Background and aims: Managing the emergency situation is a big challenge for the process industries. Training has a substantial role the quality and success of the emergency response. Disasters regularly have devastating effects on the world's populations. The potential of high human casualties, heavy financial burden, environmental damage, and negative impacts on corporate reputation, highlights the importance of proper emergency management. Investigation of major industrial accidents demonstrates that organization’ s unpreparedness for emergency conditions can noticeably increase consequences of an accident. Emergency management means establishing, training, and practicing plans and programs that reduce the vulnerability of the organizations to critical conditions, and help organizations to overcome these conditions more effectively with minimal costs and losses. Effective emergency management requires proper planning to increase the software and hardware readiness of the organization for critical situations. Planning processes, theoretical and practical training (maneuvers) are of key importance in software preparation. Each of the three processes of planning, training, and practicing (maneuvering) has a decisive role in the success or failure of an emergency response. In the planning phase, the most likely event scenarios should be identified, their consequences evaluated and accordingly, guidelines and procedures should be developed to deal with emergencies. In the later phases, these programs are trained and strive to enhance the preparedness of individuals and operation units for dealing with emergencies by holding maneuvers. It should be noted that practicing maneuvers are also a form of training that attempt to convey and understand concepts more effectively by simulating real emergencies. The review of past events indicates that the lack of proper educational system or ineffective training is one of the major reasons for people’ s inability to respond appropriately to emergencies. For example, analysis of the explosion incident at the Texaco refinery in 1994 showed that inadequate training of staff to prepare for emergencies was one of the main causes of the accident. Lack of proper and adequate knowledge of the accident and consequently failure of the response team to act in the accident can aggravate the accident and result in life and financial losses. The quality of an organization’ s response to emergencies highly depends on the quality and quantity of pre-programmed and implemented training. If emergency response training programs are presented properly, responding personnel will be able to collaborate effectively and will be ensured of response team’ s health. Research shows that courses tailored to individual’ s responsibilities have a major impact on promoting their preparedness for confronting emergencies. Also understanding and ability to implement a skill is highly dependent on pre-provided training. The roles and responsibilities of different levels of staffs, in emergencies, vary from each other and partly have a distinct nature. Therefore, people at different levels of an organization need different training at emergency management. The issue of crisis management training and how to deal with relevant emergencies is of particular importance in the processed industries and especially in the petrochemical industry that dealt with toxic substances. One of the standards that systematically addresses the essential training required by emergency response teams is the HAZWOPER standard. Given the above, it should be further emphasized the key importance of systematic training in the emergency readiness phase. Despite the importance of this issue, few research studies have been conducted to determine the educational needs of emergency response groups. In this study, it is attempted to identify the operational criticality of each scenario by identifying and analyzing emergency scenarios and extracted its training needs and compared it to the HAZWOPER standard. This study aims at determining the training needs of the emergency response team using task criticality analysis and comparing the determined requirements to the HAZWOPER standard. Methods: the present study was conducted in Bouali Sina Petrochemical co. in 2018 as a cross sectional research. This study aimed to determine the training needs of the emergency response team using Swezey Task Criticality Analysis. First, a team of eight experts from the company’ s safety and crisis management was formed and four final scenarios were selected by examining the list of pre-identified emergency scenarios. The criteria for selecting these scenarios were considered as probability of emergence, probable consequences, and the level of readiness of the organization to deal with these scenarios. Selected scenarios also attempted to cover a wide range of different kinds of possible events. Then, for each of the final scenarios selected, the tasks