Preservation and Revival of Iranian Handicrafts: A Case Study of Tabari Chuqa Weaving Art in Mazandaran Province
محورهای موضوعی : Fabric and Cloth History
Fatemeh Aghajani
1
(
Phd student of Art Research, Islamic Azad University, Kish International Branch
)
Mohammad Gorbanian
2
(
Instructor of Textile Sciences, Department of Textile Engineering, Technical and Vocational University (TVU), Tehran, Iran
)
Javad Nouri
3
(
PhD in Clothing and Textile Engineering, Marlik University of Nowshahr
)
کلید واژه: Iranian handicrafts, Weaving process, Hand-woven textiles, Tabari Chuqa weaving art,
چکیده مقاله :
Iranian handicrafts, with their intricate patterns and vibrant designs, are at risk in the modern era. To protect this rich heritage, we must blend tradition with contemporary tastes while staying true to Iranian culture. Clothing is the most obvious cultural symbol and the most important and specific aspect of ethnicity and tribe, which is quickly affected by acculturation phenomena among different societies. In this tapestry of crafts, Mazandarani hand-woven textiles like Chador Shab, Jajim, Galim, and Chugha cloth stand tall. Among them, Tabari Chuqa shines as a unique weaving art in Mazandaran, setting itself apart from Chuqa fabrics made elsewhere in Iran. Unlike the standard felt-making process, Tabari Chuqa weaves its story through intricate techniques. This research delves deep into the Tabari Chuqa production, unveiling its secrets stage by stage. Field research and heartfelt conversations with devoted artisans paint a vivid picture. This study is a beacon for preserving the exceptional cultural legacy woven into Tabari Chuqa art in Mazandaran province, Iran.
Iranian handicrafts, with their intricate patterns and vibrant designs, are at risk in the modern era. To protect this rich heritage, we must blend tradition with contemporary tastes while staying true to Iranian culture. Clothing is the most obvious cultural symbol and the most important and specific aspect of ethnicity and tribe, which is quickly affected by acculturation phenomena among different societies. In this tapestry of crafts, Mazandarani hand-woven textiles like Chador Shab, Jajim, Galim, and Chugha cloth stand tall. Among them, Tabari Chuqa shines as a unique weaving art in Mazandaran, setting itself apart from Chuqa fabrics made elsewhere in Iran. Unlike the standard felt-making process, Tabari Chuqa weaves its story through intricate techniques. This research delves deep into the Tabari Chuqa production, unveiling its secrets stage by stage. Field research and heartfelt conversations with devoted artisans paint a vivid picture. This study is a beacon for preserving the exceptional cultural legacy woven into Tabari Chuqa art in Mazandaran province, Iran
[1] Sh, Renjdoost, " Iran's Clothing History", Tehran, Jamal Honar Publications, 2008, p. 38- 160.
[2] M, Gheibi, "eight thousand years history of clothes of Iranian peoples", Tehran, Hirmand Publications, 2009, p.422-425.
[3] J, Nouri. "Textile Design and Weaving" Tehran: Jamal Honar Publications, 2017.
[4] J, Nouri, " Chuqa Fabric of Tabarestan: An Art on the Verge of Forgetting". Manamad Tehran Fashion Magazine, 2015.
[5] D, Dadvar ," Chuqa-weaving: Upper Garments for Bakhtiari Men". Honar-e Eslami, 2016.
[6] H, Yavari, "A Review of Traditional Handwoven Textiles in Iran". Nasaji Emrooz, 2014.
[7] H. R, Soluki, "Local clothing of different ethnic groups of Iran", Rasht, Shahr Baran Publications, 2007, p. 151-170.
[8] S, Rezaei, "Mazandaran traditional socks and the influence of local culture on decorative motifs". Ardakan: Ardakan Science and Art University, 2017.
[9] N, Pakzad, "Mazandaran village handicrafts", Sari, Single academic jihad, 2013
[10] C, Rezaei, "native handwovens of Mazandaran province; with emphasis on the east and center of Mazandaran". Iranian People's Culture Quarterly. No. 57 and 58, 1389.
[11] J, Ziapour, "Iranian clothing from the earliest times", Tehran, Ministry of Culture and Arts publications, 1968, p. 107.
