380:’s court, also narrated the events in details. The painting features both of their contributions; two couplets from Jami's poetry are inscribed in white on blue around the painting's central arch, while Sadi's poem is etched in the cream-colored panels at the top, middle, and bottom of the page. Jami claims that the narrative is set in a place that Zulaykha built and embellished with sensual portraits of herself and Yusuf. Doors were locked as she escorted the apprehensive Yusuf from room to room. Here one observes architecture as a means of dividing space, creating the possibility of reading space as time. The duration of the viewer's experience of the image is emphasized in this composition. The variety of places present, however, defines the piece of art or architecture. The continuity of these spatial zones, each of which enters into the distinctive atmosphere of each monument is of utmost importance. The narrative continues when Zulaykha and Yusuf enter the innermost chamber. He escapes her hands as she throws herself at him. The seven locked doors suddenly open, and help him avoid being seduced by her. The most dramatic part of the story is depicted in the picture by Bhizad, when the helpless Zulaykha reaches out to grab Yusuf. Once again, architecture serves as the medium for this effective visual narrative. The painter's decision to use a monoscenic composition and to make all regions visible to the eye allowed for the inclusion of the most possible narrative elements. If we contrast Jami's words with Bihzad's illustration, we can see that one is an allegory of the soul's quest for heavenly love and beauty, and the latter is an invitation to mystical contemplation. All of the stylistic features included help the artist communicate something. The magnificent palace is a representation of the material world; the seven rooms represent the seven
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becoming the head of the Herat academy in 1486 and leaving in 1506. As the head of the Herat academy he held large influence over the students, influencing the styles and techniques of future generations of
Persian painters. Behzād's fame and artistic renown would inspire imitation or other artists to learn from his paintings as well as more formally Behzād had large authority over the production of manuscripts, and thus their appearance.
384:; and Yusuf's beauty is a metaphor for that of God. Moreover, the absence of a witness in the painting has the purpose of showing Yusuf's devotion to God. He could have yielded to Zulaykha's fervor, but he realized that God was all-seeing and all-knowing. This image surpasses both the literal standards and the prevalent mystical elements in modern literature and society.
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that it includes the common geometric attributes of
Persian painting, while also inserting his own style, such as vast empty spaces to which the subject of the painting dances around. His art includes masterful use of value and individuality of character, with one of his most famous pieces being "The Seduction of Yusuf" from
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Behzād's reputation was well-founded within his own lifetime with nearby rulers, such as the Mughal emperors, being willing to pay large sums for his paintings further adding to his fame and legacy. With such a prestigious Behzād came to be a central figure to the Herat school of painting, eventually
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One of Behzād's lasting influences stems from his proficient depiction of humans and other organic motifs, bringing new depths to his painting's narratives and characters. Behzād's human figures were less stiff in their stances and more dynamic in their movements, creating a greater sense of energy
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Behzād is equally skilled with the organic areas of landscape, but where he uses the traditional geometric style Behzād stretches that compositional device in a couple ways. One is that he often uses open, unpatterned empty areas around which action moves. Also he pins his compositions to a mastery
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Behzād's technical mastery was coupled by a keen artistic eye as he was able to create a visually complex but compelling scene. The fluidity of Behzād's compositions reflect his capacity to create a realistic scene by reducing it to the most important elements. It is not to say that Behzād created
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In 1522, Behzād was employed by Shah Ismail I in Tabriz (the capital of the new
Safavid Empire), where, as director of the royal atelier, he had a decisive impact on the development of later Safavid painting. According to Muhammad Khwandamir, Shah Ismail I employed Behzād with a decree in which he
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Periods. He is regarded as marking the highpoint of the great tradition of
Islamic miniature painting. He was well known for his very prominent role as kitābdār (the chairman of a library) in the Herat Academy as well as his position in the Royal Library in the city of Herat. His art is unique in
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Within contemporary times much of the scholarly focus has been upon ensuring correct attribution to Behzād as there are concerns that some previously attributed works may not be from Behzād. With certain works attribution can be relatively confident from properly dated and placed signatures, but
249:(library), Behzad's participation is seen, which evidences his work in the court in the period. In 1486, with a decree of Sultan Hussein Bayqarah, Behzād was appointed head of the royal ateliers in Herat and succeeded Mirak Naqqash. Under his leadership, the academy reached its greatest period.
