This article is the result of theoretical and preliminary studies of 240 Shekel (Siglo) coins of the Achaemenid Empire. This valuable collection was obtained by the police of Mazandaran province in 2010 from antique smugglers in Amol city. Currently, these very diverse and valuable coins, which were discovered from a place in the south of Iran and near the port of Assaluyeh, are kept in the Museum in Sari city. Because documenting coins in museums was limited to basic recordings, we had the opportunity to document all the coins in the collection for library studies and comparisons. Documentary of coins was done by measuring, weighing, hand drawing, computer drawing, photography and scanning. After this stage, the main questions and objectives of research were posed. Preliminary studies and comparisons confirmed the attribution of coins to the Achaemenid period. Also, the initial results of the documentation, that's mean examining the details of the image of the coins, including the crown, clothes, weapons, body shape and face details, showed differences in their minting and made it possible to compare them with referable samples. Although in this study, some materials have been proposed to confirm the authenticity and dating and identify the time range of the studied coins, nevertheless, accurate determination of their authenticity and scientific chronology will be possible after more accurate experiments.Coins were invented as a result of the development of societies and the economic needs of human beings. The first coins were minted by the Lydia government. Cyrus the Great, recognized the need to use it, but Darius I minted gold and silver coins for the first time in Iran. The gold coins were called "Darik" and the silver coins were called "Shekel" ) Siglo (. Shekel is a silver coin weighing 5.60 grams. During the Achaemenid period, four types of coinage were minted: 1- Imperial coin 2- Satrap coinage 3- State coins with the image of the emperor 4- Local coins or non-Iranian lands that were under Persian rule. Imperial coinage have no writing; Therefore, their classification needs to be carefully studied and compared with similar samples. The collection studied (Shekel), are under the group of Achaemenid imperial coins. Since the preliminary studies of this collection were very necessary to introduce it to the scientific community, so an attempt was made to make a comparative study of the coins of the Mazandaran Museum with the most important coins found from the Achaemenid period. Coins were studied and documented by referring to reliable sources. In this regard, for comparative studies based on comparison, the characteristics of coins including the appearance of persons on the coin, decorative motifs, Type of clothing and individual symptoms, with similar cases were considered. This almost tedious process eventually led to the creation of a framework for classifying the coins in question. Since the method of documenting these coins in the museum was limited to the initial recordings, due to the importance of the subject, we had the opportunity to conduct detailed studies to address the main questions and objectives of this study. The comparisons made on the coins of this collection confirmed their authenticity and attribution to the Achaemenid period, and the work of documenting showed the difference in their minting.At first, all the study documents, including the history and economic system of the Achaemenid kings, as well as sources about their cultural works, such as reliefs and seals, were collected. The oxide-coated sample was then purged. The oxide layer was then removed from the surface of a number of coins. After this step, the weight of the coins was measured with a digital scale and their diameter and thickness were measured with a caliper. In the next step, the back and front of the coins were photographed with a digital camera and scanner, and then they were technically drawn manually with the help of a computer. If the coin shapes were not obvious due to wear and tear, clear images were created with the help of Photoshop and inverter software for more accurate design. (Figure1). These coins are very simple and the main focus is on the image of the king. The king is armed with a bow, spear or dagger in these coins. With the exception of rare cases, there are depressions on the back of the coins. Sometimes signs and symbols are engraved on the back and on the coins (Figure 8).Achaemenid coins, while simple and similar, have a great variety. Different sources have dealt with their different types and forms as much as possible, but considering that a number of coins in the collection of the Mazandaran Museum in the city of Sari did not have known and completely similar examples, Therefore, they were studied, separated and compared with samples that had the least details in common. From the studies and comparisons made with the samples of other Achaemenid coins, results were obtained that created suitable grounds for identifying and classifying the coins of the Mazandaran Museum. Summary table attached, Comparison of Achaemenid coins of the collection with other coins discovered (Table 1). According to this research, 240 coins belonging to Achaemenid kings have been identified. Recognition of the amount and purity of coins, which is a good criterion for determining the authenticity of coins, was not tested in this study, but the weight of coins, which is usually the standard for mints, was tested. The weight of coins of Mazandaran collection is determined with an average of about 5.60 grams, which is the standard weight of Achaemenid coins. The results of studies have shown that among this collection, there are coins that are similar to known examples. Also, there are coins that do not have similar patterns. This study provided an opportunity to examine the details of the image of coins and compare them with other samples, to classify them and attribute them to one of the kings who owned the coin. shekel coins have a great variety in terms of the image. In other words, the coin of a king has been in different details, which has created different types. The reason for this diversity may have been the existence of multiple mints or the lack of oversight of coin makers. A number of these different species have been identified and introduced in the study collection in Mazandaran Museum One of the reasons for the value of the silver coins studied is that they are a collection. This collection, as a time capsule, introduces a time range with a specific beginning and end. In total, the coins of the seven kings have been identified from the coin-owning kings in this period. In this collection, from Darius I, which basically has three species, one species (Figure 8), from Xerxes, which has two different species, one species (Figure 11), from Artaxerxes I (Figure 14), Darius II (Figure 16) and Young Cyrus, one species (Figure 18), from Artaxerxes II, three species (Figure 22, 23, 24) and in Finally, two types of coins have been identified from Artaxerxes III (Figure 25, 26). According to the information obtained, the period of the study complex was related to the years 522 to 338 BC, which covers about 184 years of the Achaemenid Empire.

