Quarterly Scientific-Research Goljaam

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Qashqai tribe is from the southern states of the country that the main profession of livestock and their women to be engaged in weaving. Depending on their nomadic life, some container weaving such as “mafrash” (bedding bag), saddlebag, “chante” (small bag), “joval” (storing sack), “tobre” (bag), “gashiglig” (bag for spoon) and “duzlug” (bag for salt) are woven by them. Among these weavings, mafrash is a biggest in which only three-dimensional woven kilim, jajim and bedspreads can be placed. All used motifs are geometric and abstract. In terms of design composition; horizontal panel and diagonal can be seen. Mafrash is woven with “supplementary alternative weft” technique. Regarding heddling and weaving; they are divided into two groups that so called “new technique and old technique”. Research method is descriptive. The data obtained through library and field research visits to Shiraz, Firoozabad, Farashband tribes and villages. The results of the field research are based on a survey of 45 pieces; 5 pieces from Shiraz, 7 pieces from Firoozabad nomads, 5 pieces from Farashband nomads, 20 pieces from Firoozabad, 6 pieces from  Jahadabad, 2 pieces from morjshahrak are  researched and analyzed. 

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 Abstract
Handmade carpet as one of the most important employment industries in nomadic and rural areas of Iran has experienced many ups and downs in recent decades. A proper and sustainable planning for the preservation and development of this art-industry is to provide a clear and comprehensive picture of the status of carpet weaving and its ups and downs in each of these areas. The main question in this article is also based on this issue. In other words, the study was aimed at providing a clear and complete picture of the carpet condition of Qashqai tribes inhabited in the Firouzabad region of Fars in the past decade and seeks to answer the question of how the process of production and what product have been during the mentioned period.
This paper presents the results of research conducted in 10 villages of Firoozabad district in the period from 2007 to 2017, the majority of villages’ population is from different tribes of Qashqai. These villages including Jaidasht, Moushgan, Jahad Abad, Mord Shahrak, Baygan, Deh Bram, Nouderan, Najaf Abad, Atashkadeh and Ruzbedan, also, the carpets in this study have a maximum 40 years old.
The carpets of this region in last decades have enjoyed a special boom because of the settlement of various tribes of Qashqai, the proximity of villages to Firoozabad, and the close association between buyers and producers with weavers. Among these villages, Jaidasht and Baygan produce the most quality carpets and they are the highest in terms of quantity. The common designs of this region are Botte, Herati, stripe design, medallion, prayer design. In the mentioned villages, weaver use cartoon to weave carpets but used cartons are different from urban workshops. In this type of cartoon, the composition of the design and color is the responsibility of the weaver.

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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.
 

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Carpet weaving is an artistic industry that initially emerged with the material need of man for a rug and later merged with a sense of aesthetics and reached its peak. In this process of development from the beginning of its emergence to its perfection, Iran has been a leading country. The characteristics of Iranian carpets have led to this range of hand-woven products being recognized as a symbol and artistic identity of Iran worldwide. The diversity of Iranian carpet designs and patterns is as wide as this country of art. The Chaharmahal and Bakhtiari region, especially the Babaheydar region, has a special place in the study of nomadic carpets due to its geographical proximity to the Qashqai tribe and the mutual influence of patterns and weaving methods. This research aims to investigate the influence of Qashqai nomads on Baba Haydar carpets and also to identify the differences and similarities between the carpets of these two regions. In this research, descriptive analysis method was used and data was collected through field visits, library documents and analysis of research background. Since in the research literature, the sample of studies found was only related to the status of Baba Haydar carpet weaving. And the lack of study in this field and finding similarities between Qashqai and Baba Heydar textures has not been done so far, so the mixing of the carpet production capacity in this region of Qashqai and Bakhtiari patterns needs to be investigated and studied. The research findings show that the carpets of the Baba Heydar region have been influenced by the Qashqai in many aspects, including geometric patterns, carpet bergamot, and overall design. However, the indigenous characteristics of Chaharmahal and Bakhtiari and Qashqai have also caused differences in the carpets of these two regions. Overall, the results of the research indicate a kind of motif exchange between the two regions that, while influencing, has also preserved the identity independence of Babaheydar carpets and Qashqai carpets.