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He uses value (dark-light contrast) more emphatically, and skillfully than other medieval miniaturists. Another quality common to his work is narrative playfulness: the almost hidden eye and partial face of Bahram as he peers out the blinds to watch the frolicking girls in the pool below, the
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of 1488. Behzād's fame and renown in his lifetime inspired many during, and after, his life to copy his style and works due to the wide praise they received. Due to the great number of copies and difficulty with tracing origin of works, there is a large amount of contemporary work into proper
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and emotions to the paintings. Likewise, Behzād utilized a method of painting that relied upon geometric formulas and a flattening of the visual plane to present the whole narrative in one painting and ensure the viewer's eyes would move across the entire painting.
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described the painter as “... miracle of our century, a model for painters and an example for goldsmiths, master Kemal-od-Din Behzad, who with his brush shamed Mani and humiliated the pages of
Arzhang with his draftsman's pencil ...".
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at moving the eye of the observer around the picture plane in a quirky organic flow. The gestures of figures and objects are not only uniquely natural, expressive and active, they are arranged to keep moving the eye throughout the picture plane.
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in a style he conceived. In 1486, Behzād became the head of the Herat
Academy under the support of Sultan Ḥusayn Bayqarah. He left that position in 1506, at the end of Bayqarah's reign. In 1522, Behzād moved to the city of Tabriz, following
347:(see accompanying image). The attribution of specific paintings to Behzād himself is often problematic (and, many academics would now argue, unimportant), but the majority of works commonly attributed to him date from 1488 to 1495.
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In 1524, Shah Ismail suddenly died. Behzad's later work is usually associated with the name of Shah Ismail's son, Shah
Tahmasp I (ruled 1524–1576). Behzād continued to serve in the Shah's workshop until his death in 1535.
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symbolism and symbolic colour to convey meaning. He introduced greater naturalism to
Persian painting, particularly in the depiction of more individualised figures and the use of realistic gestures and expressions.
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upright goat that looks like a demon along the edge of the horizon in a story about an old woman confronting the sins of Sanjar, the amazing cosmopolitan variety of humans working on the wall in the sample image.
260:. Some researchers believe that between 1507 and 1510, Behzād was in Bukhara, as he followed Sheibani Khan and other artists from Herat (although Babur reports that he was in Herat during those years).
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others were attributed in the 16th century and only contain stylistic similarities to Behzād's works. Thus, raising questions of whether some works are skillful imitations, or if they are genuine.
303:, son of Shah Ismail I, who had been named governor of Herat in 1514. It was in this city where he became the head of the Safavid royal library. He worked there until his death in around 1536.
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Behzād's full name is Ustād Kamāluddīn Behzād. His exact year of birth is unknown, and according to different sources, it varies from 1455 to 1460. He was born and lived most of his life in
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Persian painting of the period frequently uses an arrangement of geometric architectural elements as the structural or compositional context in which the figures are arranged.
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This surprising individuality of character and narrative creativity are some qualities that distinguish Bezhad's works and that match their literary intent. Behzād also uses
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Not much is known of Behzad's childhood, but according to the author Qadi Ahmad, Behzād was orphaned at an early age and raised by the prominent painter and calligrapher
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unrefined works, rather, what he did choose to include was masterfully rendered and ripe with emotion and a masterful control of the brush and color.
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684:. Gibb, H. A. R. (Hamilton Alexander Rosskeen), 1895–1971., Bearman, P. J. (Peri J.) (New ed.). Leiden: Brill. 1960–2009.
1376:"The Legend of the Artist Behzad and Calligrapher Mahmoud Nishapuri" in the book "Medieval Iran. Culture, history, philology "
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Mehta, Suhaan. 2016. “Tradition and
Tolerance.” Religion & the Arts 20 (3): 336–54. doi:10.1163/15685292-02003004.
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Lentz, Thomas, “Changing Worlds: Bihzad and the New
Painting,” Persian Masters: Five Centuries of Painting, ed.,
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In 1506, Sultan Hussein Bayqarah died, and a month after his death, Herat was captured by the troops of the
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1419:. Beach, Milo Cleveland., Art and History Trust Collection (Houston, Tex.). New York: Rizzoli. p. 95.
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Chapman, Sarah, “Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting”,
953:"The Architecture of the Elementary School in Persianate Painting of the Fifteenth to Sixteenth Centuries"
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painters, though he is more accurately understood as the director of a workshop (or kitabkhāna) producing
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1489:. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 210.
1279:. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 204.
1131:. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 208.