The present paper involves the investigation and identification of the insignia of 240 Achamenid shekels, from the collection of the Mazandaran Museum. Investigation of law enforcement indicates that the collection was seized from looters in the Asalooyeh region (ambiguous locality). Subsequent preliminary work suggests these are typical coins of seven kings who reigned for around 184 years between 522 BC to 338 BC. Some 195 coins of the total 240 have signs, mostly with one sign, while rare samples present up to 9 signs. Numismatists and archaeologists have assigned them various functions, including mint sign, finesse, and weight affirmation. Do the definitions include the studied collection? Why do some of the coins have no signs? The investigations led to the discernment of 567 signs, typically from plain to geometrical and zoomorphic ones. There are many signs in the collection that are similar to known samples in many ways, however, there are unique signs unsimilar to any other marks thus far identified, which are not necessarily mint marks, because they are more obvious than the king’s figure that is eroded in most of the cases. Obviously, they are later engravings, whereas, 45 coins lacks any signs. The other conclusion is the transition of concepts of the signs as hidden mysterious messages such as a king death and reign of a new king.

Museums are cultural foundations that display the cultural characteristics of different nations collectively. Museums have different types from a thematic and structural point of view, with archeological and anthropological museums in the first group and historical buildings museums in the second group. Historical building museums are created by restoring and changing the use of traditional buildings that one of the ways to bring traditional buildings into the life cycle is to use and protect them. Mazandaran is one of the historical provinces of Iran where several historical houses and museums have been built. The main purpose of this study is to investigate the functional challenges facing the museum of historical houses in Mazandaran. In the present study, three museums have been selected as a case study: The museum of the handicrafts of Sari, the Historical museum of Amol, and the museum of the Ganjineh of Babol. Data collection was done by documentary and field studies. Field studies in this research have been done by designing and distributing a researcher-made questionnaire and collecting the views of experts in the fields of architecture and archeology. The variables and dimensions examined in the questionnaire are the areas of physical structure, protective structure, performance quality and ancillary facilities. SPSS statistical software was used for data processing and descriptive statistics and inferential tests were used for data analysis. The results show that the components of performance quality are in a more favorable condition, but according to their average level, this sector needs a fundamental upgrade. Also, all the criteria related to the physical structure index are in an unfavorable position that this indicates the incompatibility of the physical structure of historic buildings with the physical structure of standard museums. The reflection of these problems can be obtained from the satisfaction or dissatisfaction of the audience and visitors of the museum. Therefore, the current situation should be improved by relevant institutions such as the Heritage Organization.

Tourism, particularly cultural tourism opens the door to knowledge, development, and sustainability of society. With the hypothesis that museums can develop tourism, especially cultural tourism in destinations, this study aimed to examine the effect of musumes on cultural tourism in eastern Mazandaran using survey methods. The Sample size was estimated 380 respondents based on the Morgan chart and SPSS software was used to analysis the data. The results showed that Kolbady Musume in Sari and Gohar Tapeh Museum in Behshahr have potentially significant roles in attracting tourists and introducing the history and culture of eastern Mazandaran. This could provide a suitable ground for developing cultural tourism in the region depending on planning and management on the part of relevant institiutions, particularly the Cultural Heritage, Handicrafts and Tourism Organization.

