بازنمایی موسیقیدانان زن در نقاشی های دوران قاجار (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این پژوهش به بررسی موسیقیدانان زن در دوره قاجار بر اساس 118 نقاشی قاجاری پرداخته است. هدف از نگارش این مقاله دست یابی به چگونگی فعالیت موسیقیدانان زن در دوره قاجار است. اطلاعاتی که این پژوهش در اختیار مخاطب می گذارد این است که تعداد نقاشی زنان نوازنده و رقصنده بیشتر از مردان بوده است. علت این امر گرایش و دستور شاهان به تصویرسازی زنان بوده است و سلیقه حامی که شاه بوده، عامل بسیار تعیین کننده ای در این زمینه بوده است. به همین دلیل نمی توان صرفاً با اتکا به نقاشی ها به رابطه جنسیت و ساز دست یافت. در هر صورت بررسی نقاشی ها نشان داد از بین سازهای رایج در دوران قاجار، تار، سه تار، دف، نقاره و سنج انگشتی بیشتر در دست زنان و برعکس تنبک، کمانچه و سنتور بیشتر در دست مردان دیده شده است. در نحوه نوازندگی سازهایی همچون تار و کمانچه، هیچ گونه تفاوتی بین زنان و مردان دیده نمی شود. رقصندگان عموماً از زن ها بودند و فقط در یک نقاشی مربوط به حوزه مردانه، پسران زن نما دیده شدند. رقص های متعددی نیز در این دوره رایج بوده که رقص با چاقو و گیلاس نسبت به دوره های پیشین نوع جدیدی است. پژوهش از نظر هدف بنیادی و از نظر روش و ماهیت توصیفی_تحلیلی و تاریخی است.The representation of female musicians in Qajar paintings
This study examines female musicians during the Qajar dynasty. The purpose of this article is to find out how female musicians worked in this period. The data provided by this study is based on 118 paintings belonging to that era, which indicate that the number of paintings of female musicians and dancers were more than men. One of the main reasons for the portrayal of women was the order of the kings and the decision of the patron. Although the king was a very decisive factor in this regard, the relation between gender and the musical instruments cannot be fully understood by relying on paintings alone. The elements that can be studied, however, showed that among the common instruments of the Qajar period such as: Tār, Setār, Daf, Naqāra and finger cymbals were seen more in the hands of women whereas the Tonbak, Kamānče and Santour were seen more in the hands of men. In addition to the instruments mentioned, some instruments such as Tanbire Nobān, Dāyere and Čang have only been seen once in the iconographic examples. The Čang became obsolete from the late Safavid, but the illustrator of the book One Thousand and One Nights has depicted a relatively imaginary instrument. In the Qajar period, unlike the previous periods, -such as the Timurid and Safavid, painters were less concerned about drawing with details. In the paintings of this period, the number of mentioned components varies greatly. There are two possible reasons for this negligence: lack of knowledge of Qajar painters about music and instrumental details and drawing the general state of the instruments. Regarding the instruments, the difference that can be seen compared to the previous eras is showing the perspective, the bowl of instruments, in the paintings. In this study, only in two paintings, a man performing acrobatic moves and two men dancing together were seen, and also in a painting of Kamal-Al-Molk, “drag queens” were seen. Naturally, considering that the painters mainly depicted the interior of the court and the women's gatherings, the absence of drag queens in such occasions and subsequently paintings, can be justified. However, according to some written sources, sometimes these boys had the privilege to go inside the women’s quarters. In this study, the presence of women in the paintings, was divided into three categories: single, female and mixed gatherings. In the mixed ones, female dancers and musicians were seen around and next to the caliphs, who were probably the king's women. Other paintings depict women in the presence of the caliphs and his guests, a woman in a group of men, and a group of musicians including male and female dancers and musicians. Compared to paintings from previous periods such as the Safavid, it can be said that the above dancers were prostitutes. Numerous dances were also common during this period, and dancing with knives and [wine] glasses was new compared to previous periods. This research is fundamental in terms of purpose, analytical-descriptive in terms of method and historical in terms of nature.
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