A precise examination of epic works in every era, leads to better and more comprehension of them in Persian literature. The present study and paper aims at examination of this epic story after Ferdowsi from the aesthetic literary point of view, specially its imageries. By its help we can indicate many of its hidden and detailed points of literary works and pieces. Of course, the theoretical framework of this study has been adapted from the book “ Imagery in Persian Languge” , written by Dr. Mohammad Reza Shafiei Kadkani, and “ Heroic Versified Texts” , written by Dr. Sajjad Aydanloo. One must take into account that in such stories, the poet while preserving the main story, narration and its transfer into later generations, besides emotions and feelings tries to display the description and imageries which indicate the extent of power and art of the poet. The present paper tries to investigate the analytic and descriptive aspects on both horizontal and vertical axes of the story as well as pointing to short instances briefly. Description and roles of imageries in epics including exaggeration, simile, metaphor and irony are of more prominence. Although exaggeration is of more importance and prominence in epic poems and literary works, however, simile, metaphor and irony are not of lack of importance.

Jahangir Qāʼimʹmaqāmī is one of the historians and researchers who have dealt with various and new historical topics. He has also played a role in the history of Iranian historical research as the editor of the journal Historical Review, which is considered one of the most important historical publications of the Pahlavi era. Due to his closeness to the Pahlavi government, Qāʼimʹmaqāmī was often presented as an official historian who tried to strengthen the ruling discourse. On the other hand, after people like Abbas Iqbal, Rashid Yasmi, etc., he represents a new generation of historians who have produced innovations in the field of history. Qāʼimʹmaqāmī’s contradictory position has made him one of the borderline figures in the field of historiography; figures who stood with one foot in tradition and the other in modernity, offering the possibility of transition and at the same time playing an important role in the construction of a new historiography. For this reason, by examining the components of Qāʼimʹmaqāmī's historiography, this research attempts to answer the question of how Qāʼimʹmaqāmī's confrontation with the new historiography took place and what theoretical and methodological approaches he adopted in this process. Based on the study, it seems that Qāʼimʹmaqāmī was not able to use a new theoretical model in historiography despite his important role in the transition from traditional historiography and engagement with new fields of historiography and the application of new methods. In other words, Qāʼimʹmaqāmī was unable to present a coherent formulation of the new historiography in the process of transition.

Jahangir Nameh, written by Qasim Madah, is one of the epic poems after Shahnameh in the history of Persian literature, which contains different layers of meaning due to the various narratives and adventures, and the action and confrontation of the characters. Precisely, it expresses social, historical, mythological psychology and such confrontations on two levels of deep structure and superstructure are the main reason for the formation of different stories in this system. In other words, such confrontations express the reason for the formation of such a system and, for this reason, it is provided in this article in a descriptive-analytical way. Such fundamental confrontations are provided to determine what they are and what their function is. Based on the results obtained, along with other possible confrontations, this poem is in the depth of the narration of the four confrontations between Father and Cheser, Iran and Turan, the tribes of the desert and the settled tribes of herders and warriors and Ardas. It precisely takes the form of a confrontation between Jahangir and Rostam, Afrasiab and Kikavus, Rostam and Shabanan are the presidents of Shah and Rostam and Ardas. Introduction: After the Shahnameh of Great Ferdowsi, many epic works have been written in the course of Iranian epic-writing tradition, which represent historical, social, mythological, psychological issues, etc. Despite the stylistic and content similarities with Shahnameh, these works are worth- examining and analyzing due to the differences in the narrative. The deep structure and even the superstructure of these epic systems express confrontations of diferent type such as those between characters and fictional actions, the gods of fertility and drought, the period of matriarchy and patriarchy, father and son (in the form of psychological theory) Oedipus complex), Zoroastrian religion and Mehri religion, Iranian and Anirani, Shah Durghin and Shah Farahmand, warrior and ruler, etc. In these works, these confrontations are shown in the form of confrontation of actions and characters on the background of each story. In this way, in most of the stories, cultural, religious, class, family, ethnic, moral, and age differences have become the background and the main reason for the formation of the narratives and have prepared the plot of the stories to advance the other events of the story. Accordingly, in this article, in the system of Jahangirnameh, such distinctions and contrasts, which have been the basis for the occurrence