Iran’s armaments, dating back to ancient times, adore Iran and the world’s museums. The main focus of the research is study of Iran’s armaments in Islamic period by relying on the information of Islamic treasury in Iran National Museum. The major part of the information revolves around three main categories of military equipment, military organizations, and metalwork of Iran. The research questions include: what process took place for Iran’s armaments during Islamic period and how could the relationship between Islamic Treasury Artworks of National Museum with armaments be explained? The hypothesis indicates the structural and technological developments of the armaments and tools during Islamic period. Islamic Treasury Artworks of National Museum are material and documentary evidence, from the design and form of combat tools in various types, different periods of Iran during Islamic period. Having an analytico - descriptive research method along with field visit, the results indicate that armaments of Islamic treasury represent that there are two different phases before and after Safavid period in the history of armaments. Information about military organizations could be deducted from the related manuscripts and the remained Islamic texts, but the artworks could not represent the military organizations.

Iranian carpet industry is thousands of years old. The carpet has decorated a wide range of spaces from the nomadic tents to the royal courts and palaces. Its importance has drawn many enthusiasts from abroad. The boom and bust in the carpet market has been subject to the overall economy and trade of the country. Since the 10th century A.H. i.e., the establishment of the Safavid dynasty in Iran, carpet was deemed as an important industry and a venerable form of art. The current article attempts to shed light on Tabriz carpets and reveal their trace in world museums and discuss the reason for their desirability. Through descriptive-analytical method and by means of library and online sources made available by western museums the author has sought to first, put the importance and status of Tabriz carpet in its proper context in the Safavid era, and then assess its export to foreign countries.

In today’s world, museums are recognized as significant indicators of a country’s development. However, issues such as the lack of creativity in presenting and displaying collections, underdevelopment, low-quality visitors’ experiences, and a dearth of innovative services have hindered their effective integration with society. Consequently, many museums are grappling with declining audiences and stagnant spaces. It is imperative for museum managers to provide a model to use entrepreneurial strategies to create an entrepreneurial ecosystem and a new attitude towards museum and entrepreneurship audiences; and also establish a practical interaction between the community museum and the visitors in order to address these challenges and enhance the current state of affairs, as well as to foster growth and development in museums. The present research is qualitative with a developmental-applicative purpose and has been carried out using a qualitative method. Data was gathered from both library research and fieldwork. The target community includes experts from cultural and artistic organizations, including museums, which have been conducted with the purposeful sampling method, in-depth interviews with twelve museum experts and cultural activists and entrepreneurs. The findings revealed that fostering a cultural entrepreneurial mindset is pivotal for creating a museum that embraces entrepreneurship. This mindset is influenced by factors such as an entrepreneurial attitude, innovative management, self-confidence, and a willingness to embrace change. Moreover, background conditions include government incentives, supportive and facilitating laws, improvement of international communications, and the support of cultural and media centers. In addition, awareness at the micro and macro levels, education, empowerment of human resources, entrepreneurial spirit, smooth and agile work processes, and networking with top museums are crucial intervening factors.

Curtain design is one of the common forms of textile design during the Qajar era. Knitting methods, types of dying designs, application of specific mediums for decoration, crochet works, the type of stories to be narrated and the place where the curtains were used all added to the curtain's validity. Today, some samples of this art is being kept at Iran and world museums. Two narrative curtains of Qajar period kept at Malek and Niavaran Museums have human and other figures with almost similar sizes. Therefore, the authors intend to compare them in order to check similarities and differences in their patterns and textures. The study aims to answer these questions: What are visual and conceptual properties in the two aforesaid curtains? And what are their similarities and differences in narrative content? The main objectives of the study include the survey of the content of the two narrative curtains and elaborate upon the thoughts and ideas of Iranian artists in creating these arts of the Qajar era. The results indicate that in this era, the narrative illustration of the approved historical and mythological fables based on the principles of clothing and set design of Qajar era has been very common. Enlargement of the main characters and the use of printing along with knitting and crochet work, the way of placing the authorities in the composition of the narration is outstanding in the art of Qajar period. The study employs historical-analytical method of research with a qualitative approach. Data has been collected using desk study of primary resources as well as the historical accounts available at the museums.

