Art Anthropology Study on Turkmen Handwoven and Handkerchiefs Motifs

Document Type : Research Article

Authors

1 Assistant Professor, Department of Carpet Education, Faculty of art, Arak University, Arak, Iran.

2 Assistant Professor, Department of Handicraft, Faculty of art, University of Sistan and Baluchestan, Sistan and Baluchestan, Iran.

Abstract

Abstract
Problem statement: Turkmen handwoven and handkerchiefs are a field of native arts that, while meeting the needs of life and highlighting the artistic identity, have been a vehicle for revealing beliefs through the representation of abstract motifs. The critical point in these works is the importance and exceptional attention to the semantic and belief-oriented aspects of the motifs, along with the aesthetic dimension. This issue is relatively less in other nomadic societies. In the lifestyle of Turkmen society, there is a prominent presence of ancient (shamanic) and religious beliefs, rituals, and teachings that are presented to the audience through abstract artworks. Therefore, we can do an anthropological study on the Turkmen weavers’ worldview, which presents in the paintings. This approach seeks to study and understand artworks’ content in their creators’ cultural context. So the central question of the research is, what are the anthropological characteristics of Turkmen handwoven and handkerchief motifs? And how can we study their semantics and aesthetics in terms of this aspect and Turkmen cultural contexts?
Research objective: This study attempts to examine and understand Turkmen’s handmade motifs in the context of Turkmen weaving culture.
Research method: The type of this study is qualitative and developmental and its method is descriptive-analytical with a library data collection.
Conclusion: The dominant style of painting motifs is more discrete than abstract. Also, the motifs are created relying on beliefs more than they have aesthetics (decorative) and symbolic and semantic aspects. Most of the motifs include the group of protective motifs (prayer, spell, armband), ram, local birds, and flowers (bergamot) That has a special marker and form in each tribe. Also, handmade have special functions.

