In the late sixth or the early seventh year A.H, the Prophet's SEAL was made for SEALing his letters to the governors of neighboring lands. This SEAL was round and a kind of ring SEALs on which the phrase “ محمد رسول اله “ had been carved in three lines. Its material and gem as it has been narrated was of Abyssinian stone and different metals such as Copper, Iron and Silver. After the decease of the Prophet, this SEAL was obtained by Abu- Bakr, Omar and Osman to validate their letters and writings. In about the year 30 A.H, the Prophet's SEAL fell in to the Aris Well (nearby Medina). This SEAL was no longer found but a similar one was made by Osman. So some of the Caliph's letters were SEALed by the real Khatam in addition to those SEALed letters the Prophet. The features of this SEAL in the old Islamic texts indicate the first measures and necessities for a governmental system in the early years of Islam. The use of writing instead of image, round form, three line composition and religious slogans have been used in Islamic SEALs since this point in time and was continued during the historical era of Islam.

Reading Kufic inscriptions is sophisticated, for variations, and because it is without dots. Therefore, caused to biased and fault conclusions. An example is a SEAL impression that recovered from excavations of Anahita Temple of Kangavar at 1995 (1373). . Illogically, Ghuchani claims it as the oldest Islamic inscribed from a Sassanid governor, known as "Khosrow Shinom", who ruled Hamadan region and western Iran. However, recent peripheral accurate studies including style, type, decoration, and other Sassanid SEALs and inscriptions indicate inaccuracy of two last words, which Ghuchani claims as "Khosrow Asham" (the same Khosrow Shinom). The first word could be read variously, however, the second is "Allah", not Asham, Hasan seems more logical. Therefore, both appear as Hassan Allah. Considering type of inscription, characteristics, it dates to 9rd century to Ilkhanid periods. Reading Kufic inscriptions is sophisticated, for variations, and because it is without dots. Therefore, caused to biased and fault conclusions. An example is a SEAL impression that recovered from excavations of Anahita Temple of Kangavar at 1995 (1373). Illogically, Ghuchani claims it as the oldest Islamic inscribed from a Sassanid governor, known as "Khosrow Shinom", who ruled Hamadan region and western Iran. However, recent peripheral accurate studies including style, type, decoration, and other Sassanid SEALs and inscriptions indicate inaccuracy of two last words, which Ghuchani claims as "Khosrow Asham" (the same Khosrow Shinom). The first word could be read variously, however, the second is "Allah", not Asham, Hasan seems more logical. Therefore, both appear as Hassan Allah. SEALs are important tools with a long history. According to archaeological evidences, this instrument dates back to sixth (B. C). According to documents, the device has changed many times during the history so there have been transformations in designs, shapes, colors and inscriptions through millennia, each with sophisticated concepts and information, while resolving many ambiguities of historical texts. In 1994, one SEAL discovered following archeological excavations in the temple of Kangavar. After investigations, relying on the signs as well as the presence of Kofic inscriptions on the SEAL and conformity to the available archives, one can date it to Seljuk period. Some scholars deny the presumption and compare the SEAL to earlier archives as well as early indications on the SEALs that lead them to suggest it as a SEAL of a former ruler of a Sassanid ruler around Hamadan. This led to fundamental differences in dating and every given presumption. Present article attempts to analyze a written SEAL (one of the oldest SEALs of the Islamic period) to explore and analysis its data and clarify some aspects of the SEAL, while explaining the disputes in attribution of the SEAL to each of the historical periods of Iran. Accordingly, what kind of information is it and why researchers differently attribute the SEAL to a hypothetical period, and what do they understand of the validity of the stamp, and how they differently understand symbols and signs of the SEAL? Primary studies show that this SEAL is related to one of the Iranian rulers, but some believe that it belongs to a ruler of the Sassanid dynasty that was active in Hamadan and western parts