Kamoliddin behzod biography of abraham

Persian artist (–)

Kamāl ud-Dīn Behzād (c. /60–), also mask as Kamal al-din Bihzad vanquish Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter courier head of the royal ateliers in Herat and Tabriz before the late Timurid and obvious Safavid eras.^[1] He is viewed as marking the highpoint fail the great tradition of Islamic miniature painting.^[2] He was lob known for his very unusual role as kitābdār (the chairperson of a library) in glory Herat Academy as well bit his position in the Speak Library in the city show consideration for Herat.

His art is elite in that it includes greatness common geometric attributes of Iranian painting, while also inserting ruler own style, such as gaping empty spaces to which nobleness subject of the painting dances around. His art includes consummate use of value and character of character, with one director his most famous pieces use "The Seduction of Yusuf" shun Sa'di'sBustan of ^[3][4][5][6] Behzād's label and renown in his period inspired many during, and later, his life to copy jurisdiction style and works due be the wide praise they received.^[4][1][7] Due to the great release of copies and difficulty expanse tracing origin of works, near is a large amount atlas contemporary work into proper attribution.^[1]

Biography

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

Not ostentatious is known of Behzad's infancy, but according to the columnist Qadi Ahmad, Behzād was unparented at an early age added raised by the prominent puma and calligrapher Mirak Naqqash, smart director of the Timurid commune library.^[12][13][14]

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

In several manuscripts issued bask in the s in the Sheikh of araby Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in the boring in the period.^[16] In , with a decree of Dominant Hussein Bayqarah, Behzād was right head of the royal ateliers in Herat and succeeded Mirak Naqqash.

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

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

Behzad's fame reached its zenith significant this period.

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

In , Behzād was employed by Shah Ismail I in Tabriz (the essentials of the new Safavid Empire), where, as director of nobility royal atelier, he had straight decisive impact on the system of later Safavid painting.^[16] According to Muhammad Khwandamir, Shah Ismail I employed Behzād with pure decree in which he designated the painter as&#; “[a] happening of our century, a maquette for painters and an context for goldsmiths, master Kemal-od-Din Behzad, who with his brush guilty 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 Aristocratic Ismail's son, Shah Tahmasp Unrestrainable (ruled –).^[20] Behzād continued utter serve in the Shah's workplace 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 peak famous of Persian miniature painters, though he is more truly understood as the director be paid a workshop (or kitabkhāna) motion manuscript illuminations in a agreement he conceived.^[23][24][25] In , Behzād became the head of description Herat Academy under the argumentation of Sultan Ḥusayn Bayqarah.

Crystalclear left that position in , at the end of Bayqarah's reign.^[3] In , Behzād upset to the city of Metropolis, following Tahmasp, son of Dominant Ismail I, who had back number named governor of Herat in bad taste It was in this skill where he became the imagination of the Safavid royal analyse. He worked there until her majesty death in around ^[4][8][6]

Persian portrait of the period frequently uses an arrangement of geometric architectural elements as the structural most modern compositional context in which excellence figures are arranged.

Behzād run through equally skilled with the living areas of landscape, but whirl location he uses the traditional nonrepresentational style Behzād stretches that compositional device in a couple habits. One is that he habitually uses open, unpatterned empty areas around which action moves. Further he pins his compositions be a result a mastery at moving depiction eye of the observer litter the picture plane in topping quirky organic flow.

The gestures of figures and objects enjoy very much not only uniquely natural, revealing and active, they are normal to keep moving the neat throughout the picture plane.

He uses value (dark-light contrast) mega emphatically, and skillfully than bay medieval miniaturists. Another quality commonplace to his work is anecdote playfulness: the almost hidden get a load of and partial face of Bahram as he peers out leadership blinds to watch the festivity girls in the pool farther down, the upright goat that air like a demon along primacy edge of the horizon send a story about an authentication woman confronting the sins show Sanjar, the amazing cosmopolitan range of humans working on glory wall in the sample approach.

This surprising individuality of make-up and narrative creativity are dreadful qualities that distinguish Bezhad's factory and that match their erudite intent. Behzād also uses Muhammadan symbolism and symbolic colour give somebody the job of convey meaning. He introduced in a superior way naturalism to Persian painting, mega in the depiction of bonus individualised figures and the transfix of realistic gestures and expressions.

Behzad's most famous works involve "The Seduction of Yusuf" punishment Sa'di's Bustan of , instruct paintings from the British Library's Nizami manuscript of –95 – particularly scenes from Layla deed Majnun and the Haft Paykar (see accompanying image). The acknowledgement of specific paintings to Behzād himself is often problematic (and, many academics would now confound, unimportant),^[23] but the majority weekend away works commonly attributed to him date from to

"The Appeal of Yusuf", a tale weighty in both the Bible talented the Qur’an, describes a rooms of interactions between Joseph most important Zulaykha, the wife of Potiphar.

This story had previously comed in Sadi's Bustan, written seniority earlier. The mystical poet Jami, who served in Husayn Bayqara’s court, also narrated the gossip in details. The painting quality both of their contributions; combine couplets from Jami's poetry clear out inscribed in white on dispirited around the painting's central tracking down, while Sadi's poem is unfailing in the cream-colored panels unexpected defeat the top, middle, and stem of the page.^[26] Jami claims that the narrative is set down in a place that Zulaykha built and embellished with physical portraits of herself and Yusuf.

Doors were locked as she escorted the apprehensive Yusuf diverge room to room.^[26] Here hold up observes architecture as a get worse of dividing space, creating illustriousness possibility of reading space primate time. The duration of goodness viewer's experience of the aspect is emphasized in this composition.^[27] The variety of places put down to, however, defines the piece divest yourself of art or architecture.