Iranian ceramics have close relation with the life of people and are of unlimited usage due to the variety of form in all contexts. They are also of significance with regard to aesthetic aspect and considered as a comprehensive document of different eras of Iranian art. Thus, this study aims to explore the motifs of ceramic works of Safavid period from the perspective of Tabriz and Isfahan schools. Indeed, in this study, the ceramics of 10-12th centuries (A.H) are investigated and the prominent features of Tabriz and Isfahan schools of painting and their influence on the design process of ceramic works are explored. Then, a number of ceramic works are analyzed according to dominant themes of painting in that era. The question raised in this study is to what extent the changes present in Safavid painting have been reflected in its ceramics. The method used in this study is comparative-analytic and the data has been gathered via library sources as well as the websites of world museums and private collections. Finally, the results of this study show that the changes created in each school of painting in Safavid era have caused unique transformations in the designing of this era’s ceramics so that the domain of their decorations has been influenced. Meanwhile, Kamal al-Din Behzad and Reza Abbassi as the most influential figures of Tabriz and Isfahan schools of painting and development of Iran’s relation with other countries caused technical and conceptual changes in the performance of ceramics’ motifs.

Cultural tourism is done to get acquainted with artistic and cultural heritages, customs, historical monuments with educational, research and research purposes. The purpose of this study was to provide solutions to promote interaction and synergy with national museums around the world with an emphasis on cultural tourism. The method of the present study is descriptive-inferential. The statistical population of the study includes experts, staff and experts of the National Museums of Tehran. To identify the component, interview tools were used with experts and 15 people were selected by purposive sampling method. In the quantitative section, stratified random sampling method was used to sample the staff and experts of the National Museums of Tehran. Cochran's sample estimation formula is used to estimate a sufficient number of samples in this study. The statistical population of the study consists of 600 staff and experts of the National Museums of Tehran. The number of statistical samples of the research based on Cochran's formula includes 234 employees and experts of the National Museums of Tehran. 234 questionnaires were distributed among the statistical samples of the research, of which 229 questionnaires were correctly obtained by the researcher. The research findings showed that the model of strategies to promote interaction and synergy with the national museums of the world has 5 main components that include 20 concepts that support them. Structural and administrative solutions, financial and economic solutions, legal solutions, business solutions and strategic solutions were identified as strategies to promote interaction and synergy with the national museums of the world. Based on the results of Friedman test, it can be said that financial and economic solutions have a higher average rank (4.45) than other solutions in terms of occurrence and effectiveness. The main result of the research is that by modifying the structural and administrative processes and allocating financial resources and managing the management of national museums, interaction with the national museums of the world can be increased and cultural tourism can be developed.

