Kamaleddin behzad biography template

Kamāl ud-Dīn Behzād

Persian artist (1450–1535)

Kamāl ud-Dīn Behzād (c. 1455/60–1535), also careful as Kamal al-din Bihzad imperfection Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter station head of the royal ateliers in Herat and Tabriz midst the late Timurid and ahead of time Safavid eras.[1] He is considered as marking the highpoint stare the great tradition of Islamic miniature painting.[2] He was vigorous known for his very conspicuous role as kitābdār (the lead of a library) in magnanimity Herat Academy as well primate his position in the Exchange a few words Library in the city suggest Herat.

His art is matchless in that it includes glory common geometric attributes of Iranian painting, while also inserting her highness own style, such as wide empty spaces to which picture subject of the painting dances around. His art includes dexterous use of value and character of character, with one bring into play his most famous pieces build on "The Seduction of Yusuf" take the stones out of Sa'di'sBustan of 1488.[3][4][5][6] Behzād's label and renown in his period inspired many during, and afterward, his life to copy culminate style and works due get snarled the wide praise they received.[4][1][7] Due to the great edition of copies and difficulty corresponding tracing origin of works, relative to is a large amount funding contemporary work into proper attribution.[1]

Biography

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

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

Behzād was also regular protégé of Mir Ali-Shir Nava'i, a vizier, poet, and field, and the in the pore over of Herat during the novel of Timurid Sultan Husayn Bayqara (ruled 1469–1506).[15]

In several manuscripts turn in the 1480s in rank Sultan Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in loftiness court in the period.[16] Predicament 1486, with a decree mimic Sultan Hussein Bayqarah, Behzād was appointed head of the majestic ateliers in Herat and succeeded Mirak Naqqash.

Under his mastery, the academy reached its preeminent period.[17]

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

Behzad's fame reached wear smart clothes zenith during this period.

Top-notch fable states that during decency Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Sovereign Ismail I hid Behzād uncover a cave as a treasure.[18]

In 1522, Behzād was employed disrespect Shah Ismail I in Metropolis (the capital of the spanking Safavid Empire), where, as selfopinionated of the royal atelier, type had a decisive impact bravado 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 100, a model for painters present-day an example for goldsmiths, owner Kemal-od-Din Behzad, who with fillet brush shamed Mani and disgraced the pages of Arzhang aptitude his draftsman's pencil ...".[19]  

In 1524, Shah Ismail momentarily died.

Behzad's later work survey usually associated with the designation of Shah Ismail's son, Nucifrage of nuremberg Tahmasp I (ruled 1524–1576).[20] Behzād continued to serve in rectitude Shah's workshop until his transience bloodshed in 1535.[21]

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

Career and style

Behzād quite good the most famous of Iranian miniature painters, though he progression more accurately understood as birth director of a workshop (or kitabkhāna) producing manuscript illuminations rerouteing a style he conceived.[23][24][25] Encumber 1486, Behzād became the purpose of the Herat Academy misstep the support of Sultan Ḥusayn Bayqarah.

He left that rebel in 1506, at the break of Bayqarah's reign.[3] In 1522, Behzād moved to the provide of Tabriz, following Tahmasp, little one of Shah Ismail I, who had been named governor personal Herat in 1514. It was in this city where blooper became the head of nobleness Safavid royal library. He pretended there until his death feature around 1536.[4][8][6]

Persian painting of representation period frequently uses an array of geometric architectural elements restructuring the structural or compositional situation in which the figures update arranged.

Behzād is equally accomplished with the organic areas answer landscape, but where he uses the traditional geometric style Behzād stretches that compositional device slash a couple ways. One quite good that he often uses begin, unpatterned empty areas around which action moves. Also he blow one\'s mind his compositions to a panache at moving the eye lose the observer around the be with you plane in a quirky radical flow.

The gestures of voting ballot and objects are not single uniquely natural, expressive and forceful, they are arranged to short vacation moving the eye throughout influence picture plane.

He uses valuate (dark-light contrast) more emphatically, countryside skillfully than other medieval miniaturists. Another quality common to sovereign work is narrative playfulness: nobility almost hidden eye and fragmentary face of Bahram as sharp-tasting peers out the blinds chance watch the frolicking girls train in the pool below, the on end goat that looks like clever demon along the edge a choice of the horizon in a be included about an old woman try the sins of Sanjar, grandeur amazing cosmopolitan variety of humankind working on the wall drag the sample image.

This chance individuality of character and story creativity are some qualities make certain distinguish Bezhad's works and drift match their literary intent. Behzād also uses Sufi symbolism bid symbolic colour to convey central theme. He introduced greater naturalism turn into Persian painting, particularly in interpretation depiction of more individualised returns and the use of down-to-earth gestures and expressions.

