Signs are the only meaningful tools of communication that their unique properties in affirmation of cultural and historical context reveals how human knowledge grows which can be investigated by emphasizing the relationships between the signs and their meanings with the outside world. Sign system and its relation to the signage process is a subject which discussing about it is possible based on dependency of sign investigation, the process of their emergence as well as the various implications of signs and their application. Charles Sanders Peirce is one of the thinkers who discovered these implications and access to the hidden meanings of signs, by classifying its features in figurative and symbolic forms, in a point of view as a sign system and has addressed the relationship between them in the ratio of the sign with the context of its occurrence and the interpreter as signage process. In this trend, the signs act in the form of visual media which the quality of their mission in transmitting the message depends on the recognition of the signs and their proper classification since each sign is, on the one hand, dependent on other signs and related components and on the other hand, is variable in terms of its application, which is presented in different communication textures corresponding to different cultures, civilizations. This leads to signs always being considered as a language. Also, different forms considered it to have a diverse linguistic structure with distinct functions. In this regard, the present study is trying to analyze the semiotics of the evolution of calligraphy to Persian calligraphy, relying on the two areas of the sign system and the process of signification. The main question is, how can one make the connection between the semiotic developments of calligraphy and calligraphy with the sign system and the process of notation based on their commonalities? Furthermore, what is the difference between the sign system and the evolution of script into calligraphy? The main purpose of the research is to explain the fields of dependence of common roots between script and writing with the semiotic system. Also, the sub-objectives of the research are that first, despite receiving structural differences, while there are fundamental components between the two, their unity in explaining a similar theme such as the sign is achieved. Then, in order to analyze the semiotics of the media course of script to calligraphy in relation to the sign system and the process of signification, to study and study the course of these developments. It also seeks to explain its effective capabilities as the inheritor of human deep thoughts and creativity from the earliest times of human culture and civilization to the present day, in explaining similar themes such as visual cues. With these interpretations, in spite of previous research, the necessity of such a study is based on the distinct analysis and reading of script to calligraphy developments, in a scientific framework and with a specific semiotic approach, which gives the opportunity to look at the history of Iranian art differently. Role is a sign that has remained intact, both in terms of theoretical foundations and in terms of aspects discussed. Therefore, the importance of studying and establishing the relationship between the two is an achievement that does not have a significant background. The methodology of this research is analytical and using the study of written library resources and visual documents and according to Peirce's views, it is among the developmental researches. It also qualitatively shows that the semiotic analysis obtained from the study of visual documents of script to calligraphy, makes it possible to understand its commonality with the sign system and the process of signification. To this end, due to the vastness of the historical scope of script and calligraphy developments, it has first tried to study and divide calligraphy developments in the stages of calligraphy, thought writing, transliteration and alphabet. Then the objective instance of the written visual cues and its implicit meanings in each period should be applied separately to the punctuation classification. For this purpose, the images have been selected from the statistical population of the visual documents of calligraphy transformation in such a way as to cover as much as possible the course of visual and symbolic developments of script to calligraphy from the beginning to the present. It also reveals more precise and tangible differences in sign differences and the goals of rising from their meanings. Because only with a proper understanding of the concept of sign and its effect during stylistic differences is the evolution of script to calligraphy, which can be examined to match the role of the sign with the desired practical and artistic process. The research findings show that script and calligraphy in the course of their developments have always created an innovative visual language that can be searched for in various symbolic, index, symbolic and abstract sign systems. However, the relationship between it and the process of signification and in the form of semantic belonging, manifestation and interpretation is also revealed.

