> [!NOTE]+ Meta > Author:: [[Azadeh Nikouei]] > Date:: 2023 > Tags:: #warp #Iran #craftWords > WeftLinks:: [[World Craft Dictionary]] > [!SUMMARY] Summary > In pre-modern and pre-industrial Iran, the term "Sanāye'" referred to craft or craftsmanship. Today, the word on its own signifies industries, while when paired with "dasti" (meaning "handmade"), it specifically denotes craft (as a general concept) and crafts (skills). "Sanāye'" and especially in its singular form “San′at” is a common reference in poetry and is governed by more contextual elements than fine art. ### Highlights The term صنایع دستی (Sanāye'-e Dastī) serves as the Persian counterpart to the English word “craft.” This composite term merges two concepts: the Arabic-origin plural noun “صنایع” (Sanāye') (derived from the root of “Sanā'at” indicates especially to create and build), meaning ‘skills’ and 'crafts', and the Persian adjective “دستی” (Dastī), meaning 'handmade'. Collectively, it refers to the process of creating both practical and decorative items using traditional techniques, passing from “ostād” (craft master) to “shāgerd” (trainee), primarily employing natural and locally accessible materials. The products have high added value. Also in decorative products, pleasant designs and symbols are not only ornamental but also indicate cultural and ritual beliefs. It is significant that the word “San′at” (the singular form of “Sanāye'”) in the meaning of “craft” (in the pre-modern era) has been mentioned in many Persian poems by Sanā′ī, Mu′izzī, Farrukhī Sīstānī, Rumi and so forth. Farrukhī Sīstānī (980-1038) in most famous *qasida* begins a journey with a caravan from Sistan accompanied by merchants specializing in fine robes “spun from the heart and woven by the spirit.” Points to the word “Sanāye'”. > از هر صنایعی که بخواهی بر او اثر > وز هر بدایعی که بجویی بر او نشان > Decorated with any craft (of weaving) > With signs of any innovation (Farrukhī Sīstānī) > بافیده‌ی دست احد پیدا بود پیدا بود > از صنعت جولاهه‌ای وز دست وز ماکوی او > What is woven by the hand of the One becomes revealed > becomes revealed from the craft and workmanship of the weaver and his hand and shuttle [Rumi, Ghazal no 2130](http://shamsrumi.com/molana/poem/ghazal/ghazal-2130) > صنعت زراد او کم دیده بود > درعجب می‌ماند وسواسش فزود > He had not seen the chain mail handicraft (before) > (so) he remained in astonishment and his curiosity increased (Rumi) > Furthermore, Ibn Khaldūn in his work the Muqaddimah, which includes Iran, has mentioned to Sanā'āt-e mote'addidah (various Crafts) done for example by “blacksmiths, carpenters and potters” (عبد الرحمن بن محمد ابن خلدون. (2005). المقدمة. خزانة ابن خلدون، بيت الفنون والعلوم والآداب. جزء 1 p 67). In the recent century there have been other terms indicating crafts, which are: “Honar-hāye Sanā′eī” (skill attributed arts) (preferred By Iran Art Academy), “Sanāye′-e Qadīma” (ancient crafts, لینقی وزیری (1302) [1926] در عالم موسیقی و صنعت: چهار کنفرانس بضمیمه مقاله صنایع مستظرفه، تهران: بی نا p 45) (suggested by Ali-Naqi Vaziri, Iranian composer, virtuoso tār player, musical theorist, and educator, 1887-1979) and “Sanāye′-e Mofīdeh” (beneficial crafts), “Honar-hāye Zībā-ye Bāstānī” (ancient fine art) and ‘Honar-hāye Mellī” (national arts) in government documents from 1917 to 1947 ([one](https://poshtebammag.ir/19101/researchdoc/اساسنامه-هنرستان-عالی-صنایع-قدیمه/), [two](https://poshtebammag.ir/19409/researchdoc/تاسیس-اداره-امور-کارگاههای-هنری/) ) In contrast with fine art which is autonomous (in Kantian terms), the craft can be considered heteronomous, which means the rules are always set by external factors e.g. religion, local culture, market, and so on. ### References Rizvi, K. (Ed.). (2017). *Affect, Emotion, and Subjectivity in Early Modern Muslim Empires: New Studies in Ottoman, Safavid, and Mughal Art and Culture* (Vol. 9). Brill. (p 143) Rumi, [The Mesnevi of Mevlānā Jelālu'd-dīn er-Rūmī](http://www.masnavi.net/1/10/eng/3/1832/) , book Three, How Luqmán, when he saw David, on whom be peace, making (iron) rings, refrained from questioning him, with the intention that this act of self-control should be the cause of relief (from perplexity); . عبد الرحمن بن محمد ابن خلدون. (2005). المقدمة. خزانة ابن خلدون، بيت الفنون والعلوم والآداب. جزء 1(p 67)