mostafa rostami

The motifs used in Turkmen needlework are influenced by climatic, cultural, historical conditions as well as customs and traditions of different Turkmen ethnic groups. Turkmen needlework artists create patterns on local clothing based on their perceptions of beliefs, culture, historical background, and nature and the environment, containing explicit and implicit meanings. This descriptive study tries to analyze the characteristics of the patterns used in Turkmen needlework, to analyze the factors affecting the creation of patterns of women's clothing in that country and to answer the question, how do land and culture influence the creation of needlework patterns used in traditional Turkmen women's clothing. The results of the research show that the visual phenomena hidden in the mentioned motifs have different meanings and the effect of natural inspirations on them is sometimes achieved in such a form of abstraction that it is difficult to recognize an equivalent for it in the surrounding phenomena. Considering the historical past and the type of beliefs and culture prevailing in the Turkmen Sahara region, as well as the special nature of this land, the motifs used in the traditional needlework of women's clothing in this land are taken from the minds of Turkmen artists and influenced by factors such as: Culture (customs, traditions, beliefs and beliefs), animals, nature and the environment and also express the characteristics and identities of tribes and abstract perceptions of current elements in their lives.

The paintings in religious buildings, which are a type of native, cultural and historical heritage in the architecture of Mazandaran and Golestan regions, were painted in the Qajar period. These paintings, which do not have a high visual quality, originate from the pure beliefs and thoughts of artists and common people, whose impact can be seen on the culture and literature of the people of this country. The purpose of this article is to conduct a comparative study of imaginary creatures in the paintings of Qajar period ritual buildings in Babol (Mazandaran province) and Gorgan (Golestan province) in terms of diversity and reading of form and content. Thus, this question is raised: what are the characteristics, similarities and differences of the imaginary creatures used in the paintings of the Qajar era religious buildings in the mentioned regions in terms of theme and visual values? Therefore, the number of ten samples of paintings from the religious monuments of Babol region and seven samples of paintings from Gorgan region have been selected and used as the basis of analysis. The research method is descriptive-analytical, and information is collected by using library and field methods. The results of the research indicate that the imaginative motifs in the religious buildings of the two mentioned regions, due to the proximity of the two provinces and their influence on each other in terms of cultural relations, in the use of visual qualities such as the use of curved forms and lines, simple compositions, the use of mysterious space creation and drawing them in a two-dimensional way without volume and simple and popular imagery, have commonalities. However, in Babol's Saqanfars, imaginative motifs represent the taste and creative mentality of the artist, who has drawn simple and unprofessional motifs with a fluent pen and free line design. On the other hand, in the Gorgan region, these motifs are drawn with a more realistic look, and paying attention to proportions has greatly contributed to the more objective aspect of the motifs.It is also noteworthy to mention that most of the motifs represent the frontal view which has further helped in achieving a better understanding and analyses of the paintings. But, the significant aspect which seems to require further studies after much thought on the imaginary motifs of the Babol and Gorgan regions, apart from the fact that the majority of these works of art have been created by self-taught artists and artisans and have been designed and colored in a folkloric manner far from the knowledge of academic rules and principles, is the variety in the local artists’ approach in each region in terms of creation of motifs and their nature. In other words, in Babol region, a simple expression of the image and creative use of folkloric drawing as well as individual and mental taste of the artist have led to the creation of motifs with simple and fluid lines and a mixture of mental and realistic view by the artist (which can be observed in examples such as the motifs of dragon, Div (demon), and lion and sun). On the other hand, in Gorgan region, motifs represent a more objective and material aspect and a strong and rigid drawing in comparison to the motifs of Babol region. It may further be added that due to the primitive and unsophisticated drawing of a type of images in Babol region, Images based on a different language have come to view. On the whole, as evident in the motif of the lion and sun in both regions, in the Babol region, the partial depiction of the painting has enhanced the sense and impression of its imaginary nature and shows that the local artist has not tried to depict the reality and essential and inherent nature of lion, while in Gorgan region, the above-mentioned motif, represents an attention to the proportions of lion’s body and depiction of the animal’s muscular legs, which leads to creation of a more material and realistic image.

Meniscus tears, a prevalent knee joint injury, can significantly hinder joint functionality. Thus, the control of meniscus tears holds significant importance in preserving the joint's regular functionality. A non-invasive approach involves the recommendation of off-loading insoles; which therapists often prescribe based on their clinical experience. Based on the variety of meniscus tear types, it is essential to assess the effectiveness of different insoles when interacting with these distinct tears. This evaluation can be achieved through biomechanical investigations. To address this requirement, the present study utilized medical imaging to establish the precise lower limb geometry. To refine the acquired geometry, both longitudinal and radial tears were applied to the meniscus's geometry. The subsequent phase entails reconstructing the design of three off-loading insole models currently available in the Iranian market. The outcomes of these models demonstrate that the three-layer insole without honeycombs leads to a stress reduction of 1.1% at the apex of the radial tear. When dealing with a longitudinal tear situated on the inner meniscus, the application of a three-layer insole equipped with a honeycomb structure results in a 15% stress reduction. Utilizing a single-layer silicone insole results in an 8% decrease in stress on the external meniscus during longitudinal tears. Hence, the three-layer insole incorporating a honeycomb design is effective for managing longitudinal tears on the inner meniscus. Moreover, the research outcomes indicate that, when comparing the two tear types, longitudinal tears carry a greater risk than radial tears, exhibiting an increased likelihood of worsening.

Social responsibility is one of the most important social characteristics that becomes more important when natural and human hazards occur. The current research aims to examine the relationship between the feeling of insecurity and social responsibility after the COVID-19 pandemic in Tabriz, Iran. 

This is a quantitative survey study. Participants were 384 residents of Tabriz city aged 18-70 years who were selected using multi-stage cluster method. Data were collected using questionnaires.

There was a significant and inverse relationship between the feeling of insecurity and social responsibility. People’s social responsibility was significantly different based on gender, educational level, and occupation, but there was no significant difference based on age.

The COVID-19 pandemic had a role in reducing the social responsibility of people in Iran by creating a sense of insecurity in social interactions.

Engaging in research and familiarizing oneself with the research field are integral aspects of student development programs, particularly at postgraduate level. This study aims to analyze and map the co-authorship network within publications produced by the student research committee of Iran's Ministry of Health and Medical Education.

This is an applied research that utilizes scientometric techniques. The research community includes 2178 documents with the organizational affiliation of the Student Research Committee of Medical Sciences Universities of the Ministry of Health and Medical Education, which were retrieved from the Scopus database from 1985 to 2023. After data cleaning in Excel software and data homogenization, the data were transferred to BibExcel for frequency analysis. Subsequently, UCINET software was employed to calculate the correlation and centrality matrix. Furthermore, VosViewer software was used to visualize the data through network maps.

