Introduction: Ceramic inlays are alternative systems for restoring dental cavities with tooth colored materials. These restorations may have some benefits over direct composite restorations such as reduction in the bulk of the cured composite. The aim of this study was to evaluate the microleakage of direct composite restorations and ceramic inlays with two different resin cements.Materials & Methods: In this experimental study, 45 class V cavities (15 teeth in each group) were prepared in buccal surfaces of human extracted molars. For 30 cavities, ceramic inlays were prepared and were cemented either with Variolin k I Excite DSC or Panavia FlED primer. Fifteen samples were restored with Excite! Heliomolar (direct composite). Then the teeth were thermocycled and were covered with sticky wax and were immersed into the 2% Methylene blue for 48 hours. The teeth were sectioned longitudinally and dye penetration was determined. Data were statistically analyzed using nonparametric tests of Kruskal Wallis, and Mann Whitney with significance level 0.05.Results: Enamel margins showed less microleakage than dentin margins in all groups (P<0.05). No significant differences were observed between the materials used in this study (P>0.05).Conclusion: The materials used in this study can not completely prevent microlekage. It seems that ceramic inlays can not reduce microleakage over direct composite significantly.

Background and Objective: In inlay restorations, most of the polymerization occurs out of the mouth. The aim of this study is to compare two types of restoration for micro leakage amount. Subjects and Methods: Thirty four premolars were randomly divided in two groups. In the direct composite restorations, mesio-occlusal cavities were prepared. After etching and bondig the cavity, 1 mm of the floor of the box was filled with F2 composite and the rest of it was restored with Nulite F. In the direct inlay composite group, cavities with same dimensions but with divergent walls (5-6 degrees) were prepared. Then Tetric Ceram composite was directly formed and cured in the cavity. Inlays were taken out and heated in boiling water for seven minutes. Then sandblasting by aluminum oxide was performed and inlays were cemented in the cavities with Rely X cement. Then the specimens were thermo cycled and immersed in 2% fushin for 24 hours. Samples were investigated with stereomicroscope with magnification ratio of 40 and analysis was done with Mann-Whitney test. Results: All the samples in to the two groups are in score 0 and score 1 division based on their microleakage (without microleakage: score 0, microleakage to enamel: score 1). The data analysis showed that the two groups had not significant statistical difference. Discussion: Although in direct inlay restorations most of polymerization shrinkage occurs extra oral, but it is not sufficient for complete reduction in micro leakage amount but this restoration is clinically suitable as direct composite restoration.

