Volume 8, Issue 1 (Semi-Annual 2024)
JIC 2024, 8(1): 97-110 |
Back to browse issues page
Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
Satyarvand S, Khosh Naghsh Z. (2024). Comparative Study of Embroidery Patterns in the Clothing of Sangesar and Turkmen Women. JIC. 8(1), 97-110. doi:10.61186/jic.8.1.342
URL: http://jih-tabriziau.ir/article-1-342-en.html
URL: http://jih-tabriziau.ir/article-1-342-en.html
1- Department of Art Research, Faculty of Arts, Shahed University, Tehran, Iran , satyar2596@gmail.com
2- Department of Art Research, Faculty of Arts, Shahed University, Tehran, Iran
2- Department of Art Research, Faculty of Arts, Shahed University, Tehran, Iran
Abstract: (2411 Views)
Clothing has undergone changes over time due to social, cultural, and geographical factors. Each ethnic group has preserved its traditional clothing as a sign of its native identity. Embroidery is a traditional Iranian art with countless variations, appearing in unique forms in different regions. The embroidery art of Sangesar and Turkmen people, with its long history, has been an essential element in the decoration of the traditional clothing of women in these two groups. This is because this type of clothing has always been one of the main bases for embroidery, featuring a wide range of decorative ornaments and has been considered a visual art that preserves its native authenticity. Therefore, this research seeks to answer the question: What are the similarities and differences in the embroidery patterns of the traditional clothing of Sangesar and Turkmen women? The aim of this research is to identify the components of the embroidery patterns of the traditional clothing of Sangesar women and then compare them with the characteristics of the embroidery patterns of the traditional clothing of Turkmen women, in order to identify their commonalities and differences and ultimately develop theoretical knowledge about the traditional clothing of Iranian ethnic groups. The type of research is descriptive-analytical with a comparative thematic approach. The methods of data collection are library and field research. The results of this research indicate that there are many common features in the patterns of both groups, such as nature, culture, identity, beliefs, and within the geographical boundaries of this type of native art, which undoubtedly the gender of the artist has been very influential in creating these patterns in both groups. The existence of forms derived from nature such as geometric, animal, plant, and abstract designs, as well as the limited use of human figures, attention to delicate details in the embroidery of Sangesar and Turkmen clothing using silk thread, are distinguishing features from other patterns that over time have become symbols with concepts and native identity.
Type of Study: Original Research |
Subject:
1
Received: 2024/04/29 | Accepted: 2024/06/26 | Published: 2025/01/4
Received: 2024/04/29 | Accepted: 2024/06/26 | Published: 2025/01/4
References
1. Al-Bahnsy, A. (2011). Islamic Art, Tehran: Surah Mehr Publishing House. [in Persian]
2. Al-Kurji, A. (1995). Extraction of hidden waters, Translated by Hossein Khadio Jam, Tehran: Publication of the National Commission of UNESCO in Iran. [in Persian]
3. Altai, A. (1999). Ethnic identity crisis in Iran, Tehran: Shadegan Publishing. [in Persian]
4. Azami Sangsari, C. (1970). Popular beliefs of Sangsar people, Art and People magazine, No. 1 and 9. [in Persian]
5. Badaghi, Z. (1993). Niaz Jan and Farsh Turkman, Tehran: Farhangan Publishing House. [in Persian]
6. Chevalier, J., & Grabran, A. (2007). Culture and Symbols, translated by Sudabah Fazali, Tehran: Jihoun Publishing House, Volume 4. [in Persian]
7. Cooper, J. C. (2008). An Illustrated Dictionary of Traditional Symbols, translated by: Maleeha Karbasian, Tehran: New Press. [in Persian]
8. Dostkhah, J. (2006). Avesta, Report and Research, Tehran: Marwarid Publishing House, Volume 2. [in Persian]
9. Eliade, M. (1998). Treatise on the history of religions, Translated by Jalal Sattari, Iran: Soroush Publishing. [in Persian]
10. Eslami Moghaddam, S., & Abeddoost, H. (2017). A Study on Turkmen Needlework Motifs for Use in Environmental Graphics. The First National Conference on Semiology in Persian Art with in focus on Native Art. University of Bojnord. 1- 20. [in Persian]
11. Faridnia, M., & Ahmad Panah, S. A. (2016). A look at the needlework motifs of Il Sangsar (Art on the verge of oblivion) Farhang Qoms - No. 58, 59, 60, 61 (97 - 120). [in Persian] [DOI:10.1145/2890772]
