contemporary and later manuscripts. Also, this manuscript, while respecting the principles of typography, has creative deconstructions in the composition, which distinguishes it in the history of Iranian manuscripts and shows that it has the ability to influence contemporary graphic design and can be a source of inspiration for many graphic works, especially typography.Table No. 1 deals with the study and analysis of the graphical aspects of the Kufic script of the al-Diryâq manuscript of the National Library of France, as an excellent example of typography in the history of Iranian calligraphy. Table 1: The study of the Kufic script of the al-Diryâq in the National Library of France, as an excellent example of typography in the history of Iranian calligraphy

In the late Wittgenstein's view, language is a social and non-private matter, and in this case, the meaning of words will be based on compliance with the rules approved by a linguistic community. But due to the multiplicity of people's ways of life, the rules governing these societies are diverse and these rules show the meaning of words, as a result, a word will have the same meaning as the number of ways of life in which it is used. It is obvious that the most basic urban component that can describe this variety of language communities is the urban graphics of that place and at first glance the element of color. The element of color not only affects the understanding of smaller situations such as the design of a store, but also has a wider effect in giving identity to large urban environments. Therefore, the purpose of this research is to analyze the understanding of the spatial identity of the citizen society in the dynamic process of place-making through color, emphasizing the privacy of language in the aforementioned theory. The present research is theoretical in terms of its fundamental purpose, and the necessary information has been obtained through descriptive-analytical and library studies from reliable sources. The obtained results show that in order to negate the private language, the understanding of the environment through the sense of belonging of the people to the environmental graphic content has become general, and in this way, a color reference point that can be read by the general citizens can be reached. Relying on this point of view, the conclusion was reached that the public image has replaced the self-image by preserving individual memory, and in addition to preserving individual color tastes, by participating in people's lives, it will be possible to present an acceptable collective color pattern for urban graphics.

The purpose of this study was to design an organizational culture model in the Education Organization, which was conducted in one of the districts of Mashhad. This research is applied in terms of purpose, descriptive-survey in terms of method, and causal in terms of relationships. To determine the sample size, purposeful judgment sampling was performed, based on which 10 experts participated in the research. Initially, by studying the theoretical foundations and expert approval, 14 components were identified for model design. In order to confirm the content validity of these components, the relative content validity coefficient (CVR index) was used. Then, interpretive structural modeling (ISM) was used to design the model. The results showed that the components were at eight levels. "Organizational structure" was identified as the most important and influential component at the last level and the components of "consequentialism" and "loyalty" were identified as the most influential component.

Using by-product materials in making concrete is the recent development in the advanced concrete technology. The products obtained from experimental crushed concrete can be used in constructing the new concrete. Recent research revealed that using crushed concrete as partial replacement of sand and coarse aggregate, using traditional mixing procedure, reduced the compressive strength. In the present research, the special procedure of mixing concrete in three steps and its effect on concrete strength parameters have been evaluated.  The aim of this study is to use crushed tested concrete as partial replacement 25% (mix A) and 50% (mix B) of conventional sand and aggregate. Also for experimental comparison the control mixes were casted with traditional sand and aggregate.  Superplasticizer based on carboxylate was used in the mixes.  This procedure causes proper efficiency, proper coating on the aggregate and protection of the alkaline reaction of the aggregate. The method of mixing was carried out in three steps 1: Coarse aggregate + 50% water + 50% cement: mixing time 30 seconds to 1 minute, step 2: Adding 50% cement + 25% water + superplasticizer + sand: mixing time 2 minutes, step 3: Adding 25% water: mixing time 3 minutes. All the mixing time is about 6 minutes. Six specimens of 15 cm concrete cubes for each designed mixes were casted. Densities, water absorption, electric resistance (an indication of permeability and durability of concrete) and compressive strength tests were carried out. Tests were performed at 7 and 28 days. As a result, the designed mix (A) presented the higher electric resistance and compressive strength at 28 days. According to the obtained appropriate resistance, it can be deduced that with a special mixing method, crushed concrete can be used in the composition of concrete that is cost-effective in terms of environmental and resistance.

