The role of indigenous beliefs and culture in kilim paintings
The first combination of shapes in the design is manifested in the symbolic images of yin-yang tattooism. Later, the philosophy of Sufism spread the belief in balance in everything. Sufism centers have been established in northwestern Iran since the fourteenth and fifteenth centuries. At the same time, a revival of arts and crafts was created in northwestern Iran; And Sufi thought left a deep impression on their design.
Islam showed limitations in the representation of the face and body and showed interest in the repetition of curves, angles and numbers. The roles and paintings of this period are directly related to religion.
Superstitions, pictorial symbols, and beliefs associated with various paintings change from generation to generation and become more complex, becoming part of indigenous myths and culture. The original meanings disappear and the images remain.
The meaning of this lobbying painting has been forgotten for centuries. But according to the legends, it is a symbol of good luck and causes abundance of blessings in hunting and harvesting crops. he does.
These roles and images have three types of functions: either they are family and tribal beliefs; Or spells to ward off wounds and fortune-telling, or related to the weaver’s aesthetic knowledge.
One of the most common patterns for repelling a sore eye is the red bergamot in the center of the weave, with lines that are crimson in color, indicating the concentration of force in the spell. This type of pattern is also woven in a cloak or robe. At all stages of weaving, awareness of the ghost world prevails, and designs for repelling demons are engraved on tools such as combs and spindles.
The two-headed peacock, which belongs to the Shahsoon and Bakhtiari weaving kilims and is imitated in other regions as well. This Shahsun Khamseh kilim represents Sufi thoughts and is a symbol of a reciprocal and mirror-like world.
The nomads’ wealth is summed up in their tents, animals, utensils, clothes, handicrafts, customs, beliefs and superstitions.
The permanent residence of these people in the villages and the inevitable change in the way of life have turned the tribal traditions, which are closely related to migration, into a stable indigenous rural culture. Over the generations, mysterious beliefs have been passed down from mothers to daughters, and new stories, superstitions, and superstitions have been added to the traditions left by ancestors.
The wishes and desires of the villagers changed over time, and the accumulation of capital through the ownership of land and goods increased the need for happiness and prosperity, and the kilim became a suitable ground for the weavers’ wishes and desires through drawings and charming symbols. These shapes can be seen in the irrelevant drawings of the Qashqai kilim and in the interconnected and frequent motifs of the Shahsoon Baluch handicrafts.