عنوان مقاله [English]
In many paintings attributed to Behzad, regardless of his artistic style and structure, works have been mistakenly attributed to this artist. for this reason; The working method in space creation, figures and decorations in the works of this artist is of special importance and their examination has determined the painter's style and has been one of the important factors in identifying the paintings. So the main purpose of this research checking decorations painting, ways figure and atta oh ments and also comparisom human portrait in selected effect of Kamaluddin Behzad, to find portrait painting of dervish effect relat to Behzad. The main hypothesis of the research is proposed as follows: By examining and analyzing Behzad's selected works, the portrait of a dervish is not Behzad's work. The results of the survey show that figure decorations and related objects (clothes, hats, turbans, etc.), can be specific signs for recognizing Behzad's works in any period. By examining the pictorial and decorative patterns and presenting the analytical documents in the presented tables, it is realized that the portrait of a dervish located in the Topkapi Museum in Istanbul can be a work of another artist attributed to Behzad. This work does not use the style used in Behzad's works and does not have its distinctive characteristics.This work according to the existing signs; It probably belonged to an Osmani painting. Osmani painters tried to get influence from Iranian painters as well, which contrast between Iranian painting and Western painting can be seen in the works of these artists. Finally, by examining the pictorial and decorative patterns of the paintings, one can get a better understanding of Behzad's works.