Problem statement: Each of the carpets of different regions of Iran can carry a message, concept, or symbol behind their patterns, the discovery of which will accentuate understanding the authenticity and providee the historical, cultural, and ritual values of Iranian rug designs. The carpets woven in Markazi province are among the prominent carpets of Iran; one of the authentic carpets of this province is “ Farahan Sun Medallion” rug, to which little attention has been paid. Research objectives: The primary purpose of this study, which is of a qualitative and descriptive-analytical type, is to analyze the Sun symbols in this carpet, to discover the conceptual relationship and its special connection with the holiness of the Sun, as well as to introduce Farahan Sun Medallion rugs. Research method: To search this connection, by reviewing the cultural-historical background of the place of this carpet, namely the ancient county of Farahan, the importance of the Sun in the past rituals and culture of this land was taken into account. Then, the samples purposefully collected from library and the Internet documents, based on the structure and elements of the visual index, were divided into three categories: main, vase-pattern and Vagirei (recurring patterns). Conclusion: In quest of Sun motifs in these three categories, elements such as the three-branched flower tree, the lady Sun, the lotus, the geometric Sun flower, etc. can be realized, which are classified as human, animal, plant and abstract. Finally, due to the multiplicity and variety of the usage of Sun motifs in this type carpet and its conceptual connection with the Sun, the patterns of this carpet can indicate the holiness of the Sun in the history of this area as well as other regions of Iran and the manifestation of this concept on Farahan Sun Medallion rugs.

