تعامل فرهنگ و محیط در دست بافته های بلوچ از گذار نظریه بوم شناسی فرهنگی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بوم شناسی فرهنگی رویکردی است که ملاحظات فرهنگی ارتباط انسان با محیط یا زیست بومش را مورد مطالعه، بررسی و تحلیل قرارمی دهد. بررسی و تحلیل دست بافته های بلوچ به عنوان بخش مهمی از فرهنگ و هنر قومی در چهارچوب رویکرد بوم شناسی فرهنگی و سنجش میزان ارتباط و بهره گیری آن ها از طبیعت و جغرافیای بلوچ، هدف این پژوهش است. از این رو پرسش اصلی این است که ارتباط و بازتاب زیست بوم و اکولوژی قوم بلوچ در فرآیند تولید دست بافته ها و آفرینش نقوش آن ها چگونه و به چه میزان است؟. مهم ترین نتایج این پژوهش چنین است: بوم شناسی فرهنگی نماین گر این است که در کسب آگاهی و شناخت پدیده فرهنگ و داشته های فرهنگی انسان و ارزش های وابسته به آن به ویژه هنرهای بومی نیازمند توجه به زیست بوم و مطالعه در منظومه محیطی اوست. ابعاد مختلف زندگی قوم بلوچ و مشخصاً آثار هنری آن ها نظیر دست بافته ها، ابعاد فن شناختی(مصالح بافت، ریسندگی، رنگرزی، دار و ابزاربافت، ساختار بافندگی) و هم چنین پویایی و خلاقیت در طراحی ذهنی، خیالی و انتزاعی مرتبط با جنبه های زیباشناختی و کیفیت های دیداری(بصری) در متن دست بافته ها، به واسطه نوع زندگی و هم چنین حضور در پهنه طبیعت، همواره برساخته و متأثر از محیط و الگوبرداری از عناصر آن است. این پژوهش از نوع توسعه ای و روش تحقیق توصیفی-تحلیلی و شیوه گردآوری داده ها کتابخانه ای است.The interaction of culture and environment in Baloch handwoven from the transition of cultural ecology theory
Ecology is the study of relationships and mutual links between living organisms and the natural environment, and cultural ecology examines the cultural aspect of human life with its ecosystem. Native arts are one of the most prominent identity and cultural components and one of the most important potential fields for investigation and analysis in the cultural ecology theory. Baloch handwoven is an example of these arts with local knowledge in creation and aesthetics, semantic values, and rich anthropological content. Nature, beliefs, and imagination are the most important models and sources of inspiration in these works. The creation begins from the natural patterns, and after passing through complex and often unknown stages of abstraction and summarization ends. In this research, the relationship between visual content and the influence of environmental components of Baloch on the handwoven of these people is investigated and analyzed in the form of a cultural ecology approach. This research is of the type of qualitative, fundamental, and interdisciplinary research and the research method is a combination of descriptive-analytical and ethnographic research. Also, the method of collecting data was in the form of a library and searching on reliable sites to find images of Baloch handwoven (due to the lack of access to handwoven in the domestic market). Due to the local nature of the research variables, the research data has been collected through observational methods with an analytical approach. Baloch handwoven have a variety of motifs and designs that are rooted in the deep cultural, national, and religious values of our country (Hosseinabadi & Falahmandeh, 2013, 60). In these works, the rhythm of the visual forces in the context of a fabric is formed by using visual qualities such as composition, symmetry, balance, and proportion. Works with different uses and various motifs that the necessity of use, weaving methods from the point of view of weaving technique, imagination, and taste of the weaver make them diverse. All kinds of Baloch handwoven are produced with various weaving techniques and mental patterns. Works with different uses and various motifs, the reason for its diversity is the necessity of use, weaving methods from the point of view of weaving technique, imagination, and taste of the weaver. All the visual elements that are examined in the studies of the basics of visual arts can be seen in the works of native arts, especially Baloch's Handwoven Although experimentally and self-taught. These qualities are transferred from one generation to another in the form of education and mental creation along with objectified beliefs during centuries and decades. In addition to these qualities, aesthetic components also have an outstanding contribution to the value of handwoven. These components include structure, design, theme and content, and nature and its elements. The motifs in these weaves, like other nomadic handwoven, are abstractly drawn with broken branches (semi-curved), which are divided into several categories, including plant and animal (animals and birds) motifs, human, strange and geometric motifs, and especially, motifs from the world of architecture such as motifs related to religious buildings (mosques) or towers. In addition to individual motifs, many beliefs, concepts, characters, and symbolic narratives of mythology, literature, and mysticism have also been depicted in the form of motifs in the text of handwoven, especially carpets. These motifs are derived from various components such as the ecosystem and its existing elements, individual and collective ideas and beliefs, the power of the weaver's imagination, etc., which are depicted in various and unique forms and warm and intense colors. In this research, the relationship between Baloch handwoven (as a part of the native and ethnic culture) and their ecosystem was studied based on the cultural ecology approach and the effective and constructive components in its structure and formation. Culture and environment are two basic elements in the formation of Baloch identity. Nature influences the handwoven along with the application, local raw materials, and effective technical components, as well as the human resources (weaving artists) and visual qualities, aesthetic components, and various types of motifs. Cultural ecology in nomadic handlooms and especially the Baloch people, is an approach that emphasizes two-way interaction and communication. The environment and elements of nature become symbols and part of the cultural and artistic components in the process of weaving a pattern in the handwoven's texture, and on the other hand, handwoven works and Ethnic culture products take an important part of their nature (patterns and images) from their environment. This approach is concerned with the fact that any study about the different dimensions of human life and the degree of relationship between culture and environment, especially in the field of culture and anthropology, should consider humans as biological beings. Necessarily, to get to know and understand the different aspects of human life, human characteristics and relationship with the environment and ecosystem must be taken into consideration, and there is always a complex interaction between these two areas. The living environment is not a separate phenomenon from humans. To understand the dimensions of his life, both the relationship of man with the environment and the mechanism of this relationship, his activities and abilities, whether in the physical or mental aspect, should be studied and examined with the environment. Therefore, the connection and the cultural adaptations that have emerged between the two depend on the social and cultural characteristics as well as on the environment and ecology, and humans always interact with their living environment. From this point of view, in the study and analysis of Baloch handwoven, the nature of their structure and texture, this mutual and inevitable connection is evident. In Baloch handwoven, the ecosystem and the elements in it, such as plant and vegetable elements (trees and types of flowers and bushes), animals (animals and birds), rivers and mountains, and some behaviors of the daily life of Nomadic and ethnic is reflected. And this is a sign of the close relationship between the environment and man and his culture. Also, in the technological dimension, this connection is very prominent, and the materials and production are also derived from the Baloch ecosystem in different ways. Baloch handwoven, which are woven and produced based on the needs of the local environment, have different and diverse shapes, dimensions, and motifs, inspired by nature and interaction with the ecosystem, and with the help of taste and Feelings, imaginations, ideas, and individual and collective beliefs of weavers are woven. In addition, in rooting the features, components, and differences in the production process as well as technical structures and aesthetic content, the cultural contexts of the Baloch people and geography should be investigated and studied.
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