A Traditional Indian Dwelling 9 Letters

A Traditional Indian Dwelling 9 Letters – Weaves are nomadic, narrow looms that are warp, a technique mainly used by women to weave tent dividers, cushions and cushions inside a tent. The fabric is woven to keep it tight and firm to prevent rain, wind and sand from getting into the tent. The most decorative part of nomad tents are the tent dividers, which are often woven with a pattern called in the center

A technique where additional threads are woven horizontally across the weft, making the fabric look slightly raised above the regular weave and create a different texture (photo 8.1).

A Traditional Indian Dwelling 9 Letters

Weaving is widespread in the countries of the Middle East, and their motives differ from region to region. They can be categorized by date, tribe, weaver, or region, and as such can help you track regional and personal trends as well as possibly historical and tribal events. Although over time

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Weaving have undergone significant changes under the influence of urbanization, synthetic dyes, mass production, commercialization and progressive urbanization, and continue to be important elements in creating local, tribal or personal identity of weavers.

Weaving and authors direct knowledge of being Saudi or living in Kuwait for a long time. 2 As

Tradition is passed on by word of mouth, first-hand information was key to this study. It involved face-to-face observation, interviews and focus group discussions with contemporary weavers from Kuwait and Saudi Arabia. To find weavers, the authors contacted Al Sadu Weaving Cooperative Society in Kuwait, Kuwait (also known as Sadu House) and the Ministry of Culture in Riyadh, Saudi Arabia. Since most of the symbols in

Weaves or their stories have been forgotten or intentionally kept secret, the authors have also engaged in archival work to reveal and catalog some of their meanings. 3

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Cultural and social understanding of this practice. 4 Because the symbols in these weaves contain astronomical and social elements, the authors concluded that in the past women may have been more involved in the socio-political structure of their communities than is currently believed. During weaving, women were able to tell or document stories whose meanings are now lost to us. This idea was emphasized by the weaver Umm Mohammad in her interview with Keireine Canavan and Ali Alnajadah: careful to remember that she spoke only for herself, she pointed to the practice of using

Transfer messages between tribes. 5 Therefore, this chapter aims to shed new light on the social role of women in the Arab Middle East and to challenge the narratives, myths and stereotypes of the place not through external descriptions but through the voices of weavers that weaved society or community. did not keep much written records, textiles are also important historical and transcultural documents, and the scribes in this case are women of the tribes. Such as,

Is a nomadic weaving used for tents and tents and tents which are mainly made by women. To this day, it is run by weavers in Saudi Arabia, Kuwait, the United Arab Emirates, Bahrain, Qatar and other Gulf countries, despite the radical social and economic changes they experienced after the oil boom. 6 As many Bedouin tribes traveled to Syria, Jordan, and Iraq,

Weaving has expanded to these areas as well, although the demand for this practice has fallen significantly in recent times. 7

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Repeating the past by presenting it in various forms is an attempt to establish authority over unknown situations. 8 In other words, we try to learn about things from the past to establish our position in relation to them. This raises questions about time: a thing that changes function over time reflects the time in which it was created. While

In nostalgia and history, so our way of reading it changes depending on how much we know about the meaning of its symbols and the conditions under which it was made and used. Moreover, thanks to the reproduction in new materials or projects,

Allows you to regain your heritage and personal expression. As the economies and environments of the Persian Gulf countries have grown rapidly in the recent past thanks to the discovery of oil, they have also shown a strong impetus to preserve their local culture, which explains their renewed interest in

Weaving. As a result, its design was adapted to new materials, reworked in new colors and patterns (mainly in Saudi Arabia and Kuwait), re-interpreted in art (in Kuwait, United Arab Emirates and Saudi Arabia), or preserved in traditional weaving used for decoration, domestic competitions and personal expression, not for practical purposes (Kuwait).

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It had to arise primarily as a domestic necessity, before any patterns and motifs appeared. However, the patterns and motifs used are a form of self-expression, a record of the local visual culture and a way of inter-tribal communication. 9 Symbols add a new dimension to weaves, allowing us to look back and gain an insight into the local cultures in which they were produced. As an important researcher of material culture, author and patron of the Al Sadu Society in Kuwait, Sheikha Altaf Al-Sabah notes:

Weaving illustrates the nomadic understanding of eternal space by the Bedouins. In contrast to the patterns in the frame of the floor covering on the frame loom, which symbolize a window or door to the world, and thus a fixed relationship with the house, landscape and space,

Projects suggest openness. In other words, the concept of measured space did not exist for Bedouins traversing a vast open desert because it was not necessary for their understanding of the world. As Sheikha Altaf Al-Sabah explains, the nomadic space had no limits or boundaries. That is why the Bedouins were faced with a great challenge when they switched from a nomadic lifestyle to a life defined by a border, that is, a settled and permanent space. 11 Their lifestyle changed from living in an open space, without permanent architecture, to living in a more organized and strictly delineated space, with architectural monuments and urban planning (Figs. 8.2 and 8.3).

Therefore, for the Bedouins, the tent itself is not an object in the same sense as other architectural elements, such as doors or bricks, because it is both an object and

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. This space is taken according to the requirements of the terrain, weather and relations with guests. For example, the separation created by a tent partition affects people’s behavior and the way they move: the materiality of space affects the fluidity of their movement and the rhythm of movement around different parts of the house. When male and female guests arrive, the tent space is used segregated; however, if the residents are close family members, the places to rest and sleep are no longer separated. In

Weaving loom) and explains the structure of the tent partition by sketching its first, second, third and fourth strips (i.e.

In the past, these woven soft houses provided shelter for both animals and humans during their seasonal migrations. As shepherds of animals, Bedouins migrated to the desert during a rainy winter and returned to farmlands during the dry summer months. Today, after most of the nomadic people have moved to towns or villages, these portable homes and the practice of moving from one place to another have been replaced by modern living conditions. The contrast between the Bedouin house and the house reflects to some extent the contrast between the desert and the city: in the desert there were no large groups of people living together as in the city. Closest to the city was the soft moving district, inhabited by people belonging to the same tribe. As a result, belonging to a tribe constructed identity more than space. The identity of the tribe was presented as a sign, known as

According to Jean Baudrillard, in order for an object to be identified as art, it must meet two criteria: it must have a signature and it must be part of the work. 13 In the past

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He was such a signature: he helped the Bedouins identify the tribal and regional origins of Arab weaving as well as the animals branded with the tribe’s mark. Today,

. In addition, weavers have their own heritage that reflects their individual style. This makes the difference between “artisanal” and “artificial” items difficult to define in

Job. For example, today weaver Refah Al Raheel designed her mark as a symbol consisting of the first letter of her first name and the first letter of her surname “R.R.” (Figs. 8.4a – d). 14 It is not

Just a logo, similar to those in Western cultures: it identifies the brand or shows the identity of the weaver, not the tribe.

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Material culture takes into account not only the physical nature of the object, but also its cultural associations. This means a reevaluation of the material culture of Saudi Arabia and