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0"Oriental Art and Culture" Scientific Methodical Journal / https://oac.dsmi-qf.uz Volume 5 Issue 1 / February 2024
МУЗЫКАЛЬНАЯ КУЛЬТУРА СРЕДНЕЙ АЗИИ В XV-XVI ВЕКА
Амонов Дилшод Абдурахманович diyor005@gmail.com Государственная консерватория
Аннотация: Изучение музыкальной истории Средней Азии и востока означает изучение жизни, обрядов, психологии, традиции тех времён сегодняшнего и будущего мировоззрения и духа в целом. XV-XVI века можно сказать что эта эпоха расцвета не только музыки, но и культуры в целом.
Ключевые слова: музыка, культура, Шайбаниды, Тимуриды, Герат, Алишер Наваи, политика, Сефевиды, Средняя Азия, Мавераннахр
MUSICAL CULTURE OF CENTRAL ASIA IN THE XV-XVI CENTURIES
Dilshod Abdurahmanovich Amonov State Conservatory of Uzbekistan
Abstract: The study of the musical history of Central Asia and the East means the study of life, rituals, psychology, traditions of those times of the present and future worldview and spirit in general. XV-XVI centuries, we can say that this is the heyday of not only music, but also culture in general.
Keywords: music, culture, Sheibanids, Timurids, Herat, Alisher Navoi, politics, Safavids, Central Asia, Transoxiana
15th-16th centuries are a difficult historical period in Central Asia - the meeting of the Timurid state with a political crisis and the establishment of a new ruling dynasty in Moveronnahr - the nomadic Uzbek Shaibani dynasty. The powerful state system founded by Amir Temur gradually weakened, and the Shaibanis (1501-1598) in Central Asia, the Baburis (1526-1857) in Eastern Turkestan and India, It led to the emergence of the Safavid (1501-1732) sultanates in Khorasan and Persian lands. As the cultural and educational successor of Herat, the last center of the Timurid Empire, the ancient capital of the Shaibani state, Bukhara, came to the fore. As a proof of our words, in the palace of Husain Baigaro, Abdurrahman Jami (1414-1492) and Alisher Navoi (1441-1501), as well as Husain Vaiz Koshifi (1440-1505), Kamoliddin Binai (1453-1512), Kamoliddin Behzod (1455-1537) were great creative people. Ustad Qulmuhammad Udiy, Ustad Sayyid, Ustad Shahquli G'ijjak, Ahmad G'ijjak, Ustad Sheikh Fani were also mature scholars who made a name for themselves not only in Khorasan, but also in the entire Islamic world. Vivid pictures of such gatherings from
the end of the 15th - beginning of the 16th centuries have been preserved in Vasifi's memories. For example, his story about the meeting organized by Khwaja Majiddin Muhammad, known as Mir-Kalon, is very impressive. The Mir-Kalon garden near Herat was chosen as the place for the celebration - according to Vasifi, "it is such a garden that Iram's flower beds were surprised by its beauty and bit his finger with their amazing teeth, and the imagination was amazed by its charm...". The guests were treated to more than forty different dishes, "no one even knew the names", all kinds of sweets and sweets, a bowl filled with sugary drink, and various amazing treats. The author gives a list of the names of the most prominent persons among those invited. Among them, in addition to the representatives of Herat nobility, prominent religious scholars, musicians, famous intellectuals, scientists and poets are listed. Including Navoi, Binoi, Vasifii and others) and a number of "great youth of Herat", including those from the class of artisans - cover-makers, calligraphers, saddlers, leather embroiderers, etc[1].
Thus, along with representatives of that elegant circle of intellectuals of Herat, the most mature members of the city's arts and crafts people took an active part in the parties. But these festivities themselves are only a product of certain historical conditions, and they certainly did not predetermine the flourishing of urban culture in the Middle East. An important place was played here for the growth and development of feudal cities.
Sultan Husayn Boykara (reigned 1469-1506) was one of the most famous Timurid rulers. In the second half of the 15th century, he ruled for more than thirty years until the invasion of Shaibani. During his long reign, he showed more love for the pleasures of calligraphy, painting, poetry, music, and dance than for the tedious administration of his kingdom. Together with Mir Alisher Navoi (1441-1501), who was his advisor and keeper of the royal seal, he raised visual arts to unprecedented heights. He also generously patronized musicians and dancers, held poetic and musical gatherings (bazmas) in Herat's magnificent gardens, to which princes, nobles, poets, calligraphers, artists, singers, and musicians were often invited [2].
The musical events of this period were perhaps more thoroughly documented than at any other period, for example due to the great contribution of Zayn al-Din Wasafi, the author of Badai al-Waqai. Sultan Husayn Baiqaro built a magnificent garden on the outskirts of Herat, which became known as Bagh-e Jahanara. In this park, at the end of the 15th century, it became the main place of music and dance, called Qasr-e Tarabafza.
