موسیقی و شیخ صفی الدین اردبیلی در دوران ایلخانی در کتاب صفوه الصفا

موسیقی در پیشینۀ حیات عرفانی حکومت صفوی، به صفی الدین اردبیلی در دوران ایلخانی برمی گردد. در این پیشینه موسیقی به عنوان یک عامل مهم نقش بسیار ارزنده ای ایفاء کرده است. یکی از آثار مهم و غنی در این ارتباط، کتاب صفوه الصفا اثر ابن بزاز اردبیلی است که نویسنده به مناقب شیخ صفی الدین پرداخته است. هدف از این تحقیق درک عمیق تر پیشینۀ موسیقایی حیات عرفانی دوران صفوی است. روش تحقیق کیفی بر اساس تحلیل محتوا با مقایسۀ دیگر منابع است؛ مبحث سماع به سه نوع عام، خاص و اخص تقسیم می شده، هر سه نوع در عمل در خانقاه شیخ صفی رواج داشته، ولیکن با نوع عام آن رفتاری احتیاط آمیز می شده است. «گفته» در قوّالی به معنای نوعی ضربی خوانی به عنوان یک واژۀ تخصصی در قوّالیِ غزلیات عطار و مولوی مفهوم معناداری داشته است. با توجه به کاربرد اوزان عروضی مختلف، احتمالاً سماع ها در ادوار ایقاعی مختلف اجرا می شده اند. با توجه به طولانی بودن زمان سماع ها که احتمالاً ملودی های این غزل ها جنبه ی تکرارپذیری داشته، می توان حدس زد که تا حدی بداهه در اجرای آنها نقش داشته است. قوّالان را می توان به سه مرتبۀ اجتماعی درباری، خانقاهی و مردمی تقسیم کرد. قوّالان خانقاهی ظاهراً در نواختن نی و گویندگی نقش ایفاء می کردند.

Music and Sheikh Safi alDind Ardebili during the Ilkhani era in Safavata alSafa

In the history of Sufism life in the Safavid government, music returns to Shaykh Safi alDin Ardebili (650735 lunar calendar) during the Ilkhani era. His life was spanned the reign of nine Ilkhani kings. He not only formed one of the Tasavof branches in Ilkhani era, but also played a significant role in the formation of the Safavid kingdom. He was the ancestor of Shah Esameel I (907930 lunar calendar). The spiritual influence of this particular Tasavof branch can be traced back to the Safavid era. In this background of Sufism, performing music had a very valuable role as an important factor. One important and influential works is Safavata alSafa by Darvish Tavakkoli ebne Esmaeel known as Ibn Bazaz Ardebili, written for Sheikh Safi. Among his description, the author describes the lives of other Sheikhs such as Sheikh Zahed Gilani (the master of Sheikh Safi) and Sheikh Sadredin (who died in 794 lunar calendar, and was the son and heir of Sheikh Safi). This book includes 12 chapters and each chapter is divided into specific sections and each section, consists of stories. Among the stories of this book, there are some significant stories about music. The author not only describes various functional aspects of music in spiritual life, but also infers to the social situation of music of the era as well. This article aims to investigate the role of music in spiritual and social dimensions of the time. Other relevant library resources have been used to analyze its musical content. The applied resources emphasize more spiritual and social aspects; however there are three important musical elements in this work. First, the topic of Samaa, with a mainly philosophical discussion, is divided into three categories of: general, specific and very special types. Regarding the disagreements of the intellectual processes of the era, especially the general type, it can be implicitly perceived that Sheikh Safi and his son were cautious about their speech and behavior, although all three types were practiced in Sheikh Safi’ Khanqah. The second one is Qawwali. Gofteh had a meaningful concept as a technical term in Qawwali of the Sufism poems of Attar and Molavi. The existance of different poetic meters provides this assumption that there have been many different Advare iqayi. Due to the long duration of the sound, the melodies of these Ghazals are likely to be repeatable; it can be perceived that they have been partially improvised in their performance. The third issue was Qawalan. The Qawalans could have been divided into three social groups: courtiers, Khanqahi, and folk. The first group had a higher social status, the second group was mostly active in Khanqahs and therefore it had a relative lower social status. The third group had a seemingly lower social dignity, was active in musical environment of society. The Qawalan of the Khanqahi apparently played a role in playing the Nay and the Guyandgi. It can be predicted that the conditional activity of singers and musicians in Safavid era depending on the following religious principles can be traced back to this background.