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

Nomadic handicrafts are the most important manifestation of indigenous and tribal art and represent a set of social and cultural characteristics of nomadic life. In the Qashqai tribe, hand-woven chambers are one of the practical products of the women of the tribe. With the change in the structure of tribal life, the settlement of tribes and nomads, and the continued migration of large numbers of nomads to rural and urban areas and the replacement of cheap goods to suit the needs of life, the production of many functional fabrics has become obsolete. The aim of this study was to identify the structural and functional characteristics of this type of handicrafts in the Qashqai tribe and to study these products based on the anthropology of art. The data collection of this research is field and library. The research findings were presented by descriptive-analytical method. Container weaves in various sizes in accordance with the needs of tribal life have been defined as an indicator of women artists and the choice of weaving style of these handicrafts in proportion to their function. The index is a strong sign of the artist's creative performance and expresses the artist's agency and the headline expresses the artist's position. As an indicator, these handicrafts play a central role, which is also the heritage of the tribal community and a factor for the continuation of the light weaving process that has remained to this day.

Embroidered Needle is a traditional art that has long been used in Iran with respect to climate, culture, tradition and beliefs. Among the less known regions in this area is the Embroidered Needle of north of khorasan, including Bojnourd, Shirvan, Faruj, Quchan, and their villages. These works associated with simplicity have a variety of concepts and themes. The purpose of this paper is to study, classify, and analyze of the motifs of Embroidered Needle in the mentioned cities. Therefore, the aim of this study is to answer the following question: "what are the motifs used in the Embroidered Needle of the mentioned regions and what do they mean in the context of art anthropology?" The research method is descriptive and analytic from the perspective of art anthropology. The required information based on visual documents is provided by the authors of the present study, library documents, and internet sites. The findings show that the motifs reflect the concerns of the mind and the context of life and enjoy originality. The brevity of these works is notable. Embroidered Needle can be categorized in the form of human, plant, animal, and inscription. The thing that decorates our houses tells us about the interpersonal relationships, friendship with nature, expectations, dreams, beliefs, and stories. Many of the motifs contain grace, contentment and hope in God. These canvases, with the richness of color were used as bundles, napkins, curtains and shelf covers and narrate some kind of interaction and companionship with the life   context of the people of this region.

The art of “Zoroastrian needlework” is a sort of traditional needlework clothing design, belonged to Zoroastrian ladies, dating back to pre-Islamic Iran. Majority of the Zoroastrian needlework motives contain some meanings and roots from religious culture and aesthetics point of view which are not explained so far and identification of these motives can reveal their meanings which some believe they are just simple designs without any hidden meaning.

This study attempts to assess and understand the ornamental motifs of the Zoroastrian needlework from cultural and social point of view of the artists.

This anthropological study of art tries to answer the following question: what is the cultural iconography, aesthetic items and function of the motifs of the Zoroastrian Needlework? In order to answer this question based on anthropology of art views, the motifs of the Zoroastrian Needlework were studied using descriptive-analytical method by considering their iconography, aesthetic, and functions.

The results show that based on iconography analysis, many of these motifs remind us of old archetype such as mother and trees, and using them on wedding dresses is a symbol of goddess of fertility. This shows a relation between concept and application. In addition, based on aesthetic analysis, the structure of color, form, texture and composition are according to their sewing patterns and poses balance, difference and rhythm. In function analysis, motives were used mostly for women’s clothing, especially their wedding dress which is exactly according to its function and shows view of Zoroastrian religion in which living happily is the human mission.

