مقایسه هنر بلوچی دوزی ایران و پاکستان از نظر شیوه نقش پردازی، رنگ بندی و تکنیک های دوخت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بلوچی دوزی از مشهورترین هنرهای سنتی در میان اقوام بلوچ ساکن در ایران و پاکستان است. مردم این دو خطه در بحث بلوچی دوزی دارای فرهنگ یکسانی هستند اما تمایز بین طرح و تکنیک در مناطق مختلف بلوچستان موجب گستردگی جغرافیای این هنر و تنوع بالا به لحاظ نقوش و نحوه اجرا گشته است. بر این مبنا پژوهش حاضر به شیوه توصیفی- تحلیلی و با تکیه بر مطالعات میدانی و کتابخانه ای، در پی پاسخگویی بدین پرسش ها است که: میان شیوه دوخت و طراحی نقوش در بلوچی دوزی ایران و پاکستان چه شباهت هایی وجود دارد؟ و مهم ترین تفاوت های موجود در این عرصه کدام اند؟ برای بررسی بهتر، نمونه ها به شیوه انتخابی از میان چهل تکنیک دوخت رایج در مراکز عمده بلوچی دوزی ایران و پاکستان برگزیده شدند. سپس با در نظر گرفتن سه شاخصه اساسی؛ نقش پردازی، رنگ بندی و تکنیک اجرا با رویکرد تطبیقی مقایسه ای میان آن ها صورت گرفت. یافته ها نشان گر آن است که با وجود شباهت های چشمگیر میان بلوچی دوزی ایران و پاکستان، تکنیک دوخت و شیوه اجرای نقش بر روی پارچه، ایجاد تمایز میان بلوچی دوزی های این دو کشور را امکان پذیر می سازد. همچنین شمارش تاروپود در بلوچی دوزی ایران که نوعی مهارت دوخت تلقی می شود، سلیقه هنری خاصی را در این آثار رقم زده که وجه ممتاز این هنر در ایران است.Comparative of Balochi embroidery art of Iran and Pakistan from the point of view of motifs design, Color combination and sewing techniques
Balochi embroidery is one of the most famous traditional arts among the Baloch people living in Iran and Pakistan. It is of great importance as a national art in the two country. The people of these two regions have the same culture in terms of Balochi embroidery, but the distinction between design and technique in different regions of Balochistan has led to the geographical expansion of this art and high diversity in terms of motifs and methods of execution. The existence of territorial borders and the lack of familiarity with the way of sewing and processing patterns, which has led to ignoring the differences in this art, make it necessary to conduct an independent research in this regard. Based on this, the current research, which was carried out in a descriptive-analytical way and based on field and library studies, seeks to answer the following questions: What are the similarities between the sewing method and pattern design in balochi embroidery of Iran and Pakistan? And what are the most important differences in this field? In order to better investigate this issue, the studied samples were selected among forty common sewing techniques in the main Balochi embroidery centers in the Balochistan Iran and Pakistan, they have been collected in the form of non-random and purposeful sampling. The selection criterion of these works was the patterning, coloring and sewing method. Then, considering three basic indicators; patterning, coloring and execution technique a comparative study was done between them,. The findings indicate that although there are significant similarities between the Balochi embroidery of Iran and Pakistan, the sewing technique and the way of performing the pattern on the background fabric make it possible to differentiate between the Balochi embroidery of these two countries. Also, the counting of taropods in Iranian balochi embroidery, which is considered a kind of skillful sewing, has established a special artistic taste in these works, which is a special feature of this art in Iran.The traditional colors based on the seven-color rule are the same in both lands, with the difference that in the northern parts of Iran's Balochistan, dark red is more common and in the southern parts, bright red, orange, and yellow colors are more common. Monochrome patterns or fancy color schemes, known in the local dialect as youth colors, are seen in the needlework of both countries. In the art of Balochi embroidery, geometric motifs have the highest position; However, in some cities of Balochistan, Pakistan, including Karachi, due to the proximity and influence of Indian clothes, most of the patterns have moved away from the abstract state and moved towards non-geometric and Banarasi motifs. Also, the overall form of the dress is the same among the Baloch women of Iran and Pakistan, but there are differences in the density of motifs and the tendency to be minimal between the Balochi embroidery art of these two lands. In Balochistan of Iran, the designs are more intensive, but in Balochistan of Pakistan, they give more importance to minimal designs
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