The Buyid period is culturally and artistically a turning point in the history of Iranian art. During this period, a variety of arts, including wood art, flourished considerably. Among the valuable wooden artifacts of this period, there are the wooden tablets of Imam Ali (AS) in the Cairo Arabic Museum and the Rabino Collection as well as the wooden door preserved in the National Museum of Iran No. 3292. According to the inscription in it, Abu Mansour Foulad Sotoun in Fars region was built between the years 440 and 448 AH by order of the last ruler of the Buyid. The various Kufic inscriptions in these works are comparable in terms of design and structure. The purpose of this study is to identify the features and decorative structure of the inscriptions of these works and compare them with each other. The present study aimed at discovering the characteristics of the decorative structure of Kufic inscriptions as well as the characteristics of the contents of the Kufic inscriptions of these works. The research also deals with the commonalities and differences among Kufic inscriptions of these works. The research method is descriptive-analytical and data collection included documentary and field libraries using comparative study. The results show that the general structure of the design of the inscriptions follows the same pattern. One of the common features of these works is the use of Shia themes, which is one of the characteristics of the art of the Buyid period. Also, the equal embossed pattern of the plant motifs with the inscriptions can be observed, so that the inscriptions look like flowery Kufic type at the first sight while the letters are not connected with the surrounding plant motifs. Another commonalities of these works is the simple Kufic script of the inscriptions which are remarkably similar in structure. By extracting the contents of the inscriptions, it seems that most of the letters are designed in a similar way. Except for some letters such as "ح", "ک", "ط", "ع" and "ی" which are designed differently but have the same basic structure. Another difference among these works is the greater variety in the design of the letters on the wooden door preserved in the National Museum of Iran than the tablets of Imam Ali (AS). In the inscriptions of this wooden door, two types of simple and flowery kufi have been used leading to wider variety in the design of the letters.

The path to divine wisdom and mystical closeness requires enjoying heartfelt reasoning-based light arising from the light of the lights. Seyed Heydar Amoli believed that mystical closeness was dependent on the spiritual travel of the soul. Creatures of the universe take benefit of the divine grace who is the light of the heavens and the earth, surrounded by His grandeur. This light glow when the servant becomes a mystic and says Labbeik (Here I am) to take a mystical path towards the divine light. Describing the divine path, MirHeidar discusses the Prophet Mohammad’s ascension who saw Allah through the heart as he ascended to the sublime positions. Spiritual observations of the ascension night have been illustrated by the painters, and the MirHeidari’s illustrated Me’raj Nameh, also called Shahrokhi, is one of them. An important point to attend to in Me’raj Nameh paintings is the selection and quality of the visual elements including golden clouds, which also poses the following questions: What are the illustrated and spiritual position of golden clouds as regards the prophet’s mystical closeness in ascension? And which embodiment qualities do they involve?This research was descriptive-analytical which maintains that golden clouds are a blend of embodiment of divine path for the prophet. In this connection, the painter has created golden clouds as airing from the holy glowing of the prophet as he believes that these golden clouds are the brightening embodiment of the prophet’s soul.

Today, one of the best methods to improve heat transfer is using ferrofluid under the effect of a magnetic field. Ferrofluid is a stable suspension containing magnetic nanoparticles and a base fluid that nanoparticles has a higher heat conductivity than the base fluid. In this study, CFD simulation of the effect of a constant magnetic field on the heat transfer rate in the water-Fe3O4 ferrofluid flow in a circular tube under constant heat flux was performed. The simulation was performed in two parts, including the absence of the magnetic field and in the presence of the magnetic field by applying a constant heat flux to the pipe wall. The results showed that the presence of magnetic nanoparticles in water in the absence of magnetic field leads to increasing heat transfer between the tube wall and the fluid. In addition, the presence of nanoparticles in the base fluid increases the Nusselt number compared to pure water. Moreover, applying magnetic field on the tube wall greatly increased the rate of heat transfer to the ferrofluid due to the creation of secondary flows. Finally, the CFD simulation results were compared to the experimental results in a reference and well agreement was seen.

