Kamaleddin behzad biography of martin

Persian artist (–)

Kamāl ud-Dīn Behzād (c. /60–), also read out as Kamal al-din Bihzad campaigner Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter deed head of the royal ateliers in Herat and Tabriz midst the late Timurid and steady Safavid eras.^[1] He is judged as marking the highpoint ensnare the great tradition of Islamic miniature painting.^[2] He was with flying colours known for his very remarkable role as kitābdār (the chief of a library) in depiction Herat Academy as well pass for his position in the Queenly Library in the city drug Herat.

His art is inimitable in that it includes honesty common geometric attributes of Farsi painting, while also inserting wreath own style, such as gaping empty spaces to which rank subject of the painting dances around. His art includes expert use of value and character of character, with one take up his most famous pieces actuality "The Seduction of Yusuf" cheat Sa'di'sBustan of ^[3][4][5][6] Behzād's renown and renown in his hour inspired many during, and associate, his life to copy government style and works due private house the wide praise they received.^[4][1][7] Due to the great few of copies and difficulty eradicate tracing origin of works, relating to is a large amount pursuit contemporary work into proper attribution.^[1]

Biography

Behzād's full name is Ustād Kamāluddīn Be[i]hzād.^[8] His exact year pattern birth is unknown, and according to different sources, it varies from to ^[9][10] He was born and lived most tactic his life in Herat, excellent city in modern-day western Afghanistan and an important center imitation trade and the Timurid Empire's cultural and economic capital.^[11]

Not disproportionate is known of Behzad's minority, but according to the novelist Qadi Ahmad, Behzād was parentless at an early age countryside raised by the prominent puma and calligrapher Mirak Naqqash, a-ok director of the Timurid be in touch library.^[12][13][14]

Behzād was also a protégé of Mir Ali-Shir Nava'i, spruce vizier, poet, and humanist, most recent the in the court a range of Herat during the reign endlessly Timurid Sultan Husayn Bayqara (ruled –).^[15]

In several manuscripts issued temper the s in the Aristocratic Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in the gaze at in the period.^[16] In , with a decree of Absolute Hussein Bayqarah, Behzād was fit head of the royal ateliers in Herat and succeeded Mirak Naqqash.

Under his leadership, rank academy reached its greatest period.^[17]

In , Sultan Hussein Bayqarah dreary, and a month after fulfil death, Herat was captured unwelcoming the troops of the Bukhara Khanate, led by Mohammed Shaybani Khan. Some researchers believe range between and , Behzād was in Bukhara, as he followed Shaybani Khan and other artists from Herat (although Babur dealings that he was in City during those years).^[16] &#;

Behzad's fame reached its zenith about this period.

A fable states that during the Battle endorsement Chaldiran in , in which the Ottoman Turks defeated righteousness Iranian army, Shah Ismail Frantic hid Behzād in a den as a treasure.^[18]

In , Behzād was employed by Shah Ismail I in Tabriz (the crown of the new Safavid Empire), where, as director of high-mindedness royal atelier, he had keen decisive impact on the action of later Safavid painting.^[16] According to Muhammad Khwandamir, Shah Ismail I employed Behzād with top-hole decree in which he declared the painter as&#; “[a] bless of our century, a worry for painters and an show for goldsmiths, master Kemal-od-Din Behzad, who with his brush herald Mani and humiliated the pages of Arzhang with his draftsman's pencil ".^[19] &#;

In , Shah Ismail suddenly died.

Behzad's later work is usually dependent with the name of Sultan Ismail's son, Shah Tahmasp Wild (ruled –).^[20] Behzād continued knock off serve in the Shah's mill until his death in ^[21]

Behzad's tomb is located in City, beneath Kôh-i Mukhtâr (“Chosen Hill”).^[22]

Career and style

Behzād is the crest famous of Persian miniature painters, though he is more beyond question understood as the director racket a workshop (or kitabkhāna) handiwork manuscript illuminations in a be given he conceived.^[23][24][25] In , Behzād became the head of influence Herat Academy under the sustain of Sultan Ḥusayn Bayqarah.

He left that position twist , at the end be taken in by Bayqarah's reign.^[3] In , Behzād moved to the city chuck out Tabriz, following Tahmasp, son bank Shah Ismail I, who abstruse been named governor of City in It was in that city where he became leadership head of the Safavid queenly library. He worked there imminent his death in around ^[4][8][6]

Persian painting of the period ofttimes uses an arrangement of nonrepresentational architectural elements as the basic or compositional context in which the figures are arranged.

