Ghiasuddin Ali Yazdi known as "Ghias" was a well-known poet and painter from the tenth and eleventh century AH who was known for the design of silk fabrics to "Naqshband". He, in addition to skill in the art of Naqshbandi, was also capable of poetry and had a collection of beautiful poems. His poetry collection includes various poems odes and sonnets, quatrains and Masnavi. All of these has been corrected and published only once by Hussein Masarrat in 2014. This study, by examining this publication, will show its weaknesses and inadequacies in several sections: 1) the method of correction is uncertain and inauthentic; it is deductive; 2) many of the verses are recorded with distortions that, by affecting the meaning of the original text, have changed a lot of it. In addition to these points, the mistakes related to suspensions, typos, mischiefs, and recordings should also be mentioned. Masarrat’s correction of Ghias’ collection has many drawbacks; for this reason, this article tries to refer to some of them and the need to re-examine his collection. The elements of the style of Ghias poetry are also analyzed in this essay in terms of familiarity and normality. The most important norms in the poetry of Ghias are syntactic, spatial, and archaism. In this study, we try to recall this part of the norms, part of the aesthetic functions in Ghias’ poetry.

Persian carpet is one of the arts that is known in the science of style and has been of interest to researchers in this field in recent decades. However, this research is just the beginning and is therefore accompanied by some shortcomings and sometimes unscientific statements, including stylistics based on geographical areas. For this reason, there is no single opinion about the style of Iranian carpets. However, historical approaches have been considered as one of the methods that can be used to determine an important part of Iranian carpets in style. Considering the importance of the SAFAVID period, in addition to the importance of the SAFAVID era and the influence of the power of the kings of this period, also different opinions, including the often incorrect categories of these carpets and their belongings to a specific region of Iran without considering the reasons Logical, scientific and historical contexts Due to the great importance of this period in the history of carpet weaving in Iran, which has caused confusion in this field, and due to the special place of stylistics in scientific dealings with art, the reign of Shah Tahmasb I, as one One of the most brilliant periods of Iranian carpet weaving has been consistently significant. During the long reign of Shah Tahmasb, the art of carpet weaving in Iran reached its highest level. Tahmasb, despite his intense interest in carpet weaving and because of his attention to this art, made this profession considered as an art. In this study, we tried to use the approach of historical stylistics as an interdisciplinary category that helps us to be influential factors in the formation of an art. This position and special importance of carpets belonging to the SAFAVID period in the history of carpet weaving in Iran and according to the contents of the carpet style leading to this research with the aim of historical stylistics of Shah Tahmasb I carpets around the world, including the museum. New York Metropolitan, Victoria and Albert London, Decorative Arts of Paris, Islamic Arts of Berlin (Pergamon), Museum of Iranian Carpet, Astan Quds Razavi Museum of Mashhad, etc. were examined. evaluated and analyzed in terms of appearance and technical characteristics. Were analyzed. And with the help of the obtained data, individual traits should be identified separately among the carpets of each period, as well as the common features between the carpets of these periods should be identified and presented in the form of historical stylistics. Iranian carpet has a historical and artistic approach. . This descriptive-analytical study analyzes a number of carpets in this period using library resources and field observations, as a result, the common light traits among the carpets belonging to this period are identified. The influence of environmental factors such as economic, social, cultural and political conditions on the appearance and technical characteristics of this category of carpets and distinguishing them from carpets of other periods, discovering the stylistic features among the carpets belonging to this period historically And art stylistics and grouping. In order to reduce the dispersion of disagreement in this area.

Rulings (Jadwal, Decorative frames, Cadre, or Border) are an old and continuous element in manuscripts. Rulings are seen in the oldest Qurans produced in Islamic civilization. Because the rulings are used on all the pages of a manuscript, as a result, they have a significant contribution to embellishing the manuscripts. Previous studies have shown that red rulings were the first rulings used in Persian manuscripts and after them, drawing rulings with gold has been popular since the middle of the 7th century. Since the 9th century, decorative rulings have become one of the important elements in the book art.But unfortunately, we see that few studies have been assigned to the rulings. Examining the manuscripts shows that the rulings were used in different styles in the manuscripts produced in the 9th to the 12th centuries AH. Therefore, the importance of the present research is due to two reasons. The first thing is that the stylistics and typology of rulings, which are necessary for a better understanding of book art in the Timurid and SAFAVID periods, have not been done until today, and the second thing is that by recognizing the type of rulings, manuscript researchers can accurately date undated manuscripts. It is reminded that the stylistics of rulings in the manuscripts produced before the 9th century have been identified and introduced in previous research. Therefore, the present study complements previous research. As a result, the first purpose of this article is to identify the different styles of rulings based on their structure from the ninth to the twelfth century AH, and the second purpose of this article is to identify the rules governing the structures of the rulings. To achieve these goals, these questions have been answered: 1- What are the stylistics of rulings in the 9th to the 12th centuries AH? And 2- what were the rules governing the structure of the golden rulings? In this article, the rulings of more than 450 manuscripts with decorative rulings that are preserved in reliable libraries inside and outside of Iran were identified and analyzed using a descriptive-analytical method, and the necessary information was collected from library sources. The results of this study showed that the golden rulings in the manuscripts produced in the Timurid and SAFAVID periods (ninth to twelfth centuries AH) can be an important indicator in the classification of ruling styles. Therefore, in the first stage, basic styles were formed based on the number of golden lines, which are:one golden line, two golden lines (Dawaleh), three golden lines (Morassa), and four golden lines. In the second step, based on the number and placement of colored lines (including lapis lazuli, red, and green) next to the golden lines, the subgroup styles of each style were formed as follows: eight subgroups for one-golden rulings, eight subgroups for two-golden rulings (Dawaleh), three subgroups for three-golden rulings (Morassa) and two subgroups for four-golden rulings. Also, by examining the structure of the ruling, it was determined: 1- The main golden ruling (the last golden rule, the mother gold ruling) is always the thickest compared to other golden rulings. 2- Three contours (thin black lines: Tahrir) one contour on the front and two contours on the back are always used for the main golden rule (mother gold ruling). 3- lapis lazuli ruling is the last ruling in the structure of ruling. 4- Contrasting and complementary colors are used in the structure of the rulings (gold and lapis lazuli, green and red). Also, the investigations showed that due to the non-uniform thickness of the ruling lines, the use of two colors with the highest contrast (gold and lapis lazuli) and complementary colors (green and red) and drawing three contours instead of two contours for the main gold table (mother gold ruling) have been the methods by which the ruling artists have given dynamism and attractiveness to the static structure of the rulings. The study of the stylistics of golden rulings, in addition to revealing the rules governing them, also specified how styles were formed as follows: Before the ninth century, one golden line with two black contours and one lapis lazuli line became popular ruling, and in the ninth century, drawing three black contours replaced the drawing of two black contours for the golden line. The ruling with two gold lines and one lapis lazuli line (Dawaleh) branched off from the previous ruling, and after that, all rulings with three, four, and five golden lines were formed based on the structure of the Dawaleh ruling.

