بازكاوي يك اشتباه؛ محمدزمان فرنگي‌خوان (مترجم)؛ محمدزمان فرنگي‌ساز (نقاش)

A Reconsideration of a Mistake; Muhammad Zaman Farangi Khawn ; Muhammad Zaman Farangi Saz

بر طبق فرضيه نگارنده، در سده يازدهم هجري دو محمدزمان در ايران زندگي مي‌كردند: يكي محمدزمان فرنگي‌خوان يا مترجم و ديگري محمدزمان فرنگي‌ساز يا نقاش. هنرپژوهان، اين دو محمدزمان را يكي پنداشته‌اند و واقعيت‌هاي موجود در منابع را درباره اين دو محمدزمان تركيب كرده‌اند. از اين رو، آنچه در مورد محمدزمان فرنگي‌خوان مطابقت دارد درباره محمدزمان فرنگي‌ساز يا نقاش بكار برده‌اند. نگارنده در اين مقاله تلاش كرده تا اين دو محمدزمان را از يكديگر تفكيك كند و براي اين منظور نخست اطلاعات مربوط به محمدزمان فرنگي‌خوان يا مترجم را از منابع پژوهيده و سپس اطلاعات موجود راجع به محمدزمان فرنگي‌ساز يا نقاش را تتبع نموده و تلاش كرده تا اطلاعات منابع، روشن‌كننده مسير زندگي و كارستان هنري اين دو محمدزمان به تفكيك موضوع از يكديگر باشد. سپس موارد و ريشه‌هاي اين اشتباه بررسي شده تا اين دو محمدزمان كاملاً شفاف و روشن از يكديگر مشخص شوند. در نهايت نتيجه كار ارايه مي‌شود. نگارنده براي رسيدن به نتيجه مطلوب از روش استقرايي و توصيف و ارزيابي و تحليل يافته‌ها و داده‌هاي منابع از جزييات به كليات بهره گرفته و در پروسه كار نيز از امعان نظر به تعليل و تحليل منابع و پروسه نقد علمي يافته‌ها بازنمانده است.

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.