بررسی تطبیقی سازها و نوازندگان در نقش ‏برجسته‏ های I، III و IV کول فرح در هزاره‏ ی اول پیش از میلاد (ایلامی نو)

نوع مقاله : مقاله پژوهشی

نویسندگان

...

چکیده

منطقه‏ی کول فرح در شمال شهر ایذه، شامل 6 نقش‏برجسته‏ی سنگی از دوره‏ی ایلامی نو حدود 1000-500 ق.م است. مراسم مذهبی همراه با موسیقی یکی از نکات مهم نقش‏برجسته های I،   III و IV کول فرح است که گروهی از نوازندگان ایلامی را نشان می دهد. این پژوهش با هدف شناخت و کاربرد دو عامل اصلی سیر تکاملی سازشناسی و جایگاه نوازندگان در این سه نقش‏برجسته‏ی دوره‏ی ایلامی با توجه به شکل و کاربرد آن ها در مراسم و با بهره‏گیری از مطالعات کتابخانه ای و فیش‏برداری از اطلاعات مربوط و سپس با روش میدانی، تطبیقی و تحلیلی انجام شده است. یافته ها بر اساس سازشناسی، مدل لباس و مو، موقعیت اجتماعی و مکان قرارگرفتن نوازندگان در نقوش‏برجسته‏ی I،   III و IV تحلیل شده‏اند. یافته‏های پژوهش گویای وجود یک رهبر ارکستر و سازهای چنگ  زاویه ای (عمودی 14 سیم و افقی 9 سیم) و ساز کوبه ای مربع شکل در نقوش‏برجسته‏ی نوازندگان است، و نیز وجود نمادین سازهای مؤنث (چنگ، طبل) و رداهای بلند نوازندگان کول فرح I که از لحاظ قدمت از دو نقش III و IV  جدیدتر است، احتمال موقعیت بالای اجتماعی نوازندگان یا ورود احتمالی نوازندگان زن به دربار ایلامی را افزایش می دهد.

کلیدواژه‌ها


عنوان مقاله [English]

A comparative study of musicians and instruments in Kule-farah I, III and IV: neo-Elam millennium BC

نویسندگان [English]

  • Neda Dehnad
  • Nazanin Dehnad
  • Seyed Javad Zafarmand
...
چکیده [English]

Abstract
Kule-farah area or Narsyna Temple, in the north of Ize, consisted of 6 stone relieves since about 2500 to 500 (BC) new Elam periods. Religious ceremony theme with music is one of the most important issues of stone relieves in Kule-farah, I, III and IV that shows a group of musicians and the largest documented collection of musical instrument of Elam Era. This study aimed to understand the evolution and application of two main factors in instrument and position of musicians in these three stone relieves. This study analyses pictures of 3 stone relieves of 6 available stone relieves in Kule-farah area and used relevant information and library studies and field investigations. We took some photos of Kule-farah and recorded movies in this area. The results have been compared with previous studies. Finally, the dimensions of each stone relief (Length, width, height, figures) and their issue would be presented. To analyses the stone relief of musicians, the similarities and differences (type of orchestration, dress, hair, social status, location and position of them) among three stone relieves are mentioned. In conclusion, musicians should be considered as main members of temple that have played a major role in advance the rituals of worship. Their position in the scene reflects the importance of their role during the religious ceremony. In the stone relieves I and III, musicians are presented during the religious rituals and beside animal sacrifice, but in the stone relief IV we can see a General Banquet whose guests are eating. Numbers and figures of musical instrument in the Elam period had the evolutionary process. Diversity and increasing number of instruments increases the doubts about historical continuity and interconnected with the evolutionary process of musical instrument in the Elam period. Orchestra of III is consisted of three harpers vertical, Orchestra of IV consisted of one conductor that is in front of 6 musicians -they have two kind of stringed instrument (horizontal and vertical grip). Structure of orchestra of I is most orchestra diverse -it has three musical instruments for three musicians: two stringed instruments, a harp and vertical and horizontal harp percussion square. Musicians’ clothing, hair and the faces without beard shows gender differences in male and female. In stone relieves IV and III, musicians are dressed in short robe and in stone relief I they are dressed in long robe. In these three stone relieves musicians have fastened their hair and have no beard. Symbols are used to show feminine of musical instruments: harp and drums, long robe, hair tucked behind and the faces with no beard. According to the long robe, musicians of  Kule-farah I that historically is more recently than III and IV, emphasis two points: 1. The possibility of presentation of the female musicians in Elam court land, 2. The increasing social status of musicians in Elam court.

کلیدواژه‌ها [English]

  • Keywords: Kule-farah
  • music of Elam periods
  • history of Elam periods
  • Elam stone relieves
  • symbolism of musical instrument