جستجوی مقالات مرتبط با کلیدواژه « needlework » در نشریات گروه « هنر و معماری »

The evolution of clothing in the history of the Qajar period in Iran is considered distinct due to the extensive cultural and social changes. During this period, as a result of the expansion of intercultural relations with other nations, especially the West, and the prevalence of fashion among courtiers, the desire for traditional Iranian clothing with beautiful and charming embellishments, especially a wide range of embroidery, still had its potential patrons, mostly courtiers. From this perspective, while explaining and analyzing the hidden concepts in the embroidered patterns for Qajar men and women, the following questions would be answered in this research: What concepts existed in the embroidered patterns of Qajar courtiers’ costumes? What are the differences between the embroidered patterns of men’s and women’s clothing in the Qajar era? This fundamental research adopts a qualitative approach and is comparative-analytical in its nature. The required data has been gathered through documentary studies and library resources and in some cases through field studies. The statistical population of the research has been selected by reviewing the paintings and matching them with a number of costumes in museums and private collections, left from the Qajar period. Having analyzed the findings, it could be concluded that the clothing of men and women in the Qajar court was not much different from each other and were generally divided into two categories: interior and exterior. Meanwhile, the woven ornaments would add to the dignity and beauty of costumes in accordance with the position and rank of the persons wearing them. Among the extant ornaments, motifs used were generally geometric and vegetal designs such flowers, plants and shrubs commonly seen in men’s and women’s clothing, which is mainly based on the traditional and religious beliefs of people.

Needlework or Balochi embroidery is an art with history as long as the history of Sistan and Baluchestan. This art, rooted in the fabric of tribal life, reflects the taste of women in the mirror of eternal designs. The present paper intends to introduce, classify and provide a formal and semantic analysis of the main patterns and sewing techniques of Balochi needlework. So what are the most common designs used in needlework? And what are the factors affecting their creation? The authors first review and introduce the Balochi needlework designs, then study it in terms of form, category, and also in terms of content. Due to the lack of information on libraries, villages and cities in the Makran region and the borders of Sistan and Baluchestan, including Chabahar, Nikshahr, Iranshahr, Qasemabad Bampour, Irandegan, Marandgan, Saravan, Khash and Zahedan with field observations including interviews and questioning of artists acting needlework in naming and classifying patterns, used to analyze the subject. The results show that:Studies of the patterns and designs of traditional arts in terms of their oral transmission over the centuries, due to the lack of familiarity of many researchers with the concepts and language common among the local producers of these products have always encountered numerous problems. In answer to the research question, it should be stated that the most widely used Balochi needlework motifs include animal, plant, geometric and cosmic motifs. Human figures were not seen in this art, because of the beliefs adhered to in Baluch, but because of some of the signs that it has on humans or any other object, they adopt its name. Animal motifs were also seen more abstractly in Balochi needlework, which in most cases may have no resemblance to the original form of the animal, with only signs or part of the animal in the motifs, such as the death of a punch (chicken footprint). Due to the lack of flowers in Balochistan, plant motifs have led needlework to combine several geometric patterns to create works. These designs are sometimes completely abstract and sometimes realistic. Cosmic motifs include the moon and the sun and large and small stars, among other motifs, which are used to design these motifs of seals or hills. In Balochistan, colors have been influenced by tribal, historical and epic principles. Red, purple, crimson, orange, brown, and red in general make up 80 percent of color choices. In the villages, the pure color of the artist’s mind has been used, but in the city they have changed due to cultural and social influences. The way of life and the environment around the Baloch artist have been appeared so much in his designs and motifs that the play of colors and his emphasis on a number of designs can be clearly seen during his life; for this reason, some designs are specific to a city or village. In the dry and hot desert of Balochistan, a Baloch woman pursues her aspirations by creating the role of flowers, plants and combining colors, and creating a colorful and beautiful nature that is formed in her thoughts.

Baluchistan is one of the few areas in Iran that its people still using traditional costumes and clothes. It happens despite the rapid changes in modern life and globalization. The purpose of this paper is to examine the geometric features of Baloch’s needlework. These geometric patterns are unique among traditional Iranian embroideries. The research revolved around the answer to the question that what features of the geometric index can be found in the aesthetics of Baloch’s needlework? As a hypothesis and answer to this question, the shape of the triangle can be introduced as the main geometric feature of these patterns. In other words, the geometric aesthetics of the triangle dominates these patterns. This article was written by using the qualitative-descriptive and historical research methods. According to the findings, one of the most basic features of the Baloch’s needlework is that they are accomplished as the geometric pattern. The predominant geometric patterns are square, rhombus, and triangle shapes. The rhombus and the square can also be considered as the result of the joining of smaller triangles. Thus, according to the research hypothesis, the geometric foundation of Baloch’s needlework are constructed based on the shape of the triangle.

