مطالعه‌ای در شناخت سازهای ایلامِ نو

Abstract: Research on ancient Elamite music is scarce, with significant studies such as Sepideh Khaksar’s thesis titled "A Musicological Approach to the Ancient Remains and Music of Ancient Elam" (Khaksar, 2008) and Javier Alvarez-Mon’s "Royal Elamite Orchestra of Madaktu" (Alvarez-Mon, 2017) being among the few available. Previous studies on Elamite music span from the 3rd millennium BCE to the 1st millennium BCE without a clear chronological distinction. This research, however, focuses on the music of Elam within a more specific time frame. These two key studies delve into Elamite music and its nuances, providing the framework for this article's exploration.
Studying the history of music in different periods helps us understand the cultural evolution of musical practices and the reasons behind the transformations in musical trends over time. The history of Iranian music can be divided into two broad categories: the pre-Islamic and Islamic periods. The pre-Islamic period itself can be subdivided into 1. The Elamite period and 2. The post-Elamite period. While significant studies on the history of Islamic-era music have been conducted recently, pre-Islamic studies mostly focus on the periods following Elam, particularly the Sassanian era. Unfortunately, research into Elamite music, which significantly influenced subsequent musical periods, has been overlooked.
Elamite music must be studied through archaeological and ancient remains. These remains provide insights into the instrumentation and performance contexts, but the actual musical systems of Elam remain elusive. Unlike neighboring Mesopotamian civilizations, where numerous texts about music are preserved, no such texts exist in Elamite cuneiform inscriptions. This lack of documentation may be attributed to the persistent wars between the Elamites and their neighbors, leading to political instability, and most Elamite cuneiform inscriptions are devoted to warfare, divine worship, and economic matters.
Considering these challenges, this article aims to explore the musical instruments used in Elam between 1200 and 500 BCE, the final period of Elamite civilization, to shed light on the region’s musical practices.
History of Elam: Human settlement in southwestern Iran dates back to approximately 8000 BCE. The fertile land and climatic conditions of the region encouraged early settlement. Over time, these settlements grew, leading to the development of cities. However, due to limited archaeological evidence, the cultural history of this period remains difficult to reconstruct. The mid-4th millennium BCE marks the beginning of urbanization in Elam. By the early 3rd millennium BCE, the region entered the historical period with the development of writing and the formation of cities.
Elam consisted of two primary regions: Susa and Anshan. Various rulers controlled one or both of these regions. The civilization reached its peak in the 3rd millennium BCE, during which the Elamites invented the Elamite script and cylinder seals, initiating the formation of centralized states. The heart of Elam was the city of Susa, which housed both the governmental center and trade hubs with neighboring civilizations.
Elamite history can be divided into two major periods: prehistory (4000–2900 BCE) and history (2900–640 BCE). Elam’s historical phase began with the advent of writing and lasted until the collapse of the last Elamite king, Humban-Haltash, who was defeated by the Assyrian king Ashurbanipal in 640 BCE.
Archaeological Findings Depicting Musical Instruments: Ancient artifacts from the 1st millennium BCE, featuring musical instruments, are more diverse compared to earlier periods. Among these are bronze vessels, sculptures from the Kolda Farah site, and drinking vessels, all adorned with depictions of musicians.
The Bronze Cup of Arjan: A notable artifact discovered in 1982 in Arjan, near Behbahan, is a bronze cup that contains engravings of different scenes, one of which depicts a celebratory victory feast with musicians. In one of the engraved bands, two harpists and a lyre player can be identified, accompanied by dancers. This cup is currently housed in the National Museum of Iran.
The Kolda Farah Rock Carvings: The Kolda Farah site near Ahvaz contains several rock carvings that depict religious ceremonies and royal audiences, including scenes with musicians. In one of these, three musicians are shown playing instruments in front of a king during a sacrificial ritual. The instruments depicted include harps and other stringed instruments.
Bronze Drinking Cups from Lorestan: These cups, found in Lorestan, feature depictions of musicians playing a lyre and a long-necked lute at royal feasts. These artifacts date from the 6th century BCE and are currently held in the Museum of Fine Arts in Lyon and the Louvre Museum in Paris.
Musical Instruments Identified: Based on the aforementioned archaeological finds, the musical instruments identified in Elamite art include:
Chang
Long-necked lute
Lyre
Wind instruments
Analysis of Musical Instruments:
The Harp: Several artifacts, including the Arjan Cup, Lorestan bronze goblets, and the Kolda Farah rock carvings, depict harps. The harps shown in these artifacts have a bent shape, although the precise number of strings remains unclear due to the stylized nature of the depictions, these instruments were likely portable and relatively light, making them suitable for both performance and transport.
The Long-necked Lute: The bronze drinking cups found in Lorestan depict musicians playing a long-necked lute, a stringed instrument common in the ancient Near East. The lute’s detailed representation of the cups suggests it was a prominent instrument in Elamite music.
Lyres: Lyres are also depicted in several artifacts, including the Kolda Farah carvings. These instruments are shown being played by musicians at royal events and religious ceremonies, indicating their importance in Elamite culture.
Conclusion: While the Elamites did not leave behind written texts about their music, archaeological evidence provides a glimpse into their musical practices. The depictions of harps, long-necked lutes, and lyres on various artifacts suggest a rich musical tradition. Despite the challenges posed by the absence of written music or detailed descriptions, these findings offer valuable insights into the role of music in ancient Elam, especially in religious and royal contexts. Further research into these artifacts can help us understand the broader cultural and social functions of music in the ancient Elamite civilization.