Showing 7 results for Sistan
Mrs Zahra Hossein Abadi, Dr Zahra Rahnavard,
Volume 2, Issue 4 (3-2007)
Abstract
The pattern and the colour used in Sistan carpets is influenced by the climatic, cultural, historical, and image-weaving conditions of the region. In view of their conception, beliefs, culture and the historical antiquity of the region, the artists and weavers of such images choose peculiar patterns and colours bearing their overt and covert understanding that are depicted in their weaving works. This research after studying the patterns and colours used in them, takes into account those factors whose appearance has been truly effective in their formation and style. These pictorial phenomena that associate their rank and status with the degree of demand and selection of the masses enjoy varied meanings and concepts and the effect of the natural inspiration in them attains, at times, such an abstraction that their place in the surrounding phenomena could hardly be recognized. Visual qualities and values in the colour and the pattern of Sistan carpet are varied and extensive. One most significant of them is the value of in unity multiplicity portrayed in the Sistan carpet more prominently in two elements of color and pattern. Keeping in view the past history and the epic of the people of Sistan and the mode of beliefs and mores prevailing over the region, similarly the peculiar temperament of the land, the patterns and colours used in the hand-woven and other artifacts are a sort of symbolism and an association of events and incidents that are in fact a linkage between self-conscious rational world and the instinctive world; the weavers of this style resort to patterns and colors in order to express natural elements and their own ideals.
Dr Seyyed Rasoul Mousavi Haji, Mr Ali Piri,
Volume 5, Issue 13 (9-2009)
Abstract
Sistan rug is one of the most genuine native artifacts of the region which is closely linked to the spirit and substance of the people of this land, since in these years less attention has been paid to this original art and it has been less frequently studied by the relevant experts and researchers, day by day changes has been made in its design and color that has resulted in the deterioration and disappearance of the genuine regional designs and there is a concern that the figure origins, employed in them, would be forgotten by the elapse of time. So in order to preserve and restore figures of this valuable cultural and artistic heritage, it is necessary to detect the genuine figures and use them in providing new sketches having genuineness and this cannot be accomplished but by seeking to find the origin of the figure origins of the Sistan rug. In this investigation, the efforts of the authors has been exerted on that through studying the Sistan rugs, using the survey as well as library methods and their comparison with the figures on the buff pottery in the shahr-e-sookhte (burned city) we would be able to acknowledge the originality and precedence of the Sistan carpet figures and by linking the Sistan rug with its past glory, we would pave the way to provide original figures of the Sistan rugs. Undoubtedly, the buff pottery of shahr-e-sookhte, with regard to its thousands of years of records, play an important role in identifying again the original figures of Sistan, so the collection and analysis of the Sistan rug and their comparison with the buff pottery of shahr-e-sookhte which would result in giving identity to them, can be considered a big step forward in generating original and standard figures of the rug and reproduction of this immanent art would provide the missed loop in the claim of the present pictorial culture of Sistan to complete the link with its past which is a pride
Mr Javad Avishi, Dr Zahra Hosseinabadi, Dr Alireza Taheri,
Volume 8, Issue 22 (3-2013)
Abstract
Prayer rug is one of hand-woven products which have been common in Sistan & Baluchestan from ancient times till now, and it has deep spiritual meanings in addition to visual beauty, which has attracted the researchers to itself, especially native experts of this province in the recent two decades. In order to study the prayer rugs, we will classify them into adoptive, half–adoptive, native and original, new and intuitive groups according to people's authentic beliefs and significant motifs which are used in them. The most common and beautiful ones of these samples are the native designs, which include Mehrabi, frame, domical-minaret and prayer rugs. Questions which are asked in this research are as follows: How is general structure of rug prayer rugs of Sistan & Baluchestan? Which are the most important designs and motifs of Sistan & Baluchestan prayer rugs which have caused their durability? Designs and colors used in rug prayer of Sistan & Baluchestan are affected by nature, people's wishes and regional culture. Generally, prayer rugs' structure and motifs are closely similar in most areas of the regions and they have the some visual and meaningful roots, and the most part of these prayer rugs have geometric shapes. Features of native weaving and common raw materials of the province also have been reviewed in this study. The research methodology is analytic and descriptive, and data collection is done with referring to written and unwritten sources in addition to documented studies. Observation results are obtained from field studies and investigation and analysis of data and pictures is a criterion for identifying prayer rugs and hand-woven products of this province, and can helps for reclamation and protection of native art of this region.