and advancement of the narrative, have been investigated and analyzed in a descriptive-analytical method in order to show the nature and function of such contrasts in this system. Results and Discussion: The fundamental confrontations of fictional characters of Jahangirname in the first narrative 1-1. Confrontation between father and son (confrontation between Rostam and Jahangir) Plot of narrative: A) Beginning (Introduction and Motivation): The story begins with the marriage of Rostam and Delnawaz and the birth of Jahangir. B) Complex (Raising action): The main complex is tied by Jahangir joining Afrasiab's army and fighting and capturing Iranian fighters. C) Climax: The story reaches its climax with the confrontation between Rostam and Jahangir anonymously. D) Denouement (falling action): The complex of the story is opened by introducing Jahangir to Rostam through Faramarz. E) Conclusion: The ending of the story happens with the death of Jahangir due to falling from the mountain and beating Delnawaz. The poem of Jahangirnameh, like the story of Rostam and Sohrab, narrates the universal pattern of confrontation between father and son, of course, in the eastern narratives, more son-killing, and in western stories, more father-killing is observed. In Persian literature, the oldest written form of such a confrontation is the story of Rostam and Sohrab in the 4th century of Hijri. In Pahlavi narratives after Shahnameh, the confrontation of two relatives can be observed in various forms in the poems of Jahangirnameh, Barzonameh, Faramarznameh, Gestasbnameh, Banoghesab, Shahyarnameh, etc. These epic poems all have common elements such as; going to a foreign land, meeting a girl in a foreign land by chance, leaving a warrior and leaving his wife, giving a sign to his wife, the birth of a wonderful baby, sending a child to his father's land, accompanying the enemy, trickery, failure. The gold of the father's army by the child is the calling of the father to confront the child, name-calling, three-way battles and introducing the child to the father (Khatami and Jahan Afshar, 2009: 37). The fundamental confrontations of fictional characters of Jahangirnameh in the second narrative 2-1. Confrontation between the warrior and the dragon (confrontation between Rostam and the dragon) Plot of narrative: A) Beginning (introduction and motivation): The story begins with the departure of Rostam and Azadmehr for Azadmehr's return to his fatherland. B) Complex (Raising action): The main complex is closed by choosing the difficult way of Five Khan by Rostam. C) Climax: The story reaches its climax with the battle between Rostam and the dragon and Rostam fainting. D) Denouement (falling action): The narrative complex is unraveled with the successful passing of Five Khan by Rostam under the guidance of Azadmehr. E) Conclusion: The conclusion of the story happens with Azadmehr returning to his father's hometown with the help of Rostam and holding a celebration. In Jahangirnameh, Rostam has several Khan for the second time, and in order to go to the West, he goes through these five difficult places: 1. Killing seventy lions, 2. Crossing the mountain, 3. Killing the dragon, 4. Killing ten thousand Kashf and 5. Passing Dry and roasted desert. Five Khan Rostam in this verse may be an imitation of Seven Khan Shahnameh due to the composition of Jahangirnameh's vernacular and the lateness of this verse compared to other texts. In some fictional forms of several khan's theme, the warrior faces two or three ways to reach his desired goal, one of which is safe but long and the other is short and difficult to pass, and the warrior chooses the short and risky path. Choosing the short and risky way means that the hero shows his bravery and "being different" more and shows the reader that he is a daring, brave, and fearless person and is different from ordinary people. In addition, the short and risky way is a sign of the "transition" ritual. Rostam also chooses a dangerous and difficult path in Jahangirnameh to gain honor and quickly achieve the goal (Idanlu, 1388: 2-12). Another topic in Iranian narrations of this topic is to be a guide and companion for a warrior on the path of seven Khan. In Jahangir's poem, Azadmehr is with Rostam in five Khan. The fundamental confrontations of the fictional characters of the Jahangirnameh in the third narrative 3-1. Confrontation of desert-nomadic tribes with monogamous herding tribes (Rostam and the shepherds of Jomhorshah) Plot of narrative: A) Beginning (introduction and motivation): The story begins with Rostam's meeting with Azadmehr and freeing him and forty young men with him from the prison of the demon diver. B) Complex (Raising action): The main knot is tied by killing Qabad and fleeing the shepherds to the President Shah. C) Climax: The story reaches its climax with the battle of Rostam, Hejbar and the lasso. D) Denouement (falling action): The complex of the story is unraveled with the death of Jomhoe Shah at the hands of Rostam. E) Conclusion: The ending of the story happens when Rostam goes with forty young men to the seat of the rulership of the president and entrusts the administration of the territory of the president's rule to forty young men. Rostam's fight with the shepherds with his special bow is reminiscent of the attacks and invasions of the Scythian desert-dwelling tribes against the monogamous and agricultural tribes. It has been transformed in this system and presented in the form of Rostam's religious campaigns with the aim of spreading and inviting other tribes to monotheism. Historically, such a theme is probably influenced by the wars of other nations in India and the surrounding areas, which took place under the pretext of promoting Islam and with the aim of looting the legendary wealth of these lands. Conclusion: In the epic of Jahangirnameh, fundamental contrasts in the form of contrasts of actions and characters are shown on the background of each story.  