تصویرسازی و معنی‌آفرینی شاعران مکتب آذربایجان با سازهای رشته‌ای(زهی)

شاعران مکتب آذربایجان به استفاده از اطلاعات فراشعری و دانش‌های رایج زمان خود شهره‌اند. یکی از هنرهایی که در دیوان این شاعران نمود دارد، موسیقی است. فلکی شروانی، مجیرالدین بیلقانی، نظامی گنجوی و خاقانی شروانی چهار شاعر تقریباً هم‌‌دوره‌ای هستند که هرکدام به فراخور علاقه، دانش، ذوق و توانایی خود در سرودن اشعار، با سازهای موسیقی تصویرسازی و معنی‌آفرینی کرده‌اند. هدف از این پژوهش پی بردن به میزان آگاهی و شناخت هر شاعر از سازهای موسیقی رشته‌ای و مقایسۀ زیبایی‌شناسی و معنی‌آفرینی اشعاری است که هر یک از آن‌ها با به خدمت گرفتن این نوع از سازهای موسیقی سروده‌اند. دانش موسیقایی هر شاعر، میزان اطلاع آن‌ها از سازهای موسیقی زمان خود، توانمندی و میزان خلاقیت هر شاعر در تصویرسازی با شیوۀ نوازندگی و اجزای مختلف یک ساز، شناخت موقعیت‌های زمانی و مکانی‌ای که مردم آن روزگار از انواع سازها بهره می‌برده‌اند؛ از یافته‌های این پژوهش است. مقایسۀ ابیات شاهدی که چهار شاعر یادشده با انواع سازهای زهی-زخمه‌ای سروده‌اند، به نتایجی منجر می‌شود که اهم آن عبارتند از: هنر سازشناسی هر شاعر، پی‌بردن به میزان تنوع و کیفیت تصاویر ساخته شده با سازها، شناسایی شاعران باریک‌بین، خلّاق و مبتکر در آفریدن تصاویر و معانی بکر و تازه با سازها. البته در پایان با توجه به نگرش هر شاعر به سازهای موسیقی می‌توان فرضیۀ موسیقی‌دان یا لااقل موسیقی‌شناس بودن هر کدام از آن‌ها را نیز مطرح کرد.

imagery and meaning creation of azerbaijani school poets with stringed instruments

introduction the poets of azerbaijan school are famous for using meta-poetic information and common knowledge of their time. one of the arts that appears in the court of these poets is music. falaki sharvani, mojiruddin beilaqani, nizami ganjavi and khaqani sharvani are four poets of almost the same period, each of them created imagery and meaning with musical instruments, using their interest, knowledge and ability to compose poems. the purpose of this research is to find out the level of knowledge and understanding of each poet about musical instruments and to compare the aesthetics and meaning of the poems that each of them wrote by using this type of musical instruments. the musical knowledge of each poet, the extent of their knowledge of the musical instruments of their time, the ability and level of creativity of each poet in depicting the way of playing and different components of an instrument, knowing the time and place situations where the people of that time used all kinds of instruments; it is one of the findings of this research. the comparison of sample verses written by the four mentioned poets with various stringed-wound instruments leads to the results, the most important of which are: the instrumental art of every poet, understanding the variety and quality of images made with instruments, identifying narrow-minded, creative and innovative poets in creating fresh and pristine images and meanings with instruments. of course, in the end, according to the attitude of each poet towards musical instruments, the hypothesis of being a musician or at least a musicologist can be put forward. methodology examining the aesthetics and meaning creation with stringed musical instruments in some verses extracted from divan of the poets in question, as well as comparing the art of each of them in creating pure and beautiful images and fresh and pristine concepts is the most important issue that we face in this research.using library resources and two methods of structural studies and content analysis, this research deals with the description and analysis of subject images in the divan of poets of azerbaijan school and gives significant quantitative and qualitative results. discussion by carefully examining the divan of the poets of the azerbaijan school, twelve types of stringed instruments have been used as a tool for illustration and theme development. in order to better organize and order the contents, the poetic evidences of the poets in question are given under the headings of instruments. harp is one of the oldest stringed instruments that has been commonly played in iran since before islam. among the four poets examined in this research, the harp instrument is the most used in nizami’s poems, but the images presented by khaqani are more novel and debatable. in the term of music, rood is one of the ancient stringed instruments with strings, which are not commonly played today. poets have considered various meanings and concepts by using this word. among the examined poets, nizami can be considered the only poet who knows and is familiar with this instrument, so that in nizami’s poems, this word has the highest frequency among all the instruments used in the divan of all four poets. in terms of music, “rabab” is a family of stringed and plectrum instruments, or in other words, a field whose various types can be found in every corner of iran from the past to the present day. none of the examined poets were strangers to the “rabab” instrument, but in the meantime, khaqani has created more and more beautiful images. of course, mojir’s contribution is also after khaqani and more than nizami, and the imagery along with the themes of mojir’s advice with this instrument cannot be ignored. the variety of imagery and imagination of khaqani with the “barbat” is more than his other contemporaries. setar is one of the stringed instruments that today has four strings. this instrument is mostly mentioned as seta in literary texts, especially in the 6th century. khaqani illustrated four verses of his divan with “setar” and “seta”, three verses of which are among the poems and one verse of which is included in his compositions. in terms of comparison, mojir beilaqani’s poem is somewhat close to khaqani’s from an aesthetic point of view, but the verses of nizami have more of a narrative aspect and are devoid of significant rhetorical beauty. among all the poems of the researched poets, only one verse of mojir beilaqani can be used to imagine a type of musical instrument from the word zir. kamancheh is one of the stringed instruments that is played with fiddlestick. today, this instrument is one of the common instruments that many people use both as a soloist and as a band playing. khaqani used this word twice in his poems and both times with the additional combination of rebab’s fiddle, which undoubtedly meant the same arshe or rebab’s fiddle. “mezhar” is an arabic name and in most dictionaries and music dictionaries, as well as the opinions and thoughts of music researchers, it is considered to be a family of stringed instruments from the category of harp or barbat. falaki and nizami have not used this word. mojiruddin beilaqani and khaqani have illustrated with this instrument twice in their poems. qanun is the name of an absolute stringed instrument that is still played today, and in appearance, it is in the shape of a right-angled trapezoid, almost similar to the “santoor”, but it is most likely older than that. some have attributed its construction to farabi. among the four considered poets, nizami is the only poet who, among the various meanings of qanun, considered its musical aspect and illustrated with it. other poets of the azerbaijani school have not explicitly addressed the musical meaning of this word. tanbur is one of the instruments that is widely used even today, especially in the western regions of the country and kurdistan. the only poetic evidence of this instrument in the poetry of the azerbaijani school is a verse written by nizami in