Inlay (Khatam) is one of the most significant Iranian wooden traditional arts. In this profession, objects’ surfaces are covered and decorated with the combination of wood, metal, bone and such materials based on geometric shapes. As it is known, geometric shapes are among the fundamental and common patterns in traditional arts. The use of such geometric shapes is similar and common in many related arts disciplines. However, Inlay is one of the few disciplines in which its patterns and details of the construction are inspired by geometric shapes. Geometric shapes are technically called “ Golbandi” in the art of inlay. For creating “ Golbandi” , the materials are first cut off with proportional angles and edges, once the pieces are aligned next to each other according to the scheme, the so-called “ khatampichi” or binding khatam begins. In general, inlay is divided into three general categories: “ khatam Moraba” (Square inlay), “ khatam Shesh” (Six inlay) and "khatam Gereh” (Knot inlay), which is based on difference in the cutting of primary materials in Golbandi. In fact, the cutting angles of inlay materials lead to the creation of sides with different cross-sectional area, and these three types of inlay distinguish in appearance. For instance, the cutting of materials in Square inlay is based on square and rectangle; in Six inlay, the cut is based on equilateral triangle and rhombus; in Knot inlay, it is based on isosceles triangle with (acute and obtuse angles) and pentagon geometric shapes. The method of constructing Knot inlay is generally more complicated and difficult than the other types of inlay. The Knot inlay is usually formed on the basis of geometric designs (acute and obtuse angles), and the cutting angle of materials is also different. “ Gereh Panj” is one of the most commonly used patterns, which is the basis for the formation of patterns in Knot inlay and is observed in almost all types of Knot inlay. Accordingly, the subject of this paper is dedicated to the study of “ Golbandi” construction techniques in “ Gereh Panj” inlay and seeks to answer three questions as follows: 1-What are the general characteristics of a knot inlay, and what is its distinction from other types of inlay? 2-What are the stages of designing and constructing of a “ Gereh Panj” inlay? 3-How does the color combination apply to the creation of a “ Gereh Panj” inlay? For this purpose, while considering the main characteristics of Knot inlay, the geometric drawing method, preparing materials, stages of “ Golbandi” and “ Khatampichi” , combining variation and coloring in the “ Gereh Panj” inlay have been investigated. In the preparing materials section, the author describes the calculation methods of inlay materials. The main stages of the production of the “ Gereh Panj” inlay are illustrated as specific linear drawings throughout the article. This paper is written using the descriptive-analytical method and relies on library studies and field research. As mentioned above, Knot inlay is formed based on geometric shapes. However, the creation of “ Golbandi” is different from drawing of the geometric shapes. In order to construct a “ Gereh Panj” inlay, the following materials are required: one “ Shamseye Panj” , five “ Kardi” and five “ Baghal Shesh” . All materials need to be rubbed and prepared before “ Golbandi” . The most important part is the precise and accurate adjustment of the knot components in order to create a regular polygon knot. Furthermore, the materials used in Knot inlay are different and have higher quality. On the other hand, the variation in the Knot inlay can be achieved by creating a variety of materials’ color scheme. Colors of inlay components affect final color of “ Gholbandi” . The Knot inlay is made up of wood with natural colors and the phenomenon of wood staining, which is very common in the production of other types of inlay, is very rare. Layers applied around the sides of “ Gereh Panj” or other components of Knot inlay are those that are commonly used in “ Gholbandi” construction. Of course, in some cases, depending on the location of “ Gereh Panj” , the layers may not be applied to all sides of a knot. As it is known, the use of layers is one of the characteristics of the Shiraz inlay. The research results demonstrate that “ Gereh Panj” is used in all kinds of Knot inlay. The appearance of “ Gholbandi” in Knot inlay is based on geometric shapes. In addition, several different ways of binding “ Gereh Panj” are explored in the context. All materials for construction of binding “ Gereh Panj” should be natural with high quality. As mentioned that “ Gereh Panj” is used in all types of Knot inlay, the color scheme of “ Ghereh Panj” has a huge impact on “ Gholbandi” in other kinds of Knot inlay patterns.

The present article criticizes the "descriptive glossary of inlay" by Nasrin Tabatabai with a critical descriptive approach. The book was written in 2003. In this regard, the formal and structural aspects of the book in terms of observing the principles of scientific writing as well as content in terms of the importance of the content and what it is have been studied. In a situation where library studies on inlay  are few and with ambiguities, the writing of sources, although with shortcomings, have spiritual values for inlaying. In this book, the author has been able to collect and describe the specialized vocabulary of inlay for the first time, which is valuable and admirable; but at the same time, there are shortcomings in the presentation method, , insufficient and incomplete descriptions in the definitions of specialized words and terms, and the lack of some necessary words. Formally, in terms of writing style, citation system, non-Iranianization of some words, etc. can be seen in the book. Also, in terms of content, there are problems such as the lack of a precise demarcation between the definitions of some entries, the presentation of some short and incomplete definitions, the lack of some necessary words, the lack of proper references and the lack of a list. This research, in addition to explaining the deficiency, has also tried to redefine the words.