An analysis of student research committee publications revealed 900 co-authored articles. Salari and Mohammadi exhibited the highest co-authorship frequency, with 10 publications. The findings showed that 38 countries participated in the scientific productions of the student research committee. America and England have cooperated the most with authors of student research committees with 58 and 14 scientific publications, respectively. Yousefi, Nouri, and Mohammadi emerged as the most prolific research committee authors. Sadeghi got the highest score in terms of centrality index and Karimi got the highest score in terms of closeness and intermediateness index. Furthermore, the five-author co-authorship pattern represented the most prevalent format (19.04%), with the single-author format accounting for less than 1% of publications.

In studies by student research committee, the five-author co-authorship pattern has been the dominant pattern among the scientific documents of the student research committees, which indicates proper scientific cooperation among students.

Nature compels the nomadic people to abandon their settled dwellings, Yaylak in the summer and Kishlak in the winter, and pass treacherous mountains and rivers to establish new settlements twice a year. These nomads must safeguard their modest and concise way of life and transport it to the new location using their livestock, which serves as their primary capital. The women of the nomadic community skillfully craft ropes known as Veris from the wool produced by their cattle. Veris is a hand-woven fabric that exhibits exceptional practicality, beauty, and intricate patterns. The Bakhtiari people utilize Veris to fulfill various needs in their nomadic lifestyle, such as securing loads, transporting firewood and water containers, relocating the baby's crib, and more. These hand-woven ropes play a vital role in the Bakhtiaris’ mobile way of life, distinguished by the remarkable beauty of the Veris motifs, their durability, and their multi use. These ropes often hold significant cultural and spiritual value, as their women adorn them with a wide array of motifs, each with its unique reason and background. These motifs sometimes depict objects found in the nomadic surroundings, flowers and plants in the Bakhtiari people's natural environment, the nomads' work and daily life, as well as animals. Additionally, geometric and innovative patterns can also be observed among these motifs, and as they evolve, they acquire symbolic and enigmatic qualities. The Bakhtiari people employ a multitude of diverse designs and functions in their weaving production, all of which draw inspiration from their customs, traditions, habits, impressions, and insights, ultimately reflecting their rich and bountiful culture.       This descriptive-analytical paper aims to explore and evaluate the quality of visual elements in Bakhtiari Veris, with a focus on the art's aesthetic aspect. The paper seeks to answer the fundamental question of what factors influence the visual elements, such as patterns and colors, in Bakhtiari Veris. The motifs used in the hand-woven of the Bakhtiari people, including Veris, are inspired by nature, their lifestyle, and the surrounding environment. These motifs consist of plant, animal, and geometric patterns etc. Although these motifs have evolved over time, they still reflect the authenticity and culture of the Bakhtiari people. The themes depicted in Bakhtiari Veris motifs are based on the daily life and customs of the Bakhtiari people. The visual elements used in Veris are influenced by the weaver's taste and environment. Today, the motifs, techniques, and colors used in this art have changed due to lifestyle changes, material availability, and other factors. However, the practicality and aesthetics of the art can still be examined. Although the motifs designed in this hand-woven fabric do not affect the product's efficiency, the visual elements with their color and shapes add a special beauty and appeal to the work. It appears that all the components necessary for a piece to be considered an outstanding work of art are present in this practical and artistic fabric. The design principles are based on the style of visual arts, and all the necessary rules to achieve a visual structure have been implemented.       To gain a deeper understanding of each work or image, it is necessary to analyze it from two perspectives: form and content. The content encompasses the artist's intention, the outcome, and the hidden meanings within the work. On the other hand, the form consists of the visual elements and qualities that shape the external structure of the artwork. Visual elements include points, lines, surfaces, and volumes, while visual qualities encompass texture, color, contrast, balance, and proportion, among others. Visual messages can be conveyed and interpreted in three different ways: representational, abstract, and symbolic.       Veris, like other forms of art, reflects the artist's perception and depiction of nature and the surrounding environment. It combines various elements to create an elongated and narrow frame, resembling a rope. The principles of design, in general, are the artist's visual impressions, which are developed based on common patterns and cultural norms within a specific society. They aim to convey and understand the visual experiences and shared culture of human beings. The visual characteristics of Veris art include dominance, coherence, balance, symmetry, proportion, rhythm, and unity. These aspects are thoroughly examined in the article.       Furthermore, Bakhtiari Veris can also be analyzed in terms of color. The natural and climatic environment of the Bakhtiari people, situated within the Yaylak and Kishlak of the Zagros mountain range, significantly influences their color choices and usage in daily life. Due to the diverse natural surroundings of the tribe, a wide range of colors can be observed in their living spaces, clothing, tents, and hand-woven works. The colors employed in Bakhtiari Veris reflect their aesthetic and artistic preferences, as well as their cultural style. These colors, prepared by the nomads themselves, exhibit a certain variety. However, in the past, there were limitations in the availability of colors, resulting in only a few specific colors being commonly used.

The purpose of this study is to develop a new surgeon assistant device applicable in open spinal fusion surgery to improve the accuracy of the entry point for pedicle screw insertion position.

We developed a new device named Surgeon Assistant Pedicle Detector (SA_PeD). SA_PeD detects and shows the accurate entry point for pedicle screw insertion to the surgeon, by using preoperative planning, registration and tracking phases.

The tests were made by eight operators and each of them on five vertebrae with two holes. The results show that the average position error is 0.52±0.26mm. Repeatability and reproducibility of device is also reported which is impressive. The device is also independent of the operator and has same result for all operators.

Considering that maximizing the accuracy, increases costs exponentially, so the device is cost effective in comparison to other expensive robotic and navigation systems and greatly reduces the number of errors. The device also occupies little space in the operating room and is easy to learn for the surgeon to use it.

Social responsibility is a coping strategy to respond to social, environmental, and sustainable development concerns. Various factors can affect responsibility, life satisfaction is one of the important factors affecting social responsibility and it is one of the factors that can affect different parts of life in society. The current research aims to explain the relationship between life satisfaction and social responsibility, which was done after the end of the Covid-19 pandemic. The present research was carried out quantitatively and through a survey, the target society was the citizens of Tabriz between 18 and 70 years of age, and 384 people were selected and analyzed as a statistical sample based on Cochran's formula. The findings obtained from the analysis of the research data show that a significant and direct relationship between life satisfaction and social responsibility can be seen. Also, the obtained results show that people's social responsibility is different according to their gender, education, job, and income, but the age of the respondents has no relationship with their social responsibility.