12. Garami, B. (2009). Flowers and plants in a thousand years of Persian poetry, Tehran: Sokhon. [in Persian]
13. Ghaem Maralani, S., Samanian, S., & Mafitabar, A. (2021). Animal Patterns in Turkmen Women's Balaq Needlework as the Representation of Cultural Tenets. Theoretical Principles of Visual Arts, 6(2), 93-103. doi: 10.22051/jtpva.2021.35798.1294 [in Persian]
14. Golestani, R. (2022). Analysis and rooting of motifs and decorations in Sangsar women's clothes and ornaments, Semnan University Art Research Master's Thesis, Faculty of Arts. [in Persian]
15. Haghighat, A. (2005). History of Sangser in the Land of Braves. Tehran: Komesh. [in Persian]
16. Ibn Abbas, I., & Moqtadaei, A. (2011). Handicrafts and their evolution in Iran. Tehran: Jamal Honar Publishing. [in Persian]
17. Jannat Oskoei, E. (2012). Visual Study of Patterns of Turkmen. Thesis for M.A. in Visual Communication. Under the Guidance K. Afshar Mohajer. Faculty of Arts. Nabi Akram Higher Education Institute of Tabriz. [in Persian]
18. Kasraian, N. (1993). Turkmens of Iran, Tehran: Nasraksarayan. [in Persian]
19. Kazemi, H., & Rashidvash, V. (2019). Anthropological analysis of clothing in Ilam province (A tribe case study of Murshedvand from Khezel), a scientific journal of ilam culture, 20(62.63), 90-117. doi: 10.22034/farhang.2019.96063 [in Persian]
20. Khamoushi, Z. (2009). The evolution of use in traditional and modern methods in Baloch and Turkmen needlework, Islamic Art Journal, 5 (9), 73-98. [in Persian]
21. Kolte, E., & Agh-Atabai, M. (2003). Turkmen needlework, Gonbad-e-Kavos: Il Arman Publishing. [in Persian]
22. Matofi, A. (2004). History of Turkmen culture and art, volume 3, Tehran: Association of cultural works and treasures. [in Persian]
23. Moghadasi, A. M. A. (1983). Ahsan al-Taqasim fi Ma'rifa al-Aqalim, Translated by Alineqi Manzavi, Tehran: Publishing Company of Authors and Translators of Iran. [in Persian]
24. Mohammadi, R. (2010). Clothing and ornaments of the Turkmen people, Tehran: Jamal Hanar Publishing. [in Persian]
25. Montakhab, S. (2001). A perspective on the trend of traditional Iranian needlework: from eight thousand years BC to today, Tehran: Saba Publishing. [in Persian]
26. Moradi, M. (2021). Clothing and needlework of the Sangsar tribes, Tehran: Arshadan Compilation Educational Institute. [in Persian]
27. Moradi, M. (1999). The historical cultural history of the Turkmen people, Kihan Farhangi, Vol. 154, p 44-39. [in Persian]
28. Motaghi, M. K., & Mehri, Sh. (1993). Documenting project of traditional arts of Bandar Turkman city, traditional arts research center, cultural heritage management of Golestan province. [in Persian]
29. Nobahari, H. (2019). Different types and breeds of camels, Karaj: Publishing of Agricultural Education. [in Persian]
30. Olancey, D. (2008). A new research on the nature of Mithraism, cosmology and salvation in the ancient world, translated by Maryam Amini, Tehran: Cheshme, Gilgamesh Publishing. [in Persian]
31. Pakzadian, H. (2010). The role of ancient motifs in the culture and works of Il Sangsari, first edition, Tehran: Pakzadian Publishers. [in Persian]
32. Qovypanjeh, Z. (2014). Role and color in Turkmen women's clothing, Proceedings of the Second International Conference on Research in Science and Technology. [in Persian]
33. Roholamini, M. (1999). Rituals and festivals of ancient Iran Tehran: Nshar Aghaz. [in Persian]
34. Rostami, M., & Mir, T. (2019). The Influence of Religious Beliefs on Turkmen Jewelry Arrays. History of Persian Art in the Islamic period, 1(1), 69-91. doi: 10.22080/hpai.2024.4621. [in Persian]
35. Shimil, A. M. (2015). The secret of numbers, translated by Fatemeh Tawfighi, Qom: Qom seminary seminary community. [in Persian]
36. Salvati, M. (2008). Manifestation of the round moon of Mehran in Qashqai carpets, Goljam magazine, number 9. [in Persian]
37. URL 1: https://www.sangsarnews.ir
38. Yarshater, E. (2004). Clothing in Iran Zameen (illustrated), translated by Peyman Mateen, introduction by Ali Blokbashi, Tehran: Amirkabir Publishing. [in Persian]
39. Yasini, S. R. (2016). Cultural and sociological study of the traditional clothing of the southern coast of Iran, (Busher, Hormozgan, and Khuzestan), Zan der Farhang va Honar, 9 (2), 185-207. [in Persian]
Send email to the article author
| Rights and permissions | |
 |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. |
Contact Us
Address: Faculty of Islamic Crafts, Tabriz Islamic Art University, Azadi St., Hakim Nezami Sq., Tabriz, Iran. PostalCode: 51385-4567
E-mail: tiaj
tabriziau.ac.ir
Phone: +(98) 4135297551
E-mail: tiaj
tabriziau.ac.irPhone: +(98) 4135297551
