بررسی نقشمایه‌های آلات موسیقی در تمدن ایلام و بین النهرین
محورهای موضوعی : باستانشناسیساحل قطعی 1 * , بهمن فیروزمندی شیره‌جینی 2
1 -
2 - دانشیار، گروه باستان‌شناسی، دانشگاه تهران، تهران، ایران.
کلید واژه: نقشمایه, ایلام, موسیقی, بین النهرین, آلات,
چکیده مقاله :
موسیقی از جمله پدیده‌های هنری جوامع بشری است که از دوران باستان، تأثیر بسیاری بر زندگی انسان داشته و ابزار و آلات آن در هر دوره، به اشکال و فرم‌های مختلف نمود یافته است. برخی از محققان، بدون توجه به جایگاه موسیقی در جوامع باستانی ایران، نظرات ضدونقیضی درباره پیشینهٔ آلات موسیقی مطرح کرده‌اند. با استناد به مدارک به‌دست‌آمده از کاوش‌های باستان‌شناختی، نقوش برجسته و سنگ‌نوشته‌ها، می‌توان از پیوند دیرینهٔ هنر موسیقی با جوامع و فرهنگ‌های ایرانِ باستان سخن گفت. هنر موسیقی در دوران تاریخی، دارای شواهد و یافته‌های گوناگونی است که با مطالعه، تجزیه و تحلیل روند آن‌ها، می‌توان به اهمیت و نقش این هنر در جوامع دوران باستان پی برد. سؤال اصلی پژوهش این است که تأثیر و تأثّر آثار موسیقی تمدن ایلام بر مناطق همجوار، بر اساس یافته‌های باستان‌شناختی چگونه قابل تبیین است؟ پژوهش حاضر دارای رویکرد توصیفی ـ تحلیلی است و داده‌های آن از طریق مطالعات کتابخانه‌ای گردآوری شده و با روش کیفی تحلیل شده‌اند. نتایج این پژوهش بیانگر آن است که موسیقی در دوران تاریخی، هنری بوده که بیش‌تر در طبقهٔ حاکم اجتماع رواج داشته و دربار، محل و جایگاهی برای هنرمند چیره‌دست موسیقی و محل تجمع هنرمندان خبره در این زمینه به‌شمار می‌رفته است؛ با این حال، خودِ هنرمند، احتمالاً فردی از طبقهٔ فرودست جامعه تلقی می‌شده است. همچنین شواهد پژوهش نشان می‌دهد در هر دورهٔ تاریخی، از آلات و ادوات موسیقی خاصی استفاده می‌شده و نواختن سازهای گوناگونی همچون چنگ، نی، طبل، سرنا، دهل و غیره در نیایش‌ها، مراسم قربانی، عروسی و عزاداری، بیانگر پیوستگی این هنر با زندگی معنوی و حتی نظامی جامعهٔ وقت بوده است.
Music is one of the artistic phenomena of human societies that, since ancient times, has had a significant impact on human life. Its instruments and tools have manifested in various forms and shapes in each period. Some researchers, without considering the role of music in ancient Iranian societies, have put forward contradictory opinions about the origins of musical instruments. Based on evidence obtained from archaeological excavations, bas-reliefs, and inscriptions, it can be stated that there is a long-standing connection between the art of music and the societies and cultures of ancient Iran. The art of music in historical times has various pieces of evidence and findings, and by studying and analyzing them, we can understand the importance and role of this art in ancient societies. The main research question is: how can the influence and impact of musical works from the Elamite civilization on neighboring regions be explained based on archaeological findings? This research adopts a descriptive-analytical approach, with data collected through library studies and analyzed using a qualitative method. The results of this research show that in historical periods, music was an art mostly practiced by the ruling class of society. The royal court was considered a place and space for skilled musicians and a gathering place for expert artists in this field. However, the artist himself was probably seen as belonging to the lower classes of society. Furthermore, the research findings indicate that in each historical period, specific musical instruments were used, and playing various instruments such as the harp, ney, drum, serna, daff, and others in rituals, sacrifices, weddings, and mourning ceremonies reflected the connection of this art with both the spiritual and even military life of the society at the time.
