369:’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.
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373:; 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
238:(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
336:(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.
249:. 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.
292:, 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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673:. Gibb, H. A. R. (Hamilton Alexander Rosskeen), 1895–1971., Bearman, P. J. (Peri J.) (New ed.). Leiden: Brill. 1960–2009.
1365:"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
1408:. Beach, Milo Cleveland., Art and History Trust Collection (Houston, Tex.). New York: Rizzoli. p. 95.
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2166:
2066:
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2015:
1990:
1732:
Chapman, Sarah, “Mathematics and Meaning in the Structure and Composition of Timurid Miniature Painting”,
942:"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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1478:. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 210.
1268:. Scarcia, Gianroberto., Shore, Marguerite. (1st ed.). New York: Abbeville Press. p. 204.
1120:. 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".
1604:
Roxburgh, David (2003). "Micrographia: Toward a Visual Logic of Persianate Painting".
722:. 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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209:, a city in modern-day western Afghanistan and an important center of trade and the
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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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834:. 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)
909:
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Figurative art in medieval Islam and the riddle of Bihzâd of Herât (1465–1535)
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1443:. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 149.
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1334:. Stierlin, Anne., Buchet, Adrien. London: Thames & Hudson. p. 144.
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1047:. 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,
1513:(English-language ed.). Paris: Flammarion. p. 159.
1639:
Shukurov, Sharif (2009). "Art History as a Theory of Art".
1085:. Princeton, N.J.: Princeton University Press. p. 12.
1780:, ed., M. Rosen-Ayalon, Jerusalem, 1977, pp. 357–70.
588:
Timur granting audience on the occasion of his accession
1799:
Fifteenth Century Persian Painting: Problems and Issues
1082:
Mostly miniatures: an introduction to Persian painting
1767:, ed., Sheila R. Canby, Bombay, 1990, pp. 39–54.
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339:"The Seduction of Yusuf", a tale found in both the
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322:of 1488, and paintings from the British Library's
1713:The Making of the Artist in Late Timurid Painting
1219:(English-language ed.). Paris. p. 147.
998:(English-language ed.). Paris. p. 134.
891:The making of the artist in late Timurid painting
326:manuscript of 1494–95 – particularly scenes from
361:, written 200 years earlier. The mystical poet
201:Depiction of Behzad, from Shah Tahmasp's album
1839:
347:, describes a series of interactions between
8:
1163:: CS1 maint: multiple names: authors list (
940:Rahmatullaeva, Sulhiniso (2 November 2014).
1765:Persian Masters: Five Centuries of Painting
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866:) CS1 maint: multiple names: authors list (
220:, a director of the Timurid royal library.
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487:after he was held captive and killed by a
31:
20:
160:), was a Persian painter and head of the
2482:16th-century painters from Safavid Iran
1693:Bloom, Jonathan; Blair, Sheila (1997).
1589:Bloom, Jonathan; Blair, Sheila (1997).
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2457:Painters of the medieval Islamic world
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1808:, Vol. XVII, 2000, pp. 119–146.
1756:Lentz, Thomas, and Lowry, Glenn D.,
1715:, Edinburgh University Press, 2019,
1570:Lentz, Thomas, and Lowry, Glenn D.,
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260:hid Behzād in a cave as a treasure.
157:
1475:The Art and Architecture of Persia
1367:. St. Petersburg. pp. 59–64.
1265:The art and architecture of Persia
1184:. New York: Rizzoli. p. 115.
1117:The Art and Architecture of Persia
14:
1736:, Vol. XIX, 2003, pp. 33–68.
828:Barry, Michael A., 1948– (2004).
1660:RES: Anthropology and Aesthetics
1606:RES: Anthropology and Aesthetics
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600:Dancing dervishes (c. 1480/1490)
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1819:Video from the Asia Society, US
1548:, Vol. XVII, 2000, pp. 119–146.
719:Oxford illustrated encyclopedia
402:Behzād is mentioned throughout
213:cultural and economic capital.
2487:People from the Timurid Empire
1440:Persian Art & Architecture
1331:Persian Art & Architecture
1044:Persian art & architecture
533:A miniature painting from the
515:A miniature painting from the
1:
2492:16th-century Iranian painters
2477:15th-century Iranian painters
1758:Timur and the Princely Vision
1572:Timur and the Princely Vision
279:Behzād is the most famous of
223:Behzād was also a protégé of
144:1455/60–1535), also known as
141:
1751:Islamic Art and Architecture
1697:. Phaidon. pp. 216–218.