Goal: 

The goal of this research was meta-analysis of the research results about Islamic education courses of universities and higher education institutions of the Iran.

The research approach was quantitative and the research method was meta-analysis. The statistical population consisted of all the research conducted on Islamic education courses between 1392-1399 SH. The statistical sample was all the researches that qualified for quantitative meta-analysis assumptions. The measuring tool was the checklist of the criteria of the eligible articles for meta-analysis. To determine the validity of the tool, the checklist was given to three experts in measurement who had at least one experience in meta-analysis, and the validity of the tool was confirmed. To analyze, the questions, the heterogeneity test, Hedges g index and fixed and random model were used. The data were analyzed using CMA 3 software.

Based on the results of the study heterogeneity test, the null hypothesis of study heterogeneity was confirmed. Also, the I2 index showed the effect of heterogeneity of studies on 97.33% of the total changes. The effect size and Z calculated for 15 variables from 22 were significant at the alpha level of 0/05. The largest effect size based on the Hedges g index was related to the religious attitude variable with an effect size of 1/488, followed by the professors’ variable with 1/450, then the interrelation between the professor and the student with 1/215. The overall effect size for studies in the fixed and random model was at the medium level, which indicated the relationship between the variables and the effectiveness of Islamic education courses.

Based on the results, the three factors of religious attitude, professor and mutual relationship between professor and student had the greatest effect on the effectiveness of these courses. Therefore, based on the results of the meta-analysis and by insisting on the identified factors related to the effectiveness of the curriculum of Islamic education courses, the necessity of rethinking and transformation in the curriculum of Islamic education courses should always be one of the main concerns of the policy makers and designers of the Islamic education curriculum.

During the reign of Shah Tahmasb Safavid, due to his lack of attention to artists and Homayoun Shah's inclination, an opportunity was provided for some artists dissatisfied with the king to immigrate to India. Immigrant artists to India, each of whom has made a name for himself in the Iranian school of miniature, with the support of Homayoun Shah and then Akbar Shah, have been instrumental in establishing the Indo-Iranian style. This study seeks to answer the question that what effects have the Iranian immigrant painters of Tabriz II School had on the miniature of the Gurkhans of India? The purpose of this study is to investigate the influence of these Iranian artists on Indian art in the historical period of Gurkanid and its continuation in the form of a combined Indo-Iranian style in later periods. This research was carried out using descriptive-historical method. The result of the research shows that the artists of the second school of Tabriz migrated to India, provided the grounds for artistic interaction between Iran and India and created the Indo-Iranian style. In the Indo-Iranian style of miniature, the effect of using a brush, coloring and special Iranian composition is well evident.

The Mongolian style of India in painting coincides with the Safavid period in Iran, which is completely different from the style of the first Tabriz school (Mongol style in Iran). The Mongol period in India began with the reign of Babur Shah and was continued by Homayoun Shah after that. After the defeat of the Syrian lion king, Homayoun Shah took refuge in the court of the Safavid Shah Tahmaseb and the Iranians helped him to regain his lost rule. Shah Homayun invited them to India because of his great interest in art; This has had a profound effect on Indian painting. The Muslim conquest of northern India has slowed the evolution of sculpture, but revived the art of painting. Akbarshah, a moderate king, was able to integrate Hinduism with Islam; This has led traditional Indian painters to become familiar with delicate paintings and the style of Iranian painting. The painting of the Gurkanian school is very close to the painting of the Tabrizdan II school in Iran, which is inextricably linked with the same principles, but with the taste of the Gurkanian rulers. From the surviving works, it can be seen that most of the painters of this school were Iranians. These artists have been able to create an Indo-Iranian style in India and teach it to Indian artists as well. The purpose of this study is to introduce and explore how Iranian artists influence Indian art and culture in the Gokanian historical period and its continuation in the form of a combined Indo-Iranian style in later periods using descriptive-historical method and data collection. Using the resources available in libraries, authoritative academic articles and museums and observations have been made.

Considering the artistic and historical content of this research, its process was done in a descriptive-historical method and in this way in order to obtain documented and reliable data from the library method (including: benefiting from valid historical documents and sources) and field (Including: reviewing and viewing some works from museums) was used.

During the reign of the Gurkhani rulers of India, there was a close literary, social, racial and religious relationship between Iran and India (Mubarak, 2006: 14). Zahiruddin Mohammad Babar, the founder of the Gurkhani Empire of India, was the fifth descendant of Timur Gurkhani. Gurkanians, who in their ancestral identity, founded the Herat school during the reign of Shahrokh Mirza and his son Baysanghar Mirza, descendants of Amir Teymour Gurkani, due to their interest in art, the low esteem of artists, the religious strictures of Shah Tahmaseb I and The aim of restoring the glory of the Timurid era is that many artists, including painters, calligraphers, bookbinders, etc., from all over Iran, eager to regain their former status, as well as receiving exorbitant wages and abundant and royal rewards, went to Herat for the second time with Homayoun Shah. The number of Iranian artists and celebrities who left Iran for India for nearly two and a Considering these connections, the present study tries to investigate the influence of Iranian artists on painting and illustrations of manuscripts of Homayoun Shah and Akbar Shah eras and to answer the question of what effects Iranian immigrant painters of Tabriz II school had on painting. The Gurkhas left India? half centuries from the beginning of the reign of Shah Ismail I (907 AH) to the end of the reign of Shah Sultan Hossein Safavid (1135 AH) has reached seven hundred and forty. And there are five of them, nine of them in the time of Zahir al-Din Babarshah, thirty-three in the time of Nasruddin Homayoun Shah and two hundred and fifty in the golden age of Jalaluddin Akbar Shah (Mubarak, 1385: 15) and emigration These artists have made a great impact on the painting of that land, which today is considered one of the most exquisite paintings left from this historical period.

