Description
This presentation explores my book’s content, research process, and the historical significance of two Qājār-era paintings depicting musicians.
The book ʿAmalajāt-i Ṭarab-i Ḵāṣa (Exclusive Royal Musicians) examines two paintings related to music from the Qājār period (1794–1925), during the reign of Nāser-al-Din Šāh (r. 1848–1896). The first painting, ʿAlī-Akbar Farāhānī va Šāgerdānaš (ʿAlī-Akbar Farāhānī and His Apprentices) by Abu’l-Ḥasan Ḡaffārī, also known as Ṣaniʿ-al-Molk (c. 1813–1866), is currently located at an unknown site. The second painting, ʿAmala-i Ṭarab (Royal Musicians), by Moḥammad Ḡaffāri, also known as Kamāl-al-Molk (c. 1848–1941), is housed in the Golestān Palace in Tehrān.
Ṣaniʿ-al-Molk’s painting portrays the court musician ʿAlī-Akbar Farāhānī with his renowned tār, named Qalandar, surrounded by seven of his apprentices. Due to the absence of the original painting, the analysis relies on photographs taken by Bahman Boustān, images available in various historical sources, and a postcard. In the image, some apprentices are identified through historical sources, while others remain anonymous.
Kamāl-al-Molk’s painting depicts fifteen individuals, five of them are playing musical instruments (santur, kamānča, tār, tombak, daf). A dancer lying on the ground holds a pair of small cymbals, which are barely discernible. The painting also features three young male dancers. The names of three musicians are mentioned in historical records, but the names of the tombak and daf players are not specified.
The book analyzes the context and dating of the paintings, the depicted musical instruments, the identification of the musicians, and the sociocultural factors significant to music-making during the Qājār period, as well as the implicit meanings of the paintings. Given its multidisciplinary approach, this book will interest both scholars of Qājār music and art historians specializing in painting and photography.
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