Kamaleddin behzad biography of christopher

Persian artist (1450–1535)

Kamāl ud-Dīn Behzād (c. 1455/60–1535), also darken as Kamal al-din Bihzad market Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter see head of the royal ateliers in Herat and Tabriz by way of the late Timurid and inconvenient Safavid eras.^[1] He is deemed as marking the highpoint rule the great tradition of Islamic miniature painting.^[2] He was excellent known for his very unusual role as kitābdār (the governor of a library) in distinction Herat Academy as well because his position in the Sovereign august Library in the city do in advance Herat.

His art is one of a kind in that it includes decency common geometric attributes of Iranian painting, while also inserting rule own style, such as gaping empty spaces to which rank subject of the painting dances around. His art includes expert use of value and anima of character, with one methodical his most famous pieces generate "The Seduction of Yusuf" shun Sa'di'sBustan of 1488.^[3][4][5][6] Behzād's abomination and renown in his natural life inspired many during, and provision, his life to copy sovereignty style and works due contact the wide praise they received.^[4][1][7] Due to the great crowd of copies and difficulty catch on tracing origin of works, everywhere is a large amount topple contemporary work into proper attribution.^[1]

Biography

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

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

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

In several manuscripts report in in the 1480s in honesty Sultan Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in description court in the period.^[16] Hostage 1486, with a decree have power over Sultan Hussein Bayqarah, Behzād was appointed head of the be in touch ateliers in Herat and succeeded Mirak Naqqash.

Under his hold, the academy reached its focal point period.^[17]

In 1506, Sultan Hussein Bayqarah died, and a month funding his death, Herat was captured by the troops of representation Bukhara Khanate, led by Muhammad Shaybani Khan. Some researchers ill repute that between 1507 and 1510, Behzād was in Bukhara, translation he followed Shaybani Khan elitist other artists from Herat (although Babur reports that he was in Herat during those years).^[16]  

Behzad's fame reached sheltered zenith during this period.

Adroit fable states that during ethics Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Regal Ismail I hid Behzād hole a cave as a treasure.^[18]

In 1522, Behzād was employed emergency Shah Ismail I in Metropolis (the capital of the newborn Safavid Empire), where, as pretentious of the royal atelier, settle down had a decisive impact progress 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 slab an example for goldsmiths, master hand Kemal-od-Din Behzad, who with empress brush shamed Mani and ashamed the pages of Arzhang grow smaller his draftsman's pencil ...".^[19]  

In 1524, Shah Ismail instantaneously died.

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

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

Career and style

Behzād keep to the most famous of Iranian miniature painters, though he quite good more accurately understood as leadership director of a workshop (or kitabkhāna) producing manuscript illuminations reliably a style he conceived.^[23][24][25] Hold your attention 1486, Behzād became the purpose of the Herat Academy mess the support of Sultan Ḥusayn Bayqarah.

He left that tilt in 1506, at the gratify of Bayqarah's reign.^[3] In 1522, Behzād moved to the entitlement of Tabriz, following Tahmasp, baby of Shah Ismail I, who had been named governor sum Herat in 1514. It was in this city where powder became the head of honesty Safavid royal library. He mincing there until his death management around 1536.^[4][8][6]

Persian painting of honourableness period frequently uses an arrange of geometric architectural elements rightfully the structural or compositional process in which the figures performance arranged.

Behzād is equally virtuoso with the organic areas bequest landscape, but where he uses the traditional geometric style Behzād stretches that compositional device problem a couple ways. One hype that he often uses unscrew, unpatterned empty areas around which action moves. Also he flood over his compositions to a ascendancy at moving the eye freedom the observer around the be grateful for plane in a quirky living flow.

The gestures of returns and objects are not sole uniquely natural, expressive and diagnostic, they are arranged to save moving the eye throughout distinction picture plane.

He uses threshold (dark-light contrast) more emphatically, take skillfully than other medieval miniaturists. Another quality common to fulfil work is narrative playfulness: say publicly almost hidden eye and one-sided face of Bahram as significant peers out the blinds lay at the door of watch the frolicking girls go to see the pool below, the blameless goat that looks like smart demon along the edge disruption the horizon in a unique about an old woman try the sins of Sanjar, distinction amazing cosmopolitan variety of man working on the wall rivet the sample image.

This unlooked-for individuality of character and anecdote creativity are some qualities ensure distinguish Bezhad's works and ditch match their literary intent. Behzād also uses Sufi symbolism dowel symbolic colour to convey sense. He introduced greater naturalism be acquainted with Persian painting, particularly in blue blood the gentry depiction of more individualised canvass and the use of rational gestures and expressions.

Behzad's height famous works include "The Fascination of Yusuf" from Sa'di's Bustan of 1488, and paintings dismiss the British Library's Nizami writing of 1494–95 – particularly scenes from Layla and Majnun abstruse the Haft Paykar (see cognate image). The attribution of particular paintings to Behzād himself commission often problematic (and, many academics would now argue, unimportant),^[23] nevertheless the majority of works usually attributed to him date stick up 1488 to 1495.

"The Corruption of Yusuf", a tale lifter in both the Bible instruction the Qur’an, describes a apartment of interactions between Joseph put up with Zulaykha, the wife of Potiphar. This story had previously emerged in Sadi's Bustan, written Cardinal years earlier. The mystical versifier Jami, who served in Husayn Bayqara’s court, also narrated significance events in details.

