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Reza Reazlou, Esmaeil Marofi-Aghdam, Karim Hajizadeh, Behrooz Afkhami, Leyla Khani, Leyla Sarhadi,
year 4, Issue 13 (11-2020)
year 4, Issue 13 (11-2020)
Abstract
Abstract
The present descriptive-analytical study and its findings are based on field and document studies, and examines and analyzes the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz, and tries to study and understand the designs of the tombstones of Dar al-Salam Shiraz, their symbolic themes, and their traces of mythical and religious beliefs of each historical or cultural period. Studies on tombstones related to the Qajar era of Dar al-Salam Cemetery in Shiraz prove that these tombstones contain various designs of human, animal, plant, geometric, and inscriptions. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content.
Keywords: Shiraz, Daral-Salam Cemetery, Tombstone, Nationalism, Achaemenid, Sassanian.
Introduction
Fars province, like other regions of the Iranian plateau, has been inhabited by various groups and ethnic groups since ancient times, and in this regard, several cemeteries have been established to bury their dead. Dar al-Salam Shiraz is one of the seven old cemeteries in Shiraz that Moinuddin Abolghasem Junaid Shirazi mentioned in his book. There are tombstones from the early Islamic centuries to recent times, which indicate the importance of this cemetery. There are several designs on the tombstones of Dar al-Salam cemetery. Including human motifs, animal motifs, plant motifs, geometric motifs, calligraphy, and inscriptions. In general, discovering the meaning and concept of the designs created on tombstones and their symbolic nature can unify many of the forgotten secrets and points of regional and national history, art, and culture with more unity and meaning. In this regard, the present study examines and analyzes the tombstone motifs of Shiraz Dar al-Salam Cemetery, especially the tombstones of the Qajar period, and by examining them, in addition to identifying the created motifs and their symbolism, seeks to trace the motifs through periods and among the mythical beliefs and religions of past periods.
Research & Hypotheses Questions: 1- What are the designs of the tombstones of Dar al-Salam Shiraz and what are their symbolic themes? 2- The designs created on the tombstones of Dar al-Salam Shiraz shows which traces of mythical and religious beliefs of the historical or cultural period of Iran?
1. These tombstones contain various designs of human, animal, plant, geometric, and inscription images. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. 2. Considering the predominance of nationalist thought in the Qajar period, the images of these tombstones show the continuation of the motifs of the Sassanid and Achaemenid periods, which was created with a relatively different form and content.
Classification of Tombstones of the Qajar Period of Dar al-Salam Shiraz
In general, the images engraved on the tombstones of Dar al-Salam Shiraz, except lines and inscriptions, can be divided into a general category into the following groups: 1- Plant motifs, 2- Human motifs, 3- Animals and birds Motif, 4- Patterns of objects and geometric and abstract shapes
Conclusion
The study of the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz proves that these tombstones have various designs, including anthropogenic images, animal, plant, geometric, calligraphy, and inscription. Studying the motifs of this group of works and examining the social, political, and religious situation of the Qajar era, shows that most of these motifs are symbolic and rooted in the history and culture of Iran and are influenced by the region’s culture, beliefs, and temporal and spatial position. Also, the images of these tombstones are a kind of continuation of the motifs of the Sassanid and Achaemenid periods, which have been created with a relatively different form and content. The motifs of cypress trees and lotus flowers are among the main paintings of Persepolis and the human images with lotus flowers in his hands, in a way reminiscent of the role of the Achaemenid kings in Persepolis and palace paintings. Sassanid monuments such as Bishapour Palace, which are among the first examples of images in Iran with a flower in hand. Horsemen and hunting scenes of animals such as lions, which are often seen on the tombstones of the Qajar period Dar al-Salam Dar al-Salam Shiraz; It has its roots in the history and culture of Iran, especially in the Persian region; Such patterns can be seen on Achaemenid seals found in Persepolis and other places, as well as on Sassanid gold and silver vessels. Finally, it should be acknowledged that among the reasons for creating these common themes between the tombstones of Dar al-Salam Shiraz and the remnants of ancient civilizations of Iran such as the Achaemenids and Sassanians, in addition to the rule of nationalist thought in the Qajar period and the influence of the Persian climate (from The cypress tree, which is one of the special trees and vegetation of the region and is found in abundance in the region (especially Shiraz), is the location of Dar al-Salam Cemetery in a place that was once the center of the rule of the Achaemenid and Sassanid states, which itself is the main The most influential factors on the thoughts of the people of the Qajar period and the continuity of the designs of the past.