[12] Sh, Bozorgmehr, "5000 years of clothes history of men and women of the world", Tehran, Toos Publications, 2009, p. 433-438.
[13] F, Talebpour, "History of Textiles in Iran", Tehran: Al-Zahra University Press, 2013.
[14] M, Rostami, " Sawadkoh Hand Woven Fabrics", Tehran: Art Academy, 2016.
[15] G, Rezaei, "handicrafts of Mazandaran province, research report", Sari: Audio and Television Research Unit of Mazandaran Center, 2019.
[16] R, Mohammadi, "the course of history and developments in clothing in Iran from prehistoric times to contemporary times", Tehran, Jamal Honar, 2017, p. 112-253.
[17] H, Hijazi Kanari, Mazandarani words and their ancient roots, Tehran, 1347.
[18] MB, Najafzadeh, Mazandarani Dictionary, Tehran, 1368, p 147.
[19] M, Berari,"a research on the originality of the design, color and composition in the Matkazin rug in order to introduce and the necessity of re-creation", the first international conference of arts and industries in Iranian-Islamic culture and civilization with an emphasis on forgotten arts, 2016.
Preservation and Revival of Iranian Handicrafts: A Case Study of Tabari Chuqa Weaving Art in Mazandaran Province
Abstract
Iranian handicrafts are facing a risk in the modern age. To preserve this rich heritage, it is important to balance tradition with contemporary tastes while remaining true to Iranian culture. Clothing is a significant cultural symbol and a crucial aspect of ethnicity and tribe, which can be easily influenced by acculturation among different societies. The article discusses the unique weaving art of Tabari Chuqa in Mazandaran. It stands out among other Mazandarani hand-woven textiles such as chador Shab, Jajim, rug and Chuqa cloth. Unlike Chuqa fabrics made elsewhere in Iran, Tabari Chuqa uses intricate weaving techniques instead of the standard felt making process. The research provides a detailed account of the production process of Tabari Chuqa, based on field research and conversations with skilled artisans. This study aims to preserve the exceptional cultural legacy of Tabari Chuqa art in Mazandaran province, Iran.
Keywords: Iranian handicrafts, Weaving process, Hand-woven textiles, Tabari Chuqa weaving art.
Fabric production has been closely intertwined with human progress throughout history. Early civilizations, such as those in Iran, utilized natural fibers like wool, linen, and cotton, and employed rudimentary manual spinning and weaving tools to craft textiles for various purposes. Archaeological findings provide compelling evidence of the presence of this ancient craft in the Iranian context. The Iranian Plateau's inhabitants are renowned for their weaving and fabric production skills, having gained intrinsic and experiential knowledge in this art [1][2].
Despite the widespread industrialization and mechanization of fabric production processes in the contemporary era, traditional weaving techniques continue to thrive in Iran. This enduring tradition is a testament to the fusion of artistry and the accumulated wisdom of generations of traditional weavers [3].
Chuqa cloth is a significant hand-woven fabric in various regions of Iran, including Mazandaran, Kermanshah, and Lorestan. It is commonly worn as an upper garment by rural men and nomads in Iran. The language used in this text is clear, concise, and objective, with a formal register and precise word choice. Chuqa is a traditional upper garment worn by rural men and nomads in Iran. It is produced in regions such as Mazandaran, Kermanshah, and Lorestan. It is important to note that this improved text adheres to the desired characteristics of objectivity, comprehensibility and logical structure, conventional structure, clear and objective language, format, formal register, structure, balance, precise word choice, and grammatical correctness.
The distinctive short sleeves of the Chuqa make it easily recognizable. Although traditionally made from wool fibers, Chuqa fabrics have gained popularity among urban dwellers, especially in various ceremonial contexts. Although traditionally made from wool fibers, Chuqa fabrics have gained popularity among urban dwellers, especially in various ceremonial contexts. No changes in content have been made. However, various production methods and techniques are used in different regions of Iran, resulting in a range of production processes.