958:10.1080/00210862.2014.906225
1472:Curatola, Giovanni (2007).
1262:Curatola, Giovanni (2007).
1114:Curatola, Giovanni (2007).
716:Norwich, J.J. (1985–1993).
122:Sultan Husayn Mirza Bayqara
2508:
2452:Iranian miniature painters
1792:Islamic Painting: a Survey
1672:10.1086/RESv43n1ms20167587
1618:10.1086/RESv43n1ms20167587
1561:, Bombay, 1990, pp. 39–54.
1402:Soudavar, Abolala (1992).
1302:Soucek, Priscilla (1989).
1213:Barry, Michael A. (2004).
992:Barry, Michael A. (2004).
894:. Edinburgh. p. 204.
16:Persian artist (1450–1535)
1363:Akimushkin, Oleg (2004).
30:
1787:, 2nd ed., London, 1975.
1437:Stierlin, Henri (2012).
1328:Stierlin, Henri (2012).
1308:The Encyclopædia Iranica
1041:Stierlin, Henri (2012).
888:Balafrej, Lamia (2019).
629:List of Persian painters
285:manuscript illuminations
116:Painting photographs of
2426:Ahmad ibn Nizam al-Mulk
2406:Minhaj al-Siraj Juzjani
1593:. Phaidon. p. 216.
1507:Barry, Michael (2004).
765:Encyclopædia Britannica
2356:Abu'l-Ma'ali Nasrallah
2351:Abu'l-Hasan Isfarayini
2037:Abu Dawud al-Sijistani
1304:"BEHZĀD, KAMĀL-AL-DĪN"
701:: CS1 maint: others (
247:Mohammed Sheibani Khan
202:
2253:Abu Sa'id Abu'l-Khayr
2137:Ibn Tayfour Sajawandi
1965:Sharaf al-Din al-Tusi
1875:Abu Ma'shar al-Balkhi
1775:Studies in Memory of
1749:Hillenbrand, Robert,
1079:Oleg, Grabar (2000).
612:Portrait of a dervish
200:
43:between 1455 and 1460
2361:Abu Muslim Khorasani
2067:Abu Qasim Samarqandi
2057:Abu Layth Samarqandi
1955:Nasir al-Din al-Tusi
1930:Abu Ja'far al-Khazin
1797:Robinson, Basil W.,
1790:Rice, David Talbot,
1783:Rice, David Talbot,
1760:, Los Angeles, 1989.
1574:, Los Angeles, 1989.
1178:Basil, Gray (1977).
456:The construction of
398:Behzād in literature
106:, Early Safavid Iran
564:Beheading of a King
471:, c. 1494-1495 C.E.
254:Battle of Chaldiran
231:(ruled 1469–1506).
225:Mir Ali Shir Nava'i
146:Kamal al-din Bihzad
138:Kamāl ud-Dīn Behzād
25:Kamāl ud-Dīn Behzād
2346:Abu'l-Fadl Bayhaqi
2227:Tha'labi Nishapuri
2042:Abu Barakat Nasafi
1870:Abu Hatam Isfizari
1794:, Edinburgh, 1971.
503:Yusef and Zuleykha
203:
80:Tomb of Two Kamals
2472:People from Herat
2439:
2438:
2401:Khalid ibn Barmak
2376:Ata-Malik Juvayni
2339:political figures
2246:Poets and artists
2102:Fatima Samarqandi
2006:Haji Bektash Veli
1885:Abu Ubayd Juzjani
1801:, New York, 1991.
1711:Balafrej, Lamia.
1520:978-2-08-030421-6
1485:978-0-7892-0920-7
1450:978-0-500-51642-3
1341:978-0-500-51642-3
1275:978-0-7892-0920-7
1226:978-2-08-030421-6
1127:978-0-7892-0920-7
1054:978-0-500-51642-3
1005:978-2-08-030421-6
901:978-1-4744-3745-5
841:978-2-08-030421-6
624:Persian miniature
485:Attar of Nishapur
281:Persian miniature
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2431:Shihab al-Nasawi
2416:Tahir ibn Husayn
2288:Farrukhi Sistani
2263:Aruzi Samarqandi
2062:Abu Mu'in Nasafi
2030:Islamic scholars
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275:Career and style
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1974:
1890:Abu Zayd Balkhi
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218:Mirak Naqqash
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189:attribution.
