Persian carpet weaving is one of Iran's most famous industries that has attracted the world's attention to Persian arts through the centuries. What above all, have given prominence to Persian carpet as a beautiful work of art is the pattern and its composition in a two-dimensional space. The diversity of patterns, use of deep and beautiful colors, good composition, harmony of colors, delicate and poetic composition are among the most outstanding features of Persian carpet. Industrial advancement and development of transportation in the 19th century led the western explorers to travel eastward making them acquainted with the cultural heritage of these civilizations. William Morris, the leading thinker and artist of the British Arts and Crafts Movement is among the first to conduct a research on Persian carpet's patterns and designs. In this paper, we are proposing a semiotic approach to the transaction between Persian ARTISTS who made beautiful and ever-lasting carpet designs and william Morris as a pioneer of Pre-Modern Movements in Europe, who studied and recognized the underlying principles of Persian art (mostly carpet), and applied them in a creative way to his own remarkable hand-made designs.

Background and Aim: Sometimes, there is a lawsuit against the martial arts champion to claim bodily harm inflicted by them. This injury can be inflicted in the clubs against the training opponent, or in the streets, to attack or defend against an invader as well as in official matches. The main question is civil liability of warriors for harm done to another. Materials and Methods: This is a descriptive Study. Ethical Considerations: All ethical considerations as well as authenticity of the texts have been observed. Findings: In countries like the United States, there are many cases in the courts about Struggles leading to injury during sports. In Iranian courts, despite the consent of the participant in the competition or club exercises, this defense sometimes is not accepted and then coaches or warriors are liable to compensate. The present article examines the civil consequences of non – vital hand and foot blows in the streets or at the club during training with competition. It further suggests full insurance coverage of clubs and competitions. Conclusion: If an athlete inflict a harm to others during the game, if it is unintentional, it does not results in responsibility; but if he intentionally inflict harms to others, according to article 32 of the Civil Liability Act, he will be responsible for compensation.

Art, after the modern era, has undergone significant transformations, including a shift in the audience’s role from passive consumer to active participant in the creation and interpretation of artworks. The connection between the artist and the audience is regarded as one of the most crucial factors contributing to the success of art. In Iranian society, the artist and the audience have historically maintained a deep and dynamic relationship. Many Iranian artworks have emerged from the cultural and social foundations of Iranian society, reflecting this strong connection. In Isfahan, as one of the main centers for artistic production and creation, local culture has played a significant role in shaping artistic works. This highlights the social nature of art in the city and the close relationship between ARTISTS and their audiences.However, this bond appears to be weakening, and a rupture in the interaction between ARTISTS and audiences is emerging-one that may, in the long term, negatively impact both the connection between art and socio-cultural life and the quality of artistic production.Given that a work of art acquires meaning through interaction with its audience-and that ARTISTS are aware of this dynamic-and considering that interactive art has not yet received sufficient scholarly attention, this study aims to explore how visual ARTISTS in the city of Isfahan understand and interpret their interactions with audiences. Adopting an interpretive approach and an insider perspective, the study investigates the subjective meanings held by visual ARTISTS in Isfahan to develop a data-grounded model of their perceptions and interpretations.This research was conducted using a qualitative approach, specifically grounded theory (systematic version). The study sample was drawn from visual ARTISTS and experts in the field of visual arts in Isfahan. A total of 14 participants were selected through purposive-theoretical sampling. Data were collected through semi-structured, in-depth interviews. For data analysis, the three stages of systematic grounded theory-open, axial, and selective coding-were employed. To ensure credibility and scientific validation of the findings, common validation techniques in grounded theory, such as member checking, analytical comparisons, and external auditing, were utilized.The findings suggest that the causal conditions affecting artist-audience interaction include virtualization, multilayered imbalance, audience detachment by the artist, and the social authority of the artist. Contextual conditions include institutional disorientation and the erosion of economic foundations. Ideological conflicts and audience fluidity were identified as intervening factors. Strategies proposed for improving interaction between ARTISTS and audiences include institutional reform, restructuring the art marketing system, digital transformation of art, and rethinking prevailing thought systems. The outcomes of these strategies include strengthening artistic authority, enhancing financial resources for art, and improving artistic quality. These elements are organized around a central theme: the “Digital Turn and the Fluidity of Interaction Meaning.”It can thus be concluded that, contrary to theories that view the audience as passive, artist-audience interaction is neither one-sided nor passive. In this relationship, the audience plays an active, participatory, and creative role in interpreting the artistic message. The artist does not impose meaning on the audience; rather, they present it, and the audience’s interpretation, in turn, influences the artist’s semantic and creative system, leading to its reconstruction. Artistic production is shaped by the audience’s reading and interpretation. This dynamic has become even more prominent in the digital age, where the digitization of lived spaces intensifies such reciprocal interactions. Furthermore, the cultural, political, economic, and social contexts continue to play a significant role in shaping these interactions, even in digital and virtual environments-albeit transformed by the digitalization of actions and structures. The artist-audience relationship in the digital realm still operates within the broader cultural-social and politico-economic frameworks of Iranian society.

