نشریه دانش های بومی ایران
پیاپی 19 (بهار و تابستان 1402)

 he aim of this research is to identify the indigenous knowledge of camel husbandry in the territory of Kalkuyee nomads in Masileh plain of Qom province, who have a long history of camel husbandry in this region. The way of obtaining the data is in the field with the continuous presence of the tribes of the Kalkuyee tribe in the form of interview (question and answer), observation, filming and photography during three years. Also, in addition to individual interviews with native camel herders and nomadic experts, group interviews were also used in order to collect data and gain knowledge about the local knowledge of camel herders. The information has been classified based on convergence and divergence. The findings include indigenous knowledge related to naming, marking, the position of camels, characteristics of good camels, and reproduction among nomads of Kalkuyee tribe. The results of the research in the territory of Kalkuyee nomads showed that they have local knowledge and extensive work experience in camel husbandry. From the local knowledge of camel herders, we come to the conclusion that camel herding has long been a traditional and cultural activity with specific regional characteristics, and with camel herding and traditional life,

Associated with Sistan and Baluchestan Province in Iran, specifically Sarhad and Makran, Baluchi needlework is a prominent form of traditional arts. The purpose of this study was to classify original and frequent motifs found in Baluchi-Duzi (Baluchi embroidery) to discover their symbolic meanings. The central question was how could the motifs in Baluchi needlework be analyzed and thematically classified according to the Iranian traditional arts model. In this descriptive-analytical study, probability sampling was utilized to select Baluchi needlework motifs through field research (observation- and interview-based) and library research (indexing and image analysis). The data were analyzed by thematic classification derived from the Iranian traditional arts model. Examination of forty-four motifs demonstrated that Baluchi needlework motifs are geometrical in the main that can be classified into signify human, animal, plant and object (such as jewelry, everyday items, and places) shapes and components. These represent the realities of the Baluchis’ life and beliefs.

Bisotun plain is located in the west of Iran and many historical monuments from Pre-history to Islamic era have been identified in it. Man's understanding of nature showed itself in the construction of Bisotun Zagehs. The Zagheh was built in the villages of Zolm abad sofla, Bisotun, Kori zageh, Baqerabad and Zaloab. This research aims to answer the above fundamental questions: In which period did the construction of troglodytic architecture begin in Bisotun and how long did their use continue? What were the components and architectural structure of these handholds?. The results of the research show that based on the available evidence in the Bisotun Plain, during the Qajar and Pahlavi periods, the construction of zagheh in the form of handstands was common under village houses and in connection with the village fabric. These underground spaces with an almost similar plan have spaces such as sloping entrances, central space, side spaces, and ventilation, and were used by the villagers of the region to keep livestock in the autumn to early spring seasons. The size and number of spaces depended on the owner's economic status, topographical conditions, the type of soil in the area, and the proximity to empty spaces.

The Qanats of Khorasan were the driving force of two important cultural indicators: knowledge and lifestyle. The knowledge of Qanat included sciences that were based on engineering and geology and were inherited from one generation to the next. On the other hand, around the Qanat, a culture was formed that promoted adaptation to drought, contentment in water consumption, and the benefit of collective work, and it had become the lifestyle of Khorasan people. This culture was alive and dynamic until the beginning of the modern era, but with the entry into the modern era and the decline of the Qanatic civilization, the Qanats of Khorasan were destroyed and its surrounding culture was also destroyed. The present article is limited to the geography of Khorasan in order to deal with more details of the historical developments of the Qanat in one of Iran's Qanat-rich provinces and to obtain a better understanding of the overall issue of the Qanat. The main question is what is the history of Qanat in Khorasan and what kind of culture was it? According to the nature of the subject, descriptive and analytical methods will be used in the evaluation of historical and geographical data.

In 1930, the Etemad Carpet Company was founded in Qazvin, Iran, and by the end of its 11-year run, it had transformed the city’s long carpet-making tradition. This article explores the hallmarks of Etemad carpets in the historical context in which the company operated. Analyzing the designs of the Etemad carpets in the Qazvin Museum suggests that although the company’s weavers came from all across the country, Etemad carpets remained consistently unique and innovative in their designs. Conducted as descriptive-analytical research, the study looked at written sources as well as archival pictures of Etemad carpets, and interviewed experts and scholars. It found that variety in design, colors, and motifs was the chief characteristic of Etemad carpets. The carpet designs featured innovative floral and abstract motifs, had little empty areas, and dominated their backgrounds. The use of a diverse set of floral motifs — including round flowers, Shah Abbasi flowers, leaves, buds, and arabesques — and various design compositions brought variety to Etemad carpets. Furthermore, the designs were visibly influenced by the native climate, featuring grape leaves and pistachio flower clusters, which represented two of Qazvin’s major crops. Khataee motifs were more frequent than arabesques across all the studied Etemad carpets,