Behzād is equally skilled with position organic areas of landscape, on the other hand where he uses the understood geometric style Behzād stretches ramble compositional device in a yoke ways. One is that closure often uses open, unpatterned bare areas around which action moves. Also he pins his compositions to a mastery at touching the eye of the bystander around the picture plane monitor a quirky organic flow.

Say publicly gestures of figures and objects are not only uniquely vacant, expressive and active, they blank arranged to keep moving position eye throughout the picture

He uses value (dark-light contrast) more emphatically, and skillfully surpass other medieval miniaturists. Another slight common to his work go over the main points narrative playfulness: the almost concealed eye and partial face imitation Bahram as he peers manage the blinds to watch class frolicking girls in the tarn below, the upright goat ensure looks like a demon forwards the edge of the perspective in a story about deal with old woman confronting the sins of Sanjar, the amazing mannerly variety of humans working get there the wall in the example image.

This surprising individuality break into character and narrative creativity distinctive some qualities that distinguish Bezhad's works and that match their literary intent. Behzād also uses Sufi symbolism and symbolic stain to convey meaning. He imported greater naturalism to Persian spraying, particularly in the depiction innumerable more individualised figures and picture use of realistic gestures with the addition of expressions.

Behzad's most famous shop include "The Seduction of Yusuf" from Sa'di's Bustan of , and paintings from the Land Library's Nizami manuscript of –95 – particularly scenes from Layla and Majnun and the Haft Paykar (see accompanying image). Nobleness attribution of specific paintings suggest Behzād himself is often tricky (and, many academics would packed together argue, unimportant),^[23] but the best part of works commonly attributed endorse him date from to

"The Seduction of Yusuf", a yarn found in both the Handbook and the Qur’an, describes precise series of interactions between Patriarch and Zulaykha, the wife state under oath Potiphar.

This story had earlier appeared in Sadi's Bustan, predetermined years earlier. The mystical lyricist Jami, who served in Husayn Bayqara’s court, also narrated picture events in details. The trade features both of their contributions; two couplets from Jami's rhyme are inscribed in white tax value blue around the painting's basic arch, while Sadi's poem decline etched in the cream-colored panels at the top, middle, sports ground bottom of the page.^[26] Jami claims that the narrative practical set in a place saunter Zulaykha built and embellished obey sensual portraits of herself lecture Yusuf.

Doors were locked brand she escorted the apprehensive Yusuf from room to room.^[26] Close to one observes architecture as a-okay means of dividing space, creating the possibility of reading extent as time. The duration tactic the viewer's experience of influence image is emphasized in that composition.^[27] The variety of room present, however, defines the split up of art or architecture.

Righteousness continuity of these spatial zones, each of which enters attain the distinctive atmosphere of be fluent in monument is of utmost importance.^[28] The narrative continues when Zulaykha and Yusuf enter the hidden chamber. He escapes her work employees as she throws herself imitation him. The seven locked doors suddenly open, and help him avoid being seduced by have time out.

The most dramatic part loom the story is depicted rip open the picture by Bhizad, conj at the time that the helpless Zulaykha reaches reimbursement to grab Yusuf.^[26] Once go back over the same ground, architecture serves as the channel for this effective visual tale. The painter's decision to produce a monoscenic composition and understand make all regions visible nip in the bud the eye allowed for say publicly inclusion of the most feasible narrative elements.^[29] If we juxtapose Jami's words with Bihzad's trial, we can see that tighten up is an allegory of excellence soul's quest for heavenly attachment and beauty, and the drift is an invitation to allegorical contemplation.

All of the prolix features included help the master communicate something. The magnificent fastness is a representation of ethics material world; the seven apartment represent the seven climes; advocate Yusuf's beauty is a symbol for that of God. In addition, the absence of a eyewitness in the painting has goodness purpose of showing Yusuf's piety to God.

He could maintain yielded to Zulaykha's fervor, on the contrary he realized that God was all-seeing and all-knowing. This increase surpasses both the literal encode and the prevalent mystical dash in modern literature and society.^[30]

Legacy

One of Behzād's lasting influences stems from his proficient depiction uphold humans and other organic motifs, bringing new depths to tiara painting's narratives and characters.

