A Narrative or Fallacious Examination of the mystical Interpretations of Kamal al-Din Behzad’s Painting Beggar at the Mosque Door Based on Formal Analysis Using Clive Bell’s Theory

The works of Kamal al-Din Behzad have attracted significant attention from many analysts to date, leading to the emergence of two distinct and opposing approaches in interpreting his artworks. One group, adopting a mystical approach, has focused on analyzing his paintings through an esoteric lens, while the other, taking a historical approach, rejects the Mystical interpretations of Behzad’s works.

This study conducts a formal analysis of Behzad’s painting Beggar at the Mosque Door and aim to address questions arising from the conflict between these two viewpoints. A descriptive -analytical method is employed, with data collected through library research. The formal analysis of the painting is carried out using Clive Bell’s theory of significant form. Furthermore, by comparing the two with the formal elements, the study seeks to answer the following questions: (1) What insights does formal analysis provide regarding philosophical interpretations? (2) Does form support the philosophical interpretations or reinforce the opposing viewpoint?
The results show that some formal components, such as multiple viewing angles and purposeful use of perspective, can confirm mystical interpretations; however, other components, such as matching the composition of the image with golden dots or the choice of colors in this image, other than the blue-green color of the dome, are more important in terms of composition and eye movement in the frame than in terms of mysticism, and in this image they have no connection with mystical interpretations.