Analyzing the Persian written errors of students can help to identify the problems and shortcomings of the Persian script, and by using this tool, we can understand the problems of Arab learners in learning words, phonemes, pronunciation and their impact on spelling, and ultimately the role of learner in the process of teaching the Persian language to the non-Persian speakers in all four language skills. By classifying their errors and analyzing them and providing useful solutions, we can improve the quality of learning learners.Therefore, our purpose in this study is to analyze the causes and how this kind of errors make in the mind of the learner, pronunciation, and writing. On the other hand, the causes of a significant number of written and spelling differences caused by the Persian script while arabs are learning, can be considered as intralinguistic (native language) or extralinguistic errors. One of the results of this study is the identification and categorization of Persian script and writing errors as well as the provision of educational solutions that can be one of the most important and essential teaching the writing to Arab learners of Persian; In particular, in addition to spelling, the role of the script in reading and writing skills is also very prominent. It is effective in accelerating learning of learners.Extended Abstract:IntroductionThe analysis of errors in this research are considered as a part of applied linguistics and it has been considered, since a long time ago, as a tool to find the obstacles and problems of education.In this regard, the inconsistency of Persian writing and spelling system with Arabic language is one of the main factors in the occurrence of writing errors of these language learners; in such a way that there is no clear relationship between the written form of letters and their sound in Persian (the phonetic difference of words) and, about those consonants with the same pronunciation in Persian that are also exist in the Arabic language although with different pronunciation, such as the same pronunciation of the sound /z/ in Persian which are associated with the letters ز، ض، ظ or the sound /s/ with the letters س، ص، ث، in the writing and handwriting of Arab-speakers, which is a very common source of scribal error (interlingual error).The grammatical and spelling errors that are investigated in this area are divided into two important categories. Such errors are known as "phonological errors" that occur in the field of letters and alphabets of the Persian language and mostly occur in the introductory level; but due to the lack of common phonemes in the second language (Persian), most of these errors remain even at advanced levels. These types of errors (phonetic and pronunciation errors) also affect the writing of Arab students learning Persian as a second/foreign language. This research has been performed based on the theory and framework that James (1998) presents regarding error analysis in three contextual, textual and discursive levels and in four main groups. Using such details, James classifies errors into spelling, mechanical, lexical and grammatical (structural and syntactic) errors. In this research, we deal with the first part of the group of errors (that is spelling errors) which are divided into phonemic and writing errors (James, 1998, 185-184). In the phonetic section, we will discuss two groups of vowels and consonants based on phonetic processes, and in the writing section, we will evaluate errors based on the writing style of Persian characters and symbols.MethodologyThis research is a library and field research because a part of the research (the study of theoretical foundations and literature review) was conducted and compiled from using library sources and the other part is field research. The research tools were interviews and class homework sheets of the language learners. To carry out this research, after library studies, the errors of language learners have been selected and categorized in a comparative manner and by selecting repeated errors with high frequency, in the way we have discussed in the article. Also, error analysis has been quite practical. It is done by using appropriate tools and based on the experience of classroom teaching during teaching and it is practical in terms of results and goals.The statistical sample of the research includes 80 Arab language learners; mostly with Iraqi, Syrian and Lebanese nationalities who have been studying in the Persian language teaching center for non-Persian speakers, Qazvin, IranResultsThe results of data analysis show that 98 cases of spelling errors with their types and subgroups were examined. In the field of spelling errors, 57 cases of  the language learners' errors are related to spelling-phonological errors.ConclusionAmong the phonetic differences between Persian and Arabic languages (consonant and vowel), most of them are intra-linguistic errors, and 41 cases are related to script errors. Among the phonetic differences between Persian and Arabic languages (consonant and vowel), most of them are intralinguistic errors, and 41 cases are related to writing errors.Conflict of InterestThe authors have no conflict of interest.AcknowledgmentWe are grateful to Persian language Learners of International College of Tehran University of Medical Sciences, who helped us in this research.