of the response team members were identified using the Hierarchical Task Analysis (HTA) technique. HTA is introduced by Kirwan as the most powerful task analysis technique that is one of the applications of this technique to determine the training needs needed to perform a task. After performing the HTA, criticality analysis was performed for the scenario response tasks. According to the Swezey Criticality Analysis method, tasks are divided into three levels of low, medium and high criticality. Tasks with low criticality level are tasks in which the occurrence of errors or improper performance has a negligible negative effect on successful mission accomplishment. Tasks with medium criticality level are tasks in which the occurrence of errors or improper performance has moderate consequences and may jeopardize the successful execution of the mission. Tasks with High criticality level are tasks that any errors or improper performance to perform will certainly lead to the failure of the entire mission. After training the Criticality Analysis method, the information of the hierarchical analysis of the Emergency Response Tasks graphically was provided to 77 personnel of the Emergency Response Team. The study group was selected based on the census method and from all the emergency response personnel team in three shifts. The group was asked to determine the criticality of the analyzed tasks at three levels of low, medium, and high through using Swezey criticality analysis method. After collecting the opinions of the study group and averaging the given scores, the criticality status of each task was analyzed. Then, according to the results, the sub-tasks were identified with high criticality level. After this stage, the most critical tasks were classified. In other words, the number of critical tasks for each emergency post was determined. Next, the list of highcritical tasks along with the job titles for those tasks were made available to previous experts and specialist and they were asked to list the essential training needs to perform each critical task safely and effectively. By gathering and summarizing the comments, a list of training needs of the critical task respondents was compiled. Semi-structured interviews were used to collect and record expert’ s opinions. The identified training needs were compared with the HAZWOPER training requirements to determine the degree of overlap. To this end, the responders with critical duties were classified into five levels according to the HAZWOPER standard. The HAZWOPER standard defines essential training for the five levels of emergency responders, including the Incident Commander (IC), Hazardous Materials Specialist, Hazardous Materials Technician, First Responder Operations Level, and First Responder Awareness Level. Finally, the proposed training needs of each responder level were compared with their corresponding responder level in the HAZWOPER standard. Results: The four final emergency scenarios selected by experts were: atmospheric tank rim seal fire, synthesized reactor fire, H2S compressor leak, and hydrogen compressor fire. Forty-four tasks were identified as critical tasks involving twelve responders. Responders with critical duties were classified into five levels according to the HAZWOPER standard: Incident Commander, Hazardous Materials Specialist (Safety Expert), Hazardous Materials Technician (Firefighter and Fire Officer), First Responder Operations Level (head of shift operations, operation shift supervisor, and head of feed preparation units) and First Responder Awareness Level (senior security officer, security patrol, and ambulance driver). Investigating educational needs in different phases of crisis management showed that about 24% of suggested training needs by the expert team were related to the planning phase, 76% were associated to the operational phase and there were no suggested training need for recovery phase. These measures were 25, 56. 25 and 18. 75 percent for HAZWOPER, accordingly. Results revealed that approximately 72% of HAZWOPER requirements were covered in the suggested courses titles. Also, 52% of recommended trainings were complementary to the HAZWOPER requirements. Also, about 28% of the HAZWOPER requirements in the proposed training needs of this study were not recommended. The most educational requirement in the present study belonged to emergency group of hazardous materials technician, and in the HAWOPER standard, the group of hazardous materials specialist. Also, the lowest training requirements in both groups were related to the first responder awareness leve. Conclusion: Conclusion: the results of this study show that the determination of the educational needs of emergency response teams, based on the criticality level of their tasks and considering the levels of their responders and their specialized fields, can be very useful for effective performance and enhancing the capabilities of emergency response teams.