According to reports, the court and nobility supported the group of musicians and dancers during this period. A short letter written by the famous calligrapher Sultan-Ali Mashhadi (1453-1520) to Sultan Husayn Baiqara describes a friendly meeting with male musicians as well as several female performers. A miniature
painting from the reign of Husayn Baiqara has survived, depicting the Sultan sitting on the couch of his palace.
The Timurids also preserved female and male performers outside the palace boundaries. Among the women artists, harpists seem to have been the most popular musicians in court service.
Of course, it is possible to show that Alisher Navoi, the Sultan of Soz, patronized representatives of Herat scholars. Although Navoi's work directly related to music science or a specific tune composed by him has not reached us, but the sources mention that he patronized a number of musicologists and ordered them to write treatises on music. Music treatises written directly under the patronage and order of Navoi, according to the poet himself there were five, Z.Oripov's article "About music treatises of the Navoi era" states that their number reached seven.
Zainulobidin Mahmudi Hosseini. "Scientific law and practice of music".
Abdurrahman Jamii. "Music treatise".
Kamoluddin Binoi. "Treatise on Music".
Abu Alishah Boka. "Aslul Vasl".
Khoja Shahobiddin Abdullah Marvarid. "Music treatise".
Mir Mumtaz. "Music treatise".
Mahmudi. "Treatise on the science of music".
Political changes were accompanied by upheavals and changes in culture, directly affecting art and artistic creativity, the desire for music. All over Herat, Khurasan and Movaronnahr, the inter-ethnic and internal conflicts, relations and relations that have been formed and preserved for several decades, have passed with their transition to open confrontation. The collapse and redistribution of the political structures of the former state led to the disintegration of a single cultural-historical flow. For creative professionals, for the spiritual and enlightened stratum of society, the time has come for a difficult choice.
To remain in the world of culture that is falling before them, and to disappear with it, or to leave the country and its capital, Herat, to go to India, the Ottoman Turks and other countries, the new country and cities to serve the government - to the Safavids, to Tabriz, Qazvin, Isfahan and other centers to Iran or There is no choice but to go to the nomadic Uzbeks in Moverannahr in Bukhara, Samarkand, Tashkent[3]. Leaving Herat, artists express their spiritual experiences in artistic form. In this period, it was natural for the Muslim people to express their emotions in this way, almost every Persian-speaking and Turkish-speaking poet expressed the situation of the time in countless verses in their works. The transition to another cultural space was largely connected with the need for a religious choice - the Shia and Sunni beliefs and, accordingly, the whole complex of cultural traditions nourished by them. This choice, which was required by the new political situation,
seemed more difficult and painful for the artists who mastered the synthesized (cultural-religious) traditions of the Timurid period.
The country is getting poorer. The people are impoverished. Cultural centers are shrinking and focusing on a few large cities. But at least the state government and officials were trying to create an appearance. They flaunted their wealth and power and carried out large-scale constructions, and as patrons of art, they were busy deceiving the rich by inviting people of culture and art, musicians, poets and religious scholars to their palaces. Samarkand, Tashkent, especially the capital Bukhara were centers of cultural and creative activity in the 16th century. The best creative people of Central Asia are gathered here. At the beginning of the century, people of music, literature and artistic creativity came from Herat here[4]
The cultural level of the early Shaibanis was much different than that of the Timurids. Timurid culture is known from history for its elegance, unique style, synthesis of various arts. The culture that came with Shaybani in its early stages was distinguished by factors such as simplicity and religious marginality. Leader and statesman Shaibani Khan was culturally at the level of educated people of his time. From Fazlallah ibn Ruzbihan Isfahani's "Mihman-name-yi Bukhara" it is clear that Shaibani Khan sometimes organized debates on religious, legal, philosophical and literary topics, and he took an active part in them. He was also fond of poetry, and in this work he has brought down to us some examples of his work in the old Uzbek language. In his notes, Zahiriddin Muhammad Babur, Shaibani Khan "taught Qur'an interpretation to Qazi Ikhtiyar and Muhammad Mir Yusuf, one of the famous and talented scholars of Herat."[5] noted. However, it is difficult to take it literally. There is also information that the Uzbek Khan possessed a rare poetic talent in the spirit of the concepts of education of his time, and knew Turkish and Persian languages.[6]
As for the Arabic language, it can be concluded from "Mikhman-name-yi Bukhara" that Shaibani Khan did not master this language perfectly, which can be seen from the fact that he asked Ibn Rozbi Khan to translate the Arabic text into Persian. The influx of the best artistic and creative forces contributed to the development of Bukhara arts and crafts in many ways. As for music, the closeness of the musical traditions of Herat and Bukhara, the long-standing historical ties between the two cities, the migration of musicians from one city to another, and the exchange of musical values. After the collapse of the Timurid state at the beginning of the 16th century, he ensured the organic assimilation of the traditions of Herat in Bukhara. The relationship between the musical traditions of Herat and Bukhara, with Bukhara as the successor of the traditions of Herat, is being emphasized. Many representatives of Timurid culture were brought to Bukhara in various ways, voluntarily and forcibly, including great musicians. Ubaydullah Khan captured Herat and took with him Maulana Ahi Khiravi, a singer, composer and teacher of famous musicians of this
region, Syed Ahmad bin Mikhtar Miraki (who was a musician in the court of Husain Boykara) to Bukhara.