The northern part of Iran, particularly Mazandaran and Golestan are replete with Arts. Among the various Arts, this area’s metal works have received less attention due to lack of provincial Museums and the improper upkeep of objects in repositories, especially in Qajar era, no independent written source is found about these works yet. The existence of Qajari’s metal works in a museum is indicative of the existence of this art in this area and the use of geometrical, herbaceous, animal motifs and use of writing on these works gave an especial manifestation to them. Despite the existence of numerous metal works of Qajar’s era in this area, due to lack of documentation of all the objects, only four authentic objects are chosen from Iran’s National Museum and Babol’s Museum as the representative and by using linear analysis of designs, the researcher has aimed at studying these metal works to unveil these neglected works. The main aim of this study includes the study of motifs, the symbolic meaning which is hidden in them and introduction of the predominant designs of this area of Qajar’s era. The initial data are gathered through library and field research and in their compilation, the descriptive-analytical method is used.

Teleiopsis diffinis (Haworth) was identified based on a single male specimen collected in Khakak, Mazandaran Province, deposited in the Hayk Mirzayans Insect Museum, Iranian Research Institute of Plant Protection. The genus Teleiopsis Sattler and T. diffinis are newly reported for the fauna of Iran. Taxonomic characterization of the species is provided and the examined adult male and its genitalia are illustrated.

Sasanian Silver Bowl at the National Museum of Iran, known as the “dancer-musicians scene”, has been one of the museum’s most archaeological works for the past sixty years. According to Ali Sami, this bowl was purchased in 1334 (1955); it is attributed to the north of Iran (Kelardasht of Mazandaran). The palm-shaped head of this bowl shows four dancer-musician-singers with four different well-known musical instruments as well as a figure of a pheasant in the center. In all previous scholarly works, as well as in the many exhibitions in which this bowl has been displayed, this work has been referred to as the motif of the “female dancers-musicians”. However, doubtful interpretations of musical instruments of the motif can be found in the same scholarly works. Obviously Iranian scholars to the internally held exhibitions have followed previously mentioned works. The author will first challenge the “femininity” of these four dancer-musician-singers and will testify the view that three of them are only masculine. Secondly, I will present a new proposal to the readers with a different interpretation of these Iranian music instruments. Also, the author considers this bowl to probably be a heritage from the Persian Gulf (southern, not northern Iran). Furthermore, I will also focus on the identity of these dancer-musicians in such a musical group scene as “Indian gypsies” or at least inspired by such a musical style. The author will also refer to two other lesser-known similar bowls of the Museum. Meanwhile, the author will present a new perspective on the date of this silver object which is based on its motif details and two more Silver Works at the National Museum of Iran. In this comparative study, I will draw a line between the three motifs (of the bowls, especially two of them) based on the two seasons of “winter and spring (or summer)”!

طول دوره ی رشد، تولید مثل و پارامترهای جدول زندگی سه جمعیت تریپس پیاز، Thrips tabaci Lindeman، شامل خراسان رضوی و گلستان روی پیاز و مازندران روی توتون در شرایط آزمایشگاهی (دمای 2 5 درجه ی سانتی گراد، رطوبت نسبی 50 درصد و طول دوره ی روشنایی به تاریکی 1 6 به 8 ساعت) مطالعه شد. طول دوره ی زندگی از تخم تا مرحله ی بلوغ در جمعیت های خراسان رضوی، گلستان و مازندران به ترتیب برابر با 2 2 /1 5، 6 6 /1 4 و 8 2 /1 7 روز بود. مرگ ومیر پیش از بلوغ در این سه جمعیت به ترتیب برابر با 3 0 ، 3 8 و 58 درصد بود. افراد ماده ی جمعیت های خراسان رضوی، گلستان و مازندران به ترتیب میانگین تخمی برابر با 5/2 9 ، 7 /2 7 و 3 /2 6 عدد تخم و میانگین طول عمری برابر با 0 /1 8 ، 7 8 /1 7 و 0 7 /1 9 روز داشتند. نرخ خالص تولیدمثل (R0) در جمعیت های فوق به ترتیب 7 5/1 9 ، 48 /1 8 و 8 4/1 0 و نرخ ذاتی رشد (rm) به ترتیب 1 43 /0 ، 1 41 /0 و 0 9 6 /0 بود. جمعیت های خراسان رضوی و گلستان (هر دو روی پیاز) دوره ی رشدی، مرگ ومیر، و پارامترهای جدول زندگی مشابهی داشتند در حالی که جمعیت مازندران (روی توتون) از نظر ویژگی های فوق، اختلافات معنی داری با آن ها داشت. بر اساس اختلافات موجود بین طول دوره ی رشد پیش از بلوغ، باروری و پارامترهای جدول زندگی، ممکن است دو جمعیت مجزا از این آفت روی توتون و پیاز در ایران وجود داشته باشد.

