Persian ghazal that once only focused on romantic conversation proper found new horizons after expanding its subject matter and theme. However, at the same time, it caused serious damage to its form and coherence. The purpose of this paper is to study the ritual ghazal of contemporary Iran in terms of both text and hypertext. The fundamental issue of the paper is the challenges that have weakened today’s ritual ghazal, looking for the origin of these challenges at the hypertext that has influenced this poetic form. The method of the present study is argumentative and inductive. The main corpus of the paper is the ghazal poems published in the collection of contemporary poets. A critical examination is done of today’s ritual ghazal and its main problems, and it is concluded that in today’s poetry in general and ritual ghazal in particular, although thematic and especially ideological approaches have been extended, very serious damage has been done, which has negatively influenced the persuasion of general and intended audience. More importantly, the impact of hypertext damage is so considerable and far-reaching that disturbs the text of many of today’s ritual ghazals, and the root of many of the text’s weaknesses must be traced to its hypertext.

Artistic productions adapted from different fields can guarantee the creation of new works, the cultural and technical continuity of arts. The visual systems governing the main source of inspiration undergo changes in the path of successive adaptations. Identifying and enumerating the main components in the adapted artwork and its evolution in different artistic fields can emphasize the originality and localization of reference works and the creativity and innovation of new productions. The purpose of this article is to understand how two Iranian carpets were taken from the Indian pictorial carpet belonging to the Timurid period. The first step for producing knotted Indian carpet was taken during Akbar Shah (1556-1605) and Jahangir (1605-1627) reign. Among the countless carpets belonging to the period of Timurid rule in India, some examples clearly have asymmetric patterns. Such carpets are considered pictorial carpets due to their one-sidedness, asymmetry, and naturalism. An example of pictorial carpet of the Timurids era in India with the mentioned structure is preserved in the Boston Museum of Fine Arts. Two examples of pictorial carpets, approximately one hundred years old, with the same mentioned structure, are kept in the treasures of Astan Quds Razavi Museum and Malek National Museum. The main goal of this research is to understand how two Iranian pictorial carpets were adapted from the Indian sample and the typology of their relationships. One of facilitating opinions is Gerard Genette's theory of hypertextuality, through which it is possible to identify the intertextual relationships and derivations of three artworks with a time gap. In this way, this research aims to present the relationship between two Iranian hypertexts with the Indian pretext and answers the following questions: Under the influence of what components do the selected examples are related to each other? And which hypertextual relationships do the under study Iranian carpets have with respect to the Indian pattern?The importance and necessity of this article can be considered as the evaluation of carpets produced based on a non-native pretext, the identification of artistic methods taken from the legacy of the ancestors in such a way that it can be considered as a pathbreaker for researchers in the field of analysis and creation of works of art. This analysis shows how a range of motifs, composition, and colors in a common context (carpet) can present a new interpretation of a product derived from the heritage and cultural-artistic identity of the past in a new arrangement.The present study is qualitative, and it was carried out in a descriptive-comparative method with the approach of Genette's hypertextuality based on the collection of library data (observation and scanning) and the explanation and classification of the findings has been based on thematic analysis. Therefore, study bodies were introduced in the form of pretext and hypertext in the first. Then, by enumerating the aspects of difference and commonality, how artists' overlaps and innovations have been explained in creating a new work. The statistical population in this research is visual carpets; however, due to the presence of specific visual relationships (the type of motifs and their composition in the carpet design) in all three carpets, sampling was done by the researcher in order to determine the statistical population in a purposeful way using a selective sample with an approach to index cases; Thus, out of the three samples of selected visual carpets, one sample was included as an Indian pretext and two samples were included as Iranian hypertexts. Hypertextuality is very widely used in identifying the level of relationships between texts; in hypertextuality, the researcher looks for the impact of one text on the other texts. If the texts are only imitated from the pre-text with the sameness (imitation) and if this adaptation is accompanied by visual changes, we deal with the relationship of transformation. Genette classifies the relationships of overlap in a comprehensive