year 7, Issue 1 (Semi-Annual 2023)
JIC 2023, 7(1): 127-143 |
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Mirzaei F, Mafitabar A. Analysis and Classification of the Role of the Mirror in Baluchi Needlework from the Cultural Beliefs Perspective. JIC 2023; 7 (1) :127-143
URL: http://jih-tabriziau.ir/article-1-256-en.html
URL: http://jih-tabriziau.ir/article-1-256-en.html
1- M. A. of Textile and Clothing Design, Faculty of Apply Arts, University of Art, Tehran, IRAN.
2- Assistant Professor, Faculty of Apply Arts, University of Art, Tehran, IRAN. ,a.mafitabar@art.ac.ir
2- Assistant Professor, Faculty of Apply Arts, University of Art, Tehran, IRAN. ,
Abstract: (2590 Views)
Needlework, decorated with mirror pieces in some versions, is an original widespread Iranian art. Considering the diversity of forms and implicit symbolic meanings of the mirror in Iranian traditional arts, this paper focused on Baluchi needlework in the south of Sistan and Baluchistan Province (Iran). As a first step, the study aimed to find the Baluchi embroidery motifs in which the mirror is central. It then speculated about the symbolic meanings and function of that element based on the information obtained using field research (observation- and interview-based), which was pivotal in the formation of the study, and document research, to support the former. The research question was, “what forms and shapes do mirror pieces take in Balochi needlework, and what concepts do they represent?” This was theoretical-fundamental research, considering its purpose, and a descriptive-analytical one, considering its nature. This means that the data analysis was performed qualitatively after the data collection. The sampling was purposeful and selected only motifs sewn in the Iranian Baluchistan region in which the mirror pieces were crucial. The results indicated that the mirror was employed at least in twenty-four types of those motifs. Considering the conceptual indications of cultural ideas, Some motifs, such as Setareh, Kap-o-Nal, and GolKandi, were associated with light and brightness. In contrast, others, such as Harir, Tak-Zarafshan, and Gol-o-Goldan, were related to water and prosperity. Some samples, such as Cham-e Mozheh, Kouh Bandar, and Kouh Sar Ashegh, were love letters to noble concepts such as love, martyrdom, and sacrifice. Others, such as Morvarid, NohAdinaki, and Cham Ahoug, were allusions to innocence and purity. However, in a few motifs, such as Sharrin Janek and Dezh, the shiny reflection of light in mirror pieces was a superficial ostentatious depiction of wealth and power. Mirror was initially meant to convey concepts in Baluchi needlework, like other traditional Iranian arts, instead of serving pure ornamental purposes. Many of these themes, including light, brightness, shining, reflection, transparency, and clarity, were consistent with the nature of the mirror, while others went beyond and suggested the region’s folklore fables.
Keywords: Sistan and Baluchistan, Baluchi Needlework, Cultural Ideas, the Role of the Mirror, the Meaning of the Mirror
Type of Study: Original Research |
Subject:
2
Received: 2023/03/11 | Accepted: 2023/10/11 | Published: 2023/12/20
Received: 2023/03/11 | Accepted: 2023/10/11 | Published: 2023/12/20
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