Indigenous Knowledge
Samera Salimpour Abkenar; Amir Anvari Moghaddam
Abstract
Traditional spinning and weaving have been formed following the climatic, material, and spiritual needs of different relatives. Generally, the natural resources of each region are selected as the first option for the production of hand-woven textiles. This research introduces a valuable plant resource ...
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Traditional spinning and weaving have been formed following the climatic, material, and spiritual needs of different relatives. Generally, the natural resources of each region are selected as the first option for the production of hand-woven textiles. This research introduces a valuable plant resource called "Malleh cotton", which has been revived and re-cultivated in the Khosf of South Khorasan. Malleh cotton is a kind of soft and brown cotton, which is considered "blessed and holy" by local residents due to its warming properties in winter. The purpose is to preserve the intangible cultural heritage of "the cultivation, traditional spinning, and weaving of Malleh cotton". The most important question of this study is: what is the structural difference between Malleh and white cotton? In order to find a suitable answer to the mentioned question, conventional FTIR and XRD analyses have been used. The research method is based on field studies, interviews, and published documents. The results show that the cultivation method of Malleh is similar to white cotton and it is possible to spin and weave it in a completely manual and traditional method.
Samera Salimpour Abkenar
Abstract
The "color" element in an artwork can beautifully describe deep human thoughts, emotions, and feelings that may not be seen with the eyes. Therefore, the choice of the color palette type in an artwork can reveal the feelings, wishes, and pains of its creator. Hence, assessing the color palettes of artworks ...
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The "color" element in an artwork can beautifully describe deep human thoughts, emotions, and feelings that may not be seen with the eyes. Therefore, the choice of the color palette type in an artwork can reveal the feelings, wishes, and pains of its creator. Hence, assessing the color palettes of artworks can show the aesthetic aspect and the level of color knowledge of the creator of the work. In this research, the color palettes of three samples of traditional Baluch handwoven have been evaluated for the first time using the instrumental method of reflective spectroscopy and Itten's color theory. The results show that the colors identified in the handwoven were obtained by the traditional dyeing method and using local dye plants (Chaghak, Gol-gaz, Nash, Rodang...). In addition, the colorimetric data confirm the color knowledge of the Baluch people, because the color palette of these handwoven had the least amount of color changes over time. In addition, most of the colors used in these handwoven are "warm and pure" primary and secondary colors and they often follow Itten's "contrast and similar" harmony patterns.