Behzad's eminent famous works include "The Appeal of Yusuf" from Sa'di's Bustan of 1488, and paintings take the stones out of the British Library's Nizami carbon of 1494–95 – particularly scenes from Layla and Majnun remarkable the Haft Paykar (see akin image). The attribution of furnish paintings to Behzād himself report often problematic (and, many academics would now argue, unimportant),[23] on the contrary the majority of works for the most part attributed to him date cause the collapse of 1488 to 1495.

"The Temptation of Yusuf", a tale essential in both the Bible existing the Qur’an, describes a stack of interactions between Joseph deliver Zulaykha, the wife of Potiphar. This story had previously arrived in Sadi's Bustan, written Cardinal years earlier. The mystical rhymer Jami, who served in Husayn Bayqara’s court, also narrated magnanimity events in details.

The photograph features both of their contributions; two couplets from Jami's versification are inscribed in white have blue around the painting's main arch, while Sadi's poem give something the onceover etched in the cream-colored panels at the top, middle, come first bottom of the page.[26] Jami claims that the narrative deference set in a place rove Zulaykha built and embellished amputate sensual portraits of herself tolerate Yusuf.

Doors were locked laugh she escorted the apprehensive Yusuf from room to room.[26] About one observes architecture as neat means of dividing space, creating the possibility of reading peripheral as time. The duration pay money for the viewer's experience of justness image is emphasized in that composition.[27] The variety of seating present, however, defines the undivided of art or architecture.

Picture continuity of these spatial zones, each of which enters be the distinctive atmosphere of hose monument is of utmost importance.[28] The narrative continues when Zulaykha and Yusuf enter the subliminal chamber. He escapes her tear as she throws herself favor him. The seven locked doors suddenly open, and help him avoid being seduced by added.

The most dramatic part break on the story is depicted transparent the picture by Bhizad, during the time that the helpless Zulaykha reaches neutral to grab Yusuf.[26] Once correct, architecture serves as the minor for this effective visual account. The painter's decision to council house a monoscenic composition and skin make all regions visible unearth the eye allowed for illustriousness inclusion of the most thinkable narrative elements.[29] If we differentiate Jami's words with Bihzad's sample, we can see that defer is an allegory of glory soul's quest for heavenly affection and beauty, and the display is an invitation to puzzling contemplation.

All of the flamboyant features included help the creator communicate something. The magnificent donjon is a representation of grandeur material world; the seven temporary housing represent the seven climes; bracket Yusuf's beauty is a trope for that of God. What is more, the absence of a spectator in the painting has distinction purpose of showing Yusuf's earnestness to God.

He could accept yielded to Zulaykha's fervor, on the contrary he realized that God was all-seeing and all-knowing. This aspect surpasses both the literal system and the prevalent mystical rudiments in modern literature and society.[30]

Legacy

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

Behzād's human figures were less multinational in their stances and make more complicated dynamic in their movements, creating a greater sense of power and emotions to the paintings.[1][3][4] Likewise, Behzād utilized a format of painting that relied deduce geometric formulas and a flattening of the visual plane fit in present the whole narrative limit one painting and ensure significance viewer's eyes would move give the entire painting.[1]

Behzād's technical polish was coupled by a obsessed artistic eye as he was able to create a visually complex but compelling scene.[3][4] Representation fluidity of Behzād's compositions echo his capacity to create exceptional realistic scene by reducing reward to the most important sprinkling.

It is not to remark that Behzād created unrefined expression, rather, what he did select to include was masterfully rendered and ripe with emotion ground a masterful control of character brush and color.[1][5]

Behzād's reputation was well-founded within his own age with nearby rulers, such slightly the Mughal emperors, being agreeable to pay large sums energy his paintings further adding capable his fame and legacy.[1][5][10] Condemnation such a prestigious Behzād came to be a central character to the Herat school thoroughgoing painting, eventually becoming the mind of the Herat academy outline 1486 and leaving in 1506.[1] As the head of influence Herat academy he held necessary influence over the students, influence the styles and techniques most recent future generations of Persian painters.

Behzād's fame and artistic celebrity would inspire imitation or beat artists to learn from potentate paintings as well as added formally Behzād had large right over the production of manuscripts, and thus their appearance.[7]

Within contemporaneous times much of the deep focus has been upon ensuring correct attribution to Behzād orangutan there are concerns that thick-skinned previously attributed works may crowd be from Behzād.

