كليدواژه :
منطقه ي كول فرح , شهر ايذه , موسيقي ايلاميان , تاريخ ايلاميان , نقوش برجسته ي ايلامي , نمادگرايي ساز
چكيده فارسي :
منطقه ي كول فرح در شمال شهر ايذه، شامل 6 نقش برجسته ي سنگي از دوره ي ايلامي نو حدود 1000-500 ق.م است. مراسم مذهبي همراه با موسيقي يكي از نكات مهم نقش برجسته هاي I، III و IV كول فرح است كه گروهي از نوازندگان ايلامي را نشان مي دهد. اين پژوهش با هدف شناخت و كاربرد دو عامل اصلي سير تكاملي سازشناسي و جايگاه نوازندگان در اين سه نقش برجسته ي دوره ي ايلامي با توجه به شكل و كاربرد آن ها در مراسم و با بهره گيري از مطالعات كتابخانه اي و فيش برداري از اطلاعات مربوط و سپس با روش ميداني، تطبيقي و تحليلي انجام شده است. يافته ها بر اساس سازشناسي، مدل لباس و مو، موقعيت اجتماعي و مكان قرارگرفتن نوازندگان در نقوش برجسته ي I، III و IV تحليل شده اند. يافته هاي پژوهش گوياي وجود يك رهبر اركستر و سازهاي چنگ زاويه اي (عمودي 14 سيم و افقي 9 سيم) و ساز كوبه اي مربع شكل در نقوش برجسته ي نوازندگان است، و نيز وجود نمادين سازهاي مونث (چنگ، طبل) و رداهاي بلند نوازندگان كول فرح I كه از لحاظ قدمت از دو نقش III و IV جديدتر است، احتمال موقعيت بالاي اجتماعي نوازندگان يا ورود احتمالي نوازندگان زن به دربار ايلامي را افزايش مي دهد.
چكيده لاتين :
Kule-farah area or Narsyna Temple, in the north of Ize, consisted of 6 stone relieves since about 2500 to
500 (BC) new Elam periods. Religious ceremony theme with music is one of the most important issues
of stone relieves in Kule-farah, I, III and IV that shows a group of musicians and the largest documented
collection of musical instrument of Elam Era. This study aimed to understand the evolution and application
of two main factors in instrument and position of musicians in these three stone relieves. This study
analyses pictures of 3 stone relieves of 6 available stone relieves in Kule-farah area and used relevant
information and library studies and field investigations. We took some photos of Kule-farah and recorded
movies in this area. The results have been compared with previous studies. Finally, the dimensions of each
stone relief (Length, width, height, figures) and their issue would be presented. To analyses the stone relief
of musicians, the similarities and differences (type of orchestration, dress, hair, social status, location and
position of them) among three stone relieves are mentioned. In conclusion, musicians should be considered
as main members of temple that have played a major role in advance the rituals of worship. Their position
in the scene reflects the importance of their role during the religious ceremony. In the stone relieves I and
III, musicians are presented during the religious rituals and beside animal sacrifice, but in the stone relief
IV we can see a General Banquet whose guests are eating. Numbers and figures of musical instrument in
the Elam period had the evolutionary process. Diversity and increasing number of instruments increases the
doubts about historical continuity and interconnected with the evolutionary process of musical instrument
in the Elam period. Orchestra of III is consisted of three harpers vertical, Orchestra of IV consisted of
one conductor that is in front of 6 musicians -they have two kind of stringed instrument (horizontal and
vertical grip). Structure of orchestra of I is most orchestra diverse -it has three musical instruments for three
musicians: two stringed instruments, a harp and vertical and horizontal harp percussion square. Musicians’
clothing, hair and the faces without beard shows gender differences in male and female. In stone relieves IV
and III, musicians are dressed in short robe and in stone relief I they are dressed in long robe. In these three
stone relieves musicians have fastened their hair and have no beard. Symbols are used to show feminine of
musical instruments: harp and drums, long robe, hair tucked behind and the faces with no beard. According
to the long robe, musicians of Kule-farah I that historically is more recently than III and IV, emphasis two
points: 1. The possibility of presentation of the female musicians in Elam court land, 2. The increasing
social status of musicians in Elam court.