With the beginning of Homayoun Shah's rule in India, the art of painting was revived and due to the comprehensive development of Iran-India relations and the lack of attention of the kings of the Safavid court and especially the strictures of Shah Tahmaseb, forced artists to make a living. They left their homeland and, with great effort and skill, interested the king of India in themselves. At the same time, Homayoun Shah's invitation to the great Iranian artists to the Gurkhani court paved the way for the migration of artists. When the artists entered the court of Homayoun Shah; Faced with the king's welcome, Homayoun Shah granted them many positions and status. After Homayoun Shah, Akbarshah was more interested in art than his father and had a special respect for Iranian artists living in India. Because they considered themselves the heirs of Timur Gurkhani and sought to culminate their school in the time of Shahrokh Mirza and Baysanghar Mirza. His interest in Iranian artists was such that Akbar Shah himself was trained by Iranian artists Mir Seyyed Ali and Abdul Samad. Mir Seyyed Ali, nicknamed Nader al-Mulk, and Abdul Samad Shirazi, nicknamed Shirin Ghalam, were the founders of Indo-Iranian style painting and were very skilled in simulation. These two artists were responsible for performing the drawings of the book during the time of Homayoun Shah and Akbar Shah, which is an important historical event. Relying on the position of their fathers, their children were able to work in the court of Gurkhani and be respected. In the Gurkhani court, as in the Safavid court, painting and writing were done by order of the king and high-ranking courtiers. During the reign of Akbarshah, several illustrated books were written, which can be said to be among the best painting books of India after Islam. The Indo-Iranian style gradually gave way to the Mongolian-Islamic style, and this was only possible with the efforts and skills of Iranian painters and their students. The best Indo-Mongolian painters were trained or influenced by Iranian artists. In the new style of Indo-Iranian painting, the clever influence of the type of engraving, coloring and special composition of Iranian artists can be seen. After Akbar Shah, other famous artists migrated to India and created other styles. What is important is that the art of simulation, which did not flourish in Iran, due to the taste and interest in development, as well as the high taste and elegance of the Gurkha kings of India and, more importantly, the presence of skilled Iranian artists in cultural management. And the art of the court of that land, caused the development and growth of art in all fields in the Indian subcontinent.

 The increasing importance of science and technology in contemporary societies and their impact on human life has caused the relationship between these two elements to be analyzed from different perspectives. This study investigates the relationship between science and technology in the field of knowledge discovery using citation analysis of patents during 1995-2014.

 This is an applied research which has been conducted using citation analysis method. The relationship between science and technology has been investigated using the indicators established in the two mentioned areas. For this purpose, we referred to the USPTO database and in the first stage, the field of Data Processing was searched. In the next step, the subject category of the data processing domain was analyzed and the subject category of knowledge discovery was identified and provided to the subject experts. After reviewing and analyzing the subject headings, they selected category 603 under the subject of Data Processing as the main category in the field of knowledge discovery. In the next step, the Current US Classification (CCL) was used to retrieve all related permissions and to avoid false dropout and search results error. All patents related to the subject of knowledge discovery (subject category 603), data processing area, including 304 patents were recalled from the earliest year of registration (1995) to the last year of registration (2014).
In the next step, bibliographic information on the first page of patents was used for citation analysis. This information is categorized into three sections named U.S. Patent Documents, Foreign Patent Documents, and Other References. The data was extracted manually from the text file and entered into Microsoft Excel 2013, and then the relationships (formulas) were coded and executed in Excel.
Geometric average formula was used to calculate the growth rate of citations. Narin (2000) proposed formula was used to study and evaluate the relationship between science and technology. The science index calculates the average number of citations to scientific articles in a patent. Scientific power indicates the degree of participation of scientific knowledge in the technical field. The technical power measurement is used to calculate the amount of technology used in the patents. Technical strength is a measure of the qualitative weight of a patent.
 
The statistical population of this research includes 304 patents in the subcategory of knowledge discovery and registered in the US Patent and Trademark Database, which was registered in this database from 1995 to 2014. By referring to the USPTO database and searching for knowledge discovery, the category of related topics was examined and finally category number 603 was selected to study the relationship between science and technology in the field of knowledge discovery. Uspto2.exe, Aostsoft All Document, and Excel software were used to extract and analyze the data. Ravar PreMap software was used to calculate the frequency and Excel program was used to calculate the growth trend of patents, growth rate of citations and drawing statistical graphs.

 Findings showed that the patents in the field of knowledge discovery during the research period have a growing trend of 30.07%. In other words, an average of 15.2 patents has been registered each year. The calculation of the growth rate of citing patents in the field of knowledge discovery using the geometric average shows 62.59% growth for a period of twenty years. Calculating the rate of citation to US patents using geometric averages shows a growth of 72.8%. Moreover, calculating the growth rate of citation to non-US patents based on geometric averages shows 87.2% growth. In this study, the link with science in the field of knowledge discovery was .3549. The closer the number of links with science is to 1, the stronger the scientific link is, and the closer it is to zero, the weaker the scientific link. In other words, the higher the citation of non-patent documents to the patents, the more it indicates that the invention in question has been produced based on research and scientific and academic theories. Scientific power in the field of knowledge discovery for the studied years was 10788.96 units, which indicates the influence of scientific documents in the patents of this field. In this research, the technical strength of the field of knowledge discovery is equal to 1967.52 units. The highest technical power (34.947) is related to 2011 and the lowest technical power (0.857) is related to 1995.

 The number of patents in the field of knowledge discovery at the USPTO database has grown by 30.07% in recent decades, with an average of 15.2 patents per year. These results show that the growth rate of patents has had ups and downs between these years. But further studies show that overall this growth has been accompanied by an upward slope; The highest number of patents was registered between 2008 and 2011. This growth has coincided with the growth of the global economy. The reason for this leap has been the need for global markets and free trade, which has led scientists, engineers and inventors to seek a share of the emerging market for emerging technologies. The results of this study showed that the rate of connection with science and its effect in the field of knowledge discovery is 35.49%. Considering the technical background in the field of knowledge discovery, this level of science participation in this field and its increase in the final years of the research period, indicates the growth of scientific research in line with technology and commercialization of scientific products of academic and industrial centers.

Today, social movements have become one of the important tools for pursuing people's demands; And parties are one of the most influential factors of cohesion and organization to popular demands. The recent revolutions in Arab countries are a clear example of these movements. These revolutions took place in a situation where in all three countries, popular calls and protests were spontaneous and without leadership or organization from the parties. The purpose of the current research is why the parties did not have an effective and important role in the revolutionary developments of the three countries of Tunisia, Egypt and Libya?

The present article is a descriptive-analytical research and the collection method is based on library information.

On the eve of the revolution, the political systems of Tunisia, Egypt and Libya were republics with lifelong presidents, which in principle were not much different from monarchical systems. In these systems, not only were there no democratic institutions such as active parties, popular participation in the political and economic spheres, as well as the accountability of the state institution, but all the features of dictatorial systems were seen in them. Hence, in all three countries, widespread popular protests took place without any leadership or group organization, which eventually led to the collapse of the ruling political systems in these countries.

Studies show that according to the political sociology before the revolutions in these three countries and for the reasons discussed in the article; The parties have not played an effective role in the formation of the revolution in the mentioned countries; But they were present in the conditions after the revolution and in the political categories after that.