Gulzar script is one of the many types of decorative scripts in the history of Persian calligraphy. Most of the works that created in this way belong to the late Qajar era. However, the formal and visual bases of this type of calligraphy go back to the pre-Qajar centuries; this research aims to identify, introduce and determine the origin of its formation based on the available evidences. Therefore, the main question is: When has the Gulzar script been formed? The sampling method of the 23 architectural arrays is Convenience Sampling that based on library and field studies. The samples are in the historical monuments of Samarkand, Mashhad, Farumad, Taybad, Soltanieh, Qom, Tabriz, Yazd, Isfahan and Oshtorjan. The date of construction of these monuments includes from the Seljuk period (429-590 AH/1037-1194 AD) to the end of the Safavid period (906-1135 AH/1501-1736 AD). The results indicate that the early examples of Gulzar can be seen in the form of an architectural decoration so called "Kalouk-band" in the Seljuq and Ilkhanid periods. Its use extends to at least the beginning of the 12th century AD. In addition, this method of decoration is used in the Square Kufic Inscriptions and include the geometrical, herbal and written motifs. The result shows that the use of Gulzar style in calligraphy pieces on paper has been influenced by architectural decorations, because the oldest examples of this type are several centuries after the squared Kufic inscriptions in Jame Mosque of Isfahan, Pir Bakran's tomb, Chalabioglu's tomb etc. The decoration of the inner surface of Squared Kufic inscriptions started from the end of the Seljuk era and continued until the 17th century AD. One of the changes made in the design of decorating the surface of the inscriptions is the use of written motifs in the form of "Kalouk-band" decorated with words (in Oshtorjan and Qom). Another change was the forming of a kind of nested square Kufic which has appeared in the Jame Mosque of Isfahan and Amir Chakhmaq Mosque in Yazd. This method has been continued later in Isfahan's Hakim Mosque (17th century AD) and Nimavard School in Isfahan (18th century AD). In the Safavid era, an example of square Kufic in the western entrance hall of Imam Mosque in Isfahan was decorated with Arabesque motifs, which shows the first use of this kind of ornaments in inscriptions. About 80 years before the formation of this inscription, Zain al-Din Mahmoud Mozahheb created a piece that inspite of having many distinctive features some similarities can be seen in them. The latter work is the oldest known piece that carried out the tradition of ornament on the calligraphic surface on paper. Despite the major difference in the structure of these two works, both of these works are decorated with herbal motifs (Arabesque and Khatai).

Text M150 is a Manichaean manuscript in early new Persian language of the Berlin academy of sciences. Müller in the same year of deciphering Manichaean script in 1904 read more sections of the texts and released it. Most of its parts are damaged and contain many Arabic words. This text contains a Sogdian Manichaean calendar in the first half of the fourth century. This text entails some names of the zoroastrian days, but the names of planets and constellations are Arabic. In this article is this lunar solar calendar of fourth century transcripted and translated and is given with the explanations and notes.

This paper lists a total of 24 M.A. theses, which have been undertaken on the subject of the Persian script and Persian orthography in Iranian universities (in fact nine institutions of higher education) over a 28-year period. The author has compiled this list in order to publicize the dissertations, which he says remain mostly unpublished and neglected.

Today, mobile games are used by all segments of the community, and all of them have different sections that need to be written with fonts, design logos and typeface. It should be noted that the use of the Persian fonts will apply its own strengths and weaknesses to the design; therefore, to create a proper design of logos and typeface, along with the attention to the principles of the user interface, the special features of the Persian fonts have also been considered. In this research, which has been conducted through a library and field study among 38 successful mobile games in Iran, and concluded through descriptive-analytic method, the authors concluded that observance of two principles of variable and cadastral design in the design of fonts and the choice of typeface It is important for the Persian fonts. Constant principles include the attention to formalistic and narrative principles in designing fonts and typeface, paying attention to the function of logos and legibility, and the role of informing about the nature of the game, beauty and visual appearance, attention to responsive design principles and observance of cultural and population principles Cognitive And the principle of the variable, which is unique to the Persian fonts, includes the recognition of the visual characteristics of the Persian font, the attention to the weight of the fonts, the identity of the letters, the way of joining, the thickness,

Knowing and applying correct spelling rules in Persian based on the Arabic alphabet, has been a pressing problem of the day and always challenged thinkers since ancient times. A number of objective changes and processes that occur during the development of the language are in some sense reflected in the spelling. Considering the peculiarities, complexities and difficulties of the Arabic graphics in Persian, scientific thinkers, sometimes teachers, just fans of this language have simply worked hard to eliminate and amend writing difficulties, without interrupting Arabic graphics. It is known that the line is the reflected image of the language in writing. As the language complies with a number of rules called "grammar", the writing must also follow a set of rules and regulations that we call “ orthography". After years of research, countless suggestions, recommendations and discussions, finally, in 1380 (2002), The Academy of Language and Literature of the Islamic Republic of Iran has published a booklet entitled دستور خظ فارسی “ Persian Orthography” . Here are some of the important factors related to the Persian language writing system: protection of the Persian language written image and independence; agreement of writing and pronunciation; simplification of reading and writing. In this study, we will discuss the “ alefe masgure” (short alef realized by letter « ی» in writing) which is irrelevant to the Persian script, in other words, it does not meet above-mentioned important factors, key features of the Persian orthography. A lot of words and compositions derived from Arabic in both classical and modern Persian are written with this "shortened alef". Actually, just here, an agreement and harmony between the writing and pronunciation are broken.

