Termeh, a symbol of Iranian art and authenticity, is a product of blending silk, high-quality wool, and recurring symbolic patterns, woven using the Jacquard technique on traditional handlooms.
Abstract:This descriptive-analytical study, based on library resources and field observations, examines the historical dimensions, production techniques, artistic features, and challenges facing the Termeh weaving industry in the modern era. Findings indicate that Termeh is not merely a fabric but a narrative woven from Iranian culture, beliefs, and artistic taste, primarily produced in the cities of Yazd and Kerman. However, this valuable art-craft faces threats such as reduced domestic demand, competition from cheap machine-made imitations, and the gradual erosion of knowledge transfer to the younger generation.
Keywords: Termeh, Fabric Weaving, Iranian Traditional Arts, Silk, Symbolic Motifs, Handicrafts, Yazd, Kerman.
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1. Introduction
Handicrafts are a perfect mirror of a land's culture and civilization. Among these cultural treasures, hand-woven fabrics hold a special place. Termeh, as one of the most delicate and luxurious types of Iranian fabric, has a history of several centuries, with its peak flourishing in the Safavid era. This fabric was used not only for clothing but also as a decorative element in homes and religious places. This paper aims to provide a comprehensive scientific analysis of Termeh, from its history and raw materials to its production methods and its current place in Iran's art economy.
2. Historical Background
Historical evidence suggests that the roots of Termeh weaving can be traced back to the pre-Safavid era, but undoubtedly, this art reached its technical and artistic peak during the Safavid period (16th and 17th centuries AD). During this time, with royal patronage and thriving trade, large Termeh workshops were active in cities like Isfahan, Yazd, and Kerman. Termeh from this period was woven with intricate patterns and the use of gold and silver threads, often for the clothing of courtiers and nobility. After the Safavid era, this art faced fluctuations but never completely disappeared and continued into the Qajar period. Today, Yazd and Kerman are recognized as the main centers of Termeh production in Iran.
3. Raw Materials and Production Techniques
3.1. Raw Materials:
· Warp: Composed of high-quality natural silk, giving the fabric its specific strength and sheen.
· Weft: Made from very soft, high-quality wool (often cashmere or wool from specific sheep). This weft forms the raised, velvety patterns of the Termeh.
· Dye: In the past, fast natural dyes from plants (such as madder, weld, walnut husk) and insects (such as cochineal) were used, providing exceptional color stability and depth. Unfortunately, the use of chemical dyes has become common today.
3.2. Production Process:
The Termeh production process is very time-consuming and labor-intensive, involving the following stages:
1. Yarn Preparation: The silk and wool are spun and dyed.
2. Warping: The warp threads are stretched regularly and precisely onto traditional wooden looms (often vertical or horizontal).
3. **"Varaq-Nevisi" (Pattern Reading): This stage is the technical and artistic core of the work. The designed pattern is transcribed into codes (including "warp" and "weft" instructions) on graph paper to guide the weaver in creating the design.
4. Weaving: Using a system of pedals and shuttles, the weaver passes the weft threads through the warp threads. The Jacquard nature of this weave allows for the creation of highly complex patterns. Multiple wefts of different colors are used to create the raised design.
4. Features and Artistic Motifs
4.1. Physical Characteristics:
· Light Weight and Softness: Despite its relative thickness, it is very light due to the use of silk.
· Thermal Properties: Due to the presence of wool, it is a good thermal insulator.
· Silken Sheen: The fabric surface has a soft and beautiful lustre.
· Flexibility and Durability: The combination of silk and wool creates a durable and flexible fabric.
4.2. Symbolic Motifs:
The patterns of Termeh are not merely decorative; each carries a deep symbol and meaning:
· Boteh-Jegheh: The most famous Termeh pattern, shaped like a flame or a bent cypress tree, interpreted as a symbol of life, eternity, and freedom.
· Shah Abbasi: Floral patterns with intricate loops, symbolizing the art of the Safavid period.
· Gol-o-Morgh (Flower and Bird): Depicting paradise and an ideal world.
· Mehrabi: Patterns evoking the architecture of mosque Mihrabs, used for Termeh with religious applications.
· Animal Motifs: Such as deer and birds, representing nature and life.
5. Challenges and the Future of Termeh Weaving
Although Termeh is a valuable artistic work, its production and promotion in today's world face serious challenges:
· High Production Cost: The lengthy production process and the high cost of premium raw materials (silk and wool) make the final product very expensive.
· Competition with Machine-Made Products: Imitation Termeh fabrics produced mechanically at much lower prices threaten the market for authentic Termeh.
· Lack of Domestic Demand: Changes in lifestyle and attire have reduced demand for traditional products like Termeh.
· Difficulty in Knowledge Transfer: This arduous and low-income profession holds little appeal for the younger generation, risking the loss of traditional knowledge like "Varaq-Nevisi" and weaving skills.
Proposed Solutions:
· Developing export markets and introducing Termeh as a luxury and artistic commodity globally.
· Government support for authentic weavers and providing facilities.
· Innovation in design and application (use in interior decoration, modern fashion design inspired by Termeh).
· International registration of Termeh and its promotion on cultural and tourism platforms.
6. Conclusion
Termeh is not just a fabric; it is a living historical document displaying the art, beliefs, and creativity of Iranians over centuries. This art-craft, despite all challenges, remains alive due to its unique beauty, authenticity, and high quality. Preserving this precious heritage requires national determination, marketing intelligence, and innovation in production so that Termeh can shine in the future not as a museum relic, but as a dynamic part of Iran's cultural economy.