Revitalizing Isfahan’s handicrafts for a new generation
Firoozeh-koobi
chikadoo.ir
Changes in lifestyle and technology have led to a decline in the relevance of many handicrafts in today’s society, raising concerns among artists and art lovers about the uncertain future of these crafts. Handicrafts are symbols of the country’s history and culture; however, many traditional crafts face serious threats to their survival due to the rise of machine-made products and social changes.
Isfahan, recognized as the first Iranian city in the UNESCO Creative Cities Network and designated as a World Craft City, boasts around 200 handicraft branches, but some of these are at risk of being forgotten and disappearing, IRNA wrote.
The deputy head of Isfahan Province’s Cultural Heritage, Tourism, and Handicrafts Organization believes that the primary reason for the decline of certain handicraft branches is the lack of use and the disinterest of the younger generation in learning these arts. He noted that many of these crafts no longer have significant applications in the modern world. In times when agriculture and traditional lifestyles prevailed, handicrafts such as saddle-making and saddlebag-making thrived due to demand; however, today, these arts are gradually becoming obsolete.
Noorullah Abdollahi noted that some handicraft arts, such as lock-making, have lost much of their practicality today due to the replacement of manual locks with digital and automatic ones. However, the traditional craft of lock-making has evolved into decorative arts through dedicated effort and training.
He highlighted the revival of crafts like zari-bafi (gold lace work) and makhmal-bafi (velvet weaving), explaining that these arts flourished during the Safavid era, producing luxurious royal garments made from exquisite textiles. However, with the rise of spinning factories, these crafts fell into obscurity and were on the verge of extinction until revived through the efforts of relevant organizations.
Abdollahi emphasized that the revival of zari-bafi has been a key concern for the provincial Cultural Heritage Organization. With its resurgence, this valuable art form has gained a luxurious and decorative quality and has even reached the export stage.
He added that many traditional embroidery arts had also faced extinction but are now being revived, although some have been marginalized due to the introduction of new fabrics.
Abdollahi stated that the most important strategy for preserving handicrafts is to make them practical and economically viable. He noted that the field of firoozeh-koobi (turquoise-inlaying) has flourished again after several years of effort by the Cultural Heritage Organization, contributing to job creation and attracting individuals interested in learning this craft.
He pointed out that the disinterest of teenagers and young people in learning these arts significantly impacts the survival of handicrafts. He added that, in today’s modern world, the new generation has distanced itself from working with and learning handicrafts, even though these arts can still find a place in contemporary life.
He emphasized that the summer season used to be the best time for learning handicrafts, as students would seek to acquire these skills during their school holidays. However, cultural changes and current lifestyles have led to a decline in such activities and training.
Abdollahi concluded by stating that families play a crucial role in encouraging their children to learn these traditional arts. If these teachings are conducted under the guidance of experienced masters, a bright future awaits them.
Majeddidin Taj, the head of Isfahan’s Handicrafts Union, emphasized the need to enhance the status of handicrafts in people’s lives. He stated that Isfahan is recognized as one of the key hubs for handicrafts in Iran and the world. Given the employment opportunities and value-added benefits this sector provides for the country, neglect and a lack of proper analysis could lead to some handicrafts being forgotten due to economic challenges and inadequate markets.
Taj added that nearly 20 branches of handicrafts in Isfahan are on the verge of being forgotten, and their revival can only be achieved through education. He pointed out that the Handicrafts Union of Isfahan currently has only one educational center, which is insufficient for such an important center for handicrafts in Iran and the city known for its creative handicrafts.
He noted that their request to the Handicrafts Department of Isfahan Province’s Cultural Heritage Organization and the Isfahan Municipality is to provide space for the Handicrafts Union so they can collaborate with prominent masters to revive the arts that are fading away.
Ali Danesh Pazhooh is a skilled artisan in the handicraft industry who has been actively reviving the traditional art of locksmithing for over 10 years in the city of Aran and Bidgol. He believes that with innovation, enthusiasm, and a willingness to learn, it is possible to breathe new life into defunct artistic disciplines.
He considers the key to the longevity of traditional art in today’s modern world to be the hard work of artists and the creation of works that resonate with contemporary tastes.
Danesh Pazhooh asserts that if a student lacks interest, they cannot produce pieces that will be well-received by the public. He emphasizes that by creating unique and innovative works, artists can help revive the craft, as these pieces can endure when showcased in exhibitions for collectors. However, he stresses that training artists and selecting interested and creative apprentices is crucial, and this can be achieved by envisioning a promising economic future for the artistic field.
Danesh Pazhooh is particularly concerned with finding and training creative and passionate apprentices in this art form — individuals who can create works infused with the same love and dedication he possesses, even if those pieces are unique yet enduring.