十四世紀波斯語論文《瞰札爾圖哈夫(Kanz al-tuhaf)》中記載的樂器－－和維吾爾熱瓦普、巴拉曼、和卡龍的關係

Musical Instruments Described in a 14th-Century Persian Treatise Kanz al-tuḥaf : Concerning Their Relationship to the Uyghur Rawap, Baliman and Qalun

樂論《瞰札爾圖哈夫（Resāle Kanz al-tuḥaf dar mūsīqī）》，簡稱《瞰札爾圖哈夫（Kanzal-tuḥaf）》大約在西元1355 年左右完成的。有人猜測作者可能是哈散．卡沙尼（Ḥasan Kāšānī），但是對他的資料並不清楚。這篇論文最重要的部分是第三講，不但提到九項樂器，並附上圖片，還介紹如何製作絹弦和羊腸弦。因此，《瞰札爾圖哈夫》是十四世紀伊斯蘭世界裡與樂器相關的重要文獻資料。這本書詳細介紹的九項樂器有：烏德（‛ūd）、艾捷克（ğešak）、熱瓦普（robāb）、米茲瑪（mizmār）、必莎（piše）、暢（čang）、 弩茲哈（nuzha）、卡弩（qānūn）、穆個尼（muḡnī）。筆者研究了《瞰札爾圖哈夫》的五個現存手稿，包含：1. Suppl. Persan 1121；ff.147b-189b（法國巴黎的法國國立圖書館），「巴黎版本」（ PC)；2. King's, No. 211；ff.1-30（英國劍橋的劍橋大學圖書館），「劍橋版本」（CC）；3. Or. 2361；ff. 246b-268b（英國倫敦的大英圖書館），「大英博物館British Museum 版本」（BMC）；4.Ethé 2763；ff.1b-27b（英國倫敦的大英圖書館），「印度辦公室India Office 版本」(IOC)；5.Cod.271；ff. 70b-87b（荷蘭萊登的萊登大學圖書館），「萊登版本」(LC)。最早的手抄本是IOC 版本， 在1383 年完成。而最新的手抄本為1665 年的BMC 版本（原為大英博物館收藏）。然而，筆者在整理僅存的《瞰札爾圖哈夫》手抄本並比較各個版本的相異點時，發現BMC 版本和其他版本非常不一樣，特別是樂器插圖的部分，例如卡弩。在IOC版本中的卡弩插圖中，斜邊和琴碼的部分在左邊，和BMC 版本是完全不一樣的。也就是說，和現代的卡弩的形狀是一樣的。到現在為止，很多人認為那是相反的。於是，筆者試圖將根據最早的手抄本IOC 版本的第三講全部翻譯成日文和英文。筆者期望，藉由這次的譯文能改正人們之前從翻譯所得到對《瞰札爾圖哈夫》的舊有印象。到目前為止《瞰札爾圖哈夫》都是法瑪所創造出來的，是用的譯文有一部分是根據BMC 版本所翻譯出來的。更進一步來說，這篇論文將比較熱瓦普和維吾爾熱瓦普的描述說明，米茲瑪爾和維吾爾的巴蔓，卡弩和維吾爾卡弩。並依據它們的命名規則、結構和形成的組合來探究它們之間的親密關係。筆者發現並澄清，最常被提到的亨利．喬治．法瑪（H.G. Farmer）的手稿是來自於十七世紀中的副本（BMC），並且和1383 年最早的副本 (IOC)相差甚遠。因此，筆者試圖根據最古老的副本，藉由《瞰札爾圖哈夫》中新式又完善的翻譯，來修正不知何故被扭曲的十四世紀波斯樂器圖文。在仔細地查閱《瞰札爾圖哈夫》書中的樂器（熱瓦普、米茲瑪爾和卡龍）的記載說明和插圖後，我們能更確認維吾爾熱瓦普、巴拉曼和卡龍，是十四世紀樂器的直屬後裔，維吾爾的樂器仍保存著很多之前的特徵。

Resāle Kanz al-tuḥaf dar mūsīqī (hereafter 'Kanz al-tuḥaf') is a Persian treatise on music written probably in 1355. The most valuable feature of this treatise, however, is its third lecture which is a detail account of the Persian musical instruments including their making. In addition, it includes how to make silk and gut strings. The nine musical instruments described are the ‛ūd (a lute), ḡešak (a spike fiddle), robāb (a skin-belly lute), mizmār (a double-reed pipe), pīše (an end-blown flute), čang (an angular harp), nuzha (a rectangular psaltery), qānūn (a trapezoidal psaltery), and the muḡnī (a combination of the robāb ,the qānūn and the nuzha). The earliest copy is the manuscript Ethé 2763 (IOC), which was completed in 1383. The most recent copy is the manuscript Or.2361 (formerly held at the British Museum), which is dated as 1665 (BMC). It is this mid-17th copy that H. G. Farmer cited often, and from which he made partial translations (Farmer 1931; 1964; 1966). Therefore, up to now the Kanz al-tuḥaf has been known mainly according to Farmer's work based on this particular copy. However, by comparing and collating all the extant copies of the Kanz al-tuḥaf, the present author has found that BMC is considerably different from other version, particularly with regard to its illustrations of musical instruments such as the qānūn. The qānūn illustrated in IOC, is quite different from BMC, because the oblique side and the pegs are on the left. In other words, the shape does agree with the modern qānūn. It is just contrary to what has been so far believed by many. Therefore the present author attempted to translate its third lecture in its entirety into Japanese and English based on IOC, the earliest manuscript. The author hopes that this translation would rectify somehow a distorted picture, as might be held, of the Kanz al-tuḥaf, which has been so far made by Farmer's introduction and partial translations based on BMC. Further, this paper will compare the description of the robāb with the Uyghur rawap, that of the mizmār with the Uyghur baliman, and that of the qānūn with the Uyghur qalun, and it will explore close relationship between them in terms of their nomenclature, structure and making. In short, the Uyghur musical instruments have preserved rather well the features of the 14th- century Persian instruments described in the Kanz al-tuḥaf.