This research studies the relation of three ‘traditional handicraft’, ‘cultural heritage’, and ‘cultural globalization’ domains through mining common foundations and introduces it as universal values-based paradigm. While most scholars consider intangible cultural heritage endangered by negative effects of globalization on culture, as globalization and specific conditions of this phenomenon may lead tribes to impatience in respecting cultures and cultural representations and different cultures face with the risk of less significance and or total ruining.
‘Cultural heritage’ due to the presence of tangible, intangible, intellectual, and emotional aspects of social groups, as well as art are naturally ‘national-local’ and ‘global’. Indeed, they are the identity factor representing the ‘what’ and ‘who’ of a community, a document of human destiny, cultures, and civilizations. Therefore, the question raised here is that what role ‘cultural heritage’ plays in the process of ‘globalization’? and, how it preserves and globalizes the community’s original identity in globalization?
The present research seeking for this general question and confirming the following hypothesis, consider the obvious manifestation of ‘intangible cultural heritage’ meaning ‘traditional handicraft’ in order to investigate its role in cultural diversity, the dialogue among cultures and interactions of universal basics and values.
“Cultural heritage is the common language among cultures presenting previous immortal elements to the present and future. It also enhances people’s awareness level or the world’s self-awareness level in globalization domain that is a knowledge, humanity, and rational-based context, leading them toward a community with human values and criteria.”
Thus, culture-oriented approaches, ‘mosaic design or cultural puzzle” paradigm, as well as ‘cultural relativism theory’ along with ‘cultures’ integration paradigm include theoretical foundations of this research. The result indicate that ‘traditional handicraft’ benefiting from mysticism, Sufism, generosity, tradition, and religion is the craft integrated with wisdom originating from ‘traditional knowledge’, which itself is an aspect of cultural heritage. Thus, it is meaningful behavior representation before cultural human, based on symbolic values and social norms, which itself is symbolic and norm-creator. The semantic and value system ruling these handicrafts’ creation and application processes is a typical ‘habit’, since its approaches and principles frequently repeated through the pressure of the aforementioned system; in addition, it frequently creates and makes diversity by the help of its main inspiration source namely nature and existence creating.
Interaction’s two necessary principles i.e. ‘cultural diversity and creativity’ and ‘meaning and sprit sources’ in addition to presenting a variety of human common intellectual foundations made these crafts as ‘intangible, spiritual immigrants’ providing ‘universal’ basics and values. So, all desirably welcome it with the least resistance through attraction and appealing rather than dominance. Iranian type, particularly, originates from theoretical basics and Islamic religious principles and tradition in which idealism, truth seeking, and excellence are stronger in this cultural domain due to the unity and spiritual intuition of these arts.
This research theoretically collected data through documentary and library method. The descriptive data formulated by expletory- analytical method in which, often, inductive reasoning and sometimes, deductive reasoning applied.