view; hypertextuality is either a traditional operation (pastiche, charge, and forgery) of the pretext or a transformational operation (parody, travesty, transposition) in relation to the pretext. According to what was mentioned, it can be said that in the contemporary period, the claim of originality and uniqueness of artistic works has lost its richness, and artistic works can be considered as a compilation of pieces of pre-existing arts. Based on this, works of art next to each other can restore and add meaning. In this article, the adoption of Iranian hypertexts from Indian pretexts has been investigated in the form of three effective visual components in the way of expressing artworks, such as the type of images, composition (structure and direction) and the range of colors used in the background and border of carpets.Each of the three mentioned carpets is an independent text that, despite the use of the reference text, benefits from structural and visual coherence. In response to the first question, it was confirmed that all three texts are related to each other in the type of their design (imagery), also they are related in the main animal-human compositions in the middle and at the bottom of the carpet, and the fact that the two texts (Qajar and Pahlavi) are copied from the Indian version (10th and 11th century A.H.) is also confirmed. In order to get the answer to the second question of the article about how to extract the hypertextual relationships between Indian carpets and Iranian pictorial carpets under study, Iranian hypertexts through the two ratios of transformation and homogeneity based on three visual-form axes including motifs, composition (structure and direction) and coloring, were compared to the Indian pretext. Hypertext 1 (preserved in Malek National Museum) was mostly similar to the pretext in terms of design and the hypertext 2 (preserved in Astan Quds Razavi Museum) had similar proportions in terms of homogeneity and transformation. In composition (structure and direction), hypertext 1 transforms more in proportion to the pretext, and hypertext 2 was mostly similar. In terms of color scheme, significant contrast was evident in both texts compared to the pre-text, but hypertext 2 had a more comprehensive contrast. The likenesses were mainly forged type with serious function. Also, transformations were identified with various structures, such as parody (entertainment function), permutation (serious function) and travesty (humorous function). The most effective transformations that have presented significant visual differences were done through permutation and travesty interpretations, thus has turned the hypertexts into independent texts that have distanced themselves from the Indian pre-text in the aforementioned three axes. But the two Iranian pictorial carpets presented two diverse texts taken from an Indian pre-text and emphasized that the adaptation of different previous artistic fields in the direction of new creation cannot be summed up only in the system of representation; Rather, the artist's creative mind and the diversity-seeking nature of the work's audience provide this platform, so that a creative story can be presented by removing and adding appropriate conceptual and visual components. Therefore, along with quantitative and qualitative changes of the elements, Iranian hypertexts presented a new visual and conceptual system by preserving the cultural components governing the main source of inspiration. In other words, it has presented an example of an earthly-mythical Indian image, and Iranian artists have tried to make the mentioned state lighter in their reproduction of this version.

One of the most important features of contemporary art is returning to the past and recovering its literary and artistic texts, on the other hand, many contemporary artists have produced their works by adapting past artistic and literary works, and Mehrana Zarei is no exception. On the other hand, Iranian painting, which is one of the purest manifestations of Iranian-Islamic culture, has many thematic and structural features that have been studied by many researchers. The use of painting in contemporary art and its implicit meanings are one of the main concerns of the present research, and based on this, the works of contemporary artist Mehrana Zarei have been studied. Zarei is a contemporary artist who wrote the pretext of his four prominent works that were created during 2017until 2019 created, selected from the images of female stars of western cinema in the 1960s, Iranian literature and Islamic paintings. The selection among the works of this artist has been based on the structural characteristics of each of the works and also the uniformity of the presented polytexts, so that the author can achieve a homogenous summary in the reading of each of the works. The purpose of this research is to study the relationship between Zarei's works and pretexts taken from Western cinema and Iranian-Islamic art and culture and to discover the hidden connections between them, and it aims to answer questions such as: A- How to explain the relationship between the studied works and their pretexts and b- the changes made in the images with emphasis on the western cinema. The present research has refined and selected the desired images and items in a descriptive-analytical and