جايگاه اجتماعي زنان نوازنده در نگاره‌هاي ايران و هند مطالعه موردي: عصر صفوي و گوركاني

The social status of women musicians in Iranian and Indian paintings. Case study: Safavid and Gurkhani era

در ﺳﺪة دﻫﻢ ﻫﺠﺮي، ﻫﻨﺪ و اﯾﺮان ﺗﺤﺖ ﺣﮑﻮﻣﺖ دو ﺧﺎﻧﺪان ﺑﺮﺟﺴﺘﻪ ﺻﻔﻮﯾﺎن و ﮔﻮرﮐﺎﻧﯿﺎن ﺑﻪ ﻗﺪرت ﻫـﺎي ﺑﺰرﮔﯽ ﺗﺒﺪﯾﻞ ﺷﺪﻧﺪ. اوج ﻗﺪرت ﺻﻔﻮﯾﺎن در اﯾﺮان ﺑﺎ ﺷـﮑﻮه ﻗـﺪرت ﮔﻮرﮐﺎﻧﯿـﺎن در ﻫﻨـﺪ ﻫﻤﺰﻣـﺎن، و اﯾـﻦ ﻫﻤﺰﻣﺎﻧﯽ، ﺑﻪ اﯾﺠﺎد ارﺗﺒﺎﻃﺎت ﻣﯿﺎن دو ﮐﺸﻮر ﻣﻨﺠﺮ ﺷﺪ. ﻇﻬﻮر ﺳﺒﮏ ﻧﻘﺎﺷﯽ ﻣﺨﺼﻮص ﻫﻨﺪي ﮐـﻪ ﺑـﻪ ﺳـﺒﺐ ﻣﻬﺎﺟﺮت ﻧﻘﺎﺷﺎن اﯾﺮاﻧﯽ ﺑﻪ ﻫﻨﺪ ﺑﻪ وﺟﻮد آﻣﺪ، در ﺗﺎرﯾﺦ ﻫﻨﺮ ﻫﻨﺪ اﺳﻼﻣﯽ ﺑﺴﯿﺎر ﻣﻬـﻢ اﺳـﺖ در اﯾـﻦ ﺑﺮﻫـﻪ ﺗﺎرﯾﺨﯽ در ﻫﻨﺪ، ﻣﯿﻨﯿﺎﺗﻮر ﺳﺨﺖ ﻣﻮرد ﺗﻮﺟﻪ ﺑﻮده و ﺑﺎ درﺧﺸﺶ ﺧﺎﺻﯽ ﺟﻠﻮه ﮔﺮ ﺷـﺪه اﺳـﺖ. اوﻟـﯿﻦ آﺛـﺎر ﻫﻨﺪي در اﯾﻦ زﻣﯿﻨﻪ ﺑﻪ ﻃﻮرﮐﻠﯽ ﺑﺮﮔﺮﻓﺘﻪ از آﺛﺎر اﯾﺮاﻧﯽ ﻋﺼﺮ ﺻﻔﻮﯾﻪ ﺑﻮد ﮐﻪ ﻋﻼوه ﺑـﺮ ﺗﻔﺎﺳـﯿﺮ ادﺑـﯽ، ﺣـﺎوي ﻣﺤﺘﻮﯾﺎت ﺟﺎﻣﻌﻪ ﺷﻨﺎﺧﺘﯿﯽ و رﺧﺪادﻫﺎي ﺗﺎرﯾﺨﯽ اﯾﻦ ﻋﺼﺮ ﺑﻮد. ﻫﻤﯿﻦ اﻣـﺮ زﻣﯿﻨـﻪ ﺗﻔﺤـﺺ در ﺷـﺎﺧﻪ ﻫـﺎي ﮔﻮﻧﺎﮔﻮن اﯾﻦ دوره را ﺑﺮ اﺳﺎس ﻧﮕﺎرﮔﺮي ﺑﻪ اﻣﺮي ﺿﺮوري ﻣﺒﺪل ﺳﺎﺧﺘﻪ اﺳـﺖ. ﺗﺼـﺎوﯾﺮ اﯾـ ﻦ دوره در دو ﮐﺸﻮر ﺣﺎﮐﯽ از آن اﺳﺖ ﮐﻪ زﻧﺎن اﯾﺮاﻧﯽ و ﻫﻨﺪي در اﯾﻦ دوره ﻧﻪ ﺗﻨﻬـﺎ ﺑـﻪ ﻋﻨـﻮان رﻗﺼـﻨﺪه ﮐـﻪ در ﺟﺎﯾﮕـﺎه ﻧﻮازﻧﺪه ﻧﯿﺰ ﻓﻌﺎﻟﯿﺖ ﻣﯽﮐﺮدﻧﺪ. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﮕﺎرهﻫﺎي ﻣﻮرد ﺑﺎزﺑﯿﻨﯽ، ﭼﻨﯿﻦ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ ﮐـﻪ زﻧـﺎن ﻧﻮازﻧـﺪه ﺟﺰ در ﻣﺠﺎﻟﺲ ﺧﺼﻮﺻﯽ ـ ﮐﻪ ﮔﺎه در ﺣﻀﻮر ﺷﺨﺺ ﭘﺎدﺷﺎه و ﮔﺎه ﺑ ﻪ ﺻﻮرت ﮐﺎﻣﻼً زﻧﺎﻧﻪ و ﺑﺪون ﺣﻀـﻮر ﻣﺮدان ﺑﺮﮔﺰار ﻣﯽﺷﺪﻧﺪ ـ در دﯾﮕﺮ اﻣﺎﮐﻦ ﺣﻀﻮر ﻧﺪاﺷﺘﻪ اﻧﺪ. ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ ﻧﻮازﻧﺪﮔﺎن زن، ﺗﻨﻬﺎ در ﺣﺎل ﻧﻮازﻧﺪﮔﯽ ﺳﺎزﻫﺎي ﺧﺎﺻﯽ ﻧﺸﺎن داده ﺷﺪهاﻧﺪ ﮐﻪ ﻣﯽﺗﻮاﻧﺪ ﻧﺸﺎﻧﮕﺮ ﻣﻬﺎرت ﺑﯿﺸﺘﺮ زﻧـﺎن در آن دﺳـﺘﻪ از ﺳﺎزﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﻣﺮدان ﺑﺎﺷﺪ. ﺑﺎ اﯾﻦ ﺣﺎل ﺗﻔﺎوتﻫـﺎﯾﯽ ﻧﯿـﺰ در ﺗﺼـﺎوﯾﺮ ﻣـﻮرد اﺳـﺘﻔﺎده از زﻧـﺎن ﻧﻮازﻧـﺪه و ﻫﻤﭽﻨﯿﻦ ﺳﺎزﻫﺎﯾﯽ ﮐﻪ ﻣﻮرد اﺳﺘﻔﺎده آﻧﺎن ﺑﻮده، در دو ﮐﺸﻮر وﺟﻮد دارد. در اﯾﻦ ﭘﮋوﻫﺶ ﺳﻌﯽ ﺑﺮ آن اﺳـﺖ ﮐﻪ ﺑﺎ ﻧﮕﺎﻫﯽ ﺗﻄﺒﯿﻘﯽ و ﺗﺤﻠﯿﻠﯽ ﺑﺮ ﻧﮕﺎرهﻫﺎي دو ﻣﮑﺘﺐ اﯾﺮان و ﻫﻨﺪ ﺑﻪ اﯾﻦ ﻣﻬﻢ دﺳﺖ ﯾﺎﻓﺖ ﮐﻪ آﯾـﺎ ﺑـﺎﻧﻮان ﻧﻮازﻧﺪه در دو ﮐﺸﻮر ﺟﺎﯾﮕﺎﻫﯽ ﺑﺮاﺑﺮ داﺷﺘﻪاﻧﺪ و ﺗﻨﻮع ﺳﺎزﻫﺎي ﻣﻮرد اﺳـﺘﻔﺎده آﻧـﺎن ﺑـﻪ ﭼـﻪ ﺻـﻮرت ﺑـﻮده اﺳﺖ؟ ﻧﺘﺎﯾﺞ ﺑﻪ دﺳﺖ آﻣﺪه از ﺑﺮرﺳﯽ 20 ﻧﮕﺎره از ﻫﺮ ﻣﮑﺘﺐ و اﺳﺘﻔﺎده از ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮب ﺑﻪ ﻋﻨﻮان ﺷﺎﻫﺪ ﺑـﻮده اﺳﺖ. اﯾﻦ ﭘﮋوﻫﺶ ﺑﺎ روش ﺗﻄﺒﯿﻘﯽ و ﺗﺤﻠﯿﻠﯽ اﻧﺠﺎم ﺷﺪه و ﮔﺮدآوري اﻃﻼﻋﺎت آن ﺑـﺎ روش ﮐﺘﺎﺑ ﺨﺎﻧـﻪ اي-اﺳﻨﺎدي ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ.

In the tenth century AH, India and Iran became great powers under the rule of two prominent Safavid and Gurkhanid dynasties. The peak of Safavid power in Iran coincided with the glorious power of the Gurkhanids in India, and this coincidence led to the establishment of relations between the two countries. The emergence of a special Indian painting style that arose due to the migration of Iranian painters to India is very important in the history of Islamic Indian art.The images of this period in both countries show that Iranian and Indian women in this period acted not only as dancers but also as musicians. According to the pictures under review, it seems that women musicians were not present in other places except in private gatherings (sometimes in the presence of the king himself and sometimes in a completely feminine manner without the presence of men). . It also seems that female musicians are only shown playing certain instruments, which could indicate that women are more skilled in those instruments than men.In this study, an attempt has been made to take a comparative and analytical look at the drawings of the two schools of Iran and India to find out whether women musicians have an equal position in the two countries and what is the variety of instruments used by them. ?. The results were obtained by examining 20 drawings from each school and using written sources as evidence. This research is a documentary-library with a comparative and analytical method and its data collection method.