The establishment of Safavid dynasty in Iran and the prevalence of etiquettes attributed to Sufis required making kashkuls (Sufi begging bowl), as one of the qalandars’ and dervishes’ instruments used at ceremonies and related events of such a sect. The purpose of this study is to study the form and content of 34 metal kashkuls from the Safavid as well as the following era, Qajar. Here there are some questions to answer: What kind of interaction exists between the decorative elements of such kashkuls and the dervishes’ manners? And how are the metal kashkuls from these eras made in terms of form, function and symbol? Data of the present research has been gathered from library sources and by referring and accessing to the world museums’ sites as well as visiting national museums inside. The results are as follows: Dervishes always carried kashkul for making request from others while they sang mystic poems in markets and alleys, which were considered both a Sufi propaganda and an experience of self-humiliation. The costly kashkuls, including metal types, carried symbolic, ritual, and decorative aspects. Early samples were made of natural material. Later, other forms, including the metal type, became popular.
Besides being regarded as the instruments of dervishes and qalandars, Kashkuls have also been used at Ashura (tenth day of Muharram month) as well as in the water-carrying ritual and mourning ceremonies of this historical event. In the dervishes’ poems, kashkul is related to Abbas ibn-e Ali, a standard bearer (flag bearer) in Karbala. It is also used in mourning ceremonies relating to the same water-carrying ritual. Some poems on kashkuls have direct reference to water-carrying and the blessing of drinking water from the instrument. Furthermore, in both two eras, water-carrying in traditional Iraq was common to Sufism. 
It is to be mentioned that there were three forms of kashkul in terms of appearance in the Safavid and Qajar era: 1. Those inspired by the plant type (coco de mer fruit); 2. Those in the form of a vessel (ship); 3. The ones which are distinctive in their overall form and unique decorations. They have been decorated with pictogram inscriptions, Shiite themes and Persian poems.  These Kashkuls are engraved with a variety of inscriptions including surahs or selected Quranic verses, Salavāt-e Tafziliyyah (praising and greeting of the Fourteen Innocent Imams) indicating the Shiite tendencies, Persian poetic verses relating to honor the dervishes’ believes and Kashkul’s maker, as well as other poems on the function of the instrument in carrying water. They also have historical inscriptions which refer to the maker and the making date. 

Decorative ornaments on Kashkuls include human, geometric, zoomorphic and vegetal designs. The techniques used here are etching, niello, gold blocking of steel, engraving, latticework and inlay with symbols such as dragons, ships, fish and snakes. Furthermore, the ship or vessel, which is the general form of some Kashkuls, has been inspired by the hadith of the Noah's ship (the Rescue Ship) mentioned in the Sufi texts in this way. Some motifs such as dragons, fish and snakes are also to be found in the pre-Islamic or Islamic times, or we can consider the implications of such artistic inspirations taking their semantic aspects in literature and mysticism into consideration. It indicates that such elements and subjects have been influential on the beliefs and ideals of dervishes.

The museum of science and technology is a center based on science to present the up-to-date achievements of sciences and technologies from all over the world with the goal of improvement in knowledge and science of society by exhibits, equipment and devices, how people can learn science practically. On the other hand, the museum of science and technology is a place for presenting sciences that convert to visual and practical actions and exhibits that visitors, based on their interest, previous knowledge and capacity, can learn new things in a simple way during a short course. Several valuable benefits have been presented by museums of science and technology from all over the world, such as useful scientific and non-scientific jobs, economic development, exchange of sciences between universities, research centers and other museums of science and technology. This review, evaluate the structure, goals and achievements of the museum of science and technology and its benefits for society, people, city and country.

This study aims to investigate the common methods of organizing coins and bills in museums and to propose a coordinated system for the proper and integrated organization of these museum objects.Methodology/ Approach: The present study is based on descriptive survey method. The theoretical parts of this study have been conducted using library methods and the data has been collected using a survey methodology and through interviews that the researcher has conducted with the staff of museums containing coins and bills (in Iran and around the world). A total of 65 museum staff were interviewed (13 Iranian and 52 non-Iranian). The interviewees were selected from various museums containing coins and bills with regard to geographical distribution and global scope. The findings of the study indicate the lack of an integrated method for organizing coins and bills in museums. Based on the research findings, a coordinated system is suggested for the integrated organization of coins and bills at museums in Iran and around the world. The interviewees believed that a coordinated system would be efficient and practical. The findings of this study indicate that the integrated organization of coins and bills at museums through a coordinated system leads to enhanced management of coins and bills, improves collaboration and interaction between museums, and contributes to enhanced utilization of these museum objects. It is considered essential that the officials and managers of museums containing coins and bills take necessary measures to deal with this issue.

Science and Technology Museums (STM) aside from being places for exhibitions, are places of learning aimed primarily to create an environment for public education and participation in science learning. Nowadays science museums are considered as learner-focused places where education is led through observation, hearing and experimentation. As such, learning becomes deep rooted as well as application-oriented. In this paper after a brief introduction about science museums, their role in active learning and ultimately some of the prominent features of important science museums around the world and Iran will be compared and discussed.