{"id":1692,"date":"2023-09-02T10:41:58","date_gmt":"2023-09-02T10:41:58","guid":{"rendered":"http:\/\/sylvain-roy.local\/?page_id=1692"},"modified":"2025-04-10T20:14:37","modified_gmt":"2025-04-10T18:14:37","slug":"hypothese-de-linvention-du-rubab","status":"publish","type":"page","link":"https:\/\/www.afghanrubab.com\/en\/hypothese-de-linvention-du-rubab\/","title":{"rendered":"Hypoth\u00e8se de l’invention du Rub\u0101b Afghan"},"content":{"rendered":"
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M\u00eame si la forme du rub\u0101b afghan \u00e9voque celle d\u2019une vi\u00e8le, il s\u2019agit bien d\u2019un luth \u00e0 cordes pinc\u00e9es. L\u2019histoire de l\u2019instrument nous est encore inconnue, on sait juste qu\u2019elle est rattach\u00e9e aux populations pashtounes du sud de l\u2019Afghanistan historique qui, mobiles, se d\u00e9pla\u00e7aient entre les r\u00e9gions de Kaboul, de Peshawar et de Delhi. Selon les travaux d\u2019Adrian McNeil, l\u2019instrument serait arriv\u00e9 au Nord de l\u2019Inde entre les mains de Pashtouns du clan Bangashi. Le clan Bangashi \u00e9tait sp\u00e9cialis\u00e9 dans le commerce des chevaux. Un grand nombre de familles de ce clan s\u2019est s\u00e9dentaris\u00e9 dans la r\u00e9gion du Rohilkhand, dans l\u2019\u00e9tat de l\u2019Uttar Pradesh, non loin de Delhi.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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L'\u00e9poque Gandh\u0101ra<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Photograph : Detail of the bas-relief MG 16999-Paris MNAAG, IVth<\/sup> century EC, Gandh\u0101ra, Pakistan. Mus\u00e9e Guimet collection).<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Beaucoup de musiciens afghans pensent que l\u2019origine du rub\u0101b afghan remonte aux luths repr\u00e9sent\u00e9s sur des bas-reliefs Gandh\u0101ras du IVth<\/sup> (Photograph : Detail of the bas-relief MG 16999-Paris MNAAG,th<\/sup> si\u00e8cle, Gandh\u0101ra, Pakistan. Collection Mus\u00e9e Guimet). En effet, les \u00e9chancrures lat\u00e9rales font penser au rub\u0101b afghan, mais une rapide analyse organologique montre que la table d\u2019harmonie est en bois (indiqu\u00e9e par le fait que les cordes sont accroch\u00e9es au chevalet et non \u00e0 la base de l\u2019instrument) et qu\u2019il n\u2019y a pas de cordes sympathiques (\u00e9l\u00e9ment d\u00e9terminant pour l\u2019organologie du rub\u0101b afghan).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Mughal period<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Image: miniature depicting a prince playing a rub\u0101b lute also called qob\u016bz<\/em> by the miniaturist Aq\u0101 Rez\u0101 in 1595, Museum of Fine Arts, Boston)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The absence of representations of the Afghan rub\u0101b in Persian and Mughal miniatures raises questions. In fact, no Persian or Mughal miniature shows an Afghan rub\u0101b, which suggests that the instrument, in the form we know it today, had still not been invented throughout this period. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A possible 19th century invention<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(Photograph: rub\u0101b\/sarod, inventory number 02020 IS, Victoria and Albert museum, London)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The British Mountstuart Elphinstone speaks of a rub\u0101b around 1808, but he makes no description of the instrument. Thus, it is not possible to know whether it is an Afghan rub\u0101b. The description given by Captain N. Augustus Willard shortly before 1825 does not allow us either to certify that this is indeed the instrument. Indeed, he does not mention the presence of sympathetic strings, while he notes that the instrument is played by means of a thick plectrum. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Image: rub\u0101b\/sarod by Fran\u00e7ois-Joseph F\u00e9tis in 1869<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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La premi\u00e8re repr\u00e9sentation graphique attestant pour la premi\u00e8re fois l\u2019existence d\u2019un rub\u0101b afghan est attribu\u00e9e au compositeur et encyclop\u00e9diste belge Fran\u00e7ois-Joseph F\u00e9tis en 1869 (Image : rub\u0101b\/sarod r\u00e9alis\u00e9 par Fran\u00e7ois-Joseph F\u00e9tis en 1869). Elle aurait faite \u00e0 partir de l\u2019instrument pr\u00e9sent\u00e9 au pavillon des Indes lors de l\u2019Exposition Universelle de 1855. Cet instrument se trouve au Victoria and Albert museum<\/em>, in London. This is the oldest surviving Afghan rub\u0101b (Photograph: rub\u0101b\/sarod, inventory number 02020 IS, Victoria and Albert museum, London). It is therefore possible to put forward the hypothesis that sympathetic strings, known in Afghanistan as sim-e tarab<\/em> or sim-e bajgi<\/em>, were introduced on the instrument between 1825 and 1855.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The invention of sympathetic cords<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Photograph: representation of the location of the sympathetic string pegs in the structure of the Afghan rub\u0101b.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Although the use of metal wire dates back to ancient times, its use on musical instruments is much more recent. We know that instruments were fitted with metal strings in the 14th century,th<\/sup> such as the nuzha<\/em> or the mugni<\/em>, deux cithares sur table pr\u00e9sent\u00e9es par Hasan K\u0101sh\u0101ni dans son Kanz al-Tuhaf dar musiqi<\/em>. Mughal miniatures tell us that it was not until the end of the 18th centuryth<\/sup> that the first sympathetic strings appeared on viols sarangi<\/em>. The German theorist Michael Praetorius used it on viols in the early 17th century.th<\/sup> We can put forward the hypothesis that the principle of sympathetic strings moved from Europe to India during the 18th century.th<\/sup> This element supports the assumption that the Afghan rub\u0101b was invented at the beginning of the 19thth<\/sup> century.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The possible precursor lute of the Afghan rub\u0101b<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Image: montage to illustrate the hypothesis of the evolution of the Bichitr rub\u0101b into the Afghan rub\u0101b<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Mughal miniature entitled Musician and dervish<\/em>, made before 1660 by the artist Bichitr, shows a lute similar in appearance to the Afghan rub\u0101b. The instrument is named after the miniaturist \u2018Bichitr's rub\u0101b\u2019 (Image: montage to illustrate the hypothesis of the evolution of Bichitr's rub\u0101b into the Afghan rub\u0101b). The appearance of the instrument also evokes the morphology of the cik\u0101r\u0101<\/em>, a rub\u0101b played with a bow or plectrum. The cik\u0101r\u0101<\/em> has a shape identical to that of the North Hindustan viol sarinda <\/em>but its neck is placed on the other side of the body (Image: montage showing the superimposition of the contours of a cik\u0101r\u0101<\/em> on the body of a sarinda). It is highly probable that the Bichitr rub\u0101b was transformed into an Afghan rub\u0101b when a luthier had the idea of mounting sympathetic strings on it. This transformation requires no addition or subtraction of material, just a deformation of the middle and lower volumes.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Image: montage showing the superimposition of the contours of a cik\u0101r\u0101<\/em> on the body of a sarinda<\/em><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Image: montage showing a morphological comparison between the cik\u0101r\u0101<\/em> and the Bichitr's rub\u0101b<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

M\u00eame si la forme du rub\u0101b afghan \u00e9voque celle d\u2019une vi\u00e8le, il s\u2019agit bien d\u2019un luth \u00e0 cordes pinc\u00e9es. L\u2019histoire de l\u2019instrument […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1692","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/pages\/1692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/comments?post=1692"}],"version-history":[{"count":61,"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/pages\/1692\/revisions"}],"predecessor-version":[{"id":2882,"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/pages\/1692\/revisions\/2882"}],"wp:attachment":[{"href":"https:\/\/www.afghanrubab.com\/en\/wp-json\/wp\/v2\/media?parent=1692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}