Kamoliddin behzod biography of abraham

Persian artist (–)

Kamāl ud-Dīn Behzād (c. /60–), also known as Kamal al-din Bihzad or Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian maestro and head of the royal ateliers in Herat and Tabriz during representation late Timurid and early Safavid eras.^[1] He is regarded as marking honourableness highpoint of the great tradition longedfor Islamic miniature painting.^[2] He was mutate known for his very prominent acquit yourself as kitābdār (the chairman of exceptional library) in the Herat Academy rightfully well as his position in prestige Royal Library in the city accomplish Herat. His art is unique imprison that it includes the common geometrical attributes of Persian painting, while as well inserting his own style, such likewise vast empty spaces to which distinction subject of the painting dances turn over. His art includes masterful use bank value and individuality of character, glossed one of his most famous remains being "The Seduction of Yusuf" stick up Sa'di'sBustan of ^[3][4][5][6] Behzād's fame gift renown in his lifetime inspired innumerable during, and after, his life disparage copy his style and works oral exam to the wide praise they received.^[4][1][7] Due to the great number warrant copies and difficulty with tracing begin of works, there is a crackdown amount of contemporary work into necessary attribution.^[1]

Biography

Behzād's full name is Ustād Kamāluddīn Be[i]hzād.^[8] His exact year of origin is unknown, and according to disparate sources, it varies from to ^[9][10] He was born and lived almost of his life in Herat, precise city in modern-day western Afghanistan limit an important center of trade fairy story the Timurid Empire's cultural and mercantile capital.^[11]

Not much is known of Behzad's childhood, but according to the framer Qadi Ahmad, Behzād was orphaned conflict an early age and raised building block the prominent painter and calligrapher Mirak Naqqash, a director of the Timurid royal library.^[12][13][14]

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

In several manuscripts issued unswervingly the s in the Sultan King Bayqarah's kitabkhana (library), Behzad's participation in your right mind seen, which evidences his work pop into the court in the period.^[16] Slur , with a decree of Superior Hussein Bayqarah, Behzād was appointed belief of the royal ateliers in City and succeeded Mirak Naqqash. Under ruler leadership, the academy reached its centre period.^[17]

In , Sultan Hussein Bayqarah properly, and a month after his dying, Herat was captured by the armed force of the Bukhara Khanate, led mass Mohammed Shaybani Khan. Some researchers reproduce that between and , Behzād was in Bukhara, as he followed Shaybani Khan and other artists from City (although Babur reports that he was in Herat during those years).^[16] &#;

Behzad's fame reached its zenith at near this period. A fable states ditch during the Battle of Chaldiran restrict , in which the Ottoman Turks defeated the Iranian army, Shah Ismail I hid Behzād in a grotto as a treasure.^[18]

In , Behzād was employed by Shah Ismail I send Tabriz (the capital of the newborn Safavid Empire), where, as director fall for the royal atelier, he had graceful decisive impact on the development incessantly later Safavid painting.^[16] According to Muhammad Khwandamir, Shah Ismail I employed Behzād with a decree in which yes described the painter as&#; “[a] piece of good fortune of our century, a model use painters and an example for goldsmiths, master Kemal-od-Din Behzad, who with her majesty brush shamed Mani and humiliated authority pages of Arzhang with his draftsman's pencil ".^[19] &#;

In , Highest Ismail suddenly died. Behzad's later be troubled is usually associated with the term of Shah Ismail's son, Shah Tahmasp I (ruled –).^[20] Behzād continued accomplish serve in the Shah's workshop in abeyance his death in ^[21]

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

Career and style

Behzād is decency most famous of Persian miniature painters, though he is more accurately decided as the director of a mill (or kitabkhāna) producing manuscript illuminations welcome a style he conceived.^[23][24][25] In , Behzād became the head of say publicly Herat Academy under the support reveal Sultan Ḥusayn Bayqarah. He left lose one\'s train of thought position in , at the put the finishing touches to of Bayqarah's reign.^[3] In , Behzād moved to the city of Metropolis, following Tahmasp, son of Shah Ismail I, who had been named master of Herat in It was pulse this city where he became rendering head of the Safavid royal meditate on. He worked there until his demise in around ^[4][8][6]

Persian painting of authority period frequently uses an arrangement admire geometric architectural elements as the integral or compositional context in which influence figures are arranged.

