The present article studies the shapes and design woven on the zilus of Meybod city from an anthropological perspective. Zilu is one of the oldest handlooms and one of the types of rural handicrafts in Meybod. Considering the history of zilu weaving in Meybod and the deep connection that this handloom has with the living environment and livelihood of the people of Meybod, the connection between these patterns and the culture of the people of this region can be easily justified. The remarkable diversity of design in zilus, the composition of these design, and the specific structural principles that have led to the coherence of these compositions in zilos, embody a wide range of dimensions of the culture and beliefs of the inhabitants of Meybod and express the most fundamental thought of the inhabitants of this region in relation to creation and worship of the forces of nature. Therefore, examining and analyzing these design helps us to understand more deeply the beliefs and culture of the people of this region. The constituent element of most of these motifs is the cross motif, which has created a variety of shapes in the Zilu with its various movements and has led to the emergence of the cross style in the Zilu. The aim of this research is to describe the various representations of the cross style as a style in the Zilu and to understand the relationship between the structure of this motif and the structural system of the myths and beliefs of the inhabitants of this region. The research method is field-based (exploratory and documentary) in terms of its fundamental purpose and method. Data collection was also carried out through observation, interviews, photography, cultural documents of the face and oral history. The methods of "form analysis" and "stylistic analysis" were used to examine the shape and style of the Zilu. For the cultural analysis of the Zilu motifs, other works of art in the region, such as pottery motifs and native clothing of this region, were also examined. The results of the research show that the most fundamental thought of the inhabitants of this region is shaped by the contrast of light and darkness and the role that this contrast plays in the creation of the world. The most tangible material and formal form of this creation, which is repeated periodically, is the wheel. The connection between the wheel and time in folk beliefs has led to the emergence of the basic cross pattern in the art of zilo weaving and has created a kind of formal unity in the overall structure of the motifs. This narrative style in zilos is also observed in the folk narratives and mythologies of this region and indicates the structural correspondence of this organizing element in zilo motifs and the mythological narratives and beliefs of the inhabitants of Meybod.
The present article studies the shapes and design woven on the zilus of Meybod city from an anthropological perspective. Zilu is one of the oldest handlooms and one of the types of rural handicrafts in Meybod. Considering the history of zilu weaving in Meybod and the deep connection that this handloom has with the living environment and livelihood of the people of Meybod, the connection between these patterns and the culture of the people of this region can be easily justified. The remarkable diversity of design in zilus, the composition of these design, and the specific structural principles that have led to the coherence of these compositions in zilos, embody a wide range of dimensions of the culture and beliefs of the inhabitants of Meybod and express the most fundamental thought of the inhabitants of this region in relation to creation and worship of the forces of nature. Therefore, examining and analyzing these design helps us to understand more deeply the beliefs and culture of the people of this region. The constituent element of most of these motifs is the cross motif, which has created a variety of shapes in the Zilu with its various movements and has led to the emergence of the cross style in the Zilu. The aim of this research is to describe the various representations of the cross style as a style in the Zilu and to understand the relationship between the structure of this motif and the structural system of the myths and beliefs of the inhabitants of this region. The research method is field-based (exploratory and documentary) in terms of its fundamental purpose and method. Data collection was also carried out through observation, interviews, photography, cultural documents of the face and oral history. The methods of "form analysis" and "stylistic analysis" were used to examine the shape and style of the Zilu. For the cultural analysis of the Zilu motifs, other works of art in the region, such as pottery motifs and native clothing of this region, were also examined. The results of the research show that the most fundamental thought of the inhabitants of this region is shaped by the contrast of light and darkness and the role that this contrast plays in the creation of the world. The most tangible material and formal form of this creation, which is repeated periodically, is the wheel. The connection between the wheel and time in folk beliefs has led to the emergence of the basic cross pattern in the art of zilo weaving and has created a kind of formal unity in the overall structure of the motifs. This narrative style in zilos is also observed in the folk narratives and mythologies of this region and indicates the structural correspondence of this organizing element in zilo motifs and the mythological narratives and beliefs of the inhabitants of Meybod.
The present article studies the shapes and design woven on the zilus of Meybod city from an anthropological perspective. Zilu is one of the oldest handlooms and one of the types of rural handicrafts in Meybod. Considering the history of zilu weaving in Meybod and the deep connection that this handloom has with the living environment and livelihood of the people of Meybod, the connection between these patterns and the culture of the people of this region can be easily justified. The remarkable diversity of design in zilus, the composition of these design, and the specific structural principles that have led to the coherence of these compositions in zilos, embody a wide range of dimensions of the culture and beliefs of the inhabitants of Meybod and express the most fundamental thought of the inhabitants of this region in relation to creation and worship of the forces of nature. Therefore, examining and analyzing these design helps us to understand more deeply the beliefs and culture of the people of this region. The constituent element of most of these motifs is the cross motif, which has created a variety of shapes in the Zilu with its various movements and has led to the emergence of the cross style in the Zilu.
Keywords: Zilo of Meybod, style, structuralism, Levi-Strauss, anthropology of art, semantic study,
Culture of Meybod.