International Journal Of History And Political Sciences
25
https://theusajournals.com/index.php/ijhps
VOLUME
Vol.05 Issue03 2025
PAGE NO.
25-27
10.37547/ijhps/Volume05Issue03-06
Types of grix pattern in miniatures by kamoliddin
bekhzod
Aliboyev Rashidjon Tokhir uglu
National Institute of Art and Design named after Kamoliddin Bekhzod, Head of the Department of “Miniature and Graphics”, Uzbekistan
Received:
23 January 2025;
Accepted:
26 February 2025;
Published:
25 March 2025
Abstract:
This article analyzes the grix patterns in Kamoliddin Bekhzod's miniatures and their role in decorative
and symbolic aspects in the artist's works. The features of the use of grix patterns are considered on the example
of illustrations for Nizami Ganjavi's "Khamsa" and Amir Khusrav Dehlavi's "Layli and Majnun". In particular, special
attention is paid to the functional and aesthetic significance of these patterns in miniature compositions.
Keywords:
Kamoliddin Bekhzod, Oriental miniature, grix patterns, decorative elements, symbolism, composition,
ornament.
Introduction:
Kamoliddin Bekhzod (1455
–
1536)
—
one
of the great artists of the Timurid era, whose
miniatures have become mature examples of Oriental
painting. His work had a great influence on the
development of art in Central Asia, Iran and other
regions of the East. One of the main features of his
works is the use of grikh patterns, which give the
composition a special depth and expressiveness. The
study of these patterns helps to better understand the
artistic methods and symbolic meanings in Kamoliddin
Bekhzod's miniatures.
METHODOLOGY
To analyze the grikh patterns in Kamoliddin Bekhzod's
miniatures, scientific works devoted to his work and
Oriental miniature painting in general were studied.
Among these studies, the articles published in the
journal "Art" stand out, since they provide a detailed
analysis of the specific features of Kamoliddin
Bekhzod's style and his contribution to the
development of the portrait genre in Oriental
miniatures. Materials from the official website of the
Kamoliddin Bekhzod Museum of Oriental Miniature Art
were also analyzed. These sources provide important
information about his works and their artistic features.
The research methodology included a visual analysis of
the miniatures, with a focus on identifying and
classifying the grix patterns. The functional and
aesthetic role of these patterns in the composition was
also studied.
The fact that all books and manuals have been valued
since ancient times and all the spiritual wealth in them
has been preserved will delight any art lover. First of all,
the great attention paid in ancient times to the study of
miniature and the creation of works by artists is
noticeable in all the works produced. The great genius
of the Eastern miniature art, the great artist Kamoliddin
Bekhzod, laid the foundation for the Eastern miniature
art with his national works. With his artistic skills,
Kamoliddin Bekhzod was also awarded the high title of
"Moniy Soniy (2 moniy)" and "Sharq Rafaeli" in the
culture of the Eastern Renaissance. Thus, he went
down in history as the founder of the miniature school
in the East. With his inimitable creativity, beautiful art
and amazing skill, he made a significant contribution
not only to the history of the culture of the peoples of
the East, but also to the peoples of the whole world.
The painting "Layli and Majnun in the School" by
Bekhzod Nizami, based on "Khamsa", is remarkable for
its comprehensive perfection. In a classroom
surrounded by ornate buildings, lawns, flowers, and a
pomegranate tree, a group of children are studying,
while another group is playing with childish joy and
excitement, eating, and some are putting on their
clothes. But Layli and Majnun are sad, indifferent to the
events around them, immersed in some kind of fantasy
world, watching each other silently. Bekhzod is an artist
International Journal Of History And Political Sciences
26
https://theusajournals.com/index.php/ijhps
International Journal Of History And Political Sciences (ISSN
–
2771-2222)
who brought vitality, truthfulness - realism to the art of
Eastern miniature. It is known from history that in 1495,
Nizami's "Hamsa" was copied in Herat, and a number
of miniature paintings were made by Bekhzod.
RESULTS
The results of the analysis showed that grikh patterns
play an important role in Bekhzod's miniatures,
performing both a decorative and symbolic function.
They are used to decorate backgrounds, characters'
costumes, and architectural elements, forming a
rhythmic structure and enhancing the emotional
impact of the work. In Nizami Ganjavi's "Khamsa",
illustrated by Bekhzod, grikh patterns emphasize the
dynamics of scenes and draw attention to the main
details of the composition. In the works "Layli and
Majnun" (1492) by Amir Khusrav Dehlavi and "Mantiq
ut-Tayr" (1494) by Fariduddin Attar, grikh patterns are
used to express the atmosphere and mood, reflecting
the inner experiences of the characters. The miniatures
of the "Khamsa" work are distinguished by the fact that
they reveal Bekhzod's mastery of composition and the
semantic load of patterns. In these works, the
psychological effect of the grikh patterns plays an
important role in further deepening the atmosphere of
the scene.
