Symbolic Abstraction in the Aesthetics of Baluchistan Art, A Case Study of Baluchi People’s Needlework

Document Type : Research Article

Authors

1 Ph.D. in Art Research, Nazar Research Center.

2 Assistant Professor, Faculty of Fine Arts, University of Tehran .

Abstract

Problem statement: Baluch tribe can be considered one of the genuine Iranian tribes who has continued the livestock breeding and nomadic life in Iran. Various arts are common among this tribe, but the most important one is the art of needle-working. This art, with its geometric and highly abstract designs, displays the history of tribal Baluchi lifestyle. Like other Iranian nomadic arts, Baluchi life has a very high geometric dimension. One can also refer to the similarity of the geometric patterns of this art and the Neolithic arts. Baluch needlework art designs are categorized and studied in various humans, animals, plants, geometric shapes and marginal types.
Research question: What is the most important aesthetic aspect of Baluchi’s art of needle-working
Research objective: The recognition of the aesthetic elements of Baluchi needle working as the most important native art of the Baluchistan region
Research method: The research method is qualitative using logical reasoning. Library data and observation were taken into consideration in data collection of this research and also the objective observations of the writer and field information were effective in achieving research findings.
Conclusion: The most important aspect of these designs is their geometricity and excessive abstraction. The aesthetics of this native art can be examined in the form of a line (right and with an angle), shape (based on the shape of the triangle), texture (dense and prolific), rhythm (alternating) and color (with the domination of the red color and combination of strong and powerful colors). Symbolic abstraction can be considered as the most important aesthetic aspect of Baluchi’s art of needle-working.

