مقایسه نقوش تزیینی در دوخت پرکار بلوچ های ایران و سوزن دوزی کاسوتی هندوستان
آرشیو
چکیده
سوزن دوزی یکی از شیوه های تزیینی پارچه است که درمیان مردمان تمام سرزمین ها ازجمله جوامع شرقی و سنتی به اشکال متنوعی به منصه ظهور رسیده است. هدف این پژوهش، مقایسه صوری و مضمونی برخی از نقوش دوخت پرکار ایرانی با سوزن دوزی کاسوتی هندی است. دوخت های پرکار، زیرمجموعه سوزن دوزی بلوچ قرار می گیرد و سوزن دوزی کاسوتی با ایالت کارناتاکا در جنوب هندوستان ارتباط پیدا می کند. علت اقدام به این مقایسه آن است که به لحاظ بصری و تکنیکی به ویژه در اجرای خطوط محیطی شباهت فراوانی بین نقوش بلوچ دوزی و کاسوتی وجود دارد، به نحوی که در صورت ملاحظه طرح خطی، تشخیص اصالت سوزن دوزی برای بیننده دشوار می نماید و ممکن است نقوش هندی را بلوچی قلمداد کند و بالعکس. در این میان، تفاوت های بارز رنگی و نوع به کارگیری فنون اجرایی در پر کردن زمینه نقش است که در تشخیص صحیح مؤثر واقع می شود. با این نگاه، پرسش آن است: مقایسه صوری و مفهومی نقوش کاربردی در دوخت پرکار بلوچ و سوزن دوزی کاسوتی، مبین چه شباهت ها و تفاوت هایی در شیوه اجرا و مضمون آنهاست؟ این مطالعه توسعه ای با نمونه گیری احتمالی طبقه بندی شده، به شیوه توصیفی - تحلیلی نشان داد: علی رغم تشابه در شیوه دوخت، در مقابل دوخت های پرکار بلوچ ها، کاسوتی، یک سوزن دوزی میان کار است یعنی میزان پوشش سطح پارچه با نخ در دوخت پرکار، بیشتر از دوخت کاسوتی است اما به لحاظ صوری، نقوش در هر دو هنر، انتزاع یافته هستند و البته به صورت تقریبی بر مضامین مشابه دلالت می کنند که این امر بر قرابت فرهنگی مردمان این دو سرزمین صحه می گذارد.Comparison of Decorative Motifs in Baluchi Heavy Stitching of Iran and the Kasuti Embroidery of India
Embroidery is a fabric embellishment technique practiced globally, particularly in Eastern and traditional societies. This embellishment enhances aesthetics, prolongs garment lifespan, and reflects the wearer’s beliefs and identity. The foundation of cultural significance underlying each pattern in traditional embroidery encompasses the artisan’s intellectual heritage, associated rituals and beliefs, local geography and nature, integrated stitching techniques, application contexts, execution methods, and the range of colors employed. Each element distinctly characterizes traditional embroidery as its specialized branch. The presence of similar stitching techniques can make it difficult to distinguish between styles. In such cases, comparative analysis of embroidery styles becomes invaluable in highlighting both commonalities and unique traits of each decorative element and enlightens their distinct identities. Historically, the interplay of trade, migration, and shared borders between Iran and India has fostered significant cultural ties between the two countries. In this context, similarities can be drawn between the artistic and cultural traits of the Baluchi people of Iran and those of the communities in southern and western regions of India. Therefore, this research explores the decorative similarities between the heavy stitching from Sistan and Baluchistan in Iran and the Kasuti embroidery from Karnataka in India, focusing on execution methods and thematic content through a comparative analysis of similar patterns. The study’s purpose is, thus, to perform a formal and thematic comparison of selected patterns of Iranian heavy stitching with Indian Kasuti embroidery. This analysis is necessary because some contemporary artists, notably less informed non-natives, mistakenly see these embroidery styles as identical or interchangeable because of similarities in their designs. Holding such misconceptions, they adopt the entire Kasuti patterns and proceed with heavy stitching, thus giving the Indian design an Iranian identity. This results in new designs inaccurately labeled as Baluchi embroidery. A detailed comparative study is essential to resolve the ambiguity in blending styles, as it risks distorting the authentic essence and characteristics of Baluchi embroidery. This study will preserve the distinct identity of each style by examining the form and meaning of the motifs, as well as the stitching techniques used.Significant differences in color and execution techniques for filling background patterns are essential for accurate identification. This leads to the question: How do the execution methods and thematic content of Baluchi heavy stitching and Kasuti embroidery compare, both formally and conceptually? Using a descriptive-analytical approach, this study conducts a detailed comparative analysis of these two embroidery styles, employing qualitative data analysis techniques. The collection of motifs for the Iranian embroidery was conducted through fieldwork, whereas the Indian motifs were compiled using documentary methods. The study utilized a stratified probabilistic sampling method. The findings reveal that the abstract motifs and decorative arrangements in both embroidery styles are rich representations of the regional communities’ beliefs.Regarding execution, Kasuti embroidery’s distinct Gavanti stitch allows for an extensive variety of motifs compared to the heavy stitching used in its Iranian counterpart. Conversely, while the stitches Murgi, Menthi, and Negi in Kasuti roughly correspond to graduated stitching (also known as blackwork), Asan Tankha (similar to cross-stitch), and heavy stitching (similar to satin stitch), there is a notable difference in application. Specifically, Asan Tankha in heavy stitching is primarily used to fill empty spaces. Whereas, the Menthi method in Kasuti involves cross-stitching the entire pattern, contributing to a greater diversity in motif creation. In a thematic comparison involving eight comparative analyses between ten motifs from Baluchi heavy stitching and seven from Kasuti embroidery, formal similarities were observed in seven instances, and three demonstrated semantic correlations. This finding underscores the cultural proximity between the two countries. Detailed analysis shows that motifs such as the eight-petaled flower, leopard’s paw, and paisley in Iranian heavy stitching semantically correspond to the water lily, tiger’s paw, and tree in Indian Kasuti embroidery. While most of these motifs exhibit formal similarities, providing a basis for comparison, exceptions exist; for instance, the Iranian leopard’s paw and the Indian tiger’s paw are linked solely by their semantic proximity. Though both embroidery styles deeply reflect cultural beliefs, convictions, and lifestyles, Kasuti allows for more artistic freedom because of its diverse techniques, such as running stitches and extensive use of cross-stitch in background filling. In contrast, while Iranian heavy stitching and Indian mid-level embroidery primarily feature abstract and conceptual forms, Kasuti, categorized as mid-level embroidery, covers a smaller fabric surface with thread, compared to the dense stitching characteristic of Baluchi’s work. However, in terms of motif design, both styles reflect abstract themes that underscore the cultural affinity between the communities of these regions.
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