of Iran and some others attribute it to a Seljuk ruler. According to the data, one can conclude that Ghoochani and Tohidi problematically presented the hypothesis and failed to correct identification of time, location and attribution to a given individual. The best way to understand the nature of the SEAL is comparative-analytical method. We identify the symbols of the stamp using the existing examples of the stamp and using comparative-analytical method, there are differences arising in identification and determination of the identity of the instrument with the value, on the one hand, and understanding the validity of this SEAL. In the initial studies of "Ghochani", “ Khosro Asham" is the inscription and according to its similarity with the name of "Khosrow Shanom" during the Sasanian era in Hamedan and west of Iran, it is considered that "Khosro Asham" is the same historical name. Accordingly, he claims that the SEAL is related to a ruler of the Sassanid dynasty and in fact it belongs to the late Islamic stamp. In order to prove his claim, he reads the first word from the beginning of the inscription, and believes that he is the same " Khosrow " and because of the similarity of this word to other words. For example, he points out that the "Shad Khosro of Hormuz", known in the Umayyad coin of 716 (97 H. GH. )" is the "Shad Khosro of Hormuz", or in other example of the Bukhara coin of 983( 373 H. GH). The name of "Khosro" was referred to as "Khsro". Conclusion: according to the results of this study Tohidi’ s suggestion is attributed to the period between Seljuk to Ilkhanid periods. Accordingly, he follows that there is a significant difference between these two presuppositions because the presence of symbols, while symbols attributed to the early Islamic centuries or any other period is not compatible to each other and if it is attributed to the Seljuk period. In this case, to prove this claim, we need more investigations. Dating the SEAL, (apart from the laboratory methods on some available data whereas conclude to biases) may be based on two ways. First, if the data is obtained through correct scientific and accurate excavations, it is possible to compare the data with other archaeological findings of the same stratum that can be dated and / or compare to the same data properly. Second, the given data is obtained from non-scientific excavation, so the only possible way to date it is comparing the stylistics of that object; otherwise the result is incorrect and far from subjective. Each of these people seem to notice one or more indices in the stamp, and thus the results of their research have been neglected and thus, in order to prove their claim, such as Ghochani by offering unreasonable reasons, they have somehow tried to appoint the SEAL to one of the oldest written pieces of Islamic writing. Or, as To Heidi, to relate to one of the rulers of the Seljuk era. While the results of the research and the new investigations reject both claims. As mentioned earlier, there are three lines of Kufic script on the SEAL. The first line is “ لا اله الا الله ˮ which is not quite clear and there is no dispute about it. The second line: the owner's name is stamped, and due to the fact that the line has no point, as Ghochani says, it cannot be read correctly. The third line: Toheidi is called “ Hasbi allahˮ ) حسبیالله ( and Ghochani is called "Khosro Asham". no doubt the second word is" allah ". but as for the first word, it can be read in a number of forms, such as "Khsr "remembrance. this reading is more probable as Ghochani reads it, and it is more likely that " Jasar " ( جسر ) and " Hassan" ( حسن ) who came to the house after the name of " Allah "( الله); because it is similar to that of "Ali Abarghou" of dome inscription, it is also written. In the meantime, Hasbi's Tohidi claim is untrue because it has a letter on the SEAL. So it might be possible to read the last line as "Hassan Allah" (. (حسن الله therefore, the research and surveys, as well as presenting the symbols, signs and other documents, show that the results of the research are different than the results of the two people and research data rejects the hypothesis of these two. as a result of this research, it can be concluded that this stamp is related to the early Islamic period (Ghochani view) or the seljuk age (Toheidi view); therefore, the historical period for this stamp may be considered between the third century and Ilkhanid period.