The present descriptive-analytical study and its findings are based on field and document studies, and examines and analyzes the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz, and tries to study and understand the designs of the tombstones of Dar al-Salam Shiraz, their symbolic themes, and their traces of mythical and religious beliefs of each historical or cultural period. Studies on tombstones related to the Qajar era of Dar al-Salam Cemetery in Shiraz prove that these tombstones contain various designs of human, animal, plant, geometric, and inscriptions. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content. On the other hand, due to the predominance of nationalist thought in the Qajar period, the images of these tombstones show a continuation of the motifs of the Sassanid and Achaemenid eras, which were created with a relatively different form and content.
Keywords: Shiraz, Daral-Salam Cemetery, Tombstone, Nationalism, Achaemenid, Sassanian.
Introduction
Fars province, like other regions of the Iranian plateau, has been inhabited by various groups and ethnic groups since ancient times, and in this regard, several cemeteries have been established to bury their dead. Dar al-Salam Shiraz is one of the seven old cemeteries in Shiraz that Moinuddin Abolghasem Junaid Shirazi mentioned in his book. There are tombstones from the early Islamic centuries to recent times, which indicate the importance of this cemetery. There are several designs on the tombstones of Dar al-Salam cemetery. Including human motifs, animal motifs, plant motifs, geometric motifs, calligraphy, and inscriptions. In general, discovering the meaning and concept of the designs created on tombstones and their symbolic nature can unify many of the forgotten secrets and points of regional and national history, art, and culture with more unity and meaning. In this regard, the present study examines and analyzes the tombstone motifs of Shiraz Dar al-Salam Cemetery, especially the tombstones of the Qajar period, and by examining them, in addition to identifying the created motifs and their symbolism, seeks to trace the motifs through periods and among the mythical beliefs and religions of past periods.
Research & Hypotheses Questions: 1- What are the designs of the tombstones of Dar al-Salam Shiraz and what are their symbolic themes? 2- The designs created on the tombstones of Dar al-Salam Shiraz shows which traces of mythical and religious beliefs of the historical or cultural period of Iran?
1. These tombstones contain various designs of human, animal, plant, geometric, and inscription images. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs, and their temporal and spatial place. 2. Considering the predominance of nationalist thought in the Qajar period, the images of these tombstones show the continuation of the motifs of the Sassanid and Achaemenid periods, which was created with a relatively different form and content.
Classification of Tombstones of the Qajar Period of Dar al-Salam Shiraz
In general, the images engraved on the tombstones of Dar al-Salam Shiraz, except lines and inscriptions, can be divided into a general category into the following groups: 1- Plant motifs, 2- Human motifs, 3- Animals and birds Motif, 4- Patterns of objects and geometric and abstract shapes
Conclusion
The study of the tombstones of the Qajar period of Dar al-Salam Cemetery in Shiraz proves that these tombstones have various designs, including anthropogenic images, animal, plant, geometric, calligraphy, and inscription. Studying the motifs of this group of works and examining the social, political, and religious situation of the Qajar era, shows that most of these motifs are symbolic and rooted in the history and culture of Iran and are influenced by the region’s culture, beliefs, and temporal and spatial position. Also, the images of these tombstones are a kind of continuation of the motifs of the Sassanid and Achaemenid periods, which have been created with a relatively different form and content. The motifs of cypress trees and lotus flowers are among the main paintings of Persepolis and the human images with lotus flowers in his hands, in a way reminiscent of the role of the Achaemenid kings in Persepolis and palace paintings. Sassanid monuments such as Bishapour Palace, which are among the first examples of images in Iran with a flower in hand. Horsemen and hunting scenes of animals such as lions, which are often seen on the tombstones of the Qajar period Dar al-Salam Dar al-Salam Shiraz; It has its roots in the history and culture of Iran, especially in the Persian region; Such patterns can be seen on Achaemenid seals found in Persepolis and other places, as well as on Sassanid gold and silver vessels. Finally, it should be acknowledged that among the reasons for creating these common themes between the tombstones of Dar al-Salam Shiraz and the remnants of ancient civilizations of Iran such as the Achaemenids and Sassanians, in addition to the rule of nationalist thought in the Qajar period and the influence of the Persian climate (from The cypress tree, which is one of the special trees and vegetation of the region and is found in abundance in the region (especially Shiraz), is the location of Dar al-Salam Cemetery in a place that was once the center of the rule of the Achaemenid and Sassanid states, which itself is the main The most influential factors on the thoughts of the people of the Qajar period and the continuity of the designs of the past.
