A Comparative Study on the Visual Expression of the "Evil Eye" Amulet Motifs in the Rugs of Cultural Baluchistan

Abstract



Purpose: The livelihood and health of Baluch tribes in the neighboring countries of Iran and Afghanistan are constantly at risk due to the specific geographical climate (such as drought, water shortage, seasonal winds, etc.) in which they live. Therefore, the Baluch people use protective objects to ward off fear, anxiety, and avoid disasters. Traces of fetishism culture (prayer, armband, eye-evil, smoking, etc) can be seen in the Baluch handwoven in the form of meaningful amulet patterns and symbols. Accordingly, this research is a comparative study on the visual expression of the “evil eye” amulet motifs in the rugs of cultural Baluchistan.

Methodology: This study is qualitative and interdisciplinary. The research method employed is a combination of motif description, historical, and symbolic analyses. The samples were selected from the National Carpet Museum of Iran and the private museum of Dr. Seyed Taher Sabahi. Also, the identification of motifs, symbolic and mythical concepts hidden in the rugs, has been carried out based on reliable scientific sources published by researchers in the fields of anthropology, sociology, and carpet studies.

Findings: The results show that motifs related to the evil eye frequently appear in both of Iranian and Afghan rugs by six groups: geometric (triangle, square, and rhombus), plant (spand and kharkhesak), animal (snake, tarantula, bird, peacock, ram, and camel), objects (swastika, armband, hook, comb, and earring), human (eye), and cosmic (star) shapes. In both groups of rugs, images of white magic (or enchantment) are used more than black magic (or taboo), which reflects the benevolent nature of the Baluch people. In addition, motifs with a protection concept are often presented in the margins and in the form of small motifs with high repetition. In contrast, motifs related to a superior and extraterrestrial force are depicted in a larger size in the context of the rugs. The findings show that the visual expression of the motifs is related to the ancient historical background of the shahre-e Sukhteh civilization in the Sistan and Baluchistan region.

Conclusions: The authenticity of the motifs on the Iranian and Afghan Baluchi rugs has been well preserved. It is due to cultural, geographical, and political commonalities and the tendency for

inter-ethnic exchanges. It seems that persistence on repetition of motifs with talismanic and evil eye concepts pursues an extremist sense. This is related to the uniqueness of the geographical climate, the genuine belief in the existence of evil spirits, and the indigenous rituals of the Baluch people (such as refuge, promise, revenge, and Zar). Bringing these beliefs to life behind hand-woven motifs reminds us that the traditional art of rug weaving is a suitable field for cultural and social studies. They are also a treasure of reflection of the beliefs, desires, heart aspirations, and the ecosystem of the weavers of a region.