comparative way by examining the above-mentioned works with the method of transtextuality and multitextual approach and by referring to library sources and internet search. In general, it can be acknowledged that the connection between the earlier and later texts is temporal and intercultural, and multi-texts are created by changing the pre-texts. The process of adapting Zarei's works from western cinema has also included cultural, narrative, temporal and environmental changes.Based on hypertextuality, which focuses on the relationship and influence of past texts in the creation of new texts, and its purpose is to study the relationship between texts with each other over time and how artworks are derived from cultural and artistic pretexts. Iranian artist, Mehrana Zarei, has created four works of adaptation, which are the focus of this research, based on pretexts of the images of female stars of Western cinema in the 1950s-1960s. These pre-texts, which are part of the aesthetic system and structural features of Hollywood cinema and the common discourses of that period, have roots in the culture of modernity and its consequences. Therefore, the works from Hollywood cinema have always been the focus of most countries, and many texts have been dedicated to its description and analysis, and governments have continuously sought to show them in their countries. But there have never been paintings based on western cinema, hand hanging for imitation or adaptation of Iranian artists. For this reason, this is the first time that an Iranian artist has made such an obvious adaptation of the glamorous cinema of the golden years of Hollywood and depicted four of her works based on them. The importance is due to the fact that through hypertextual relationships and overlaps, there is a kind of cultural and artistic transfer and influence, which is from the West to Iran, but with a completely different approach in creating style diversity. Also, the display of these adapted works in several domestic exhibitions has added to its brilliance.The study of hypertextual relationships presented in this article shows that Zarei, with a little difference, adopted the same method in borrowing and adapting pretexts, and pretexts in the process of creating hypertexts due to the temporal and intercultural relationship of the texts, as well as the influence of metatextual factors such as differences They have undergone changes and transformations in their cultural, artistic and religious background and context. Also, the effects of her academic education in the appearance of manuscripts related to medical sciences, as well as the extensive use of Persian literature in the studied paintings, are not far off. These changes and transformations, which indicate the type of tragonism of the pretexts, were mostly based on their structural characteristics, which were accompanied by various changes including cultural, narrative, temporal, environmental and internal changes including deletion, increase and substitution, which led to the preservation of the structure and creating There has been a change in the style and content of hypertexts compared to pretexts. As the reflection of the formal form and structure of pretexts is clearly visible in the structure of hypertexts. In fact, it seems that Zarei has created works that have only preserved the formal structure of the pre-texts and by changing the style and content of the pre-texts, he has created independent hypertexts related to her contemporary Iranian society. But in fact, the structural feature of western cinema is formed with its insight and thematic features and is rooted in the common discourses of that time. Therefore, Zarei's works, by borrowing their identity from Western cinema, while being influenced by extratextual factors and creating various changes and contradictions, have started to transfer the visual tradition of Western cinema to Iran and have influenced it in a way and given it an Iranian flavor.

The translation is important-find the perfect means to convey accurate and understandable first speaker of the target language and Knowledge of literary and cultural difJerencesbetween nations as well as knowledge of language and literature standards in their eloquence There are some subtleties in Arabic, sometimes causing difficulty of translating the Quran, Nahj, traditions and some Arabic texts were From the past to the present translation has been a lot of Nahj.Translation Translator contemporary Mohammad Dashti is one of them This article is an excerpt from his interpretation of the method, style, text editing, translation and analysis of issues and rhetorical way, observing the literary arts And also due to historical events and critically examined. This paper seeks to answer this question are plain cash translation Whether "plain Drtrjm «ranslation from any ground rules have been met And the interpreter would need to be handled carefully? The study translation criticism on Mr. Dashti imports That the right understanding of researchers and scholars. These problems include issues such as: Lack of sufficient precision in translations, additions analytical and descriptive, contextual and rhetorical and is fit impairments. It is noteworthy that The author of this criticism is objective grounds To conduct research and studies, in this field.