The book is an edited volume made of three sections, each divided into several chapters. The first section focuses on different possibilities for the adoption of sequential art in the classroom, from introductory to advanced composition writing. In the second section, the graphic novel is foregrounded as a unique literary genre where the editor makes reference to authors who advocate graphic novels to be regarded as literature in their own right. The third section is concerned with graphic novels’ potential for triggering discussions that create opportunities for students to gain insights into the notions of social justice, identity, and empathy. In the introductory chapter of the book, which is a collection of essays on the use of graphic novels in the English classrooms, Burger enumerates the outstanding benefits of teaching graphic novels such as engaging reluctant readers, encouraging students to view familiar knowledge from a new perspective, activating, and developing students’ multiple literacy skills due to the inextricable combination of text and image in graphic novels. In this collection, the editor has attempted to feature essays that provide specific examples and in-depth assignment overviews which could be incorporated into educational settings. Given the enumerable instances of implementing graphical novels into English classrooms, the editor hopes that the present collection of essays would convince the readers to move towards various other pedagogical possibilities for further multimodal engagement. However, it would be highly desirable to have addressed the biggest barriers in integrating graphic novels in secondary content classrooms, the distinct literacies needed to read graphic novels, and to draw up clear methods/guidelines about appropriate inclusion of graphic novels in classrooms (as explicitly outlined in Brozo, Moorman, and Meyer, 2013). The first chapter (Not Just Novels: The Pedagogical Possibilities of the Graphic Narrative) of Part I (Reading, Writing and Graphic Narratives) comprises Andrew Bouelle’ s arguments regarding the incorporation of sequential art to teaching multimodal literacy. He underlines the pedagogical value of focusing on shorter graphical narratives which is worth studying and teaching. Drawing upon the experiences of students from an advanced composition course which focused on multimodal literacy, he highlights a surprisingly higher illustration and storytelling performance when they were provided with shorter graphic narratives compared to performance on full-length graphic novels. Interestingly enough, the effect of the shorter graphics turned out to be similar to that of longer works. However, the author’ s arguments could have been supported with a richer body of both quantitative and qualitative pieces of evidence. The second chapter (Understanding Rhetoric, Understanding Genre: A Rhetorical Genre Studies Approached Writing Course) includes Sara Austin’ s discussions concerning the use of a rhetorical genre studies approach in a writing course. She suggests the adoption of an approach beyond the traditional focus on argumentation and persuasion that represents only a small portion of genres students encounter during their education. In this essay, Austin has presented a good number of instances in which more value could be placed on students’ perspectives, types of writing in various academic and non-academic contexts; however, it could have been more informative, had it contained more in-depth descriptions of implementing materials during the course. The focus of chapter (Writing Through Comics) is on Riki Thompson’ s Writing through Comics that highlights the undeniable role of graphic textbooks in providing non-traditional texts to help students make sense of almost complex ideas. Further, she raises the issue of integrating comics into the classroom setting so as to meet a variety of educational objectives in several disciplines such as ethnic and cultural studies as well as composition and rhetoric studies. Also, she warns against the simultaneous instruction of reading and production of comics due to the potentially problematic integration of reading and writing as well as the teachers’ discomfort with writing through comics. However, more theoretical and empirical justifications are required for further elaboration of this argument. Chapter four (Teaching the History and Theory of American Comics: 20th-Century Graphic Novels as a Complex Literary Genre) in Part II (Graphic Novels in the Literature Classroom) outlines Lauren E. Perry’ s essay on the historical construction of graphic novels and narratives in an expository writing course in the form of a literature survey allowing the students to critically discuss important graphic novels from the 20 th century. Perry found the course a favorable experience due to the overwhelmingly positive reactions she received from the students. Compared to the beginning stages of the teaching program, the learners felt competent enough to approach comics and other various subgenres without apprehension. In the next chapter (“ What Is the Use of a Book. . . Without Pictures or Conversations? ” : Incorporating the Graphic Novel into the University Curriculum), Allison Halsall underlines the importance of further analysis in terms of the serviceability of graphic novels in university and college classrooms. She elaborates on her experience of adopting graphic novels in university as a practical tool to help students overcome the feeling of intimidation that is associated with sitting in a compulsory university English or general education classroom. In chapter six (“ Does Doctor Manhattan Think? ” : Alan Moore’ s The Watchmen and a ‘ Great Books’ Curriculum in the Early College Setting), Guy Andre Risko argues for the ease with which students read comics as a lighter load of practice compared with traditional textbooks. He contends that such narratives as Watchmen by Alan Moore are one of the most famous graphic novels whose foundation comes from generic expectations of the detective genre and 1950s superhero comic that occurs along philosophical underpinnings and political bounds. Chapter seven (“ If He Be Mr. Hyde, We Shall Be Mr. See” : Using Graphic Novels, Comic Books, and the Visual Narrative in the Gothic Literature Classroom) addresses one of the biggest challenges each English instructor encounters, that is, striking a balance between education and entertainment in the classroom. As long as the teachers increasingly opt for more data-driven educational methods, the need for increasing the students’ comprehension is still a crucial requirement. One approach to meet this requirement is to incorporate more visual narratives into the text-centric content. Introduction of visual narrative genre in the Gothic literature classroom potentially motivates the reluctant readers, supports the passionate readers, and obviously contributes to a greater likelihood of comprehending the complex images and ideas in Gothic literature. In Part III (Graphic Novels, Empathy, and Social Engagement), the chapter Teaching March in the Borderlands between Social Justice and Pop Culture switches the focus from the incorporation of graphic novels into the English classes to the notions of empathy and social engagement which could be introduced to the students through the graphic medium. Having centered upon John Lewis’ s three-volume graphic memoir, March, Susanna Hoeness-Krupsaw underscores the way text and picture interplay to lead the students to a wider understanding of various events by simultaneously developing their empathy for these issues. In chapter Revising the Rhetoric of “ Boat People” through the Interactive Graphic Adaptation of Nam Le’ s “ The Boat” , Jennifer Phillips examines a number of the issues that teachers of literature encounter as they present students with texts that engage with current global concerns in a world of increasing access to information and technology. The main focus of the essay is on how graphic adaptations of literature including graphic novels and interactive graphic adventures take on a more effective role in nurturing the empathy necessary to break through the inertia of the internet age by highlighting the visual sense and drawing the reader further into the experience of others. The last chapter (Performative Texts and the Pedagogical Theatre: Alison Bechdel’ s Fun Home as Compositional Model) outlines the review of Alison Bechdel’ s Fun Home as a memoir, as a Gothic novel, and as a graphic novel. William Cordeiro and Season Ellison in their essay present varied approaches to teaching this text in the classroom. Overall, the book is a good resource for MA students of TEFL to get some ideas for doing research. Implementation of graphic novels in language classes and how this can impact learning is relatively unexplored especially when it comes to Iranian EFL contexts. However, as this innovative approach of using graphic novels in classrooms is probably interwoven with challenges and issues, it is highly recommended that language teachers refer to Monnin (2010) who has brilliantly tackled the issues and presented valuable ideas for aligning the graphic novels to English learning curriculum. These novels can also benefit language teachers in that they can incorporate these novels in their curriculum to inject variety into their class routines. We believe that using graphic novels can bring a welcome change to traditional classes.

Background: in vitro maturation (IVM) of oocytes has increasing potential applications in assisted reproductive technology (ART), during which germinal vesicle (GV) oocytes culturedin vitro to produce mature (MII arrested) ones. Although functional, IVM oocytes have low developmental competence compared to in vivo matured oocytes; possibly because IVM comprises asynchrony between nuclear and cytoplasmic maturation in which nuclear maturation precedes cytoplasmic maturation.Therefore, considering the central role of cAMP as the regulator of nuclear maturation, a number of studies have attempted to develop biphasic IVM strategies in which nuclear maturation is transiently delayed through inhibition of several pathways of cAMP production in oocytes. In this study, we investigated the effect of cilostameide, inhibitor of phosphodiesterase 3, on induction of meiotic arrest in ovine oocytes.Materials and Methods: Immature ovine oocytes derived from abattoir ovaries were immediately cultured in presence of three concentration of cilostamide (1, 10 and 20 mm) for 22 hours (prematuration culture medium, PMC). Nuclear status of treated oocyte and non-treated oocytes after culture in PMC were assessed using H33342 staning for investigation of meiotic arrest ability of cilostamide.Results: GVBD occurs 4 hours after IVM and at 8 hours post IVM approximately %100 of ovine oocytes undergoes GVBD. In oocytes treated with 1, 10 and 20mm for 22 hours, respectively 55, 65 and 72 percent of oocytes are arrested at GV stage while only 4% of control oocytes are arrested at GV stage after 22 hours (p< 0.05).1 mm cilostamide cause lowest meiotic arrest and 20 mm cilostamide cause highest meiotic arrest. futher studies are needed to investigate cytoplasmic maturation markers of prematured oocytes.Conclusion: Cilostamide cause nuclear arrest in ovine oocytes by a dose dependant pathway.