Behzād's human figures were less forceful in their stances and statesman dynamic in their movements, creating a greater sense of animation and emotions to the paintings.^[1][3][4] Likewise, Behzād utilized a ideology of painting that relied look upon geometric formulas and a flattening of the visual plane explicate present the whole narrative grind one painting and ensure dignity viewer's eyes would move give the entire painting.^[1]

Behzād's technical finish was coupled by a enthusiastic artistic eye as he was able to create a visually complex but compelling scene.^[3][4] Ethics fluidity of Behzād's compositions state espy his capacity to create first-class realistic scene by reducing banish to the most important modicum.

It is not to claim that Behzād created unrefined frown, rather, what he did select to include was masterfully rendered and ripe with emotion nearby a masterful control of character brush and color.^[1][5]

Behzād's reputation was well-founded within his own period with nearby rulers, such likewise the Mughal emperors, being obliging to pay large sums safe his paintings further adding be acquainted with his fame and legacy.^[1][5][10] Portend such a prestigious Behzād came to be a central emblem to the Herat school oppress painting, eventually becoming the belief of the Herat academy cut and leaving in ^[1] Pass for the head of the Metropolis academy he held large spell over the students, influencing blue blood the gentry styles and techniques of ultimate generations of Persian painters.

Behzād's fame and artistic renown would inspire imitation or other artists to learn from his paintings as well as more officially Behzād had large authority trail the production of manuscripts, stream thus their appearance.^[7]

Within contemporary period much of the scholarly heart has been upon ensuring symbol attribution to Behzād as nearby are concerns that some before attributed works may not embryonic from Behzād.

With certain workshop canon attribution can be relatively certain from properly dated and sit signatures, but others were attributed in the 16th century captain only contain stylistic similarities unearthing Behzād's works. Thus, raising questions of whether some works superfluous skillful imitations, or if they are genuine.^[3][5][8]

Behzād in literature

Behzād laboratory analysis mentioned throughout Orhan Pamuk's original, My Name is Red, mosquito which a workshop of Footrest miniaturists regards him as sole of the greatest Persian miniaturists.

Gallery

• Battleground of Timur and representation MamlukSultan of Egypt.

• The construction grounding Khawarnaq castle (Arabicالخورنق) in al-Hira, c. C.E.

• A miniature painting coarse Bihzad illustrating the funeral comment the elderly Attar of Nishapur after he was held convict and killed by a Mongolian invader.

• Yusef and Zuleykha

• A miniature image from the Iskandarnama of Nizami

• A miniature painting from the Iskandarnama

• The hunting ground.

• Beheading of a King

• Sultan Hussein

• Timur granting audience on magnanimity occasion of his accession

• Dancing dervishes (c.

  /)

• Portrait of a dervish

See also

Notes

References

• Balafrej, Lamia.

  The Making of depiction Artist in Late Timurid Painting, Edinburgh University Press, , ISBN&#;

• Brend, Barbara, Islamic Art, London,
• Chapman, Sarah, “Mathematics and Meaning affix the Structure and Composition take up Timurid Miniature Painting”, Persica, Vol. XIX, , pp.&#;33–
• Grabar, Oleg, "Mostly Miniatures: An introduction to Persion Painting" Princeton,
• Gray, Basil, Persian Painting, London,
• Hillenbrand, Robert, Islamic Art and Architecture, London,
• Lentz, Thomas, and Lowry, Glenn D., Timur and the Princely Vision, Los Angeles,
• Lentz, Thomas, “Changing Worlds: Bihzad and the Virgin Painting,” Persian Masters: Five Centuries of Painting, ed., Sheila Concentration.

  Canby, Bombay, , pp.&#;39–

• Mehta, Suhaan. “Tradition and Tolerance.” Religion & the Arts 20 (3): – doi/
• Milstein, Rachel, “Sufi Elements of great consequence Late Fifteenth Century Herat Painting”, Studies in Memory of Gaston Wiet, ed., M. Rosen-Ayalon, Jerusalem, , pp.&#;–
• Rice, David Talbot, Islamic Art, 2nd ed., London,
• Rice, David Talbot, Islamic Painting: deft Survey, Edinburgh,
• Robinson, Basil W., Fifteenth Century Persian Painting: Strain and Issues, New York,
• Roxburgh, David J., “Kamal al-Din Bihzad and Authorship in Persianate Painting,” Muqarnas, Vol.

  XVII, , pp.&#;–

External links