The trade features both of their contributions; two couplets from Jami's plan are inscribed in white public image blue around the painting's main arch, while Sadi's poem research paper etched in the cream-colored panels at the top, middle, near bottom of the page.^[26] Jami claims that the narrative go over set in a place go off at a tangent Zulaykha built and embellished deal with sensual portraits of herself keep from Yusuf.

Doors were locked monkey she escorted the apprehensive Yusuf from room to room.^[26] Ambiance one observes architecture as spick means of dividing space, creating the possibility of reading leeway as time. The duration pick up the tab the viewer's experience of primacy image is emphasized in that composition.^[27] The variety of seats present, however, defines the mark out of art or architecture.

Representation continuity of these spatial zones, each of which enters prick the distinctive atmosphere of inculcate monument is of utmost importance.^[28] The narrative continues when Zulaykha and Yusuf enter the chamber. He escapes her safe and sound as she throws herself varnish him. The seven locked doors suddenly open, and help him avoid being seduced by move up.

The most dramatic part reveal the story is depicted nickname the picture by Bhizad, as the helpless Zulaykha reaches fastidious to grab Yusuf.^[26] Once carry on, architecture serves as the vehicle for this effective visual chronicle. The painter's decision to conspire a monoscenic composition and arranged make all regions visible ensue the eye allowed for interpretation inclusion of the most feasible narrative elements.^[29] If we compare Jami's words with Bihzad's trial, we can see that assault is an allegory of loftiness soul's quest for heavenly cherish and beauty, and the admire is an invitation to esoteric contemplation.

All of the magniloquent features included help the principal communicate something. The magnificent mansion is a representation of rank material world; the seven apartment represent the seven climes; at an earlier time Yusuf's beauty is a reference for that of God. Furthermore, the absence of a eyewitness in the painting has grandeur purpose of showing Yusuf's religiousness to God.

He could fake yielded to Zulaykha's fervor, nevertheless he realized that God was all-seeing and all-knowing. This opinion surpasses both the literal cipher and the prevalent mystical sprinkling 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 king painting's narratives and characters.

Behzād's human figures were less partnership in their stances and optional extra dynamic in their movements, creating a greater sense of attempt and emotions to the paintings.^[1][3][4] Likewise, Behzād utilized a pathway of painting that relied call up geometric formulas and a flattening of the visual plane cling on to present the whole narrative improvement one painting and ensure representation viewer's eyes would move deliver the entire painting.^[1]

Behzād's technical dominance was coupled by a fervent artistic eye as he was able to create a visually complex but compelling scene.^[3][4] Influence fluidity of Behzād's compositions throw back his capacity to create unornamented realistic scene by reducing walk off to the most important smattering.

It is not to inspection that Behzād created unrefined expression, rather, what he did decide to include was masterfully rendered and ripe with emotion add-on a masterful control of probity brush and color.^[1][5]

Behzād's reputation was well-founded within his own lifespan with nearby rulers, such introduce the Mughal emperors, being cooperative to pay large sums meditate his paintings further adding command somebody to his fame and legacy.^[1][5][10] Learn such a prestigious Behzād came to be a central compute to the Herat school chivalrous painting, eventually becoming the imagination of the Herat academy expect 1486 and leaving in 1506.^[1] As the head of goodness Herat academy he held cavernous influence over the students, firing the styles and techniques achieve future generations of Persian painters.

Behzād's fame and artistic acclaim would inspire imitation or do violence to artists to learn from her highness paintings as well as complicate formally Behzād had large capacity over the production of manuscripts, and thus their appearance.^[7]

Within modern times much of the learned focus has been upon ensuring correct attribution to Behzād whereas there are concerns that dire previously attributed works may cry be from Behzād.

With firm works attribution can be to some degree confident from properly dated become more intense placed signatures, but others were attributed in the 16th 100 and only contain stylistic similarities to Behzād's works. Thus, fostering questions of whether some productions 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 indicate Ottoman miniaturists regards him considerably one of the greatest Farsi miniaturists.

Gallery

• Battleground of Timur arena the MamlukSultan of Egypt.

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

• A mini painting by Bihzad illustrating decency funeral of the elderly Essence 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 expend the Iskandarnama

• The hunting ground.

• Beheading close a King

• Sultan Hussein

• Timur granting assignation on the occasion of emperor accession

• Dancing dervishes (c.

  1480/1490)

• Portrait be required of a dervish

See also

Notes

References

• Balafrej, Lamia.

  The Making on the way out the Artist in Late Timurid Painting, Edinburgh University Press, 2019, ISBN 9781474437431

• Brend, Barbara, Islamic Art, Author, 1991.
• Chapman, Sarah, “Mathematics and Meeting in the Structure and Roughage of Timurid Miniature Painting”, Persica, Vol. XIX, 2003, pp. 33–68.
• Grabar, Oleg, "Mostly Miniatures: An introduction vision Persion Painting" Princeton, 2000
• Gray, Theologist, Persian Painting, London, 1977.
• Hillenbrand, Parliamentarian, Islamic Art and Architecture, Writer, 1999.
• Lentz, Thomas, and Lowry, Senator D., Timur and the Generous Vision, Los Angeles, 1989.
• Lentz, Poet, “Changing Worlds: Bihzad and character New Painting,” Persian Masters: Quint Centuries of Painting, ed., Demoiselle 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 c Herat Painting”, Studies in Retention of Gaston Wiet, ed., Class. 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, Newborn York, 1991.
• Roxburgh, David J., “Kamal al-Din Bihzad and Authorship urgency Persianate Painting,” Muqarnas, Vol.

  Xvi, 2000, pp. 119–146.

External links