In this article, we will discuss the art of painting in Herat School. In fact, the head of painters in this school is Kamal al-Din Bihzad. So we will consider his works and his style in a contextual way and find the sacred art in his paintings. What is discussed here is the geometry used in the works of Kamal al-Din Bihzad who used geometric motifs in order to manifest spirituality in a direct way. This paper is based on descriptive-deductive and library research methods. This article examines the geometric patterns in the works of Kamal al-Din Bihzad, then compares them together, and subsequently reaches a general conclusion, so it proves the hypothesis. From this point of view, this descriptive-analytical research is based on adaptational and inductive approaches. The statistical population includes seven examples of paintings by Bihzad or attributed to Bihzad. Another methodology that is discussed in this research, examines the geometry used in the drawings, which are matched in the framework of this article. As a result of these comparisons, drawings are revealed to be centered on the concept of divinity, due to the geometry of the designs. Therefore, these images are the subject of the research question of this research. This study works on seven paintings made by or attributed to Kamal al-Din Bihzad, comparing the elements used in these works with their counterparts in architectural buildings. We study on repetition of the geometric patterns used in the architectural spaces of Bihzad's paintings. The view based on this article is a traditionalist view. This means that the views of the Western and the Eastern philosophers with regard to revival of the unity of meanings are taken into account in answering the questions of this research. In other words, we consider the traditionalist idea, the source of which is the proof of the essence of the divine sanctuary, which sees the source of survival in annihilation and the everlasting and eternal nature in the unity of meanings, as one of the main aspects of this research. Another theoretical aspect that was necessary in this research is the view of mystics towards art and beauty. This approach is discussed in this article because part of the traditionalist view is based on the views of the mystics who existed before the emergence of the philosophy of traditionalism and influenced the space around them under a special system. Taken together, all logical theories and hypotheses of this research have been proven regarding the main question of the research that is based on this point that to what extent has Bihzad used geometric motifs in his paintings? In which of Bihzad's paintings does the geometry of the motifs act independently and is visually expressed as an independent form to show the essence of the sacred divinity? The main emphasis of this discussion will be on the paintings of "Joseph Escaping Zuleikha" and "Prophet Mohammad (PBUH) and His Companions". As a result, Kamal al-Din Bihzad's works can be divided into two categories in terms of the necessity of applying the geometry of patterns in them: 1-Works in which the geometry of patterns is discussed as an independent unit,2-Works where the geometry of the motifs has appeared in order to decorate the drawings. To answer the research questions of this article, we found out that each painting with a divine or mystical theme is considered as sacred art and it is full of geometric patterns. The first category focuses on the works that prove the theory of this article, in which Bihzad deals with the geometry of the motifs as an independent unit, in works such as "Joseph Escaping Zuleikha" and "Prophet Mohammad (PBUH) and His Companions". These paintings are full of geometric motifs and it is directly derived from architecture, because if we remove the architectural plan, we find out that the visual expression is not damaged. Geometry takes steps to elevate the textual meaning of the image. But the second category includes works in which the geometry of the motifs is more considered in terms of the decorative aspect of architecture and is used to make the architectural building look magnificent. The purpose of applying the geometry of the designs was to make it glorious. So In these paintings, geometry is related to architecture and it seems that it has a decorative aspect in terms of the glory of the palace and has found an auxiliary role for architecture.