As a sign of respect for God, Muslims' prostration during their prayer inspired the artists of Qajar period to represent the worshiper’s spiritual connection with the Divine through needlework on the textiles that were used for producing prayer mats. Needlework is a traditional art which, like any other traditional art, is characterized by its contribution to human transcendence, being rooted in a long and rich history, containing cultural values, being rich in beliefs and thought, and finally being inherently artistic. Due to his strong faith and the spiritual knowledge that comes from his faith, the needlework artist who begins to create a prayer mat is unconsciously aware of all these characteristics. The art of needlework can be manifest in all aspects of a Muslim, from the secure and private home to the mosque which is a place for worship and prayer. The needlework techniques on Qajar prayer mats were considered as artistic ornaments in terms of variety and beauty that were intended to consciously influence beliefs and attitudes. This study aims at describing and analyzing the embroidery and needlework as well as the meaning of motifs on eight fabric prayer mats which are kept in Victoria and Albert Museum, London, and belong to the Qajar Period between 1851 and 1902. The research questions are as following: 1) What is the type and method of embroidery and needlework on the prayer mats? 2) What is the meaning of the motifs and calligraphic designs of these instances of embroidery and needlework? The results suggest that these motifs have their roots at the thoughts and imaginations of the Muslim needlework artist. The embroideries include silk-work, white-work, and cotton-work (or layer-work) and the needlework techniques include drawing and cutting warp and weft (hemstitch). These techniques have resulted in a remarkable variety in motifs. In those techniques that are based on stylized patterns, the motifs are based on the perpendicular threads of the fabric whereas in free patterns the motifs are not based on the perpendicular structure of the threads. In order to have a deeper effect and help the worshiper to concentrate better on the prayer, the color of the prayer mats and their needlework threads is predominantly white. Characteristic of the structure of these prayer mats is the variety in mihrab designs and the place of mohr depending on the technique used. The motifs are in the form of stylized and scrolling patterns and consist of trees, birds, flowers, geometric shapes, and calligraphic elements. The needlework artist of these prayer mats has a deep sense of culture and religion and uses the decorative elements of Islamic art, such as symbolic patterns of geometric shapes, plants, and birds, to enhance the metaphysical spirit of the motifs and move toward artistic perfection. The needlework motifs can relieve the prayer mat from any mundane aspect and bestow authenticity upon it. In fact, the artist leads the audience to think beyond the material world because motifs in Islamic art are not only for decorative purposes but also they represent deep cultural and spiritual concepts. Thus, the relationship between art and religion is more beautifully revealed through these needlework motifs.

Needlework was originated in the city of Kashmar and TorbatHeydarieh from the taste and gusto of the people of this land, derived from the beliefs and faith of artists women in those lands, which have unique forms and designs. Although, at first glance, these works seem simple and elemental, but visually have a coherent structure and, in addition, have meanings and concepts. The article studies the effects of needlework from the perspective of anthropology with three approaches of aesthetics, functionalism and semantics in this rich cultural-value area. The purposeful study of eight villages in Kashmar and TorbatHeidarieh cities shows that these works can be divided into three forms of human, plant, and birds and animals.These works are a manifestation of a vibrant and beautiful environment in the aesthetic dimension, respect for nature and its preservation, the wish of refreshing gardens in the dry desert atmosphere of this area and the beliefs and faith concepts of people in the manifestation of animals such as mountain goat or manifestation of blessing and caricature in the Semantics dimensions. In the functionalism dimension, we should refer to using of these works in various forms of application in their simple living environment such as Prayer Mats, bundle, and others.What deserves to be mentioned is the trend of the line of life and the hope of the family in this area that make the rural woman doing such works, although primitive, but meaningful.

Research purposes:

1. Classification of the form and style in the needlework works of the Kashmar and TabatHeidarieh
2. Analysis of needlework works of Kashmar and TabriyatHeydarieh from the Art Anthropology Perspective

Research Questions:

1. Needlework works of Kashmar and Haberdahi regions based on their design and style, are divided into how many categories?
2. How can the forementioned regions needlework can be analyzed from the art Anthropology Perspective?