Introduction
Music, as an expressive and deeply symbolic art form, has been embedded in the fabric of human civilization since antiquity. It has served not only as a medium for emotional expression and spiritual experience but also as a marker of cultural identity and societal structure. In the context of ancient Elamite and Mesopotamian civilizations, music held profound social, religious, and ceremonial significance, often associated with the court, religious rituals, and public celebrations. Despite the centrality of music in these ancient societies, the subject of musical instruments and their motifs in archaeological findings has received relatively limited focused attention.
This paper investigates the role and representation of musical instruments in Elam and Mesopotamia by examining motifs depicted in archaeological artifacts such as cylinder seals, bas-reliefs, pottery, and metal objects. It also addresses how these visual elements reflect the broader cultural, religious, and political dimensions of music in ancient times. While previous studies have addressed music in general historical contexts, this research specifically highlights the symbolic and practical aspects of instrument imagery and their diffusion across regions and time periods.
Given the geographical proximity and cultural exchange between Elam and Mesopotamia, particularly through trade and religious syncretism, their musical traditions show overlapping yet distinct characteristics. The research highlights how specific instruments—such as the harp, lyre, flute, drum, and trumpet—appear across a wide chronological and geographical spectrum, serving both sacred and secular functions. Through visual analysis and historical comparison, the study sheds light on the place of music in shaping social hierarchies and spiritual practices, while offering new insights into the technological craftsmanship of ancient instrument makers. The findings illustrate that music was both a product and producer of cultural meaning, reflecting the values, rituals, and identities of the societies that embraced it.
Methodology
This study employs a descriptive-analytical and comparative research methodology to examine musical instrument motifs in Elamite and Mesopotamian civilizations. Data collection was conducted through library research, including archaeological reports, museum catalogues, scholarly articles, and visual databases. Primary sources included images from museums such as the Louvre and the National Museum of Iran, where artifacts featuring musical motifs are housed.
The analysis involved qualitative interpretation of motifs represented on a variety of artifacts—such as seals, bronze vessels, and ceramic figurines. The instruments' forms, contexts of use, and associated ceremonies were studied to infer their roles in society. Comparative analysis with neighboring cultures, including Egypt, Anatolia, and the Indus Valley, was conducted to assess cultural transmission. Particular attention was given to iconographic details and spatial distribution of motifs to track the historical evolution and societal importance of musical instruments in ancient Elam and Mesopotamia.
Discussion
The examination of musical instrument motifs in the civilizations of Elam and Mesopotamia reveals a complex and deeply rooted relationship between music and ancient life. Archaeological evidence—from seals, bas-reliefs, and figurines—demonstrates that music was integrated into multiple aspects of societal function: from worship and court life to warfare and funerals.
In Elamite art, instruments like harps, lyres, flutes, and drums are frequently depicted, especially in ritual and ceremonial contexts. The Chogha Mish seal, dating to the 4th millennium BCE, shows musicians performing with a vertical harp, a drum, and possibly a trumpet. This early evidence indicates that ensemble performances were already an established tradition, potentially accompanying religious rites. Interestingly, women are frequently depicted as musicians, suggesting either elevated status or specific gendered musical roles, possibly within temple or courtly settings.
The motif of musicians appears prominently in sacrificial scenes, such as in the Kul-e Farah relief, where musicians perform during animal offerings, signifying the spiritual importance of music in religious rituals. Similarly, metal cups from Lorestan feature bands of musicians, indicating the practice of group performances in feasting or ritual contexts.