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Calligraphers and painters / a treatise by Qadi Ahmad, son of Mir-Munshi, circa A.H. 1015/A.D. 1606
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Grabar, Oleg, "Mostly Miniatures: An introduction to Persion Painting" Princeton, 2000
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Roxburgh, David (2003). "Micrographia: Toward a Visual Logic of Persianate Painting".
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Roxburgh, David (2003). "Micrographia: Toward a Visual Logic of Persianate Painting".
733:. Judge, Harry George., Toyne, Anthony. Oxford : Oxford University Press. p. 47.
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Art of the Persian courts : selections from the Art and History Trust Collection
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Behzad's fame reached its zenith during this period. A fable states that during the
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Roxburgh, David J., “Kamal al-Din Bihzad and Authorship in Persianate Painting,”
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Roxburgh, David J., “Kamal al-Din Bihzad and Authorship in Persianate Painting,”
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845:. Bihzād, active 16th century. (English-language ed.). Paris. p. 153.
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Figurative art in medieval Islam and the riddle of Bihzâd of Herât (1465–1535)
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Figurative art in medieval Islam and the riddle of Bihzâd of Herât (1465–1535)
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Figurative art in medieval Islam and the riddle of Bihzâd of Herât (1465–1535)
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Figurative art in medieval Islam and the riddle of Bihzâd of Herât (1465–1535)
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1454:. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 149.
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1345:. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 144.
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1058:. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 144.
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Milstein, Rachel, “Sufi Elements in Late Fifteenth Century Herat Painting”,
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In several manuscripts issued in the 1480s in the Sultan Hussein Bayqarah's
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Aḥmad ibn Mīr Munshī, al-Ḥusainī, translated by Vladimir Minorsky (1959).
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Behzad's tomb is located in Herat, beneath Kôh-i Mukhtâr (“Chosen Hill”).
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A miniature painting by Bihzad illustrating the funeral of the elderly
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Behzad's most famous works include "The Seduction of Yusuf" from
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Lentz, Thomas, “Changing Worlds: Bihzad and the New Painting,”
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in 1514, in which the Ottoman Turks defeated the Persian army,
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1524:(English-language ed.). Paris: Flammarion. p. 159.
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Shukurov, Sharif (2009). "Art History as a Theory of Art".
1096:. Princeton, N.J.: Princeton University Press. p. 12.
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1791:, ed., M. Rosen-Ayalon, Jerusalem, 1977, pp. 357–70.
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Timur granting audience on the occasion of his accession
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Fifteenth Century Persian Painting: Problems and Issues
1093:
Mostly miniatures: an introduction to Persian painting
1778:, ed., Sheila R. Canby, Bombay, 1990, pp. 39–54.
350:"The Seduction of Yusuf", a tale found in both the
333:of 1488, and paintings from the British Library's
1724:The Making of the Artist in Late Timurid Painting
1230:(English-language ed.). Paris. p. 147.
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1009:(English-language ed.). Paris. p. 134.
1002:
902:The making of the artist in late Timurid painting
337:manuscript of 1494–95 – particularly scenes from
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372:, written 200 years earlier. The mystical poet
212:Depiction of Behzad, from Shah Tahmasp's album
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358:, describes a series of interactions between
1174:: CS1 maint: multiple names: authors list (
951:Rahmatullaeva, Sulhiniso (2 November 2014).
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1776:Persian Masters: Five Centuries of Painting
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498:after he was held captive and killed by a
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171:), was a Persian painter and head of the
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2493:16th-century painters from Safavid Iran
1704:Bloom, Jonathan; Blair, Sheila (1997).
1600:Bloom, Jonathan; Blair, Sheila (1997).
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14:
2468:Painters of the medieval Islamic world
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1819:, Vol. XVII, 2000, pp. 119–146.
1767:Lentz, Thomas, and Lowry, Glenn D.,
1726:, Edinburgh University Press, 2019,
1581:Lentz, Thomas, and Lowry, Glenn D.,
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681:The encyclopaedia of Islam, "Bihzād"
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271:hid Behzād in a cave as a treasure.
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1486:The Art and Architecture of Persia
1378:. St. Petersburg. pp. 59–64.
1301:
1276:The art and architecture of Persia
1195:. New York: Rizzoli. p. 115.
1128:The Art and Architecture of Persia
1080:
25:
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1747:, Vol. XIX, 2003, pp. 33–68.
991:
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839:Barry, Michael A., 1948– (2004).