Abbasali Ahmadi,
year 7, Issue 25 (12-2023)
year 7, Issue 25 (12-2023)
Abstract
Abstract
In the present research, the gravestones of the Islamic period in the Borkhar region, located in the north of Isfahan have been studied with the aim of identifying and classifying the types of species, in order to answer the following questions, in a descriptive-analytical way and with a typological approach.1- From a morphological point of view, which types of carved and inscribed tombstones existed in Borkhar? 2- What are the structural and temporal characteristics of these species in comparison with each other and in comparison with common species in other regions? 3- What is the quantity and distribution of types of gravestones in the settlements of the region and what information does it contain? Based on the results of this research, 404 tombstones were identified in the settlements and ancient sites of Borkhar. This tombstone belongs to the Safavid to Qajar periods and includes 5 species, 7 main subspecies and 29 subspecies. Although the placement in this typology has been considered; Despite this, the shape structure is the most important criterion for this division, and in the next levels, criteria such as the methods of composing the arrays, the type and the manner of the dimensions and volumes have been considered. The main species include Varaghei, Sandoghi, Ketabi (including 4 main subspecies), horizontal Mehrabi (including 3 main subspecies) and Motbagh and correspond to samples obtained from other regions of Iran. The most common species are the Balindar, the Ketabi-e Bozorg, the Mehrabi-e Jonaghi and the Sandoghi, respectively, and the two types of Mehrabi-e Helali and Motbagh have the least use. The Sandoghi species was the most common species in the Safavid period and the the Balindar species and the Ketabi-e Bozorg was the most common species in the Qajar period. According to the results obtained between the identified species and the temporal, geographical and spatial conditions of the settlements in the region, close relationships can be seen. Vertical types are more prevalent in mountainous areas and horizontal types are prevalent in low and flat areas of the region.
Keywords: Tombstone, Typology, Masonry, Borkhar, Isfahan.
Introduction
Geographically, Borkhar includes a vast plain with foothills in the north and west of it, and from the point of view of old administrative divisions, it was one of the Rastaqs of Isfahan. The word Rastaq or the Persian equivalent of that village corresponds to the modern part, and according to ancient texts, it was a place that had a lot of land and fields. According to the investigations, the history of settlement in this area reaches at least the Parthian period and from the Sassanid period to the end of the Qajar period, it has been considered as one of the rastaqs of Isfahan (Ahmadi, 2019). Old Borkhar, which corresponds to Borkhar city and the central part of Shahinshahr and Mimeh cities, from the northeast to Ardestan city, from the north to Natanz city, from the northwest to Mimeh, from the west and southwest with Alavijah and Dehgh cities, Najaf Abad. , Khomeinishahr, is limited to the city of Isfahan from the south and to the foothills of Isfahan from the east. Due to the rich cultural-historical background, there are many historical monuments left in this region, among which the prominent examples are the tombstones of the old cemeteries of some cities and villages in the region. Today, as a result of the expansion of urban and rural spaces, renovation of cemeteries, changes in traditions and cultural assimilation, many of these tombstones have been forgotten and destroyed; Based on this, in the upcoming research, Borkhar tombstones have been identified, introduced and studied for the first time as works whose destruction and destruction are felt more than ever. These tombstones belong to the Safavid to Qajar periods and are found in the old cemeteries of the villages and towns of the region such as Soh, Bideshak, Dehlor, Kalhorud, Bagh Miran, Morche khort, Gaz, Sin, Azarmanabad, Shapurabad, Habibabad, Narmi. And the ancient sites of Sefidab and Jalalabad have been identified. Although the basis of the upcoming research is the introduction of Borkhar tombstones and its importance to researchers and guardians; Nevertheless, the main goal was the typology and classification of identified tombstones based on their form and appearance characteristics in line with the goals and questions of this research; It is obvious that investigating the various aspects of the inscriptions on these tombstones requires independent research and was not the focus of this research. Based on this, the most important questions of this research are these: 1- From a morphological point of view, which types of carved and inscribed tombstones existed in Borkhar? 2- What are the structural and temporal characteristics of these species in comparison with each other and in comparison with common species in other regions? 3- What is the quantity and distribution of types of gravestones in the settlements of the region and what information does it contain?