A lot depended on a certain ruler for the continuity of culture, its preservation and the development of cultural development. Shaibani Ubaidullah Khan was one of such persons during the period under consideration. His name is associated with the complex relatively favorable situation in the country, which helped the revival of cultural activities. Herat and the culture of Herat became a model for him in the organization of cultural life.
Ubaidullah Khan understood the incomparable political importance of a well-organized palace center of cultural life and took all measures to preserve its activity. He was concerned about the preservation of the huge cultural funds of the past period, the creation of conditions for the continuation of the creative activities of the culture and artists of the Timurid period, as well as trying to gain fame as a patron and connoisseur of art no less than his predecessors.
During this period, the presence of a significant number of architectural monuments created by the skilled craftsmen of the people in Bukhara allows us to talk about the further development of architectural creativity and construction. At the same time, it shows that the spiritual life of that time was under the watchful control of the Muslim religion. The negative influence of religion on the aesthetic development of the population is evidenced, for example, by the following document. In the terms of the waqf charter of 1527 mentioned above, it was stipulated that madrasa residents were forbidden to listen to entertaining stories and music, or rather to some forms of musical games. Residents should refrain from leisure activities such as listening to funny stories, participating in meetings with patterns, sounds, actions, qawl, and ram performance[7].
These documents reflect the uncompromising struggle of Islamic ideologues with representatives of secular culture. A passion for music, gambling, drinking wine, and other pastimes prohibited by the Muslim religion were equated with amusement. But, judging by the development of music culture, these prohibitions are often violated in practice.
If we look at more important historical factors, it can be noted that the cultural commonality of Movaronnahr and Khorasan (Central Asia and Iran) will be destroyed. The Shaibani Khans strictly followed the Sunni direction of Islam, so they fought against the Shiites throughout their lives. Ismail Safavi (1501-1524), the ruler of the Shia state and the founder of the Safavid dynasty (1501-1732), led an army to Khorasan in 1510 and defeated Shaibani Khan near Marv and killed him. Thus, Herat, the center of Khurasan, fell under the control of the Safavid dynasty. Therefore, Movarunnahr remains under the rule of the Shaibanis. Although the capital was Samarkand during the first reign of the Shaibanis, the capital was moved
to Bukhara during the reigns of Ubaidullah Khan (1511-1540) and Abdullah Khan (1540-1541).
The struggle between the Safavids and the Shaibanis led to a cultural and economic gap between Iran and Central Asia and even "to a certain extent the isolation of Central Asia not only from Iran, but from the entire Middle East, because the most important and most convenient route connecting Central Asia with the Middle East and passing through Iran the roads were closed."[8]
Although this separation primarily affected political and economic relations, it also affected the development of musical culture as a component of the general cultural process. Differences began to form in the cultural systems of the two regions, as well as in the aesthetic and philosophical foundations of artistic creativity. However, the cultural ties between Movarounnahr and Iran did not stop completely. Cultural ties were maintained, and poets and writers from both sides showed some interest in each other. The same can be said about musical culture.
References
1. А.Н. Болдырев, Алишер Навои в рассказах современников. Сб. «Алишер Навои», М.1946, С. 133.
2. Mohammad Taghi Massoudieh, Manuscrits persans concernant la musique (München: G. Henle Verlag, 1996), С. 124-125
3. Фазлаллах ибн Рузбехан Исфахани. Михман-наме-йи Бухара (Записки бухарского гостя). Москва : Наука, 1976
4. Пугаченкова Г.А., Л.И. Ремпель, История искусств Узбекистана с древнейших времен до середины девятнадцатого века, Москва: Искусство, 1965 С. 320-321.
5. Захираддин Мухаммад Бабур, Бабурнома, С. 240.
6. Г. Вамбери, История Бухары, т. I, Б. 30.
7. Рашидова Д. А. Дарвиш Али Чанги и его трактат о музыке (Мавераннахр, XVI—XVII вв.): Канд. дис. Ташкент, 1981. С. 28, 88—94
8. Ашрафи М.М. Бехзад и развитие бухарской школы миниатюры XVI в. Душанбе, 1987 С. 115-121