Sistan and Balouchestan is located in the southeast of Iran and consists of two regions; Sistan and Balouchestan. The ornamentas and decorations in these regions have various shapes and features, the most significant of them are the potteries discovered in the ancient hills, carpets, needleworks and other splendid accessories and ornaments. Various factors have led to the formation of color and form of ornaments and accessories in these regions, the most important of them have been natural, historical and environmental factors. In their ornamentation, the artists of this region have artistically and skillfully observed the visual characteristics in their work. The present researchers have tried to study the repetitive contexts and motifs in four handicraft fields as practiced. The goal of this paper is to perform an analytical, comparative and compatible study based on the information collected through literature review and field observations on the repetitive elements from ancient times to the present. The questions that are developed are as follows: What similarities could be found between the figures used in handicrafts (pottery, hand-woven items, ornamental sweeps and ornaments/accessories) from the ancient times to the present era in the two regions of Sistan and Balouchestan? What type of relationship exists between the figures and natural environment of the two regions? What kind of relationship exists between the figures and beliefs of people in the two regions? The main factor in selecting the four fields has been the proximity of the motifs and repeated elements among them.The authors have tried to select the figures which are rooted in the culture and beliefs of the people of mentioned region, and also with slight changes have the highest application for ornamentation in the four artistic fields. In the present paper, repetitive motifs in the four artistic fields are divided in four groups based on the proper variables and several motifs in each group have been analyzed based on the apparent similarities between the geometrical, animal and floral figures. Motifs of figures are lozenge, snake, fish and tree of life. Ultimately, it is determined that how some of the motifs have taken the evolution path since the ancient times to the present era to indicate the intention and purpose of the artists by considering their implementing in any of the four handicrafts.

The relationship between various arts of a country and their influence on each other can be a valuable subject for researchers’ investigations. Produced potteries in the Kalporegan village, located at the Saravan city, and needleworks of different regions of Sistan and Balochestan are decorated today with designs which enjoy a geometric and unique structure by emphasizing the past originality of the art of this land. These designs which are drawn by women in the two mentioned arts are an inseparable part of Baloch art. Accordingly, aiming to study the relationship between pottery designs of Kalporegan and Baloch needlework which enjoy a common cultural context, this article considers the probable points of similarity and difference between the two arts. How to make connection between the designs of Kalporegan potteries and Baloch needlework is the major question of this study. What domains are comprised by such relationship? Using historical as well as descriptive-analytic method, this research investigates comparatively the designs of the two arts of Baloch people. The information collection was done via library method, field observations and interview with senior artists. The results of this investigation show that common aspects between the designs of these arts is due to both arts’ taking inspiration from nature as well as Baloch people’s beliefs and culture. Amongst the point of similarity between the two arts are geometric designs with symbolic and abstract expression derived from nature and Baloch beliefs, simple and combined designs, similar structure in nomenclature and designs’ selection based on Balochestan natural phenomena. Also, the study of Kalporegan pottery designs and Baloch needlework specifies presence of common visual elements such as repetition, rhythm, motion, order and symmetrical combinations that will foreground the relationship between the designs of these two arts in the form of geometric figures and similar structures. Due to diversity and variety of needlework designs, through grouping the designs into simple and combined, the researchers selected the more used designs of needlework at different areas of Sistan and Balochestan and refrained from investigating similar designs.

Ethnic culture is a set ofcustoms، traditions، beliefs andthoughtsthat belong to an ethnic group. One method for preservation and dissemination of culture is its entrance into the artistic issues whether decorative or applied. Through theanalysis of the most important constituent visual elements of a work of art، i. e. form and color، one can recognize a lot about its creator`s beliefs، and the culture of that society. This paper isconductedusing analytic-descriptive method and exploresand studies the Turkmen needlework designs in GonbadKavooscity. Data is collected using field research and published material. The data analysis method is qualitative. The aim of conducting and presenting this paper is to identifythe patterns in Turkmen needlework، their origin، their concepts or possible applications، and thus itendeavors to open a window into the thoughts and opinions of the ancients of this people. The results of studying 100 samples indicate that form، color، and the way motifs are composed may be categorized in four groups of animals، elements of nature and surrounding environment، thoughts and beliefs، tools and implements of war. The forms of some of the motifs are derived from the beliefs of this people’s ancestors and others are impressions of creatures and objects surrounding them.

Needle work is one of the commonest and at the same time most outstanding arts among Baluch women، in spite of having been greatly well-known، in most of the research done in this field، less and less attention is paid to the formal structure of designs. In this research، with the purpose of a better clarification and representation of Baluch needlework art (located in Sistan and Baluchistan province) and its relational aspects of design structures with natural elements، on the premise that nature plays an important role in design of formal structure of Baluch women’s needlework it is attempted to find answers to these questionsas; whether there is basically a relationship between Baluch needlework designs with natural elements or not? If it is so، how can these illustrations leaning onnatural elements becategorized? Therefore، in conducting this research descriptive and analytic mehtods are used to find the answers to these questions. In order to do so،Baluch needlework formal design structures are examined in two groups of vegetative and animal designs. The results showed that Baluch needleworker women، in designing natural motifs، not only considered aesthetic relations and theirsurrounding environment، but also paid attention to their functional role proportionate with the geometric design style.