Introduction:ARTISTS, especially visual ARTISTS (such as calligraphers) tend to be self-employed and are rarely employed by an employer. The self-employed are sometimes by choice and sometimes by circumstances (no other choice); because official and stable job opportunities are not offered to ARTISTS. However, since ARTISTS sometimes work numerous jobs due to their self-employment, the topic of ARTISTS' livelihood is crucial to consider while studying the art market. In contrast to the market for art products and services, the majority of research in cultural economics have examined the artist labor market and its distinctive features. On the contrary, the present paper assesses the effect of selected infrastructures of the calligraphy art market on the artistic income among resident calligraphers in Mashhad (in which all of them are self-employed). Infrastructures (for example, roads, education, etc.) are prerequisites to superstructures (such as manufacturing, agricultural, and mining activities). Infrastructure is defined as a set of physical and institutional facilities that affect the quantitative and qualitative goods and services produced by economic agents. The infrastructures are very wide in terms of number and variety. In general, the infrastructures of art market can be categorized into six pillars: 1) institutional environment, including copyright, instability of laws and regulations of the culture sector and mixing with religion; 2) business environment including distribution system, multiple job-holding, access to external credits, membership in associations, working population, business establishment cost, years of earning degree and education cost; 3) the supply side including the cost of goods sold, profit margin, dependence on external credits, psychic income and pricing mechanism; 4) the demand side including the decrease in using calligraphy, consumer taste, purchasing power, the development of calligraphy software, the desire to buy copies and the share of government orders; 5) market structure including market type, market size and degree of monopoly; 6) access to the market including transaction costs, proximity to decision-making centers, specialized galleries, art fairs and expos.Methodology: A sample of 33 calligraphers living in Mashhad was selected, and then required data were collected using in-depth interview and a five-point Likert scale questionnaire. One- and two-way Analysis of Variance (ANOVA) methods are used. This method helps determine which of the substructures can explain the difference in income level among calligraphers. It is hard to study every aspect of the economic infrastructures due to their enormous range and diversity. As a result, an index is chosen for each of the six infrastructure areas (institutional environment, business environment, supply side, demand side, market structure, and market access) that were previously described. Therefore, the role of these infrastructures is examined on the difference in the income levels of the calligraphers in Mashhad. Empirical Findings: The findings implicate that four one-way analyses of variance (multiple job-holding, psychic income, decreasing the use of calligraphy, the share of exhibitions and expos), and four two-way variance analyses (the interaction effect of multi-job, and psychic income, the interaction effect of multiple job-holding and market level, the interaction effect of multiple job-holding and the share of exhibitions and expos, the interaction effect of market structure and instability of laws and regulations) significantly explain the difference among income levels of calligraphers. Conclusion: From these findings, three factors of higher psychic income, activity at the lower level of the market (primary market), and the lower share of exhibitions and expos in the income of calligraphers increase the need (as a result, their desire) to engage in other professions related or unrelated to art. This justifies the reason for accepting the income penalty for remaining in artistic activity. On the other hand, instability in the regulatory system of the culture sector (and more generally, the creative sector) reduces the motivation of ARTISTS to enter and develop artistic activity and the possibility of planning around education, skill acquisition, and creation. There are two basic causes for this problem. As a consequence of the proliferation of laws and regulations, there is a growing sense of uncertainty in Iran's cultural sector due to the multiplicity and separation of its primary policy-making organizations. Second, political regimes, through changes in policies and normative frameworks supported by the government, cause a continuous change in the art market. In sum, after recommending the necessary policies to increase the income of ARTISTS, as a sufficient condition for the effectiveness of these policies, this research suggests creating an integrated “mega-regulator” in the form of a single ministry for the whole creative sector in Iran.

