عنوان مقاله [English]
Human figure is one of the most important elements in Persian painting, and its design, drawing and proportions which have been influenced by the principles of Iranian aesthetics have been based on certain patterns. On the other hand, the presence of human in Kamal al-din behzad’s paintings is special importance. He has paid attention to the representation of human in real life environments and has achieved some type of human realization in his works. Accordingly, the subject of this study is investigating the variety of figures and human configuration proportions in Kamal al-din behzad’s paintings, and this study aims at identifying the possible patterns of configuration in paintings of Herat school. Also, is tried to answer these questions: 1.How is the variety of figures in the Kamal al-din behzad’s paintings? 2. How can be explained the pattern and human proportions in Kamal al-din behzad’s paintings? This study was carried out through a descriptive-analytical method and to measure the overall and partial proportions of the forms of the figures, length (height) of head in each body was used as the unit of measurement. The data collection was also done through the library method.
This study shows that the variety of the figures in behzad’s paintings can be classified as three thematic figures “lyrical”, “mystical” and “popular”. According to the measurement criteria used in this study, behzad has benefited from a special and possibly pre-determined pattern- rooted in the Iranian culture and visual tradition - to draw lyrical figures. This special pattern has also been considered with slight changes in mystical figures. However, various forms and proportions have been used to design the popular figures. This can be the main criterion in determining behzad’s ability to creatively and freely design the figurative proportions.