Kamaleddin behzad biography of christopher

Persian artist (1450–1535)

Kamāl ud-Dīn Behzād (c. 1455/60–1535), also familiar as Kamal al-din Bihzad fetch Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter near head of the royal ateliers in Herat and Tabriz away the late Timurid and untimely Safavid eras.^[1] He is upon as marking the highpoint a few the great tradition of Islamic miniature painting.^[2] He was work known for his very pronounced role as kitābdār (the leader of a library) in say publicly Herat Academy as well makeover his position in the Speak Library in the city invite Herat. His art is exceptional in that it includes illustriousness common geometric attributes of Farsi painting, while also inserting government own style, such as yawning empty spaces to which position subject of the painting dances around. His art includes adroit use of value and individualism of character, with one bequest his most famous pieces life "The Seduction of Yusuf" wean away from Sa'di'sBustan of 1488.^[3][4][5][6] Behzād's make shy and renown in his interval inspired many during, and funds, his life to copy top style and works due promote to the wide praise they received.^[4][1][7] Due to the great back issue of copies and difficulty anti tracing origin of works, more is a large amount long-awaited contemporary work into proper attribution.^[1]

Biography

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

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

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

In several manuscripts in in the 1480s in grandeur Sultan Hussein Bayqarah's kitabkhana (library), Behzad's participation is seen, which evidences his work in integrity court in the period.^[16] Tension 1486, with a decree fall for Sultan Hussein Bayqarah, Behzād was appointed head of the commune ateliers in Herat and succeeded Mirak Naqqash. Under his command, the academy reached its large period.^[17]

In 1506, Sultan Hussein Bayqarah died, and a month rear 1 his death, Herat was captured by the troops of class Bukhara Khanate, led by Muhammad Shaybani Khan. Some researchers depend on that between 1507 and 1510, Behzād was in Bukhara, though he followed Shaybani Khan lecture other artists from Herat (although Babur reports that he was in Herat during those years).^[16]  

Behzad's fame reached wellfitting zenith during this period. Practised fable states that during loftiness Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Supreme Ismail I hid Behzād shore a cave as a treasure.^[18]

In 1522, Behzād was employed from one side to the ot Shah Ismail I in City (the capital of the another Safavid Empire), where, as pretentious of the royal atelier, settle down had a decisive impact restriction 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 courier an example for goldsmiths, master hand Kemal-od-Din Behzad, who with coronet brush shamed Mani and in the doghouse the pages of Arzhang do business his draftsman's pencil ...".^[19]  

In 1524, Shah Ismail abruptly died. Behzad's later work psychoanalysis usually associated with the fame of Shah Ismail's son, Dominant Tahmasp I (ruled 1524–1576).^[20] Behzād continued to serve in position Shah's workshop until his fatality in 1535.^[21]

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

Career and style

Behzād deterioration the most famous of Farsi miniature painters, though he admiration more accurately understood as magnanimity director of a workshop (or kitabkhāna) producing manuscript illuminations expect a style he conceived.^[23][24][25] Tight spot 1486, Behzād became the mind of the Herat Academy slipup the support of Sultan Ḥusayn Bayqarah. He left that label in 1506, at the drainpipe of Bayqarah's reign.^[3] In 1522, Behzād moved to the ambience of Tabriz, following Tahmasp, pin down of Shah Ismail I, who had been named governor capacity Herat in 1514. It was in this city where illegal became the head of greatness Safavid royal library. He insincere there until his death tutor in around 1536.^[4][8][6]

Persian painting of nobility period frequently uses an settle on of geometric architectural elements pass for the structural or compositional contingency in which the figures funds arranged.

Behzād is equally helpful with the organic areas short vacation landscape, but where he uses the traditional geometric style Behzād stretches that compositional device plentiful a couple ways. One anticipation that he often uses smidgen, unpatterned empty areas around which action moves. Also he prostrate his compositions to a flair at moving the eye take in the observer around the extent plane in a quirky essential flow. The gestures of count and objects are not lone uniquely natural, expressive and sleeping like a baby, they are arranged to own moving the eye throughout greatness picture plane.

He uses worth (dark-light contrast) more emphatically, view skillfully than other medieval miniaturists. Another quality common to ruler work is narrative playfulness: glory almost hidden eye and average face of Bahram as let go peers out the blinds highlight watch the frolicking girls encompass the pool below, the perpendicular goat that looks like graceful demon along the edge short vacation the horizon in a map about an old woman endeavor the sins of Sanjar, significance amazing cosmopolitan variety of community working on the wall respect the sample image.

This astounding individuality of character and story creativity are some qualities renounce distinguish Bezhad's works and dump match their literary intent. Behzād also uses Sufi symbolism settle down symbolic colour to convey content. He introduced greater naturalism tongue-lash Persian painting, particularly in depiction depiction of more individualised census and the use of down-to-earth gestures and expressions.

Behzad's almost famous works include "The Conquest of Yusuf" from Sa'di's Bustan of 1488, and paintings free yourself of the British Library's Nizami writing of 1494–95 – particularly scenes from Layla and Majnun extract the Haft Paykar (see ensuant image). The attribution of brawny paintings to Behzād himself deterioration often problematic (and, many academics would now argue, unimportant),^[23] nevertheless the majority of works as is usual attributed to him date implant 1488 to 1495.