In this work, ethnic-cultural differences (Iran and Turan), family (father and son), Socio-economic (desert wandering peoples and nomadic peoples) and mythological-physical (confrontation between the warrior and the dragon) is the foundation and the main reason for the formation of the system in depth, and the causality of the story has been prepared for the development of other events in the story. In this system, none of the confrontations can be placed first in terms of importance because each one includes a part of the overall structure of the story and complement each other. As an instance, the confrontation between father and son in Jahangirnameh is placed in the context as the main confrontation between Iran and Turan. For this reason, none of the individual or group confrontations have an inherent and special privilege over other cases. In other words, it is no longer possible to determine the main structure and opposition of the Jahangirnameh. This is because, according to the simultaneous intra-textual signs, this story narrates family, ethnic, cultural, social, economic confrontations, etc.

Hakim Jahangir Khan, who was one of the later Sadrian philosophers, played an important role in the transfer of the Transcendent Philosophy from Isfahan to Tehran. In its process of development, this school was transferred to Shiraz by Mir Damad, Khwajah Nasir, and Qutb al-Din Shirazi. After being strengthened by Mulla Sadra, it was moved to Isfahan and was spread there by Hakim Mulla Ali Nuri and Hakim Zunuzi. Finally, upon the migration of Hakim Ilahi Qumshe’i to Tehran, the Transcendent Philosophy was also transferred to this city. Here, Jahangir khan who had previously become familiar with this school began disseminating it and teaching it to philosophy-seeking students. In this way, he performed a significant part in the spread of Sadrian Philosophy in Tehran.

AbstractPottery as one of the archaeological findings, plays an important role in recognizing cultural periods. Jahangir area is located in Ilam province and is one of the Sassanid sites in western Iran. In the third season of excavations at Jahangir site, significant potteries from the Sassanid period was obtained which is considerably worth studying and for this research, 92 pottery pieces were selected among hundreds that were obtained. The main purpose of this research is to introduce and classify the Sassanid potteries of Jahangir site. In the present study, the potteries obtained from Jahangir site were classified based on their technical specifications and shapes, and were typologically and finally chronologically examined (comparative and laboratory studies); the data collection method is based on documentary studies and field studies, also the research method is descriptive-analytical. The analysis have been done with the purpose of comparative chronology and explaining cultural relations with other regions. The questions posed in this research are: To what period of the Sassanid era can the pottery collection of Jahangir area be attributed? And are the potteries of Jahangir area more regional in terms of style or a trans-regional style is visible in them? The chronology done by Moluminescence (Thermoluminescence) method on Jahangir potteries, indicates the attribution of this area to the second half of the sixth century A.D., a comparative comparison also showed that in terms of relative chronology of Sassanid potteries they are similar to sites that belong to the late this era. It should be noted that the potteries of this area are comparable with areas such as Oltanqalasi in Moghan, Mahneshan in Zanjan, Qasrabunsar and Hajiabad in Fars, Shush, Sassanid sites identified in the studies of northern Khuzestan, Mianab in Shushtar, Bushehr, Ras al-Khaimah, Tal Mahuz, Abu Sharifa, and Kish and Bergutiyat in Iraq and, in addition to the impacts of regional style, it has the most similarity to the cultural field of southwestern and southern Iran.Keywords: Sassanian Pottery, Classification, Typology, Chronology, Jahāngir Dite. IntroductionThe western region of Iran in the historical period, especially during the Sassanid era, was named after the great province of “Pahleh”; This land included different cities such as Isfahan, Hamedan, Rey, Kermanshah, Dinur, Masbezan and Mehrjan Qazq, Nahavand, Qazvin, Seymareh, Koomesh and Azerbaijan (Nafisi, 1953: 287-286) therefore Masbezan in the Sassanid period was part of a larger land called Pahleh or Pahlo, and the Arabs after the conquest of Iran, during the Islamic era called it Jabal (Ibn Jafar, 1991: 122) and it included most of the cities and areas of the Zagros (the time before Islam). During the Sassanid era, urban planning and urbanization flourished in this region due to its fertility and proximity to the Mesopotamian Plain and famous Sassanid cities in this region: Seymareh was the center of Mehrjan, Ghazaq and Sirvan (near the city of present-day Lomar), the ruling center of Masbazan