白扎德

Kamāl ud-Dīn Behzād (c. 1455/1460 – 1535), also known as Kamal al-din Bihzad or Kamaleddin Behzād (Persian: کمال‌الدین بهزاد), was a Persian painter and head of the royal ateliers in Herat and Tabriz during the late Timurid and early Safavid eras. 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 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 Sa'di's Bustan 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, proper attribution remains a subject of much research.

Biography

Behzād's 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 Herat, a city in modern-day western Afghanistan and an important center of trade and the Timurid Empire's cultural and economic capital.

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 Mirak Naqqash, a director of the Timurid royal library.

Behzād was also a protégé of Mir Ali-Shir Nava'i, a vizier, poet, and humanist, and the in the court of Herat during the reign of Timurid Sultan Husayn Bayqara (ruled 1469–1506).

In several manuscripts issued in the 1480s in the Sultan Hussein Bayqarah's kitabkhana (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.

In 1506, Sultan Hussein Bayqarah died, and a month after his death, Herat was captured by the troops of the Bukhara Khanate, led by Mohammed Shaybani Khan. Some researchers believe that between 1507 and 1510, Behzād was in Bukhara, as he followed Shaybani Khan and other artists from Herat (although Babur reports that he was in Herat during those years).

Behzad's fame reached its zenith during this period. A fable states that during the Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Iranian army, Shah Ismail I hid Behzād in a cave as a treasure.

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 described the painter as "...[a] 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 ...".

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.

Behzad's tomb is located in Herat, beneath Kôh-i Mukhtâr ("Chosen Hill").

Career and style

Behzād is the most famous of Persian miniature painters, though he is more accurately understood as the director of a workshop (or kitabkhāna) producing manuscript illuminations 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 Tahmasp, 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.

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.

Behzād uses landscape and geometric styles in his compositions. His work includes unpatterned areas around which figures are positioned. The gestures of figures and objects are arranged to direct the observer's focus across the picture plane.

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 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.

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 Sufi 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.

Behzad's most famous works include "The Seduction of Yusuf" from Sa'di's Bustan of 1488, and paintings from the British Library's Nizami manuscript of 1494–95 – particularly scenes from Layla and Majnun and the Haft Paykar (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.

原文较长，这里只摘了前面一部分，摘自英文维基百科「Kamāl ud-Dīn Behzād」（暂时没有中文条目，下面是英文原文），按 CC BY-SA 4.0 使用，去掉了参考文献、外部链接等尾部小节和表格，其余文字未作改动。