چرایی تصویرکردن نقش حیوانات بر ساز دف براساسِ شعر خاقانی شروانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بروز نقش های گوناگون با مضامین متعدد از دیرباز تاکنون در هنرهای تجسمی امری آشکار بوده است. این جلوه هنری به منطقه ای خاص وابسته نبوده است و به فراخور اقلیم و فرهنگ متفاوت می نمود؛ ازاین رو، شیوه ها و بسترهای این صنعت گری فراوان است. سازهای موسیقی آراسته به نگاره های گوناگون در موسیقی شهری و نواحی ایران آلات خنیاگری را در زمره لوازم این هنرورزی ها قرار می دهد. در سده ششم هجری و در منطقه ارس کنار، که از پیشتر تحت حکمرانی سلسله شروان شاهان قرار داشت، خاقانی شروانی، که شاعری موسیقی شناس بود، از نقشی خاص بر ساز دف سخن می گوید که آن چنبره جانوران اهلی و وحشی در موقعیت شکار است. نگارندگان در این مقاله با رویکرد مطالعات تطبیقی میان موسیقی و ادبیات و کاربست روش تاریخی و تحلیلی درپیِ دستیابی به چرایی تصویرکردن نقش حیوانات بر ساز دف بوده اند. درپیِ این مقاله، دریافته شد که دلایل گوناگونی در این امر دخیل اند و دلیلی قطعی و یکتا برای کاربرد این شیوه نمی توان دانست؛ اما مسبوق به سابقه بودن چنین کاری نزد شمن های منطقه سیبری و قفقاز، که سازهای کوبه ای خود را در سفر خلسه آمیز شمن به نقوشی می آراستند و همچنین توجه خاقانی شروانی به اینکه دفِ مصور به اشکال جانوری شکارگاه پره شروان شاهان را تداعی می کند، از مجموع دلایلی که انگاشتنی است، روشن و گویاتر است.The Reason for Portraying Images of Animals on the Instrument of Daf Based on Khaghani Sharvani's Poems
Visual arts have witnessed the emergence of various roles and themes throughout history, resulting in the development of diverse methods and platforms within the industry. In the realm of urban music, specifically in Iran, musical instruments are adorned with various images, becoming integral accessories to this art form. In the 6 th century AH, along the banks of the Aras River in the region historically known as the Kingdom of Sharvan, Khaghani Sharvani, a poet and musicologist, highlighted the unique role of Daf, a percussion instrument adorned with depictions of domestic and wild animals, especially in hunting situations. This article employed a historical-analytical method and relied on library studies to explore this topic. Multiple factors contribute to the significance of Daf in this context, making it difficult to pinpoint a single definitive reason. However, considering the historical connection between similar practices among the shamans of Siberia and the Caucasus, as well as Khaghani Sharvani's emphasis on the association between Daf and the hunting grounds of the kings of Sharvan, this explanation emerges as the most compelling and informative among the various reasons that can be discussed. Keywords : Collection of Khaghani Poems, Hunting Ground, Daf, Images of Animals, Reason for Painting on Daf. Introduction Utilization of various motifs derived from inanimate objects, plants, animals, and other natural elements in Iranian visual arts has been a prevalent practice, extending across different mediums, such as containers, pages, coins, textiles, and more, continuing into the present era. This artistic motif is not limited to a specific region but has adapted to different climatic and cultural conditions, playing a significant role. Beyond its decorative purpose, these motifs often carry symbolic meanings. The range of symbolic patterns and their application is extensive, especially when considering Iranian musical instruments used in urban settings and various regions of Iran, which encompass diverse elements. Exploring the poetry of Khaghani Sharvani from the 6th century AH, it became evident that this artistic craftsmanship had flourished in the region of Sharvan and its surrounding territories. Khaghani Sharvani, a poet in the court of the Sharvan dynasty during the reign of Manuchehr and Akhsetan, frequently and distinctively portrayed an instrument known as Daf in his poems. This suggested that the art form may have originated in that specific region or, at the very least, within the court of the Sharvan shahs. Khaghani repeatedly referenced incorporation of wild and domestic animals in combination on the surface of this instrument, a unique and distinguishing characteristic not found in historical references or the poetry of other Persian-speaking poets, similar to the depiction that can be observed today on the instrument of "Dayereh" from Kerman Region, which bears resemblance to Daf. Materials and Methods The research problem was identified through a combination of comparative studies and historical and analytical methods. This study bridged the fields of historical musicology and literature (music-literature), contributing to a deeper understanding of Khaghani's poetry on the subject and shedding new light on the history of Iranian music. Research Findings Regarding the reasons for depicting and occasionally