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

The Bavig doll functions not only as an ordinary artifact، but also as a dramatic and symbolic puppet that carries the culture and folk tales of a geography، one of the essential components that are inherently included in the rich cultural heritage of Iran. The cultural context of the Lor-speaking community، in which the importance of this work is deeply rooted and widely acknowledged by its people، the vast collection of historical works، including the Korengun role، the Mil Ezhdeh، along with the Da and Daughter crypt، located in the Rostam-Mamamsani regions، together constitute a huge body of historical and cultural evidence، and the designs analyzed in relation to the cross pattern in these works provide compelling and significant evidence that this particular cultural symbol was of considerable importance and had a deep resonance among the inhabitants of this geography. The various historical periods of the Layli doll، characterized by its unique and distinctive cruciform wooden structure - whose origins remain shrouded in mystery as to the identity of the person or persons responsible for its initial creation as a children's toy. The customs and traditions passed down from generation to generation by members of this people over an extensive period، the passage of time spanning countless centuries in these culturally rich regions، have thus transcended its primary utilitarian purpose and emerged as a profound and important cultural symbol of immense significance. This doll، which is imbued with a distinct and recognizable cultural identity، incorporates several elements، including dance expressions، enthusiasm، traditional women's clothing، as well as folk tales that are cherished among the people of Lor. Similarly، one of the places associated with playing with these dolls is the Qala To، a stone wall، which was built as a shelter individually or collectively on the heights. Qala To was one of the main places for children to play. Children would gather near the village and the square of residential houses and start building these houses together. The material used for the Qala To was stone. They collected these stones from their surroundings and arranged large and small stones in a circular، spiral or nested pattern on a piece of land that. If they needed more room، they would use smaller stones and start playing Layli. Qolte Tu can be considered one of the obvious and early examples of terrestrial art. Perhaps one of the special functions of this game is that it gives children a realistic view of the relationship between them and the natural system and especially the geography in which they live. Dealing with handmade Layli was a basis for dealing with carpet weaving or kilim weaving. Children recreated their living environment with handmade Layli. The organizers of the game were the girls، and the boys، along with the girls، would start playing and the songs that Lor women sing to the bride and groom at weddings. The children themselves were the organizers of these dolls. This doll was made in all the Lor regions of Iran.