Keywords


Afzal Tousi, E. & Sanji, M. (2016). Motifs and images related to the evil eye in iranian wovens. Negareh, 9(31), 77-90.
Adam, L. (1959). Art primitive. Paris: Arthaud.
Afrough, M. (2020). Beliefs are the factors that create motifs in Anatolian bedclothes with an emphasis on carpets. Iranian Journal Of Antheropology, 16(29), 73-100.
Afrough, M. (2021). Study and Analysis of Baluch Altar Rugs Based on the Anthropological Approach of Art.  Anthropological Research, 11(1), 229-335.
Afrough, M., Javani, A., chitsazian, A. H., & Qashghaifar, F. (2017). The Nature of Abstract Motifs in Ghashghaie Hand-woven Objects. Bagh-e Nazar, 13(45), 77-90.
Ayatollahi, H., Chitsazian, A. H. & Toomajnia, J. (2007). Turkmen Namazliq (Turkmen Prayer Rugs). Goljaam, 3 (6&7), 53-78.
Beheshti, S. M. (2003). Zibayi-Shenesi va Karbord dar Honar-ha-ye Sonati [Aesthetic and Function in the traditional arts]. Khial, (50), 29-37.
Biebuyk, D. (1969). Tradition and Creativity in Tribal Art. Californiia: Berkeley University Press.
Boas, F. (2012). Primitive art (J. Rafi’far, Trans.). Tehran: Golazin.
Bodaghi, Z. (1992). Niazjan va Farsh-e Turkmen [Niazjan and the Turkmen carpet]. Tehran: Farhangan.
Bogolyubov, S. (1977). Farsh-ha-ye Turkamani [Turkmen carpets] (Nazdiba, Trans.). Tehran: Iran’s museum of carpets.
Ebrahimi Naghani, H. (2014). An introduction to the aesthetics of patterns and colors of Bakhtiari nomadic rugs. Negarine Honar-e Eslami, 1(1), 39.
Ebrahimi Zarandi, A. (2016). An introduction to the anthropology of art in human societies. The second national conference on culture, tourism and urban identity. Kerman: Mehr-Andishan-e Arfa’ Institue.
Ember, C. R. & Ember, M. (1993). Anthropology, Prentice-Hall of ndia Ergin, New Dehli: Indian Ergin.
Ezatollahinejad, T. (2020). Hali Voice: Carpet Agent in Doydokh Village. Iranian Journal of Anthropological Research, 10(2), 237-257.
Fakuhi, N. (2018). Anthropology of Art. Tehran: Sales.
Goldwater, R. (1966). Le Primitive dans l’art modern The Primitive in modern art. Paris: Presses Universitaires de France.
Hangledin, A. (2015). Ghali-ha-ye Iran [The carpets of iran] (A. Karimi, Trans.). Tehran: Farhangsara.
Hasouri, A. (1992). Naghsh-ha-ye Ghli-ye Turkmen va Aghvam-e Hamsayeh [Carpet patterns of Turkmen and neighboring tribes]. Tehran: Farhangan.
Jalali, Sh., Javani, A. & Ghani, A. (2018). Introducing some of the Content and Structural Components of the Ghouchak Motifs in Turkmen. Pazhuhesh-e Honar, 8(16), 27-39.
Kameli, Sh. & Rahmani, J. (2013). Turkmen Namazlighs: a study about the basic and ritual symbols of culture. Motaleate-e Tatbiqi-e Honar, (6), 73-85.
Karimi Baba-Ahmadi Z., Almasinia, P. & Mobini, M. (2013). Structural and content analysis of Turkmen carpet: a case study of a sample of Choval-Gol carpet. Naghshmayeh, (19), 27-37.
Leach, E. R. (1967). Aesthetics, In The Institutions of Primitive Society. Oxford: Basil Blackwell.
Mansouri, M. (2008). Tahlil-e Mardom-Shenasi-ye Ab dar Bavar-ha va Masal-ha-ye Amiyaneh [Anthropological analysis of water in folk beliefs and proverbs]. Farhang-e Mardom-e Iran, 4(17), 65-75.
Moin, M. (2002). Farhang-e Moin. Tehran: Zarin.
Mounesi Sorkhe, M. Afrashte, S. & Yousefi, Z. (2021) Study of Identity Making Elements among Turkmen Carpets’ Designs from Malinowski’s Functionalism Point of View. Scientific Association of Visual Arts, 7(13), 140-155.
Murphy, H. (2006). Anthropology of Art (H. Abdolhosseinzadeh, Trans.). Khial, 5(17), 65-75.
Shirani, M., Izadi Jeyran, A. & B. Koohestani. M(2017). Anthropological study of the motifs of Kalpurgan Saravan pottery. Fine arts-visual arts, 23(4) 71-80.
Pakbaz, R. (2018). The encyclopedia of Art. Tehran: Farhang-e Mo’aser.
Parham, S. (2019). Namad [The Symbol]. Farsh-e Dast-Baf, (18), 27-34.
Scott-Hoy, K. (2003). Form Carriers Experience: A Story of Art and Form on Knowledge, in Qualitative Inquiry. Sage, 9 (2), 268-280.
Severi, C. (1991). Art (Anthropologie de 1’-), dictionnaire de l’anthropologie et de l’ethnologie. Paris: Presses universitaires de France.
Tomajnia, J. & Tavousi, M. (2006). The pattern of the tree of life in Turkmen carpets (with an emphasis on tree motifs in Islamic culture and ancient civilizations). Goljam, (4&5), 11-24.
Tzarova, E. (2017). Turkmen carpets : masterpieces of Steppe art from the 16th to the 19th centuries: the Hoffmeister collection (H. Kamandlou, Trans.). Semnan: University of Semnan.
Vakili, A. (2012). Shenakht-e Tarh-ha va Naghshe-ha-ye Farsh-e Iran va Jahan [Knowing the designs and maps of carpets of Iran and the world]. Tehran: Naghsh-e Hasti.
Yaghubzade, A. (2017). Visual Signs in Turkmen Asmalyk. Glory of Arts, 8(16), 125-133.