بررسی بازتاب فرهنگ هند و ایران در تزئینات لباس بانوان هند و بلوچ (مطالعه موردی: رودوزی های هند و بنارسی دوزی های بلوچ) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ایران و هند دارای تاریخ و فرهنگی غنی در زمینه دوخت های سنتی هستند. این دو سرزمین در ادوار مختلف تاریخی با هم ارتباطاتی داشته و این موضوع باعث تأثیرپذیری آن ها از هم در هنرهای مختلف ازجمله گلدوزی شده است. شناسایی زری دوزی های هند و بنارسی دوزی های بلوچستان، دسته بندی نقوش، نحوه ترکیب بندی طرح ها، معرفی انواع تکنیک های دوخت و تأثیرپذیری فرهنگی این دو سرزمین در زمینه تزئینات پوشاک، از اهداف این پژوهش هستند. پژوهش به روش توصیفی-تحلیلی و با رویکرد تاریخی و تطبیقی درپی پاسخ به این پرسش هاست که برای تزئین لباس های تزئین شده هند و بنارسی دوزی های بلوچستان از چه تکنیک هایی استفاده شده است؟ ترکیب بندی نقوش در این رودوزی ها به چه صورت است؟ بین نقوش تزئینی کارشده روی این لباس ها چه اشتراکات و افتراقاتی موجود است؟ همچنین اطلاعات پژوهش به صورت کتابخانه ای و میدانی جمع آوری شده است. جامعه آماری این پژوهش شامل 8 نمونه از لباس های بانوان بلوچ و هند با رودوزی های لاکنو، دهلی، بنارس، گجرات هند، چابهار و کراچی بلوچستان است. نتایج نشانگر آن است که در این دو سرزمین، اشتراکات بسیاری در نقوش، تکنیک های دوخت، نحوه نقش پردازی و اجرای نقوش و همچنین مواد اولیه برای تزئین لباس بانوان وجود دارد. نقوش در هند در اکثر موارد دارای فلسفه و مفهوم اجتماعی، تاریخی، اعتقادی و اسطوره ای است؛ درحالی که در پوشاک بلوچستان، تزئینات فقط جنبه زیبایی داشته و مفهوم خاصی را حمل نمی کنند. نقوش هندسی و گیاهی، بالاترین کاربرد را در بلوچستان داشته؛ اما در هند علاوه بر آن، نقوش حیوانی و انسانی هم رایج است.Investigating the Reflection of Indian and Iranian Culture in the Decoration of Indian and Baloch Women's Clothing (Case Study: Indian Embroidery and Banarasidoozi of Baloch)
Iran and India have a rich history and culture in terms of traditional sewing, these two lands had connections in different historical periods and this has caused the influence of these two lands in different arts, including embroidery. Identification of Zardoozi of India and Banarasidoozi of Balochistan, classification of motifs, how to combine designs, introduction of various sewing techniques and cultural influence of these two lands in the field of clothing decoration are among the goals of this research, which is based on a descriptive-analytical method and with a historical and comparative approach looking for answers to: what techniques have been used to decorate Indian decorated clothes and Banarasidoozi of Balochistan? What is the composition of motifs in these embroidery? What are the commonalities and differences between the decorative motifs worked on these clothes? Information has been collected in library and field. The statistical community includes 8 samples of Baloch and Indian women's dresses with embroidery from Lucknow, Delhi, Varanasi, Gujarat, Chabahar and Karachi. The results show that; There are high commonalities in terms of motifs, sewing techniques, creating and executing motifs, as well as raw materials for decorating women's clothe. Patterns in India in most cases have social, historical, religious and mythological philosophy and meaning, while in Balochistan’s clothing, the decorations have only a beauty aspect and do not carry a special meaning. Geometric and plant motifs are the most used in Balochistan, while in India, animal and human motifs are also common.
1. Introduction
India and Iran have a rich civilization in the field of traditional oriental textiles and have had close relations with each other during different historical periods, which has caused the cultural influence of these two countries in various arts and traditional sewing. After the creation of the country of Pakistan, the common borders between these two countries disappeared, but due to the connections between Pakistan's Baluchistan and the land of India and Iran's Balochistan, this influence can still be seen in the Banarasi clothing of Baloch women of Iran and Pakistan. It is also important that some motifs and sewing techniques reached India in previous centuries with the migration of Mongols from Iran. Today, the women's clothes of India and the Baloch people have a special place in terms of the variety of patterns and sewing techniques, and embroidery is one of the oldest forms of handicrafts of these two regions, which are popular and produced in almost every corner of Balochistan and the Indian subcontinent.