Along with the growth of technology, and the increase of natural hazards in the contemporary world, human life is faced with many challenges, deal with social responsibility has major importance to prevent hazards and reducing their unfortunate consequences for humans which leads to a healthy relationship between people and the environment. To explain the factors affecting social responsibility, the current research examines the existing theories and analyzes previous research findings. The research method of this study is the documentary which explores studies related to the subject that was published from 2011 to 2022. The cited sources were obtained by searching the keywords: social responsibility, social indifference, social commitment, risk of Covid-19, and risky society. The data has been analyzed by attributive and holistic coding and factors related to social responsibility in a risky society, and have been categorized using the obtained results. Findings show that crises and risks can change people's actions and social responsibility is an important factor that affected the actions and relations between actors in crisis conditions. The final results based on holistic coding have extracts, 7 main categories, and 18 sub-categories. The important factors affecting social responsibility are social capital, moral and normative values, and inequality in various dimensions such as power, health, identity, awareness, and indifference, which have the greatest impact in a risky society. These factors through the concepts such as insecurity, citizenship, and altruism affect social responsibility.

The Turkmen Sanjim is one of the original Turkmen folk arts that Turkmen girls and women are very fond of sewing different designs with different colors on their clothes and other decorations. But little research has been done on it and very few written sources. Studying and understanding Turkmen motifs and their origin, concepts and applications will provide a new window for disseminating the past thoughts of the Turkmen Turkmen people. This descriptive study, conducted using library and field studies in the area, attempts to study the types of motifs used in Turkmen Sanjim art and then to identify the concepts of motifs used in it. The results of studies of more than 100 pieces of work and clothing with different motifs show that the shape, color and type of role can be distinguished in different groups such as nature, animals and beliefs, tools and war equipment. Some forms of these motifs originated from the beliefs and beliefs of the ancestors of the Turkmens, and others were consistent with elements in the surrounding objects, creatures and nature.Goals:1-. Understanding and embracing Turkmen embroidered Sanjim motifs and searching for concepts of applied motifs in sanjim.2 - Studying the motifs and cultural artistic structure of the Turkmens needlework according to the extent and variety.Questions:1- What is the origin of the Turkmen Sanjim motifs?2- What are the motifs used by Turkmen Sanjim?

This study aimed to investigate the mediating role of emotion regulation difficulty in the relationship between traumatic childhood experiences and self-criticism in adulthood.
The design of the present study was descriptive-correlational and structural equation modeling. The statistical population of this study included Iranian adults who lived in Mashhad in 2021. Among them, 331 individuals were selected as the research sample through the convenient sampling method. Data were collected online using the Levels of Self Criticism Scale by Thompson and Zarov in 2004 (LOCS), the Childhood Trauma Questionnaire by Bernstein et al. in 2003 (CTQ), and the Gratz and Roemer Difficulties in Emotion Regulation Scale by Gratz and Roemer in 2004 (DERS). Data analysis was performed with the Pearson correlation method and structural equation.
Findings showed that there was a significant correlation (P <0.01) between traumatic childhood experiences and emotion regulation difficulty with self-criticism. Also, the results of structural equation modeling showed that the model of the present study had a good fit and the mediating role of emotion regulation difficulty in the relationship between traumatic childhood experiences and self-criticism (χ2/df≤3 and significance level of 0.001) was significant.
According to the findings of this study, traumatic childhood experiences can predict and influence self-criticism by interacting with the emotion regulation difficulty.

The Middle East region experienced various revolutions and protests after the 2011 Tunisian revolution. The country of Yemen is one of these cases that experienced the phenomenon of revolution to some extent during the revolutions of Islamic countries. Yemen has a strategic position for the Islamic Republic of Iran due to its  geopolitic location and its large population of Shiites. In order to analyze and understand the Yemeni revolution more, it is necessary to deal with the events of 2011 in that country from the perspective of different theories. This research, with descriptive-analytical method and using library resources, seeks to answer the question: To what extent are the contexts and factors of the 2011 Yemeni revolution compatible with Chalmers Johnson's theory? The main hypothesis of this research is based on the fact that Chalmers Johnson's theory can help to understand some of the revolutionary factors of 2011 in Yemen. The findings of the research show that out of the three factors of the revolution from Johnson's point of view, only two factors, imbalance and acceleration-producing factors, are applicable to the revolutionary developments in Yemen.

The purpose of the present research is to investigate and identify semantic relationships, map the development of knowledge, and create a network of thematic documents produced in the field of moral education indexed in the Web of Science database between 2000 and 2018.

It is an applied-descriptive research method that was carried out using scientometric techniques and the method of vocabulary co-occurrence analysis and network analysis. The keywords of the articles were used as research data. It will be the statistical population of the research was collected from the Web of Science database and by using the keyword "moral education" in the advanced search strategy with the command code TI=moral education** NOT**TS=morality education**NOT TI=ethics education, which includes 991 articles. was that the word "moral education" is used in the title. The data was cleaned, normalized, standardized, and structured in the next step. To extract keywords from Bibexcel software, to edit data and draw a strategic diagram from Excel software, to create a matrix from Ravar PreMap software, to draw a tree diagram from SPSS 22 software, to calculate centrality, correlation matrix and draw a multi-dimensional scaling map from the software UCINet 6 and VOSviewer software was used to illustrate the maps.

This research has shown that out of a total of 1982 words identified during the study period in the field of moral education, 1213 words were used jointly or exclusively in the documents found. The keyword "university education" has the highest frequency with 55 repetitions. The words "education" and "values" had the highest co-occurrence with a frequency of 5. After these two words, "students' ideology", "education** moral development", "university education** moral development" and "university education** humanization" have the highest co-occurrences of 5, 4, 3, and 3 respectively. Are. The results of the cluster analysis showed that the field of moral education consists of 10 clusters: "Care and Justice", "Business Ethics", "School and Children's Maturity", "Behavior of Minors in Kindergarten", "Sex Education", and "Ethical Education". - Medicine", "Challenges of Physical Education", "Citizenship Education and Training", "Social Values" and "Human Virtues-Mythology" with the highest concentration related to cluster 2 "Business Ethics" and the highest concentration related to Cluster 5 "Education" It has been sexual. The drawing of the strategic diagram showed that cluster 5 "sex education" is located in dimension 1 due to its high density and internal connection, which are very well developed. Cluster 3 "school and children's maturity" and cluster 8 "citizenship education" are located in dimension 2 of the strategic diagram, they are not central, but they have the possibility of development. Also, cluster 1 "care and justice", cluster 2 "business ethics", cluster 4 "behavior of minors in kindergarten", cluster 6 "moral-medical education", cluster 7 "challenges of physical education" and cluster 9 "social values" Next, there are 3 strategic charts that are emerging.

