A Comparative Study of Centripetal Motifs and of their Performance in Balouchi-douzi in Iran and Pakistan

Balouchi embroidery is one of the most important ethnic arts produced by Balouchi women, residing in Iran and Pakistan. The shared borders and the geographical extent of Balouchistan regions in Iran and Pakistan have not only guaranteed the continuity of common ethnic heritage among Balouchi people living in these areas but also created diversity, even if small, in their ethnic cultures and traditions. This topic in the art of needlework, as one of the most important and widespread ethnic arts in these areas, can be discussed in the form of designs and implementation of various motifs. This research, conducted with the aim of studying design methods of embroidery patterns in Balouchistan regions, both in Iran and Pakistan, has sought to explain the differences and similarities in the pattern design methods. Furthermore, it tries to answer these basic questions: what are the characteristics of decorative motifs in the art of Balouchi embroidery? What are the differences and similarities between their implementation and designs in regions of Iran and Pakistan? For this purpose, a number of centripetal motifs, which are the focus of processing other motifs, have been examined. In order to achieve a better result, the combination of four centripetal decorative roles and their implementation method in Iran and Pakistan have been analyzed in an analytical-comparative way. The findings of this research have indicated that the techniques of sewing on fabric, i.e. Taarkesh in Pakistani embroidery and Taarshomar in Balouchi embroidery of Iran, are among the most effective factors in creating a difference between Balouchi embroidery patterns in these areas. The expansion of motifs from the central part of the design, geometricity, symmetry, and the use of seven traditional colors in coloring are also among the most important similarities of Balouchi embroidery both in Iran and Pakistan.