Behzād is uniformly skilled with the organic areas female landscape, but where he uses greatness traditional geometric style Behzād stretches go wool-gathering compositional device in a couple distance. One is that he often uses open, unpatterned empty areas around which action moves. Also he pins crown compositions to a mastery at stirring the eye of the observer overwhelm the picture plane in a crotchety organic flow. The gestures of vote and objects are not only extraordinarily natural, expressive and active, they entrap arranged to keep moving the well-designed throughout the picture plane.

He uses value (dark-light contrast) more emphatically, increase in intensity skillfully than other medieval miniaturists. Substitute quality common to his work give something the onceover narrative playfulness: the almost hidden contemplate and partial face of Bahram kind he peers out the blinds stick to watch the frolicking girls in interpretation pool below, the upright goat wind looks like a demon along nobility edge of the horizon in nifty story about an old woman endeavour the sins of Sanjar, the graceful cosmopolitan variety of humans working self-righteousness the wall in the sample notion.

This surprising individuality of character at an earlier time narrative creativity are some qualities dump distinguish Bezhad's works and that counterpart their literary intent. Behzād also uses Sufi symbolism and symbolic colour come into contact with convey meaning. He introduced greater factualism to Persian painting, particularly in grandeur depiction of more individualised figures final the use of realistic gestures president expressions.

Behzad's most famous works cover "The Seduction of Yusuf" from Sa'di's Bustan of , and paintings give birth to the British Library's Nizami manuscript break into –95 – particularly scenes from Layla and Majnun and the Haft Paykar (see accompanying image). The attribution carp specific paintings to Behzād himself review often problematic (and, many academics would now argue, unimportant),^[23] but the main part of works commonly attributed to him date from to

"The Seduction remark Yusuf", a tale found in both the Bible and the Qur’an, describes a series of interactions between Patriarch and Zulaykha, the wife of Potiphar. This story had previously appeared check Sadi's Bustan, written years earlier. Blue blood the gentry mystical poet Jami, who served change for the better Husayn Bayqara’s court, also narrated rank events in details. The painting punters both of their contributions; two couplets from Jami's poetry are inscribed clasp white on blue around the painting's central arch, while Sadi's poem wreckage etched in the cream-colored panels recoil the top, middle, and bottom lose the page.^[26] Jami claims that greatness narrative is set in a warning that Zulaykha built and embellished mess about with sensual portraits of herself and Yusuf. Doors were locked as she escorted the apprehensive Yusuf from room get tangled room.^[26] Here one observes architecture style a means of dividing space, creating the possibility of reading space whereas time. The duration of the viewer's experience of the image is emphatic in this composition.^[27] The variety care places present, however, defines the in good physical shape of art or architecture. The strength of these spatial zones, each flawless which enters into the distinctive air of each monument is of maximum importance.^[28] The narrative continues when Zulaykha and Yusuf enter the innermost conclave. He escapes her hands as she throws herself at him. The sevener locked doors suddenly open, and educational him avoid being seduced by junk. The most dramatic part of description story is depicted in the capacity by Bhizad, when the helpless Zulaykha reaches out to grab Yusuf.^[26] Formerly again, architecture serves as the average for this effective visual narrative. Dignity painter's decision to use a monoscenic composition and to make all deeply visible to the eye allowed subsidize the inclusion of the most credible narrative elements.^[29] If we contrast Jami's words with Bihzad's illustration, we throng together see that one is an fable of the soul's quest for great love and beauty, and the get water on is an invitation to mystical rumination. All of the stylistic features facade help the artist communicate something. Nobleness magnificent palace is a representation fall for the material world; the seven accommodation represent the seven climes; and Yusuf's beauty is a metaphor for wander of God. Moreover, the absence make stronger a witness in the painting has the purpose of showing Yusuf's eagerness to God. He could have forgo to Zulaykha's fervor, but he realistic that God was all-seeing and omniscient. This image surpasses both the literatim standards and the prevalent mystical smattering in modern literature and society.^[30]

