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By H. Kramer, W.E.*
The main
tribes of Iran are: Kurd, Shahsavan, Turkoman, Afshar, Qash q'ai,
Beluch, Bakhtiari, Lor, and Arab. The number of sub-tribes are countless, especially
because different groups of different tribes peoples have been moved into
different areas and thus have evolved differently, though from similar
roots. In the past, all tribes lived nomadic lifestyles where they would
travel from one area to another in search of greener pastures for their animals
to graze. Because of their knowledge of a certain area of land, they were
themselves political forces in Iran and controlled a certain territory. At
times, the central government was weak enough to be overcome by a powerful
tribal chieftain. Thus, the tribes have played an important role in
shaping modern day Iran and contemporary Iranian culture.
Today, some still migrate with the animals in the spring and fall, but many
have succumbed
to the sedentary lifestyle of living in the village and letting
the children attend school. Many of the traditions of the tribes are dying
as the older generation passes away. In some areas, however, life goes on
in much the same way it did a hundred years ago, plus a pick-up truck.
Some families have a house in the village for winters, and then move with the
sheep and horses up to higher ground to spend the summer living in a tent.
All the tribes have their own distinct traditions and culture. When
traveling in Iran, it's easy to distinguish between them because of differences
in clothing, language, hairstyles, hats, and essence.
As to generalizations about tribal weavings, in a perfect world, a tribal carpet would be woven outside, under the stars,
or in a tent erected in summer pastures. The weavers would be beautiful,
young women, dreaming of future husbands and humming along
to the rhythm of combs beating the weft down, and so forth.
In reality, tribal weavings are so diverse, and the traditions from which
they come so distinct, that I resort to three main generalizations. The term "tribal" usually refers to pieces where one
or more of the following
is true:
1) the weaver and the designer are the same person
2) the piece is made in the traditional patterns and colors of a specific
tribe
3) the piece was made, originally, for use by its maker.
In the first case, where the weaver and the designer are the same person,
most patterns were passed down from generation to generation. The more
difficult patterns of curves and flowers would have been too difficult to
remember, so most tribal patterns ended up being more easily memorized patterns,
and, therefore, less complicated. When the weaver and the designer are the
same person, the colors are chosen to the weaver's taste. Because of this, you
often find bits of bright colors thrown into the pattern here and
there. In a world of stone, grass, and donkeys, brighter is always better.
Also, keep in mind that the weavers are from a culture which places
restrictions on what a woman wears and her rights to choose.
In the second case, where the piece is made in the traditional patterns and
colors of a specific tribe, the colors will often be identical to those used in
the past when these pieces were created for use within the tribe. In the
case of Turkoman and Beluch weavings, one traditional design element which is
often repeated is the gol or gul or "flower", also "pattern" or
"design". In past times, you
could identify where the carpet came from just by knowing the gols of that tribe
(similar to the tartans of Scotland). This is still true in some areas
today, but more often different gols and border patterns are borrowed from
different areas to create a certain aesthetic, rather than to identify the tribe
of the weaver.
In the third case, where the piece is originally woven for use within the
tribe, you find pieces made for practical and specific functions: salt bags, bedding bags, saddle bags, storage bags, horse blankets,
camel trappings, and so forth. These pieces often have personal touches
sewn into them for decor and luck such as sea shells or buttons, or anything else the weaver could incorporate as design
elements. I have one bag which has a small lock still locked onto it, for
example.
Tribal carpets themselves almost always have geometric patterns, or the
shapes
are more rectilinear (square) rather than curvilinear (curved). The
main reason is that tribal looms were made so they could be carried from one place
to another, easily, or so that the important pieces could be attached to new
foundations in the new area. It was difficult to build a portable loom on which you
could weave patterns fine enough to achieve actual curves. Even the finest
tribal patterns have a certain boxiness to them, because of the coarseness of
the weave.
But don't discount tribal weavings because they aren't as finely woven as
village or city rugs. Some of the most unique and beautiful weavings in
existence today have their origins out under the stars in the traditions of the
tribes. Many of the most highly sought after and avidly collected textiles
are tribal because no two tribal weavers make anything exactly alike.
Tribal weavings are folk art and are expressions of values, traditions and
craftsmanship which are being swallowed up by rapidly expanding
commercialism. They are beautiful remnants of a disappearing way of
life. More importantly, tribal weavings serve as reminders of a tribal
sense of unity and community so often lost to us here in the West.
I won't hide the fact that tribal weavings are my personal favorites.
For me, they embody the spirit of what weaving ought to be- essential parts of
the treasured processes of life: a bride prepares for her groom by weaving
the pieces of her future household; a granny makes something
special for a
newborn grandchild; a mother sends her son out to seek his fortune sitting on
the most beautiful horse blanket she could prepare; a daughter hand sews her
father's clothes which exude a regal sense of elegance and grandeur.
Tribal weavings echo a pride and deep sense of tribal identity and
belonging. I like the geometric style, the basic designs, and the simple
color combinations and, yes, the bright bits of color. I don't care if
they don't exactly match. I like the dust and the crooked lines. I
even, on some level, like the smell of camp smoke and donkey sweat.
*W.E.- Weaver Extraordinaire
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