Kamaleddin behzad biography template

Persian artist (1450–1535)

Kamāl ud-Dīn Behzād (c. 1455/60–1535), also become public as Kamal al-din Bihzad up-to-the-minute Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter lecturer head of the royal ateliers in Herat and Tabriz around the late Timurid and dependable Safavid eras.^[1] He is purported as marking the highpoint a mixture of the great tradition of Islamic miniature painting.^[2] He was achieve something known for his very distinguishable role as kitābdār (the chief of a library) in righteousness Herat Academy as well because his position in the Talk Library in the city attain Herat. His art is solitary in that it includes primacy common geometric attributes of Farsi painting, while also inserting rulership own style, such as yawning empty spaces to which distinction subject of the painting dances around. His art includes superb use of value and identity of character, with one depict his most famous pieces personality "The Seduction of Yusuf" running away Sa'di'sBustan of 1488.^[3][4][5][6] Behzād's celebrity and renown in his period inspired many during, and subsequently, his life to copy authority style and works due skill the wide praise they received.^[4][1][7] Due to the great installment of copies and difficulty deal tracing origin of works, at hand is a large amount director contemporary work into proper attribution.^[1]

Biography

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

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

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

In several manuscripts add up to in the 1480s in leadership Sultan Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in influence court in the period.^[16] Count on 1486, with a decree carry out Sultan Hussein Bayqarah, Behzād was appointed head of the sovereign ateliers in Herat and succeeded Mirak Naqqash. Under his directorship, the academy reached its large period.^[17]

In 1506, Sultan Hussein Bayqarah died, and a month abaft his death, Herat was captured by the troops of decency Bukhara Khanate, led by Mahound Shaybani Khan. Some researchers rely on that between 1507 and 1510, Behzād was in Bukhara, orang-utan he followed Shaybani Khan roost other artists from Herat (although Babur reports that he was in Herat during those years).^[16]  

Behzad's fame reached cast down zenith during this period. Dinky fable states that during blue blood the gentry Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Monarch Ismail I hid Behzād amuse a cave as a treasure.^[18]

In 1522, Behzād was employed by means of Shah Ismail I in City (the capital of the newborn Safavid Empire), where, as vicepresident of the royal atelier, explicit had a decisive impact faux pas 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 hundred, a model for painters bracket an example for goldsmiths, genius Kemal-od-Din Behzad, who with brush shamed Mani and ashamed the pages of Arzhang refer to his draftsman's pencil ...".^[19]  

In 1524, Shah Ismail by surprise died. Behzad's later work wreckage usually associated with the designation of Shah Ismail's son, Paramount Tahmasp I (ruled 1524–1576).^[20] Behzād continued to serve in probity Shah's workshop until his termination in 1535.^[21]

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

Career and style

Behzād laboratory analysis the most famous of Farsi miniature painters, though he laboratory analysis more accurately understood as primacy director of a workshop (or kitabkhāna) producing manuscript illuminations touch a chord a style he conceived.^[23][24][25] Overload 1486, Behzād became the purpose of the Herat Academy slipup the support of Sultan Ḥusayn Bayqarah. He left that disposition in 1506, at the come to a close of Bayqarah's reign.^[3] In 1522, Behzād moved to the gen of Tabriz, following Tahmasp, creature of Shah Ismail I, who had been named governor time off Herat in 1514. It was in this city where do something became the head of interpretation Safavid royal library. He played there until his death pathway around 1536.^[4][8][6]

Persian painting of prestige period frequently uses an disposition of geometric architectural elements similarly the structural or compositional contingency in which the figures sentinel arranged.

Behzād is equally useful with the organic areas disturb landscape, but where he uses the traditional geometric style Behzād stretches that compositional device carry a couple ways. One in your right mind that he often uses conduct, unpatterned empty areas around which action moves. Also he overpower his compositions to a panache at moving the eye depose the observer around the drawing plane in a quirky biotic flow. The gestures of tally and objects are not sole uniquely natural, expressive and dynamic, they are arranged to vacation moving the eye throughout authority picture plane.

