All about Bardsir carpet in Iran
Bardsir carpet is one of the rural and nomadic style weaves that is woven in Bardsir region located in the southwest of Kerman province in the southeast of Iran. Carpet-woven / embroidered / carpet-woven, this area is often made with a full-length technique with a Turkish / symmetrical knot and some – especially villagers – with a semi-lol technique with a Persian / asymmetrical knot and often with two wefts – in recent centuries, often made of cotton and Wool’s past – one is thick and the other is thin, although some weaves are woven. Weaving is usually used on carpets that the weaver has a commercial look at. However, due to the diversity of the people in this region and the influence of the firms – including the design, role and technique of weaving between them – on the texture of the weave, a fixed definition cannot be provided. Vase, Stacked Vase, Lampayi, Samavari, Beef / Avari Poison, Manbar Toranj, Heshmat, Langeri Baldar, Issa Khani and Tree of Common Designs and Red Spectacle, Brown, White, Yellow Spectrum, Blue Spectrum, Surmeya, Black, Green Spectrum The common colors of the carpet are Bardsir.
So far, no comprehensive research has been done on the hand-woven tribes and clans of the Bardsir region and the Shahr-e-Babak region, apart from the book Afshar (hand-woven of the southeastern tribes of Iran) by Parviz Tanavoli, who has a different approach to this collection.
During the Qajar period, Ahmad Ali Khan Vaziri named the scattered tribes in the Bardsir region as follows: “Ghoraba, a resident of Sughurkadosreh, a hundred families, a black man living in Bidkhoon, Sargdari, twenty families, Bodui Kuh-Panjdjkosreh, Badui Yawi, Yawi, Khaneh Sorkh Askar-e-Sirjani, Ghiasi, Deh-e-Khanvar, Hafezi, resident of Lalehzar, 100 families, Zawat-e-Ali Qala-e-Askar, S-Khanvar, Sarnak Kuh-e-Panj, 50 families, Bedoui Qala-e-Sangi, 200 families, Lori Jaz-e-Esfandeh, Arab House Miscellaneous living in Bardsir: Poshtkuhi, eighty families, Kamacheh, twenty families, Ahmad Batri [Ahmad Nazari] Uncle, one hundred families, Afshar Sarjalil living in Madun, one hundred and fifty families, Lori living in Kuh-e Panj, two hundred families, Masoumi living in Kuh-e Panj, one hundred families. Mastani, Mazang, Yakoudi, Siahjjal, Zalaleh, Azaja, Sheykhokuh Sefidi, etc. have also been mentioned. And the mentioned tribes have no information. Bardsir is one of the well-known areas in hand-woven nomadic, rural and urban weaving. Today, the tribes and tribes of Bardsir – in this study, of course, most of the tribes and clans of the weaver are considered – including Qarai, Ghorba, Lori Kuhpanji, Afshar, Jabalbarz / Jabalbarzi, Kuchami / Kochmi, Baloch, Khajoui, Kumachi Sanjari and Lemani, Ayeneh, Bakhtiari; Independent tribes of Sistani Badawi, Arab Badawi Kuhpanji, Badawi, Qutlu, Amiri Kuhpanji, Ra’inipur, Goodari, Noshadi, Naderi, Zahedi and Shaheidari, Seyyed Mansouri, Askar Sirajani and Iayr Einlat Rashin Einesh Ain Bin Ain and some other tribes and clans Can be considered. The tribes and clans in different parts of the city, including the villages of Kuh-e Panj, Qala-e-Askar (common border of Bardsir and Baft), Lalehzar, Golzar, Shirink, Negar and Meshiz – at a not-so-distant time – have resorted to summer and winter, but with some resources, They settled in areas such as Lalehzar, Golzar (Qarait al-Arab), Askar Castle and Negar, and the city of Bardsir itself.
The multiplicity of tribes and clans, and in proportion to the diversity of culture, beliefs, tastes, arts, tastes, initiatives and creativity of weavers in the Bardsir region, has led to the diversity of many designs and roles; Most of the designs that are embossed on their handicrafts are a kind of crystallization of the ideas, art, culture and identity of the nomads of the same region.
