جستجوی مقالات مرتبط با کلیدواژه "musicians" در نشریات گروه "تاریخ"

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.

The civilization of Iran in the Sassanid period (224-650 AD), reached its peak of prosperity in many ways and the art of this period is of special value and importance compared to other periods of ancient Iran. One of these arts is music, which can be searchable based on archaeological findings.This research tries to analyze the motifs of Sassanid musicians on metal utensils based on the following questions: A) The motifs of Sassanid musicians on which species of metal utensils is seen more and what is the reason? B. How do metal utensils with motifs of Sasanian period musicians help to understand the music of this period? In this research, it studied 147 metal utensils belonging to the Sassanid period and finally found 24 utensils with the theme of the motifs of sasanid musicians belonging to this period.. The method of conducting this research is descriptive-analytical and the collecting of information is based on library studies and virtual visit of works in museums of the world. The purpose of this research is the typology of Metal utensils with the motif of musicians, determining the species with the most motifs of musicians and also determine the types of instruments used on metal utensils in the Sassanid era. The results of the research show that Plates have the most motifs of musicians and the reason is the flat surface of the plates and having more uniform space to depict scenes and show some details than other species of utensils and the purpose of making plates can be more Be political rather than their practical use. Among the instruments depicted on metal utensils of the Sassanid period, Sorna with 7 works and then lute, horn and pan flute each have 6 works.

One of the most important sources about the music and the situation of musicians in the Umayyad and Abbasids period is the twentieth chapter of al-ʿIqd al-Farīd (the unique Necklace) by Ibn ʿAbd Rabbih, titled "Kitāb al-yāqūta al-thāniya fī ʻilm al-alḥān wa-ikhtilāf al-nās fīh" (The Book of the Second Ruby on the Art of Song and Dissenting Opinions Thereof). In this chapter, he argues in favor of religious permission for music and related arts such as playing music and singing. He also introduces seventy-seven musicians of the Umayyad and Abbasid period, most of whom were men artists of the court, he portrayed a friendly relationship between the caliphs and the artists. He informs us about several common musical instruments of the time. In this article, a statistical and analytical review of his opinions and arguments about music and musicians will be presented.

The tendency towards a variety of arts among caliphs, ministers and various classes of society has increased with the relief of Muslims from the conquests and the improvement of the power and wealth of the Islamic community. This study is a descriptive-analytic study using existing research in this field, the role of ministers of the first and second eras of Abbasid was studied in the development and evolution of music art. The results showed that one of the most important factors of progress in the art of music in the Abbasid era are the presence of Iranian ministers in the court, which, supported by their rich culture and civilization, have been struggling to protect the musicians. According to the circumstances of the Abbasid first era, such as political and economic stability, the interest and support of caliphs and ministers of music and musicians, It can be concluded that this ministers with their economic and political support of artists have played an effective role in the development and evolution of music.

Among historiography fields, it is Iran's artistic historiography which has not been seriously scrutinized so far. One of the topics that was considered by the rulers at the Timurid era was the attention to the class of artists, as this trend was pursued with supportive policies at the era of Sultan Husayn Bayqara (911-875) and other courtiers due to their artistic nature and interest in the arts, in particular the musicians this was and largely reflected in the history of this period. The purpose of this research is to investigate through descriptive-analytical method and historical-artistic approach what is the position and the content of Badaye al vaqaye from Zayn al-Din Vasefi (961-890) in Iran's artistic historiography and exclusively in the process of study the musicians of the Bayqara era in grand Khorasan and what information have it? The findings suggest that this work, far from the political-court views of other historigraphies of this period, is a reflection of the life of various classes of musicians in the society, as Vasefi referred exclusive points of musicians of the period which have not been mentioned in other chronicles. From this perspective, an analytical review of reports of Badaye al vaqaye, as well as adaptation with other historrigraphies of this period, on the one hand, provides new information on the music life of Sultan Hussein's period, and on the other hand, reviews previous studies in the field of music of Bayqara era based on historical contexts.

«»Islamic civilization in the Abbasid era provided an appropriate context for the progress and development of science، literature and art، in a manner that when Muslims freed from conquests، conflicts and wars، and when the states wealth and power increased، tendency toward fine arts among caliphs، the elders and different classes in Baghdad increased. Meanwhile، the art of music as an important vehicle for the manifestation of the glory and power of the caliphs of Baghdad had a special place. The Caliphs، under the influence of the culture and style of the Sassanid kings of Iran، played an important role in the development of music in this era by supporting the musicians and singers like Abraham and Isaac of Mosul، Ibn Jamee، Mansour ZALzAl، Zaryab، Ibrahim bin al-Mahdi، Makharegh، Barsuma، Alawiya، Hakam Vadi، Amr bin Banan and many others. Donating rewards and bonuses to musician، and specifying salaries and pensions to them from the court raised the music of the era to the degree of perfection. Other factors that influenced the development of music in this period were the Translation Movement and the emergence of creative musicians. Besides، the Iranians role in the positive development of this area cannot be ignored. The present research tries to investigate factors affecting the prosperity of music in the Abbasid era. The descriptive-analytic method is used، and the article is organized using the existing resources، researches and references.

Art with all its branches including painting, illumination, portrait painting, music and architecture are among lasting aspects of Islamic culture and civilization. Islamic art is highly integrated with transcendence and Islamic understanding; in a way that mosque as the main religious centre for Muslims is also called “gallery” of Islamic arts. This indicates the high status and elevated position of art among Muslim believers and religious scholars. Among other branches of art, music is quite important from several aspects; in a way that we can consider this amusing and attracting branch of art as mankind’s twin. Of course, Islam has defined music within particular frameworks and religious scholars and Muslim jurists have held certain perspectives with regard to it, which are beyond the scope of this study. However, there have always been songwriters, musicians, and singers in Islamic societies who—through acting in contradiction to the ideas of strict jurists—have amused their listeners with their charming music; in a way that, during the first Islamic century, music grew and developed tremendously in Mecca and Medina and made these two schools surpass the rivals. The main question investigated in this study is what factor or factors contributed to the tremendous growth of music in Mecca and Medina in less than a century. The assumption is that there were policies adopted by the Omavids—particularly Moaviyeh—to make people engaged with luxury and pleasure and separate them from jihad and fighting with corruption and oppression. In this vein, they capitalized on spreading and encouraging various non-political affairs like poetry reading, singing and music among people of Mecca and Medina. Furthermore, the battle of Karbala, Horreh event and capture of holy Mecca are assumed to be among the main factors in making people attracted to charming music and songs played by musicians. The present study, through focusing on this issue, attempts to recognize the outstanding Mecca and Medina music figures.