چرایی تصویرکردن نقش حیوانات بر ساز دف بر اساسِ شعر خاقانی شروانی

بروز نقش ‌های گوناگون با مضامین متعدد از دیرباز تاکنون در هنرهای تجسمی امری آشکار بوده است. این جلوۀ هنری به منطقه‌ای خاص وابسته نبوده است و به فراخور اقلیم و فرهنگ متفاوت می‌نمود؛ ازاین‌رو، شیوه‌ها و بسترهای این صنعت‌گری فراوان است. سازهای موسیقی آراسته به نگاره‌های گوناگون در موسیقی شهری و نواحی ایران آلات خنیاگری را در زمرۀ لوازم این هنرورزی‌ها قرار می‌دهد. در سدۀ ششم هجری و در منطقۀ ارس‌کنار، که از پیشتر تحت حکمرانی سلسلۀ شروان‌شاهان قرار داشت، خاقانی شروانی، که شاعری موسیقی‌شناس بود، از نقشی خاص بر ساز دف سخن می‌گوید که آن چنبرۀ جانوران اهلی و وحشی در موقعیت شکار است. نگارندگان در این مقاله با رویکرد مطالعات تطبیقی میان موسیقی و ادبیات و کاربست روش تاریخی و تحلیلی درپیِ دستیابی به چرایی تصویرکردن نقش حیوانات بر ساز دف بوده‌اند. درپیِ این مقاله، دریافته شد که دلایل گوناگونی در این امر دخیل‌اند و دلیلی قطعی و یکتا برای کاربرد این شیوه نمی‌توان دانست؛ اما مسبوق به سابقه بودن چنین‌ کاری نزد شمن‌های منطقۀ سیبری و قفقاز، که سازهای کوبه‌ای خود را در سفر خلسه‌آمیز شمن به نقوشی می‌آراستند و همچنین توجه خاقانی شروانی به اینکه دفِ مصور به اشکال جانوری شکارگاه پرۀ شروان‌شاهان را تداعی می‌کند، از مجموع دلایلی که انگاشتنی است، روشن و گویاتر است.

the reason for portraying images of animals on the instrument of daf based on khaghani sharvani’s poems

visual arts have witnessed the emergence of various roles and themes throughout history, resulting in the development of diverse methods and platforms within the industry. in the realm of urban music, specifically in iran, musical instruments are adorned with various images, becoming integral accessories to this art form.in the 6th century ah, along the banks of the aras river in the region historically known as the kingdom of sharvan, khaghani sharvani, a poet and musicologist, highlighted the unique role of daf, a percussion instrument adorned with depictions of domestic and wild animals, especially in hunting situations. this article employed a historical-analytical method and relied on library studies to explore this topic. multiple factors contribute to the significance of daf in this context, making it difficult to pinpoint a single definitive reason. however, considering the historical connection between similar practices among the shamans of siberia and the caucasus, as well as khaghani sharvani’s emphasis on the association between daf and the hunting grounds of the kings of sharvan, this explanation emerges as the most compelling and informative among the various reasons that can be discussed.keywords: collection of khaghani poems, hunting ground, daf, images of animals, reason for painting on daf.introductionutilization of various motifs derived from inanimate objects, plants, animals, and other natural elements in iranian visual arts has been a prevalent practice, extending across different mediums, such as containers, pages, coins, textiles, and more, continuing into the present era. this artistic motif is not limited to a specific region but has adapted to different climatic and cultural conditions, playing a significant role. beyond its decorative purpose, these motifs often carry symbolic meanings. the range of symbolic patterns and their application is extensive, especially when considering iranian musical instruments used in urban settings and various regions of iran, which encompass diverse elements.exploring the poetry of khaghani sharvani from the 6th century ah, it became evident that this artistic craftsmanship had flourished in the region of sharvan and its surrounding territories. khaghani sharvani, a poet in the court of the sharvan dynasty during the reign of manuchehr and akhsetan, frequently and distinctively portrayed an instrument known as daf in his poems. this suggested that the art form may have originated in that specific region or, at the very least, within the court of the sharvan shahs. khaghani repeatedly referenced incorporation of wild and domestic animals in combination on the surface of this instrument, a unique and distinguishing characteristic not found in historical references or the poetry of other persian-speaking poets, similar to the depiction that can be observed today on the instrument of &dayereh& from kerman region, which bears resemblance to daf.materials and methodsthe research problem was identified through a combination of comparative studies and historical and analytical methods. this study bridged the fields of historical musicology and literature (music-literature), contributing to a deeper understanding of khaghani’s poetry on the subject and shedding new light on the history of iranian music. research findingsregarding the reasons for depicting and occasionally engraving animal figures on the instrument of daf in sharvan region or at least within the court of sharvan kings, the following could be stated: the influence of mythology and shamanic culture:the influence of mythological and shamanic cultures on iranian religious and mystical art forms is significant. depicting animal forms in art is a recurring theme in iranian mythology and religious art, aligning with shamanic culture. shamans often integrate animal symbolism and imagery into their rituals and ceremonies.