2. Experimental
2.1. Materials and method
Wool, abundant in rural and mountainous areas, is the main fiber used in hand-woven textiles. There are two types of wool: spring wool and autumn wool, with spring wool being considered finer. Wool occurs naturally in white, gray, brown, and black. The traditional weaving machine in Mazandaran is divided into two or four rows according to the number of warps, and is known as Pachal, Kechal, or Kerchal in different regions. Chuqa weaving employs the 'back and forth' rule to move the warps, resulting in a checkered or seven-eight shape. Chuqa is a hand-woven wool fabric used for men's tops, blankets, or coats. Known for its strength and heat retention, Chapari is hand-woven with cotton warp and wool weft, dyed with natural dyes. The spinner, known as Chel Chi, spins the wool and recites poems that reflect her love and faith in the work.
2.2. Mazandaran Chuga fabric:
Chuqa fabric is a hand-woven textile that is indigenous to several provinces in Iran, including Lorestan, Kermanshah, and Mazandaran. The production of Chuqa fabric in Iran employs two distinct methods, with the primary raw material being sheep wool. It is worth noting that the Chuqa fabric produced in the Mazandaran region differs significantly from the Chuqa fabric originating in other provinces. The Mazandaran Chuqa fabric is distinguished by its multifarious construction, which involves weaving a warp thread and a weft thread to create a taffeta design. This categorizes it as a warp-weft fabric. In contrast, Chuqa fabrics from other provinces are made using a wet felting process, resulting in felt-based textiles [10]. The fabrics that are not from Mazandaran and are used for various applications, including clothing items like shepherd's shoes, are different from the warp-weft Mazandaran Chuqa fabric in both production process and final application [11].
3- Stages of preparation and production of Mazandaran Chuga fabric
3.1. Spinning process and yarn preparation
The production of Mazandaran Chuqa cloth involves a meticulous process that starts with the careful selection of freshly harvested wool, especially lamb's wool, due to its superior delicacy and quality. Lamb's wool is preferred because of its finer texture, which results in a less coarse and more refined woven fabric [12].
The yarn preparation phase begins with a series of preparatory steps on the wool fibers. The wool fibers are first sorted using specialized scissors and then washed thoroughly to remove any residual fat and dirt. After cleansing, the fibers are left to dry before proceeding to the next stage [13].
Once the fibers are dry, a comb-like tool is used to carefully align and organize them, setting the stage for their subsequent transformation into woolen yarn. The aligned fibers are then converted into woolen yarn using a manual spinning tool called a 'yarn machine' (see Figure 1). The smooth and uniform texture of the final product depends on the skill and experience of the craftspeople involved. Precision and consistency are crucial throughout the spinning process, as any deviation in the diameter or tension of the spun wool yarn can result in an uneven texture in the woven fabric, characterized by irregularities.
Figure 1. Reed and yarn for spinning wool fibers (Image from the authors)
Chuqaa cloth production uses only wool fibres for weft, which are meticulously prepared using hand spinning tools as described in the previous section. The prepared weft threads are then wound and packaged into units called 'bobbins' (see Figure 2). These are then ready for use on the loom [14].
Figure 2. Bundles of weft yarn for making Chuqa fabric (Image from the authors)
The warp yarn is a crucial component in the cloth-weaving process. It is typically made from cotton fibers, although synthetic fibers are sometimes used. Before beginning the weaving procedure, meticulous preparations are undertaken. These preparations involve determining the warp leads according to the desired fabric width and the dimensions of the weaving reed. The wooden warps of the weaving loom are then threaded.
These harnesses have a vital purpose in maintaining separation between individual warp threads, preventing any unwarranted wear and friction. They are wound around wooden components called 'harnesses' which determine the length of the threads and, consequently, the length of the woven fabric. Furthermore, the width of the fabric is affected by the width of the warp yarns (see Figure 3).
The threads are then carefully threaded through the teeth of the weaving comb. The loose ends of the threads are grouped into bundles of sixteen and tied firmly to a stick. This preparatory stage is crucial to ensure correct warp alignment and tension, which facilitates smooth and accurate weaving [13].
Figure 3. A view of the warp yarn preparation process(Image from the authors)
3.4. Chuqa fabric weaving operation
Mazandaran Chuga is woven on a traditional Kerchal loom after the fibers have been harvested and the wool threads have been spun. The weft thread packages are prepared and the weft process is performed before the fabric is woven.
