Document Type : Research Paper
Authors
1
PhD Sudent in Art Research, Department of Advanced Art Studies, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran.
2
Professor, Department of Advanced Art Studies, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran.
Abstract
Kilim-weaving has a long history and is widely woven in rural life and some urban communities of Kerman. Having diverse kilim-weaving technique, one of the most famous and valuable kilims of this province is “Chehel-Māshūleh” of Bidkordūiyeh village, which was registered nationally in 2017. The special and unique weaves, diverse motifs and designs are subjective, abstract, among the most important characteristics of this kilim. The main objective of this article is to identify the technical features of the weaving method, the reasons for the naming and the factors affecting the formation and variety of the use of hand-weaves, motifs and designs of “Chehel-Māshūleh” of Bidkordūiyeh village. The information in this article was collected using field and library surveys with descriptive-analytical method. This research seeks to answer the question “what are the significance and unique characteristics of the technique and associated motifs that have been registered nationally”. The results of this research show that the innovation and skill of the Afshār tribe weavers have led to the formation of a rare weaving technique, in the form of “left-weave”, which has contributed the preservation and sustainable use in their personal and daily life to provide design and decoration of the their every-day objects in their life, work and even rest.
According to archaeological discoveries, the history of weaving in Kerman dates back to more than 5000 BC. Motifs are the most important element in decorating these types of kilims, which have a great deal of originality. The results imply that most of these motifs are the result of the mentality of nomadic and rural women which are adopted from their life and environment, and ethnic traditions. In other words, these motifs are the abstracts of various elements and thoughts of the weavers, which are formed according to Iranian mysticism and Islamic civilization. They have woven these motifs with great skill on the carpet with an abstract and geometric style, but over time, they have undergone gradual changes and have evolved from simple to complex patterns. This process has created a lot of diversity in motifs, designs, and their use. The mental weaving and repetition of motifs have caused the diversity and multiplicity of motifs colors and names in the Chehel-Māshūleh kilim. In other words, it can be said that any work or artistic field, which has appropriate, logical, orderly, balanced structure and is rooted in the tradition, is picturesque. Therefore, most of the nomadic and rural handwoven with the Chehel-Māshūleh kilim style has the same characteristics while preserving the native identity and regional authenticity. As a result, it should be said that the nomadic art of this region is a pure, amazing, beautiful and useful/practical art.
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