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بازکاوی یک اشتباه* محمدزمان فرنگی‌خوان (مترجم)؛ محمدزمان فرنگی‌ساز (نقاش) | ||
| نشریه هنرهای زیبا: هنرهای تجسمی | ||
| مقاله 5، دوره 19، شماره 3، آبان 1393، صفحه 39-44 اصل مقاله (193.38 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfava.2014.55408 | ||
| نویسنده | ||
| یعقوب آژند* | ||
| استاد دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران، تهران | ||
| چکیده | ||
| بر طبق فرضیه نگارنده، در سده یازدهم هجری دو محمدزمان در ایران زندگی می‌کردند: یکی محمدزمان فرنگی‌خوان یا مترجم و دیگری محمدزمان فرنگی‌ساز یا نقاش. هنرپژوهان، این دو محمدزمان را یکی پنداشته‌اند و واقعیت‌های موجود در منابع را درباره این دو محمدزمان ترکیب کرده‌اند. از اینرو، آنچه در مورد محمدزمان فرنگی‌خوان مطابقت دارد درباره محمدزمان فرنگی‌ساز یا نقاش بکار برده‌اند. نگارنده در این مقاله تلاش کرده تا این دو محمدزمان را از یکدیگر تفکیک کند و برای این منظور نخست اطلاعات مربوط به محمدزمان فرنگی‌خوان یا مترجم را از منابع پژوهیده و سپس اطلاعات موجود راجع به محمدزمان فرنگی‌ساز یا نقاش را تتبع نموده و تلاش کرده تا اطلاعات منابع، روشن‌کننده مسیر زندگی و کارستان هنری این دو محمدزمان به تفکیک موضوع از یکدیگر باشد. سپس موارد و ریشه‌های این اشتباه بررسی شده تا این دو محمدزمان کاملاً شفاف و روشن از یکدیگر مشخص شوند. در نهایت نتیجه کار ارائه می‌شود. نگارنده برای رسیدن به نتیجه مطلوب از روش استقرایی و توصیف و ارزیابی و تحلیل یافته‌ها و داده‌های منابع از جزئیات به کلیات بهره گرفته و در پروسه کار نیز از امعان نظر به تعلیل و تحلیل منابع و پروسه نقد علمی یافته‌ها بازنمانده است. | ||
| کلیدواژه‌ها | ||
| محمدزمان؛ فرنگی‌خوان؛ فرنگی‌ساز؛ چین‌نامه؛ یا صاحب‌الزمان | ||
| عنوان مقاله [English] | ||
| A Reconsideration of a Mistake Muhammad Zaman Farangi Khawn ; Muhammad Zaman Farangi Saz | ||
| نویسندگان [English] | ||
| Yaghoub Azhand | ||
| Professor, School of Visual Arts, College of Fine Arts, University of Tehran | ||
| چکیده [English] | ||
| In my Opinion Muhammad Zaman Farangi Khawn (Translater) differed from Muhammad Zaman Farangi Saz (Painter), although they Lived in One time under Shah Sulyman Safavi. Niccolo Manucci, the Italian traveler in 17 th century, recounts meeting in Kashmir a persian called Zaman who had converted to Christianity and received a Mansabdari from Shah Jahan, who then sent him to Kashmir. This persian had taken the Christian name Paul – Paolo. He was sent by Shah Abbas II to Rome to study Christianity. He retured to Iran with Eurpean modes and Christianity in his soul, a situation so fraught with danger that he then fled to India. This Muhammad Zaman is Muhammad Zaman Farangi Khawn which difer from Muhammad Zaman Farangi Saz who court painter of Shah Sulyman Safavi. What we can say about Muhammad Zaman Farangi Khawn is that he was sent by Shah Abbas II to Rome to study and learn Latin and return to Iran for debate with missioners about religious matters. The debate formed an important part of religious matters in the court of Safavid,s shahs. But Muhammad Zaman Farangi Khawn fraught with danger, fled to India. He received protection from Shah Jahan, who then sent him to Kashmir. Muhammad Zaman in India translated the first chapter of De Christianna Expedicione A pud Sinas (the Christian Missions Dispatched to China) into persian under the title Chin namah. This book is one of the most important sources on the history of China and Iran. This work printed on the basis of Matteo Ricci,s notes on China in 1615 A.D. Matteo Ricci, the Italian priest, lived for thirty year in China. Muhammad Zaman in his introdution of Chin namah called himself Farangi Khawn (latin translator) which translated this book in Jahan abad. What we can say about Muhammad Zaman Farangi Saz (painter) is that he was laurite painter of Shah Sulyman and lived in Isfahan. His father,s name was Haji Yusuf Qumi. Muhammad Zaman acquainted with European painting from large scale oil painting of contemporary European Monarchs and religious scences and Europeam printed books and single images on paper as prints. On the other hand, Muhammad Zaman served as apprentice to European painters who worked in Safavid court. Muhammad Zaman oeuvre is documented throughout the second half of the 17 th century by roughly 40 works. This works include drawings and paintings made after European models; a number of painted and varnished papier mache objects; Three studies of flowers; Ilustrations and miniatures added to two unfinished princely manuscripts, such as Khamsah Nizami Shahy and Shahnamah Shah Abbas; nearly half of the 30 miniatures in Khamsah, 1674 – 1678; and a series of six highly finished, eclectic paintings dated between 1676 and 1689. Some of his paintings are inscribed as having been done "in the pleasant twon of Ashraf" on the Caspian coast and three paintings carry a notation that they were made for the Royal Treasury. One of his painting, "the Desent of the Holy spirit" carries an inscription to the effect that it took fourteen Mounths to complete. This Article discussed the two Muhammad Zaman as two separate persons which altogether distinct from each other. | ||
| کلیدواژه‌ها [English] | ||
| Muhammad Zaman, Farangi Khawn, Chin namah, Farangi Saz, Ya Saheb al Zaman | ||
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