Dissertation for Master Degree (M.A)
Trend: Painting
Dissertation abstract (including summary, goals, implementation methods and results obtained):
How many old crafts have given people the song of ethnic memories in Farah Bakhsh's melody during their lifetime, and now they are dying in old age. Undoubtedly, breaking away from the ethnic memories and neglecting the ancient arts and performances of a nation is a sentence of suspension on the abyss of nothingness. The art of felt industry is one of the oldest handicraft heritages of Iran, specific to Kermanshah province, in which the oldest signs of the ancient arts and craftsmanship of Iranian peoples can be found. On the one hand, by introducing the capacities and capabilities of this art, he prepared the Iranian industry and the ways to revive and reproduce it in today's life and to prevent its extinction, he proposed a new function for it.
Introduction:
Namdmali is one of the traditional arts, used in the nomadic region of Kermanshah, which has existed in this province for a long time and has a history as old as hand weaving. In the past, all kinds of wool covers and underlays, even horse saddles, were made of felt. Currently, it is used for covering such as felt hats, vests, and breeches, and how beautiful the colorful designs of these felts are still visible on the black bottoms of tents and on the shoulders of shepherds. The underlay felts of the area are usually black and white, with white in the background and black in the pattern. Of course, green, red, orange and purple colors are also added to the white background for decoration. The common motifs on the different felts of Kermanshah are: sword, pistol, rainbow, bergamot, saddle axe, tree, sparrow, ram's head, lotus, mountain goat, chicken, pele, and royal jag. Felting is one of the oldest traditional arts of the people of Kermanshah province. It dates back almost to before Islam. Considering that its production is easy and its raw materials are also available to the nomads of the region. It is easily produced and one of the prominent arts of the province. He is considered the king of Kermanshah.
Namd's roles always attracted my attention. Simple and very beautiful and artistic patterns.
How to make felt, choosing wool and arranging the patterns was my first knowledge of the art of financial felt. In the chapters of this research, I dealt with the selection of colors and making self-dyed felts. And in another chapter, I introduced the motifs and the place of these patterns in the life of Kermanshah nomads. I have introduced a number of these examples and finally the conclusions and suggestions. Chapter 1 Generalities 1-1 Statement of the research problem When for the first time man was able to shape the stone according to his will. In fact, he took the first step to split and break materials and search in their hidden structure and finally dominate nature. Gradually, by using these skills, man has looked at his past in a more complex, deeper, subtler and faster manner and has displayed the passing moments of life in the continuity of history. In Iran, the diversity and variety of these works are referred to as folk arts and handicrafts and in a more complex branch called traditional arts, which is very extensive and perfected and covers a wide area. In general, handicrafts are a part of art and industry that by using local raw materials and doing basic work with the help of hand tools at different stages of production, it leads to the manufacture of products that each unit of these products displays the geometric taste and intellectual creativity of its maker, and felt is one of these traditional arts that has been produced in this land for many years, and it can be said that it retains all the characteristics of a native and traditional art. Whether in terms of raw materials, in terms of the manufacturing process, or in terms of the design of motifs and coloring, and if we want to examine this art in terms of its age, it may be safe to say that it is considered one of the oldest handicraft products in Iran. It has been used in different aspects. One of the important things is the resistance of the felt, which is not easily destroyed. The wool is so tangled. which is not easily separated.In addition to its special physical structure, felt has its own importance regarding the beauty of patterns and its production. Considering the special colors and patterns used in Kermanshah felt, I decided to conduct a research on the designs and patterns of Kermanshah felt and I will try to examine the different felts of the cities of Iran so that finally all types of patterns and designs of Kermanshah felt will be investigated. In general, the re-attention and revision of local and regional arts is very important in this era, and the approach to such arts, of course, with a contemporary understanding, can play an important role in the process of creativity and innovation in modern art. 1-3 Research Objectives: An effort to show the designs and patterns of felt, which today few people know well. And to know the history and place of felt and considering that in today's industrial world, carpet and its by-products have been replaced by felt, and these products are mass produced with today's facilities. It is possible to try that felt can also enter the world of industry and finally have mass production. And more importantly, the motifs and designs of this hand art can be rooted and revised if possible, and these motifs can be designed and executed in felt in more specific and modern combinations using the aesthetic achievements of today's visual world. How mankind has achieved the manufacture of felt. And what is the reason for felt's resistance to cold and heat? In addition to its resistance and special material, felt has different roles and designs, which can mean that today's mankind has slowly forgotten its past. And in the meantime, felt has also been subjected to this incident. And why felt is not of interest today. And what can be done to regain its former place in modern life today.
1-5 research methods
Searching and finding research sources, studying documents, books and about the subject and taking notes on the existing findings - and according to the collected forms, I will start to classify the different stages of the research, which I will try first about the background of felt in I will describe Iran and examine the Kermanshah felt in general and the subordinate cities of the province, and the way of using colors and patterns and their difference in construction, design, and coloring will be investigated and researched, and the results obtained will be compared and the conclusions will be drawn. I have not come across it myself.
1-7 analysis method
The method of data analysis is based on the method of analyzing the results obtained from library studies and observation of different felts and interviews with Kermanshah felting professors.
Chapter Two
Overview of Kermanshah Province
Introduction:
Kermanshah has a history. It is deep in the history of Iran. The prominent figure of Biston inscription, the beautiful relief of Taqbestan and the relief of Ardeshir related to the Parthian period and the hunting ground of Khosrow Parviz show the antiquity of this land and the special attention of the past kings to this land, and today Kermanshah has a share in the culture of Iran.
2-1 Geographical location of Kermanshah city
Kermanshahan province, which is located in the west of Iran. It is limited to Kurdistan province from the north, Hamadan province from the east and southeast, Iraq from the west and southwest, and Ilam and Lorestan provinces from the south. In the province of Kermanshah, where large Kurdish people (Kalhar-Zanganeh-Goran-Urami) live, there are both nomadic and settled livelihoods, and mobile housing such as black tents made of local weaves and fixed housing and rural houses are common. It is a survivor of the conversation between ancient Iranians and Aryan tribes, which has rich epic, national, local Kurdish, Surani, and Orami Kurdish literature.