Acquiring identity and getting rid of its crisis has always been an important issue for human societies. Man is human because he is an identity-making being, therefore, social identity is one of the main modern concerns of urban man. Since “identity” is a set of attributes that distinguish an individual or a community from other individuals and societies; Urban graphics, according to these criteria, become personalized and independent. In the meantime, the similarity of individuals to each other for the acquisition of collective identity and the difference between the individual and others for their distinction for personal identity is a contradiction that always challenges urban graphic designers. Therefore, the purpose of this study is to investigate the two components of similarity and difference and their function in urban graphic design and find new ways to identify urban places. The results of the above research show that the components of similarity and difference in urban graphics are able to extend the dialectical model of identity to something beyond mere sociability. In this regard, identification in urban graphics lies in the difference that individuals have in individual lives, and to some extent they are made of similarities in their collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences. The present research has been done with a qualitative method and library studies, and after obtaining the initial data, the data have been analyzed using the content analysis method. The city is a dynamic and extensive social complex in which three levels of movement, mechanical, biological and social are intertwined and associated with various types of sub-complexes and sub-complexes. Obviously, urban identity is a collective identity that becomes meaningful by objectively crystallizing in the physics and content of the city and leads citizens to become citizens by creating an association of public memories in citizens and belonging to them. Therefore, although the identity of the city is itself a consequence of the culture of its citizens, but it affects the process of citizenship and can lead to the development of criteria related to participation and judgment of observers and residents. In the field of urban identity studies, urban graphics is a complex and multidimensional concept that is currently used by experts and practitioners to express the desired desires and aspirations for a good and ideal city. In this study, researchers intend to examine identity in urban graphics in both individual and social contexts, and among these, the main focus is on addressing the two components of similarity and difference in identity. Therefore, the present study was conducted to investigate the significance of similarities and differences in identity expression and its effectiveness in urban graphics. The results of the present study allow us to examine individual and collective dialectics among the citizens of an urban society and emphasize the critical role of urban graphics in determining the identity of citizens. These results are:-Urban graphics are a great way to think about how the city can help people identify and turn an external definition into an internal definition of similarities and differences, and can transform the dialectical model of identity. Expand to something beyond mere sociability. In this regard, the determination of urban identity lies in the difference that individuals have in individual lives and to some extent are made of collective identities. Thus, urban graphics are one of the important tools that lead to recognizing the similar and unique characteristics of citizens while maintaining their differences.  -Ethnicity, gender, history and lineage, religion, occupation and class, place of residence, etc. are all characteristics that are intertwined in a contemporary city, and this pluralism is an increasing need for a common denominator. It reflects a group and a group by observing the similarities and differences of individuals, and therefore this interaction must be created in the right way. These conversations between citizens and urban graphic elements transcend the boundaries between the individual, the group, and the city, creating an umbrella of solidarity and cohesion under which all individuals can take refuge. - The importance of urban graphics and human identity on the one hand and the importance of discussing identity crisis in the present age due to globalization and unwarranted dominance of technology and especially the virtual world in the age of communication on the other hand, is one of the most important reasons This is the problem. - Since the impact of the environment on humans and vice versa has been fully proven, and even in a dimension beyond the impact of the environment, we can refer to the direct relationship between environmental identity on humans and vice versa, as well as environmental identity crisis on humans and vice versa. Identity in urban graphics and its management is mandatory. - In addition to the effects mentioned above, the presence of human beings in the environment and urban spaces is an undeniable and even mandatory presence, and therefore these effects are completely involuntary and it seems that by controlling and managing the conditions of the spaces, the type of effect and The relationship between man and space must be controlled.

