پژوهشی در نقش پردازی گلیم قشقایی فارس (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در این پژوهش ابتدا ویژگی های نقش پردازی گلیم مورد بررسی قرار گرفته و سپس نقوش، دسته بندی و تحلیل شده اند. سؤالی که در این پژوهش مطرح است، چگونه قدمت برخی نگاره های گلیم قشقایی فارس از «سپیده دم تاریخ» بس فراتر رفته، تا به امروز جاویدان مانده ؟ هدف از گرد آوری این نقوش شناسایی گنجینه گرانبها و کاربردشان در هنر امروز است که در فرهنگ و هنر ایرانی حائز اهمیت می باشد و باعث زنده نگه داشتن این نقوش دیرین سال می شود. از یافته های مهم پژوهش نمادهایی هستند که حضوری دیرینه در پهنه ی فرهنگ کهن مردمان اولیه و حاضر را دارند و هنوز در کنار جنبه های تصویری و زیباشناختی، جنبه های کاربردی خویش را از دست نداده و استمراری ملموس در زندگی روزمره مردم دارند. نگارنده برای رسیدن به نتیجه مطلوب از روش استقرایی و توصیف و ارزیابی و تحلیل یافته ها و داده های منابع بهره گرفته و در پروسه کار نیز از امعان نظر به تعلیل و تحلیل منابع و پروسه نقد علمی یافته ها بازنمانده است. نتایج حاکی از آنست که نقوش و اشکال هندسی، متقارن، انتزاعی بهمراه مفاهیم نمادین، آیینی اعتقادی، مذهبی و اسطوره ای در متن و زمینه گلیم و همچنین در سفالگری، فلز کاری، طبیعت، نقش برجسته ها، معماری منبع الهام بافنده بوده که از طریق ذهنی بافی تجلی یافته است.The Study of Visual and Graphical Values of the Motifs of the Hand woven of Qashqayi Tribe, Fars
The motifs and designs of Qashqayi Kilim are representative of the creative mind, subtlety of essence, and the profoundness of the thoughts of their weavers. Utilizing geometrical designs including broken, parallel lines as well as triangle, square and all types of lozenges in a harmony with one another in order to create balance, and symmetry all prove that visual elements are utilized and reached the sublime beauty and perfection.One of the very important features is avoiding circular and curved shapes because using geometric shapes is easier and weaving curved shapes require deeper knowledge.This geometric orientation is of the first primitive experiences of the human in the primitive and nomadic human societies that did not enter the rural and sedentary stage of life. The birth place of these motifs come back to the mythological beliefs and symbolic paintings and the coding are pertinent to the prehistoric era in the works created by the mosaic makers of the 3rd and 4th millennium BC and some belonged to motifs of Persian empire, Sassanid dynasty and the early period of the Islamic period. Similarity of some of motifs of Iran, Qafghaz, Minor and middle Asia, Afghanistan, Turkmenistan, by the paintings pewters and the steel objects of thousand years in regard to their shape, the coding content and the symbolic essence encompass a vast historical and geographical place that have not had any equality in history. In this article firstly the features of the motifs and images in the Kilim will be studied, then the motifs will be categorized and studied. The hypothesis in this research is that how the history of some motifs of Qashqayi Kilim exceed the dawn of history and stay immortal up to now. The objective of collecting these motifs is to acknowledge this precious collection and their application in today art, with that high status in Iranian culture and art and maintaining the existence. The signs and symbols that have had a long presence in the ancient culture of the primitive people have not lost their application, practical facets along with their visual and aesthetic dimensions maintaining their tangible existence in daily lives of the people. For conclusion, the compiler utilized deductive and descriptive method, data analysis of the sources as well as scientific criticism of the sources. The findings indicate that motifs, geometrical shapes, harmonious and abstract in addition to the symbolic, ritual and ideological, religious and mythical symbols that were in the text and background as well as in mosaic making, iron working, nature, motif, engraves, architecture as the sources of inspiration for the weaver all are displayed through mental weaving .Collecting and making an archive along with the symbolic concepts could be a very valuable work in order to maintain these works and for the use of the researchers. The proximity of these motifs to the graphic works and their applicability in today art as well as their design creativity make them valuable and these are could be considered as the important factors of choosing this work.
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