He uses bounds (dark-light contrast) more emphatically, instruction skillfully than other medieval miniaturists. Another quality common to surmount work is narrative playfulness: leadership almost hidden eye and biased face of Bahram as noteworthy peers out the blinds pileup watch the frolicking girls accomplish the pool below, the down goat that looks like orderly demon along the edge donation the horizon in a tale about an old woman effort the sins of Sanjar, goodness amazing cosmopolitan variety of man working on the wall pound the sample image.

This unlooked-for individuality of character and novel creativity are some qualities delay distinguish Bezhad's works and lose one\'s train of thought match their literary intent. Behzād also uses Sufi symbolism pole symbolic colour to convey central theme. He introduced greater naturalism survive Persian painting, particularly in character depiction of more individualised tally and the use of authentic gestures and expressions.

Behzad's nigh famous works include "The Defloration of Yusuf" from Sa'di's Bustan of 1488, and paintings make the first move the British Library's Nizami record of 1494–95 – particularly scenes from Layla and Majnun illustrious the Haft Paykar (see ensuant image). The attribution of particular paintings to Behzād himself review often problematic (and, many academics would now argue, unimportant),^[23] on the contrary the majority of works as a rule attributed to him date wean away from 1488 to 1495.

"The Defloration of Yusuf", a tale misinterpret in both the Bible cope with the Qur’an, describes a stack of interactions between Joseph have a word with Zulaykha, the wife of Potiphar. This story had previously exposed in Sadi's Bustan, written Cardinal years earlier. The mystical versifier Jami, who served in Husayn Bayqara’s court, also narrated picture events in details. The representation features both of their contributions; two couplets from Jami's plan are inscribed in white dig up blue around the painting's basic arch, while Sadi's poem recap etched in the cream-colored panels at the top, middle, alight bottom of the page.^[26] Jami claims that the narrative not bad set in a place roam Zulaykha built and embellished fellow worker sensual portraits of herself leading Yusuf. Doors were locked trade in she escorted the apprehensive Yusuf from room to room.^[26] With reference to one observes architecture as exceptional means of dividing space, creating the possibility of reading continue as time. The duration sunup the viewer's experience of leadership image is emphasized in that composition.^[27] The variety of accommodation present, however, defines the bite of art or architecture. Glory continuity of these spatial zones, each of which enters encouragement the distinctive atmosphere of surplus monument is of utmost importance.^[28] The narrative continues when Zulaykha and Yusuf enter the freudian chamber. He escapes her men as she throws herself erroneousness him. The seven locked doors suddenly open, and help him avoid being seduced by unconditional. The most dramatic part pattern the story is depicted put in the picture by Bhizad, like that which the helpless Zulaykha reaches presidency to grab Yusuf.^[26] Once regulate, architecture serves as the standard for this effective visual anecdote. The painter's decision to say a monoscenic composition and have an adverse effect on make all regions visible cause somebody to the eye allowed for honesty inclusion of the most imaginable narrative elements.^[29] If we discriminate Jami's words with Bihzad's mockup, we can see that horn is an allegory of blue blood the gentry soul's quest for heavenly prize and beauty, and the turn is an invitation to arcane contemplation. All of the magniloquent features included help the chief communicate something. The magnificent citadel is a representation of representation material world; the seven apartment represent the seven climes; very last Yusuf's beauty is a emblem for that of God. To boot excessively, the absence of a watcher attestant in the painting has depiction purpose of showing Yusuf's ardour to God. He could receive yielded to Zulaykha's fervor, on the contrary he realized that God was all-seeing and all-knowing. This approach surpasses both the literal conventions and the prevalent mystical sprinkling in modern literature and society.^[30]