Two types of Kerchal machine are used: standing and pit.A pit kerchal has the same nature as a standing kerchal, but it differs in that it is connected to the ceiling of the room through tools, whereas a standing kerchal is not.To install a pit kerchal, a hole must be made in the ground and the pit kerchal must be installed in it. The components of a Kerchal knitting machine include a wooden harness with thread. The machine uses spun wool yarn, to which beeswax is applied during spinning. This creates a texture that is attached to the wood, allowing the warp yarn to pass between the harness threads.
The Cho handle is a tool used in two parts: first, the weaver pulls the fabric towards them after weaving a few rows, then collects the fabric. Secondly, the tension of the wire leads must be maintained and controlled using the Matitek tool [4].
This tool holds the edges of the fabric and pulls them outwards during weaving to prevent them from gathering. Matitek is the modern equivalent of the temple used in weaving machines today (see Figure 4).
Figure.4 A view of the Mititek Machine (Nouri, 2017)
The term 'Pelti' refers to the pedal located under the weaver's foot that enables the vertical movement of the warps when adjusting the loom's aperture.
'Salam Aleik', on the other hand, is an accessory that connects the various pedals and harnesses in the weaving apparatus. The thread 'Hawa Ta' is closely associated with the 'Salam Aleik' instrument (see Figure 5). Finally, Hua Chu is responsible for interconnecting Salam Aleik and Huata yarn during the weaving process [15].
Figure.5. View of Hawa cho, Havata, Salam Aleik (Nouri, 2017)
The weaving process is essential in fabric production, involving several key components and steps. The weaving reed, a comb-like tool, plays a critical role in separating and spacing the warp threads, guiding the shuttle's motion, and pushing the weft threads into place. After each weft thread is inserted and a row of weaving is completed, the reed is used to gently compress the weft yarn against the fabric's edge, maintaining the desired fabric density. The shuttle, an essential tool for guiding the weft thread through the gaps between the warp threads, ensures a smooth weaving process. The spool, a repository for the woolen thread, facilitates its controlled release during weaving. The 'Kharposht cho' stick serves as an intermediary component between the yarn of the 'kerchal' and the weaving harness, regulating and facilitating the movement of the yarn in the weaving apparatus. The 'Pletti Cho' stick is connected to the pedal, playing a crucial role in the weaving process.
Picture 6. A view of the traditional Kerchal weaving machine (Nouri, 2017)
Chuqa fabric is woven using a combination of predominantly cotton warp and wool weft threads to maintain the unique qualities of the textile.
This intricate process requires the expertise of a skilled weaver and takes approximately three months to complete. The width of Chuqa fabric is limited to around 40 to 50 cm due to the use of traditional weaving machinery, which restricts the width of the weaving shoulder. Additionally, the use of sheep's wool in the composition of Chuqa fabric provides therapeutic benefits that may help alleviate conditions such as rheumatism. In addition, wool gives Chuqa fabric versatile properties, making it suitable for year-round use due to its smart textile-like characteristics. It can regulate body temperature in response to environmental conditions, keeping the wearer dry in hot weather and providing warmth in colder climates, effectively functioning as an insulating garment [4].
Chuqa fabric is used in various forms, including trousers and suits, as well as clothing. Its natural colour comes from the wool fibres, resulting in a palette of colours such as white, milky white, black, brown, and light brown, giving Chuqa fabric a distinctive and natural colour profile [16].
3.5 Place of Chuka Weaving in Clothes and Fabrics Design
The ancient Iranian weaving tradition, as seen in Mazandaran’s precious textiles, is a fundamental part of human artistic activity in handicrafts. This art, deeply embedded in Iran's history, faces extinction despite its rich cultural significance. Few artisans persist in maintaining this heritage, known for its coarse woolen 'Chuqa' fabric. Historically central to community and family life, handcrafted textiles are now overshadowed by technology and industrial production, risking complete obsolescence. Efforts to explore and document traditional Mazandaran textile techniques aim not only to preserve this craft but also to rejuvenate its appreciation among modern generations.