The Safavid Era is one of the most significant periods in the promotion of Iranian art, especially in the design and production of carpets. During this Era, carpet weaving flourished and attention to the structure, size and composition of carpet designs caused a unique diversity in the design and motif of Iranian carpets, the effects of which continue to this day. One of the common types of carpets in the Safavid period is Medallion carpet, which is a function of the 1/4 method in terms of map structure. The structure of carpet maps and their design methods form the main shape of the carpet and other stages of carpet production are based on the map. The carpet map specifies where to place what pattern and what color this pattern should have and in what order its knots should be tied. However, the structural part of carpet maps has not been paid enough attention in recent years and more attention has been paid to the symbolic features of patterns in carpet maps, which is of course a proper and appropriate thing to do, but it should not lead to neglecting the principles governing the design of the map. Because this will cause irreparable damage to the structure of carpet designs over time. One of the important periods in the elevation of carpet maps in Iran is the Safavid period. In this period, the government's attention to carpet weaving led to the prosperity and expansion of this art in such a way that the carpets produced in the mentioned period are now the adornment of most museums in Iran and the world, and by referring to them, the map principles and the designs and motifs of Iran's carpets during the Safavid era can be understood and extracted, so they can be employed in the design of new maps. Medallion maps are one of the types of carpet maps in the Safavid period, which created a wide range of different compositions based on the decorations made in their context. In terms of the structure of the design and composition, these maps have five main parts of Medallion, inscription, cartouche, field and border, which are divided into different types according to the characteristics of Medallion and decorations used in the carpet field. In the initial survey and cursory look, the maps of Safavid era, in terms of the structure of the map and the design method, appear to be ¼, but with a closer look, it is clear that it is contrary to what is currently common, these maps have subtleties in design and composition that make their design method out of the ¼ structure. A Medallion carpet known as Anhalt, which was produced in the early Safavid period, has a Medallion design and the general structure of the map is 1/4. Considering that, this carpet has remained intact so far, it can convey useful information about the design method of Safavid carpets. This research has been done with the aim of explaining the structure and design method of Anhalt Medallion Carpet and seeks to reveal the hidden layers in the composition of the design of this carpet. The  research questions are: 1. What is the structure of Anhalt Medallion carpet map? 2. How is the map of this carpet designed? The current research is a type of developmental research that was carried out using a descriptive-analytical method. The method of collecting information is literature review . The statistical population is the Medallion carpets of the Safavid period in Iran, among which three items that are more similar in terms of external structure have been selected in a purposeful way, and after a brief review, a Medallion carpet known as Anhalt is used as an example, has been further analyzed. The analysis of the research data was done qualitatively using the carpet map structure analysis method. In this method, first, the structure and various components of the carpet map are specified and each of these components is described. Then, the design method of each of these parts has been analyzed separately and the different layers of the design have been revealed.The concept of structure in Medallion carpetsThe term structure in the current research refers to the arrangement and arrangement of the elements in the carpet. Structure analysis in this research is examined from two perspectives. The first concept refers to the external structure of the work and means the format and the general body of the design. From this point of view, the studied carpets are placed in the group of Medallion carpets of the Safavid period. In the second concept, the internal structure is intended and it examines and analyzes the placement and arrangement of elements and micro-motifs. In the definition of structure, Jean Piaget said: "Structure is the expression of a whole, that is, its parts have internal coordination and correlation". The structure of Medallion carpets is also like a text, which its motifs and visual elements have a coherent system and internal correlation. The samples studied in this research are three of the Medallion carpets woven during the Safavid period in Iran, which are currently kept in the Metropolitan Museum in New York. The external structure of these carpets is similar to each other and consists of border, field, Medallion, inscription, and, cartouche, so all these carpets can be included in the group of Medallion rugs. But they are different in terms of internal structure and other motives. Anhalt Medallion Carpet was woven in the early Safavid period (the first half of the 16th century) and measures 419.1 x 792.5 cm. Its warp and weft are made of cotton and silk, and its pile is made of wool. This carpet is currently kept in the Metropolitan Museum of New York. Before its sale by Joseph Duveen to Samuel Kress, the carpet is reputed to have belonged to the Anhalt princess of Dessau, whose ancestors may have acquired it through military campaigns against the Ottoman Turks in the late seventeenth century. The structure of Safavid period Medallion rugs can be examined from two point of view. A: The external structure of the carpet, which includes the overall composition of the design, and based on this, the external structure of these carpets consists of parts such as the border, the field, the border, the inscription, and the cartouche. B: The internal structure of the carpets, which includes other motives that are used to design and decorate the interior of the aforementioned sections, and are made of elements such as flowers, leaves, buds, arabesque, and pictures of birds and animals. The external structure of Medallion rugs has a multi-layered composition. In the first layer, the general composition of the map is defined as ¼, and the location of borders, field, inscriptions, and cartouches is determined by using peripheral lines and color separators. In the second layer, the inner space of each component of the map of these carpets is decorated separately. The results of the research showed that the design and production of carpets in the Safavid period received the attention of the government and many carpets in different sizes and designs were produced in this period. One of the factors of diversity in the design and size of carpet maps in the Safavid period, in addition to the patronage of the court, is the collaboration of painters from royal workshops in preparing maps. Currently, most of the carpets related to this period are adorning the great museums of the world, and Medallion carpets are one of the prominent examples that are decorated using curved maps and simple motifs. The map structure of Medallion carpet, known as Anhalt, like the other two carpets, has a two-layer design. In the first layer, the overall composition of the map is done by ¼ method, and then in the second layer, each component of the carpet map is designed separately with a specific layer structure and is placed in the form of the overall composition of the map. Although the map of this rug looks like ¼ in general, but by analyzing the details of the design, including the Medallion, inscriptions, cartouches, the field and the corners of the rug's edge, it was found that the details of each of the elements in the longitudinal direction of the carpet map, there are few differences and this has caused the map to go out of ¼ state and become ½. Therefore, it can be concluded that the weaving of this carpet, like other Medallion carpets of the Safavid period, was done by the ½ method. 

