تحلیل بصری-مفهومی کاربست نگاره های فرش قم در معماری داخلی فضاهای نمایشگاهی
آرشیو
چکیده
هنر فرش بافی ایران، به ویژه فرش قم، به عنوان یکی از ارزشمندترین نمودهای هویت فرهنگی و هنری این سرزمین شناخته می شود؛ اما تحولات صنعتی، فشارهای اقتصادی و رقابت بازار جهانی موجب تضعیف جایگاه آن و فاصله گیری از اصالت های طراحی شده است. در این میان، بازتعریف شیوه های معرفی و نمایش فرش در فضاهای نمایشگاهی، می تواند به احیای جایگاه فرهنگی و اقتصادی آن کمک کند. مسئله اصلی پژوهش حاضر، شناسایی و تحلیل مؤلفه های بصری و مفهومی نگاره های فرش قم و بررسی امکان بازآفرینی آن ها در معماری داخلی نمایشگاه هاست، به گونه ای که تجربه ای فرهنگی و روایی فراتر از کارکرد تجاری برای بازدیدکنندگان فراهم آید. پژوهش با رویکرد کیفی و روش تحلیل محتوای متنی و تصویری انجام شده است. در گام نخست، منابع علمی و اسناد تخصصی در سه مرحله کدگذاری باز، محوری و انتخابی تحلیل شدند. در گام دوم، شش نمونه شاخص فرش قم با نرم افزار MAXQDA بر اساس کدهای استخراج شده بررسی شد و شاخص های چند معیاری مانند ضریب جاکارد و فاصله اقلیدسی برای سنجش شباهت و تمایز الگوها به کار رفت. یافته ها نشان داد که عناصری چون ترکیب بندی مرکز گرا، تقارن، ریتم تکراری، نقوش گیاهی و هندسی، و رنگ پردازی نمادین، ظرفیت بالایی برای ترجمان فضایی در طراحی نمایشگاهی دارند. بر این اساس، مدل مفهومی پژوهش، فرش قم را به عنوان رسانه ای چندلایه معرفی می کند که علاوه بر زیبایی بصری، حامل هویت فرهنگی و مفاهیم معنایی است. در نهایت، راهکارهایی همچون سازمان فضایی مرکز گرا، استفاده از پس زمینه خنثی، نشانه گذاری الهام گرفته از نقوش سنتی، نورپردازی لایه ای و طراحی تجربه های تعاملی پیشنهاد می شود که میتواند به باز آفرینی نقش هنر های سنتی در طراحی معاصر و تقویت ارتباط میان مخاطب و میراث فرهنگی بینجامد.Visual–Conceptual Analysis of the Application of Qom Carpet Motifs in the Interior Architecture of Exhibition Spaces
Introduction: The clothing of any tribe or nation has a significant impact on their cultural and social life; it can be considered the most important distinguishing component of ethnic and social groups. The ancient land of Iran is regarded as a rich and unparalleled treasure in the field of traditional clothing, due to its numerous ethnic groups with diverse indigenous and religious customs. In this regard, in all civilizations, it has been important for a person's head to be covered with a hat or other covering. Regardless of the possible spiritual aspects of covering the head, the protection of the head against external factors (heat, cold, and accidents) has led to the formation of the main Iranian clothing called the headscarf (or hat). Unfortunately, with changing lifestyles, the entry of the fashion industry, and advances in technology, many people's taste in wearing modern clothes has increased. This could be a warning sign for the loss of Iranian clothing heritage. Hence, to preserve the clothing heritage and native arts, this study introduces the sewing method of a money hat (or Kolouteh), which is produced in the Chenesht of South Khorasan Province. This traditional and decorative headscarf has been considered due to its historical background from the past to the present. The importance of this art among the women of Chenasht village is so great that even after many years and the arrival of modern and Western clothing, it still has a living production. This paper aims to find appropriate answers to these important questions: What is the sewing method of a money hat in Chenesht village? What effect do geographical, cultural, and social parameters have on the continued production of the hat?
Methods: This research is based on library sources and field observations in Chenesht village, Sarbisheh County, South Khorasan Province. The field study process involved interviewing master artists and taking photographs while they were working. In addition, the criteria for selecting artists were based on their work experience and skill. It is worth noting that the intangible heritage file of the skill of sewing a money hat has been registered under number 2229 by the authors at the Registration of the Cultural Heritage, Handicrafts and Tourism Organization.
Results: The money hat is generally made of fabrics (such as cotton, silk, and patterned velvet) in various colors (i. e. green, red, blue, black, and pink), along with silver coins or gold coins of different sizes. This multi-layered hat covers from the top of the forehead to the top of the neck, as well as the ears. To keep it on the head, it is tied under the chin with two thin bands on both sides of the hat. In addition to its aesthetic aspect, this hat acts as a sweat wick and also protects the head from cold, heat, and possible blows. The steps for sewing this hat include: cutting fabric, lining, coin embroidery, sewing decorations, and pendants. All of the sewing steps are done by the women in the village of Chenasht. Results show that the interest of women and girls has led to the preservation and dissemination of this traditional art in Chenesht village.
Discussion: This traditional art features a beautiful arrangement of old silver coins (belonging to the Safavid, Afshar, and Qajar historical periods) in three rows, proportionate to their size. Also, because the head is the center of attention for every human being, this hat is a suitable place to place evil eye amulet symbols to ward off evil forces. The results show that Kolouteh is not specific to a particular group; however, the type of fabric and decorations used on it can indicate the economic status of individuals. This hat is part of the local clothing of the women of Chenasht village. As girls grow, the hats become larger and heavier, until they reach their most perfect shape on the wedding day. Because silver (or gold) coins are used in sewing this hat, it is like a valuable economic support that teaches girls the culture of saving from childhood. Finally, introducing and promoting indigenous arts is a suitable platform for employment, economic prosperity, and local tourism. In this regard, preserving traditional Iranian subcultures strengthens the sense of belonging to a common goal and social connections.
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