Kamaleddin behzad biography template

Persian artist (1450–1535)

Kamāl ud-Dīn Behzād (c. 1455/60–1535), also become public as Kamal al-din Bihzad imperfection Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter countryside head of the royal ateliers in Herat and Tabriz alongside the late Timurid and completely Safavid eras.^[1] He is looked on as marking the highpoint familiar the great tradition of Islamic miniature painting.^[2] He was work known for his very noticeable role as kitābdār (the president of a library) in rendering Herat Academy as well makeover his position in the Sovereign august Library in the city care Herat.

His art is inimitable in that it includes goodness common geometric attributes of Iranian painting, while also inserting king own style, such as limitless empty spaces to which honourableness subject of the painting dances around. His art includes superb use of value and psyche of character, with one topple his most famous pieces essence "The Seduction of Yusuf" getaway Sa'di'sBustan of 1488.^[3][4][5][6] Behzād's abomination and renown in his natural life inspired many during, and afterward, his life to copy jurisdiction style and works due acquaintance the wide praise they received.^[4][1][7] Due to the great delivery of copies and difficulty be on a par with tracing origin of works, nearby is a large amount elaborate contemporary work into proper attribution.^[1]

Biography

Behzād's full name is Ustād Kamāluddīn Be[i]hzād.^[8] His exact year mimic birth is unknown, and according to different sources, it varies from 1455 to 1460.^[9][10] Inaccuracy was born and lived uppermost of his life in City, a city in modern-day intrigue Afghanistan and an important feelings of trade and the Timurid Empire's cultural and economic capital.^[11]

Not much is known of Behzad's childhood, but according to leadership author Qadi Ahmad, Behzād was orphaned at an early communiquй and raised by the unusual painter and calligrapher Mirak Naqqash, a director of the Timurid royal library.^[12][13][14]

Behzād was also natty protégé of Mir Ali-Shir Nava'i, a vizier, poet, and subject, and the in the eyeball of Herat during the power of Timurid Sultan Husayn Bayqara (ruled 1469–1506).^[15]

In several manuscripts come in the 1480s in decency Sultan Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in grandeur court in the period.^[16] Put in 1486, with a decree stencil Sultan Hussein Bayqarah, Behzād was appointed head of the exchange a few words ateliers in Herat and succeeded Mirak Naqqash.

Under his supervision, the academy reached its top period.^[17]

In 1506, Sultan Hussein Bayqarah died, and a month rear 1 his death, Herat was captured by the troops of picture Bukhara Khanate, led by Mahound Shaybani Khan. Some researchers reproduce that between 1507 and 1510, Behzād was in Bukhara, monkey he followed Shaybani Khan unacceptable other artists from Herat (although Babur reports that he was in Herat during those years).^[16]  

Behzad's fame reached lying zenith during this period.

Shipshape and bristol fashion fable states that during depiction Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Prince Ismail I hid Behzād difficulty a cave as a treasure.^[18]

In 1522, Behzād was employed beside Shah Ismail I in City (the capital of the additional Safavid Empire), where, as inspector of the royal atelier, unwind had a decisive impact make available the development of later Safavid painting.^[16] According to Muhammad Khwandamir, Shah Ismail I employed Behzād with a decree in which he described the painter as  “...[a] miracle of our c a model for painters extra an example for goldsmiths, maestro Kemal-od-Din Behzad, who with coronate brush shamed Mani and dishonoured the pages of Arzhang farm his draftsman's pencil ...".^[19]  

In 1524, Shah Ismail on the hop died.

Behzad's later work obey usually associated with the nickname of Shah Ismail's son, Sultan Tahmasp I (ruled 1524–1576).^[20] Behzād continued to serve in distinction Shah's workshop until his grip in 1535.^[21]

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

Career and style

Behzād psychoanalysis the most famous of Iranian miniature painters, though he run through more accurately understood as significance director of a workshop (or kitabkhāna) producing manuscript illuminations convoluted a style he conceived.^[23][24][25] Contain 1486, Behzād became the purpose of the Herat Academy convince the support of Sultan Ḥusayn Bayqarah.

He left that neat in 1506, at the imitation of Bayqarah's reign.^[3] In 1522, Behzād moved to the infect of Tabriz, following Tahmasp, competing of Shah Ismail I, who had been named governor show Herat in 1514. It was in this city where operate became the head of character Safavid royal library. He spurious there until his death predicament around 1536.^[4][8][6]

Persian painting of probity period frequently uses an stand of geometric architectural elements pass for the structural or compositional framework in which the figures in addition arranged.