Evaluating the performance of the museum is one of the most important management tasks in museums. The directors are obliged to evaluate the performance of the museum under their management according to the mission, goals and tasks explained to the museums and while constantly monitoring the actions that are going on in the museum. Today, museum management is one of the most important independent aspects in the science of museology, which indicates the knowledge and awareness of a museum's responsibility to society, which in recent years has become one of the main concerns of related organizations and institutions worldwide. Many museums are facing a pattern change. For example, the public budget crisis has forced them to choose new strategies in terms of organization, funding, presentation, and how to organize independently. Therefore, raising awareness, recognizing the tools of the economy, attracting investment and sponsors, improving efficiency, guiding and motivating staff, orienting groups with similar goals, and marketing and monitoring the work of the museum are essential.The performance of museums as one of main heritage tourism attractions, has very important role in attracting tourists. This paper examines the development of cultural heritage tourism, with an emphasis on the museum's function in the historical cities of Sari.

The research is applied in terms of purpose and from the point of view of descriptive-analytical nature. It was conducted in 2017 in order to study the development of cultural heritage tourism with emphasis on the performance of Kalbadi House Museum in the historical city of Sari. The data of the present study have been collected by library and field methods. The library method includes the study of relevant resources for problem solving, theoretical foundations and questionnaire design. Field research also includes the distribution of a researcher-made questionnaire among tourists visiting the Kalbadi Museum. Due to the uncertainty of the statistical population, the Cochran's formula is used to determine the sample size. Based on Cochran's formula, the sample size was 270 people, of which 210 questionnaires were distributed, 210 complete questionnaires were collected and used for analysis. SPSS software was also used for data processing.

The results show that there is no difference between the attitudes of women and men regarding the importance of the development of heritage tourism in the city of Sari. But the attitudes of these two sexes are different about importance of museum performance. Performance of the museum in this research has had a Meaningful effect on the development of cultural heritage tourism in the city of Sari. The beta for the performance of the Kolbadi house's museum featured its contribution (more than 60 percent) to the development of cultural heritage tourism and the importance of museum performance in this area. In this regard, it should be acknowledged that audiences faced a collection of specialized activities in this museum. In fact, the interface between the audiences and silent cultural objects in museums is the museum's performance, which is mainly designed and implemented by a dedicated human resources. The technical performance museum (Beta=.404) also had the most share in the development of the heritage tourism, that reflects the strict observance of the conservation issues in this museum. The service quality criterion (Beta=.076) had less contribution to the development of heritage tourism based on Kolbadi house's museum. This result is also related to the quality and quantity of cultural services provided by the museum and its staff to the tourists.

The Cultural Institutional Museum is a place for storing and displaying objects with the aim of educating and promoting the level of public knowledge, cognition, understanding and awareness. In the field of tourism, museums also play an important role in teaching culture through cultural tourism and heritage. From this approach, museums are a unique cultural place to provide information and cultural attractions related to the region or ethnic group or nation to the audience and tourists and play an important role in the development of heritage tourism. Kalbadi Museum House is one of the unique museums in Mazandaran province, which according to the statistics obtained in this research has a 60% share in the development of cultural heritage tourism in Sari. This situation is related to the collective and integrated presentation of human cultural works to the audience, which can increase their level of satisfaction.

Having a favorable environment, the southern coasts of the Caspian Sea have hosted human settlements for millennia. So far, as a result of archaeological excavations as well as illegal diggings, a considerable number of ancient artifacts have been unearthed from archaeological sites in this region. The nature of many finds from unauthorized excavations and accidental discoveries are still unclear. These objects, generally found as hoards, often have unknown provenance and unknown fate. However, some of the objects, which are discovered from the Mazandaran region during the last centuries, are unique and their analogous have never been found from elsewhere. These are the main questions this research tries to answer: 1. given quantitative aspects of the accidental or unauthorized finds from Mazandaran, what sorts of information can be achieved by the study of these objects? 2.Which groups of sources can be helpful for the study of historical objects found by accident in the territory of the Mazandaran province? In this research, we will focus on certain historical objects from Mazandaran, which have been discovered either accidentally or by unauthorized diggings during the last two centuries. A number of these objects are currently kept in museums not only in Iran, but also in some western countries. Their provenance and fate can sometimes be traced in historical books, newspapers, travelogues and oral narratives. This study attempts to show the necessity of reconsideration of the provenance of certain objects as well as their historical and artistic significance.