Mesopotamian representations, particularly from Sumer, Akkad, and Babylon, often include similar instruments, but with regional variations in construction and use. Sumerians, for example, crafted elaborate lyres with decorative elements using animal motifs, like bulls or birds, as part of the instrument's body. These instruments have been excavated from royal graves, highlighting their ceremonial and elite associations. The "Queen’s lyre" from the Royal Cemetery of Ur is a prime example, adorned with gold and lapis lazuli.
Babylonian and Assyrian artworks also depict musicians, often in temple or court scenes, sometimes accompanied by inscriptions or musical notations. During the Neo-Assyrian period, musicians became prominent in military and state ceremonies, as seen in reliefs from the palace of Ashurbanipal, where ensembles including horizontal harps and frame drums accompany processions.
Iconographic details also highlight technological advancements. Instruments in Elam and Mesopotamia evolved in complexity over time, with changes in structure such as the addition of resonating bodies, tuning systems, and portability adaptations. For instance, figurines show musicians playing instruments with extended necks, suggesting tension-based tuning mechanisms, which allowed for tonal variation and possibly melodic development.
Cultural transmission is another important dimension. Musical motifs in Elamite and Mesopotamian artifacts bear striking resemblances to those from Egypt and Anatolia, suggesting artistic and technological exchange. Some instruments even resemble modern variants found in the Middle East, such as the tanbur and santur, pointing to continuity in regional musical heritage.
Beyond visual depictions, texts and myths from these civilizations underscore the ideological and emotional resonance of music. Deities such as Nanshe and Ishtar were associated with music and dance, while myths often include divine musicians. This theological embedding emphasizes music's perceived role in mediating between human and divine realms.
Furthermore, music had a clear class dimension. Royal courts employed musicians as entertainers and spiritual mediators, yet the artists themselves were often from the lower social strata. This duality reflects the paradox of artistic prestige and personal status, a theme recurring throughout history.
Musical practice in both civilizations also extended to public events like weddings and funerals. Instruments such as the daf, serna (a type of oboe), and kettledrum were integral to these ceremonies, indicating music’s presence in life-cycle rituals. These associations align with evidence from contemporary oral traditions that preserve ancient performance practices.
Taken together, the study of musical instrument motifs not only enriches our understanding of Elamite and Mesopotamian culture but also offers a broader lens on the role of music in ancient civilizations. It becomes evident that music was not a peripheral art but a central axis around which social, religious, and political life revolved.
Conclusion
The visual and archaeological evidence of musical instruments in Elamite and Mesopotamian civilizations underscores the central role of music in shaping ancient society. Musical motifs on artifacts reveal the cultural, religious, and political dimensions of this art form, reflecting its use in royal courts, religious rituals, and public celebrations. Instruments such as the harp, drum, flute, and trumpet were not only tools of musical expression but also symbols of social structure and spiritual belief.
The research highlights that while musicians often belonged to lower social classes, their art held immense value in sacred and ceremonial contexts. The diversity and evolution of instrument forms point to both technological innovation and cultural exchange across the ancient Near East.
By analyzing iconographic representations alongside textual and comparative data, this study contributes to a more comprehensive understanding of how music shaped and was shaped by the socio-religious dynamics of early civilizations. Moreover, it establishes the significance of music as a cultural constant, linking ancient practices to present-day traditions in the region.
This exploration not only documents the historical legacy of musical expression but also offers insights into how art serves as both a mirror and molder of human civilization.
آمیه، پیر (1372). تاریخ عیلام، ترجمه شیرین بیانی، چاپ دوم، دانشگاه تهران: انتشارات تهران.
ایازی، سوری (1383). نگاهی به پیشینه موسیقی ایران قبل از اسلام به روایت تصویر، نوای گمشده، چاپ اول، دانشگاه تهران: انتشارات میراث فرهنگی و گردشگری.
استولپر، ماتیو و ولفگانگ (1389). تاریخ عیلام، با مقدمه عبدالمجید ارفعی، ترجمه شهرام، چاپ اول، تهران: انتشارات توس.
