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Mohammad Zaman

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This article is about the Persian calligrapher and painter. For the Afghan leader, see Mohammed Zaman. For other people, see Zaman.
Blue Iris by Muhammad Zaman,Brooklyn Museum, 1663-1664.
The Night Halt by Muhammad Zaman, a page from an album of paintings and calligraphy, Musée du Louvre, 1660-1675

Muhammad Zaman ibn Haji Yusuf Qumi, known as Mohammad Zaman (fl. 1650 – c. 1700),[1] was a famous Safavid calligrapher and painter.

Life

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Mohammad Zaman was born in Kerman, Persia to Haji Yusuf, and received his education in Tabriz.[2] For his great intelligence, he was sent by Shah Abbas II of Persia to Rome to study Italian painting, and there he converted to Christianity. In his conversion he took the name of Paul and became Paolo Zaman. When he returned to Persia he was forced to flee to India because of his Christianity. In India, he became a refugee, or mansabdar, and obtained the protection of the Mughul dynasty under the emperor Shah Jahan[3] and later Dara Shikoh.

He lived mostly in Kashmir, but was invited to go to Dehli with other mansabdars by the Aurangzeb. In Dehli around the year 1660 CE, he met Niccolao Manucci, a Venetian traveler who wrote accounts of the Mughal rule. Mohammad Zaman returned to Persia around the years 1672-73 and embraced Islam once again. After re-establishing his reputation and making the Islamic pilgrimage, he received the title of "haji" like his father. He then worked in the city of Isfahan from 1675 to 1678.[2]

Notable works

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Year Title Medium Dimensions Current Location Place of Creation
1660-1675 CE The Night Halt (Saint Petersburg Album Page) Ink, colors and gold on paper 13.5 x 20.1 in. (34.5 x 51 cm) Louvre Museum Iran[4]
1663-1664 C.E. Blue Iris Ink, opaque watercolor on paper; gilded borders Sheet: 13 1/16 x 8 3/8 in. (33.2 x 21.3 cm) Brooklyn Museum Isfahan, Iran[5]
1663–69 CE Shahnama (Book of Kings) of Firdausi Opaque watercolor, ink, silver and gold on paper 18 1/2 x 11 1/8 in. (47 x 28.2 cm) Metropolitan Museum of Art Likely Isfahan, Iran[6]
1664–65 CE A Night-time Gathering Ink, opaque watercolor, and gold on paper Page: 13 1/8 x 8 1/4 in. (33.3 x 21 cm)

Mat: 19 1/4 in x 14 1/4 in. (48.9 x 36.2 cm)

Metropolitan Museum of Art Iran or India[7]
1675-76 CE Bahram Gur proves his worthiness by killing a dragon and recovering treasure from a cave (in Khamsa of Nizami)[8] Painting on paper 8.6 x 7.1 in (21.9 x 18.1 cm)[9] The British Library Safavid Iran
1675-76 CE Episode from the Indian Princess’s story: King Turktazi’s visit to the magical garden of Turktaz, Queen of the Faeries (in Khamsa of Nizami)[10] Painting on paper 9.9 x 7.1 in (25.2 x 18 cm)[9] The British Library Safavid Iran
1675-76 CE The servant girl Fitnah impresses Bahram Gur with her strength by carrying an ox on her shoulders (in Khamsa of Nizami)[11] Painting on paper 8.3 x 5.1 in (21 x 13 cm)[9] The British Library Mazandaran Province
1675-1676 CE The sīmurgh arrives to assist Rūdāba with the birth of Rustam, from the Book of Kings (Shāhnāma) Pigment, gold pigment, and ink on paper 408 mm x 261 mm Chester Beatty Library Isfahan, Iran[12]
1675-1676 CE Salm and Tūr organise the murder of their brother Īraj, from the Book of Kings (Shāhnāma) Pigment, gold pigment, and ink on paper 408 mm x 262 mm Chester Beatty Library Isfahan, Iran[13]
1676 CE Majnun visited by his father[14] Opaque watercolor, ink, and gold on paper. Arthur M. Sackler Gallery, Lent by The Art and History Collection Isfahan, Iran
1680 CE Judith with the Severed Head of Holofernes Ink, gold and opaque watercolor on paper; mounted as an album page on card Page: 13.1 x 8.2 in (33.5 x 21 cm)

Painting excluding floral paneling: 7.9 x 6.6 in (20.1 x 17 cm)

The Khalili Collection of Islamic Art Isfahan, Iran[15]
Refer to caption
Judith with the Severed Head of Holofernes, The Khalili Collection of Islamic Art, c. 1680 AD.