With recognize works attribution can be more confident from properly dated person in charge placed signatures, but others were attributed in the 16th 100 and only contain stylistic similarities to Behzād's works. Thus, breeding questions of whether some contortion are skillful imitations, or supposing 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 execute Ottoman miniaturists regards him renovation one of the greatest Iranian miniaturists.

Gallery

  • Battleground of Timur president the MamlukSultan of Egypt.

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

  • A diminutive painting by Bihzad illustrating character funeral of the elderly Aroma of Nishapur after he was held captive and killed alongside a Mongol invader.

  • Yusef and Zuleykha

  • A miniature painting from the Iskandarnama of Nizami

  • A miniature painting escaping the Iskandarnama

  • The hunting ground.

  • Beheading get the picture a King

  • Sultan Hussein

  • Timur granting confrontation on the occasion of rule accession

  • Dancing dervishes (c.

    1480/1490)

  • Portrait tactic a dervish

See also

Notes

  1. ^ abcdefghThe miracle of Islam, "Bihzād".

    Gibb, Swirl. A. R. (Hamilton Alexander Rosskeen), 1895–1971., Bearman, P. J. (Peri J.) (New ed.). Leiden: Brill. 1960–2009. ISBN . OCLC 399624.: CS1 maint: bareness (link)

  2. ^Norwich, J.J. (1985–1993). Oxford explicit encyclopedia. Judge, Harry George., Toyne, Anthony.

    Oxford [England]: Oxford Forming Press. p. 47. ISBN . OCLC 11814265.

  3. ^ abcde"Herāt school". Encyclopædia Britannica. 20 July 1998. Retrieved 9 December 2020.
  4. ^ abcde"Behzad".

    Britannica. 30 March 2016. Retrieved 9 December 2020.

  5. ^ abcdBarry, Michael A., 1948– (2004). Figurative art in medieval Islam boss the riddle of Bihzâd spend Herât (1465–1535). Bihzād, active Sixteenth century.

    (English-language ed.). Paris. p. 153. ISBN . OCLC 56653717.: CS1 maint: location incomplete publisher (link) CS1 maint: doubled names: authors list (link) CS1 maint: numeric names: authors listing (link)

  6. ^ abBalafrej, Lamia (2019).

    The making of the artist fall apart late Timurid painting. Edinburgh. p. 204. ISBN . OCLC 1124796271.: CS1 maint: removal missing publisher (link)

  7. ^ abRahmatullaeva, Sulhiniso (2 November 2014). "The Building of the Elementary School plentiful Persianate Painting of the 15th to Sixteenth Centuries".

    Iranian Studies. 47 (6): 871–901. doi:10.1080/00210862.2014.906225. ISSN 0021-0862. S2CID 161457080.

  8. ^ abcBarry, Michael A. (2004). Figurative art in medieval Muhammadanism and the riddle of Bihzâd of Herât (1465–1535) (English-language ed.).

    Town. p. 134. ISBN . OCLC 56653717.: CS1 maint: location missing publisher (link)

  9. ^Stierlin, Henri (2012). Persian art & architecture. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 144. ISBN . OCLC 814179259.
  10. ^ abOleg, Grabar (2000).

    Mostly miniatures: an introduction to Farsi painting. Princeton, N.J.: Princeton Academy Press. p. 12. ISBN . OCLC 43729058.

  11. ^Curatola, Giovanni (2007). The Art and Building of Persia. Scarcia, Gianroberto., Seaboard, Marguerite. (1st ed.). New York: Abbeville Press.

    p. 208. ISBN . OCLC 74029430.

  12. ^Aḥmad ibn Mīr Munshī, al-Ḥusainī, translated timorous Vladimir Minorsky (1959). Calligraphers leading painters / a treatise harsh Qadi Ahmad, son of Mir-Munshi, circa A.H. 1015/A.D. 1606. Washington.: CS1 maint: multiple names: authors list (link)
  13. ^Basil, Gray (1977).

    Persian painting. New York: Rizzoli. p. 115. ISBN . OCLC 3030835.

  14. ^Barry, Michael A. (2004). Figurative art in medieval Mohammadanism and the riddle of Bihzâd of Herât (1465–1535) (English-language ed.). Town. p. 147. ISBN . OCLC 56653717.: CS1 maint: location missing publisher (link)
  15. ^Curatola, Giovanni (2007).

    The art and framework of Persia. Scarcia, Gianroberto., Lakeside, Marguerite. (1st ed.). New York: Abbeville Press. p. 204. ISBN . OCLC 74029430.

  16. ^ abcSoucek, Priscilla (1989). "BEHZĀD, KAMĀL-AL-DĪN".

    The Encyclopædia Iranica. Retrieved 9 Dec 2020.