The present study was conducted to compare the effectiveness of two different methods to enhance free throw shooting among young basketball players. One method is based on mindfulness(MSPE) and the other is based on mental imagery(MI). This is a semi-experimental study and in terms of data collection, the design of the study is experimental with pre-test, post-test and a control group. Statistical population consisted of young basketball players in Tehran from whom 60 players were selected through convenience sampling and put into the following three groups: mindfulness group, mental imagery group and control group. Statistical analyses were presented in two sections: descriptive statistics and inferential statistics. Descriptive statistics included participants’ characteristics, distribution of data and the variables’ mean and standard deviation. Shapiro-Wilk test was also used to determine whether the data were naturally occurring. Then, the data were analyzed through inferential statistics using paired-samples T-Test, ANOVA, Leven’s Test, Games-Howell Test and Bonferroni post hoc Test to test the hypotheses. Significance level of the study was set at 0.05. The results obtained from the pre-test and post-test of both mindfulness and mental imagery groups showed the participants’ performance was significant with mean differences of 4.15 and -2.55 respectively. Also, the final findings of the study indicated that treatment in mindfulness group was more effective than that of mental imagery group, in improving free throw shooting (P=0.2).

Works of art with religious themes have always been a means of propagation of religious beliefs and been indicative of interest of Shi’ites in Islam and the Quranic traditions. In the meantime, themes relating the Judgment Day and the resurrection, narrations from the Judgment Day, the resurrection of the dead and auditing the deeds on the Judgment Day are the topics much discussed in the Holy Quran. Among these, religious murals are considered as important platforms for the visual representation of such themes. In this research, it is intended to study the various dimensions of these works based on a comparative approach. The question to be answered is as follows: What are the common features in the mural painting in the tomb at Licha and the canvas painted by Mohammad Modabber (as case studies)? The results indicate that, in addition to the impact of religious themes on the human soul, the role and substantial presence of the Holy Quran in the lives of Muslims has been of deep significance in Islamic era. By looking at images with the theme of the hereafter, Muslims would actually remind themselves that one day their deeds are to be audited. In addition to the differences seen in both works, there are visual similarities as well, which is not simply because of the common theme addressed, but due to paying attention to Quranic themes and narrations popular among the people in line with their Shi’ite beliefs. This has been manifested with clarity and simplicity in the form of expressing the spiritual concept of Judgment Day in such illustrations.

Retirement is one of the difficult events. Athletes should adapt to the difficult experiences and heighten a sense of worth. Drug abuse as a negative coping behavior is a painful reaction to retirement. The aim is to identify the factors influencing the tendency of retired elite wrestlers to drug abuse. With a biomedical approach, this phenomenon was investigated. Using the method of contextual theory and semi-structured in-depth qualitative interview technique, factors influencing the tendency of retired elite wrestlers to drug abuse were studied. The data analysis method was coding, done in three stages of open, selective and axial coding. The data are in a paradigm model. Factors such as sexual needs, strenuous exercise and injury were taken as causal conditions; physical pain is taken as a mediating condition, and retirement age and first experience of drug abuse as an intervening condition and physiological need and doping as contextual conditions. These factors created a paradigm model. Athletes' strategies for drug abuse are: leisure purposes, wider variety of drugs, continuity of drug use and finally compulsive drug use. The consequences of drug abuse were initially pleasant and positive, but with continued drug use, it had harmful consequences physically, psychologically and socially.