The use of traditional embroidery and raw materials of jewelry embroidery to enhance women's clothes has been common in many cultures of the world since ancient times, especially in Iran and India. The connections between Iran and India in different historical periods have caused cultural influence in the art of these two countries. The questions we face in this research are: What techniques are used to decorate the clothes of India and Balochistan’s Varanasi? What is the composition of motifs in these embroidery? What are the commonalities and differences between the decorative motifs worked on these clothes?
Identification of gold embroidery of India and Banarasi embroidery of Baluchistan, classification of motifs, how to combine designs, introduction of various sewing techniques and cultural influence of these two lands in the field of clothing decoration are among the goals of this research. The necessity of doing the research is that, unlike the traditional Balochi embroidery of Baluchistan, no research has been done to introduce the Varanasi embroidery of this region, as well as its commonalities and differences with the Indian embroidery, which in different historical periods has its roots in the influence of the two cultures of Iran and India on each other.
1.1. Detailed Research Methodology
The research method is descriptive-analytical with a comparative approach. The study area of the present research is Lucknow, Delhi, Varanasi and Gujrat embroidery from India and Banarasi embroidery from Makoran region and southern Balochistan. The statistical population includes 4 samples of Varanasi dresses common among Baloch women, which were selected non-randomly from one of the largest centers of distribution of this clothing in Saravan, and 4 samples of Indian dresses decorated with embroidery, which were selected purposefully from the Victoria and Albert Museum in London. The selection criterion of the raw materials used are the types of motifs and the way of carving. In this research, first by referring to reliable library documents and sources, the relationship between India and Iran in the field of culture and art was discussed, and then the selected works were qualitatively analyzed from the point of view of motifs, sewing techniques, and materials used. The comparison of the findings of the influence of Indian and Iranian culture on the decoration of Indian and Baloch women's clothing is presented in the form of a diagram.
2. Discussion
Iran and India were one land 1500 years before Christ and had common culture, language and goddesses, and the political border between Iran and India was determined from 500 years before Christ (Faridni, 1356: 60 and 61). Before Islam, the borders of Iran reached the Sind (Mehrafrin and Heydari, 1394: 112). The geographical location of the Iranian Plateau and Baluchistan, which is located in its southeast, has always been a source of influence and cultural influence from the past until now due to the role of communication between the East and the West (Sarmi Nayini, 2013: 74). On the other hand, the existence of common taste and cultural characteristics leads to artistic commonality between two nations (Zakrgo, 1372: 131).
3. Conclusion
Investigations showed that Varanasi embroideries of Balochistan do not have a strong background and it seems that gold embroidery and stone embroidery decorations have entered the world of Balochi clothing by adapting Indian women's clothing through Balochistan's connections with India. In response to the research questions, it can be said that the three techniques of chain embroidery, satin embroidery, and stem embroidery are respectively the most used in decorating Indian clothes and Balochistan Banarasi embroidery, which are performed both manually and by machine in both regions. In machine samples, the initial design of the motifs is first transferred to the fabric by means of paint, and then machine embroidery is applied. Stem embroidery is generally only used in hand-embroidered designs. In the discussion of pattern composition, geometrical rules such as symmetry and repetition were seen in most of the samples. Border patterns in Banarasi Balochi were always present in the margins of different pieces of clothes and shawls, while in India it is not mandatory to implement such a rule and in many Indian clothes only We are facing central motifs or flowers. The discussion of balance and geometric networks is observed in some examples in both regions. Geometric and vegetable motifs are used in the embroidery of both regions, but in Baluchistan, animal and human motifs are not used due to the Islamic beliefs of the people. Geometric grids, circles, squares, rhombuses, triangles, semicircles and zigzags are common geometric patterns in both regions. Circle patterns are used in Indian embroidery patterns because of the importance of mandalas (symbolic and cosmological circles in Hinduism and Buddhism). It is higher. Bote jogheh, bush, all kinds of leaves and small and large flowers are used abundantly in the embroidery of both regions. Motifs such as the tree of life and lotus in India have a mythological meaning and are highly used in decorating clothes and home accessories. In India, the motifs are close to their real state, but in Iran's Baluchistan, along with real flowers and bushes, motifs that represent plant motifs in the form of broken geometry are also used. Historical investigations and the existence of artistic and cultural connections between Iran and India in the field of textiles and other arts indicate that during the Sassanid era and after that, both countries were influenced by each other in terms of fabric motifs and textures, and these cultural transfers in the Gurkan period with the establishment of the Mughal dynasty reached its peak and embroidery had a brilliant time in the land of India during this period of history. Today, due to the connection between Pakistan's Balochistan and India, Baloch women's clothes have gone beyond their traditional techniques and color motifs, and in Balochi villages we see gold embroidery and jewel embroidery, which are used in India to decorate clothes and other textile items.
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