It is generally that the Mexican Muralism had its roots in the 1910 revolution. The Mexican Muralists produced the greatest public revolutionary art of twentieth century, and their influence throughout Latin America has been far reaching and continuous. The muralists were the most vigorous and creative of cultural vanguard of revolutionary Mexico, with a powerful sense of the social value of their art. The mural movement was increasingly concentrated in the hands of "Los Tres Grandes":Rivera, Orozco and Siqueiros. The muralists demanded, at least in principle, to eradication of bourgeoisie art (easel painting), and pointed to the native Indian tradition as their model for the socialist ideal of an open, public art:" a fighting educative art for all". These artists utilized the elements of European classic art, modern twentieth century art and combined to their own native art. They have created a magnificent and effective art in the open-air mural painting arena. This paper tries to investigate the origin of mural painting in Mexico and also works of Orozco, Rivera, and Siqueiros.

By regarding the rest of pictorial and written documents of Sassanid and Sogdian art – Sogdiana was one of the states under the supervision of Sassanid emperors at many different period - this research is going tosurvey the effects of Sassanid art on the Sogdian mural paintings; the statistic category of this research is 3 sample of Sassanid stone relief and Mural painting as well as 6 sample of Sogdian mural painting. The Methodology is description and analyses of paintings. The goal of this essay is the reconsideration of Sassanid artistic effects on the Sogdian mural paintings, Given The geographical location of the Sassanid Empire, Sogdiana was one of the important neighboring countries of Iran, and the cultural links between these two countries had many mutual effects on their cultures, as we can find its true samples on Sogdian paintings. the influence of Sassanid paintings on the use of color, form and decorative elements of clothing, elegant women's draw & ... can be seen in the Sogdian painting; Despite the strong influence of Sassanid art on sogdian paintings, there are many differences between them, for instance the Sassanid art preferred the stylizations and symbolism on realistic representation, in the other hand Sogdians Sometimes painted their works realistically with more details. However, we usually find Sassanid illustrations on Reliefs, but the Sogdian artists prefer mural paintings; The Royal Commission Representation is dominated in Sassanid art, On the contrary, Sogdian painting dose not Focus on kings as much as Sassanid art, in fact folklores and every day themes as parties, hobbies and sports, religious and epics are the main subjects of their paintings. We can find some Sassanid art which influences on Sogdian paintings such as: rhythmic drawing of women, details of customs with plant and animal designs, the crowns of kings, In addition we face with masks, bells and using Yellow, Red Maroon, sky blue and black colors.in general the formal properties of Sassanid images in the case of visual space, using flat, sharp and diversified colors, omission of perspective, avoiding shadow of light, the absence of the specified source of light, equal place and importance of human and nature, Simplified forms and ignoring the sequence of time and dimensions of Places as well as approach to linear mode, can be seen in Sogdian paintings. another influential aspects on the Sogdian mural painting is the immigration of Manichianmen to the central Asia, which transmits the other aspects of Sassanid art traditions to sogdiana; But, despite all, the results of the studies of Sassanid and Sogdian paintings indicate that Sassanid empire as a grate regional power always had strong influences on Sogdian paintings, thus in the case of paintings we see more of the influence of Sassanid art traditions on the Sogdian paintings, but Sogdian paintings have their own originality so it cannot be classified as a Sassanid art branches or any other countries at their neighbors. In fact, both Sassanid and Sogdiana keep their own visual values in their arts.

Ameloblastoma is a benign but locally invasive epithelial odontogenic tumor. Ameloblastoma usually presents in the posterior mandibular ramus region, while it is rare in the anterior mandibular region. It has been divided into three classic types: Unicystic Ameloblastoma (UA), Extraosseous/Peripheral Ameloblastoma, and Conventional Ameloblastoma. The unicystic type accounts for approximately 5-15% of all cases and predominantly occurs in the younger population, typically in the second decade of their life, but is quite rare in older adults. We present a case of mandibular unicystic Ameloblastoma in the anterior area of a 62-year-old Iranian female with intraoral swelling of the gingiva. We reported the clinicoradiographic and histopathological features of the lesion with complete treatment intervention and follow-up.  Keywords: Ameloblastoma; Mural; Odontogenic tumor.

