To date, no experimental investigations utilizing petrographic, XRF, ICP, or TL methodologies have been undertaken for the analysis of Sasanian and Early Islamic Pottery in Western Iran. Consequently, the findings of this study are anticipated to contribute valuable insights into the Pottery Production processes prevalent during this historical period in Western Iran. To achieve this objective, eight Pottery specimens retrieved from the excavations of the Jahangir monument were submitted to the Research Institute of Cultural Heritage and the Geological Survey for petrographic analysis, while two samples each were designated for XRF, ICP, and thermoluminescence assessments. The primary research inquiries pertain to elucidating the composition and structure of the Pottery, determining the firing intensity in the kiln, and discerning whether the Pottery is of indigenous or imported origin. The outcomes of the experiments indicate the presence of three predominant compounds—quartz, iron oxide, and calcite—in the majority of samples procured from the Jahangir monument. Nonetheless, certain Pottery specimens incorporate mica particles or chert stone in the clay composition. With few exceptions, the Pottery is ascertained to be domestically manufactured, denoting its local provenance within the region. The texture of the selected Pottery samples is characterized as silty, porphyritic, and inhomogeneously silty. The identification of calcite in the clay of all Jahangir Pottery suggests a maximum kiln temperature of 800°C during the firing process. Furthermore, notwithstanding a limited number of exceptions, the scarcity of soil variations in the majority of Pottery specimens implies a shared geographical origin

Identifying the constraining factors of Production and yield gap is very important. Therefore; this research was performed to identify the Production constraining factors of local rice cultivars. All management practices from nursery preparation to harvesting stages for 100 paddy fields of local rice cultivars were recorded through field studies, in Sari, from 2015-2016. In the CPA, the actual and calculated potential yield were 4495 and 5703 kg/ha, respectively and the gap was 1221 kg/ha. The yield gap caused by number of top-dressing variables was 324 kg/ha, equal to 27% of the total yield gap. The yield gap related to previous year of legumes cultivation was 218 kg ha-1, equal to 18% of the total yield variation. Among the 10 variables entered in the CPA model, the effects of top-dress fertilizer application and its application frequency and foliar application were remarkable, which could compensate a significant part of the yield gap (444 kg/ha, 37% of total) in the farmers’ fields by managing these variables. According to boundary line analysis (BLA) finding, actual yield mean on the basis of optimal limit related to 12 variables under study was 5369 kg/ha, with 881 kg/ha yield gap . Mean relative yield and relative yield gap for 12 variables (transplanting date, seedling age, number of seedlings per hill, planting density, nitrogen and phosphorous per hectare, nitrogen before transplanting, harvesting date, lodging problem, pest problem, diseases problem and weeds problem) were 83.64 and 16.35 kg/ha, respectively. Based on the finding, it can be Stated that the model precision is appropriate and can be applied for both estimation of the quantity of yield gap and determining the portion of each restricting yield variables.

A study of the research carried out in the field of Qajar Pottery ‎shows that the prevailing attitude towards this art during the past decades has generally been derived ‎from a kind of negative thought, which is basically defined by keywords such as “degeneration”, ‎‎”vanishing”, ‎‎”decline”, “deterioration” and “stagnation”. ‎Even with the change of attitude ‎towards Qajar art since the end of the 20th century, the effects of the mentioned approach still ‎remain on the later research, and traces of it can be seen from time to time in the conducted ‎research. The purpose of the present study is to evaluate and measure the correctness and ‎incorrectness of the mentioned approach. The question of the current research is that whether this ‎attitude has its roots in historical facts or is it just the result of a wrong understanding of Qajar history ‎and art? In other words, is Qajar Pottery really weak in terms of quantity and quality, or is it ‎subjected to adverse and biased comments? In this ‎regard, the frequency of Qajar Pottery Production level will be investigated in accordance with ‎the underlying and influential factors in the process of Qajar artistic trends, including the ‎discourse of development and reform, supply and demand market, and the social bases of art. It ‎should be noted that the word “quality” in this research refers to “technical ‎quality” of the products - including the quality of clay, glaze, colors and firing - and does not ‎include their “visual aspects”. This fundamental research applies the historical-analytical method. Data collection has been done by referring to library and field documents with reference to various sources, including historical texts (books, manuscripts and documents), ‎accounts of travelers and political agents, and the works and documents preserved in museums. Data analysis has also been done by inductive method and in a round-trip process. The target ‎community of the present research is the Qajar era Pottery, including dishes, tiles and various ‎Pottery objects, which were sampled in a targeted manner. The findings of the research indicate that in contrast to what has often been asserted, not only the Qajar Pottery has not been faced with “degeneration” in terms of quantity and quality, but it established a ‎special and distinct place for itself in the field of Iranian Pottery. During the Qajar period, the ‎support for the expansion and prosperity of the Pottery industry by the government ‎and political elites increased significantly, leading to the development of tile making and chinaware Production. In this period, no defect could be seen in the ‎Production of earthenware and generally monochrome products, but due to the influence of ‎Chinese imports and the loss of traditional and long-standing patrons, namely financiers and ‎political elites, creators of stonepaste wares were unable to produce products of high quality. Nevertheless, the ‎Production of stonepaste wares continued, though not with the previous quality, for a new ‎market of emerging middle-class customers. On the other hand, it can be seen that with the ‎change of the social base of art in this period, in addition to the expansion of patrons and ‎customers of Pottery, the priority is directed to ordering tiles due to the increase in building ‎construction and restoration programs. The change in the social bases of art ‎brought about other effects; including the one that led to the “commodification” of manufactured ‎products. Accordingly, Qajar Pottery lost the former “luxurious” character of Safavid Pottery. Under such conditions, ‎Qajar Pottery was relegated from the class of noble and courtly objects and it became available to ‎the general public at the level of commercial goods. In spite of that, this issue caused more creativity in ‎Qajar products in the field of design and coloring. On the other hand, the boom in the market of ‎supply and demand due to the emergence of the phenomenon of collecting art works by ‎foreign museums and collectors resulted in bulk orders for the Qajar potters, especially in the late ‎‎13th and the early 14th centuries AH/ 19th and 20th centuries AD. At the same time, the increase in demand for old works ‎led to the Production of fake products known as “antiques”. The impossibility of ‎distinguishing between some of these products from the original samples is indicative of the high skill of the ‎potters of this period in producing high-quality products. Furthermore, it implicitly ‎reminds us of the important and effective role of patrons of works of art in ‎determining the trend of artistic trends.‎