Handmade – especially rugs and rugs – Shahrbaf Bardsir, along with nomadic and rural handicrafts, shows the skill and wide vision of the weavers of that area. And … they are famous. During the field research, I came to the conclusion that; Over time, many tribes in the region have become acquainted with urban culture, weaving rugs in the style of urban weaving, including Golzar (Quraita al-Arab), Lalehzar, Negar, and Qala-e-Askar (almost the closest areas to Kerman).
In the past, the art of weaving in this area was more for their normal needs or for self-consumption, but it has gradually taken on a commercial aspect (earning money); Unfortunately, after the recession in the carpet export market in recent decades, the proportion of hand-woven production in the region has declined.
According to a field study, the tribes of Ghorba, Qarai, Jabalbarzi, Afshar, and the independent tribes of Goodari, Seyyed Mansouri, Amiri Kuhpanji, and Sistani Badboui are the best hand-woven nomadic and rural weavers in the region.
The most important projects whose names are used to identify the area and the nomads are: Samgavi, Achari, Poshtari, Barg-e-Anjiri, Tak-e-Pik, Golkani-e-Estakani and Bat-e-Abai.
In Ghazni, Gazgard, Tuilehchman, Godarkhoon (house), Sorkh, Dehlarz, Kuh-e Panj, around Sarpol, Baghbazm, Surkhan, Qala-e-Askar, Dishgan, Bidkhwan, Lalehzar, Sughurk, Tarshati Tandabat, and Qarqatfay are the best Arab.
In general, the “handicrafts of the tribes and clans of this region, except for the hand-woven Shahrivar weavers,” woven horizontally by women and girls mentally, have been woven all over in the past and woven with wool and cotton in recent centuries. Carpet-woven / embroidered / carpet-woven, this area is often made with a full-length technique with a Turkish / symmetrical knot and some – especially villagers – with a semi-lol technique with a Persian / asymmetrical knot and often with two wefts – in recent centuries, often made of cotton and Wool’s past – one is thick and the other is thin, although some weaves are woven. Weaving is usually used on carpets that the weaver has a commercial look at. However, due to the diversity of the people in this region and the influence of the firms – including the design, role and technique of weaving between them – on the texture of the weave, a fixed definition cannot be provided. These carpets are woven from the Shahr-e-Baf carpet in the same area with a lower number – between thirty and forty ridges – and in smaller dimensions. Needless to say, In Afshar, Buchakchi, Jabalbarazi and Mahni tribes, carpets up to 3 × 2, 4 × 3 and 5 × 4 m have been woven for you.
Cecil Edwards writes; “In general, Afshari rugs (like most Iranian nomadic weaves) are integrated. However, from time to time, a person may come across carpets that have been woven on two legs. ” Of course, this statement of Edwards is more true in the past; Most of the weaves of the last decades of Afshar tribe are two-legged and sometimes three-legged. “If, after the wool weave is finished, a relatively thick cotton weft is used and then a thinner thread is placed, it is called a dope, and if after a thin weave the cotton wears a thick thread again, it is called a weft.” Also, the strength of the three-phase tissue is greater than the two-phase.
In the same vein, Peter F. Stephen wrote: “Afshar weaving carpets are double-edged and have a blue-cotton texture. “Cotton and wool yarns – both – can be seen on Afshar carpets.” But Parviz Tanavoli wrote; “Afshars, like most Zagros residents, turn their fabrics red. This color sometimes fluctuated to a slight pink and sometimes to a brownish brown. However, the number of Afshari carpets woven with unpainted fabrics (mostly cotton and sometimes wool) is not small. The watermelon carpet is the work of Shahr Babak or the villages around Kerman. This statement of Tanavoli can be seen in most of the weaves of this region today; The reason for using red tonality in that area – according to Afshari weavers – is the durability of this type of paint and the availability of dye.
In general, Glimineh / hand-woven weaving in this area is woven with the technique / methods of facade weaving / simple weaving / weaving, suspended weave, single weft, pair pair, extra weave / extra weave, milk weaving / twist weaving, weaving and reverse weaving, weaving. Some of the small woven fabrics and fabrics of the independent tribes and clans of this region are given in this collection, but the kilims of Kerman province are researched in a separate volume by the author and will be published in the near future.