province in the north of Ilam province (Mazaheri and partners, 2014: 86). Jahangir area is located 50 km northwest of Ilam, Zarneh section of Ivan city is on one of the important roads from Iran to Mesopotamia located on the banks of Kangir river (Khosravi, 2017). After the Kangir Dam was flooded in 2015, the Jahangir area remained at 300 meters distance from the Kangir border river. Pottery is the most abundant cultural substance in archaeological excavations and studies, which is mostly for the purpose of relative dating and understanding the cultural and commercial relations of the sites (Khosrozadeh and partners, 2020: 119). In this research, we will be studying one of the cultural substances discovered from the excavation of Jahangir pottery site which was done by one of the Authors of the article.In archaeological research (excavation or study), pottery finds do play a significant role in relative chronology and study of communities’ cultural interactions; therefore, the main purpose of this article is to study the quantitative and qualitative aspects of Sassanid pottery in the Jahangir area as well as their relative typology, classification and chronology.Research Question: The questions that can be asked in this research are: The pottery collection of the present study of Jahangir area belongs to which period of the Sassanid era? And that the style of the pottery of the Jahangir area was regional, trans-regional or a combination of them both?Research Method: This research has a descriptive-analytical nature and the implementation of this research has two parts: library studies and studies of cultural substances (pottery). In the library studies section, we study the history of the region, and in the study section of cultural materials, the pottery data obtained from the excavation of the Jahangir site are classified, typologically and chronologically examined based on technical, decorative, and form characteristics, and their comparison with concurrent areas have been addressed as well. DiscussionAmong the cultural findings of exploring the Jahangir site are potteries obtained from various spaces. In the present research, from hundreds of pottery pieces obtained by screening, 92 were selected and then classified, then were typologically examined and finally were subjected to proposed chronology; most pottery is made using the wheel-making technique and most of them are adequately baked; the pottery is made entirely of mineral chamotte (sand). In terms of the quality of pottery making, Jahangir pottery can be divided into three groups: 1. Delicate; 2. average; 3. Rough which the most of the pottery has a relatively medium texture (85 of 92 pieces), rough (4 of 92 pieces) and delicate (3 of 92 pieces), in the present research, the studied samples are potteries that are obtained from the layer and are representing all classes and types, they were selected and then discussed and analyzed. From the comparative research obtained from the archaeological excavation of Jahangir site in the third season of the excavation, a number of pieces separately are as follows: edge 50, composite edge 24, pipe 1, handle 1, body 7, composite body 4 and 5 are clay floors, it is worth mentioning that out of the above pottery collection, 17 of them are complete or relatively complete pottery. In general, the most common technique in decorating the potteries of the Jahangir area is the use of carved patterns. The studied potteries, as mentioned before, in terms of construction and technical characteristics, are completely in the ordinary (simple) type, and among the collection of glazed pottery, only one solid green glazed body was found, which according to the present study, these dishes are divided into different shapes of jars, bowls and plates based on the general shape of the dishes and the type of the edge. The results of cross dating experiments show that the life of this area started from the end of the Sassanid era and after the area was abandoned in the early Islamic centuries, then it was used by nomadic tribes; and this issue is consistent even with a relative comparison of pottery to the late Sassanid sites, based on the similarity of their pottery. ConclusionThe study, typology and finally chronology of Jahangir site potteries were done in order to answer the research questions. Jahangir pottery is comparable to some cultural regions of Iran in terms of vessel shape, type of edge and decorative role; Based on Germalian (Thermoluminescence) chronology on Jahangir potteries, the results show that life in the area probably began in the late Sassanid period; also, the comparative comparison of potteries are similar to the sites that belong to the late this period, such as the palace of Abu Nasr Fars. In general, Jahangir area is located on the two ancient communication routes of Iran one to Mesopotamia and the other one to the west and southwest of Iran. According to what was stated in the previous sections, Jahangir Sassanid potteries are also comparable to other cultural regions of Iran, which based on researches, it can be stated that considering available evidence Jahangir region, seems to be culturally influenced by the cultural region of southwest and south of Iran, and finally it should be noted that due to the regional nature of pottery making, a number of samples that are not compared in shape to pottery from other regions, in terms of technical structure, can be attributed to the Sassanid period.

