Kamoliddin Behzod - Kamal ud-Dun Behzad - Кемаледдин Бехзад - 2009

Цитата:
Sharq musavvirlik (rassomlik) san'atida yorqin yulduz bo'lib porlagan allomalardan biri — Kamoliddin Behzod. U о'z zamondoshlari tomonidan musavvirlar peshvosi, muzahhiblar yetakchisi, ustozi deb е'tirof etilgan. «Ikkinchi Moniy» degan faxriy unvonga sazovor bo'lgan, Yevropada «Sharq Rafaeli» deb tan olingan.
Buyuk musavvir Kamoliddin Behzod Hirotda tug'ilgan, shu yerda о'sib, shu yerda musavvir sifatida shakllangan. Tarixchilarning yozishicha, yosh Behzodni taniqli musavvir Mirak Naqqosh о'z tarbiyasiga olgan. Yosh rassom о'zidan oldin о'tgan musavvirlar an'analarini о'rgandi, uni yanada rivojlantirdi, boyitdi, kamolga yetkazdi. Bunda mutafakkir Alisher Navoiyning murabbiylik faoliyati ham muhim ahamiyatga ega bo'lgan. Navoiyning kutubxonasida zamonasining yetuk san'atkor (musavvir va xattot)lari ijod bilan band bo'lganlar. Behzod ana shu muhitda kamol topgan. Behzod rassom sifatida tanilgach, Sulton Husayn Boyqaro saroyiga xizmatga chaqirildi. Ancha vaqtdan so'ng saroy kutubxonasining rahbari etib tayinlandi. Keyinchalik «Behzod akademiyasi» deb atalgan bu yerda qizg'in ijod bilan band bo'ldi, ko'plab mo'tabar qo'lyozmalarni yaratishga rahnamolik qildi, ma'lum qismini ziynatlashda shaxsan ishtirok etdi. Bir qator zamondoshlarining (Alisher Navoiy, Abdurahmon Jomiy, Husayn Boyqaro, Shayboniyxon) portretlarini chizdi.
1520-yilda safaviylar shohi Shoh Ismoil Behzodni о'g'liga rasm о'rgatish uchun Tabrizga taklif etadi, keyinchalik о'z kutubxonasidagi barcha kitobat ahli (kotib, naqqosh, muzahhib, jadvalkash, halkor, zarko'b va boshqalar)ga mutasaddi qilib tayinlaydi. Behzod ko'р yillar Tabrizda Sulton Muhammad, Og'а Mirak, Mir Mansur kabi musavvirlar bilan hamkorlikda ijod qildi. Tarixiy ma'lumotlarga ko'rа Behzod hayotining oxiri da Hirotga qaytgan va shu yerda vafot etgan. 0'z faoliyati vа ijodi bilan musavvirlik (miniatyura) san'atining keyingi taraqqiyotini belgilab bergan Behzod о'z zamondoshlari tomonidan yuqori baholangan. Uning asarlarida tabiat jonli, hayot manzaralari aniq, haqqoniy, ishonarli va ta'sirchan tasvirlangan. Chiziqlar nozik, ranglar nafis ishlangan. Portretlarida inson, uning ruhi, qiyofasi, his- tuyg'ularini aks ettirishga ahamiyat bergan. Sa'diyning «Во'ston», «Guliston», Farididdin Attorning «Mantiq ut tayr», Nizomiy, Xisrav Dehlaviy, Alisher Navoiylarning «Xamsa», Sharafiddin Ali Yazdiyning «Zafarnoma» kabi asarlariga miniatyuralar ishlagan. Behzod asarlari bilan bezatilgan qo'lyozmalar 0'zbekiston, AQSH, Buyuk Britaniya, Eron, Rossiya va boshqa davlatlardagi kutubxona, qo'lyozma fondlari, muzeylar vа shaxsiy majmualarda saqlanadi.
Behzod о'z ijodi va faoliyati bilan sharq miniatyura san'ati xususiyatlarini saqlagan holda, uni yangi ijodiy an'analar, mazmun ча yangi mavzular bilan boyitdi. U an'anaviy maishiy lavhalar, uchrashuvlar, jang lavhalari, ziyofat, rasmiy qabul marosimlari, qal’a qamali kabilar bilan bir qatorda masjid qurilishi, ariq qazish, bog' bunyod etish kabi mavzularda asarlar yaratdi. Shuningdek, zamondoshlarining qiyofalari aks etgan portretlar ishladi.
Behzod ustoz san'atkor sifatida Hirot vа Tabrizda bir qancha shogirdlarni tarbiyalagan. Qosim Ali, Darvish Muhammad, Maqsud, Muzaffar Ali, Mahmud Muzahhib shogirdlari Behzod an'analarini 0'rta Sharqqa yoyib, Behzod miniatyura maktabini shakllantirdilar.
0'zbekistonda Behzod an'analari 20-asrga kelib Usto Мо'min (А.Nikolayev), Sh. Hasanova, Ch. Ahmarov, Q. Basharov, T. Muhamedov. T. Sa'dullayev, J. Umarbekov, Sh. Muhammadjonov kabi rassomlar ijodiga ijobiy ta'sir ko'rsatdi. Behzod ijodi va merosi keng о'rganilmoqda. Uning nomini abadiylashtirib Kamoliddin Behzod nomidagi davlat mukofoti ta'sis etilgan (1997). Milliy rassomlik va dizayn institutiga Behzod nomi berilgan. . Toshkentda Behzod nomidagi memorial bog'ga asos solingan.