Pottery as a handmade originated from humans’ thoughts goes back to Neolithic period. It has always provided a ground for demonstrating thoughts and beliefs of pottery craftsmen and women; and, it is consideredas best cultural material and guidance for deeper recognition of lifestyle and thoughts of its manufacturer.
Kalpouregan is one of the places known for its potteries, and traditional way of making them still being continued. Pottery making activity in the region is just done by craftswomen, through usage of very simple tools and their intrinsic motifs. These women have learned the art from their ancestors and maintained it, with no change. This adherence to traditions and not being effected by related traditions of other regions are among the most important characteristics of these potteries which makes them distinguished from other samples. Studying culture, traditions and custom of the region in past and present may help us to identify these motifs, which undoubtedly are based on culture of the region.
Kalpouregan pottery is a handmade originated from thoughts of Balouch craftswomen; while, accommodating an extended material and spiritual scope of Balouch culture, in itself. Studying motifs may demonstrate important dimensions of the culture and studying the culture on the other hand may help better understanding of the motifs carved on potteries. The paper has been prepared to the aim of such understanding through an approach to anthropology of art, to answer the following question: “Motifs carved on Kalpouregan potteries are of what meaning for their creators?” This descriptive-analytical method of research has been performed as a field study through making interviews, photography, filming, and participant observation, to collect data. The author has tried to study and analyze the motifs based on framework of Balouch society, through “art theory” as a semantics system from among various theories based on anthropology of art. In anthropology of art, there is no theory or theoretical system specifically provided about art. Those existing are merely very general opinions or descriptive theories stated in works of those anthropologists dealing with art, according to their specific field experiences. These opinions may be used as sensitizer theories. Mainprinciple of anthropology is method or shape, and the subject will be explained and analyzed in relation to its much expanded background as the method of analysis, i.e. culture of Kalpouregan region. Therefore, no theory provided by a specific anthropologist has been considered as the basis for analysis and conclusion in the paper; and, some of very general opinions stated by some of them have been used.
After shape and style analyses of motifs to represent meaning through shapes, the author has referred to other artistic works of the region like needlworks, Kilim, and etc. to decrypt shapes and designs.
The results show that: 1- The motifs represent customs, beliefs and traditions and in general, various levels of pottery making in culture of Kalpouregan culture; and, 2- Craftswomen of the region are occupied with carved potteries to maintain, continue, reproduce, and transfer the culture.

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?

Body painting has been practiced in the wide variety of cultures which includes Tattooing, Marking, and Ink Painting. In this study, we have explored whether tattoos should be counted as art and if they should, their aesthetic characteristics have been extracted based on the Franz Boas analytical method in anthropology of art.
In this study, we attempted to investigate two issues about tattooing: 1) How the common aesthetic characteristics in art theories could be understood in tattoo as an artwork, And 2) According to the fact that, in addition to the aesthetic features, tattoo is also associated with social and cultural dependencies, we sociologically attempted to look for the tattoo’s functions in the contemporary social and cultural structures. Furthermore, considering the similar features of tattooing art in the world, the cultural style of this art has been studied in our society. According to the observations in this study, tattoo not only has aesthetic value in a cultural context, but also has symbolic meaning which influences and is influenced by individual and social leaning.

Potteries of Kalpurgan village in Saravan are considered to be the keepers of the ancient heritage and art of pottery in the land of Iranian Baluchistan. These potteries, old and new, are made by the women of this region, and are influenced by the beliefs and faith of the Baluch race; the female artistic spirit gives them a unique form and design. Without any doubt, the review of these rich motifs will be influential in the continuity of their value, and also the origin and identity of the Baluch race. The purpose of this paper is anthropological study of the pottery of this region that is rich in cultural values. Although this paper want to identify and classify motifs in contemporary rural Kalpourgan potteries. Thus, this study seeks to answer the main question that what are the characteristics and features in contemporary potteries in terms of aesthetics and semantics.
According to the art anthropology approach in this study, we chose ethnography and ethnology as our research method and In the process of this research, Data and Information is collected with field method.
One important findings of this research is to interpret the three dimensions of aesthetics, pragmatics and semantics in Kalpuregan potteries that have been investigated In terms of parameters such as form, style and usage. According to this cultural based study, motifs of Kalpuregan potteries have symbolic, referral of nature, Identity, ritual and religious functions and According to the ancient aesthetic patterns has been transmitted from generation to generation. Gender plays a major and basic role in action process of these potteries and its motifs.