Jahangir is one of the most prominent Sasanian sites In the west of Iran that excavated due to locating in the flood level of Kangir dam (Eyvan). The deficiency of knowledge about the manner of constructing, settlement areas, causes of formation, collapse and chronology of these structures, specify the type of livelihood, study the industries and various arts such as stucco decorations, glasses, metallurgy, pottery, determining the elements, architectural decorations and materials, functions and effective factors in different artistic styles are the questions and aims of excavation. In order to answer mentioned questions, a descriptive-analytical method with the help of excavation and historical texts have been used. At the end of three seasons of archaeological excavations, the plan of a huge building included 11Spaces had been revealed. These Spaces consisted of two (Eyvans) porches and some rooms, with a courtyard and interior area that built with rubble and a mortar of Semi-baked and Semi-pressed plaster and brick for ceilings. Asymmetric geometric structure, division of interior and exterior areas, spatial variations and significant role of Eyvans in spatial organization of the complex are the most important features of the three phases of architecture. Various artworks in this complex are influenced by the current Sasanian art, but it has own independent and native identity. According to the archaeological data, it could be claim that Jahangir site have been designed for official requirements. The construction of this site could be interpreted in the base of natural landscape and counted as a manor house with ritual/settlement function among the other palaces of this period.

One of the social groups of the Qajar era, which played a significant role in the writing of historical works, are Qajar princes. One of these princes who, despite being blind, wrote a historical work is Jahangir Mirza the son of Abbas Mirza Nayeb al-Saltaneh. He called his book "Tarikh-e Now". Tarikh-e Now is the first historical work written in the era of Nasir al-Dinshah. In this research, we have tried to find an understanding of the insight, method, audience and attitudes governing this work through the descriptive-analytical method Biannual Journal of Historical Perspective & Historigraphy Alzahra University Vol. 27, No. 20, 2017 http: //hph. alzahra. ac. ir/ and the internal and external critique of this work. The damages of contemporary historiography, the influence of the author's social situation, the dominance of the discourse of the Iran-Russia wars, the dominance of the political unit, the simple writing style, descriptive dominance over the analytical aspect, are the features, weaknesses and advantages of this historical work.

Shah Jahangir Hashemi Kermani is a poet and mystic of the 15th and 16th centuries CE who was descended from Ghasem Anvar and Shah Nematollah Vally. After reviewing his works and other related historical documents and sources, it can be claimed that he was a great poet and mystic. His works can be categorized as the direct heritage of the mystic school of Nematollahiyeh. In his lifetime, Hashemi traveled extensively. Towards the end of his life he emmigrated to Sindh. There he was revered by Shah Hassan Arghoon, the ruler of Sindh, and other great personages of the region. His main verse collection was destroyed, and only a few of its poems have remained retrievable from some scattered Tazhkirahs. Mazhar-al-Asrar was his other work in which he was heavily inspired by Nezami’ s Makhzan-al-Asrar. Fortunately, numerous copies of Mazhar-al-Asrar have survived. Composed in 1562 CE, Mazhar-al-Asrar was completed by Kermani while he was in Sindh. In 1568 CE, while he was returning from Sindh, he was killed by bandits. After reviewing and comparatively analyzing numerous sources, the present study presents a precise and comprehensive account of the life and the works of Shah Jahangir Hashemi Kermani.

One of the biggest challenges facing researchers regarding defining and describing the collection of Persian national epics is the inexact information about the date of their composition and the name of most composers of epic poetry after Shahnameh remain unknown, unsolved problem in this domain. Only stylistic and linguistic references and certain intratextual inferences come to aid to make certain assumptions. Jahangir Nameh, an epic composition is one such work. Although its composer in final couplets introduces himself as Ghasem Madeh and states the place of its composition as Herat, yet the date of composition according to researches is still uncertain and vague. However the writer of this article assumes that the composer apart from Herat, had also referred to the time of composition in a form of chronogram and thus in this way announces the year 1077 Hijra in the final couplet. The study of linguistic, historical and literary data and evidences supports the assumption that this epic work belongs to the second half of the eleventh century.