Shahdokht Rahimppour, Abolghasem Nemat Shahrbabaki,
Volume 14, Issue 34 (3-2019)
Abstract
Tablecloths are used to make bread and tinned food, which is woven by women in numerous rural areas and nomadic tribes. Sistan and Baloochestan province is one of the important areas of plafond in terms of texture and design. The decline in the production of tablecloth, which is affected by the environmental, economic, life-changing and neglected indigenous capacities of women's art in this region, Forgiveness has been part of the cultural and social identity of the art of this region. Therefore, this study was conducted for the first time with the aim of studying the texture structure and table tiling of Sistan and Baluchestan. Data collection was done by field study and library, and descriptive-analytic research method. The results show that the texture structure of the tables is simple, combined, and rolled in three ways. The layout of the tablecloths of Muharramat, Katshad, Terrani, and Infected, and the fifteen columns of the Tablets was identified. The most used images are used in the sense of immortality and rainworship.
Chakameh Zamiri, Abolghasem Nemat Shahrbabaki,
Volume 15, Issue 36 (3-2020)
Abstract
The original handmade carpet of Sistan has always played an important role in the livelihoods and the economy of the people. However, the position of this valuable art-craft has been impressed by some problems in Iran handmade carpet and especially to the particular native dilemma of the area. As the production of Sistan's carpets has been greatly reduced today, continuing this process can in the long run lead to the deterioration of Sistan's carpet and cause irreparable damage to the employment and livelihoods of the people of this area. Therefore, it is necessary to recognize and analyze the indexes affecting the stagnation of Sistan carpet and planning to eliminate them in order to improve the final product and job creation in the region. This issue is considered as the main goal of the current research.
The research methodology is combined and Extractive. First, using semi-structured interviews, the causes of the recession of handmade rug in Sistan were analyzed from the viewpoint of experts in this field and nineteen key factors were identified. Then, a new questionnaire was designed using these factors within the Likert scale framework. The views of the local people in this area regarding the causes of the stagnation of Sistan's handmade carpet were examined. In this step, a "T test" was used for analyzing questionnaire data. The results show that the drought and destruction of livestock, lifestyle changes and livelihoods, as well as the low profitability of the final product, The most important causes of the stagnation of Sistan's original handmade carpet are the most important.
Zohreh Amiri Sardari, Mr Mohim Shihaki Tash, Mr Aligholi Roshan,
Volume 15, Issue 36 (3-2020)
Abstract
Sistan's handmade carpet is a legacy left from authentic Iranian culture and tradition which is now in decline. The decline in sale has lead to reduction in production of these carpets. The purpose of this study is investigating the status of the marketing process based on the 7P model (product, price, place, promotion, people, process, physical evidence) in Sistan handmade carpet industry. This research is descriptive-survey, also sampling method is random clustering and sample volume is 81 people. The validity of the questionnaire was calculated based on the theory of professors and industry experts and its reliability was calculated using Cronbach's alpha test and composite reliability. The collected data were analyzed using Partial Least Squares (PLS) and structural equations, the results of which showed that 6 components except the place component were significant. The results of paired comparisons of 7P components were obtained by AHP method. The results obtained from the AHP method are the most effective 7P components in the handmade carpet industry of Sistan with product weight of 0.331 and then individuals’ component with weight of 0.322.
Elahe Sheikhi, Iman Zakariaee Kermani, Farhad Babajamali,
Volume 16, Issue 38 (2-2021)
Abstract
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.