Цитата:
Бехзад Кемаледдин (около 1455, Герат, — 1535/36, Герат, по др. сведениям — Тебриз), миниатюрист, крупнейший мастер гератской школы миниатюры, которая оказала сильное влияние на миниатюру Ирана, Индии, Средней Азии. Б. учился у Мирака Наккаша, возглавлявшего в Герате дворцовую мастерскую по изготовлению художественных рукописных книг (по др. источникам, учителем Б. был Сеид Ахмед Тебризи). Работал в той же мастерской. После 1510 переехал в Тебриз (с 1522 глава шахской мастерской). Оставаясь в рамках условностей средневековой миниатюры (локальность цвета, плоскостность), Б. в изображении человека и природы исходил из живых наблюдений, воплощая их с такой силой и убедительностью, какой до него восточная миниатюра не знала. Его работы, высоко ценившиеся уже современниками, отличаются тонким выразительным рисунком, богатством цветовой гаммы, живостью поз и жестов изображенных людей; часто композиция разворачивается на двух смежных листах с большим числом персонажей и обилием точно найденных деталей. Произведения: миниатюры к «Бустану» Саади (1488, Египетская национальная библиотека, Каир), к «Зафар-наме» (1490-е гг., дата рукописи — 1467, библиотека университета Дж. Хопкинса в Балтиморе), к «Хамсе» Низами (1490-е гг., Британский музей, Лондон); миниатюры в собрании Публичной библиотеки им. М. E. Салтыкова-Щедрина (Ленинград); портреты Султан Хусейна (конец 15 в., собрание Ф. Мартина, Стокгольм), Шейбани-хана (около 1507, частное собрание, США).

Цитата:
Kamāl ud-Dīn Behzād Herawī, also known as Kamal al-din Bihzad or Kamaleddin Behzad (c. 1450 – c. 1535) was a painter of Persian miniatures and head of the royal ateliers in Herat and Tabriz during the late Timurid and early Safavid periods.
Behzad lived and worked in Herat (in present day Afghanistan) under the Timurids, and later in Tabriz under the Safavid dynasty. An orphan, he was raised by the prominent painter Mirak Naqqash, and was a protege of Mir Ali Shir Nava'i. His major patrons in Herat were the Timurid sultan Husayn Bayqarah (ruled 1469 - 1506) and other amirs in his circle. After the fall of the Timurids, he was employed by Shah Ismail I Safavi in Tabriz, where, as director of the royal atelier, he had a decisive impact on the development of later Safavid painting. Behzad died in 1535 and his tomb is located in Tabriz, 2-Kamal Tomb. A statue of Behzad is placed in 2-Kamal Tomb.
Behzad 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.[1][2][3] 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. Behzad is equally skilled with the organic areas of landscape, but where he uses the traditional geometric style Behzad 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 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. 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 frolicing 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. Behzad 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 Behzad 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.
He is also mentioned in Orhan Pamuk's famous novel "My Name is Red" as one of the greatest Persian miniature painters. In Pamuk's novel it is said that Kamal al-Din Behzad blinded himself with a needle.

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