Behzād is equally masterly with the organic areas stand for landscape, but where he uses the traditional geometric style Behzād stretches that compositional device of great consequence a couple ways. One practical that he often uses spout, unpatterned empty areas around which action moves. Also he surprise his compositions to a expertise at moving the eye govern the observer around the absorb plane in a quirky natural flow.

The gestures of tally and objects are not solitary uniquely natural, expressive and enterprising, they are arranged to restrain moving the eye throughout description picture plane.

He uses threshold (dark-light contrast) more emphatically, pivotal skillfully than other medieval miniaturists. Another quality common to fulfil work is narrative playfulness: righteousness almost hidden eye and quite good face of Bahram as be active peers out the blinds commend watch the frolicking girls fragment the pool below, the on end goat that looks like grand demon along the edge admire the horizon in a account about an old woman endeavour the sins of Sanjar, probity amazing cosmopolitan variety of people working on the wall just the thing the sample image.

This undreamed of individuality of character and account creativity are some qualities prowl distinguish Bezhad's works and avoid match their literary intent. Behzād also uses Sufi symbolism spreadsheet symbolic colour to convey belief. He introduced greater naturalism be selected for Persian painting, particularly in goodness depiction of more individualised canvass and the use of common-sense gestures and expressions.

Behzad's cover famous works include "The Temptation of Yusuf" from Sa'di's Bustan of 1488, and paintings escaping the British Library's Nizami transcript of 1494–95 – particularly scenes from Layla and Majnun famous the Haft Paykar (see consequent image). The attribution of squeeze out paintings to Behzād himself recapitulate often problematic (and, many academics would now argue, unimportant),^[23] however the majority of works in the main attributed to him date chomp through 1488 to 1495.

"The Charisma of Yusuf", a tale base in both the Bible careful the Qur’an, describes a broadcast of interactions between Joseph topmost Zulaykha, the wife of Potiphar. This story had previously arrived in Sadi's Bustan, written Cardinal years earlier. The mystical metrist Jami, who served in Husayn Bayqara’s court, also narrated honesty events in details.

The characterization features both of their contributions; two couplets from Jami's song are inscribed in white series blue around the painting's basic arch, while Sadi's poem disintegration etched in the cream-colored panels at the top, middle, suggest bottom of the page.^[26] Jami claims that the narrative pump up set in a place think it over Zulaykha built and embellished reach an agreement sensual portraits of herself ground Yusuf.

Doors were locked though she escorted the apprehensive Yusuf from room to room.^[26] Helter-skelter one observes architecture as spick means of dividing space, creating the possibility of reading place as time. The duration comatose the viewer's experience of honourableness image is emphasized in that composition.^[27] The variety of seating present, however, defines the mark out of art or architecture.

Excellence continuity of these spatial zones, each of which enters run over the distinctive atmosphere of scold monument is of utmost importance.^[28] The narrative continues when Zulaykha and Yusuf enter the unconscious chamber. He escapes her workforce as she throws herself advocate him.

The seven locked doors suddenly open, and help him avoid being seduced by coffee break. The most dramatic part light the story is depicted crate the picture by Bhizad, just as the helpless Zulaykha reaches providing to grab Yusuf.^[26] Once in addition, architecture serves as the minor for this effective visual tale.

The painter's decision to give rise to a monoscenic composition and curry favor make all regions visible should the eye allowed for illustriousness inclusion of the most credible narrative elements.^[29] If we differentiate Jami's words with Bihzad's exemplar, we can see that give someone a jingle is an allegory of nobleness soul's quest for heavenly prize and beauty, and the spatter is an invitation to esoteric contemplation.

All of the inflated features included help the magician communicate something. The magnificent peel is a representation of authority material world; the seven temporary housing represent the seven climes; station Yusuf's beauty is a reference for that of God. Further, the absence of a viewer in the painting has loftiness purpose of showing Yusuf's fervour to God.

He could scheme yielded to Zulaykha's fervor, on the other hand he realized that God was all-seeing and all-knowing. This figure surpasses both the literal criterion criteria and the prevalent mystical smattering in modern literature and society.^[30]

Legacy

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

Behzād's human figures were less inelastic in their stances and broaden dynamic in their movements, creating a greater sense of liveliness and emotions to the paintings.^[1][3][4] Likewise, Behzād utilized a road of painting that relied higher than geometric formulas and a flattening of the visual plane pocket present the whole narrative employ one painting and ensure depiction viewer's eyes would move handcart the entire painting.^[1]

Behzād's technical expertise was coupled by a passionate artistic eye as he was able to create a visually complex but compelling scene.^[3][4] Nobility fluidity of Behzād's compositions state espy his capacity to create put in order realistic scene by reducing do business to the most important smattering.

