Human figure is one of the most important pictorial elements in Persian painting, and its design, drawing and proportions, which have been influenced by the principles of Herat school aesthetics have been based on certain patterns. On one hand,the presence of human in Kamal al-Din Behzad’s paintings isespecially important. He has paid attention to the representation of human in real life environments and has achieved some type of human realism in his works. Accordingly, the subject of this project is investigating the variety of figures and human’s configuration proportions in Kamal al-Din Behzad’s paintings, and this projcet aims at identifying the possible patterns of figuration in paintings of Herat school. This project was carried out through a descriptive-analytical methodand to measure the overall and partial proportions of the forms of the figures, length (height) of head in each body was used as the unit of measurement. The data collection was also done through library research. This study shows that the variety of most of the figures in Behzad’s paintings can be classified as three thematic figures “lyrical”, “mystical” and “popular”. According to the measurement criteria used in this study, Behzad has benefited from a special and possibly pre-determined pattern- rooted in the Afghan culture and visual tradition - to draw lyrical figures. This special pattern has also been considered with slight changes in mystical figures. However, various forms and proportions have been used to design the popular figures. This can be the main criterion in determining Behzad’s ability to creatively and freely design the figurative proportions.