Background: Endometriosis is a complex estrogen-dependent disease that is defined as the presence of endometrial gland and stroma outside the uterine cavity. Although the exact mechanism for the development of endometriosis remains unclear, there is a large body of research data and circumstantial evidence that suggests a crucial role of estrogen in the establishment and maintenance of this disease.Objective: This study is an attempt to assess the effect of curcumin on inhibiting endometriosis endometrial cells and to investigate whether such an effect is mediated by reducing estradiol production.Materials and Methods: Endometriotic stromal cells, normal endometrial stromal cells, endometriotic epithelial cells and normal endometrial epithelial cells were isolated and cultured. E2 value of cells and the effect of curcumin on cell proliferation were evaluated. Finally, effect of curcumin on E2 assay was detected.Results: Electrochemiluminescence immunoassay results showed that E2 value of endometriotic epithelial cells was higher than the endometriotic stromal cells (p=0.037), while the expression of E2 in normal endometrial stromal and epithelial cells was extremely low. WST-8 result showed, compared with endometrial stromal cells, ectopic endometriotic stromal cells had a higher growth rate. After intervene with curcumin (10mmol/L, 30mmol/L and 50mmol/L) for 0-96h, the number of endometriotic stromal cells was reduced and cells growth slowed, compared with 0mmol/L group. Compared with 0mmol/L group, E2 level was lower after treatment with curcumin, especially in 30mmol/L and 50mmol/L group.Conclusion: In summary, in this study we found that E2 is important in ectopic endometrium, and epithelial cell is in dominant position with E2 secretion. Curcumin was able to suppress the proliferation of endometrial cells by reducing the E2 value.

Background & Objective: Spinal cord injuries usually lead to motor impairment and loss of function below the level of the lesion. Rehabilitation interventions improve the quality of life of people with spinal cord injuries using therapeutic techniques and appropriate equipment. There are several medical and psychological consequences for people following a spine injury. One of the familiar repercussions is decreasing physical function, which causes depression and reduces the quality of life of them. Though increasing physical activity after spinal cord injury leads to improving service, level of physical activity in individuals with spinal cord injury is still lower than the normal population. Although there is a positive correlation between physical activity, quality of life, and reduce depression in both healthy population and people with spinal cord injury, there is no clear what type of physical activity can effect on the quality of life and reduce depression of people with spinal cord injury. This study is aimed to find any correlation between the type of physical activity, quality of life, and depression in people with spinal cord injury. Methods: This study was a cross-sectional descriptive study. Sixty people with spinal cord injury participated in this study. Participants recruited from members of the Tehran Spinal Cord Injury Association. Inclusion criteria included: age above 18, presence of spinal cord injury diagnosed by a physician, discharge from hospital and living in the home; spinal cord injury should have occurred at least six months ago completion of the consent form. People depended upon respiratory devices, with progressing infection, with autonomic reflux and/or a condition affecting their movement (e. g. MS, stroke, Rheumatoid Arthritis) excluded from the study. Demographic information (including gender, age, education, and employment) and injury information (including injury level, injury intensity, time passed since trauma) gathered through a questionnaire. The all Persian version of International Physical Activity Questionnaire, 12-Item Short Form Survey and the Beck Depression Inventory were employed to measure physical activity, quality of life, and depression of people with spinal cord injury respectively. All Persian versions of the International Physical Activity Questionnaire, 12-Item Short Form Survey, and Beck Depression Inventory validated in the Iranian community. Also, the correlation between physical activity, quality of life, and depression evaluated using the Pearson correlation and multiple regression. Results: A sample of 60 individuals with average age 38. 21 used in the present study, and the meantime passed since the spinal cord injury was 12. 41 years. Among them, 31 ones were single, and 29 ones were married. 28. 3٪ of sample subjects employed. For the spinal cord injury, it was at the lumbar level in 43. 3٪ of the sample, at a thoracic level in 33. 3٪ , at a cervical level in 18. 3٪ and sacral level in 5 percent Mean of physical activity for all participants was 2417. 82 Met-min/week (SD=± 2060). Most physical activities were associated with household and gardening activities (1665. 42 Met-min/week). It respectively followed by a physical activity related to the occupation (1665. 42 Met-min/week) and leisure time (316. 71 Met-min/week). Minimum physical activity was related to transportation (39. 88 Met-min/week). Considering variance and mean of depression scores (20. 93), participants in this study showed some degrees of depression. Mean physical quality of life was 30. 26 and mean the mental condition of life was 41. 68. Results also showed that the mean score of mental QoL for the sample was higher than that for the physical one. The physical quality of life showed a significantly positive correlation with the work-related (r=0. 250), transport-related (r=0. 249), leisure-related (r=0. 238), and physical activity (p<0. 05). However, total physical activity (r=0. 006) and type of physical activity were not significantly associated with mental QoL. Transport-related physical activity (r=-0. 229) and leisure-related physical activity (r=-0. 326) were significantly and negatively associated with depression. Conclusion: In the present study, physical activity related to leisure time had the most impact on the improvement of quality of life and also on decreased depression in individuals with spinal cord injury. This finding may reflect the significant role of the rehabilitation team, particularly occupational therapists, in the improvement of the level of leisure time activities in individuals with spinal cord injuries. Social and financial supports could improve leisure-related physical activity in people with spinal cord injury. Leasre-related physical activity is necessary to enhance the quality of life and depression among people with spinal cord injury.

