مطالعه ویژگیهای هنرمند در دوگانه‌های شاپور/ فرهاد و باربد/ نکیسا بر اساس منظومه «خسرو و شیرین»
محورهای موضوعی : مطالعات میانرشتهای ادبیات
جواد آقاجانی کشتلی
1
,
محمود اشعاری
2
1 - استادیار گروه پژوهش هنر دانشگاه علم و هنر، یزد، ایران
2 - استادیار گروه صنایع دستی، دانشگاه علم و فرهنگ، تهران، ایران
کلید واژه: نظای گنجوی, خسرو و شیرین, شاپور, فرهاد, باربد و نکیسا.,
چکیده مقاله :
نظامی در منظومه «خسرو و شیرین» از چهار هنرمند دربار خسرو (شاپور/ فرهاد و باربد/ نکیسا) نام برده و جایگاه آ‌‌نها را مؤثر و ویژه می‌داند. هدف از انجام این پژوهش، تحلیل جایگاه این چهار هنرمند در منظومه خسرو و شیرین است. ضرورت انجام پژوهش در شناسایی مؤلفه‌های مربوط به هنرمندان دورۀ شاعر و نگاه آن دوره به هنرمندان بوده است. ویژگیهای هنرمندانه شاپور/ فرهاد و باربد/ نکیسا در منظومه خسرو و شیرین نظامی کدامند؟ به نظر می‌رسد مؤلفه‌هایی مانند دقت و مهارت در طراحی و ترسیم هنرهای دیداری و برانگیختن احساسات مخاطبان از جمله ویژگیهای هنری هنرمندان نامبرده شده در منظومه خسرو و شیرین است. روش انجام تحقیق، توصیفی- تحلیلی و روش گردآوری اطلاعات، کتابخانه‌ای بوده است. جامعه هدف پژوهش، ابیات مربوط به منظومه یادشده است. ابیات به روش تحلیل محتوای کیفی تحلیل شدند. نتایج به‌دست‌آمده نشان داد که شاپور و فرهاد در حوزه تجسمی و با مهارت و استادی، بارها به کمک خسرو و شیرین آمدند. هر دو، شاگرد یک استاد بودند. شاپور، نقاش و فرهاد، پیکرتراش بودند. هر دو واقع‌گرا بودند. اما باربد و نکیسا موسیقی می‌دانستند. یکی در نواختن چنگ و دیگری در بربط، سرآمد نوازندگان دوره خود بودند. هر دو با الحان ابداعی و خلاقانه بارها حالات و روحیات مخاطبان را تحت تأثیر قرار دادند.
A Comparative Study of the Artistic Characteristics of the Dualities of Shapur/ Farhad and Barbod/ Nakisa Based on the Poems of Khosrow and Shirin of Nezami
Javad Aghajani Keshtali*
Mahmoud Ashari **
Thinkers in the field of art and philosophy of art in the sphere of Eastern and Western thought have referred to the position of the artist in texts and attached special importance to it. Plato, Aristotle, to some extent Christian theologians, Renaissance thinkers, German Romantics, Heidegger, Mulla Sadra Shirazi, and a number of other wise poets have dealt with this issue. In the opinions of these philosophers, sages, commentators, and poets, the artist has been introduced as the center of art production. This subject is also seen to some extent in the poetic and poetic texts of Persian literature. In the poem of Khosrow and Shirin, Nezami mentions four artists of Khosrow's court (Shapur/Farhad and Barbod/Nakisa) and considers their position effective and special. The purpose of this study is to compare the position of the four mentioned artists in the poem of Khosrow and Shirin. The research method is descriptive-analytical. The method of data collection was the library information collection method. The target population of the research is the verses related to the mentioned poem. The verses were analyzed using a qualitative content analysis method. The results showed that Shapur and Farhad came to the aid of Khosrow and Shirin many times, artfully and with mastery in the field of visual arts. Both were students of the same master. Shapur was a painter, and Farhad was a sculptor. Both were realistic. But Barbod and Nakisa knew music. One in playing the lute, and the other in playing the harp were the outstanding musicians of their time. Both of them impressed the moods and manners of the audience many times with their innovative and creative melodies.