Background & Aim: Several treatment methods have been suggested for reduction of dentin hypersensitivity such as Nd:YAG laser and SEAL & Protect SEALant materials. However, the effects of these methods have not been yet evaluated on dentin microhardness. The aim of this study was to compare the effect of Nd:YAG laser and SEAL & Protect SEALant on microhardness of dentin by using Vickers indicator. Materials & Methods: This in-vitro experimental study was conducted on forty-five freshly extracted human third molars. The buccal enamel surface was removed in order to expose the underneath dentin. Samples were randomly divided into three groups. Group one, received no treatment as controls, group two were exposed to Nd:YAG laser (1 W,10 Hz ,2 min) and the samples in third group were treated by SEAL & Protect. Indentations were performed using Vickers indentor at 100 gr. load. Finally the average hardness number was calculated and statistical analysis was done with ANOVA and LSD tests. Results: The results of this study demonstrated that Nd:Yag laser irradiation can increase dentin microhardness. However, it was not statistically significant (P>0.05) when compared with control group. Low level dentin microhardness was detected in SEAL & Protect group when compared to other groups (P=0.01). Also, there was significant difference between the Nd:Yag laser and SEAL & Protect groups (P<0.05). Conclusion: Nd:YAG laser irradiation for treatment of dentin hypersensitivity didn't decrease dentin microhardness. In contrary, using SEAL & Protect can decrease dentin microhardness.

The most important way of understanding human being in the past is to study their relics and among the works that have made a significant contribution to identifying culture and civilization and many other issues of ancient Iran, the motif are SEALs. Studies of this kind of data have been the focus of archeologists and historians for many years and many articles and books have been published on this endless subject. Because the SEAL and SEALing in answering some questions, the correct orientation of a number of questions and new questions about social, economic and people perceptions of the past have been raised. In some motives the artist describes his/her world and this kind of description is actually the optimal use of symbols. In the Persepolis museum, there is a black SEAL that differ substantially from other Achaemenid SEALs. This bilateral SEAL is a lesser-known role in the art of molding and is unique in Achaemenid molding. This SEAL is first published and revised based on various criteria such as art style and symbol interpretation. The main purpose of this article is to document and introduce the symbols of this SEAL; the author will also answer a few questions about this SEAL by using descriptive-analytic methods and by using authentic library resources after fully describing this SEAL. First, what are some of the concepts used on the engraving on the SEAL? How these symbols originated and whether these forms were the result of Achaemenid thought or a legacy of a very ancient culture?

We re-discuss the so-called Jalalabad SEAL, a well-known cylinder SEAL dating of the late 3rd millennium BC, reportedly found in Fars. It displays a scene related to a south-eastern Iranian religious or mythological iconography, showing a male supernatural character with snakes spreading out of his body, probably a divinity, and three women bowed for worship or submission in front of him. This scene is combined with an Indus Script signs sequence which connects this SEAL to a ‘ family’ of short, equally well-known inscriptions in Indus signs recorded on ‘ Persian Gulf’ round stamp SEALs, notably coming from Bahrain, ancient Dilmun, and southern Mesopotamia. The present discussion is based on a new, more detailed recording of the SEAL's intriguing iconography, and it brings another brick in the already imposing wall of the of acculturation and cosmopolitism phenomena attested in the Persian Gulf during the second half of the 3rd millennium BC. At that time, Mesopotamian, Dilmunite, Maganite (Oman), Meluhhan (Indus) and Marhashean (Halil Rud) traders were interacting along the then main Near Eastern commercial highway, and a pervasive process of cultural hybridization was in full development. A review of the various Indus iconographic elements currently known in Iranian glyptic is finally proposed, trying to restitute for each of them their respective historical implications.

In archaeological finds, SEALs are generally considered as one of the most important data bearing important economic, political and even artistic information of relevant time periods. Moreover, the iconography of SEALs plays an informative role to explore the main characteristics of SEALs or SEALing in order to better understand the social, economic or even the administrative contexts of the societies to which they belonged to. Different styles in the different space and times are known in terms of pictography that can help researchers understand the characteristics of a time period better in the absence of sufficient information. The ancient city of Susa with a rich collection of SEALs related to different historical-cultural periods is one of the most important ancient sites in Iran which have been used as clues to decipher or interpret that can guide researchers in the stylistics and iconology of SEALs from its neighboring areas. The cylindrical SEAL No. 1841 has been registered in the catalogue of the National Museum of Iran with an “unknown” location. The similarity of the image engraved on this SEAL to those found on SEALs obtained from Susa was the reason the author came up with this article in order to introducethe SEAL and specify iconography and stylistics and finally its date and origin with a comparative study. The present study tries to answer the research questions: “What style and time period can be considered for the iconography of the cylindrical SEAL in the National Museum?” and “Is it possible to prove that it belongs to the city of Susa according to the iconography of the image of the relevant SEAL?” Studies that have been conducted with the comparative method and with the approach of the image analysis, the IVA style of Susa is considered for it leading to the conclusion that this SEAL probably belonged to Susa itself.