Discussion
The present research has been carried out with a descriptive-analytical method and with a typological approach, and the acquisition of data has been achieved in two stages of field surveys and library studies. In the typology of tombstones, aspects that are more inclusive and comprehensive than other features have been emphasized and have the ability to include other partial features. Due to the fact that the subject of the research was based only on the typology of engraved and engraved stone graves, the shape structure, surface design method, type of inscriptions and motifs were taken into consideration. In some cases, besides the mentioned cases, the criterion of gender has also been taken into consideration. Because in such cases, the difference in the type of stone has led to differences in other cases, such as the way of designing and combining decorations and inscriptions. Varaghei tombstones are generally irregular polygonal shapes. In the meantime, more skill has been spent in carving a few of them and they have been carved into shapes such as square, rectangle, triangle, altar and pseudo-rhombus; However, the accuracy that is used in the cutting of other types of tombstones in the region is not seen in this type. Sandoghi tombstones are in the shape of a rectangular cube, and in addition to the top surface, its other four sides are also carved. Patterns and inscriptions are used in most of the samples on three and in some cases on four surfaces of the stone. Mehrabi type According to the shape of the upper part, is divided into three main subspecies. Ketabi tombstones can be divided into four main sub-types, including a Ketabi-e Bozorg, a Ketabi-e Marmary, a Ketabi-e Kochak, and a Ketabi-e Balindar, according to the differences in appearance, dimensions, and type of tombstone. The tombstones of the Motbagh type all belong to the Qajar period and have been identified in only two cemeteries. In this type, the tombstone has a lower rectangular surface, a smaller rectangular surface on it and finally a platform or appendage on the upper part of the second surface.
Conclusion
According to what happened among the 404 tombstones examined in this research, 5 species and 7 main subspecies were identified and classified. Each of these twelve main and minor types is identified based on the appearance of gravestones, and then by criteria such as surface design methods, patterns and inscriptions placement methods, and their composition. were divided into 29 subspecies based on stone surfaces, type, type of inscriptions and motifs. Among these, the greatest degree of homogeneity in Sandoghi types, Ketabi-e Bozorg and Motbagh is seen. Some species have lower degrees of homogeneity. Among the species identified, some were single-period and some had continuity of use during the Safavid to Qajar periods. Although similar to these species can be seen in other regions of Iran; However, their vertical or horizontal placement could be different.
Examining the samples of each species in different regions of Iran shows that Varaghei, Sandoghi, matching and the main subspecies of Ketabi-e Kochak were common in different regions from the 4th and 5th centuries of Hijri until the Qajar period, and the horizontal subspecies of Mehrabi-e Helali, like the examples of this type in Borkhar, was common only in the Qajar style. Examining the quantity of types, taking into account the ratio between types and the number of cemeteries with that type, shows that in the Safavid to Qajar periods, types such as Balindar, Ketabi-e Bozorg, Varaghei, and Mehrabi-e Jonaghi and a Sandoghi are common types of the region, and matching types, a Sandoghi and Mehrabi-e Helali and a Ketabi-e Marmary, are among the less used types of the region. The high quantity of some species or the diversity of species in some settlements of the region has been influenced by the geographical, social, economic, cultural and indigenous conditions of those places. In the study of the ratio of type and time period, it was found that the box type was the most common type used in the Safavid period, and the pillowed and large book types were the most used types in the Qajar period.