In this research, the field of moral education was investigated using the methods of synonym analysis and social network analysis using articles indexed in the web-science database between 2000 and 2018. The results of the cluster analysis showed that the researches in the field of moral education in the desired period are from 10 clusters, which are "care and justice", "business ethics", "school and children's maturity", "behavior of minors in kindergarten", "Sex education", "Medical Ethics Education", "Challenges of Physical Education", "Citizenship Education", "Social Values" and "Human Characteristics-Mythology" were formed. Drawing the steering diagram based on the relationships between the words that make up the clusters revealed other hidden angles of it. In recent years, the field of moral education has focused on the topics that are applied in educational courses, but still, responsible organizations do not invest in this type of issue, which is consistent with past research. Therefore, the field of moral education emphasizes citizenship education in the education system for society to benefit from moral judgment and stability of human values and virtues. Therefore, based on the results of this research, experts in this field should pay attention to all the needs of the members of society and human society.

 Obsessive-compulsive disorder is the fourth psychiatric disorder that reduces the quality of life. Therefore, it is important to investigate the causes of the formation and persistence of these symptoms. The main goal of this study is to predict obsessive-compulsive symptoms based on attachment styles through the mediating role of health anxiety.

The present study used descriptive-correlational and path analysis. The statistical population of this study includes Iranian adults, of which 370 people were selected as the research sample by the convenient sampling method. Data were collected online using the Yale-Brown Obsessive Scale (Y-BOCS), Collins and Reed Attachment Styles (RAAS), and Health Anxiety Scale (HAI-18). Pearson correlation, multiple regression, and path analysis using SPSS software version 26 and AMOS version 24 were used in analyzing data.

A significant correlation has been observed (P< 0.01) between the styles of secure attachment (r= -0.10), anxiety attachment (r= 0.28), avoidant attachment (r= -0.20), and health anxiety (r= 0.42) with the severity of obsessive-compulsive symptoms. In addition, the results of Bootstrap indicate that the mediating role of health anxiety in the relationship between anxiety insecurity and avoidance insecure attachment styles with the severity of obsessive-compulsive symptoms is significant (P= 0.001). 

 Based on the findings, insecure anxiety, and insecure avoidance attachment styles are able to not only predict the severity of obsessive-compulsive symptoms by interacting with health anxiety but also, they do affect it.

The purpose of the research is to examine the nature and characteristics of Islamic education curriculum elements.

The research approach is qualitative and it is applied from the point of view of the objective and the basic qualitative method.  The research community is all universities and government higher education centers of the country. The participants were 30 different experts, including the respected officials of the Supreme Leader in universities, the educational assistants of the Supreme Leader in universities, the respected managers of Islamic education departments, faculty members and invited professors of Islamic education courses as well as 10 researchers from two areas of curriculum and Islamic education courses. The sampling method was criteria-based (using theoretical knowledge and practical experience). The measurement tool was a semi-structured interview. The coding method (selective, organizing and open) is used to analyze the data. To determine the validity of qualitative data, the four indicators of Lincoln and Guba including (credibility, transferability, dependability and verifiability) were used.

Based on the results of the research, 10 following selected themes were identified and extracted:  logic, purpose, content, educational resources, Teaching-learning strategy, learning activity, grouping, space, time and evaluation.  24 organizing themes   were also identified as follow :  program reasons  , cognitive goals, affective goals, psychomotor goals, organized content, situational content, single-source educational materials, multiple resources, direct teaching - learning strategies, indirect teaching-learning strategies, individual activity, group activity, in-class activity, out-of-class activity, subject grouping, grouping based on ability level, physical space, psycho-social space, safe space, fixed schedule, flexible schedule , evaluation before training, evaluation during training and evaluation after training. On the other hand, 128 basic themes were identified and extracted for the nature and characteristics of desirable elements of Islamic education curriculum.

Based on the extracted characteristics, it is possible to provide the basis for the comprehensive development of the curriculum of Islamic education courses and to increase the level of attractiveness and efficiency of the curriculum and most importantly, the level of satisfaction of the students.

The purpose of the research is to investigate the current situation of the nature of ten elements of the Islamic education curriculum from the perspective of students and teachers of Islamic education courses.

The approach of the research was quantitative. The research was applied in terms of purpose and descriptive survey type. The statistical population of the research included all students of the 8th semester of the bachelor’s degree from universities and institutions of higher education in the country and professors of Islamic education courses. The sample size of students based on the stratified sampling method and the sample size estimation table of Kerjcei and Morgan with the application of a factor of one and a half was 535 people and the sample size of professors was 214 people. The measurement tool was two questionnaires made by the researcher for students and professors. To calculate the content validity The CVR method or Lawshe coefficient was used for the tools and the reliability of the tools was calculated as 0.89 and 0.78 respectively, and Cronbach's alpha test was used to calculate the reliability of the tools and the reliability of the tools was calculated as 0.86 and 0.81 respectively. Descriptive statistics indicators including frequency, percentage, mean and standard deviation, normality test of data distribution (Kalmogrov-Smironov) and one-group t-test were used for data analysis.

The results showed that from the point of view of students and professors, the current situation of the ten elements of the curriculum was lower than average and very weak.

the authors of the survey conclude that by identifying the current state of all curriculum elements while obtaining a realistic picture of the past and present, it is possible to draw the desired state of curriculum elements in the future.

During the Qajar period, with the tendency of people and artists towards mystical literature, painters, by influencing this space and using symbols (elements of nature), created pure images of these themes. Rumi, in conveying his transcendental and mystical thoughts by using the symbolic elements of nature, considers the bird as a symbol of the human’s soul (lover), the flower as a symbol of heaven and God (beloved), and the garden as the sheltering world of the soul to achieve unity. The purpose of the present study is to analyze the semantic relationship between the elements of nature in the flower and bird paintings of the Qajar period with the mystical images created by these elements in the thought and poetry of Rumi. The main question of the research is: What is the semantic relationship between the flower and the bird’s paintings in the Qajar period and Rumi’s mysticism? This research is descriptive-analytical and has been done based on the flower and bird works of the Qajar period and a comparative study with Rumi's mystical poems. Therefore, as Rumi looks at the symbol of the bird from the perspective of the manifestation of the soul and lover and considers the symbol of the rose as an allegory of the manifestation of love, lasting paradise, and the manifestation of God, also, in the Qajar period, the elements of Iranian paintings (the flower and the bird) symbolically and full of secrets and the presence of meaning are depicted with the same concepts that are mentioned in Rumi's mystical poems.