Carpets with Medallion patterns are a wide and unique collection of Iranian carpets that received a lot of attention in the Safavid period. Since these carpets are among the most important Iranian carpets, it is necessary to analyze them from different aspects. Therefore, with the aim of studying the proportions and relationships in carpets with Medallion designs in order to examine the layers of the presence of geometric-numerical proportions between the components of the carpet and the ratio of the area of each component to the analysis of symmetry, disciplinary lines and the presence of fractal geometry in 8 samples of the most famous carpets of the Safavid period with Medallion patterns, simultaneously an attempt has been made to answer the main questions of this research. Questions are 1- In what format and with what kind of composition are the issues of geometric proportions, order, disciplinary lines and symmetry seen in these designs? 2- How is the mystical concept of "from plurality to unity" and "from unity to plurality" manifested in these designs? 3- How is the presence of fractal geometry and its pattern similarities with the Medallion design in Safavid period carpets analyzed? It is necessary to answer these questions and pay attention to the fact that in most researches related to Medallion Pattern in Safavid period carpets, only the proportions and numerical relations between the components and the whole carpet have been studied and the issues of symmetry, disciplinary lines and fractal geometry have not been studied; and the importance of this research becomes clear. This research has been done by descriptive and analytical methods and its information has been collected with a library method. Due to the importance of the design and role of Iranian carpets in the Safavid period - especially Medallion pattern - the target community includes 8 examples of famous Safavid carpets all which have the same construction and 4 quarter-Medallions, including: Sheikh Safi al-Din Ardebili carpet (530x1032cm) at the Victoria and Albert Museum in London, a carpet known as the Sea Wave, or Portuguese rug, Khorasan texture (313x680cm) at the Vienna Museum of Handicrafts, Chelsea rug (310x549cm) at the Victoria Museum of Western Iran (360x690cm) at the Petzoli Poldi Museum in Milan, Vase rug, Kerman texture probability (171x249cm) and three samples of Kashan silk carpets (165.1x243.8cm), (148.6x221cm), (146.7x207.6cm) at the New York Metropolitan Museum. Using the two-dimensional screen roller software from the computer screen, the dimensions of the proportions inside the frame and the dimensions of the frames include the ratio of width to text length, width to total length, border width to text width, border width to total width, Medallion width to full text width and the width of the Medallion is calculated to the total width of the carpet and the ratios related to the area of the various components of the samples. The golden ratio obtained from the square of the index is also shown as an example for the hunting rug of the Petzoli Poldi Museum of Milan. By drawing disciplinary lines in the carpet resulting from the intersection of the diameters of the index squares, the complementary rectangle, the diameters of the main frames and the lines of symmetry of the main place in the composition of these carpets are obtained. By examining the intersection points and the resulting composition, the relations governing it have been studied. Fractal specimens found in nature are similar to those found in rugs. The method of analysis in this research is that all the obtained data are arranged and prepared in tables. Then, the rules of traditional Iranian design, the rules of golden ratio and the basic features of fractal mathematics were applied and compared. The principles and relations governing this design are extracted and analyzed in terms of geometry and golden ratio laws. The results of this research indicate that the principles of symmetry and golden ratios have been observed in designing the dimensions of the main frame of the carpet for all samples. By drawing disciplinary lines, an environment is created that shows the main place in the composition of these carpets. The presence of these locations proves that these designs are legal and based on geometric divisions. By examining the fractal geometry and its patterns in the samples of carpets, it is determined that although the carpets are composed of thousands of small and large patterns and sometimes of repetitive patterns, all these elements are in a regulated and purposeful way in a single combination. Thus, in spite of the multiplicity of components, we are finally faced with a single and regular set.