Productivity aims at improvement of the quality. Quality improvement in turn contributes to productivity. There are several means to improve the handicrafts and allow people to improve the quality of their products. Meanwhile handicrafts are being considered important from social, cultural, art and economical point of view. It contributes to local economies and eradication of poverty. By providing new market opportunities, the SEAL program aims at enabling handicraft producers to establish sustainable livelihoods. This will be achieved through developing networks of handicraft producers and customers, including the higher - end of the market, and through exhibitions and trade fairs. The UNESCO SEAL of Excellence for handicrafts is based on the criteria such as: Excellence, Authenticity, Innovativeness, Social responsibility (Fair, labor law, Eco - Friendly) and marketability. They encourage artisans to produce handicrafts using traditional skills, patterns and themes in an innovative way in order to ensure the continuity and sustainability of these traditions and the skills. On the other hand, creativity is man's most widely and evenly distributed resource. All people seek outlets for self -expression and have the capacity to create objects to uplift the spirit and enhance peoples' lives. The United Nations Educational, Scientific and Cultural Organization (UNESCO) promote a wide range of activities to preserve and develop both traditional and contemporary crafts. This has included a Ten - Year plan of Action for the Development of crafts in the world 1990 -2000 the annual UNESCO crafts prize to recognize the creative talents of craft producers, as well as programs to identify and bestow on the world’s most outstanding artisans the title of" Human Living Treasure." The SEAL of Excellence for Handicrafts program was established in 2001 by UNESCO (UNESCO Office Bangkok) in collaboration with the ASEAN Handicraft Promotion and Development Association (AHPADA) for piloting in Asia. Referred to as the "SEAL", this program aims at ensuring the continuation of traditional knowledge and craft skills which help to preserve cultural diversity in the region. Since 2006 the SEAL program has been launched globally with the SEAL being introduced in Africa, Europe and America. The Asia program has expanded over the last few years to south Asia (2004), central Asia (2004) and was launched in East Asia in 2006. It should be mentioned that 30 countries in Asia are now taking part in this initiative. This growth has been accompanied by a new region -wide branding and increased promotion and distribution channels. For the first time Iran took part in the 2007 SEAL program session, held in Dushanbeh, Tajikistan from 24 -27 September, received 6 SEAL certificates for the Iranian handicrafts articles. Due to the importance of the program (SEAL), this paper is an attempt to take a step for further introduction of the SEAL in order to prepare grounds for better participation of the relevant capable products in the future sessions.

There were two general methods for making and production of traditional SEALs in Qajar Era.These methods were defined and designated according to the raw material of the SEALs i.e stone or metal. So the process of preceding engraving, ranging from the construction of the SEALs or appearance features should not be known as the methods of SEAL carving. These characteristics often associated with the professions which are related to the SEAL making or explains their roles in bureaucratic works. InQajar Era, stone SEALs were often made of agate and metal SEALs were made of brass. However, the phases of SEAL making before carving, such as text writing, composition and «chap nevisi» were the same in both methods. The tools used for carving metal SEALs were very simple and delicate and the stone SEALs were usually engraved by a machine called “Aqiq-kan” agate- carver». Actually, Qajar engravers, proficiency in exploiting of these simple tools and their knowledge of relating crafts to carving were quite decisive in making and presenting of high-grade SEALs in Qajar Era. In this paper, SEAL engraving styles in Qajar period based on historical - description research and field collection methods, the intervertebral titles brass (steel) and SEALs agate (stone) have been analyzed.