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1671:RES: Anthropology and Aesthetics
1617:RES: Anthropology and Aesthetics
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611:Dancing dervishes (c. 1480/1490)
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1830:Video from the Asia Society, US
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730:Oxford illustrated encyclopedia
413:Behzād is mentioned throughout
224:cultural and economic capital.
2498:People from the Timurid Empire
1451:Persian Art & Architecture
1342:Persian Art & Architecture
1055:Persian art & architecture
1045:
720:
544:A miniature painting from the
526:A miniature painting from the
13:
1:
2503:16th-century Iranian painters
2488:15th-century Iranian painters
1769:Timur and the Princely Vision
1716:
1583:Timur and the Princely Vision
290:Behzād is the most famous of
234:Behzād was also a protégé of
155:1455/60–1535), also known as
152:
1762:Islamic Art and Architecture
1708:. Phaidon. pp. 216–218.
969:10.1080/00210862.2014.906225
203:
7:
1483:Curatola, Giovanni (2007).
1273:Curatola, Giovanni (2007).
1125:Curatola, Giovanni (2007).
727:Norwich, J.J. (1985–1993).
628:
133:Sultan Husayn Mirza Bayqara
10:
2519:
2463:Iranian miniature painters
1803:Islamic Painting: a Survey
1683:10.1086/RESv43n1ms20167587
1629:10.1086/RESv43n1ms20167587
1572:, Bombay, 1990, pp. 39–54.
1413:Soudavar, Abolala (1992).
1313:Soucek, Priscilla (1989).
1224:Barry, Michael A. (2004).
1003:Barry, Michael A. (2004).
905:. Edinburgh. p. 204.
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27:Persian artist (1450–1535)
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1374:Akimushkin, Oleg (2004).
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1798:, 2nd ed., London, 1975.
1448:Stierlin, Henri (2012).
1339:Stierlin, Henri (2012).
1319:The Encyclopædia Iranica
1052:Stierlin, Henri (2012).
899:Balafrej, Lamia (2019).
650:
640:List of Persian painters
296:manuscript illuminations
127:Painting photographs of
2437:Ahmad ibn Nizam al-Mulk
2417:Minhaj al-Siraj Juzjani
1604:. Phaidon. p. 216.
1518:Barry, Michael (2004).
776:Encyclopædia Britannica
2367:Abu'l-Ma'ali Nasrallah
2362:Abu'l-Hasan Isfarayini
2048:Abu Dawud al-Sijistani
1315:"BEHZĀD, KAMĀL-AL-DĪN"
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258:Mohammed Sheibani Khan
213:
2264:Abu Sa'id Abu'l-Khayr
2148:Ibn Tayfour Sajawandi
1976:Sharaf al-Din al-Tusi
1886:Abu Ma'shar al-Balkhi
1786:Studies in Memory of
1760:Hillenbrand, Robert,
1090:Oleg, Grabar (2000).
623:Portrait of a dervish
211:
54:between 1455 and 1460
2372:Abu Muslim Khorasani
2078:Abu Qasim Samarqandi
2068:Abu Layth Samarqandi
1966:Nasir al-Din al-Tusi
1941:Abu Ja'far al-Khazin
1808:Robinson, Basil W.,
1801:Rice, David Talbot,
1794:Rice, David Talbot,
1771:, Los Angeles, 1989.
1585:, Los Angeles, 1989.
1189:Basil, Gray (1977).
467:The construction of
409:Behzād in literature
117:, Early Safavid Iran
575:Beheading of a King
482:, c. 1494-1495 C.E.
265:Battle of Chaldiran
242:(ruled 1469–1506).
236:Mir Ali Shir Nava'i
157:Kamal al-din Bihzad
149:Kamāl ud-Dīn Behzād
36:Kamāl ud-Dīn Behzād
2357:Abu'l-Fadl Bayhaqi
2238:Tha'labi Nishapuri
2053:Abu Barakat Nasafi
1881:Abu Hatam Isfizari
1805:, Edinburgh, 1971.
514:Yusef and Zuleykha
214:
91:Tomb of Two Kamals
2483:People from Herat
2450:
2449:
2412:Khalid ibn Barmak
2387:Ata-Malik Juvayni
2350:political figures
2257:Poets and artists
2113:Fatima Samarqandi
2017:Haji Bektash Veli
1896:Abu Ubayd Juzjani
1812:, New York, 1991.
1722:Balafrej, Lamia.
