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Qajar wall painting includes different fields and works dispersed in various locations such as royal buildings, private houses, public places and holy shrines under the dynastic rubrics, epic, sensual and religious contexts. Religious murals in shrines and tombs, especially those depicting Prophet Mohammad's Mi’raj are among the ones which could be seen in such places.
Mi’raj has been described as both a physical and spiritual journey. A brief sketch of the story is in surah al-Isra of the Quran and other details come from the hadith, which are collections of the reports, teachings, deeds and sayings of Muhammad. In the Isra, Muhammad traveled on the steed Buraq to "the farthest mosque". Traditionally, later Muslims identified the mosque as a location in the physical world, the Al-Aqsa Mosque in Jerusalem. At the mosque, Muhammad led other prophets in prayer. He then ascended to heaven in the Mi'raj journey where Prophet Muhammad spoke to God. The remembrance of this journey is one of the most significant events in the Islamic calendar. Due to the significance of this event, it has been manifested in the realm of art from days of yore.
Although we can find different stages of this historical-religious event in the works of lithography and miniature, not many of them have been studied in the field of wall painting and popular arts. Having
examined such works of art, some questions are proposed as follows: firstly, what are the structural and aesthetic elements in these religious wall paintings? Secondly, how these elements are depicted and what similarities and differences do they share with works of lithography and miniature? The results of this research done in analytic and comparative methodology reveal that these wall paintings are more, in term of quantity, distributed in northern provinces of Iran and the scenes related to "visiting the lion" prevail as a result of Shiite beliefs. But the illustrated scenes and stages in lithography and miniature are more diverse including different events. Of other things we should note and compare in here are the execution and decoration of works besides the style of depicting the elements, their colors and sizes as well as the background of each medium and some other slight differences.
As to the differences of artworks in these three artistic media, we should mention that in works of miniature and lithography, there are more stages and episodes to be seen. Furthermore, due to the technical and expressive capacities of each medium, there are more figures and details in miniature in compare to those of lithography and on the other hand, more ones in lithography than wall painting. But as to the similarities, there some points to be noted. The central position of the Prophet and his praising of God during the journey of Mi’raj, the adaptability of the clothes and other elements with the features of the era in which paintings have been executed, and lack of perspective as well as depiction of the climax of the story with somewhat epic aspects are all among the similarities in each of the works of the three fields.

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Comparative literature has provided various methodologies in the process of its evolution and development. The American School of comparative literature, beside breaking the established limitations of the French School, has placed emphasis on the necessity of discovering the connection between literature and the other arts and human knowledge and consequently extracting and classifying the common rules governing literature. Following this point of view, the present study has, from a comparative perspective, compared part of Leyla and Majnun narrative by Nur ad-Dīn Abdurrahman Jāmī in Haft Orange Masnavi with a painting called "Qays First Glimpses at Layli" attributed to Muzaffar Ali, a follower of Tabriz Painting School. The present study is thought of as a practical example with the aim of correctly explaining the viewpoints of the American School of comparative literature. On the basis of this study, the time element, paratextuality, description, and signification are among the general principles in literature which can be extended and generalized over the other knowledge areas via the comparison of literature with the painting art. In the other section of this study, the implicit significations hidden in the folio have been extracted. Discovering the relationship and connection between literature and painting can double up a professional audience's artistic enjoyment rate and the watcher, while standing opposite the folio, can gain artistic enjoyment from the two arts. The study also indicates that a literary text, after having been transmitted to another significational area, inevitably loses some of its components or appears in a different form.

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A Study of the Textual Potentialities of Maqamat al- Hariri in its Manuscripts' Illustrations Certain Arabic classical manuscripts were accompanied by illustrations to contribute to more objectively representing them. To do so, illustrators, by taking advantage of the pictorial potentialities of literary manuscripts, attempted to depict them in a more concrete manner. As such potentialities vary, the aforementioned manner(s) would differ, accordingly. The present paper makes an analogy between the narrative elements of Maqamat al- Hariri and the technical features of the illustrations. Our main question is thus, whether Maqama , with its peculiar stylistic features, calls for a specific type of illustration, and, further, how these features could influence the type of the illustrations. In answering the question, having made the analogy, we come to two major categories in the illustrations: 1. similar drawings for different maqamas 2. Dissimilar drawings for different maqamas. The result of the research reveals a peculiar style of illustration in Maqamat al- Hariri which can be introduced as the genre's pattern of depiction. Key words: Maqamat al- Hariri, illustration, miniature, Maqama, illustrated manuscripts

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This paper deals with the design and fabrication of an adjustable, two fingers flexible miniature gripper based on porous magnetorheological nanocomposites having the adjustability of pre-openings of the jaw’s tips and its operational study in according to the performance. The fabricated gripper holds the small size and lightweight objects, maintain them and release them as required upon reducing the electrical current. The magnetic analysis has done and magnetic simulation has conducted using Vizimag software. The lead, condensed papers, foams and silicon wafer sheets were used as under experiments materials and it has been noticed that it is working properly to grip the things which has rough surfaces at all. For a greater objects, it can be adjusted through its tips as well. In this scheme, the magnetic actuation has been used because the magnetorheological nanocomposites is the most sensitive materials against the magnetic field. This type of grippers includes the simple montage, lower fabrication prices and owns lower volume as well as weight, and there will be no need to apply the classic mechanical linkage inside. This type of grippers are recommended for applications in the fields of the micro electromechanical systems, especially in the holding and transporting of sensitive work pieces against scratches, fingerprints and pressure.