engraving animal figures on the instrument of Daf in Sharvan Region or at least within the court of Sharvan kings, the following could be stated: The Influence of Mythology and Shamanic Culture: The influence of mythological and shamanic cultures on Iranian religious and mystical art forms is significant. Depicting animal forms in art is a recurring theme in Iranian mythology and religious art, aligning with shamanic culture. Shamans often integrate animal symbolism and imagery into their rituals and ceremonies. The use of drums in shamanic rituals also bears resemblance to Sufi musical traditions in Iran, specifically the use of Daf. The drum played a central role in shamanic rituals, similar to the function of Daf in Sufi music. The geographic proximity of regions where shamanism was practiced, such as Siberia and the Caucasus, to the land of Sharvan further suggested the potential influence of shamanic culture on Iranian art and religious practices. Cultural exchange and interaction between these regions may have contributed to the incorporation of shamanic elements into Iranian religious and mystical art forms. Depiction of Animals in Hunting Situations: Khaghani was found to refer to the depiction of animals on the instrument of Daf twelve times and in most instances, the pictures followed a specific theme—the gathering of animals in a hunting situation. These depictions portrayed animals entangled in a hunting ground, sometimes attacking each other, sometimes coexisting peacefully, and sometimes praising and congratulating the king. The circular shape of Daf aligned with the circular hunting technique called "Pareh" or "Jargeh" practiced in Iran where animals were surrounded in a circular fashion and then hunted within the circle. This could potentially explain the recurring theme of hunting depicted on Daf. Connection to Animal Skin: The reliance of Daf instrument on animal skin, typically sourced from sheep, goat, or deer, for resonation is another significant point. Khaghani had made multiple references to this aspect in his poetry. Association of Music with Hunting: Association of music with hunting could be another reason for the depiction of animals on Daf instrument. In the past, Daf was used as a musical accompaniment during hunting activities. Continuity of Feast and Hunting in Iranian Art: Continuity of feasts and hunting and their role in the depiction of Iranian artworks from pre-Islamic times to the present also provided context for the recurring motifs on Daf instrument. By exploring these findings, a deeper understanding of the cultural, historical, and symbolic significance of animal depictions on Daf instrument in Sharvan Region or within the court of Sharvan kings could be gained. Discussion of Results and Conclusion The findings of this study highlighted the intricate nature of artistic creation and emphasized that the choice of motifs in art was influenced by a multitude of factors. In the case of painting on Daf instrument, it was evident that there were multiple reasons for the selection of animal motifs. The spiritual and ecstatic function of Daf coupled with its round shape emerged as significant factors in the decision to incorporate animal imagery onto this particular instrument. Association of Daf with ecstatic practices and its interpretive potential stemming from its circular form contributed to the prevalence of animal motifs in its decoration. Significantly, it was observed that animal imagery was absent in other musical instruments, such as Barbat, Azerbaijani Tar, Harp, and Rabab. This observation prompted a deeper exploration of why these motifs were limited to Daf. The distinct characteristics and functions of Daf, including its association with ecstatic experiences and artistic possibilities afforded by its circular shape, were the key factors that explained the prevalence of animal motifs in its adornment. This perspective emphasized the importance of comprehending the cultural and functional contexts of artistic expressions and how these elements influenced the selection of motifs in different art forms. In conclusion, the research findings shed light on the significance and complexity of the animal motifs depicted on Daf instrument. The enduring presence of this artistic style in Iran for over 9 centuries underscored its cultural significance. By delving into the multifaceted reasons behind the depiction of animals on Daf, we gained a deeper understanding of the interplay between artistic expression, cultural practices, and functional attributes of musical instruments. This knowledge enriches our appreciation of the diverse factors that shape artistic creation in different contexts.
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