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76:Resting place
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34:
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22:
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2462:1450s births
2313:Rabia Balkhi
2277:
1979:Philosophers
1960:Omar Khayyam
1805:
1798:
1791:
1784:
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1695:Islamic Arts
1694:
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1591:Islamic Arts
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1502:
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1330:
1323:
1311:. Retrieved
1307:
1264:
1257:
1215:
1208:
1180:
1173:
1150:
1144:
1116:
1109:
1081:
1043:
1036:
994:
949:
945:
890:
830:
804:. Retrieved
799:
769:. Retrieved
764:
718:
711:
669:
535:Iskandarnama
534:
518:Iskandarnama
517:
464:
407:
401:
392:
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149:
145:
137:
136:
112:Notable work
69:Safavid Iran
18:
2467:1535 deaths
2391:Gawhar Shad
2237:Zamakhshari
2217:Shaykh Tusi
2132:Ibn Mubarak
2021:Shahrastani
1785:Islamic Art
1777:Gaston Wiet
1727:Islamic Art
404:Orhan Pamuk
334:Haft Paykar
2446:Categories
2268:Asadi Tusi
2162:Marghinani
2127:Ibn Hibban
2047:Abu Hanifa
1925:Ibn Hayyan
1900:Ali Qushji
1895:Alfraganus
1863:Scientists
1854:People of
1706:References
1313:9 December
910:1124796271
806:9 December
800:Britannica
771:9 December
406:'s novel,
236:kitabkhana
176:and early
150:Kamaleddin
86:Occupation
2222:Taftazani
2207:Sajawandi
2016:Sijistani
1945:Khwarizmi
1680:193598798
1626:193598798
1459:814179259
1383:cite book
1350:814179259
1243:cite book
1159:cite book
1063:814179259
1022:cite book
974:161457080
966:0021-0862
918:cite book
858:cite book
697:cite book
520:of Nizami
245:, led by
193:Biography
2293:Ferdowsi
2232:Tirmidhi
2212:Sarakhsi
2192:Qushayri
2167:Maturidi
2112:Ghaznawi
1996:Avicenna
1940:Khojandi
1910:Birjandi
1905:Avicenna
1880:Abu Wafa
1856:Khorasan
1806:Muqarnas
1546:Muqarnas
1529:56653717
1494:74029430
1424:26396207
1284:74029430
1235:56653717
1136:74029430
1101:43729058
1014:56653717
850:56653717
796:"Behzad"
738:11814265
618:See also
491:invader.
433:and the
353:Zulaykha
343:and the
332:and the
152:Behzād (
130:Ismail I
2366:Gardizi
2303:Kashifi
2177:Muqatil
2157:Lamishi
2152:Kashifi
2142:Juwayni
2107:Ghazali
2092:Bukhari
2087:Bazdawi
2082:Bayhaqi
2077:Baghavi
1986:Algazel
1935:Khazini
1734:Persica
1200:3030835
634:Begzada
552:ground.
550:hunting
469:al-Hira
465:الخورنق
416:Gallery
290:Tahmasp
183:Sa'di's
178:Safavid
174:Timurid
154:Persian
104:Timurid
102:, Late
90:Painter
2328:Sanā'ī
2318:Rudaki
2283:Daqiqi
2278:Behzad
2258:Anvari
2202:Sabuni
2187:Nasa'i
2182:Muslim
2147:Kasani
2097:Dabusi
2072:Ansari
2001:Farabi
1950:Nasawi
1915:Biruni
1719:
1678:
1666:: 25.
1647:: 230.
1624:
1612:: 27.
1527:
1517:
1492:
1482:
1457:
1447:
1422:
1412:
1371:
1348:
1338:
1282:
1272:
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1223:
1198:
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1134:
1124:
1099:
1089:
1061:
1051:
1012:
1002:
972:
964:
908:
898:
848:
838:
736:
726:
689:399624
687:
677:
489:Mongol
462:Arabic
438:Sultan
435:Mamluk
377:Legacy
371:climes
358:Bustan
349:Joseph
345:Qur’an
324:Nizami
320:Bustan
186:Bustan
170:Tabriz
1991:Amiri
1970:Sijzi
1676:S2CID
1622:S2CID
970:S2CID
640:Notes
467:) in
442:Egypt
431:Timur
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