Aesthetic Analysis of Native Bavig Dolls of the Lor Regions of Iran

Document Type : Research Paper

Authors

1 Master of Painting, Department of Painting Faculty of Artt and Architecture, Yazd University, Yazd , Iran.

2 Assistant Professor, Department of Painting, Faculty of Art and Architecture, Yazd University, Yazd University, Yazd , Iran.

10.22059/jfava.2025.386103.667377

Abstract

This study explores the aesthetic and cultural significance of the native Bavig dolls from the Lor regions of Iran, highlighting their unique role beyond mere artifacts. The Bavig doll serves as a symbolic and dramatic puppet embodying the cultural identity, folklore, and traditions of the Lor-speaking communities. This work situates the doll within a broader historical and anthropological context. The cultural milieu surrounding these dolls is intricately tied to various historical artifacts and architectural landmarks, such as the Korengun role and Mil Ezhdeh (Dime Mile), as well as the Da and Daughter crypts found in the Rostam-Mamamsani regions. These elements collectively offer substantial cultural and historical evidence attesting to the importance of these dolls as resonant cultural symbols. One focal point of this research is the historically significant Layli doll—a wooden doll characterized by a distinctive cruciform structure that has mysteriously persisted over time. The origins of this doll, including the creator(s), remain largely undocumented, but its continued presence underscores its cultural resilience. Passed down through countless generations, these dolls have transcended their functional use as mere children's toys to become profound emblems of cultural continuity and identity within the Lor community. They encapsulate various cultural components such as dance expressions, traditional female attire, and cherished folk narratives, all essential to the shared heritage of the people of Lor. The study also examines the social spaces connected to these dolls, such as Qala To, a stone wall built collectively by villagers. This site served as a primary playground where children engaged in constructing miniature houses using stones arranged in intricate circular, spiral, or nested patterns. Qala To thus stands as an early example of terrestrial art, reflecting the children’s interaction with and understanding of their natural environment and geographic context. Participation in games involving handmade Layli dolls contributed not only to leisure but also to artisanal skills such as carpet and kilim weaving, fostering early creativity and craftsmanship among the youth. Additionally, the research highlights the gendered dynamics of these cultural practices, noting that girls typically organized such games, involving boys who would join in singing traditional wedding songs. The children’s autonomous organization of play and craft activities related to these dolls signifies an intergenerational transmission of cultural values and artistic knowledge. Importantly, these dolls were widespread and crafted across various Lor regions, illustrating their shared cultural significance throughout the area, and demonstrating a cohesive cultural identity strengthened by these symbolic objects.Through an interdisciplinary approach blending aesthetic analysis, cultural anthropology, and art history, this study illuminates the multifaceted role of the Bavig dolls as potent cultural symbols, bridging historical continuity with contemporary identity expressions in the Lor regions of Iran. The findings underscore the dolls’ importance not only in folk art but also in sustaining cultural memory and community cohesion in changing times. Moreover, the research emphasizes how these dolls embody the resilience of indigenous cultural practices amid modernization and social change, offering valuable insights into the ongoing preservation efforts for intangible cultural heritage in the region.

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References

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Journal of Fine Arts: Visual Arts
Volume 30, Issue 4
October 2025
Pages 65-78

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