آناد، کیلمر (1380). موسیقی بین‌النهرین و آلات موسیقیایی اور، ترجمه نادره عابدی، چاپ دوم، تهران: انتشارات توس.
بیانی، ملکزاده (1363). تاریخ مهر در ایران، چاپ اول، جلد اول، تهران: انتشارات یزدان.
بهزادی، رقیه (1371). هنر قوم‌های کهن موسیقی در خاورمیانه باستان، تهران: انتشارات توس.
پوپ، آرتور و فیلیس اکرمن (1378). سیری در هنر ایران از دوران پیش از تاریخ تا امروز، جلد ششم، نوشته هنری جرج فارمر، ترجمه هومان اسعدی، تهران: نشر علمی و فرهنگی.
جوادی، غلامرضا (1380). موسیقی ایران از آغاز تا امروز، تهران: انتشارات توس.
خاکسار، علی (1390). بررسی سازهای زهی و نقش برجسته‌های مربوطه در تمدن کهن سومر، چاپ اول، تهران: انتشارات سمت.
دریارو، سارا (1391). موسیقی ایرانی به روایت آثار بازمانده و متون از عهد باستان تا قرن ششم ه.ق، تهران: جهاد دانشگاهی.
درویشی، محمدرضا (1380). دائرةالمعارف سازهای ایران، جلد دوم، تهران: نشر ماهور.
ذکاء، یحیی (13۴2). رقص در ایران پیش از تاریخ، چاپ دوم، تهران: تهران.
رابرتسون، آلک و استیونس، دنیس (1369). تاریخ جامع موسیقی، ترجمه بهزاد باشی، تهران: تهران.
زونیس، الا (1377). موسیقی کلاسیک ایرانی، ترجمه مهدی پورمحمد، تهران: پارت.
سامی، علی (13۴9). موسیقی ایران در دوران ساسانی، در مجموعه مقالات موسیقی ایران، تهران: انتشارات وزارت فرهنگ و ارشاد اسلامی.
سپنتا، ساسان (1382). چشم‌انداز موسیقی ایران، جلد دوم، تهران: ماهور.
شمس، بهاءالدین (1383). موسیقی در عهد باستان، موسسه تحقیقاتی و انتشاراتی نور، چاپ اول، تهران: تهران.
صراف، محمد رحیم (1372). نقوش برجسته عیلام، چاپ اول، تهران: سمت.
فروغ، مهدی (135۴). مداومت در اصول موسیقی ایران، نفوذ علمی و عملی موسیقی ایران در کشورهای دیگر، چاپ اول، وزارت فرهنگ و هنر، تهران: سمت.
گالپین، فرانسیس (1376). موسیقی میانرودان، ترجمه محسن الهامیان، چاپ اول، دانشگاه هنر: تهران.
مجیدزاده، یوسف (1386). تاریخ و تمدن عیلام، چاپ دوم، تهران: نشر دانشگاهی.
مجیدزاده، یوسف (1376). تاریخ و تمدن بین‌النهرین، جلد اول، چاپ اول، تهران: نشر دانشگاهی.
مورتگارت، آنتوان (1387). هنر بین‌النهرین باستان، ترجمه زهرا باستی و محمد رحیم صراف، چاپ اول، تهران: سمت.
هرتسفلد، ارنست (1380). ایران در شرق باستان، ترجمه همایون صنعتی‌زاده، پژوهشگاه علوم انسانی و مطالعات فرهنگی: تهران.
یلمر، آناد (1380). موسیقی بین‌النهرین و آلات موسیقی اور، ترجمه نادره عابدی، چاپ دوم، تهران: سمت.
Amait, P. (1972). ClyptiQueSusuienne (Vol. 1). Paris: MDP, Librairie Orientaliste Paul Geuthner.
Reade, J. (1971). Mesopotamia. London: Museum Britain.
Spycket, A. (1992a). Les figurines de Suse 1: Les figurines humaines (Mémoires de la DE, Légation Archéologique en MDP, 52). Paris: MDP.