Keywords

References

• Alizadeh, S. (2014). Classification and introduction of motifs and symbolism of Baloch needle work. Master’s thesis on art research. Supervisor: Mehran Hossein. Tehran: University of Sura.
• Amini, M. (2006). Carpet and symbol. Art Month Book Journal. 93& 94
• Ashy Ahara, N. (2012).‭ The aesthetic townscape. (F. Habib, Trans.) Tehran: Javidno.
• Bakhtiari Fard, H. R. (2009). Rang ba ertebatat [Color and communication]. Tehran: Fakhrakia Publications.
• Davis, S. & Ch.Sukla, A. (2003). Art in the Japanease Aesthetic Tradition. Preager: West Port.
• Dewey, J. (2012). Aesthetics of everyday life. (N. Shayganfar, Trans.). Tehran: Hermes.
• Edwards, S. (1948). Carpet of Iran. (M. Saba, Trans.) Tehran: Book Lovers Association.
• Estakhri, A. I. I. (1968). Masalek va Mamalek [Traditions and countries] (By Iraj Afshar). Tehran: Translation and Book Publishing Company.
• Ebrahimi, M. (2009). Tahavollat-e siyasi va ejtemaei-ye sistan va balochestan [Political and social developments in Sistan and Baluchistan]. Tehran: Bukhara.
• Fakuhi, N. (2004). Anthropology of culture, Tehran: Ney Publications.
• Ghasemi, M.; Mahmoudi, S. Kh. & Mousavi Haji, S. R. (2013). The visual structure of natural designs in Baloch Women embroidery (with emphasis on samples from Saravan town). Negareh Quarterly Journal, 8(27), 61-73.
• Gat, B. & Mc Ayer, L. (2005). The routledge companion to aesthetics. (M. Sanei Darehbidi; A. A. Njoumian; Sh. Ahmadzadeh; B. Mohaghegh; M. Ghasemian & F. Sassani). Tehran: Art Academy.
• Gorgij, F. (2016). Barresi-ye noghosh-e asil-e souzandouzi-ye balooch [Exploring the authentic Baloch embroidery designs], The first traditional conference of traditional Sistine and Baluchistan veil knitting, Cultural Heritage. Zahedan: Handicrafts and Tourism Organization of Sistan and Baluchistan.
• Hosseini Rad, A. (2003). Mabani-ye honar-ha-ye tajassomo(ghesmat-e avval) [Basics of Visual Arts (Part I)]. Tehran: Iran’s School Books Printing & Publishing Company.
• Hengeldin, A. (1996). orient’D tafis Les. (A. Karimi, Trans.). Tehran: Culture Club Publications (Yasewoli).
• Ibn Hughel. (1966). Sourat al-arz. (J. Shoaar, Trans. ). Tehran: Iran Culture Foundation.
• Jay Douglas, P. (2012). Environmental aesthetics : ideas, politics and planning. (L. Agha Dadashi, Trans.). Tehran: Sabzarang.
• Javadi, Sh. (2005). decoration, the main element in Iranian aesthetics, Nazar Garden, 2(3), 51-57.
• Mahmoud Zehi, M. (2013). Baluchistan Art with Emphasis on Historical Viewpoint. Mashhad: Artistic Area of Islamic Propaganda Organization of Sistan and Baluchistan Province.
• Mobaraki, S. & Mobaraki, D. (2016). Investigation and analysis of color and form in original busy needle works designs of Baluchistan, The first congress of the veil knitting of Sistan and Baluchistan province. Zahedan: Directorate of Cultural Heritage, Handicrafts and Tourism of Sistan and Baluchistan.
• Moein, M. (2003). Persian Dictionary. Tehran: Dabir Publications.
• Moghaddasi, A. A. (1982). Ahsanol taghasim fi moarefa aghalim [Ahsan al-Taqasim in the knowledge of Al-Aqalim]. (A. Naghi Monzavi, Trans.). Tehran: Kavian.
• Musavi Haji, S. R., Kh. Mahmoudi, S. & Ghasemi, M. (2004). Local Baloch clothing and its affiliation with national identity. Quarterly of National Studies,15 (1), 179-200.
• Nami, Gh. H. (2001). Mabani-ye honar-ha-ye tajassomi (Ertebatat-e tajassomi) [The Basics of Visual Arts (Visual Communications)]. Tehran: Tous Publications.
• Nowruzitalab, A. (2004). Jaygah-e honar-e Islami dar jamee-ye novin taghabol-e sonnat va modernit-e [The status of Islamic art in modern society: The confrontation between tradition and modernity]. Binab, (7), 12-31.
• Pakbaz, R. (1999). Dayeratolmaaref-e honar [Encyclopedia of Art]. Tehran: Contemporary Culture.
• Pope, A. A. (2008). Masterpieces of Persian art (P. Natel Khanlari, Trans.). Tehran: Science and Culture Publications.
• Rajerson, K. (2015). He problem of free harmony in Kant’s aesthetics. (A. Salmani, Trans.). Tehran: Hekmat.
• Ranjdoust, Sh. (2008). Tarikh-e lebas-e Iran [History of Iranian Clothing]. Tehran: Jamal Art Publishing Institute.
• Reed, H. (1993).The philosophy of modern. (M. Taghi Faramarzi, Trans.) Tehran: Look Publications in association with Bamshad Publishing.
• Rigi, Z. (2012). Souzan dozi-ye Balooch [Baluchi Needle Working]. Tehran: Karim Kaviani Press.
• Rigi, Z. (2016). History of Baluch needlework motifs. The first traditional embroidery conference of Sistan and Baluchistan. Zahedan: Directorate General of Sistan and Baluchestan Cultural Heritage, Handicrafts and Tourism.
• Sutton, T. & Valan, B. M. (2013). expert color information for professional color results (M. Madani, , Trans.). Tehran: Marlik
• Seyed Sajjadi, S. M. (1999). Bastanshenasi va tarikh-e baloochestan [Archeology and History of Baluchistan]. Tehran: Cultural Heritage Organization.
• Sadeghi Dokht, S. (2010). Souzan dozi-ye balooch [(Baloch needle working]. Mashhad: Art Gallery.
• Yavari, H., Mansouri, A. & Soltani, Sh. (2011). Ashnaei ba honar-ha-ye sonnati-ye Iran 3 [Introduction to Traditional Iranian Arts (3)]. Tehran: Azar Publications.
• Yaqhoubi, H. (2014). Souzan douzi-ha-ye poshak-e zanan-e balouch; naghsh va rang [Baloch women’s clothing needle working; pattern and color], Iranian People’s Culture Quarterly, 3(39), 51-78.
• Zand Moghaddam, M. (2018). Hekayat-e balooch [Baloch’s Tale]. Tehran: The World of Economics.
 

Files

Share

How to cite

Statistics