نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری پژوهش هنر، دانشگاه تربیت مدرس، استان تهران
2 استادیار گروه موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، استان تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
This article has been written in order to consider the female musicians in the Safavid Period based
on some written sources and specifically Persian Miniatures. Generally speaking, there is no specific
explanation about female musicians, in Safavid - or even Timurid - written history. Besides few
references rarely just refer to the names of musicians. Therefore, in order to survey the female musicians
and any information about them it is necessary to consider the existed paintings. In Timurid
period, female musicians were active in their professional life and this point can be obtained only
from iconographical sources; because in the written one, generally, it is ignored to cite the name of
female musicians despite the considerable number of them. Safavid period is one of the most glorious
periods in Iranian art history. Thus in order to get unknown musical points, it is necessary to refer
to iconographical sources. Pictures show that females have played active important roles as players,
singers and dancers. Generally the number of male players in pictures was more than female ones and
it came back to the cultural situation of that time. In Safavid period, due to many specific reasons, the
life of music declined compare to the Timurid glorious musical era. The most prominent features of
parties were prostitutes. According to the written and iconographical sources, it seams that dancers
were generally known as prostitutes. The names of some of them have been mentioned in written
sources and documents. Although, the very point does not refer to any players clearly; the pictures
show the female players usually in their special parties that just one man, probably the king, had
been there, however they are rarely seen in accompanying male players. It can be inferred that the
only man beside female musicians at the picture was the king, so most pictures illustrate the court or
harem of king; and it probably reveals playing and singing of the king’s wives. It seems that there is a
relationship between the players’ gender and the kinds of instruments. It means that female were more
professional in playing particular instruments like Qānoon and Chang. In other words, women, just
in their female groups, played different instruments; but when they were. Accompanying with male
players, their only instruments were Qanoon or Chang. Besides, if should be stated that many pictures,
in Isfahan school, show two Daf female players between male and female players, but it is one of
the style of that school that painters generally depict musicians in their paintings. In the mentioned
period, little information could be found about music training of women. In this article, these deductions
have got through analysis of 22 Safavid miniatures in comparison to various written documents.
The pictures, which were related to main school of Safavid miniatures, belonged to Tabriz, Qazvin,
and Shiraz and Isfahan schools
کلیدواژهها [English]
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