One of the types of carpets produced in the Safavid era is niche carpets. What makes these carpets different from other types of rugs is the presence of many texts in a small handwoven rug. The weaving of this typeo of carpets continued in the later periods, especially in the 19th century (AD), even more so in Herekeh (Turkey). Nevertheless, there are examples of these carpets in Qajar era in Iran, whose general structure is equal to the carpets of the Safavid era.Niche carpets of the Safavid era in the 19th century are considered as a precursor to other styles of carpets in Iran and Herekeh. Since the evolution of carpet design cannot be possible without a history, Safavid era rugs’ influence on the design and style of later era carpets cannot go unnoticed, therefore, the relation between these texts is not considered co-present, but Derivation.It seems that in these derivations, the style is the same but the themes are different,therefore subject and thematic transformations are apparent. The verbal text in most of the Safavid carpets is taken from Quranic verses, but the verbal text in the carpet in the Dafineh Museum from the Qajar era mostly includes lyrical and didactic poems. This carpet is very similar in structure and appearance to the Safavid era carpets. It also consists of a wide margin, two narrow margins around and four inscriptions in a small frame around the writings. This rug contains several colored pieces in the Corner part, and the strip around the niche is also decorated with inscriptions. Also, the textual drsigns in this carpet are mostly taken from the poems of Hafez and Saadi; while the niche carpet of the Safavid era is full of Quranic verses and hadiths. The questions that arise re as follows: 1. Why was the carpet of Dafineh Museum influenced by the structure of the carpets of the 16th century? 2. What is the relationship between the carpet of Dafineh Museum and previous samples and how can this relationship be explained? Therefore, since the relationship between the two existing texts is a Derivation, this research attempts to analyze the images using the trans textuality approach and based on the type of hyper textuality. The purpose of this research is to analyze the textual imagery of the carpet of Dafineh Museum by relying on the hyper textuality of Genet, and considering that this carpet is a derivation of the carpets of the Safavid era. In order to reach a suitable answer by using the hyper textuality approach and descriptive and analytical methods, the conclusion that was reached was that  the Derivation in the overall shape of the carpet is a type of Imitation and pastiche, but the Derivation in the textual elements is of the type of transformation and transposition.According to this contradiction, it can be said that the transformation in hyper textuality is more emphasized on the theme, because these texts express a different theme of conduct, survival and destruction in the name of God, and criticize the state of the society during the era and a reminder of the peace and tranquility during the Safavid period.This research is descriptive-analytical based on its modality and analyzes two niche rugs with the multi-textual method. Therefore, this study can be considered a comparative study. The research is time-oriented;comparing two works from the Safavid and Qajar era. This study is not focused on the similarities and differences of the two works, but on the influence of one text as a pretext on another text as a hyper textuality. What is important in this comparison is the relationship between the texts. This research is qualitative and fundamental in terms of its purpose; due to its analysis of the relationship between two rugs based on the poly textual method.The hyper textual example is the niche carpet of the Dafineh Museum in the Qajar era and the pre-text sample is the niche carpet from the Safavid era. Gérard Genette believes that there is no text that does not evoke another text (Genette,1982A:18).Therefore, in "Trans textuality", he expresses the relationship of one text with other texts. From Genette's point of view, Trans textuality has five types; which includes intertextuality, super textuality, Para textuality, met textuality, hyper textuality (Namvarmotlagh, 2013: 139). In the meantime, Genette's hyper textuality has taken a large volume of his research. Also, due to the fact that the relationship between two texts examined in this research is of a derivative nature, the hyper textuality in the samples is examined.From Genette's point of view, hyper textuality, is re-reading of a pre-text, that is, writing new content and reading pre-text creates a new text (Genette, 1987:5). The pre-text is the first text which is considered as a source of inspiration. Hyper textuality is also the second text derived from the pretext. Genette considers two big categories of similitude (imitation) and transformation (change) for most of the text.Similarity or imitation: In this regard, the author's goal and intention is to preserve the original text in new conditions.2- Transformation or transposition: "In transformation, hyper textuality is created by the change and transformation of the pre-textuality" (Namvarmotlagh, 2008: 96).Also, Genette considers three main conditions for hyper-textuality: the textuality of the subject, subject containing two or more texts, and an established and apparent relation between the pre-text and the hyper-text (Namvarmotlagh, 2013: 141). After dividing hyper textuality into Imitation and transformation, she divides them into six main types: pastiche, charge, forgery, parody, travestissement, and transposition.According to the passage, if the carpet is examined as a whole, the overall style of the Dafineh Museum carpet is the same as the niche carpet, and its style can be considered imitation, and, it can be classified under pastiche. However, if the textual imagery of the carpet of the Dafineh Museum are compared with other carpets, a change