Studying the composition of Behzads works and comparing them with artistic works of modernism period

Azadeh Aryana, Sara Abbasi, Fateme Zarei Zade


In painting, the figure of human is the main axis for Iranians. The figure of human, from one hand, from the point of view of incarnation, as a live and mobile element like a chain in making a relationship between figures and the general composition of work, and from another hand, from the point of view of content as an organizing element, is the confluence point and an expressive tool for expressing the emotions which are extracted from symbols and mystery of the figure. The surfaces of bright, alive, and pure colors have been divided in to small parts by the geometrical lines and decorative designs, and therefore, the relation and connection between colored surfaces has been created. In Behzads paintings, the composition of figure series, especially human, follows the geometry which is dominant in buildings architecture, both in symmetrical compositions and the compositions which are not completely symmetry; the figures are placed based on the way of placing structural figures; a round and spiral composition, as in abstract paintings, Islamic branches are dominant in the space of the figure, and the human figures and the other elements are placed concordantly as the parts of these branches. The structure of Behzads figures can be compared with the modern panting works and reach to a modern view of Behzads figures.


Behzad, Herat school, composition, visual elements, modernism.

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