The aim of this article is to show social characteristics of modernist painters in Iran. The main question is whether or not a stable pattern can be reached in order to show the effects of social factors on people to become ARTISTS. In order to find the answer, it is necessary to introduce social characteristics of Iranian modernist painters.This article is theoretically related to the field of sociology of art and it emphasizes on ARTISTS. Janet Wolff's theoretical framework is used in relation to characteristics of ARTISTS. Wolff believes that becoming an artist is a social process and different social factors affect that. She indicates the role of certain factors such as institutions, social groups and classes, etc. in this process. The main point in Wolff's discussions, which is also central to this study, is the idea that becoming an artist is a process which follows different social and economic conditions, and which suitability or non-suitability of these conditions can bring either order or disorder to that. These conditions may even prevent the process from happening. She points to family, class and educational conditions in order to explain the situation.The research method is a survey based on questionnaire which is filled through interview with ARTISTS. In accordance with Janet Wollff's theory, the author emphasizes here on some main areas such as family, artistic training, class condition, state support, gender and friends. The main hypothesis of the article is that factors such as family, class, support, training, social and individual relations as well as historical and geographical conditions of the society, such as being urban or rural, and ethnicity can contribute to a person’s becoming an artist.The findings show that most of the Iranian modernist painters at the time of research (year 2007) have been young and highly educated, were born in Tehran (Capital city), and at the time of research were living in Tehran. The proportion of men to women has been 40 to 60, which demonstrates that the majority of painters were women. It is also showing that, in the past, men ARTISTS outnumbered women ARTISTS, while today the reverse is the case.Moreover, the findings show that there is a meaningful relationship between gender and social class, so that more women painters are from higher class while more men painters are from lower class. On the other hand, men painters are more supported by government and private funds. It can be said that in the process of becoming ARTISTS, women are mostly influenced by class, while men are mostly influenced by financial supports.The findings lead to the general conclusion that many different social factors are effective on people becoming ARTISTS, but the rate and kind of these factors may differ from research to research and from society to society. Therefore, one cannot point to a unique and stable pattern for influencing social factors. In fact, although social factors are very effective, their influence is, in most cases, contingent on the existing social conditions of the society in question.

For ARTISTS, history is not a set of fixed documents and linear narratives of events; Rather, it is such a text for rereading and reinterpretation. Iranian contemporary ARTISTS have also referred to history many times in their works; In particular, historical characters and events and collective memories of Qajar have become the basis for the creation of contemporary works. Because Qajar was the threshold of Iran's confrontation with modernity and the gap in traditional identities and the beginning of the formation of modern identity. In this article, the ARTISTS who have reinterpreted the themes and motifs of the Qajar period in a contemporary context in their works are called neo-Qajar ARTISTS. The question of the present article revolves around the fact that these ARTISTS, by breaking and manipulating the known signs of the Qajar era and bricolage-like reconstruction of the Qajar signs, have dealt with the contradictions outside and inside the Qajar period and, in fact, Iran's confrontation with modernity. They have portrayed a challenging and tense atmosphere in their works, which can be described as heterotopic works, according to Michel Foucault. Heterotopia refers to critical, distorted, restless and sometimes upside-down spaces that disturb the continuity and normality of usual and known spaces. The heterotopic space is often time-disordered and mixes elements and signs from the past with signs from the present to show the instability of contemporary identities and the instability and fluidity of modern experiences. Based on this, in this article, the following question is followed: What are the heterotopian features in the neo-Nagajarist art? How have contemporary ARTISTS reread the history of modernity in Iran by manipulating and reconstructing the signs and collective memories of the Qajar period? To answer these questions, firstly, the components of heterotopia in Michel Foucault's point of view were discussed, and then the works of some contemporary ARTISTS were examined with the methodology of interpretative analysis. The results showed how ARTISTS have created a heterotopic space in neo-Qajarist works with characteristics such as spatial and temporal discontinuity, dialectical relationship with the past, proximity and overlap of contradictions, creation of metaphorical spaces, critical manipulation of signs, and fluidity and openness in interpretation. . In these works, neo-Qajarist ARTISTS present a kind of sarcasm and critical irony to the distress in Iran's contemporary identity by rearranging the past and manipulating the historical identity.

Problem statement: Intercultural themes are usually discussed by semioticiansfrom the perspective of intertextuality and interdisciplinary. Such issues have been considered interdisciplinary by different disciplines. The scopes of intercultural discourse can be the subject of a study. However, due to various reasons including today’, s necessity, it is assumed that contemporary art approaches culture through almost unlimited access. Hence, the position of cultural concepts and the constructive values of culturesare presented and preserved differently from the past. Research objective: The subject of the research is interpreted and analyzed, through exploring intercultural concepts among the works of three contemporary ARTISTS, Anselm Kiefer, Ahmad Nadalian, and Jean-Michel Basquiat, to provide young ARTISTS and researcherswiththe foundations of art, thought contexts, and deeper thinking according to the existing universal contemporary artcircumstances. Research method: The nature of the present research is descriptive-analytical and data was collected using the libraryresearch method. Conclusion: Contemporary art deals with an endless range of themes and the variety of languages used and the abundant media are available to the artist to presentvisually cultural concepts to its audience in various ways. It can be said that this has led to the emergence of new definitions of art, artist, audience, work of art, and even tools