Academic disciplines of art history and art criticism are generally based on Western canon، the textbooks for these disciplines –internationally- being mostly focused on a historical study of Western art and its underlying aesthetic principles. In recent decades، however، this situation has changed، and as researches from various cultural backgrounds have gradually joined these disciplines، a heightened awareness regarding non-western art and aesthetics has been raised. Cross-cultural art criticism is based on the notion that the definitions and manifestations of art differ in various nations and cultures، and therefore a standard، Western framework for art criticism might not be applied to all of these various practices and worldviews. Cross-cultural approach underlines contextual studies and mostly favors anthropological approaches and methodologies. It does not study the work of art per se and in isolation، but its aim is to understand the people through their works of art. Therefore، the works of art should be studied in regards to their original context، and be viewed in the same way that their creators viewed them. The work of art is not a subject to study out of sheer curiosity، but it is a manifestation of complex metaphysical، social، and emotional issues of a certain culture.

More than 200 million people live today out of their countries, and the majority of them are originated from the third world countries while only a minority of them had the chance to be accepted in developed countries, where different mechanisms are used to open the doors only for well educated and elites coming from poor countries. Anyway, no matter where these populations are situated, their first concern after finding the elementary conditions of life is how to find a way to conserve or reproduce and even develop their original culture as a means to have their identities preserved. In recent years the melting pot theory shows more and more its appropriateness for analyzing the immigrated communities, this is in opposition to theories which argue that the reconstruction of communities in the host country is not a problem for their integration, but a path to their prosperity at least in the cultural domain. The art, in all its forms, especially in developed countries is one of the best ways to produce and reproduce the original cultures. In this paper the author, has based his argument on a theoretical framework on the art as a means of community construction identity, giving examples in Iranian and some other diasporic communities. Nevertheless the argument concerns about a risk of deviation and development of a sort of exotic approach to the others’ culture.

Study of art has a long and old record in anthropology which can be traced back to the 19th century. Altthough it has deeper roots in the collections by unprofessional people in the previous centuries in the form of the “ancient” and colonial objects and handcrafts which led to the formation of the first anthropology museums in Europe. Therefore, Franz Boas’s Primitive Art can be considered as a turning point in this filed which made a revolution in previous approaches and rejected the discussion of the opposition of “high culture” in its Victorian significance against “primitive culture”. Then, Raymond Firth continued Boas’s studies which were focused on American natives in Australia. This was the time when anthropology of arts found its theoretical bases. British and French researchers studying Africa on the one hand and those who study Australia on the other progressed in this way. Accordingly, the binary oppositional approaches of primitive arts vs. western arts on the one hand and museum approaches on the other were gradually replaced with the analytical–aesthetic approaches in the anthropology of arts. In this article, after reviewing this historical background, anthropological theories of arts will be studied in various branches including evolutionism, functionalism and structuralism as well as more modern symbbolic and interpretive theories. Then, some perspectives of this field of study in Iran will be presented.

In western African societies, there is a close relationship between the world of the living and the world of ancestors which is provided through infinite ritual relationships. This relationship makes it possible for the living to perceive and accept transition to the other world through representational tools which are defined as “artistic” for us. Sculptures which are placed in holy altars and are representations of ancestors can be considered as some of these tools. Today, photographic portraits replace these tools. The image of human being in sculptures and today in portraits can be considered as a kind of relationship with a holy “couple” which in these people’s beliefs accompany human beings till their death and will rejoin them after their death and the period of separation. It can be stated that in this period human beings move from the world of the living to the world of the dead and become ancestors. In this article, the author describes this situation, mentioning its instances in western Africa and analyzes this situation in representational forms, sculpture and photography.