Login New techniques, painting affected West, in the late Qajar era, opened a new chapter on Pahlavi of the visual arts, That on one side the art of the West and the periods before the Qajar, roots, and on the other hand, is the mirror of developments and orientation of Age itself. One particular artistic trends of the period, making images of the political elite who commissioned them, in the form of photographs or portraits that can be created. This type of work, culminating in the Revolution, and then, in the next period continued until after the formation of the National Assembly, the specific type of art became. Despite numerous studies on the life and works of artists, including Kamal-al-molk and Ali Mahmoudi, visual and technical features portraits of men National Assembly is still unknown. Therefore, the main goal of this research is to decode the working certificate of Jafar-e-chehrenegar, artists of movement art, and knowledge of the techniques employed in this portrait. Research method is descriptive-historical. In this direction, three examples of Jafar-e-chehrehnegar in the Museum of Parliament, to historical and comparative studies is selected. As a result of studies on Jafar-e-Chehrehnegar’ s works, which are the portraits of Parliament members, It was found that all three tableaus reconstructed of image. can be viewed in this way he will continue to be Kamalolmolk. Therefore, it can be concluded that the J. Chehrehnegar, learned painting to mentor a student’ s Kamalolmolk or he was student of himself that his name has been among their pupils is unknown.

Pahlavi Period has a special feature in the history of art in Iran. Due to the influence of Western's art and culture during this period, paintings and art are greatly influenced. The influence of Western art was begining from long ago of the Safavid dynasty, which reached its peak in Qajar and Pahlavi period. This paper attempts to identify the materials used in Pahlavi easel paintings. For this purpose, the boards' portrait Hassan Esfandiari ", " portrait of Muhammad Ali Foroughi "and" Mahmoud Ehteshamosaltaneh portrait " from paintings collection of Jafar-e-Chehrehnegar, in the Museum of the Iranian Islamic Parliament will be used as a case study. Techniques for analyzing PLM, FT-IR, SEM-EDS, XRF, as well as historical studies, basic procedures the identification of pigments and fibers are used in the painting. According to the results of the analysis carried out, the artist used white lead, zinc white, calcite white, yellow ochre, iron oxide, red ochre, ultramaryn, , Indigo Blue, under the influence of artistic periods before Pahlavi in Iran. And used titanium white, green chrome, yellow zinc and lead chromate yellow and red, Prussian blue, under the impact of foreign artists and new materials have been imported. The fibers used for making canvas painting: canvas was diagnosed. J. Color Sci. Tech. 11(2017), 121-136© . Institute for Color Science and Technology.

During the Long history, the Muslim scholars have had careful attentions toward the collections of traditions, the words of the holy prophet and the infallible Imams. In rare cases, such an attention has revealed in the form of the manuscripts of the important religious books.Sahifa Sajjadia, is one of the important collections of prays and hymns, which have been hand -writhen by the Shia and Sunni scholars. In this essay, 10 Shia scholers, and one Sunni writer are introduced, who have manuscripted the Sahifa Sajjadia book during the last nine centuries.

Hafez is known and unknown to everybody and is enormously spoken of. His poems have been elaborately explicated and studied from different perspectives. This article looks at his poetry from a different angle. Hafez has frequently used words such as hair, plait, tress, lock of hair, … in his poems, but not only is this repetition not boring for the reader, but also he feels a kind of freshness each time.The article intends to illustrate Hafez’s skill and art in creating new expressions with these words. Hafez maneuvers a word along with the other words and grants freshness and novelty.

The main objectives of this study were to evaluate the genetic diversity in 53 Aegilops accessions belonging to Aegilops tauschii, Ae. cylindrica and Ae. crassa as well as comparison of the efficiency of start codon targeted (SCoT) and targeted region amplification polymorphism (TRAP) markers. A total of 15 SCoT and six TRAP primer pairs amplified 165 and 201 polymorphic bands, respectively. TRAP primers indicated higher values for the number of polymorphic bands, marker index and resolving power compared to SCoT primers. However, SCoT primers showed the higher PIC value than TRAPs. The results of molecular variance analysis (AMOVA) were different for each of the marker systems, so that SCoT markers showed the highest portion of genetic variance referred to intra-species, while based on TRAP markers the highest variance was observed inter-species. SCoT markers indicated the highest values for all genetic parameters compared to TRAPs and Ae. cylindrica and Ae. tauschii exhibited the highest genetic variation based on SCoTs and TRAPs, respectively. Cluster analysis based on each marker systems as well as the pooled data classified all accessions into three main groups. The clustering pattern based on SCoT primers was clearer than TRAPs. Hence, the use of SCoT markers is recommended for population genetic structure analysis and grouping of them, while the use of TRAPs can be recommended for fine mapping studies.