4. Conclusion
Traditional Iranian weaving, exemplified by the exquisite cloth of Mazandaran, boasts a rich and ancient heritage deeply intertwined with the country's history. The dedicated artisans who have woven the fabric of their existence into this art have diligently preserved it over generations, ensuring its continuity for the future. However, it is disheartening to note that this once-thriving art form is now on the verge of extinction, with only a handful of passionate artists striving to keep it alive.
The fabric of Mazandaran represents one of Iran's original and captivating art forms. Regrettably, the dwindling number of artists who have upheld this tradition has led to its gradual decline, and the risk of its complete disappearance looms ominously. Therefore, our endeavor to delve into the intricacies of traditional Mazandaran cloth weaving aimed not only to analyze its preparation and production methods in great detail but also to introduce this remarkable art to the contemporary generation. By doing so, we hope to revive and rejuvenate this treasured cultural legacy, ensuring its continued appreciation and utilization in the modern world.
Few artisans are persisting in maintaining the ancient Iranian weaving tradition, which is a fundamental part of human artistic activity in handicrafts and is deeply embedded in Iran's history, as seen in Mazandaran’s precious textiles. Despite its rich cultural significance, this art faces extinction. Handcrafted textiles, historically central to community and family life, are now overshadowed by technology and industrial production, risking complete obsolescence. Efforts to explore and document traditional Mazandaran textile techniques aim not only to preserve this craft but also to rejuvenate its appreciation among modern generations.
5. References:
[1] Sh, Renjdoost, " Iran's Clothing History", Tehran, Jamal Honar Publications, 2008, p. 38- 160.
[2] M, Gheibi, "eight thousand years history of clothes of Iranian peoples", Tehran, Hirmand Publications, 2009, p.422-425.
[3] J, Nouri. "Textile Design and Weaving" Tehran: Jamal Honar Publications, 2017.
[4] J, Nouri, " Chuqa Fabric of Tabarestan: An Art on the Verge of Forgetting". Manamad Tehran Fashion Magazine, 2015.
[5] D, Dadvar ," Chuqa-weaving: Upper Garments for Bakhtiari Men". Honar-e Eslami, 2016.
[6] H, Yavari, "A Review of Traditional Handwoven Textiles in Iran". Nasaji Emrooz, 2014.
[7] H. R, Soluki, "Local clothing of different ethnic groups of Iran", Rasht, Shahr Baran Publications, 2007, p. 151-170.
[8] S, Rezaei, "Mazandaran traditional socks and the influence of local culture on decorative motifs". Ardakan: Ardakan Science and Art University, 2017.
[9] N, Pakzad, "Mazandaran village handicrafts", Sari, Single academic jihad, 2013
[10] C, Rezaei, "native handwovens of Mazandaran province; with emphasis on the east and center of Mazandaran". Iranian People's Culture Quarterly. No. 57 and 58, 1389.
[11] J, Ziapour, "Iranian clothing from the earliest times", Tehran, Ministry of Culture and Arts publications, 1968, p. 107.
[12] Sh, Bozorgmehr, "5000 years of clothes history of men and women of the world", Tehran, Toos Publications, 2009, p. 433-438.
[13] F, Talebpour, "History of Textiles in Iran", Tehran: Al-Zahra University Press, 2013.
[14] M, Rostami, " Sawadkoh Hand Woven Fabrics", Tehran: Art Academy, 2016.
[15] G, Rezaei, "handicrafts of Mazandaran province, research report", Sari: Audio and Television Research Unit of Mazandaran Center, 2019.
[16] R, Mohammadi, "the course of history and developments in clothing in Iran from prehistoric times to contemporary times", Tehran, Jamal Honar, 2017, p. 112-253.
[17] H, Hijazi Kanari, Mazandarani words and their ancient roots, Tehran, 1347.
[18] MB, Najafzadeh, Mazandarani Dictionary, Tehran, 1368, p 147.
[19] M, Berari,"a research on the originality of the design, color and composition in the Matkazin rug in order to introduce and the necessity of re-creation", the first international conference of arts and industries in Iranian-Islamic culture and civilization with an emphasis on forgotten arts, 2016.
