ANALYSIS OF THE REPRESENTATION OF OUD PLAYER IN THE IMAGES OF SASANI TO SAFAVI

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DOLATI FARD MARYAM; SHAHROODI FATEMEH

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Journal: Journal of Fine Arts: Performing Arts and Music Year:2014 | Volume:18 | Issue:2 Page(s): 49-56

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Title

ANALYSIS OF THE REPRESENTATION OF OUD PLAYER IN THE IMAGES OF SASANI TO SAFAVI

Author(s)

DOLATI FARD MARYAM | SHAHROODI FATEMEH | Issue Writer Certificate

Keywords

OUDQ1

OUD PLAYER IN IMAGESQ2

PERMANENT ELEMENTSQ2

ANALYSIS OF BASIC AND NON- BASIC FIGUREQ2

SASSANID TO SAFAVIDQ2

Abstract

this article analyzes 40 images, showing OUD player from SASSANID TO SAFAVID periods. These images offer additional insight about the OUD. PERMANENT ELEMENTS in these images are the basis of analysis in this research. There are two types of figures that could be defined as “permanent elements”: basic figure and nonbasic figure. Basic figure refers to an element (or a person) which is superior to other figures. This can be recognized by visual signs and symbols such as: composition, size, position, and the relation of other figures to it. Sometimes a text, or poem, which is the subject of the image, can help us discern basic figures. Basic figure can be a human being, a mythological creature, a tree, a bird, a throne, or a building. Non-basic figure occupies a lower status than basic figure. In this article, the OUD player is oftentimes seen a nonbasic figure. This research shows four kinds of patterns, representing images of the OUD player. Repetition and diversity of the patterns could be considered as the reflection of social and cultural values in Persian Ancient and Islamic art. Most of the images belong to the first pattern whereby a king is the basic figure, and hence superior to OUD player, a non-basic figure. Most of the time, the OUD player is represented in the left corner of the scene, but in a few images he is shown in the right corner. In the second pattern, a non-human element replaces the king as the basic figure. In the third pattern, the OUD player is represented as the basic figure, showing his individuality. In other words, there is an overlap between basic and nonbasic figures. In the last pattern, the OUD player is shown beside the other figure, demonstrating equal status – in fact, neither is superior to the other. This study introduces Sassanid patterns as a group, having the most variety. All four patterns are available in this period. But a successive review of images, from SASSANID TO SAFAVID, shows that the first pattern becomes more dominant – i.e., the OUD player is shown as a non-basic figure. There are the tree images shown in the third category. The first is related to the Sassanid period; the second is related to Islamic period, but obviously under the influence of the Sassanid artistic traditions; and the last belongs to Safavi’s art. Although OUD players were respected in the Sassanid period but, due to the lack of enough images from this period, the third pattern of the research does not suggest the superior representation of OUD players in Sassanid social classes. The images in the Islamic period shows a lack of emphasis of the individuality of OUD player. There has been some debate about the place of music in Islam, so the first and the second patterns can be an indication of lower status of OUD player in this society.

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APA: Copy

DOLATI FARD, MARYAM, & SHAHROODI, FATEMEH. (2014). ANALYSIS OF THE REPRESENTATION OF OUD PLAYER IN THE IMAGES OF SASANI TO SAFAVI. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), 18(2), 49-56. SID. https://sid.ir/paper/173200/en

Vancouver: Copy

DOLATI FARD MARYAM, SHAHROODI FATEMEH. ANALYSIS OF THE REPRESENTATION OF OUD PLAYER IN THE IMAGES OF SASANI TO SAFAVI. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2014;18(2):49-56. Available from: https://sid.ir/paper/173200/en

IEEE: Copy

MARYAM DOLATI FARD, and FATEMEH SHAHROODI, “ANALYSIS OF THE REPRESENTATION OF OUD PLAYER IN THE IMAGES OF SASANI TO SAFAVI,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. 18, no. 2, pp. 49–56, 2014, [Online]. Available: https://sid.ir/paper/173200/en

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