in style can be observed. Because there are Arabic verses or narrations in the beginning of the text, but most of its text is devoted to lyrical and didactic poetry. Also, the theme in the first carpet conveys a kind of pilgrimage and ascension, and each verbal text in the margins specifies a path of pilgrimage. But in Hyper textuality of the beginning of the Border or the first margin, refers to the bad state of present and the reminiscence of the past, which is a repetitive theme throughout the work. Considering that the carpet of the Dafineh Museum is a derivation of the Safavid carpet and referring to the name of Shah Abbas in a place where in the past there were important zikrs such as Tasbihat-Arbaeh, it seems that parody and transformation prevail here, because the situation is expressed with bitter humor. Therefore, it seems that the weaver tried to represent the Safavid era artistically by using the structure of Safavid rugs and imitating the general style. The weaver has tried to recreate a work from that era by imitating the style, but with a twist in the texts with a change and transformation of the theme, he refers to the unfavorable conditions of the Qajar era and wishes to return to the period of Shah Abbas. Therefore, in all the margins, he uses verses that express this matter in the best way. Since the carpet was woven in the Qajar period, criticism of the status quo and complaints about the current period, that is, complaints about the Qajar period, and considering the name of Shah Abbas and references to him in other texts of the Qajar period, it is implied that his rule and period was considered ideal for the artists.According to Genette's statements, there is no text without a pretext and the texts influence each other. Therefore, one of the ways to read the carpet of the Dafineh Museum is to study the pre-text (text A) and its connection with text (B). Using this approach, at first glance by just considering the appearance, it looks like a prayer rug, because the style of both is the same, and the similarity can be seen in the creation of the new text. However, by deeply scrutinizing the written elements and examining the relationship between them, unlike the general style, we can see a lack of clarity in the written text. This transformation has more of a whimsical element, also in this transformation we can see changes in the shape and theme of the carpet. The most important change in the appearance of the verbal text is the removal of the inscription under the forehead of the niche. Since in text A, the final collection takes place under the forehead of the niche, therefore, there is no need for such a text to be present in the carpet of the Dafineh Museum, which complains about the current situation. Also, since the structure has been preserved, it can be reminiscent of a text from the Safavid period. The main change in the content of the verbal text is from verses to poems, which does not refer to fate and death, but to the oppression of the times and the desire to return to the time of Shah Abbas, that is, the time in which the pretext matter was woven.  

Ilam Rug is a collection of rural Rugs in Iran that the different factors have influenced its evolution that causes the integration and development of this rug. This integration in the design and patterns of the Ilam Rug is because of a permanent authority that, despite the continuous changes of this rug during the time, always remained unchanged, and there is a possibility which is one of the involved factors in the creation of this rug. Therefore, this research will consider the process of understanding the Ilam Rug through its environment, geography, and culture. The primary purpose of this study is to understand the way and the type of relation between the texts which create the meaning of Ilam Rug. In the encounter with artistic work, if a vast collection of literary and artistic texts is recognizable, it is possible to obtain the hidden meaning of the work through reading and understanding of the very collection and the relationships among its members. Combining a set of texts and the achievement of an integrated text is a process that is always carried out by the human mind to create new texts. One of the most outstanding theoreticians who bring up a complete method for analyzing such a thing is Gerard Genette, who offered a new way for understanding the relationship between the text with his Hyper textuality method. The re-search is descriptive and analytical and provides informa-tion in a library-based manner. The Analysis of the Information in This research was done based on the theory of hyper textuality of Gerard Genette, and the procedure was recognizing the component of the artwork and then determining their influences on forming the final text. The result of this study shows that the Rugs that have studied in this research are samples of culture and the art of the Ilam region, which in their process of evolution, a set of text with different ideologic roots were to create a unified system that has semantic cohesion and esoteric cohesion despite its Formal plurality. Ilam Rugs using different texts with pre-Zoroastrian )Mithraic(, Zoroastrian, and post-Zoroastrian )Islamic( foundations and jointing them through different ways were up to create a text is meant for a Muslim person with Iranian heritage. A result of this research is that one of the essential properties of this rug is its Mithraic foundation which has preserved its meaning during the time and in the other ideologic systems. This condition, which gives rise to “, textual continuity, ”,guarantees an artist’, s survival by loading time and modifying proposed systems. Textual consistency is a particular situation in which the textual elements are interconnected. Demanding the rug’, s relevance and how it forms in this testimony is based on a robust reforming system that has evolved over different periods through the convergence of Islamic and Iranian textures.

