نویسندگان
گروه پژوهش هنر، دانشگاه شاهد، تهران، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Balochi embroidery, as one of the indigenous and deeply rooted arts of Balochistan, is characterized by symbolic diversity, distinctive stitching styles, and richly decorative motifs that reflect centuries of cultural practice. The extant examples housed in the Powerhouse Museum, Australia, and attributed to Pakistani Balochistan, exhibit technical and structural features that closely resemble the embroidery style traditionally practiced in the village of Kalleh Gan, Iran. This study therefore aims to authenticate the origins of these works, identify their cultural and ritual functions, and analyze the structural and technical patterns of the Saok Porkar stitch, while also exploring similarities and differences between the two traditions and examining their underlying causes in relation to historical, social, and cultural factors. The research addresses three central questions: 1. What are the structural and technical similarities and differences of the Saok Porkar stitch between the Kalleh Gan samples and those in the Powerhouse Museum? 2. What are the reasons for these observed similarities and differences? 3. How credible is the claim of a Pakistani origin for the Powerhouse Museum's artifacts when compared with samples of Baloch embroidery from Kalleh Gan, Iran? The study employs a comparative methodology. The findings indicate that the Saok Porkar stitch in both the Kalleh Gan and Powerhouse Museum collections shares notable structural and technical similarities, including backstitch execution, counted-thread technique, and the repetition of the three-stitch motif. Nevertheless, differences are evident in motif composition, diversity, and color schemes. The results demonstrated that the discrepancy between the Siah-o-Spīt and Paraeez embroidery techniques on the museum specimens and the contemporary styles prevalent in Pakistani Balochistan indicates that the artifacts in the Powerhouse Museum originated from Kalleh Gan, Iran. Furthermore, certain motifs, such as the pomegranate, have evolved from serving as ritual symbols to fulfilling a purely aesthetic function.
کلیدواژهها [English]
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