Analysis of Damages Related to Bakhtiari Nomadic Textiles in Contemporary Lifestyle Based on Pierre Bourdieu's Opinions

Applied handicrafts have always been one of the most important products of Bakhtiari tribes in Iran. The nomadic artifacts are regarded as the indigenous ethnic art, which is also important from the perspective of humanities and social sciences as a historical document and a different kind of art. Due to the current changes in nomadic lifestyle, which are mainly occurred due to cultural and social developments and the gap between tradition and modernity, reducing the scope of production and forgetting a large part of the textiles has become inevitable. Therefore, this paper, with the aim of pathology of functional handicrafts of Bakhtiari tribes, seeks to answer the main question: what are the imposed damages and obstacles to life and consumption of Bakhtiari handicrafts in today's lifestyle? The research methodology is descriptive-analytical and the authors benefited from the ethnographic research studies. Its approach is the sociology of art, emphasizing Pierre Bourdieu's theory of consumption and lifestyle, and in this regard, the authors used the theory of "field" and its related components. Data analysis was performed based on content analysis, and the model presentation was performed based on the conducted pathology. Non-probability sampling was performed with the participation of 34 manufacturers, suppliers, consumers and experts, and the information was collected by documentary and field methods. As a result, injuries are directly related to two areas of application and aesthetics (artistic taste), which is influenced by the character of individuals as actors in the field of weaving; as Bourdieu considers the culture of consumption to be rooted in the character and taste of each individual. Indeed, considering the role of cultural capital in lifestyle, in the case of practical handicrafts of Bakhtiari nomads, two groups of pure and dependent activists can be distinguished, which itself needs a third group in order to combine the characteristics of these two groups to be revived the glorious power of nomadic artifacts. Because the third pole from the perspective of cultural capital emphasizes the textures and due to their non-compliance with the criteria of acceptance in target markets and their aesthetic aspects with the tastes of today's world; it was looking for new ideas to achieve both artistic and consumption outcomes.