His contemporaries recognized Kamoliddin Bekhzod as
a unique artist of battle scenes. In his works on battle
themes, as in other genres, he perfected the
achievements of his predecessors in the field of
composition and iconography, and also created
innovations in the interpretation of individual
characters and scenes. He developed his own original
compositions, which were later used by his students.
Bekhzod brought an important innovation to the battle
genre - he paid special attention to depicting the details
of military life. While his predecessors, for example, the
authors of the "Shahnoma" and other battle scenes,
focused only on the battle process, Bekhzod also
reflected military everyday life. His works widely
covered the strengthening of fortress walls, digging
tunnels, weapons, and various means of defense.
Kamoliddin Bekhzod sought to depict in detail the
characters and their actions in battle scenes, bringing
their images to life through his unique perspective and
movements. Bekhzod, despite the strict canons that
prevailed in medieval miniature art, demonstrated
extraordinary inventiveness in depicting people and
animals. These aspects indicate that the artist may have
personally observed the battlefield, since only a direct
witness could so accurately depict such vivid and
detailed scenes. Bekhzod's illustrations of battle scenes
allow us to take a fresh look at the creative method of
the great master. Despite all the conditions of the
medieval worldview, he based his works on his deep
love for real life.
DISCUSSION
Grix patterns in Kamoliddin Bekhzod's miniatures not
only enrich the visual image, but also serve as a means
of conveying hidden meanings and symbols. Their use
demonstrates the artist's deep understanding of the
traditions and aesthetic canons of Eastern painting.
Bekhzod skillfully integrated patterns into the
composition, creating a harmonious combination of
ornament and plot. This emphasizes his innovative
approach and ability to adapt traditional elements to
express complex ideas and emotions. His works are a
source of inspiration for subsequent generations of
artists, as evidenced by the exhibition at the
Kamoliddin Bekhzod Museum of Oriental Miniature
Art, which displays copies of his miniatures and works
by contemporary Uzbek masters executed in the style
of famous schools such as Bukhara, Samarkand, Ghirat,
Tabriz and Isfahan.
The completion and perfection of Bekhzod's miniatures
are also expressed in the color scheme. First of all, it is
worth noting the richness of the colors of the
architectural decoration. Bekhzod lived an interesting
creative life. He decorated the books of many writers
and poets. His miniatures are kept in the Chester Baty
Library in London, and 8 miniatures drawn for Ali
Yazdi's "Zafarnoma", dedicated to the life and work of
Amir Temur, are kept in the National Library. The subtle
expressiveness of Bekhzod's artistic miniatures, intense
colors, smooth lines, and the even arrangement of
paints give it a musical, romantic mood. In his
miniatures, the world is saturated with peace,
harmony, and tranquility. Everything in it reflects joy.
The Muraqqa (album) depicting the meetings of Sultan
Husayn Bayqara was specially prepared for the royal
library of Sultan Husayn Mirza in Herat. More than 40
beautiful miniatures in it belong to the brush of
Kamoliddin Bekhzod. The Muraqqa was purchased by
the French art critic Muse Fochet at the beginning of
the 20th century and donated to the Louvre Museum.
Abdurahman Jami's "Solomon and Absol" was copied
by the famous calligrapher Sultan Ali Mashhadi.
Kamoliddin Bekhzod decorated it with miniatures. This
work was also kept in Afghanistan until the beginning
of the 20th century. The miniature depicting the "Bagh'i
Behisht" in Herat is considered one of the most
beautiful and rare works of Kamoliddin Bekhzod.
CONCLUSION
In conclusion, it can be said that in Kamoliddin
Bekhzod's miniatures, grix patterns play an important
role in shaping the aesthetics and symbolism of his
works. They perform not only decorative, but also
International Journal Of History And Political Sciences
27
https://theusajournals.com/index.php/ijhps
International Journal Of History And Political Sciences (ISSN
–
2771-2222)
spiritual functions, enriching the composition and
enhancing the emotional impact. Bekhzod used grix
patterns to convey dynamics, mood and depth, which
demonstrates his skill and a new approach to the
traditions of oriental miniature. His work continues to
influence modern artists, which confirms the eternal
value and relevance of his artistic heritage.
REFERENCES
Alimova, Sh. Oriental miniature art: traditions and
innovations.
–
Tashkent: Science, 2018.
Bulatova, N. Kamoliddin Bekhzod and his miniature
school.
–
Samarkand: Publishing House of the Academy
of Sciences of the Republic of Uzbekistan, 2016.
Usmonov O. Madrahimov A. Kamoliddin Bekhzod.
Tashkent- 2000.
Ismoilova E. Bekhzod's style of work. "Art" magazine.
Journal of the Academy of Arts of Uzbekistan. Issue 2.
Tashkent- 2000.
Pugachenkova G. Bekhzod and the portrait genre in the
miniature of the Middle East. "Art" magazine. Journal
of the Academy of Arts of Uzbekistan. Tashkent- 2000.
Ismatov, R. Decorative elements in the works of
Kamoliddin Bekhzod.
–
Tashkent: Munavvar, 2020.