1531:978-2-08-030421-6
1496:978-0-7892-0920-7
1461:978-0-500-51642-3
1352:978-0-500-51642-3
1286:978-0-7892-0920-7
1237:978-2-08-030421-6
1138:978-0-7892-0920-7
1065:978-0-500-51642-3
1016:978-2-08-030421-6
912:978-1-4744-3745-5
852:978-2-08-030421-6
635:Persian miniature
496:Attar of Nishapur
292:Persian miniature
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2442:Shihab al-Nasawi
2427:Tahir ibn Husayn
2299:Farrukhi Sistani
2274:Aruzi Samarqandi
2073:Abu Mu'in Nasafi
2041:Islamic scholars
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286:Career and style
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183:during the late
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169:کمالالدین بهزاد
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2063:Abu Hafs Nasafi
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1985:
1901:Abu Zayd Balkhi
1869:
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1764:, London, 1999.
1757:, London, 1977.
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19:
2473:1450s births
2324:Rabia Balkhi
2288:
1990:Philosophers
1971:Omar Khayyam
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1809:
1802:
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1706:Islamic Arts
1705:
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1602:Islamic Arts
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1322:. Retrieved
1318:
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1127:
1120:
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960:
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841:
815:. Retrieved
810:
780:. Retrieved
775:
729:
722:
680:
546:Iskandarnama
545:
529:Iskandarnama
528:
475:
418:
412:
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147:
123:Notable work
80:Safavid Iran
29:
2478:1535 deaths
2402:Gawhar Shad
2248:Zamakhshari
2228:Shaykh Tusi
2143:Ibn Mubarak
2032:Shahrastani
1796:Islamic Art
1788:Gaston Wiet
1738:Islamic Art
415:Orhan Pamuk
345:Haft Paykar
2457:Categories
2279:Asadi Tusi
2173:Marghinani
2138:Ibn Hibban
2058:Abu Hanifa
1936:Ibn Hayyan
1911:Ali Qushji
1906:Alfraganus
1874:Scientists
1865:People of
1717:References
1324:9 December
921:1124796271
817:9 December
811:Britannica
782:9 December
417:'s novel,
247:kitabkhana
187:and early
161:Kamaleddin
97:Occupation
2233:Taftazani
2218:Sajawandi
2027:Sijistani
1956:Khwarizmi
1691:193598798
1637:193598798
1470:814179259
1394:cite book
1361:814179259
1254:cite book
1170:cite book
1074:814179259
1033:cite book
985:161457080
977:0021-0862
929:cite book
869:cite book
708:cite book
531:of Nizami
256:, led by
204:Biography
2304:Ferdowsi
2243:Tirmidhi
2223:Sarakhsi
2203:Qushayri
2178:Maturidi
2123:Ghaznawi
2007:Avicenna
1951:Khojandi
1921:Birjandi
1916:Avicenna
1891:Abu Wafa
1867:Khorasan
1817:Muqarnas
1557:Muqarnas
1540:56653717
1505:74029430
1435:26396207
1295:74029430
1246:56653717
1147:74029430
1112:43729058
1025:56653717
861:56653717
807:"Behzad"
749:11814265
629:See also
502:invader.
444:and the
364:Zulaykha
354:and the
343:and the
163:Behzād (
141:Ismail I
2377:Gardizi
2314:Kashifi
2188:Muqatil
2168:Lamishi
2163:Kashifi
2153:Juwayni
2118:Ghazali
2103:Bukhari
2098:Bazdawi
2093:Bayhaqi
2088:Baghavi
1997:Algazel
1946:Khazini
1745:Persica
1211:3030835
645:Begzada
563:ground.
561:hunting
480:al-Hira
476:الخورنق
427:Gallery
301:Tahmasp
194:Sa'di's
189:Safavid
185:Timurid
165:Persian
115:Timurid
113:, Late
101:Painter
2339:Sanā'ī
2329:Rudaki
2294:Daqiqi
2289:Behzad
2269:Anvari
2213:Sabuni
2198:Nasa'i
2193:Muslim
2158:Kasani
2108:Dabusi
2083:Ansari
2012:Farabi
1961:Nasawi
1926:Biruni
1730:
1689:
1677:: 25.
1658:: 230.
1635:
1623:: 27.
1538:
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849:
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700:399624
698:
688:
500:Mongol
473:Arabic
449:Sultan
446:Mamluk
388:Legacy
382:climes
369:Bustan
360:Joseph
356:Qur’an
335:Nizami
331:Bustan
197:Bustan
181:Tabriz
18:Bihzad
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