بررسی نقوش گلیم سفره کردی شمال خراسان

دست‌بافته‌های کردهای شمال خراسان ازجمله هنرهای بومی این منطقه است که از گذشته‌های دور استفاده میشد. سفره‌های کردی یکی از انواع دست‌بافته‌هاست و کاربرد اولیه آن محل قرار دادن نان بوده که توسط زنان کوچ‌نشنین کرد بافته می‌شده؛ اما امروزه کاربرد اصلی خود را از دست داده و بیشتر به عنوان کفپوش یا جنبه تزیینی استفاده می‌شود. نقوش سفره‌های کردی اهمیت و تنوع خاصی دارد، از جهت معناشناسی برگرفته از باورهای گذشتگان و بیانگر مفاهیم فرهنگی جامعه عشایری است همچنین از نظر بصری ساختاری منسجم دارد. این نقوش شامل چهار گروه هندسی، گیاهی، حیوانی و انسانی است که نقوش حیوانی بیشتر به کار رفته است؛ چرا که متاثر از زندگی کوچ‌نشینی می‌باشد و در میان نقوش انسانی نیز نقش‌مایه دختر بیشتر دیده می‌شود؛ زیرا زنان و دختران بافندگان اصلی سفره‌هایند. همچنین نقشمایه‌ها فرم‌های انتزاعی و طبیعت‌گرایانه دارند. گرچه امروزه با تغییر در سبک زندگی مردم مناطق شمال خراسان طرح‌ها و نقوش قدیمی در حال تغییرند، عمده نقشمایه‌ها برگرفته از نقوش پیشین است. هدف این نوشته معرفی نقشمایه‌های گلیم سفره کردی و تبیین علل پدید آمدن آنهاست. اطلاعات به روش میدانی (مصاحبه و مشاهده) گردآوری ‌شده و انواع نقوش با رویکرد توصیفی‌تحلیلی طبقه‌بندی و بررسی شده است.

Kurdish Tablecloth Kilim Designs in Northern Khorasan

Iran is home to various tribes and clans, each of whichhas a rich heritage and a mysterious background. Oneof these tribes is the Kormanj people who migrated toKhorasan from the west of the country during the Safavidera and today, with the passage of time and a result oftheir relations with other ethnicities in the region, manychanges have taken place in their culture and art. Handwovenproducts made by the Kormanj people of NorthKhorasan are among the indigenous arts of this region.For the Kormanj, bread has always been especiallyimportant as they believe that bread is blessed foodand the main source of sustenance. So, women of theKormanj nomads made special cloths to keep bread inthem. Those cloths are now known as Kurdish tableclothkilim. Originally used to store bread, today they are oftenused as rugs or decorative works of art.Kurdish tablecloth kilims have a variety of designsand motifs. Patterns are often formed in the minds oftheir creators rather than being predesigned. The maincreators of Kurdish tablecloths are women and girlswho are inspired by the natural world. Although todaysome weavers do not adhere to old patterns and weavenewer ones due to changes in lifestyle, in most cases,the patterns are still reminiscent of the early nomadiclifestyle in this region. Once nomadic, they designedthese motifs based on the nature and what they sawaround them. Now that they have settled in one place,they have moved further away from the original designs,but some of those designs are still visible.Semantically, the motifs of Kurdish tablecloths arederived from the beliefs of the previous generations andexpress the cultural concepts of a nomadic society witha visually coherent structure. There are four groups ofgeometric, plant, animal and human designs. Animalmotifs are more frequent than the others, due to thenature of the nomadic lifestyle. Nomadic dependenceon animals is a necessity of their lifestyle and this isreflected in Kurdish tablecloth motifs. Animal motifs cantake abstract forms like butterflies, symbolic forms likea ram’s horn and naturalistic forms that depict differentdomestic and wild animals. Among the human motifs,pictures of girls appear more often, mainly becausewomen and girls have often been the weavers of thesetablecloth kilims. In terms of style, the patterns can bedivided in two categories of abstract and naturalisticstyles. Although old designs and motifs are changing dueto the change in the people’s lifestyle in North Khorasan,most of the motifs and designs are still the same as theold ones. The purpose of this article is to introduce thepatterns of Kurdish tablecloth kilim and explain howthey came into being. The data was collected throughfield method by conducting interviews and observation.Adopting a descriptiveanalytical approach, differenttypes of designs were studied and classified.