The golden age of the textile art/ industry in Iran without a shadow of a doubt was the 10th and 11th centuries AH (16th-17th AD). Woven fabrics of this era were a remarkable combination of visual aesthetics, composition, motifs, colors and textures which were put together in variable and versatile forms. One of these beautiful compositions that is often seen in the fabric structure of this age is the use of Medallion form/motif embellished with plants, animals and human motifs. Several studies indicated the frequent use of this form/motif in the textile which can be an evidence that Medallion is one of the most widely used motifs of this period. According to the above-mentioned descriptions, the main purpose of this study was to investigate the structural patterns of the motif/form of Medallion on Safavid textiles In this regard, the research question was: what is the structural diversity of the motif/form of Medallion in decorating Safavid textiles and what is the position of this motif/form in the composition of these fabrics? To find the answer to this question, 16 fabric samples existing in books and art galleries of Safavid period were selected and then their structural features were analyzed. The research method was descriptive-analytical and was based on historical nature. The data was collected from libraries and the Internet and the analysis was qualitative. The results of the research showed that the Medallion form/motif existed both explicitly and in disguise in most of the Safavid textiles. This structure adhered to the symmetry system and showed new and orderly combinations in the text of the work. The greatest use of this motif in the textiles was transitional and in the form of1/2 and1/4

Among various Persian carpet designs, Medallion and Medallion with spandrels designs have special status due to their both aesthetic and frequency of use in carpets. It seems that the Medallion in Persian carpet has not achieved this significance only for its aesthetic aspects. In this paper, the significance of this pattern is investigated from symbolic point of view using library-based survey and content analysis. Medallion in the carpet has reached such maturity and aesthetic climax from both conceptual and appearance aspects that this can hardly be seen in other arts. Medallion pattern has developed from mythical beliefs and it symbolizes garden and pool; but its evolution to today's state is in fact the manifestation of the beliefs, thoughts and dreams of the Iranian Muslim artists that are manifested in a heavenly garden and spiritual space. On the other hand, visualizing heavenly concepts in the Medallion departs from mortal and earthly state, and seeks introducing a holy space by using abstract patterns. In this way, an eternal world, which cannot be depicted in any mortal form, is portrayed by applying a symbolic rendition. For realizing all of its connotations, the designer and/or weaver chooses the center of the carpet to stimulate this prominent concept.

Crop models are appropriate and low-cost tools for investigating the effect of agricultural inputs on water and soil resources and crop production. The objective of this study was to evaluate the OILCROP-Sun model for Euroflor hybrid of Sunflower in order to gain a suitable base to conserve soil and water resources. This study was conducted as a strip-plot statistical design with randomized complete blocks design with three replications for each treatment. Total biomass, seed weight, seed yield, percentage of seed oil, and seed nitrogen were measured. Using collected field data, OILCROP-Sun model was calibrated and evaluated for different levels of water and nitrogen applications. Six genetic coefficients were then derived from calibration of OILCROP-Sun model for Euroflor hybrid. The results indicated that seed yields were simulated reasonably well for 12 treatments with NRMSE value of 18.5%, and the d-index of 0.92. The d value of different treatments of water and nitrogen for seed nitrogen was 0.93, and for oil production per hectare was 0.91.

In this article, holy manifestations of Sun,as the symbols of Godhead,have been taken into accunt,in three masterpieces of poetical literature: Ferdowis Shahnameh, Nizamis Khamseh, Atars Mantegh-Al,. Teyr,and at the same time,the various faces of Sun holiness have been compared with myth of Iran with those of India, China, Egypt, Greece,...,and also with some religions of before Islam. The items discussed in this article are: Survey of Sun as a symbol of Godhead, the charismatic Sun,the structural similarity of Sun and Simurggh, particularly in Mantegh-Al- Teyr. The process of ritual death of soul, and to die before corporeal death, by inspiration of down and Sunset, mysteries of Sun as the daily system of soul and its correspondance with it, tempo-measurements of myth and its contrasts with Sunrise and Sunset, and at last, the role of Sun in determining the local limits of myth. All of these cases have been corresponded with some evidences of these aforementioned texts.

Symbolism is a refined and sophisticated method by which the artist expresses his thoughts in art forms.One of the basic themes of mysticism,which has given rise to symbols in mysticism, is the need to God almighty as the true beloved. Salaman and Absal, a symbolic work by Jami, is an attempt to describe parts of mans ethical and human dimensions. This article presents a yet different interpretation of this symbolic story.