The first large-scale archaeological study at the Central Plateau of Iran after The Revolution commenced with a reconnaissance survey at the Tehran Plain and excavations at Tepe Pardis, at beginning of the new century. Various types of interdisciplinary approaches were employed to reinforce the archaeological hypothesis augmented by the data gathered at the stratigraphic and horizontal excavations at Tepe Pardis. Almost contemporaneous with these studies, further investigations were carried out in the two major sites of Zagheh and Sialk which provided the excavators with valuable sets of data for a comprehensive study. These well-supported fieldwork studies combined with several up-to-date interdisciplinary techniques and suggestions of new evolutionary practices for a 7000-year-old society should be noticed by international specialists. But as it will discuss in this paper indeed no attention was paid to the hypotheses raised by the excavators mostly because of their non-rational interpretations attributed to the objects and architectural remains found at Tepe Pardis. Of the interesting objects found at the Tepe were sets of adobe structures and a terracotta disk which were all interpreted in the context of the specialized Pottery Production industry in the 6th to 5th millennia B.C. Based on these miss- interpretations several antedate phenomena imputed to the simple Chalcolithic communities inhabited there which seems they need to be reviewed. In the present account, we will take a closer look at the features introduced as kilns and the disk as a potter's wheel and examine a wide range of developments ascribed to these communities. Finally, upon the available evidence, we suggest new functions for the pre-mentioned items which may fit better with their application.

Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about Pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some Pottery Production centers in Iran, there is still no comprehensive information on Pottery techniques and innovations in this era, as well as the main Production and distribution centers of Pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of Pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and Pottery forms of Pottery produced in Tehran in the second half of the Qajar era, and which group of Pottery species and decorative patterns were repeated more in this Pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and Pottery forms were identified, which are mentioned in the text of the article.Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about Pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some Pottery Production centers in Iran, there is still no comprehensive information on Pottery techniques and innovations in this era, as well as the main Production and distribution centers of Pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of Pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and Pottery forms of Pottery produced in Tehran in the second half of the Qajar era, and which group of Pottery species and decorative patterns were repeated more in this Pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and Pottery forms were identified, which are mentioned in the text of the article.

Central composite orthogonal design was applied to quantify relations of xylanase Production, loss of dry matter and change of pH with four critical variables during solid State fermentation of a mixture of wheat bran and wheat straw on which Aspergillus niger CCUG 33991 was cultivated. The studied variables included the percentage of wheat straw, wheat bran, temperature, moisture content, and fermentation time. The second-order quadratic model predicted the xylanase activity at a suitable set of conditions namely 29oC, 55% moisture content, and 50 hours of fermentation to be 1465 U/g of fermented dry matter which differed less than 6% from measured value at this set of conditions. Furthermore, the obtained models predicted dry matter loss and pH with less than 17% error for the same conditions. The results were used for xylanase Production in an intermittently mixed forcedly aerated pilot. Applicability of models for prediction of pilot scale SSF performance was investigated. The results showed considerable deviations of measured trends from model predicted ones. Presence of mixing, temperature and moisture shocks and better oxygen supply are of possible reasons of deviations.

The research is to analyze the present status of the content codification systems for the Production of sport TV shows, the main factors of its emersion and consequently developing a desirable status. Grounded theory was used as the qualitative method of research. Statistical population consisted of media experts from both the Audio Visual Broadcasting Organization of Iran and also external specialists. These experts were divided in three groups of producers, directors and authors of sport programs; group managers of sport TV programs; and lastly the policy makers of sport programs in the above mentioned organization. Specialists out of this organization were the experts of sport media and PE university professors. Visionary and theoretic sampling method was used and the research instrument was semi-structured. Although after having ١ ٧ interviews, the research group was encountering similar results; but we continued the interviews to ٢ ٠ subjects. For having an eligible multidimensional system, the results showed that omission and exclusion of governmental TV monopoly is vital. Decentralization and creation of meritocracy will lead to a better cooperation of TV and sport trustees. In addition, contribution with experts for analyzing the content of programs, using specialized software, constitution of survey group before the Production, fair distribution of programs to different sport indexes, inviting experts to the TV shows, recognition of spectator’ s actual demands and bilateral interactions with them are the other aspects that lead us to such a new approach.

Studies have been performed on the Production of cellulosic enzymes of Aspergillus niger and Trichoderma reesei with solid-State fermentation technique. The fungi strains were grown on a mineral medium suitable for cellulolytic microorganisms. Three different carbon sources (Cellulosic material) and time hydrolysis were used in order to determine the best condition for cellulase Production and more suitable strain. The result indicated that A. niger was more capable enzyme producer with the rice straw. Fermentation with,mixed cuture was also examined. In comparison with one strain, time of maximum yield was reduced. For two fungi enzyme activity was reduced with increasing of hydrolyzingtime.