بررسی نقوش گلیم سفره کُردی شمال خراسان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دست بافته های کردهای شمال خراسان ازجمله هنرهای بومی این منطقه است که از گذشته های دور استفاده میشد. سفره های کردی یکی از انواع دست بافته هاست و کاربرد اولیه آن محل قرار دادن نان بوده که توسط زنان کوچ نشنین کرد بافته می شده؛ اما امروزه کاربرد اصلی خود را از دست داده و بیشتر به عنوان کفپوش یا جنبه تزیینی استفاده می شود. نقوش سفره های کردی اهمیت و تنوع خاصی دارد، از جهت معناشناسی برگرفته از باورهای گذشتگان و بیانگر مفاهیم فرهنگی جامعه عشایری است همچنین از نظر بصری ساختاری منسجم دارد. این نقوش شامل چهار گروه هندسی، گیاهی، حیوانی و انسانی است که نقوش حیوانی بیشتر به کار رفته است؛ چرا که متأثر از زندگی کوچ نشینی می باشد و در میان نقوش انسانی نیز نقش مایه دختر بیشتر دیده می شود؛ زیرا زنان و دختران بافندگان اصلی سفره هایند. همچنین نقشمایه ها فرم های انتزاعی و طبیعت گرایانه دارند. گرچه امروزه با تغییر در سبک زندگی مردم مناطق شمال خراسان طرح ها و نقوش قدیمی در حال تغییرند، عمده نقشمایه ها برگرفته از نقوش پیشین است. هدف این نوشته معرفی نقشمایه های گلیم سفره کردی و تبیین علل پدید آمدن آنهاست. اطلاعات به روش میدانی (مصاحبه و مشاهده) گردآوری شده و انواع نقوش با رویکرد توصیفی- تحلیلی طبقه بندی و بررسی شده است.Kurdish Tablecloth Kilim Designs in Northern Khorasan
Iran is home to various tribes and clans, each of which
has a rich heritage and a mysterious background. One
of these tribes is the Kormanj people who migrated to
Khorasan from the west of the country during the Safavid
era and today, with the passage of time and a result of
their relations with other ethnicities in the region, many
changes have taken place in their culture and art. Handwoven
products made by the Kormanj people of North
Khorasan are among the indigenous arts of this region.
For the Kormanj, bread has always been especially
important as they believe that bread is blessed food
and the main source of sustenance. So, women of the
Kormanj nomads made special cloths to keep bread in
them. Those cloths are now known as Kurdish tablecloth
kilim. Originally used to store bread, today they are often
used as rugs or decorative works of art.
Kurdish tablecloth kilims have a variety of designs
and motifs. Patterns are often formed in the minds of
their creators rather than being pre-designed. The main
creators of Kurdish tablecloths are women and girls
who are inspired by the natural world. Although today
some weavers do not adhere to old patterns and weave
newer ones due to changes in lifestyle, in most cases,
the patterns are still reminiscent of the early nomadic
lifestyle in this region. Once nomadic, they designed
these motifs based on the nature and what they saw
around them. Now that they have settled in one place,
they have moved further away from the original designs,
but some of those designs are still visible.
Semantically, the motifs of Kurdish tablecloths are
derived from the beliefs of the previous generations and
express the cultural concepts of a nomadic society with
a visually coherent structure. There are four groups of
geometric, plant, animal and human designs. Animal
motifs are more frequent than the others, due to the
nature of the nomadic lifestyle. Nomadic dependence
on animals is a necessity of their lifestyle and this is
reflected in Kurdish tablecloth motifs. Animal motifs can
take abstract forms like butterflies, symbolic forms like
a ram’s horn and naturalistic forms that depict different
domestic and wild animals. Among the human motifs,
pictures of girls appear more often, mainly because
women and girls have often been the weavers of these
tablecloth kilims. In terms of style, the patterns can be
divided in two categories of abstract and naturalistic
styles. Although old designs and motifs are changing due
to the change in the people’s lifestyle in North Khorasan,
most of the motifs and designs are still the same as the
old ones. The purpose of this article is to introduce the
patterns of Kurdish tablecloth kilim and explain how
they came into being. The data was collected through
field method by conducting interviews and observation.
Adopting a descriptive-analytical approach, different
types of designs were studied and classified.
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