Document Type : Original Article
Authors
1
Assistant Professor, Carpet Department, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran
2
Master student of Islamic Art, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran
Abstract
Traditional arts can be considered as the collection of original, indigenous and popular arts of each country, which have deep roots in the culture and civilization. One of the precious arts in Iran, which has been created according to the climate of each region, is weaving Giveh. Weaving Maliki Giveh is one of the traditional arts produced in Dehaghan, Isfahan province, and has high quality. Unfortunately, the lack of attention to this art due to the ignorance of industrial products has declined the production as well as use of this traditional footwear among people. Therefore, enormous efforts should be made to preserve the aforesaid ancient heritage. Accordingly, the present study aimed at doing in-depth analysis of weaving Giveh in Dehaghan, considering the crucial factors, and proposing appropriate strategies and solutions for development, continuity and having better future of this art. Also, the study seeks to find out the ways to persuade people to learn and produce the above-mentioned art.
This ethnographic research has been compiled using a futuristic approach including descriptive-analytical method. The data analysis was done through library documents. To this end, 20 artists and experts were interviewed by the field and documentary-based method. Accordingly, the qualitative data were also analyzed by deductive method. The finding revealed that four scenarios of Darna hope, Simorgh, IQ son and Little Prince were presented based on six key driving factors.
In the scenario of Darna hope, which showed the unfavorable situation, the lack of awareness of this art and the scarcity of students has led to the isolation of this art and the basic problems in production. Therefore, national media, educational, cultural and economic institutions can play an effective role in raising awareness and creating a culture of this art. In the Little Prince scenario, which showed a more favorable situation, the family can be observed as a key factor in institutionalizing this art, strengthening cultural beliefs and the spirit of self-confidence at all ages. The realization of these factors attracts students and causes the continuation and development of this art and a favorable future can be expected for aforesaid art.
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