One of the most important historical periods in which Iranian art and architecture grow significantly is the Safavid era. The Safavids were Iranian and Shiite descendants who ruled Iran for 221 years. With the officialization of Shiite religion, the presence of scholars and their training increased during this period and multiple writings in all kinds of sciences, especially religious were carried out, and in general, a cultural, religious movement began. In this era, the topics such as jurisprudence, hadith, mystical studies, etc… achieved a high position in the history of Shiite sciences and with the support of the rulers, the official Shiite religion was able to establish a deep connection with the culture and society of Iran. Therefore, the most important practical and historical role of religion in the Safavid era should be considered in the cultural context. Also, in this era, a glance was taken to the ancient architecture of Iran and many elements and spaces of architecture and urban planning were performed with different structures and functions appropriate to the political, cultural and economic conditions. Repairing of the tombs and sacred monuments in the pilgrimage cities also received special attention during this period. Astan-e-Quds Razavi complex was the most important building during the Safavid period that grew and developed and formed thanks to the presence of Hazrat Samen Al-Hajj Ali Ibn Musa Reza (AS) in the holy city of Mashhad which is the most important building of the Islamic era in Iran at the moment. Razavi Holy Shrine is the most magnificent shrine in which the artists have tried to commemorate unique artworks for decades. The officialization of the Shiite religion in the Safavid era and the greater interest and attention of kings and Shiites in this period led to the emergence of many monuments, artworks and decorations in Astan Quds Razavi collection. Some ornaments such as Mogharnas and tiling were used more widely with some changes, and some others, such as damascene and mirror work have been used not only in Razavi shrine but also in other shrines of the Imams (as) in Iraq. Finding the reason for survival, growth and continuation of these arts in other eras is one of the points that the present study seeks to achieve. The assumption is that behind the appearance of these ornaments there are beliefs and deep mystical concepts due to which the ornaments of this epoch have been able to survive and transfer to later periods as a pattern. Therefore, in this article, the Safavid ornaments of Razavi holy shrine will be investigated, and we will try to analyze and explain the hidden concepts of the artworks in this holy place and thus to discover a convincing answer to the question that: “what was the concept of ornaments in Razavi Holy Shrine and the reasons for their use in the Safavid period?” This article is qualitative and has been done by using written sources and field research and its method is descriptive-historical analysis. The method of data collection and content analysis is inductive. The achievements show that mystical concepts hidden in ornaments of the Safavid era, are completely in line with the sanctity of this sacred space and also with Shiite beliefs and the idea of the unity of existence (because they are symbolic manifestations of light), and in addition to beautifying and stylization of space they are manifesting the glory of eternity. This indicates the connection of Safavid artists with the deepest mystical concepts that have been done through journeying behavior. In fact, mysticism and Sufism have found their way through the manliness teachings of the religion, with practical conduct on the heart and souls of craftsmen and artists of this era and not only have influenced their behavior and deeds but also manifested in their industry and art. This is why that can be said that the intellectual foundation of Safavid Muslim architects and artists has been always in the direction of growth and excellence of Islamic art and architecture that is quite evident by examining the artworks of this era in a valuable place such as the Razavi holy shrine. Familiarity with mystical teachings results in works that are full of heart remembrance of the artist; therefore, what the artist creates is a consequence of being close to the creator of the universe and it is an imitation of the universe that accurately represents the order in the creation system through geometry. Safavid artist tries to bring his works to the forefront in the most beautiful way that is possible, and just like alchemy manifests the objects from the heart of darkness to the light. This is how that we see the meaning of light and unity reflected from the face of tiles, Mogharnas, mirrors and gold. This concept is manifested not only in the technique of ornaments, but also in the heart of their designs. Geometric abstract patterns, patterns of Knots and mandalas on the walls and ceilings covered with the mentioned ornaments are all symbolic representations of light. As stated, attention to the light and its importance in Islamic art, is taken from the holy verse (light: 35) the God is the light (the reason of existence) of heaven and earth. From this verse that light is considered to be the manifestation and symbol of existence; as if there is no light, the universe will not manifest. This is why the Safavid architects, artists and craftsmen have tried to make all the decorative elements to evoke light somehow. Therefore, it is from this period that mirror work and most importantly gilding on the dome and minaret of the Hazrat Reza holly shrine occur and it becomes heresy that these two ornaments will be used in abundance in the next periods and also in Razavi holy shrine. The golden glow of the dome and minarets radiates light showing the manifestation of the light of the essence of the Supreme Truth, then it is associated with the existence of the Infallible Imams and their heavenly place; so, the entrance porch to the lighted holly shrine, where the holy shrine of Shamsan Shamsa of the world is located, is also gilded. As mentioned, in the later periods, the damascene of the Atiq yard, the second minaret and the Saqakhaneh have been repaired many times. In different places of Razavi holy shrine, gilding and mirror work can be seen in abundance, which belongs to other eras. In addition to that study of the damascene history of the domes belonging to other Imams shrines also shows the importance and influence of Safavid art on later periods until now and it is an emphasis on the heresy of gold leafing the dome of the shrine of the Imams from the Safavid era; although it is possible that the meaning of ornaments and its artistic value had never been understood in this period. Studies show that from the Safavid era that the official Shiite Imamiya religion becomes official, attention to holy places leads to the development, construction and expansion of their decorations, which certainly shows the importance and appreciation for these places and the sanctities and beliefs of the Shiites.