Considering the maritime culture of the northern coasts of the Persian Gulf and Bushir’s people reveals a full geographic, economic, and demographic marine cycle. The cycle is integrated into a greater geographic area extended from the Red Sea to the South China Sea and starched back well into millennia. The main problem to this survey is the ways through which that maritime culture led to shape a specific form of dispositions, system of knowledge, lived experiences, information network. Accordingly, the present article will discuss Bushir people’s dispositions at first. Afterwards it will depict their information network through following categories, navigation, oceanography, marine goods knowledge, pearl hunting, and ship-making industries. Data collecting process in this text is library-based and, meanwhile, data analyzing will be subjected to a descriptive-explicative method. It is supposed that the present text elucidates successfully the maritime network and heritage of Bushehr in the both technical features and its impacts on the social life of that littoral population.

Shams-Ol-Emareh Palace, as the first tall and five-story building in Tehran, was built in 1282 by the order of Naser al-Din Shah and in imitation of European buildings, by Moayyer Ol Mamalek in a period of 2 years. Its construction and decorations are influenced by the trend towards western art It has been in Iran. Since oil painting was often used on textured surfaces, the application of this method on glazed tiles had not been done until then. In this article, this unique method, which was implemented in five private spaces on four floors of Shams-Ol-Emareh, is investigated. The main question of this research is this What are the reasons for using oil painting on glazed tiles in this building? This research was done by descriptive-analytical method and data collection is done in field and library. Some believe that landscape painting is a copy of European classic paintings. The findings show that the variables of choosing the oil painting method are the result of the change of artists' approaches towards Iranian painting, the easy method, the availability of materials and the tendency to westernize, which was completely dependent on the social and political conditions of that time,

Cooperation and mutual cooperation of humans has existed since the beginning of human life in all eras of life in all societies. The culture of cooperation among the women of Gilan is the most deeply rooted native culture, helping not only in production and work, but also includes various aspects of the life of the villagers and affects all relationships and provides women's integration and participation in the social arena and the role of women makes it look bolder. The purpose of presenting this article is to pay attention to one of the long-standing and traditional relations in Gilan, which has provided the background for the emergence of a kind of culture and literature, and has found and influenced all the foundations of life in fusion. This study is a descriptive and analytical research in which an attempt has been made to investigate aspects of the culture of cooperation and cooperation among the women of Gilan with an anthropological approach while paying attention to the lived experience of the people of Gilan. The findings of the research indicate that the forms of help among the women of Gilan are very diverse and diverse, and not only in rice cultivation,

The variety of patterns and techniques of Baloch embroidery, the high elegance and geometry that lies in the art of Baloch embroidery, In the last century, it has attracted the attention of national and international designers towards this art. According to the background fabric, Baloch stitching can be implemented in two ways, Taarkesh and Taarshomar. In Taarshomar sewing, decorations are made on separate pieces and then connected to the main garment, But Taarkash stitching is performed directly on the main fabric and has a higher artistic value, But it should be kept in mind that not all motifs and sewing techniques can be implemented with this method. Trying to develop the art of Baluchi embroidery and creating innovation and creativity while maintaining the originality of the work and recognizing patterns based on the background fabric for easy implementation in clothing design topics are the goals of this research. So far, there has been no research that examines the traditional methods of Balochi embroidery in clothing design, And the present research, using analytical-descriptive method, focused on the division of patterns and techniques of Baloch sewing and how to implement the techniques according to the background fabric,

Dogs are one of the first animals domesticated by humans. Dogs have always been a good friend and companion of humans. The paintings found in the caves of primitive humans indicate that the relationship between humans and dogs is at least 16 thousand years old. Dogs are found in different scenes and poses in Iranian rock art in all four cultural regions (i.e., north, west, south, and east). Regarding the history, diversity, and dispersion of the dog motifs in pictographs of different areas in Iran, this study aims to evaluate dog motifs and their breeds in the rock artworks of Lorestan. The main research questions are: "What is the morphology and breed of dog motifs in pictographs of Lorestan?" "Which kind of scenes and subjects are included in pictographs in Lorestan?" and "What rock artworks can be compared to dog motifs in pictographs of Lorestan?" The current study is a qualitative research using a descriptive-analytical-comparative approach. The data was collected by library and field research. The statistical population included Lorestan pictographs in Mehrdad Stone and Mirmalas in Kuhdasht, and Takhte Chan in Poldokhtar. The results showed that dog motifs in pictographs of Lorestan are different in morphology.