Introduction: The foreign and domestic markets are demanding for high quality citrus varieties. The physical and chemical properties of the newly released cultivars are also important for fresh market or processing. The fruit quality is a complex combination of size, firmness, taste, texture, pleasant aromas caused by a chemical compounds (soluble solid content, sugars, organic acids, aromas) and bioactive properties. Therefore, it is important to consider these indices for the introduction of a new cultivar. In this regard, the Citrus and Subtropical fruits Research Center has focused on improving its appearance, internal and organoleptic quality in releasing the new Jahangir cultivar compared to the Clementine as control. Materials and Methods: In this study, Jahangir fruits a hybrid between Clementine mandarin (female parent) and Salustiana orange (male parent) (Citrus clementina Hort. Ex Tanaka × C. sinensis (L. ) Osbeck cv. Salustiana) was used for comparison with Clementine (Citrus clementina Hort. Ex) Tanaka) as control during the last two years lead to the cultivar introduction. Fruits were randomly selected from different locatiosn on the tree (15 fruits from three trees) and evaluated at harvesting time (zero storage point). Then 30 fruits per box selected and placed in cold storage (5 °C, 85% RH). Different physico-biochemical and sensory characteristics of fruits were evaluated at 0, 20 and 40 days intervals during storage. Characteristics evaluation were including fruit lenght, width, thickness, arithmetic, geometric, equivalent and harmonic means, fruit aspect ratio, sphericity, surface area, true volume, apparent volume, volume error, density, peel and pulp firmness, peel thickness, weight, juice percentage, seed number, peel color indices (L*, a*, b*, hue angle, chroma and CCI), total soluble solid (TSS), titratable acidity (TA), technological index (TI), pH, electrical conductivity (EC), total phenol, ascorbic acid and antioxidant capacity during experiment. Results and Discussion: Results showed that fruit size (length and two diameters), weight, means of arithmetic, geometric, equivalent and harmonic diameters, surface area and true volume of Jahangir mandarin were significantly higher than Clementine. The different mean diameters of each cultivar was the same as that equivalent diameter that is the most real mean fruit diameter. The higher spherical coefficient (>1) also indicated that Jahangir fruit was longer than the control. Additionally, aspect ratio of Jahangir was also higher than Clementine, which means that Jahangir fruit was a few flat than control. Jahangir had higher levels of L*, b*, C and hue than the control of clementine. In contrast, Jahangir's a* and CCI indices were lower than those of clementine. Therefore, except for L* which is slightly lower than citrus standard (65-70), other indices in both cultivars were conformity within the citrus standard range. Seeds of Jahangir were more than control but both were in the mid seed group (9-15 seeds) of citrus. Jahangir peel was also less easily peeled than control. The weight loss of Jahangir fruit was significantly (almost half) lower than that of clementine at each sampling but increased during storage. It seems Jahangir has a peel with higher density and adhesion than to clementine, which partly prevents the fruit from dehydration. The amount of TSS of fruit juice was higher than that of clementine at harvest and storage but increased in both cultivars during storage. In addition, TA (0. 34%) was lower in Jahangir fruit than Clementine (0. 45%). Therefore, the ratio of TSS to TA was much higher in Jahangir mandarin (44. 25) than clementine (26. 16). Juice percentage of Jahangir fruit (44. 87%) was significantly higher than Clementine (40. 12%). The high percentage of Jahangir fruit juice is a positive trait for this cultivar. Technology index changed depending on cultivar and also during storage. This index was higher in Jahangir fruit than in Clementine with 6. 45 and 4. 67, respectively. The antioxidant capacity only affected significantly by storage time which showed a decreasing trend during storage. Ascorbic acid content was only affected by cultivar and was higher in control than Jahangir. Lower levels of ascorbic acid in the Jahangir may be due to increased respiration that results in the elimination of ascorbic acid. The phenolic content of Jahangir fruit was higher (0. 43 mg/g) than clementine (0. 4 mg/g). PCA analysis showed that most of the Jahangir samples placed in the left part of the PCA graph which were dominated by the traits such as taste, sweetness, good peel and pulp appearance and overall acceptance and were more accepted by the sensory evaluators. Conclusion: In this study, different qualitative characteristics of Jahangir fruit compared to Clementine which are important for the producers. Accordingly, the Jahangir fruit was larger in size but slightly flatter than the Clementine fruit. Jahangir fruit peel color indices were within the standard range of citrus fruits. Jahangir fruit is favored among commercial available mandarins due to ease of peeling, high juice percentage, technology index, vitamin C, phenol and antioxidant capacity. It also had better storability than Clementine because of less water loss and decline of organoleptic properties.