Six of his paintings from 1678 to 1689 were of Biblical scenes. A painting of Judith with the severed head of Holofernes, currently in the Khalili Collection of Islamic Art, is signed "Ya sahib al-zaman", one of the titles of the 12th Shia Imam, Muhammad al-Mahdi. Mohammad Zaman used this phrase in place of a signature, and on that basis the painting is attributed to him.[16][17]

Farangi-Sazi

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Mohammad Zaman favored night scenes, and his work combined multiple influences, drawing subjects from European paintings but with Mughal or Kashmiri stylistic touches.[16] He introduced a European style to Safavid painting in manuscripts known as farangi-sazi.[18] This style combines Persian iconography and compositional elements with more European elements, such as chiaroscuro, atmospheric effect, and “Western” perspective. The style could also be seen in his forest scenes, which include exaggerated forms, heavy contrasts between light and dark, and picturesque mountains and streams.[9]

Contributions to the Khamsa of Nizami

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The Khamsa of Nizami, a manuscript of five poems by poet Nizami Ganjavi, is known for its Safavid illustrations—three of which are attributed to Mohammad Zaman. It has been suggested that he produced these paintings in the 17th century as additions to the original manuscript. It is also suggested that the paintings by Mohammad Zaman were inserted in the Khamsa of Nizami after being removed from somewhere else, as there is some damage to the upper sections. His signature and the date inscription can be found on two of the paintings, however all three resemble another painting attributed to Mohammad Zaman, "Majnun in the Wilderness."[19]

Mohammad Zaman's depiction of the tale of Bahram Gur and the Indian Princess features wingless faeries, different from other depictions of the scene. The text adjacent to the image is a section of the Tale of the Indian Princess, which ends with a description of food and wine for a banquet in the King and Queen's pavilion. However, Mohammad Zaman's depiction does not include this pavilion scene, instead depicting King Turktazi and the Queen of the Faeries.[9]

References

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  1. ^ Emami, Farshid (2019). "Review of The Fascination of Persia: the Persian-European Dialogue in Seventeenth-century Art and Contemporary Art of Tehran". Review of Middle East Studies. 53 (1): 135–137. ISSN 2151-3481.
  2. ^ a b Martinovitch, Nicholas N. (1925). "The Life of Mohammad Paolo Zaman, the Persian Painter of the XVIIth Century". Journal of the American Oriental Society. 45: 106–109. doi:10.2307/593479. ISSN 0003-0279.
  3. ^ Martin, Fredrik Robert (1912). The miniature painting and painters of Persia, India and Turkey, from the 8th to the 18th century, vol. 1. London: B. Quaritch. p. 124.
  4. ^ Zaman, Muhammad; Hadi, Muhammad (1660), La Halte nocturne (Page de l'Album de Saint-Pétersbourg ), retrieved 2024-03-01
  5. ^ "Brooklyn Museum". www.brooklynmuseum.org. Retrieved 2024-03-01.
  6. ^ "Abu'l Qasim Firdausi | Shahnama (Book of Kings) of Firdausi". The Metropolitan Museum of Art. Retrieved 2024-03-01.
  7. ^ "Painting by Muhammad Zaman | "A Night-time Gathering", Folio from the Davis Album". The Metropolitan Museum of Art. Retrieved 2024-03-01.
  8. ^ London, British Library, Or. 2265, ff.203v.
  9. ^ a b c d e Landau 2011
  10. ^ London, British Library, Or. 2265, fol. 221v.
  11. ^ London, British Library, Or. 2265, f. 213r.
  12. ^ The sīmurgh arrives to assist Rūdāba with the birth of Rustam, by Muḥammad Zamān, from the Book of Kings (Shāhnāma). Chester Beatty Library.
  13. ^ Salm and Tūr organise the murder of their brother Īraj, by Muḥammad Zamān, from the Book of Kings (Shāhnāma). Chester Beatty Library.
  14. ^ "ISFAHAN". referenceworks. doi:10.1163/2330-4804_eiro_com_3579. Retrieved 2024-04-17.
  15. ^ "Khalili Collections | Islamic Art | Judith with the Severed Head of..." Khalili Collections. Retrieved 2024-04-18.
  16. ^ a b Piotrovskij, Mihail Borisovič; Rogers, John Michael (2004). Heaven on earth: art from Islamic lands works from the State Hermitage museum and the Khalili collection. Munich: Prestel. p. 136. ISBN 978-3-7913-6013-3. OCLC 1022836498.
  17. ^ "Islamic Art | Judith with the Severed Head of Holofernes". Khalili Collections. Retrieved 2024-04-16.
  18. ^ Landau, Amy S. “‘Man, Mode, and Myth: Muhammad Zaman Ibn Haji Yusuf.’” Pearls on a String: Artists, Patrons, and Poets at the Great Islamic Courts, 2015.
  19. ^ Soucek, Priscilla; Isa Waley, Muhammad (2011). "The Nizāmī Manuscript of Shāh Tahmāsp: A Reconstructed History". A Key to the Treasure of the Hakim: Artistic and Humanistic Aspects of Nizami Ganjavi’s Khamsa. Amsterdam University Press. pp. 195–210.

Sources

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