The current study was undertaken to determine the concentration of lead, cadmium copper, and zinc (Pb, Cd, Cu, and Zn) in three types of collected green leafy vegetables irrigated with contaminated water compared with those irrigated with the fresh water of Hamadan province, Iran using the inductively coupled plasma mass spectroscopy (ICP-MS) technique. Twenty samples of vegetables such as basil, leek, and lettuce irrigated with contaminated water, and twenty samples from five different adjacent areas irrigated with fresh water as control were analyzed to determine heavy metals (HMs). The highest mean concentration of Pb, Cd, Cu, and Zn, regardless of the kind of vegetables irrigated with contaminated water, was 0.95, 0.32, 3.03, and 13.58 mg/kg fresh weight, respectively. Moreover, metals uptake differences by the vegetables were recognized to vegetable differences in tolerance to HMs. The human health risk assessment indicated that non-carcinogenic values of Pb and Cd were higher than the threshold value of 1, and ingestion was the main exposure pathway of HMs to both children and adults. It suggested that all receptors (especially basil and lettuce) in Hamadan province might have significant and acceptable non-carcinogenic risk because of exposure to Pb and Cd. The significant amount of these HMs in some plants may be due to agricultural uses for the irrigation of the vegetable lands of untreated sanitary and industrial wastewater. The findings revealed that vegetables imply the total health risk on local people, and regular monitoring of HMs is strongly recommended in this region.

During the Pahlavi era, several discourses and sub-discourses dominated the visual field of Iran at the same time, one of which is the graphic sub-discourse of the revolution. This critical sub-discourse was formed around the central signifier of Imam Khomeini (R) and by rejecting its rivals, it was able to be slowly formulated and become the dominant discourse of Iranian society with the victory of the Islamic Revolution. The main issue of the present study is to investigate the effect of Imam Khomeinichr('39')s theological principles on the development of this sub-discourse. Hence, the present article seeks to answer the question: How the graphic sub-discourse of the Islamic Revolution was formed based on the ideas of Imam Khomeini? The general method of this research is a historical analysis that has been done using qualitative analysis, discourse theory and library resources. The findings of the research indicate that Imam Khomeini, as the central signifier of the sub-discourse of the Islamic Revolution, elaborated the concepts around him, which led to the formation of a sub-discourse in the field of Iranian graphics.

The main purpose of this research was to rank the indicators of the justice-based education and improvement system. The present research is applied in terms of purpose, descriptive-survey in terms of method and field type in terms of data collection. The combined DEMATEL-ANP (DANP) method was used to analyze the data. This study was conducted in one of the districts of Mashhad education department. To determine the sample size, purposeful judgment sampling was performed, based on which 10 experts participated in the research. First, by studying the theoretical foundations, 23 indicators were identified in the form of 4 dimensions. Experts then identified 14 indicators from four dimensions. Relative content validity coefficient (CVR index) was used to screen the indicators. The combined DEMATEL-ANP (DANP) method was used to weight the indices. The results showed that the two dimensions of distributive justice and information justice with a weight of 0.33 are jointly the most important dimensions of organizational justice. Procedural justice and interactive justice are also in second place with a weight of 0.25. "Fit" with a weight of 0.359 was identified as the most important indicator of this study. "Effectiveness" with a weight of 0.349, "Transparency" with a weight of 0.346, "Information" with a weight of 0.333, "Justification and persuasion" with a weight of 0.321 and "Distribution and access" with a weight of 0.291 in the second to sixth ranks were the most important indicators determined in this study.