In the late Qajar period, coinciding with the exposure of Iranian intellectuals to global developments, new ideas entered Iran, among which were efforts to change the Persian script and alphabet. Abolqasem Azad Maraghei, one of the pioneers of this movement, advocated for the modification of the Persian script and its replacement with the Latin alphabet, aiming to facilitate education and increase public literacy. He believed that the inadequacies of the Persian script were one of the main obstacles to Iran's progress and that changing it could contribute to the country's cultural and scientific advancement. In this regard, Azad Maraghei designed a new alphabet called the "Easy Alphabet" and made extensive efforts to promote it. The purpose of this article is to examine the ideas, actions, and consequences of Azad Maraghei's efforts to change the Persian script and alphabet, and to analyze the impact of this movement on Iran's cultural and linguistic developments. The findings of the research indicate that Azad Maraghei's efforts faced numerous challenges, including social and cultural opposition, lack of governmental support, and practical difficulties. Despite these obstacles, he succeeded in initiating serious discussions about the reform of the Persian script and language.

Shortly after gulf war (G.W) thousands of war veterans referred with sign and symptoms of an unknown disease called G.W illness. Despite multiple studies undertaken by several non-governmental and governmental centers this illness remains unclassified and can not be coded by international classification of disease (I.C.D). The etiology has not been found and the illness appears to be multifactorial and basically related to use of depleted uranium (D.U) weapons, chemical warfare (C.W) and biological agents. This article reviews this illness and the adverse effects of D.U and B.c.W agents in the G.W battlefields.

Reading is a complex process that causes the transfer of information and content and, as a result, human growth. In fact, reading can be considered a condition for success in work and social life. The process of reading involves understanding, understanding and thinking. It is an active process through which the reader understands the message written inside. The starting point of the reading process is the communication between the eyes and typeface. Typefaces are practical media that play an effective role in human growth and awareness because their main purpose is to express and convey messages in the fastest and most legible way. This is where readability of the text becomes very important and the speed of recognizing and cleaning the form of linguistic elements; letters, words, sentences, from each other and then understanding the semantic relationships between them and understanding the content and receiving the message causes more interaction of the audience with the text and finally becomes the main factor of people's growth and awareness. Therefore, in this article, the factors affecting the fluent reading of the text of a book have been investigated by relying on the principles of readability in Naskh script and Persian fonts. To achieve this goal, considering the main mission of type, which is to transfer information in the fastest and most readable way, the question "What factors can be considered as influential factors in the readability of text font?" As the main question, in order to answer this question, other questions such as: Why are only a limited number of Persian fonts used in the text of books? What are those fonts and what are their features and why publishers don't use fonts designed by designers in recent years? will also be answered. The qualitative research method has an exploratory-fundamental nature that used the systematic version of the fundamental theory to present its final theory. The necessary information was obtained through reference to library resources and digital documents, as well as interviews with experts, and sampling was done in a targeted manner. The most important interview tool has been in-depth and semi-structured interviews. The interviewees were among the designers whose fonts have recently been used by publishers. And publishers and editors who had sufficient knowledge of the variety of fonts and their importance in interacting with the audience. With this method, the data were coded and analyzed. The results show that the principles of reading in the Naskh script form the habit of the Persian speaking audience in the process of reading, and the type designers have defined the principles and basics of reading based on the basics of the Naskh script and the habit of the audience. On the other hand, publishers also tend to use fonts designed based on this script. As a result, the principles of readability include:principles, ratio, baselines and composition and the technical performance of the font in the software.