تحليل نحوه بازنمايي نوازنده عود در تصاوير دوره ساساني تا صفوي

Analysis of the representation of oud player in the Images of Sassanid to Safavid

تحليل ساختارگرايانه 40 تصوير منقش به ساز عود از دوره ساساني تا صفوي بر اساس روابط ميان فيگور «كانوني» و «غير كانوني» در نظام نشانه شناسانه متن تصاوير، مبناي مقاله حاضر قرار گرفته است. نتايج پژوهش، بيانگر چهار نظام بازنمايي در ارتباط ميان نوازنده عود و فيگور كانوني مي باشد. در الگوي اول كه تعداد بيشتري از تصاوير را در بر مي گيرد، نوازنده عود در طرفين و معمولاً سمت چپ تصوير قرار دارد و شاه به عنوان فيگور كانوني و قطب، فرادست نوازنده تصوير شده است. در الگوي دوم، عناصر نمادين نظير پرنده يا جايگاه خالي شاه جايگزين فيگور كانوني شده است. به نظر مي رسد با توجه به مناقشاتي كه در مورد موسيقي در دوره اسلامي وجود داشته است، نمونه هاي دو الگوي اخير كه به طور عمده به دوره اسلامي مربوط مي شوند، نشانگر جايگاه فرعي و حاشيه اي نوازنده عود در مناسبات طبقاتي اجتماع است. در سومين الگو، نوازنده در موقعيت فيگور كانوني قرار گرفته و در الگوي چهارم، همسان با ساير كنش گران، تصوير شده است. مطالعه حاضر، دوره ساساني را به عنوان گروهي با بيشترين تنوع در بازنمايي نوازنده عود معرفي مي نمايد. اما با نزديك شدن به دوره صفوي، ازتنوع الگوها كاسته شده و در نهايت الگوي اول غالب مي شود.

This article analyzes 40 images, showing oud player from Sassanid to Safavid periods. These images offer additional insight about the oud. Permanent elements in these images are the basis of analysis in this research. There are two types of figures that could be defined as “permanent elements”: basic figure and non-basic figure. Basic figure refers to an element (or a person) which is superior to other figures. This can be recognized by visual signs and symbols such as: composition, size, position, and the relation of other figures to it. Sometimes a text, or poem, which is the subject of the image, can help us discern basic figures. Basic figure can be a human being, a mythological creature, a tree, a bird, a throne, or a building. Non-basic figure occupies a lower status than basic figure. In this article, the oud player is oftentimes seen a non-basic figure. This research shows four kinds of patterns, representing images of the oud player. Repetition and diversity of the patterns could be considered as the reflection of social and cultural values in Persian Ancient and Islamic art. Most of the images belong to the first pattern whereby a king is the basic figure, and hence superior to oud player, a non-basic figure. Most of the time, the oud player is represented in the left corner of the scene, but in a few images he is shown in the right corner. In the second pattern, a non-human element replaces the king as the basic figure. In the third pattern, the oud player is represented as the basic figure, showing his individuality. In other words, there is an overlap between basic and non-basic figures. In the last pattern, the oud player is shown beside the other figure, demonstrating equal status – in fact, neither is superior to the other.This study introduces Sassanid patterns as a group, having the most variety. All four patterns are available in this period. But a successive review of images, from Sassanid to Safavid, shows that the first pattern becomes more dominant – i.e., the oud player is shown as a non-basic figure. There are the tree images shown in the third category. The first is related to the Sassanid period; the second is related to Islamic period, but obviously under the influence of the Sassanid artistic traditions; and the last belongs to Safavi’s art. Although oud players were respected in the Sassanid period but, due to the lack of enough images from this period, the third pattern of the research does not suggest the superior representation of oud players in Sassanid social classes. The images in the Islamic period shows a lack of emphasis of the individuality of oud player. There has been some debate about the place of music in Islam, so the first and the second patterns can be an indication of lower status of oud player in this society.