death, Herat was captured by the troops of the Bukhara Khanate, led by Mohammed Sheibani Khan. Some researchers believe that between 1507 and 1510, Behzād was in Bukhara, as he followed Sheibani Khan and other artists from Herat (although Babur reports that he was in Herat during those years). Behzad's fame reached its zenith during this period. A fable states that during the Battle of Chaldiran in 1514, in which the Ottoman Turks defeated the Persian army, Shah Ismail I hid Behzād in a cave as a treasure. In 1522, Behzād was employed by Shah Ismail I in Tabriz (the capital of the new Safavid Empire), where, as director of the royal atelier, he had a decisive impact on the development of later Safavid painting. According to Muhammad Khwandamir, Shah Ismail I employed Behzād with a decree in which he described the painter as “...[a] miracle of our century, a model for painters and an example for goldsmiths, master Kemal-od-Din Behzad, who with his brush shamed Mani and humiliated the pages of Arzhang with his draftsman's pencil ...". In 1524, Shah Ismail suddenly died. Behzad's later work is usually associated with the name of Shah Ismail's son, Shah Tahmasp I (ruled 1524–1576). Behzād continued to serve in the Shah’s workshop until his death in 1535. Behzad’s tomb is located in Herat, beneath Kôh-i Mukhtâr (“Chosen Hill”). Career and style Behzād is the most famous of Persian miniature painters, though he is more accurately understood as the director of a workshop (or kitabkhāna) producing manuscript illuminations in a style he conceived. In 1486, Behzād became the head of the Herat Academy under the support of Sultan Ḥusayn Bayqarah. He left that position in 1506, at the end of Bayqarah’s reign. In 1522, Behzād moved to the city of Tabriz, following Tahmasp, son of Shah Ismail I, who had been named governor of Herat in 1514. It was in this city where he became the head of the Safavid royal library. He worked there until his death in around 1536. Persian painting of the period frequently uses an arrangement of geometric architectural elements as the structural or compositional context in which the figures are arranged. Behzād is equally skilled with the organic areas of landscape, but where he uses the traditional geometric style Behzād stretches that compositional device in a couple ways. One is that he often uses open, unpatterned empty areas