According to historical sources, (Khātam) inlay is one of the wooden arts of Iran, beginning of which may be considered in the Al-Muzaffar period based on the inlay that remains preserved in the Metropolitan Museum. Remaining pieces from the Safavid era, namely entrance doors, particularly in palaces, as well as chairs, suggest that this period has been notably one the glorious eras of this art in Iran. The centre of producing these works in the Safavid era was Isfahan city, though later it was replaced by Shiraz which became the only remaining centre of this craft. This art has achieved valuable achievements in each period, some of which have continued to this day. Among the works of inlay left from the past, there are unique masterpieces, an important part of which is related to the Qajar period. The aim of this study was to explain the marquetry inlay method and to analyze its continuity in order to answer the following questions: 1. What are the technical characteristics of the marquetry inlay method? 2- What factors are effective in the continuation of the marquetry inlay from the Qajar period to the recent decade? One of the technical features of the marquetry inlay method is the creation of color diversity in inlaying, which has been achieved with the help of inlay blades. In this research, the descriptive-analytical research method and its methodological approach are based on a constructivist approach. One of the most important factors in the continuation of this method is the parehiy inlay, the use of which has also been under the influence of factors such as the variety of raw materials, as well as ease and speed in construction. For this purpose, the effects of the marquetry inlay index from the Qajar period to the recent decade have been studied despite the limited number of works of statistical samples which include 3 works preserved in the World Heritage Collection of Golestan Palace, Ostad Saba Museum and Reza Abbasi Museum, 2 works preserved in the Research Institute of Traditional Arts and 1 work preserved in the private collection of Victoria and Albert, which has been purposefully selected. In this research, the research method is descriptive-analytical. The collection of materials was based on library studies and field observations. The results of the analysis show that the marquetry inlay method, which is one of the important achievements of Qajar inlay, has been influenced by the emergence of parehiy inlay. Also, the variety of colors resulting from the variety of raw materials in the inlay and the emergence of a barrier as a protector and maintainer of the inlay have provided the continuation of this method until the last decade. One of the most important findings of this study, in addition to defining the characteristics of the last achievements of the Qajar period, has been the analysis of how marquetry inlay has continued so far. The results of studies showed that not only the Qajar period was one of the most important and influential historical periods in inlay, but also the achievements that were added to inlay in this period have continued until now and this point has caused the dynamism of this art. The data of this research have been collected by library and field methods (observation and interview). Due to the limitations of writing, instead of scientific citation, the method of producing science has been used in many cases. In this regard, while collecting library information, more field methods are used and by referring to the works and directly observing their analyses, analysis and exact characteristics are extracted without any prejudice. Thematic features in this research require the use of historical methods for analysis. The studied samples are 6 inlaid works, which are also decorated in the style of mosaic inlays and are preserved in domestic and foreign museums. The sampling method is selective and purposeful. The analysis of information and data, used in this research, has been done qualitatively. The most important achievements of Qajar period inlaying are Parhati inlay, Toglo Morvarid inlay and marquetry inlay method. One of the most important factors in the continuation of these achievements, which has caused the dynamism of this art, can be the variety of raw materials, while other significant factors include variety and the emergence of innovations in the use of containers that have appeared in the mosaic inlay. In addition, the inlay, which is one of the most important achievements of the Qajar period, has led to the continuation of the mosaic inlay method until now.

Inlay is one of the traditional arts related to wood with a variety of designs, which is not very popular today. The construction of Inlay, especially the Gereh Inlay, has been important since the Safavid period, and this method has been used in the construction of Inlay until the contemporary period. It is important to pay close attention to the research and critique its published sources in the field of research Which will bring about achievements such as introduction, presentation, and pathology. The deficiency of specialized information among the few published articles is Tangible and visible. The article on “, The Study of Making Method and Golbandi Gereh Panj Inlay”,has been published in the Scientific Research Quartely Negareh Journal by Maryam Akbarzadeh and Mohammad Sadegh Mirza Abolghasemi in Autumn1397, No. 47and pages 82-95 with the intention of examining Gereh Panj Inlay. The necessity to critique and evaluate this article indicates the importance of Gereh Inlay and emphasizes the publication of specialized and accurate information about Gereh Inlay. Gereh Inlay, with a rich background, is less important today for a number of reasons, including the difficulty of preparing the raw materials for the manufacturing process. Therefore, addressing the end of the Gereh and documenting it have been among the importance of research topics. This study tries to criticize this article, which has been done in content and scientific form, it also tries to explain the shortcomings, though few, in the specialized stages of making Gereh Panj Inlay.