Quarterly Scientific-Research Goljaam

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The art of weaving in the territory of Iran is a part of the cultural identity of it`s people. The traditional handicrafts of Sistan and Baluchestan are also considered as an important aspect of this identity. Apart from design and color, many other dimensions of carpet production in this region can be considered as their cultural-religious characteristics. Since the study of the semantic dimensions of an artwork in terms of its creator is much more recognizable,
the present study aims to identify the unknown aspects of the indigenous culture and beliefs of the producers of these crafts by visiting the case study, and it also tries to answer this question that what is the correlation between indigenous rugs of Sistan and Baluchestan and their creators’ cultural traits and religious values.
This research has conducted direct observation and interviews with the natives with the approach of art anthropology and the methodology of ethnography in the region, and then through data coding in three levels of open, axial, and selective coding has attempted to classify them.
The results show that elements comprising the carpets in the Sistan and Baluchestan region, from their initial stages to the end, have wide semantic dimensions so that even the most trivial of them have deep roots in the culture and beliefs of its natives. Specific rituals for weaving, belief in sore eyes, composing special poems during weaving, washing ceremonies, etc. are a part of this elements. In this province, apart from its practical aspects, carpet is considered as a sacred commodity, and although there are obvious cultural differences among the people of Sistan and Baluchestan, the similarity of some beliefs regarding carpets shows the unity of the primitive roots of carpet weaving among the two main groups of inhabitants in this region.

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Nomadic hands-woven are the most important manifestation of indigenous and tribal art. This is representing a set of social and cultural characteristics of nomadic life. In the Qashqai tribe, storage bags are one of the practical products of the women of the tribe. The production of many practical fabrics has become obsolete due to the change in the life structure of tribe, the settlement of nomads, the migration of a large number of nomads to rural and urban areas, the replacement of cheap goods in accordance with the needs of life. The purpose of this study is to identify the structural and functional characteristics of this type of hands-woven in the Qashqai tribe and to study these products based on the anthropology of art. The data collection of this research is based on field research and library study. The research finding is presented by descriptive-analytical method. Storage weavings in various sizes were chosen as indicators in accordance with the needs of nomadic life. Women artists and the choice of weaving technique of hand-woven fabrics are defined in accordance with their function. The index is a strong sign of the artist’s creative performance and expresses the artist’s agency and the headline expresses the artist’s position. As an indicator, these hands-woven play a central role, which is also the heritage of the tribal community and a factor for the continuation of the weaving style process that has remained to this day.