The title of work has a special place among identity-related components of a historical text. The title of historical work is a critical factor for identifying and distinguishing from other works and can act as a criterion to introduce its themes. Studies on title selection in historical sources can open new horizons for researchers in this field. The present study offers a hermeneutic reading of title selection in historical sources of Islamic Iran to analyze factors contributing to selecting the title of these texts. The primary purpose of this reading is to show factors and elements affecting the process of title selection. This study explores texts from 11 to 20 Century CE (5-14 Century AH). Results of this study show that the selection of titles in Iranian historical sources after Islam was affected by certain textual and hypertextual factors, the most influential factors being the use of stylistic devices, imitation of existing titling methods, the role of state ideology, and the perceptions of the historian.

Abstract: This study sought to answer the question of what are the causes of marital infidelity in the Iranian family. To Answer the Research Question, Qualitative Meta-Synthesis (QMS) Method Were Used. Then, 78 Scientific Papers Which Were Considered Marital Infidelity in Iran were identified and were Analyzed. The results showed that the factors of infidelity in Iran can be classified into 9 main categories, including: 1. Social factors, 2. Psychological factors, 3. Cultural factors, 4. Family factors, 5. Personal factors, 6. Relational factors, 7. Economic factors, 8. Media factors, 9. Contextual factors. Each of the main Categories is divided into Different Subcategories. The Social Factors of infidelity were including “Infidelity Opportunities”, “Friend groups” and “Environmental Conditions”. Psychological Factors of Infidelity Were Including “Personality Type”, “Attachment Styles”, and their “Love Schema”. Cultural Factors have Pointed to “Change in Beliefs and values” and “the level of Religious Education” of people. The Family Factors were including “Inappropriate Marriage”, “Family Conflict” and “the Kind of Family Background of people”. The Personal Factors are “Sexual Dissatisfaction”, “Emotional Dissatisfaction”, “the Feeling of Loneliness”, “the Spouse Unavailability”, “Weakness in Controlling Spouse”, “Domestic Violence”, “Revenge of the Spouse” and “the Role of the Third Person in the Relationship”. The Economic factors are including “the Economic Status of the person”, “the Role of Economic Problems”, “the motivation of entering into infidelity under the Pretext of Job promotion”. The media Factors Were Emphasized on “weakening Iranian Values through Social Media Networks and Foreign Satellite Channels” and “Producing of New Needs by Media”. Finally, the Contextual Factors were including the Role of “Age” and “Gender” in the Infidelity. Findings showed that Infidelity Occurred in the group of men and youth in Iran, more than other Social Groups.

The purpose of this research is to investigate the factors affecting the formation of leading schools, so that it can be used in Iran's education. For this purpose, first, according to the research background and theoretical foundations, a conceptual framework was presented in the field of the components of an efficient and progressive school. Due to the nature of the subject, this research is an applied and developmental research and its method is of a mixed type, and includes quantitative and qualitative methods. According to the obtained information, the statistical population is about 3000 people. The sample size is estimated to be 344 people using Morgan's table. Stratified sampling method was used for sampling in this research, and 84 managers and 260 teachers participated in this study. The tool of this research is a researcher-made questionnaire. To analyze the data and answer the research questions, the correlation coefficient test and factor analysis were used. The results of the research showed that the components of management and leadership, research factors, educational factors, human resources, budget and infrastructure, technology and equipment are the main components of the formation of leading schools, and the component of educational factors has the largest contribution.

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.