Ameloblastomas demonstrate various clinical and microscopic patterns. They typically have been described as possessing three biologic variants including solid, cystic (unicystic) and peripheral, of which about 13% to 21% of all cases are unicystic. Granular cell subtype is a rare variant especially when both the inner and peripheral layers of tumoral islands composed exclusively of eosinophilic granular cells. The purpose of this case report is to present a unique case of cystic ameloblastoma with an unusual radiographic and microscopic pattern affecting a 25-year-old female. Awareness of these rare histopathologic features for oral pathologist is essential to help correct diagnosis.

Mural painting is one of the prominent and noble arts of the Qajar period, which was formed in the form of painting on surfaces such as tiles, plaster and wood. Attention to antiquarianism and religious issues in this period led to the creation of works in which the role of Ahriman and Demon drew most of the attention of artists and rulers of the time. Patterns that can be investigated not only in regards to their narrative aspect but also in terms of morphology. The purpose of this research is to investigate the shape and anatomy of the images of demons in the public art of wall paintings of the Qajar period. By examining 14 selected samples from Qajar wall paintings through documentaries and field data in a qualitative manner, based on a descriptive-analytical approach and visual sources, the authors intend to answer the following question: What kind of thoughts and beliefs is the cast and body of the demon in the general art of the Qajar period based on? The findings show that the motifs that adorned public buildings such as shrines, baths, and religious buildings in the Qajar era did not have a scary and dark image. In other words, the idea of a demon in people’s minds being imagined as a formidable, terrifying and scary creature, suddenly changed and it was seen as a gentle, harmless, compassionate, humorous, smiling creature, sometimes with female erotic organs and even being well-dressed beings who were decorated with beautiful colors and even hung ornaments on themselves. This was an expression of traditionalism in women’s social life in this period. The findings of the research show that the four concepts of women, nature, primitive and alien transcendental beliefs underwent deep changes in the mind and thought of Iranians during the Qajar period.

In the 19th century, professional conservators started using the science and scientific attitude in the process of conservation studies. With the improvement of scientific methods, conservators gained the ability to use analytical approaches to solve the problems. Emphasizing on using chemical and physical studies had made a new field in conservation of arts. In this paper, Fourier-transform infrared spectroscopy (FT-IR) is used to identify the pigments and the base of mural paintings with the goal of acknowledging the role of science and the intention of artist in application specific colors and methods at creating the royal Qajar mural paintings. This analysis is necessary to improve the level of decision making for conservation and restoration. The results of this study shows the Qajar artist chose the colors with full cognizance and the only differentiation is observed in blue pigments, where Lapis Lazuli was used in the “ Saf-e-Salam-e-Fathalishah” . Lazuli blue is known for being resistant to weathering and for its fluorescent feature, and transmits the intention of the artist to the viewer in the best way. The approach of this research in data gathering through studying the available sources about Qajar mural painting with the consideration of artist intention along with the quantitative and qualitative analysis of the samples from three Qajar royal wall paintings from Golestan palace. These wall paintings now assembled in Negarestan palace, discussing the artist intention in choosing/applying materials and methods in creating mural paintings of Qajar era. Artist’ s intention can have different levels of complexity, but conservators identify a familiar problem as the main one. Natural causes and physical conditions change the features of the artwork. Time, dust, or undesirable incidents always create a condition in which the art work is dimmed, changed or damaged. In other words, the colors are dried, cracked or flaked, the canvas is swollen and panels are detached. Moreover, the organic pigments become pale or colorless and metal pigments can be oxidized and turn black and brown from green and red. Neither the artist nor the conservator have access to stable ingredients. Conservators know how hard controlling or forecasting such problems can be and these factors add on to the complexity of the job. Except the goal, choices of the artist in materials will be affected by physical damage, quality loss and deterioration. Artworks cannot be kept in the final form which the artist created, although Qajar mural paintings have their own visual features, they also have their own distinctive ingredients and method of painting. One of these are the unique method of each artist. Laboratory researches showed that the only difference between the two mural paintings were the blue pigments. This research aims to answer how choosing the ingredient and method with the intention of the artist in the time of creating the artwork can help us to understand the art better. So, the purpose of this research is to study the royal Qajar mural paintings based on the chemical analysis to understand the intention of the artist in creation of these two artworks.