The romantic relationship between the flower and the bird in these paintings is a mystic symbol of the relationship between humans and God, which is also manifested in the mystic thought and literature of Persian poetry and prose and is a symbol of the mystic’s love for the divine essence. The bird has appeared in the form of a nightingale that found his lost peace again in the arms of his beloved flower (God). The flower bush in the painting of flower and bird is a symbol of scenic trees, and aromatic and mesmerizing flowers of paradise, where birds (a symbol of believers) have reached peace among its branches and have enjoyed the infinite blessings of God.
Rumi expresses his heavenly thoughts, moods, and inner experiences using elements of nature such as different kinds of flowers and birds in terms of symbols to create vivid, dynamic, and artistic images in the reader’s mind. Considering that many images of flowers and birds of the Qajar era are rooted in literary concepts and semantic symbols, painters have aesthetically embodied these two symbols in pictures full of code and meaning. The present research aims to analyze the semantic relationship of the elements of nature in the painting of flowers and birds of the Qajar era with mystical images created from these elements in the thought and poetry of Rumi. The main question of this paper is: “what semantic relationship can be found between the works of flowers and birds of the Qajar era and Rumi’s mysticism?”. According to the literature on the theme of the flower and bird, so far, the theme of the symbol in the paintings of the flower and bird of the Qajar period mixed with mystical literature has not been studied so that their semantic relationship can be discovered and expressed aesthetically.

Review of the Literature2.1 The Symbolic Relationship of Iranian Flower and Bird Painting with Mystical Literature (Rumi)
Bird features have a long history in Iranian art. In the ritual culture of Islam, birds that speak in human language have brilliant effects (Shahdadi, 2005, p. 78). The image of a flower and bird is first shown as the tree of life and bird in the paintings. The tree of life in the written texts and pictures of the Sassanid era in different forms of a bush or tree, from three thousand years BC to the first manifestations of birds in the bibliography of Iranian art, is called the Baghdad school, which found more natural manifestations in the paintings of the 8th century AH and continued until the periods of Tabriz schools in Shiraz, Herat, and Bukhara.
In the Isfahan school, birds that play a role in poems with story elements are shown as symbols of the human spirit (Machiani, 2002, pp. 18-24). An Iranian artist portrays the truth of the holy world with a mysterious expression using symbols such as flowers and birds to convey mystical concepts and meanings. His soul flies to the truth in the form of a bird and sits beside a beautiful flower that symbolizes the beauty of paradise. There, he engages in worship by singing. The Iranian flower and bird painting, in one aspect of its symbolism, is indicative of the poetic concept of a romantic relationship between the nightingale and the flower, in which the description and the story of separation and reunion, love, demands, and romantic lamentations of the nightingale, and on the other hand, depicts the coquetry, disdain, and the romantic charms of the flower. According to Rumi, a flower has received help from a friend’s flower garden; therefore, it is indestructible and has grace, perfection, and good qualities (Hosseinpour Chafi, 2006, p. 165). In Rumi’s opinion, all these descriptions are a symbol of a perfect human being who has reached the flower garden of the unseen world, so we can embrace him and reach the flower garden of truths:Taking the skirt of the flower and accompanying the flower, dancing together, we will reach the root and seedling of the flower (Abbasi, 1991).
In Divan Shams Tabrizi, the bird is a symbol of the soul or spirit, a mystic, and a seeker (Akhtaryar, 2013, p. 146). Some of Rumi’s interpretations of the symbol of the bird in his poems are related to concepts such as 1) the human soul and spirit, 2) the soul of a bird, 3) a mystic and a seeker, 4) perfect humans and inferior humans, 5) claimants of truth, and 6) a sign of human inner qualities.
The illustrated states in Gol-o Morgh’s [flower and bird] painting of the Qajar period and their symbolic relation with the mystical poems of Rumi are as follows:The Birds sitting on the flower branch;
Painters of the Qajar period always illustrated the birds on the flower stem sitting, motionless, and watching the rose.
While singing (seeking love, praise, moaning and wailing, separation from beloved)
The nightingale continuously sings and tries to raise pity and attract the attention of the beloved to reach and be unified with it.
While sleeping (mushahede [intuition])
The sleeping birds in Gol-o Morgh’s [flower and bird] painting indicate being in meditating [observation], leaving the material world, perceiving the divine mysteries, and in inner (moshahede [intuition]) and khamushi [silence].
While hunting insects and butterflies
It usually considers young disciples who have no mukashefe [intuition] and their ears are often busy with worldly speech and their intelligence and senses do not pay attention to the flower.
the bird on the rose branch;
In the works of the Qajar period, the rose is usually used to indicate the main position of Morgh [bird].
The branch of the Iris flower;
As the main flower, the iris is always placed at the center of the image from the point of growth up to the peak of Gol-o Morgh’s [flower and bird] painting, just like the tree of life which was very important and the rose is illustrated on a lower level than branch iris. In combination with other elements, the iris is the largest flower and is often illustrated with darker colors in order to be highlighted compared with other flowers.
The importance of Gol than Morgh [bird];
The flowers are illustrated larger at the top of the miniature with enchanting and attractive colors, while the bird (as the lover and embodiment of need) is illustrated with neutral colors (with the color of the human skin because it is the symbol of the human soul) at the bottom of the miniature smaller than normal and facing the flower.
Variety and number of flowers and birds in composition
The composition of illustration components is more active in Gol-o Morgh’s [flower and bird] painting of the Qajar period compared with previous periods. It is as if the miniaturist has depicted a piece of paradise or a large garden with more variety and more flowers and different types of birds.

This research has been done by the descriptive-analytical method and has qualitatively examined the data obtained from the samples of the flower and the bird of the Qajar period based on a comparative study with the mystical poems of Rumi.

The painting of a flower and bird is a poem of flowers. According to painters, the bird is a symbol of the human spirit. This world is an indicator of his cage and all his efforts to reach the heavenly world. The red flower is a symbol of the beloved, the essence of omnipotence, the allegory of heaven, and the perfect human being. In Persian poems, the flower is a symbol of affection and the nightingale is a symbol of demand, which is in search of the beloved and an eternal flower. In the paintings of Islamic art, there is a close relationship between images and mystical poetry.
During the Qajar era, with the spread of mystical stories and texts (such as the story of Sheikh Sanan written by Attar and Masnavi by Maulavi) and the tendency of people and artists toward these themes, the painters of flowers and birds emerged from the world of imagination and allegory of the mystical poet to discover these meanings and concepts. Influenced by this atmosphere, they created pure images. As a result, paintings full of meaning and mystery are observable on many everyday items such as pencil cases, mirror frames, covers of religious texts (Quran and prayer books), dishes, walls, and ceilings of buildings. In Rumi’s poetry, the garden of life joins the garden of nature and the images of this world are interpreted as the spiritual world. What he means by the garden is the caged soul, and the garden of this world is a ray of the garden of the heavenly and imaginal world. One of the most important symbolic meanings of the bird is the soul or spirit, which means that the soul is constantly trying to fly to the world of the heavens (the original home). This bird in love sings in the dream of gaining the love of the flower, so the red flower will appear and lead his soul to the world of meaning. In his opinion, a flower is the love symbol of the world (God) that guides man (bird, soul) to the essence of his existence. He believes that every part of nature is a manifestation of God’s presence and considers art to be an imitation of the imaginal world and the reminder of memories of heaven. Thus, the hypothesis stated at the beginning of the paper is acceptable.