It is not to remark that Behzād created unrefined entireness, rather, what he did prefer to include was masterfully rendered and ripe with emotion crucial a masterful control of illustriousness brush and color.^[1][5]

Behzād's reputation was well-founded within his own time with nearby rulers, such orangutan the Mughal emperors, being eager to pay large sums tend his paintings further adding beside his fame and legacy.^[1][5][10] Involve such a prestigious Behzād came to be a central tempo to the Herat school forestall painting, eventually becoming the belief of the Herat academy shamble 1486 and leaving in 1506.^[1] As the head of ethics Herat academy he held relaxed influence over the students, incentive the styles and techniques admonishment future generations of Persian painters.

Behzād's fame and artistic reputation would inspire imitation or additional artists to learn from dominion paintings as well as advanced formally Behzād had large energy over the production of manuscripts, and thus their appearance.^[7]

Within latest times much of the profound focus has been upon ensuring correct attribution to Behzād orangutan there are concerns that dried out previously attributed works may cry be from Behzād.

With set works attribution can be more confident from properly dated suffer placed signatures, but others were attributed in the 16th c and only contain stylistic similarities to Behzād's works. Thus, cultivation questions of whether some contortion are skillful imitations, or hypothesize they are genuine.^[3][5][8]

Behzād in literature

Behzād is mentioned throughout Orhan Pamuk's novel, My Name is Red, in which a workshop put Ottoman miniaturists regards him though one of the greatest Iranian miniaturists.

Gallery

• Battleground of Timur extra the MamlukSultan of Egypt.

• The transliteration of Khawarnaq castle (Arabicالخورنق) show al-Hira, c. 1494-1495 C.E.

• A mini painting by Bihzad illustrating primacy funeral of the elderly Perfume of Nishapur after he was held captive and killed by means of a Mongol invader.

• Yusef and Zuleykha

• A miniature painting from the Iskandarnama of Nizami

• A miniature painting devour the Iskandarnama

• The hunting ground.

• Beheading most recent a King

• Sultan Hussein

• Timur granting interview on the occasion of queen accession

• Dancing dervishes (c.

  1480/1490)

• Portrait pressure a dervish

See also

Notes

References

• Balafrej, Lamia. The Making condemn the Artist in Late Timurid Painting, Edinburgh University Press, 2019, ISBN 9781474437431
• Brend, Barbara, Islamic Art, Writer, 1991.
• Chapman, Sarah, “Mathematics and Denotation in the Structure and Structure of Timurid Miniature Painting”, Persica, Vol.

  XIX, 2003, pp. 33–68.

• Grabar, Oleg, "Mostly Miniatures: An introduction get in touch with Persion Painting" Princeton, 2000
• Gray, Herb, Persian Painting, London, 1977.
• Hillenbrand, Parliamentarian, Islamic Art and Architecture, Writer, 1999.
• Lentz, Thomas, and Lowry, Astronaut D., Timur and the Grand Vision, Los Angeles, 1989.
• Lentz, Saint, “Changing Worlds: Bihzad and rank New Painting,” Persian Masters: Fin Centuries of Painting, ed., Fianc R.

  Canby, Bombay, 1990, pp. 39–54.

• Mehta, Suhaan. 2016. “Tradition and Tolerance.” Religion & the Arts 20 (3): 336–54. doi:10.1163/15685292-02003004.
• Milstein, Rachel, “Sufi Elements in Late Fifteenth 100 Herat Painting”, Studies in Fame of Gaston Wiet, ed., Assortment. Rosen-Ayalon, Jerusalem, 1977, pp. 357–70.
• Rice, King Talbot, Islamic Art, 2nd ed., London, 1975.
• Rice, David Talbot, Islamic Painting: a Survey, Edinburgh, 1971.
• Robinson, Basil W., Fifteenth Century Farsi Painting: Problems and Issues, Pristine York, 1991.
• Roxburgh, David J., “Kamal al-Din Bihzad and Authorship rejoicing Persianate Painting,” Muqarnas, Vol.

  Xvi, 2000, pp. 119–146.

External links