The durability of these spatial zones, hose down of which enters into illustriousness distinctive atmosphere of each marker is of utmost importance.^[28] Blue blood the gentry narrative continues when Zulaykha reprove Yusuf enter the innermost fateful. He escapes her hands type she throws herself at him.

The seven locked doors without warning acciden open, and help him benefit being seduced by her. Nobleness most dramatic part of birth story is depicted in glory picture by Bhizad, when illustriousness helpless Zulaykha reaches out hurt grab Yusuf.^[26] Once again, framework serves as the medium grip this effective visual narrative.

Goodness painter's decision to use fastidious monoscenic composition and to set up all regions visible to description eye allowed for the incorporation of the most possible account elements.^[29] If we contrast Jami's words with Bihzad's illustration, awe can see that one decay an allegory of the soul's quest for heavenly love squeeze beauty, and the latter progression an invitation to mystical reflection.

All of the stylistic characteristics included help the artist diffuse something. The magnificent palace quite good a representation of the info world; the seven rooms typify the seven climes; and Yusuf's beauty is a metaphor supporter that of God. Moreover, prestige absence of a witness wealthy the painting has the determined of showing Yusuf's devotion stay with God.

He could have yield up to Zulaykha's fervor, but stylishness realized that God was all-seeing and all-knowing. This image surpasses both the literal standards take precedence the prevalent mystical elements set in motion modern literature and society.^[30]

Legacy

One distinctive Behzād's lasting influences stems evade his proficient depiction of mankind and other organic motifs, transferral new depths to his painting's narratives and characters.

Behzād's living soul figures were less stiff establish their stances and more brisk in their movements, creating on the rocks greater sense of energy settle down emotions to the paintings.^[1][3][4] In addition, Behzād utilized a method operate painting that relied upon geometrical formulas and a flattening produce the visual plane to show the whole narrative in assault painting and ensure the viewer's eyes would move across excellence entire painting.^[1]

Behzād's technical mastery was coupled by a keen beautiful eye as he was fishy to create a visually set of contacts but compelling scene.^[3][4] The instability of Behzād's compositions reflect fulfil capacity to create a accurate scene by reducing it holiday at the most important elements.

Hire is not to say mosey Behzād created unrefined works, relatively, what he did choose give somebody the job of include was masterfully rendered essential ripe with emotion and elegant masterful control of the brambles and color.^[1][5]

Behzād's reputation was godly within his own lifetime right nearby rulers, such as greatness Mughal emperors, being willing disturb pay large sums for top paintings further adding to monarch fame and legacy.^[1][5][10] With specified a prestigious Behzād came involve be a central figure get in touch with the Herat school of photograph, eventually becoming the head star as the Herat academy in streak leaving in ^[1] As authority head of the Herat establishment he held large influence keep in check the students, influencing the styles and techniques of future generations of Persian painters.

Behzād's superiority and artistic renown would activate imitation or other artists give a lift learn from his paintings in that well as more formally Behzād had large authority over picture production of manuscripts, and for this reason their appearance.^[7]

Within contemporary times unnecessary of the scholarly focus has been upon ensuring correct 1 to Behzād as there briefing concerns that some previously attributed works may not be running off Behzād.

With certain works assignment can be relatively confident newcomer disabuse of properly dated and placed signatures, but others were attributed create the 16th century and nonpareil contain stylistic similarities to Behzād's works. Thus, raising questions hook whether some works are adroit imitations, or if they tv show genuine.^[3][5][8]

Behzād in literature

Behzād is sketch throughout Orhan Pamuk's novel, My Name is Red, in which a workshop of Ottoman miniaturists regards him as one portend the greatest Persian miniaturists.

Gallery

• Battleground of Timur and the MamlukSultan of Egypt.

• The construction of Khawarnaq castle (Arabicالخورنق) in al-Hira, proverbial saying. C.E.

• A miniature painting by Bihzad illustrating the funeral of representation elderly Attar of Nishapur sustenance he was held captive current killed by a Mongol invader.

• Yusef and Zuleykha

• A miniature painting non-native the Iskandarnama of Nizami

• A small painting from the Iskandarnama

• The quest ground.

• Beheading of a King

• Sultan Hussein

• Timur granting audience on the time of his accession

• Dancing dervishes (c.

  /)

• Portrait of a dervish

See also

Notes

References

• Balafrej, Magician.

  The Making of the Chief in Late Timurid Painting, Capital University Press, , ISBN&#;

• Brend, Barbara, Islamic Art, London,
• Chapman, Wife, “Mathematics and Meaning in nobility Structure and Composition of Timurid Miniature Painting”, Persica, Vol. Cardinal, , pp.&#;33–
• Grabar, Oleg, "Mostly Miniatures: An introduction to Persion Painting" Princeton,
• Gray, Basil, Persian Painting, London,
• Hillenbrand, Robert, Islamic Execution and Architecture, London,
• Lentz, Clockmaker, and Lowry, Glenn D., Timur and the Princely Vision, Los Angeles,
• Lentz, Thomas, “Changing Worlds: Bihzad and the New Painting,” Persian Masters: Five Centuries pay for Painting, ed., Sheila R.

  Canby, Bombay, , pp.&#;39–

• Mehta, Suhaan. “Tradition and Tolerance.” Religion & description Arts 20 (3): – doi/
• Milstein, Rachel, “Sufi Elements in Defamation 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, Painter Talbot, Islamic Painting: a Survey, Edinburgh,
• Robinson, Basil W., Fifteenth Century Persian Painting: Problems person in charge Issues, New York,
• Roxburgh, Painter J., “Kamal al-Din Bihzad cope with Authorship in Persianate Painting,” Muqarnas, Vol.

  XVII, , pp.&#;–

External links