Acknowledgment
The author considers it necessary to express her gratitude to the anonymous reviewers of the journal who worked hard and added to the richness of the text of the article with their constructive suggestions.
Conflict of Interest
This article is the result of a research work that was prepared and written by me. The sources and sources used are all correct and no material has been used without mentioning the title. The author undertakes responsibility for the correctness of all published materials.
In the present research, the gravestones of the Islamic period in the Borkhar region, located in the north of Isfahan have been studied with the aim of identifying and classifying the types of species, in order to answer the following questions, in a descriptive-analytical way and with a typological approach.1- From a morphological point of view, which types of carved and inscribed tombstones existed in Borkhar? 2- What are the structural and temporal characteristics of these species in comparison with each other and in comparison with common species in other regions? 3- What is the quantity and distribution of types of gravestones in the settlements of the region and what information does it contain? Based on the results of this research, 404 tombstones were identified in the settlements and ancient sites of Borkhar. This tombstone belongs to the Safavid to Qajar periods and includes 5 species, 7 main subspecies and 29 subspecies. Although the placement in this typology has been considered; Despite this, the shape structure is the most important criterion for this division, and in the next levels, criteria such as the methods of composing the arrays, the type and the manner of the dimensions and volumes have been considered. The main species include Varaghei, Sandoghi, Ketabi (including 4 main subspecies), horizontal Mehrabi (including 3 main subspecies) and Motbagh and correspond to samples obtained from other regions of Iran. The most common species are the Balindar, the Ketabi-e Bozorg, the Mehrabi-e Jonaghi and the Sandoghi, respectively, and the two types of Mehrabi-e Helali and Motbagh have the least use. The Sandoghi species was the most common species in the Safavid period and the the Balindar species and the Ketabi-e Bozorg was the most common species in the Qajar period. According to the results obtained between the identified species and the temporal, geographical and spatial conditions of the settlements in the region, close relationships can be seen. Vertical types are more prevalent in mountainous areas and horizontal types are prevalent in low and flat areas of the region.
Keywords: Tombstone, Typology, Masonry, Borkhar, Isfahan.
Introduction
Geographically, Borkhar includes a vast plain with foothills in the north and west of it, and from the point of view of old administrative divisions, it was one of the Rastaqs of Isfahan. The word Rastaq or the Persian equivalent of that village corresponds to the modern part, and according to ancient texts, it was a place that had a lot of land and fields. According to the investigations, the history of settlement in this area reaches at least the Parthian period and from the Sassanid period to the end of the Qajar period, it has been considered as one of the rastaqs of Isfahan (Ahmadi, 2019). Old Borkhar, which corresponds to Borkhar city and the central part of Shahinshahr and Mimeh cities, from the northeast to Ardestan city, from the north to Natanz city, from the northwest to Mimeh, from the west and southwest with Alavijah and Dehgh cities, Najaf Abad. , Khomeinishahr, is limited to the city of Isfahan from the south and to the foothills of Isfahan from the east. Due to the rich cultural-historical background, there are many historical monuments left in this region, among which the prominent examples are the tombstones of the old cemeteries of some cities and villages in the region. Today, as a result of the expansion of urban and rural spaces, renovation of cemeteries, changes in traditions and cultural assimilation, many of these tombstones have been forgotten and destroyed; Based on this, in the upcoming research, Borkhar tombstones have been identified, introduced and studied for the first time as works whose destruction and destruction are felt more than ever. These tombstones belong to the Safavid to Qajar periods and are found in the old cemeteries of the villages and towns of the region such as Soh, Bideshak, Dehlor, Kalhorud, Bagh Miran, Morche khort, Gaz, Sin, Azarmanabad, Shapurabad, Habibabad, Narmi. And the ancient sites of Sefidab and Jalalabad have been identified. Although the basis of the upcoming research is the introduction of Borkhar tombstones and its importance to researchers and guardians; Nevertheless, the main goal was the typology and classification of identified tombstones based on their form and appearance characteristics in line with the goals and questions of this research; It is obvious that investigating the various aspects of the inscriptions on these tombstones requires independent research and was not the focus of this research. Based on this, the most important questions of this research are these: 1- From a morphological point of view, which types of carved and inscribed tombstones existed in Borkhar? 2- What are the structural and temporal characteristics of these species in comparison with each other and in comparison with common species in other regions? 3- What is the quantity and distribution of types of gravestones in the settlements of the region and what information does it contain?
