伝統的な刺繍の新たな魅力をイランから世界へ

Bringing the New Beauty of Traditional Needlework from Iran to the World

Originating in the city of Kerman in southeastern Iran, Pateh needlework is a traditional craft that uses seven distinct techniques to embroider flowers, birds, and geometric patterns using wool, silk, and sometimes gold thread. Its history can be traced back to the Safavid dynasty. For people living amidst the arid desert landscape, this embroidery—which brings the colors of nature into their homes—was a vital cultural tradition that supported the beauty of daily life.

However, in recent years, amid soaring material costs and the tide of mass production, Pate embroidery has been in steady decline. As a result of this decline, artisans have been reduced to merely replicating traditional designs. Amid this situation, artist Sara Soleimani Ghashghai has emerged as a driving force behind the revival of Pate embroidery.

After studying historical and cultural preservation and painting, Qashghaii spent over a decade restoring wooden antiques. She began seriously pursuing Pateh embroidery eight years ago and has mastered all seven embroidery techniques. She places great importance on high-quality materials and original techniques. She carefully selects high-quality thread and infuses emotion into the density of the stitches and the very texture of the thread itself. She uses thread to express emotions, thoughts, hopes, and dreams. Soft, dense stitches convey tranquility, while rough, uneven stitches express anger or disappointment. The emotions of the fellow artisans working alongside her are also directly reflected in the pieces, lending them a powerful presence.

Her work does not remain confined to traditional patterns. She creates pieces that weave in her own feelings, thoughts, and social statements. While she does not consciously choose her subjects, she says she is strongly influenced by events around her and people’s reactions. “An artist cannot remain indifferent to social change,” she believes.

She also says that in creating her work, she is strongly influenced by Iranian poets and artists. She is particularly inspired by the themes found in the works of classical Iranian poets. She draws inspiration not only from within her own country but also from Western European artists, frequently visiting galleries and museums to deeply imprint the works in her memory.

She says she does not think that her work becoming propagandistic; if it happens, it’s entirely unintentional. I believe that even if it were to occur, there would be an authenticity that transcends mere slogans.