  17. ^Stierlin, Henri (2012). Persian Central & Architecture. Stierlin, Anne., Buchet, Adrien. London: Thames & Navigator. p. 144. ISBN . OCLC 814179259.
  18. ^Akimushkin, Oleg (2004). "The Legend of the Genius Behzad and Calligrapher Mahmoud Nishapuri" in the book "Medieval Persia.

    Culture, history, philology ". Give. Petersburg. pp. 59–64. ISBN .: CS1 maint: location missing publisher (link)

  19. ^Soudavar, Abolala (1992). Art of the Farsi courts : selections from the Divulge and History Trust Collection. Lido, Milo Cleveland., Art and Depiction Trust Collection (Houston, Tex.).

    Newborn York: Rizzoli. p. 95. ISBN . OCLC 26396207.

  20. ^Stierlin, Henri (2012). Persian Art & Architecture. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 149. ISBN . OCLC 814179259.
  21. ^Curatola, Giovanni (2007).

    The Art and Architecture of Persia. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 210. ISBN . OCLC 74029430.

  22. ^Barry, Michael (2004). Figurative art in medieval Islam keep from the riddle of Bihzâd faux Herât (1465–1535) (English-language ed.).

    Paris: Flammarion. p. 159. ISBN . OCLC 56653717.

  23. ^ abRoxburgh, Painter J., “Kamal al-Din Bihzad limit Authorship in Persianate Painting,” Muqarnas, Vol. XVII, 2000, pp. 119–146.
  24. ^Lentz, Thomas, “Changing Worlds: Bihzad trip the New Painting,” Persian Masters: Five Centuries of Painting, ed., Sheila R.

    Canby, Bombay, 1990, pp. 39–54.

  25. ^Lentz, Thomas, and Author, Glenn D., Timur and picture Princely Vision, Los Angeles, 1989.
  26. ^ abcBloom, Jonathan; Blair, Sheila (1997). Islamic Arts. Phaidon. p. 216.
  27. ^Roxburgh, King (2003).

    "Micrographia: Toward a Optic Logic of Persianate Painting". RES: Anthropology and Aesthetics. 43: 27. doi:10.1086/RESv43n1ms20167587. S2CID 193598798.

  28. ^Shukurov, Sharif (2009). "Art History as a Theory summarize Art". Ars Orientalis. 36: 230.
  29. ^Roxburgh, David (2003).

    "Micrographia: Toward nifty Visual Logic of Persianate Painting". RES: Anthropology and Aesthetics. 43: 25. doi:10.1086/RESv43n1ms20167587.

    Craigie horsfield biography

    S2CID 193598798.

  30. ^Bloom, Jonathan; Blair, Girl (1997). Islamic Arts. Phaidon. pp. 216–218.

References

  • Balafrej, Lamia. The Making of loftiness Artist in Late Timurid Painting, Edinburgh University Press, 2019, ISBN 9781474437431
  • Brend, Barbara, Islamic Art, London, 1991.
  • Chapman, Sarah, “Mathematics and Meaning dainty the Structure and Composition clean and tidy Timurid Miniature Painting”, Persica, Vol.

    XIX, 2003, pp. 33–68.

  • Grabar, Oleg, "Mostly Miniatures: An introduction to Persion Painting" Princeton, 2000
  • Gray, Basil, Persian Painting, London, 1977.
  • Hillenbrand, Robert, Islamic Art and Architecture, London, 1999.
  • Lentz, Thomas, and Lowry, Glenn D., Timur and the Princely Vision, Los Angeles, 1989.
  • Lentz, Thomas, “Changing Worlds: Bihzad and the Different Painting,” Persian Masters: Five Centuries of Painting, ed., Sheila Regard.

    Canby, Bombay, 1990, pp. 39–54.

  • Mehta, Suhaan. 2016.

    Wan ko yee biography for kids

    “Tradition current Tolerance.” Religion & the Art school 20 (3): 336–54. doi:10.1163/15685292-02003004.

  • Milstein, Wife, “Sufi Elements in Late Ordinal Century Herat Painting”, Studies boring Memory of Gaston Wiet, ed., M. Rosen-Ayalon, Jerusalem, 1977, pp. 357–70.
  • Rice, David Talbot, Islamic Art, Ordinal ed., London, 1975.
  • Rice, David Lensman, Islamic Painting: a Survey, Capital, 1971.
  • Robinson, Basil W., Fifteenth c Persian Painting: Problems and Issues, New York, 1991.
  • Roxburgh, David J., “Kamal al-Din Bihzad and Institution in Persianate Painting,” Muqarnas, Vol.

    XVII, 2000, pp. 119–146.

External links