During recent decades, it has become evident that cigarette smoking has led to an increase in cancer, risk of death, and economic problems or sanitation issues worldwide. Acceptance and commitment therapy (ACT), as a third-wave behavioral therapy, has devoted significant attention to smoking cessation. However, this treatment has been utilized in different formats and protocols. Moreover, addressing its challenges and progress needs examination and integration. Accordingly, the primary aim of this study was to present a narrative review for summarizing and integrating the current data on the effectiveness of ACT on smoking cessation. This study also aimed to investigate the challenges and the future of this field.

The publications from January 1, 2010 to October 9, 2021 were identified by searching MEDLINE, Embase, Scopus, PsycINFO, and Web of Science electronic databases. The search was performed with the following keywords: “Acceptance AND Commitment Therapy” OR “Acceptance” AND “smoking” OR “tobacco” OR “cigarette” OR “smoker” OR “Nicotine”. The inclusion criterion was studies with interventions aimed at reducing smoking cessation in smokers.

A total of 17 articles were analyzed in this study. The results showed that this treatment has significant effectiveness in smoking cessation and psychiatric comorbidities. Moreover, the role of experiential avoidance in smoking cessation was discussed in detail.

ACT is a suitable psychotherapy module for smoking cessation. However, it needs some upgrades regarding technology. To this end, smartphone applications and AVATAR therapy technologies were discussed with their advantages and solvable disadvantages.

Coronavirus disease 2019 (COVID-19) is a respiratory disease with rapid transmission that affects most countries. The aim of the present study was to analyze the citations of COVID-19 research in the Scopus citation database from 2019 to 2021.

This applies study was conducted with a scientometric approach. The research population was 4269 research articles published in the field of COVID-19 during 2019-2021. VOSviewer, UCINET, and Excel were used to map and analyze the citation network.

In the Scopus database, the most frequently cited articles at COVID-19 related to China. The United States had the largest number of articles in this field assigned to COVID-19 with 467 articles. Li Y, Li X, and Wang J scored the highest in rank centrality, closeness index, and intermediate index, respectively. Iranian researchers have had the most international collaboration with the countries of North America, Europe, and China.

The countries of America and China have contributed the most in this field in terms of both article production and citations. Due to the co-authorship with these countries, Iran is also in the first and best cluster in the world.

"Amida Gospel" is one of the prominent examples of Armenian Holy Bible book design, whose ornaments enjoy a significant visual and meaningful variety and quality. This research tries to examine the ornamental animal motifs and their semantic analysis in the Amida Gospel of the Walters Art Museum. The focus of this article is on paying special attention to book design and the concepts hidden within the ornamental animal species and its images in the form of the Amida Gospel of the 17th century.

Research Method/Approach: 

This research was conducted in a descriptive-analytical procedure and its data was collected by a library method and from documents available in the archives of libraries and museums.

The animals employed in the motifs are categorized in four groups of birds, quadrupeds and mammals, reptiles and aquatics, and combined creatures. Each of the motifs used in the Amida Gospel, as a Christian symbol, refers to a previous concept or element. Birds are mostly a symbol of heavenly concepts and a mediator between the material and spiritual worlds. Quadrupeds are considered more and reptiles and aquatic animals less as symbols of saints, people, and human and worldly characteristics; and in some cases they also refer to the stories and events that happened to humans in the Gospel. It seems that the image of the combined animals was more influenced by mythological teachings and has been without religious background. In terms of technique, Amida Gospel is a combination of both ways of illustrating Armenian manuscripts, that is, Vaspurakan and Cilicia schools, both of which traveled along together, were influenced from each other, and at some points joined together. In Christianity, pictures and motifs are considered as pictorial alphabets to the followers of this religion so that all classes of society, even the illiterate, can read the Gospel through pictures. Christian artists have used all their art to describe the stories and rituals of Christ’s life and to show the spirituality of these stories and, by distancing from Greek and Roman naturalism, they have proceeded to drawing, designing and coloring human, animal, and floral figures and other ornamental elements without shading and volume processing so as to deny everything that refers to this material and earthly world and thereby to be able to show the spiritual world as superior to the material world.

The art of "Chutashi" or "Lucktarashi" is the manufacture of traditional wooden boxes and containers using forest trees in Mazandaran province, which has a long history. The purpose of this research was to identify the wooden species used in Chutashi and to investigate their distinctive features and technological (physical, mechanical) excellence. Hence, rough or semi-finished wood specimens were collected with different dimensions and shapes from local workshops. The handicraftsmen's reason for preferring these woods and their presumed superior characteristics were also recorded. The moisture content, density, shrinkage, and the swelling of the wood as well as mechanical properties including shear strength perpendicular to grain, cleavage strength, side hardness, and Charpy impact strength (toughness) were measured on seven kinds of selected specimens (maple root, maple trunk, Boissier pear, wych elm, boxwood, yew, and walnut). To further investigate the reason behind the desirability or undesirability of certain woods, their xylem was examined under a microscope and/or a stereomicroscope. Summarizing the views of the craftsmen showed that they prefer the root wood of maple and close-to-bark lumbers of mature, thick trees. Moreover, that part of a tree trunk, which is less exposed to the sun and is covered by moss, is more suitable for Chutashi. Mechanical tests showed that the shear strength perpendicular to the grain in the elm, cleavage in maple and walnut, the toughness of maple and boxwood, and the hardness in the yew had the highest values. Also, boxwood had the highest density, and yew showed the least shrinkage. Microscopic examinations clearly revealed the wider vessels, more homogeneity, and more interlocked grains in the root wood compared with the trunk one. The phenomenon of "Ahanak (ironlet)" in the yew, which causes a sharp drop in its quality, is, in fact, the accumulation of special extractives in several tracheid rows. Finally, the relationship between physical-mechanical characteristics and the views of the craftsmen was discussed and presence of superior properties in the selected timbres were verified.