مطالعه تطبیقی هنر - صنعت حصیربافی در استان‌های گیلان و هرمزگان

هنر - صنعت کهن حصیربافی به دلیل دسترسی نامحدود به مواد اولیهِ آن در دو استان ساحلی گیلان و هرمزگان، بسیار مرسوم و متداول‌است؛ از سوی دیگر، شاخصه‌های طبیعی، انسانی و مردم‌شناختی، به‌عنوان بستر شکل‌گیری هنر - صنعت حصیربافی در استان‌های یادشده، زمینه مطالعه تطبیقی را فراهم آورده و انجام آن می‌تواند روشن‌کننده نگرش پایدار به طراحی و تولید این دسته از مصنوعات انسانی باشد. نگاه به این‌گونه از تولیدات به‌مثابه یکی از مولفه‌های بررسی و تفسیر اقلیم، اجتماع و فرهنگ هر جغرافیا، نیاز به افزایش نرخ ماندگاری آن‌ها را ایجاب می‌کند که این امر جز با تدقیق در آن‌ها میسر نمی‌شود؛ ازاین‌رو، هدف اصلی این پژوهش، شناخت و تحلیل هنر - صنعت یادشده در استان‌های هرمزگان و گیلان، با درنظرداشتن جغرافیای طبیعی و انسانی آن‌ها است که سبب شکل‌گیری تنوع در روش ساخت، فرم‌ها و عملکرد مصنوعات شده است؛ بر همین مبنا، پژوهش حاضر با روش توصیفی - تحلیلی و مبتنی بر مطالعات کتابخانه‌ای و میدانی شامل مصاحبه با تولیدکنندگان بومی و بررسی تولیدات آن‌ها بوده و درصدد پاسخ‌گویی به این پرسش است که: صنایع مرتبط با گروه حصیربافی در استان‌های گیلان و هرمزگان و در مولفه‌هایی نظیر تهیه مواد اولیه، ابزار، شیوه تولید، نقوش متداول، انواع تولیدات و ابداعات در تولید، دارای چه کیفیاتی هستند؟ نتایج این مطالعه بر تاثیر مستقیم عوامل اقلیمی و فرهنگ بر تداوم، حذف، تغییرات شکلی و محتوایی، ابداعات و تنوع تولیدات صنایع هر دو ناحیه دلالت دارد.

comparative study of mat- weaving art and craft in gilan and hormozgan provinces

abstracthandicrafts as the objective manifestation of popular functional arts with their own original designs have always held a special place as an important factor in the economy of iran. given its elevated status as the second factor in gnp growth, extensive support and guidance policies have been implemented for its development with a range of significant effects. it can be stated that values in arts and culture, together with high value-added and power to earn foreign currency, have transformed handicrafts into ideal products for exports.the quality of iranian handicrafts is entirely influenced by its natural and human geography, and anthropological characteristics. this takes on importance because adopting sociocultural approaches to designing and producing handicrafts and examining the intervention of these products in the context of daily life in any natural and human geography can pave the way for sustainable attitudes towards this industry. as such, the arts and crafts can act as components in examining and interpreting their climatic and geographical regions, beliefs, and local customs. therefore, maintaining local production, craft production methods, as well as form and performance analysis to increase their survival rate and feasibility for exports are vital requirements for the arts and crafts of all regions.light and soft, and at times coarse and rough, wicker weaves made of natural plant fibers have been used for centuries. gilan province, in northern iran, is one region which has benefitted from this. regretfully, vulnerability to the extensively humid climate of the northern regions of iran has meant that few valid documents have remained behind from its nascent days and exploitation. but according to the written sources of the past few decades, it can be said that mat- weaving in gilan province has enjoyed considerable fame and quality. it was produced mainly in the cities of rasht and anzali where marsh plants constitute the main raw material for mat- weaving in this region.mat- weaving is also the most common handicraft of hormozgan province in southern iran, because palm leaves are also another raw material for this craft and found in abundance in this region. the towns of minab, bashagard, and bandar lengeh and its outskirts are important regions for mat weaving, which is mainly carried out by women and girls.therefore, mat- weaving in two provinces on waterfronts - gilan and hormozgan - is one of the oldest and most important handicrafts which are very popular in these regions due to unlimited access to raw materials, providing the basis for a comparative study. this research aims to recognize, analyze, and match the qualities of mat- weaving in these two regions by considering their natural and human geographies. by paying attention to the local similarities and differences and climatic aspects which have given rise to diverse production methods, forms, and functions of these handicrafts, one may endeavor to find sustainable solutions to safeguard and maintain their continuity and promote exports. based on this and to evaluate and analyze the background of the mat- weaving arts and crafts taking shape in gilan and hormozgan provinces against the backdrop of their natural and human geography and the said anthropological characteristics, the present research endeavors to answer the question of: what is the quality of mat- weaving in gilan and hormozgan provinces and its related components such as preparation of raw materials, tools, production methods, popular patterns, range of products, and innovations in production?this is a descriptive analytical research. the library method was used for data collection and field interviews were conducted with local producers to assess their products. data were subsequently compiled in the descriptive-analytical method so that the local geography, human life, and mat- weaving arts and crafts of gilan and hormozgan provinces were initially introduced. in the next stage, research findings were presented by matching the dimensions of this craft in both provinces. these include: production materials, preparation of raw materials, dominant production method, tools used to prepare the raw materials, tools used for weaving, prominent productions, popular patterns, and production innovation.the results suggest that the rawest materials used in hormozgan provinces are “pish”, “pangash”, “sis”, and “kertak”. the rawest materials used in gilan province are “sub”, “li”, “koler”, and “kulus”. the main stages for preparing raw materials include pruning, drying, and soaking in