Discussion
The present research has been carried out with a descriptive-analytical method and with a typological approach, and the acquisition of data has been achieved in two stages of field surveys and library studies. In the typology of tombstones, aspects that are more inclusive and comprehensive than other features have been emphasized and have the ability to include other partial features. Due to the fact that the subject of the research was based only on the typology of engraved and engraved stone graves, the shape structure, surface design method, type of inscriptions and motifs were taken into consideration. In some cases, besides the mentioned cases, the criterion of gender has also been taken into consideration. Because in such cases, the difference in the type of stone has led to differences in other cases, such as the way of designing and combining decorations and inscriptions. Varaghei tombstones are generally irregular polygonal shapes. In the meantime, more skill has been spent in carving a few of them and they have been carved into shapes such as square, rectangle, triangle, altar and pseudo-rhombus; However, the accuracy that is used in the cutting of other types of tombstones in the region is not seen in this type. Sandoghi tombstones are in the shape of a rectangular cube, and in addition to the top surface, its other four sides are also carved. Patterns and inscriptions are used in most of the samples on three and in some cases on four surfaces of the stone. Mehrabi type According to the shape of the upper part, is divided into three main subspecies. Ketabi tombstones can be divided into four main sub-types, including a Ketabi-e Bozorg, a Ketabi-e Marmary, a Ketabi-e Kochak, and a Ketabi-e Balindar, according to the differences in appearance, dimensions, and type of tombstone. The tombstones of the Motbagh type all belong to the Qajar period and have been identified in only two cemeteries. In this type, the tombstone has a lower rectangular surface, a smaller rectangular surface on it and finally a platform or appendage on the upper part of the second surface.
Conclusion
According to what happened among the 404 tombstones examined in this research, 5 species and 7 main subspecies were identified and classified. Each of these twelve main and minor types is identified based on the appearance of gravestones, and then by criteria such as surface design methods, patterns and inscriptions placement methods, and their composition. were divided into 29 subspecies based on stone surfaces, type, type of inscriptions and motifs. Among these, the greatest degree of homogeneity in Sandoghi types, Ketabi-e Bozorg and Motbagh is seen. Some species have lower degrees of homogeneity. Among the species identified, some were single-period and some had continuity of use during the Safavid to Qajar periods. Although similar to these species can be seen in other regions of Iran; However, their vertical or horizontal placement could be different.
Examining the samples of each species in different regions of Iran shows that Varaghei, Sandoghi, matching and the main subspecies of Ketabi-e Kochak were common in different regions from the 4th and 5th centuries of Hijri until the Qajar period, and the horizontal subspecies of Mehrabi-e Helali, like the examples of this type in Borkhar, was common only in the Qajar style. Examining the quantity of types, taking into account the ratio between types and the number of cemeteries with that type, shows that in the Safavid to Qajar periods, types such as Balindar, Ketabi-e Bozorg, Varaghei, and Mehrabi-e Jonaghi and a Sandoghi are common types of the region, and matching types, a Sandoghi and Mehrabi-e Helali and a Ketabi-e Marmary, are among the less used types of the region. The high quantity of some species or the diversity of species in some settlements of the region has been influenced by the geographical, social, economic, cultural and indigenous conditions of those places. In the study of the ratio of type and time period, it was found that the box type was the most common type used in the Safavid period, and the pillowed and large book types were the most used types in the Qajar period.
Acknowledgment
The author considers it necessary to express her gratitude to the anonymous reviewers of the journal who worked hard and added to the richness of the text of the article with their constructive suggestions.
Conflict of Interest
This article is the result of a research work that was prepared and written by me. The sources and sources used are all correct and no material has been used without mentioning the title. The author undertakes responsibility for the correctness of all published materials.
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