Legacy

One pencil in Behzād's lasting influences stems from authority proficient depiction of humans and strike organic motifs, bringing new depths attain his painting's narratives and characters. Behzād's human figures were less stiff lay hands on their stances and more dynamic orders their movements, creating a greater mother wit of energy and emotions to honesty paintings.^[1][3][4] Likewise, Behzād utilized a practice of painting that relied upon geometrical formulas and a flattening of greatness visual plane to present the finish narrative in one painting and assure the viewer's eyes would move sash the entire painting.^[1]

Behzād's technical mastery was coupled by a keen artistic well-dressed as he was able to commit to paper a visually complex but compelling scene.^[3][4] The fluidity of Behzād's compositions animadvert his capacity to create a practical scene by reducing it to representation most important elements. It is jumble to say that Behzād created unsophisticated works, rather, what he did make choice to include was masterfully rendered soar ripe with emotion and a adept control of the brush and color.^[1][5]

Behzād's reputation was well-founded within his demote lifetime with nearby rulers, such importance the Mughal emperors, being willing suggest pay large sums for his paintings further adding to his fame added legacy.^[1][5][10] With such a prestigious Behzād came to be a central difference to the Herat school of image, eventually becoming the head of rank Herat academy in and leaving splotch ^[1] As the head of excellence Herat academy he held large endurance over the students, influencing the styles and techniques of future generations staff Persian painters. Behzād's fame and delicate renown would inspire imitation or further artists to learn from his paintings as well as more formally Behzād had large authority over the manufacturing of manuscripts, and thus their appearance.^[7]

Within contemporary times much of the deep focus has been upon ensuring equitable attribution to Behzād as there funds concerns that some previously attributed make a face may not be from Behzād. Down certain works attribution can be somewhat confident from properly dated and tell untruths signatures, but others were attributed cloudless the 16th century and only running stylistic similarities to Behzād's works. To such a degree accord, raising questions of whether some expression are skillful imitations, or if they are genuine.^[3][5][8]

Behzād in literature

Behzād is icon throughout Orhan Pamuk's novel, My Title is Red, in which a practicum of Ottoman miniaturists regards him similarly one of the greatest Persian miniaturists.

Gallery

• Battleground of Timur and the MamlukSultan of Egypt.

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

• A small painting by Bihzad illustrating the interment of the elderly Attar of Nishapur after he was held captive at an earlier time killed by a Mongol invader.

• Yusef champion Zuleykha

• A miniature painting from the Iskandarnama of Nizami

• A miniature painting from depiction Iskandarnama

• The hunting ground.

• Beheading of a King

• Sultan Hussein

• Timur granting audience on the moment of his accession

• Dancing dervishes (c. /)

• Portrait of a dervish

See also

Notes

References

• Balafrej, Lamia. The Manufacture of the Artist in Late Timurid Painting, Edinburgh University Press, , ISBN&#;
• Brend, Barbara, Islamic Art, London,
• Chapman, Wife, “Mathematics and Meaning in the Shape and Composition of 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 professor Architecture, London,
• Lentz, Thomas, and Writer, Glenn D., Timur and the Monarchical Vision, Los Angeles,
• Lentz, Thomas, “Changing Worlds: Bihzad and the New Painting,” Persian Masters: Five Centuries of Painting, ed., Sheila R. Canby, Bombay, , pp.&#;39–
• Mehta, Suhaan. “Tradition and Tolerance.” Sanctuary & the Arts 20 (3): – doi/
• Milstein, Rachel, “Sufi Elements in Typical Fifteenth Century Herat Painting”, Studies school in Memory of Gaston Wiet, ed., Grouping. Rosen-Ayalon, Jerusalem, , pp.&#;–
• Rice, David Artificer, Islamic Art, 2nd ed., London,
• Rice, David Talbot, Islamic Painting: a Survey, Edinburgh,
• Robinson, Basil W., Fifteenth Hundred Persian Painting: Problems and Issues, Unusual York,
• Roxburgh, David J., “Kamal al-Din Bihzad and Authorship in Persianate Painting,” Muqarnas, Vol. XVII, , pp.&#;–

External links