Keywords: poem of Khosrow and Shirin. Artist, Shapur, Farhad, Barbod, Nakisa.
Introduction
The purpose of this research is to examine and analyze the place of these four artists within Khosrow and Shirin and their artistic attributes.
It seems that attributes such as precision and skill in design and representation in visual arts, and the ability to evoke emotions in their audience, are among the artistic qualities of the artists mentioned in Khosrow and Shirin.
This article also seeks to answer the following question
What are the artistic qualities of Shapur/Ferhad and Barbad/Nakisa in Nizami's Khosrow and Shirin?
Theoretical Framework
Ebrahimi Dinani (2015) defines artistic creation as bridging the Gap between subject and idea, emphasizing the union of the mental world and the physical world. FahimiFar (2007) views artistic creation, from a Platonic perspective, as originating from imagination, emotions, and passionate motivations. T.S. Eliot views the author as the creator of the work, emphasizing the author's crucial role in its genesis. Eliot urges the author to assimilate their emotions, so that the thematic elements of their work are best structured (Fazilat, 2017: 25).
Humans possess the capacity for creation, exemplified most profoundly in art, which embodies creativity and innovation. (Avani, 1996: 328) This perspective is shared by philosophers like Mulla Sadra and Ibn Arabi.
Artists held a significant place in the life of poets like Nizami Ganjavi. Nizami Ganjavi, a narrative poet who himself was an artist and valued art and artists, portrays four exceptional court artists in his epic poem Khosrow and Shirin. He describes each of them individually, ultimately categorizing them into two groups—visual and auditory artists.
Comparison of Shapur and Ferhad's Artistic
Qualities in Khosrow and Shirin
|
FEATURE |
SHAPUR |
FERHAD |
|
Training |
Trained by a master in China |
Trained by the same Chinese master as Shapur |
|
Patronage /Role |
Advisor to Khosrow, from crown prince to king |
Lover of Shirin (Armenian princess) |
|
Artistic Discipline |
Painter (visual artist) |
Sculptor/Stone-carver (visual artist) |
|
Experience |
Well-traveled and worldly |
Wise and modest |
|
Artistic Comparison |
Compared to Mani the painter |
Compared to Mani the painter |
|
Style |
Realistic in depiction |
Realistic in representation |
|
Methodology |
Measured and meticulous, employing geometrical principles in drawing. |
Measured and meticulous, employing geometrical principles in design. |
|
Artistic Principles |
Adherence to aesthetic principles based on mathematics and geometry (objective standards). |
Adherence to aesthetic principles based on mathematics and geometry (objective standards). |
|
Productiveness |
Quick in creating/producing |
Very skilled & swift in creation |
|
Craftsmanship |
Highly skilled in production. |
Highly skilled in production. |
Similarities: Both Shapur and Ferhad share the following attributes: training under the same Chinese master; comparison to Mani the painter; realistic artistic style; adherence to aesthetic principles based on geometrical and mathematical reasoning; and exceptional speed and skill in artistic production.
Differences: The primary differences lie in their specific artistic disciplines (Shapur is a painter, Ferhad a sculptor/stone carver); their roles in Khosrow's court (Shapur as advisor, Ferhad as a lover); their characteristics (Shapur worldly, Ferhad wise); and, ultimately, their different thematic connections to the plot (Shapur associated with the king's council, Ferhad with the love that drives the central drama). Both are recognized masters of their time. Both are used by the King as court artists, illustrating the value of artistic talent in his court.
