Culture-Oriented Packaging in Handicrafts Based on Clifford Geertz’s Interpretive Theory of Culture

Document Type : Original Article

Authors

1 Instructor, graphic design Department, Arak University, Arak, Iran.

2 Assistant Professor, graphic design Department, Arak University, Arak, Iran.

Abstract

The present study, drawing on Clifford Geertz’s interpretive approach, examines culture-oriented packaging in Iranian handicrafts. The central issue is that packaging, beyond its protective and commercial functions, can serve as a cultural text and a semiotic system conveying identity, historical, and symbolic meanings. The aim of the research is to analyze the cultural and semantic dimensions of packaging and to demonstrate its potential in representing cultural identity, enhancing brand value, and creating a cultural experience for the audience.The research employs a qualitative, descriptive-analytical methodology, and the data were collected using library resources, visual documents, and an analysis of selected handicraft packaging samples. Geertz’s theoretical framework, emphasizing the three layers of culture, symbol, and meaning, served as the foundation for the analysis.The findings indicate that culture-oriented design of handicraft packaging can represent cultural identity, convey symbolic values, and strengthen the position of these products in domestic and international markets. Visual elements, material, structure, and typography of packaging not only reflect cultural heritage but also enable interpretation and the creation of a cultural experience for the audience. Superficial imitation of non-Iranian examples and the lack of a purposeful design approach hinder the realization of packaging’s potential in the development of a national brand and cultural exchange.Consequently, the study suggests that handicraft packaging should be reconsidered as a cultural and media-based meaning-making practice. Employing Geertz’s interpretive framework can provide a theoretical basis for elevating packaging from a mere functional tool to a cultural phenomenon—one that actively participates in the reproduction of cultural identity, the continuity of traditions, and the enhancement of intercultural interactions.