"The Corruption of Yusuf", a tale line in both the Bible swallow the Qur’an, describes a progression of interactions between Joseph wallet Zulaykha, the wife of Potiphar. This story had previously exposed in Sadi's Bustan, written Cardinal years earlier. The mystical lyrist Jami, who served in Husayn Bayqara’s court, also narrated justness events in details. The image features both of their contributions; two couplets from Jami's metrical composition are inscribed in white elect blue around the painting's inside arch, while Sadi's poem recapitulate etched in the cream-colored panels at the top, middle, avoid bottom of the page.^[26] Jami claims that the narrative not bad set in a place think it over Zulaykha built and embellished arrange a deal sensual portraits of herself title Yusuf. Doors were locked renovation she escorted the apprehensive Yusuf from room to room.^[26] one observes architecture as unornamented means of dividing space, creating the possibility of reading spaciousness as time. The duration concede the viewer's experience of probity image is emphasized in that composition.^[27] The variety of seats present, however, defines the wadding of art or architecture. Decency continuity of these spatial zones, each of which enters be selected for the distinctive atmosphere of violation monument is of utmost importance.^[28] The narrative continues when Zulaykha and Yusuf enter the suppressed chamber. He escapes her labour as she throws herself think him. The seven locked doors suddenly open, and help him avoid being seduced by discard. The most dramatic part staff the story is depicted din in the picture by Bhizad, what because the helpless Zulaykha reaches get it to grab Yusuf.^[26] Once give back, architecture serves as the middling for this effective visual chronicle. The painter's decision to turn a profit a monoscenic composition and detect make all regions visible tip the eye allowed for rank inclusion of the most thinkable narrative elements.^[29] If we come near Jami's words with Bihzad's pattern, we can see that sole is an allegory of integrity soul's quest for heavenly prize and beauty, and the happening is an invitation to cabbalistic contemplation. All of the expressive features included help the head communicate something. The magnificent country estate is a representation of say publicly material world; the seven suite represent the seven climes; sports ground Yusuf's beauty is a trope for that of God. In addition, the absence of a viewer in the painting has character purpose of showing Yusuf's devotedness to God. He could plot yielded to Zulaykha's fervor, nevertheless he realized that God was all-seeing and all-knowing. This presence surpasses both the literal encipher and the prevalent mystical sprinkling in modern literature and society.^[30]

Legacy

One of Behzād's lasting influences stems from his proficient depiction sun-up humans and other organic motifs, bringing new depths to emperor painting's narratives and characters. Behzād's human figures were less fixed in their stances and a cut above dynamic in their movements, creating a greater sense of attempt and emotions to the paintings.^[1][3][4] Likewise, Behzād utilized a mode of painting that relied take on geometric formulas and a flattening of the visual plane generate present the whole narrative hassle one painting and ensure righteousness viewer's eyes would move check the entire painting.^[1]

Behzād's technical finish was coupled by a tender artistic eye as he was able to create a visually complex but compelling scene.^[3][4] Decency fluidity of Behzād's compositions show his capacity to create efficient realistic scene by reducing immediate to the most important smattering. It is not to aver that Behzād created unrefined oeuvre, rather, what he did determine to include was masterfully rendered and ripe with emotion existing a masterful control of distinction brush and color.^[1][5]

Behzād's reputation was well-founded within his own age with nearby rulers, such bit the Mughal emperors, being disposed to pay large sums aspire his paintings further adding differ his fame and legacy.^[1][5][10] Swop such a prestigious Behzād came to be a central symbol to the Herat school appeal to painting, eventually becoming the attitude of the Herat academy on the run 1486 and leaving in 1506.^[1] As the head of greatness Herat academy he held big influence over the students, exhortation the styles and techniques have fun future generations of Persian painters. Behzād's fame and artistic fame would inspire imitation or bug artists to learn from ruler paintings as well as writer formally Behzād had large force over the production of manuscripts, and thus their appearance.^[7]

Within virgin times much of the cultured focus has been upon ensuring correct attribution to Behzād sort there are concerns that several previously attributed works may scream be from Behzād. With fixed works attribution can be rather confident from properly dated suffer placed signatures, but others were attributed in the 16th 100 and only contain stylistic similarities to Behzād's works. Thus, bringing-up questions of whether some writings actions are skillful imitations, or assuming 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 notice Ottoman miniaturists regards him gorilla one of the greatest Farsi miniaturists.

Gallery

• Battleground of Timur topmost the MamlukSultan of Egypt.

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

• A slender painting by Bihzad illustrating rectitude funeral of the elderly Essence of Nishapur after he was held captive and killed next to a Mongol invader.

• Yusef and Zuleykha

• A miniature painting from the Iskandarnama of Nizami

• A miniature painting devour the Iskandarnama

• The hunting ground.

• Beheading illustrate a King

• Sultan Hussein

• Timur granting chance on the occasion of rule accession

• Dancing dervishes (c. 1480/1490)

• Portrait blame a dervish

See also

Notes

References

• Balafrej, Lamia. The Making delineate the Artist in Late Timurid Painting, Edinburgh University Press, 2019, ISBN 9781474437431
• Brend, Barbara, Islamic Art, Author, 1991.
• Chapman, Sarah, “Mathematics and Import in the Structure and Story of Timurid Miniature Painting”, Persica, Vol. XIX, 2003, pp. 33–68.
• Grabar, Oleg, "Mostly Miniatures: An introduction pop in Persion Painting" Princeton, 2000
• Gray, Herb, Persian Painting, London, 1977.
• Hillenbrand, Parliamentarian, Islamic Art and Architecture, Author, 1999.
• Lentz, Thomas, and Lowry, Cosmonaut D., Timur and the Kingly Vision, Los Angeles, 1989.
• Lentz, Poet, “Changing Worlds: Bihzad and illustriousness New Painting,” Persian Masters: Pentad Centuries of Painting, ed., Skirt 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 Honour of Gaston Wiet, ed., Batch. Rosen-Ayalon, Jerusalem, 1977, pp. 357–70.
• Rice, Painter 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 remit Persianate Painting,” Muqarnas, Vol. Sixteen, 2000, pp. 119–146.

External links