The art of religious murals with themes of Ashura, narrations of prophets and Shiite imams, is a part of Qajar visual arts, which has adorned the space of holy places such as mausoleums, Takyehs and Hoseyniyehs. This art reflects the characteristics of popular culture such as religious beliefs, values, interests and social aspects in the Qajar era. During this era, due to the social changes which took place in it, art was extended to different layers of society and became a means of expressing the national and religious beliefs of the people. Mural painting grew a lot among the ordinary people and they entered the art scene with their own tastes. Large paintings on the walls or canvases with the themes of Shiite martyrs appeared, and in fact were the results of about eleven centuries of gradual development and evolution of Shiite mourning rituals. The phenomenon of religious murals in this era was created by preserving the logical values of religious art, based on people's beliefs, needs and desires, because the Qajar era was the culmination of public Shiite religious ceremonies, which in turn was reflected in the visual arts. The epic themes of the murals show the support of the people of the liberation movements of this era. To evaluate the Qajar paintings, one must compare them with the versions of Ta'zieh, because as soon as the Ta'zieh was accepted by the common people, a number of believers performed the role of martyrs and sinners, and this was a step towards accepting the painting. Considering Iran’, s cultural developments in the mentioned era and the emergence of new contexts for presenting paintings, it is necessary to study the impact of these developments on Qajar painters. The study and analysis of the factors affecting the creation of murals and their stylistic features have been the subject of numerous researches in recent decades. But, it seems that pondering on this subject, using philosophical approaches such as Hans-Georg Gadamer’, s hermeneutics, which includes concepts such as tradition, conversation, semantic horizon and horizon fusion, can pave the way for achieving the neglected aspects of this art and hence the necessity of applying this approach becomes clear. The purpose of present research is to interpret and study the influence of the semantic horizon and horizon fusion in religious artworks by artists of Gilan and Isfahan in the Qajar era. The studied questions are: 1-What are the effects of horizon fusion in the works of artists in Gilan and Isfahan? 2-What are the commonalities and differences between their works? The research method was descriptive-analytical with philosophical hermeneutic approach of Gadamer. In this method, understanding occurs through the blending of horizons, which is dialectical, between preconceptions and information sources. What is needed here is understanding the context in which the text or dialogue has taken shape and given rise to different interpretations. These interpretations are created through the mixing of the text, its context and the horizons of the participants. The method of collecting information was using library resources as well as field study of mural works by taking photos of them. The statistical population was the murals of Gilan province and Isfahan city. Eight murals were introduced from the works of one Gilani artist (Aghajan Gilani) and two Isfahani artists (Seyed Abbas Aghamiri and the painter of the Khansari tomb),four of which had been analyzed. Sampling was done by judgmental method and based on the relationship between the works and the concepts under discussion. The method of analysis was qualitative and in order to measure the purpose of the research, first the concepts related to Gadamer's philosophical hermeneutics were described, then the regions, artists and their selected works were introduced and finally, the murals were analyzed dialectically based on understanding by merging horizons. The results of the research showed that the artist of murals, with the prejudices that belonged to the semantic horizon of his time, conversed with the past tradition and established a constructive interaction between the present and the past,in the sense that under the influence of the semantic horizon of the past, the context, its socio-cultural context, began to create works that were a new interpretation of tradition. At the same time, fusion of horizons has had a different effect on the artists of the two selected regions, and Gilani artist, due to the context of his residence, has been less influenced by the contemporary trends of painting than the Isfahani artist and has remained more loyal to the Iranian tradition.