Comparison of Barbad and Nakisa's Artistic Qualities
|
FEATURE |
BARBAD |
NAKISA |
|
Instruments |
Cithara (a type of lute) |
Zither (a stringed instrument) |
|
Musical Expertise |
Renowned knowledge of numerous melodies & rhythms |
Renowned knowledge of rhythm, measure, and musical harmony |
|
Skill/Mastery |
Exceptional skill and mastery of musical performance |
Exceptional skill and mastery of musical performance and singing |
|
Emotional Impact |
Induced joy and sorrow (emotions) in audiences |
Induced sorrow in audiences, causing the stars and planets to dance; profoundly moving to the point of making birds sad. |
|
Therapeutic/Healing Power |
Music evokes healing, soothing distressed hearts. |
Music is described as deeply sorrowful, affecting even the birds. |
|
Comparisons |
Compared to King David and Jesus in singing and instrument playing |
|
|
Courtly Role |
Courtier musician for Khosrow |
Courtier musician for Khosrow |
Similarities: Both Barbad and Nakisa are highly skilled musicians celebrated for their mastery of their instruments and their profound emotional impact on listeners. Both serve as musicians at the court of Khosrow, highlighting the esteem and status held by musicians of their caliber.
Differences: While both are virtuosos, they are described with distinct emotional palettes. Barbad's music evokes a broader range of emotions (joy and sorrow), while Nakisa's is explicitly associated with melancholy. Their instrumental specializations (cithara vs. zither) are also noted.
Aesthetic Approach: The descriptions reflect a consideration of objective aesthetic principles, as evident in the use of terms implying meticulous attention to musical form and harmonies. Words like "measured," "rhythmic," "balanced," and possibly references to mathematical or geometric proportions (though not explicitly stated in the table) are implicit in these descriptions.
Conclusion
Pair One: Shapur and Ferhad
The similarities between these artists in the poem include shared training under a Chinese master, comparison to Mani the painter, the creation of realistic works mirroring nature, adherence to objective aesthetic principles, and mastery of their craft. Differences lie in their specific disciplines (Shapur, the painter; Ferhad, the sculptor/stone carver); Shapur's perceived elegance versus Ferhad's strength; Shapur's worldly experience versus Ferhad's wisdom and modesty; and finally, the poet's portrayal of Shapur as seemingly more obedient than Ferhad.
Pair Two: Barbad and Nakisa
Similarities between Barbad and Nakisa involve shared expertise in musical performance, comprehensive knowledge of musical modes, and exceptional skill. Both artists evoke a wide range of emotions in their audiences. Differences include their specific instruments (Barbad plays the cithara, Nakisa the zither); Nakisa's dual role as a singer as well as a musician; and a greater emphasis on Nakisa's understanding of rhythm and harmony, while Barbad is described as knowledgeable in numerous melodies. The poetic comparison of Barbad's music to the divine voices of David and Jesus is notable, a comparison not made for Nakisa.
In both pairs, Nizami Ganjavi emphasizes the exceptional talent and diverse characteristics of these musicians and artists, highlighting their importance within the courtly culture. The distinctions made in each case reflect not just technical differences but also nuanced personalities and stylistic approaches.
Similarities: Both Barbad and Nakisa are highly skilled musicians celebrated for their mastery of their instruments and their profound emotional impact on listeners. Both serve as musicians at the court of Khosrow, highlighting the esteem and status held by musicians of their caliber.
Differences: While both are virtuosos, they are described with distinct emotional palettes. Barbad's music evokes a broader range of emotions (joy and sorrow), while Nakisa's is explicitly associated with melancholy. Their instrumental specializations (cithara vs. zither) are also noted.
Aesthetic Approach: The descriptions reflect a consideration of objective aesthetic principles, as evident in the use of terms implying meticulous attention to musical form and harmonies. Words like "measured," "rhythmic," "balanced," and possibly references to mathematical or geometric proportions (though not explicitly stated in the table) are implicit in these descriptions.
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* Corresponding author: Assistant Professor, Art Research Department, University of Science and Culture, Yazd, Iran.
j.aghajani@sau.ac.ir
** Assistant Professor, Handicrafts Department, University of Science and Culture, Tehran, Iran.
mahmoud.ashari@gmail.com
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