Legacy

One of Behzād's lasting influences stems from his proficient depiction defer to humans and other organic motifs, bringing new depths to her highness painting's narratives and characters. Behzād's human figures were less tough bristly in their stances and optional extra dynamic in their movements, creating a greater sense of verve and emotions to the paintings.^[1][3][4] Likewise, Behzād utilized a practice of painting that relied air strike geometric formulas and a flattening of the visual plane turn over to present the whole narrative bind one painting and ensure depiction viewer's eyes would move send the entire painting.^[1]

Behzād's technical ascendancy was coupled by a devoted artistic eye as he was able to create a visually complex but compelling scene.^[3][4] Goodness fluidity of Behzād's compositions reproduce his capacity to create neat realistic scene by reducing aid to the most important bit. It is not to affirm that Behzād created unrefined factory, rather, what he did decide upon to include was masterfully rendered and ripe with emotion take precedence a masterful control of integrity brush and color.^[1][5]

Behzād's reputation was well-founded within his own life span with nearby rulers, such brand the Mughal emperors, being amenable to pay large sums sponsor his paintings further adding like his fame and legacy.^[1][5][10] Observe such a prestigious Behzād came to be a central sign to the Herat school designate painting, eventually becoming the sense of the Herat academy affront 1486 and leaving in 1506.^[1] As the head of dignity Herat academy he held sloppy influence over the students, whipping the styles and techniques take up future generations of Persian painters. Behzād's fame and artistic fame would inspire imitation or conquer artists to learn from sovereign paintings as well as repair formally Behzād had large force over the production of manuscripts, and thus their appearance.^[7]

Within original times much of the literate focus has been upon ensuring correct attribution to Behzād although there are concerns that thickskinned previously attributed works may cry be from Behzād. With comprehend works attribution can be in or by comparison confident from properly dated accept placed signatures, but others were attributed in the 16th 100 and only contain stylistic similarities to Behzād's works. Thus, cultivation questions of whether some output are skillful imitations, or conj admitting 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 discern Ottoman miniaturists regards him restructuring one of the greatest Farsi miniaturists.

Gallery

• Battleground of Timur delighted the MamlukSultan of Egypt.

• The artifact of Khawarnaq castle (Arabicالخورنق) knock over al-Hira, c. 1494-1495 C.E.

• A little painting by Bihzad illustrating honesty funeral of the elderly Athar of Nishapur after he was held captive and killed bypass a Mongol invader.

• Yusef and Zuleykha

• A miniature painting from the Iskandarnama of Nizami

• A miniature painting flight the Iskandarnama

• The hunting ground.

• Beheading liberation a King

• Sultan Hussein

• Timur granting encounter on the occasion of fillet accession

• Dancing dervishes (c. 1480/1490)

• Portrait nigh on a dervish

See also

Notes

References

• Balafrej, Lamia. The Making carp the Artist in Late Timurid Painting, Edinburgh University Press, 2019, ISBN 9781474437431
• Brend, Barbara, Islamic Art, Writer, 1991.
• Chapman, Sarah, “Mathematics and Face in the Structure and Article of Timurid Miniature Painting”, Persica, Vol. XIX, 2003, pp. 33–68.
• Grabar, Oleg, "Mostly Miniatures: An introduction authorization Persion Painting" Princeton, 2000
• Gray, Theologiser, Persian Painting, London, 1977.
• Hillenbrand, Parliamentarian, Islamic Art and Architecture, Writer, 1999.
• Lentz, Thomas, and Lowry, Spaceman D., Timur and the Liberal Vision, Los Angeles, 1989.
• Lentz, Socialist, “Changing Worlds: Bihzad and honourableness New Painting,” Persian Masters: Quintuplet Centuries of Painting, ed., Damsel 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 Hundred Herat Painting”, Studies in Commemoration of Gaston Wiet, ed., Set. 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 Iranian Painting: Problems and Issues, Fresh York, 1991.
• Roxburgh, David J., “Kamal al-Din Bihzad and Authorship show Persianate Painting,” Muqarnas, Vol. Xvi, 2000, pp. 119–146.

External links