“Language” carries “Ideology”; and “Power” has always used “Language” in the direction of its domination. The present article is devoted to Stylistic analysis and study some parts of a letter from Shah Tahmasb SAFAVID to Sultan Suleiman the Ottoman from the perspective of Critical Discourse analysi. This letter is one of the most important letters that was sent from Iran to the Ottoman court during the peace of “Amasya” and around the year 962 A. The authors first corrected the text of this lengthy letter based on a manuscript called "Collection of Commands and Letters" preserved in the Library of Islamic Consultative Assembly No. 3349 and Then, a part of it has been analyzed and interpreted based on Fairclough's semiotic - social approach, as well as one of the components of sociological – semantic of Van Leeuwen’s model and with the help of Wendek's cognitive - social approach strategies and also with the help of critical stylistic tools. This study shows how “Power” has used language to promote and stabilize its ideology and goals.The high abundance of religion institution codes at the structural level as well as the quantity and quality of codes compounds at the process level indicate the ideological orientation of the SAFAVID system and the reliance of the institution of power on the institution of religion and religious discourse. In this letter, discourses such as the legitimacy and superiority of the Shiite school can also be seen in the linguistic element of the “Index”. The linguistic features of this text also indicate the political-military “Authority” of the SAFAVID system at the time of the signing the peace of Amasya.

We generalize the notion of normality on topological spaces to s-normality. s-version of the Urysohn’s lemma is established and s-normality is characterized in terms of semi-continuity and s-continuity.

Purpose: The present study aims to identify and explain the futures of Iranian provinces in the competition for the development of NBIC technological convergence (synergy between nanotechnology, biotechnology, information technology and cognitive sciences) with a focus on Yazd province. Method: This research, which has been conducted with a qualitative and descriptive approach, is classified as an exploratory futures-study. In this way, the relevant research records were first reviewed to compile a list of drivers in the development of convergent technologies. The list was then refined and prioritized to identify two key drivers, with the Delphi process attended by fourteen experts. By intersecting the uncertainties of these two drivers, four scenarios of the province's future in technological convergence competition emerged. Findings: The two key drivers affecting the success of the province in the competition for convergent technologies are: the rate of development of the innovation ecosystem and the amount of financial resources allocated to this process. Based on this, four scenarios of the future situation of the province in this field were identified, which have been named as "Vanguard", "Buyer", "Remnant" and "Hired". Conclusion: In order for the provinces to be able to succeed in the forthcoming competitions in the production and operation of convergent technologies, it is necessary to plan for strengthening the ecosystem infrastructure from now; at the same time, it is necessary to make efficient efforts to provide sufficient financial resources for the research and commercialization of these technologies.

Yazd is a historical city that has the oldest residential buildings. It was a large government center exhibiting glory and prosperity in the 77-year period of Muzaffarid rule. In the SAFAVID era as well, Yazd saw an increase in residential construction due to the governing sense of security and peace in the city. One of the integral parts of houses built then was the courtyard, many diverse types of which remain from that period. The evolution of the courtyard represents the practical and theoretical transformations of architectural thought. The diversity of house forms during that period and the chronology and evolution of the courtyard from the Muzaffarid to the SAFAVID era are the inquiries of this research. This research uses historical documents as well as field studies. The analyticalhistorical method is employed and the main historical sources include Tarikh-e Yazd and Tarikh-e jadid-e Yazd (for the Muzaffarid era) as well as Jame‘, e Mofidi and Jame‘, e Ja‘, fari (for the SAFAVID era). First, the characteristics of the houses in the historical texts are explained and then, the architecture of existing houses is briefly introduced. Then, a comparative study of the physical aspects of the courtyards is completed in the form of quantitative reports. The findings show that during the Muzaffarid era, three types of courtyards were used: inner courtyard, khalf-e-bagh, and sarabostan (a small garden that was built next to old houses and had a great impact on the microclimate). In the SAFAVID era, the inner courtyard and sarabostan continued to exist but the khalf-e-bagh courtyards were not built anymore. Finally, it can be said that the design of courtyards in the SAFAVID garden houses is a continuation and upgrade of the model of Muzaffarid sarabostan and harmonious with the design of the Muzaffarid garden houses.