Keywords

Main Subjects


Smiley face

[1] M. R. Klimchuk & S. A. Krasovec, “Packaging design: Successful product branding from concept to shelf,” John Wiley & Sons, 2012.
[2] Z. Karimipour and M. Sharifzadeh, “Culture-oriented components in packaging design of Iranian handicrafts, Islamic Industrial Arts, vol. 2, no. 1, pp. 67-76, 2017 (In Persian)http://jih-tabriziau.ir/article-1-25-fa.html
[3] K. Riyanto and A. Kartini, "The influence of packaging, branding and sales promotion on the repurchase intention of Botol Sosro at Has Fried Chicken Cikarang Restaurant," Journal of Business, Management, and Accounting, vol. 3, no. 2, pp. 16-23, 2021.
[4]A. Arman, F. Al-Ali, and M. Zakarin, “Handicrafts as the connecting link between identity and brand in the packaging industry, Iranian Industrial Arts, vol. 4, no. 1, pp. 149–156, 2021(In Persian)10.22052/HSI.2022.243637.0
[5] F. Celhay, P. Cheng, J. Masson, and W. Li, "Package graphic design and communication across cultures: An investigation of Chinese consumers' interpretation of imported wine labels, International Journal of Research in Marketing, vol. 37, no. 1, pp. 108-128, Mar. 2020.https://doi.org/10.1016/j.ijresmar.2019.07.004
[6] V. Rashidvash and H. Yousefinezhad, "Interpretation of culture from Clifford Geertz’s perspective with emphasis on the symbolism school, Afaq-e Olum-e Ensani (Horizons of Humanities), vol. 5, no. 50, p. 101-120, Jun. 2021. (In Persian)
[7] P. Shukla, J. Singh, and W. Wang, "The influence of creative packaging design on customer motivation to process and purchase decisions, Journal of Business Research, vol. 147, pp. 338-347, Aug. 2022. https://doi.org/10.1016/j.jbusres.2022.04.026
 [8] “Handicrafts packaging resources and articles, Basteha.com.
[9] Z. Yavari and F. Mazouchi, "Culture-oriented design model in handicrafts packaging and its role in shaping consumer attitude," Journal of Tourism Planning and Development, vol. 13, no. 50, pp. 157-179, 2024, doi: 10.22080/jtpd.2024.27370.3903.
[10]S. Ashari and A. Shahhoseini, “Culture-oriented design through Stuart Hall’s theory of representation: A case study of packaging identity in Iranian handicrafts, Rahpooyeh Visual Arts, vol. 6, no. 3, pp. 81–89, 2023 (In Persian)10.22034/RA.2023.562984.1257
[11] S. Ashari, Pathology of Packaging Design in Iranian Export Handicrafts, Tehran: Sanjesh va Danesh, 2019 (In Persian)
[12] S. Samanifar, R. Afhami, and S. M. Hashemi, "An investigation of foreign tourists' perspectives on the packaging of Iranian handicrafts (Case study: Isfahan handicrafts), Memari va Shahrsazi Iran Iranian Architecture and Urbanism Journal - JIAU, vol. 9, no. 2, pp. 185-194, 2018. (In Persian)doi: 10.30475/isau.2019.87941.
[13] M. Zaryabi, "The impact of Iranian-Islamic design representation on saffron packaging in the communication process with the audience, Olum va Fanun-e Bastebandi (Packaging Science and Technology), vol. 14, no. 56, pp. 13-22, 2023. (In Persian)20.1001.1.22286675.1402.14.56.2.2
[14] C. Geertz, The Interpretation of Cultures. New York: Basic Books, p89,1973.
[15] M. Hamilton, The Sociology of Religion, trans. M. Salasi, Tehran: Tebyan, p275, 2008. (In Persian)
[16] H. Salimi, Culturalism, Globalization, and Human Rights, Tehran: Office for Political and International Studies, p46, 2000(In Persian)
[17] S. H. Sharafeddin, “The function of meaning-making in religion from Clifford Geertz’s perspective, Ma’refat Quarterly, p99, 2005(In Persian)
[18] A. Arman, “Traditional arts, a key to recovering identity in the contemporary urban space, in Proceedings of the First International Congress on New Horizons in Architecture and Urbanism, Tarbiat Modares University, p6, 2014 (In Persian)
 [19] Sh. Foroughi, Handicrafts and Tourism, 1st ed. Isfahan: Chaharbagh, p31, 2012(In Persian)
[20] A. Hakimi Tehrani, Material Science and Printing Techniques in Packaging, Tehran: Farhangsara-ye Mirdashti, p8, 2009 (In Persian)
[21] M. Nekouei, “The effect of packaging on brand image in food products, M.A. thesis, Shahid Beheshti University, Tehran, p110, 2010 (In Persian)
[22] F. Kermaninejad, An Overview of Packaging Design, Tehran: Karlin Publications, p12, 2006 (In Persian)
[23] A. Ebrahimi, S. M. Alavi, and M. Najafi Siahroodi, “The effect of aesthetic aspects of packaging on purchase intention and packaging preference, Modern Marketing Research, vol. 5, no. 2, p165 2015(In Persian)
[24] S. S. Majidi, S. M. Jafari, and M. Soltani, "Identifying consumer purchase decision components from the perspective of product packaging and examining the effect of involvement level on these components (Case study: Qom Sohan industry), Olum va Sanaye Ghazayi Iran (Iranian Food Science and Technology), vol. 14, no. 72, pp. 243-257, 2017. (In Persian)
[25] G. Calver, What is Packaging Design? trans. I. Al-Mozafar, Tehran, Iran: Aban Publishing, p. 14, 2013. (In Persian)
Volume 16, Issue 62 - Serial Number 62
Serial number 62 summer 2025
September 2025
Pages 43-57
  • Receive Date: 27 August 2025
  • Revise Date: 11 September 2025
  • Accept Date: 16 September 2025
  • Publish Date: 21 September 2025